About Me

For more than two decades, I have worked at the intersection of theatre, education, leadership, and community engagement, creating spaces where people can connect, learn, and imagine new possibilities together. Whether working with students, artists, educators, nonprofit leaders, or communities, I have always been drawn to one central question: How can creative, participatory experiences strengthen relationships and inspire meaningful change?

Throughout my career, I have partnered with mission-driven organizations to expand access to the arts and to foster dialogue across differences. Most recently, I served as Executive Director of Opening Act, where I led an organization dedicated to ensuring that New York City public school students have access to high-quality theatre education while centering young people's voices through free in-school programming and alumni career development.

Before joining Opening Act, I spent a decade as Director of Education and Community Engagement at New York Theatre Workshop. There, I had the privilege of leading a wide range of education and community-based initiatives, including student matinees, in-school artist residencies, after-school programs, fellowships, masterclasses, and audience engagement events. I developed educational resources and engagement programming for productions such as Hadestown, Othello, What the Constitution Means to Me, Slave Play, and the acclaimed revival of Merrily We Roll Along. During my time at NYTW, I expanded the nationally recognized Mind the Gap Intergenerational Theatre program, founded the 2050 Administrative Fellowship to support emerging arts leaders from historically underrepresented communities, and launched the Youth Artistic Instigators, an ensemble that empowered New York City high school students to engage critically with theatre and the world around them.

Earlier in my career, I served as Associate Director of Teaching and Learning at The Center for Arts Education, where I oversaw professional development for teaching artists and created pathways for young people to explore careers in the creative industries.

Theatre of the Oppressed has also shaped my work. I had the extraordinary opportunity to study and work with Augusto Boal, whose vision of theatre as a practice of dialogue, participation, and collective transformation continues to influence everything I do. Since then, I have facilitated workshops and community-based projects with youth, educators, artists, and immigrant communities across the United States and internationally. That same commitment to dialogue and collective action has shaped my board service, including my tenure as President of the Board of Directors of Pedagogy and Theatre of the Oppressed, where I helped advance liberatory education and socially engaged theatre practices throughout the field.

Alongside my organizational work, I have remained committed to teaching and scholarship. I currently teach Theatre of the Oppressed undergraduate and graduate courses at NYU's Tisch School of the Arts and in the Educational Theatre Program at NYU Steinhardt, respectively, where I invite students to explore creativity as a means of inquiry, dialogue, and social action. My writing has appeared in journals, edited volumes, and publications focused on applied theatre, educational practice, and social justice, and I have presented my work at conferences throughout the United States and abroad.

Today, my work continues to evolve. As I pursue graduate training in Marriage and Family Therapy at Iona University, I am deepening my understanding of relationships, systems, and human development while building on the questions that have guided my work from the beginning. Although the settings may change—from classrooms and rehearsal halls to organizations and, eventually, the therapy room—my commitment remains the same: to help people cultivate connection, navigate complexity, and create meaningful change together.