Beginning my stage combat and intimacy journey 3 years ago was the best decision I ever made. Beyond the immense amount of artistic fulfillment I receive from this line of work, I am also incredibly honored to be able to bring a safe and consent-forward energy to the rooms I work in.

I began my training with SAFD Certified Teacher David Reed at the University of Central Florida, where I began training in the 8 SAFD stage combat weapons through private lessons in addition to a traditional class. From there, I was able to progress quickly through the rigorous training program and began to transition into learning how to choreograph.

My journey into choreography took me to local high schools as well as the university sponsored shows within the TheatreUCF season. I have had the privilege of learning to work with performers as young as 10, immensely strengthening my teaching capabilities. I am highly focused on appealing to as many learning styles as possible, and making stage combat accessible for anyone.

The newest skill in my artistic tool box has been intimacy direction. I have begun training through Intimacy Directors and Choreographers (IDC) and have completed their consent-forward artist program. This gave me an incredibly nuanced look at power structures in a space and how to pivot my leadership into a consent-forward and accessible modality. I have also been able to apply many of the same principles to stage combat, truly elevating the form and creating an actor-driven choreography model.

Whether I am working on a musical, a Shakespeare piece, or a contemporary work, I always try to steer my choreography in a direction that is truthful to the vision of the production, and the dramaturgy of the text. My biggest personal commandment is safety. I want to artistically push boundaries to their breaking point, but I am a firm believer that no one should be worse off because of the demands of their job. I believe in creating a safe space for making art, and that safe space includes accountability, acceptance, and understanding. The only thing in theatre that needs to be controversial or risky is the story being told.