I've conquered giants with preschoolers and made scandalous films with 80-year-olds. I made theater in remote Australian deserts with Aboriginal communities and sent disposable cameras across a landscape the size of Great Britain. I spent years in a run-down Brisbane glass factory studying Japanese performance systems, and performed in a legendary Samurai town tucked away in the hills west of Tokyo. I've told the Orestia to seven-year old's in South Brooklyn and watched in amazement as they debated women's rights, revenge and trial by jury. I've collaborated with Tuberculosis scientists, mentored performers, danced with people experiencing Cerebral Palsy and taught drama in some of the toughest schools in New York City. 

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 My (near-on) 20 years in performance work is underpinned by the belief that by taking risks with creativity, we break invisible barriers and become more connected to our inner self, those around us and our communities.

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Deeply rooted in the performing, literary and visual arts, my work moves beyond the traditional silos of how art is created, engaged with, utilized and funded. I am interested in the ways creative processes and outputs can connect with non-arts industries, sharing skills and processes across sectors.

Originally from Australia and now living in New York, I have predominantly worked within arts education and community cultural development.

Creatively, my performance forms include text based plays, experimental performance, dance theatre, devised performance and film.

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Since 2007, I have trained in the psycho-physical performer training method, Nobbs Suzuki Praxis (NSP) and the Suzuki Method of Actor Training (SMAT).

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