| Q |
Briefly describe your background/training. |
| A |
 My professional background is in psychotherapy. I spent my first years in WDC practicing substance abuse and sex-offender treatment. My training in the arts includes studying at Woolly Mammoth Theatre, Studio Theatre, and private acting coaching. |
| Q |
How old were you when you knew you wanted to be an artist? |
| A |
I would say by the time I became self-aware, I knew I wanted to be an artist, but it wasn't until I was 26 that I realized I could actually be one. |
| Q |
Who is your greatest professional inspiration and why? |
| A |
Anyone crazy enough to want to self-produce, but at the same time committed enough to make it happen. |
| Q |
How do you manage wearing different 'hats' as a self-producing artist? What are your strengths? What are your weaknesses? |
| A |
I become "Man-E-Faces" from He-Man. Who I am talking to determines which face I use. Both conceptualizing and actualizing are strengths. My weakness is organizing. |
| Q |
As a self-producing artist, what qualities make for a good show idea in your opinion, and what is typically your first step in realizing your artistic vision? |
| A |
Something that is both unique and has a broad appeal. I usually talk to my close friends and family about an idea before I start any real development. |
| Q |
How much material do you prepare for a show, and what percentage of it typically makes it into the final performance? |
| A |
What I "prepare" for the show usually gets in. Now what I "conceptualize" for the show, well only about 30% of that actually makes it.What I "prepare" for the show usually gets in. Now what I "conceptualize" for the show, well only about 30% of that actually makes it. |
| Q |
Speaking as a spectator, what do you look for in performance? |
| A |
Great Story makes for Great Empathy. I love sharing the experience to the point where I make decisions with/for the character. Even when I'm wrong, I love it. |
| Q |
What makes your work unique? |
| A |
Since most of my work is 1st person narrative, the experiences I share on stage are somewhat unique by nature. I try to package it in a way that finds shared, although not exact, experiences with the audience. I also like the a challenge of making serious matters, comical and presenting characters of resilient nature. |
| Q |
What does 'success' mean to you? |
| A |
Putting up a show and having the audience speak to you, how your experience resonated with them somehow. |
| Q |
Why are you doing the Capital Fringe Festival? |
| A |
Because it is one the greatest opportunities to experience, develop and share works in theatre. |
