About Me

Jeremiah 29:11 – "For I know the plans I have for you,” declares the Lord, “plans to prosper you and not to harm you, plans to give you hope and a future.”

Roots in Southeastern Kentucky

Born and raised in a small town in southeastern Kentucky, I grew up in a place where options for 'what you could be when you grow up' felt limited. My parents, both first-generation college students, instilled in me the importance of a good education. As teachers themselves, they always encouraged me to excel in school, pursue higher education, and chase my dreams. At that time, I was set on becoming a doctor! Little did I know that being cast as Seymour in Little Shop of Horrors during my freshman year would alter my path entirely.

That role, along with the guidance of exceptional teachers, opened my eyes to possibilities I hadn’t considered. Each mentor along the way showed me the power of education—not only as a means to refine my craft but as a calling to continually learn and help others realize their potential. Now, as an educator myself, I feel privileged to be part of this legacy. I am a link in a chain of teachers, passing on the best of what was given to me, with the hope that my students will one day do the same. Though we may never fully see the generational ripples of impact we create, I am profoundly grateful to stand here, an associate professor of theatre applying for tenure, and to contribute to this enduring legacy.

From the beginning, my journey into theater was marked by a mix of curiosity and the guiding hands of compassionate mentors.

Finding Theater: The Scrapbook Story

One of my earliest and most formative experiences came during my audition for a drama scholarship at Centre College. I had seen the advertisement, which mentioned bringing “either a book or a monologue.” Not fully understanding what a monologue entailed, I opted to bring a “book” as my showcase. My mom, with her love for scrapbooking, took this as an opportunity to put together a beautifully crafted book filled with photos of me in my high school plays, at band camp, and during piano recitals, complete with her signature squiggles and big, colorful letters.

When I arrived at the audition, I proudly brought my scrapbook, only to realize that the other students had come prepared with monologues—an actor’s tool I didn’t yet understand. As we went around introducing ourselves, confusion rippled through the room when I mentioned I’d brought a “book.” When it was my turn, Dr. Patrick Kagan-Moore called me into the theater, sat with me at a desk, and patiently turned each page of my scrapbook, asking me about the moments captured in the photos. Looking back, I’m still blown away by the kindness of this gesture. He took the time to see beyond what was presented, seeing something in me that went beyond my preparation. Rather than pointing out my misunderstanding, he introduced me to my first cold read—an unrehearsed reading of a script that assesses an actor’s natural ability to interpret and convey a character spontaneously.

Despite my mix-up, he awarded me the drama scholarship based on my work in the cold read and my ability to take direction. Later that semester, he cast me in my first role as Seymour in Little Shop of Horrors. The faculty and students humorously kept my mix-up quiet until later, allowing me to learn at my own pace. That experience became one of the first lessons that shaped my career. It taught me that true mentorship involves patience and encouragement, the first steps in education, and the ability to see potential beyond initial appearances. Now, as an educator myself, I strive to offer my students the same grace, believing that every encounter is an opportunity to bring out their potential, no matter where they begin.

Academic and Artistic Growth

My academic journey has taken me from foundational studies to immersive training in advanced techniques, spanning institutions that shaped my career. I began at Centre College, where I took my first steps into theater with influential mentors. Transferring to Northern Kentucky University, I joined their BFA Theatre Performance program and discovered the range of skills that would later define my teaching and directing. At NKU, classes in Shakespeare, stage combat, dialect, and directing introduced me to the essential tools of my craft, and I graduated with a Dance minor and certifications in hand-to-hand and single sword combat from the Society of American Fight Directors. During these years, I also encountered Patsy Rodenburg’s approach to Shakespeare, which cracked open the text and taught me the power of body, breath, voice, and speech as the foundation for authentic performance.

Graduate Studies and Advanced Training

This foundation deepened during my graduate studies at the University of Southern Mississippi, where I continued developing as a performer and educator. My training included certifications in Lessac voice work, which I now integrate into my acting and dialect classes, supporting students with tools for healthy, precise vocal production. I also encountered the transformative Viewpoints Technique, which has become a cornerstone in my teaching. It provides a “shorthand” that allows students to connect physically and emotionally across scenes and shows, enabling ensemble-building within a structured framework of time, space, and movement. Viewpoints proved invaluable in devising our production of Dr. Faustus at Shorter, where students could integrate their own subconscious expressions into the performance.

These certifications and methodologies are now embedded in my curriculum. As a licensed Lessac Voice Practitioner, I incorporate the Lessac system in dialect classes and voice work to foster vocal health and nuanced articulation. Viewpoints and Lugering provide frameworks for physicality, enabling students to develop specificity in their character work. By bringing these techniques together, I guide students to approach their craft with depth, precision, and adaptability.

Teaching Philosophy: Bridging Faith and Craft

Through these resources, my teaching philosophy emphasizes bridging theory with practice. With Patsy Rodenburg’s practical approach as a guiding principle, I show students that Shakespeare—and all performance—becomes accessible with humility, courage, and dedication. Practical assignments, interactive exercises, and continuous feedback help students apply these skills to the stage, developing as versatile, adaptive artists who can carry these lessons into all areas of life and performance. My goal is to train the whole person, equipping artists to be both professional and healthy in all aspects of life.

Empowering Students Through Play

At the heart of my teaching is a commitment to freeing students to play, inspired by Viola Spolin’s idea that everyone has the capacity to act and improvise. I focus not on simply teaching students how to act, but on helping them rediscover the intuition and natural creativity that so often become clouded by societal influences and self-doubt. This approach is central to bridging theory and practice in my classes, where I aim to create an environment that is as freeing as it is challenging.

Using Spolin’s theatre games, I set a foundation of experience-based learning, guiding students to confront and overcome the mental blocks—fear, success/failure mindsets, approval/disapproval—that often stand in the way of authentic expression. Games like “Exposure,” where students face the fear of being looked at, provide a focus that helps them relax into their own presence. This practical approach encourages students to find joy and freedom in performance, learning not just through lectures but through direct, playful engagement. It’s a philosophy of “progress, not perfection,” where each student is encouraged to explore, fail, and grow in a supportive, ensemble-driven environment.

This practical, experience-based approach extends beyond individual growth, fostering a true ensemble among students. They learn not only to rely on their own skills but also to support and trust one another as a unit. Through exercises in Spolin’s method, as well as Viewpoints, Rodenburg’s practical approach to text, and the Lessac voice technique, I help students build a versatile toolkit they can draw on in any setting, developing vocal health, physical precision, and adaptability.

My goal is to train the whole person, guiding students to approach their craft with depth and integrity. By creating an environment where learning is active, collaborative, and experience-based, I encourage students to develop as adaptive, confident artists. They leave my classes not only prepared to perform but equipped with the skills to continually grow, both personally and professionally, throughout their lives.

Teaching acting at a university rooted in values of skill and character development aligns naturally with our institution’s mission to cultivate academic excellence, spiritual growth, Christian leadership, and global service. Acting, like faith, demands discipline, curiosity, and a dedication to growth, all qualities that echo the pursuit of academic and spiritual excellence. By challenging my students to uphold high standards, I aim to nurture in them a commitment to rigor and integrity, an approach that mirrors God’s excellence in all He does.

Acting also invites students to explore the human condition and seek deeper spiritual truths. Through engaging with complex roles and navigating ethical choices in performance, students reflect on their own values, character, and purpose, gaining insights that align with a biblical worldview. I guide them to integrate faith into their creative work, finding purpose and growth in each character they portray.

As an educator, I strive to model Christian leadership by fostering a respectful, honest environment where high standards coexist with compassionate guidance. By upholding this servant-hearted style of leadership, I hope to inspire students to lead with humility, resilience, and kindness, reflecting Christ’s example in their own lives.

Finally, I see acting as a platform for global influence and service. By teaching students to tell stories with empathy and integrity, I am preparing them for impact beyond the classroom, equipping them to engage thoughtfully with the world and use their talents for purposes greater than personal success. In this way, they learn to reach across cultures, conveying messages that resonate with both skill and faith.

In essence, teaching acting within this mission allows me to help students grow holistically—becoming not just skilled performers, but individuals grounded in faith, ready to influence the world through both craft and character.

Faith and Artistic Service

As a new member of First Baptist Church Rome, I’m grateful to already have been asked to co-lead the young adults group and sing in the choir whenever my schedule allows. My involvement with church began long before moving to Rome; at Northside Baptist Church, where my parents still attend, I was active in the praise band, led worship and prayer groups, visited nursing homes to uplift with song, and helped with Celebrate Recovery. These experiences have grounded me in a community-centered faith, and I continue to bring this spirit of service to Rome.

Beyond church, I have been privileged to connect theater and faith through various Christian arts organizations. I am a member of FishStix, a national Christian improv organization, where I was one of the founding members of the Atlanta team. My involvement with Christians in Theatre Arts and the Christian Improv Comedy Association has also allowed me to lead workshops, adjudicate productions, and share faith-based improv practices with students and audiences alike. I enjoy connecting professional Christian improv directly to my students, often through joint shows with FishStix and our Shorter improv troupe, the Side Stitches.

Community Leadership in Theater

As the artistic director of the Rome Shakespeare Festival, I am passionate about making theater accessible to everyone. I regularly visit local high schools to teach workshops, give feedback at Rome Little Theatre, and direct a free teen Shakespeare production during the summer festival. My goal is to create an inclusive space where people from all backgrounds can experience the joy of live theater. To me, theater is not for a select few, and neither is the church; both are places of transformation and community. Inspired by Christ’s example of reaching out to all, I aim to set an example for my students, showing them that theater—much like faith—has the power to welcome, unite, and uplift people from every walk of life. 

A Purpose-Driven Life

“And Jacob called the name of the place Peniel: for I have seen God face to face, and my life is preserved.” Genesis 32:30

And the name of my Peniel place was Lawrenceburg, Indiana at Perfect North Slopes ski resort: For here I saw the face of God, and my life was preserved. A moment much like Jacob’s, wrestling with the angel, I bartered, begged, and prayed, “Heal me, and I will follow the path You set before me.” In that moment, God called me to greater purpose. Little did I know this was the first step in a long journey that would eventually lead me here. I am profoundly grateful to have been given a second chance, the ability to walk again, and an opportunity to act out a purpose-driven life.

Creating a Welcoming Space for All

My mission is to help students discover their path, to unlock their potential before they face setbacks. (Hopefully, they won’t have to go back first into a tree before discovering their calling.)  I am immensely thankful for my first teachers, my parents, as well as the professors and mentors throughout college, grad school, and my professional life. Their belief in me and the lessons they instilled have shaped me, and I strive to lead with the same resilience, confidence, and curiosity. As I apply for tenure, I am filled with gratitude that my path has led me here. It has been a privilege to serve this institution, to create a welcoming space for those who feel they don’t belong, and to raise a flag for students who seek both faith and artistry.

I hope to continue bridging understanding between the church and theater artists, guiding students to see that they do not have to sacrifice their faith for their art; rather, their faith can deepen and enhance their craft. In theater and education, I seek to inspire a home for the seemingly homeless and to show students that faith and art, together, can be transformative.