Between tour stops for Echoes, our cast continued our collaboration with The REV Theatre Company through Improv for All, an original improv and sketch comedy show we brought to high schools across New York State. We devised scenes and played improv games inspired by audience suggestions, performing both as a cast and alongside student volunteers. Through humor and interaction, we demonstrated how improvisation can strengthen everyday communication, creativity, and adaptability. This year’s show centered on the theme “An Open Mind Equals an Open World,” encouraging students to embrace new perspectives with curiosity and empathy, and guiding them to accept the present as it is even if that can be uncomfortable at first.

In January 2025, I returned to The REV for my second year as an Actor and Singer-Songwriter on Echoes. Once again, we read through 2,300 submissions from middle school students and sorted their skits, poems, and lyrics (five of which we composed into original songs) into an hour long show. During the first third of the year, we toured schools across Central and Western New York State, performing the final product for the same students who had submitted their work, allowing them to see their art fully realized on stage.

At the beginning of September of 2024, I returned back to The REV Theatre Company to play Axel in their immersive touring production of Journey to the Center of the Earth. We are toured schools all across New York State where we led lessons in the classroom and then put on our show for them afterwards where they became active participants.

After RetroSpect ended, I continued at Kings Dominion for the rest of the summer as a part of their Food and Wine Festival. Jumping down from singing in the stratosphere earlier that summer, I could be found singing Bass in the traveling barbershop quartet: The Sour Grapes.

For the summer of 2024, I returned back to Kings Dominion, performing as a vocalist (highlighted in songs like 24k Magic, What Makes You Beautiful, and Blinding Lights) in their return of their mainstage show RetroSpect. During this contract I also participated in leading the Spectacle of Color Parade as a Dancer in the King’s Brigade for Carnivale.

For the first 5 months of 2024 I worked as an Actor and Singer-Songwriter with The REV Theatre Company on their educational tour: Echoes. We read through over 2,300 writing submissions (Skits, Poems, Songs, etc.) from middle schoolers across New York and narrowed down pieces to include into an hour long showcase similar to SNL, allowing these students to see their work fully realized on stage. This included as simply as their skit being staged or, more complexly, their poem being used as lyrics to an original composition written and played by us.

From November of 2023 until 2 hours before the New Year of 2024, I was a part of the 115 show run as Tinker in Tinker’s Toy Factory, one of King’s Dominion’s leading shows from their Winterfest season. The show follows Tinker the elf as he eventually finds out he may have to stand in for Santa on Christmas after Santa has suffered a case of lumbago.

In the fall of 2023, I returned as a dancer for the premier of Cedar Fair’s new Halloween HAUNT show: Conjure the Night (Choreographed by Brandon Kelly), at Kings Dominion. A high energy show including music from Guns N’ Roses, Britney Spears, and Rihanna, Conjure the Night loosely follows the spirits (Chaos, Lust, Terror, and Excess) that the park’s icon: Queen Majesty, has summoned from hell to make her more powerful. Each spirit’s section of the show contains a different sound and quality of movement but is mostly centered around street jazz and hip-hop.

In August of 2023, I finished working as a dancer in the workshop of the new show Conjure The Night for Cedar Fair Parks/Entertainment. Working with choreographer Brandon Kelly and Carlos Jimenez, I was there as choreography was worked through and modified along with other creative elements of the show.

After graduation, I started and wrapped up filming for the short film Oopsie Daisy (Directed by Julian Banks) as the “high as shit” Mark who walks in on his coworker standing over a dead body. Don’t worry though, of course Mark knows just what to do.

On May 13th, 2023, I graduated from James Madison University, officially completing my Bachelor of Arts in Musical Theatre. 🥳

In the spring of 2023 I played the role of Amos in James Madison University’s production of Chicago (Directed by Kate Arecchi)

In December of 2022, I stepped into the role of director for the world premier of Steven Sullivan’s 10 minute play Pleasantries exploring themes of emotional unavailability, the right person at the wrong time, and the connections we make when we least expect them.

Performing on a set modeled after The Limelight (by Richard Finkelstein), I took part in James Madison University’s production of RENT (Directed by Kate Lumpkin) as Paul and a part of the Company while also understudying Mark.

Wrapping up the second half of Lees-McRae Summer Theatre’s (Banner Elk, NC) 2022 season, I was a part of the cast of their production of Matilda (Directed by Janet Barton Spear).

Being the first show of Lees-McRae Summer Theatre’s (Banner Elk, NC) 2022 season, I performed as a part of the ensemble in their production of The Drowsy Chaperone (Directed by Gabriel Vanover).

Serving as a prequel to The Tempest, I was a part of the original cast and worked on developing TJ Young’s new play Isle of Noises (Directed by Liz Fisher). A very technically heavy show, I manned one of the 14 foot puppets, learned a ton of fight choreography, performed multiple codified systems of movement (one based in Suzuki method), and stepped into the role of music captain.

As part of our Heightened Language class final we spent the semester rearranging the text of one of Shakespeare’s plays (keeping the text in iambic) and reimagining one of the characters in a modern circumstance that was significant to each us. This was all put together into a ten minute solo piece performed at the end of the semester. My piece, The Conference, reimagined Lady Macbeth as a speaker at a political conference. Using the actual audience as conference goers, the piece explored trust and rhetoric and how easily we can all be led to believe/agree with ideas that may not even align with us, political or not.

In October of 2021, I got the chance to play a genderbent Helena in a reimagined version of Shakespeare’s A Midsummer Night’s Dream set in Athens, Ohio in the 60s. Led by incredible director Oliver Mayes, the production looked at queer relationships, interracial couples, and the fear of repercussions of being their true selves in the late 60s, a time of political unrest.