Theatre

Creative Process

My process always starts with the music and the story. I don’t see choreography as decoration. You will not catch me adding in filler movement (no random step touches lol). It should drive the plot, reveal character, and amplify emotion. Of course, there are also moments designed purely for joy and entertainment, and I embrace those fully. 

I approach choreography as a layered process. Each stage builds on the one before it, and I encourage dancers to focus fully on the step they are in rather than rushing ahead. If the mechanics are not in place, the later stages (such as character work or dynamic expression) cannot reach their full potential. When I introduce these ideas early, it is to provide context and direction, not to add pressure. My goal is to create an environment where dancers feel permission to learn one element at a time and grow with confidence.

My philosophy is to dedicate brainpower to mastering the step I’m in so I can free up that mental space to move on to the next step: 

Cast "Vocab" to Create Layers

I approach theatrical choreography in layers. To bring a scene to life, you need more than steps; you need texture, intention, and movement that lives inside the world of the story. Every piece should feel like it belongs to the characters, not just the dancers. 

One of my favorite tricks is to give the cast genre- and era-specific vocabulary to pull from during “freestyle” moments. For example, in In the Heights during “Carnival,” the scene calls for a block party vibe and invites open movement. Before we got there, I reviewed basics in Salsa, Merengue, Bachata, Cha-cha, and Reggaeton. In Hunchback of Notre Dame, we explored Romani dance, rhythmic tapping, and folk movement as stylistic options. This gives actors tools they actually feel confident using, and the freestyle ends up looking more intentional and rooted in the world of the show.

Iconic Movement/New Ideas

I love finding fresh angles on classic material when it serves the story, but I also recognize the power in honoring iconic moments. When a production calls for original choreography, I’m happy to transcribe and teach from archival material when needed. For shows that don’t call for that approach, I honor those signature/iconic moments while still weaving in my own style and interpretation where it makes sense. The key is knowing when to reinvent and when to pay tribute.

Organized Chaos

Another go-to trick of mine is using a marching band drill approach to create organized chaos. Let’s say the cast has 4 counts of 8 to move through a chaotic moment- I’ll give them specific stopping points every 8 counts so the entire space stays alive and dynamic. Just like giving “vocab,” it adds structure to moments that can feel overwhelming for non-dancers. (e.g.: “Les Poissons” in The Little Mermaid and the Tavern Song in Hunchback of Notre Dame). I love organized chaos.

Everyone Can Dance

I also believe, like Fosse did, that everyone can dance. My job is to work with the performers in the room and use movement as a storytelling tool - not just for those with years of training, but for anyone ready to commit and connect. I take pride in crafting choreography that challenges performers and gives them something to be proud of. There’s nothing better than watching someone rise to the moment and prove to themselves they can do it.

View Shows A-Z