CURRICULUM VITAE
EDUCATION
Ohio University, M.F.A. Playwriting
Otterbein University, B.F.A. Theater/Acting
Languages
Professional Proficiency in Spanish
TECHNICAL POSITIONS
Head Carpenter, Rock of Ages: The Musical, Los Angeles 2019-2020
Production carpenter for a Broadway and Tony Nominated musical produced in a high-end immersive dinner theatre environment
Scenic Carpenter, Joe Lewis Co, Los Angeles 2016-2018
Scenic construction/fabrication of unique set pieces for clients such as: NFL Pro Bowl, Nickelodeon’s Kids’ Choice Awards, The Grammys, The BET Awards, Billboard Music Awards, LA Olympics 2024, iHeartRadio Music Awards, Universal/Tom Cruise’s The Mummy premiere, NCAA/Infiniti Final Four, Marvel/Disney Thor: Ragnarok premiere; Adapt rough drawings and renderings into building blueprints and create time tables in order to accomplish design goals; Manage, guide and mentor laborers, coworkers, and apprentices; Strong problem solving, working in teams, and time management skill
Photo Studio Scenic Carpenter, Crate & Barrel, Chicago 2015-2016
Scenic construction, load-in & striking for 12-15 photo studio bays used for catalog photography; Adapt rough drawings and renderings into building blueprints, calculate material orders, and create time tables in order to accomplish design goals; Fabrication of high-end custom home furnishings, props, and cabinetry; Maintain shop & warehouse/storage space and advance shop growth objectives; Strong problem solving and time management skill; Work closely and in tandem with designers, artistic directors and photographers
Scenic Carpenter, Steppenwolf Theatre, Chicago 2013-2015
Scenic construction, troubleshooting, load-in & striking for 3 theatrical spaces/Tony Award winning theatre; Follow blueprints, drawings and renderings to accomplish design goals; Ability to use and maintain all tools required for scenic construction; Strong problem solving and time management skill
Skills
Scenic Construction
Construction
- Electrical
- Carpentry
- HVAC
- Plumbing
- Framing/Drywall/Finishing
- Project Management
Bartending
Food Service
Inventory Management
Customer Service
2010 - present
ADMINISTRATIVE POSITIONS
Founder, South Florida Playwrights’ Initiative, Florida 2010-2013
New play development workshop designed to make South Florida a nationally recognized premier incubator of new work for the American theatre.
Curator, The Native Curator Project, New Theatre, Miami 2013
Dedicated to invention and innovation within South Florida theatre, The Native Curator Project seeks to foster and develop the artistic projects of local voices.
2010 - present
ACADEMIC POSITIONS/TEACHING
Professor of Playwriting, Barry University, Fall 2011
TH 300, Playwriting I: Through script analysis, critical thinking, root action statements and writing exercises, this originally created curriculum focuses on the creation of conflict, metaphor, theatricality and “the final image” as fundamental tools for the modern playwright.
Playwriting Instructor, Fall/Winter 2008-09
-Thomas Kelly High School, Chicago
-William Taft High School, Chicago
-Lincoln Park High School, Chicago
Through both an established and originally created playwriting curriculum, juniors and seniors develop new plays, increase language skills and literacy, expand creativity and self-expression, and develop academic discipline.
Acting Instructor, John Casablancas Training Center, Spring/Summer 2008
On-Camera Commercial and Monologue Technique: In weeks 1-10, students (ages 8 to 18) learn to read, write, rehearse and perform commercial copy on camera for audition applications. In weeks 11-20, students learn acting fundamentals through intense monologue work.
Playwriting Instructor, Winter 2006-07
-Nicholas Senn High School, Chicago
-Chicago Discovery Academy, Chicago
By developing new plays by young writers, students increase language skills, are encouraged to creatively express themselves, develop academic discipline, expand their cultural appreciation, and discover the value of theatre.
Acting Instructor, After School Matters, Fall 2006/Spring 2007
-Schurz High School, Chicago
Through writing, acting and improvisation exercises, juniors and seniors learn the fundamentals of storytelling. The techniques learned culminate in a final performance of the students’ work.
Playwriting Instructor, Ohio University, Winter/Spring 2005-06
THAR 151, Fundamentals of Playwriting: The essence of drama is conflict. This originally created curriculum focuses on the creation of conflict by developing the needs and wants of characters, metaphor, tactics, escalation of action, and dramatic question. Through writing exercises, play criticism, analysis and discussions about theater and its purpose in our society, students develop the skill of dramatic storytelling.
Playwriting Instructor, Ohio University, Fall 2005-06
THAR 250, Intermediate Playwriting: Every great story has equally great elements. Each specific element generates the meaning and power of that story. This originally created curriculum gives students the tools to break down large ideas and genres into small, specific, focused conflicts and situations in order to generate meaning to the larger idea.
Playwriting Instructor, Ohio University, Spring 2004-05
THAR 250, Intermediate Playwriting: Designed to make writers aware of the structural elements of storytelling, this originally created curriculum allows students to explore these elements and use them to more efficiently, effectively and creatively tell a story.
Theatre Instructor, Ohio University, Winter 2004-05
THAR 172, Script Analysis: The importance of script analysis is its application to all of the theater disciplines. With this originally created curriculum, actors, directors and designers discover how to take the information gained through the dramaturgical skill of in-depth text analysis and use it to justify an actor’s choices, a director’s blocking and a designer’s technical concepts.
Assistant Instructor, Ohio University, Winter 2003-04
THAR 172, Script Analysis: Based on the Aristotelian model of play structure, this originally created curriculum allows students to explore the importance of text analysis in all of the storytelling disciplines including directing, acting and playwriting.
WORKSHOPS TAUGHT
2012: Playwriting 101, Nova University
Theatre's purpose is to continue to engage the audience after the performance. Through the use of theatricality, metaphor, conflict and tactics we explore how playwrights tap into an audience's psyche and take them on a journey that lives on long after they leave the theatre.
2008: Steppenwolf for Young Adults, Steppenwolf Theatre
Through scene and monologue exercises, playwriting students are creatively challenged to think theatrically, practically and with character development in mind. Students read work aloud, listen to peer feedback, and then edit work as needed.
2005: Elements of Storytelling (3-day workshop), Marietta College
Students are introduced to an originally created vocabulary derived from the fundamentals of playwriting, acting and directing. Written scenes are analyzed using the above vocabulary. Students then apply given feedback to rewrites. Time is spent discovering how scene-work evolves and changes after applying the given feedback.
LECTURES, PANELS & MENTORSHIPS
Theatre Fellowship Review Panelist, Florida Division of Cultural Affairs, 2012-13
Adjudicator: District 7 & 13 Thespian Competitions, Broward County 2010, 2011
Feedback Coordinator, First Draft Series, Chicago Dramatists 2009
Script Evaluator, Chicago Dramatists 2009
Script Evaluator, Literary Department, Victory Gardens Theater 2006
Mentor, One-Act Play Festival, Marietta College 2005
Feedback Panel, Play Reading Series, Marietta College, July 2005
Guest Speaker, The Business of Playwriting, Otterbein University, May 2005
PUBLICATIONS
Dream Water (play)
Pearson Education/Scott Foresman Publishing
Published, Reading 2010: Grade 4 English California Student Edition
Morning Traffic (play)
Pearson Education/Scott Foresman Publishing
Published, Reading 2010: Grade 6 English Texas Student Edition
TELEVISION WRITING
Head Writer- Green Screen Adventures- WCIU-TV Weigel Broadcasting, 2007-2008
Duties included: Weekly series; ability to write persuasively, creatively, and quickly under pressure of deadlines; wrote teleplays "to order" for a highly defined audience, to fill a certain time slot; expressed ideas clearly, created believable characters and developed compelling content; worked closely with writing team, producers, executive producers and directors.
AWARDS, COMMISSIONS, FELLOWSHIPS, and GRANTS
2009-2011 Playwright Residency, Chicago Dramatists
2007 Emmy Award Nomination: Outstanding Achievement for Individual Excellence On Camera: Programming - Performer
Play Commission, Pearson Education/Scott Foresman Publishing
Many Voices Project, Chicago Dramatists 2006, 2007
Fellowship, Ohio University M.F.A. Playwriting Program 2003-2006
DIRECTING
Madness (over 75 originally written and directed pieces; 9 fully produced evenings): Ohio University, 2003-2006
Watchdog (reading): Playwrights’ Workshop, 2005
Elements of Form (reading): Seabury Quinn Playwrights’ Festival, 2004
The In-Betweener (reading): Manhattan Theater Club, NYC 2003
What I Knew Then (full production): Clamente Soto Vélez Theater, NYC, 2002
Redemption (workshop production): Otterbein College, OH 1997
ACADEMIC RESEARCH
Editing: Assisted Professor Paul Castagno, Ph.D. in editing material for a publication by playwright Mac Wellman. Duties included reading numerous plays while giving written and oral feedback addressing dramatic structure, audience engagement, character development, and story development. Specific focus was given to language playwrights and their non-traditional storytelling techniques.
Written: Article discussing the historical patterns of underdevelopment in Latin America spanning from the colonial period into the twentieth century. Research required an in-depth analysis of popular schools of thought including economic, cultural, psychological and geographic theories. Theories were compared and contrasted in an effort to determine and rank the contribution of each in Latin America’s lack of development.
THEATRE PRODUCING
Producer/Host, Instant Theatre- Chicago Dramatists, 2007-2009
Duties include: Organizing 10 playwrights and 6 actors for a monthly performance open to the public; casting; maintaining blog; create monthly theme; manage rehearsals; hosting duties.
Coordinator, OU/Otterbein Playwright’s Collaboration- Otterbein University, OH 2006
Duties included: Fostering relationship with Otterbein University; handling and organization of scripts; coordinating rehearsals, rewrite schedules and artistic meetings; casting; consulting with Otterbein faculty on script selection.
Coordinator/Mentor, OU/Marietta Mentorship Program- Marietta College, 2005
Duties included: Developing and fostering a relationship with Marietta College; five months of guiding student writer through script development.
Producer, OU Playwrights Showcase- Victory Gardens Theater, Chicago 2005
Duties included: Coordination with Artistic Director Dennis Zacek and Associate Artistic Director Sandy Shinner; organization of rehearsals, PR and source material.
Producer, Playwrights’ Festival- Ohio University 2005
Duties included: Six months of planning and coordinating schedules, calendars and spaces; handling of poster design and program/pamphlet layout; casting; organization of playwright, faculty and mentor information; responsible for all PR including subscription letters, press releases, patron/donor letters, and college/community mailings; coordinating housing and transportation for mentors; selecting menu and catering for all receptions; fostering relationship with guest artists Lee Blessing, Sherry Kramer and Peter Filichia.
Coordinator, OU/Otterbein Playwright’s Collaboration- Otterbein University, OH 2005
Duties included: Developing and fostering relationship with Otterbein University; coordinating rehearsals, rewrite schedules, artistic meetings, and scripts; casting; consulting with Otterbein faculty on script selection.
Producer, Playwrights’ Festival- Ohio University 2004
Duties included: Six months of coordinating schedules, calendars and spaces; all PR and poster/program design; casting; organization of all information; responsible for all reception details; fostering relationship with guest artists Rick Cleveland, Rebecca Gilman and Chris Jones.
Producer, Madness- An Evening of Short Plays 2003-2006
Duties included: Writing and directing over 75 original short works; producing nine full evenings of entertainment including script selection; casting; running rehearsal space; house management; light and sound direction.
House Manager, Baker Theater 2004
ACTING COACHING
2006: Monologue Coaching (Private)
A text-based approach to monologue perfection. By singling out beats, needs and wants, tactics, operative words and emotional targets, the actor is able to build a growing/developing three-dimensional character.
IMPROVISATION EXPERIENCE
Founding member of the NYC improv troupe Devil’s Dancebelt.
-Regularly performed "The Harold", the staple long-form improvisation pioneered in the 1960's by Del Close in
Chicago, which elevates improvisation to the level of a cohesive theatrical art form and away from the level of sport
-Mastered creating impromptu characters off of suggestions from audience members
-Mastered performing impromptu scenes without the aid of guidance, script, or pre-rehearsal with other improvisers
-Specialized in synthesizing and connecting disparate ideas to make them all closely relate over the course of an
improvised show
SEMINARS/COURSES COMPLETED AT OHIO UNIVERSITY
Graduate Playwrights’ Workshop (Charles Smith, Erik Ramsey)
Seminar in Dramatic Writing (Charles Smith, Erik Ramsey, Julie McKee, Deborah Brevoort, Paul Castagno, Ph.D.)
Playwriting Seminars (Rick Cleveland, Lee Blessing, Rebecca Gilman, Sherry Kramer, Chris Jones, Peter Filichia)
Madness (over 75 original short plays; 9 fully produced evenings)
Language Playwriting (Paul Castagno, Ph.D.)
Creating a Playwriting Curriculum, Vocabulary and Teaching Strategy (Erik Ramsey)
Creating & Proposing a Playwriting Seminar (Erik Ramsey)
Research Strategies for Playwriting (Erik Ramsey)
Theories of Theater I: Greeks to Grotowski (William Condee, Ph.D.)
Dramatic Criticism I (Paul Castagno, Ph.D.)
Latin American History: Colonial Period (Michael Grow, Ph.D.)
Latin American Dictatorship (Michael Grow, Ph.D.)
U.S./Latin American Relations (Michael Grow, Ph.D.)
Latin American History: 20th Century (Michael Grow, Ph.D.)
COURSES COMPLETED AT OTTERBEIN UNIVERSITY
(Faculty: John Stefano, Ph.D., Dennis Romer, Ed Vaughan, Christina Kirk, Stella Hiatt Kane)
Acting I-V; Acting Studio I, II & III
Voice Training (4 yrs.)
Modern Dance, Jazz, Tap, Ballet
Theater History (pre-modern & modern)
Fundamentals of Music; Sight Singing; Choral (3 yrs.)
Shakespeare I & II
Stage Combat
Directing I & II
Playwriting
Lighting, Costume & Set Practicum
Scenic Rendering & Painting; Computer Aided Design
Stage Make-up
OTHER COURSES, WORKSHOPS & SEMINARS ATTENDED
Grant Writing Workshop, Roxanne Brune, Projects Coordinator for the V.P. for Research, OU
Psychology of Teaching and Learning, Dr. Scott Titsworth, School of Communication Studies, OU
Connecting Self with Subject Matter: Experiential Learning in Higher Education, Dr. Lynn Harter, School of Communication Studies, OU
Audition Study, Michael Miller- The Actors Center, NYC
Shakespeare: Monologue & Scene Study, Geoffrey Owens- HB Studios, NYC
Monologue Perfection, Paul Fouquet, C.S.A.- Endeavor Studios, NYC