Allow me to introduce myself.
Zany Floridian by birth. California transplant by a merciful twist of fate. Ballet nerd, with a penchant for Holst. Lover of good coffee, better wine, good sci-fi…and cringe-worthy sci-fi. I was probably a modern dancer in a past life.
I fell in love with ballet at the age of 15, when my grandmother took me to see Romeo and Juliet. I had been dancing recreationally up until that point, but from that moment I was on a mission. I knew then that I wanted to tell stories, and ballet was my medium.
Florida is a lovely place to grow up, but it’s not exactly what you would call a mecca for the arts. My hometown even less so…unless tropically colored wood carvings of sailfish is your thing. No single studio had a full week’s worth of ballet classes. After the Romeo and Juliet encounter, I was desperate, so I curated my own curriculum across several studios to ensure I could take ballet and pointe 5 days a week.
I began training at Ballet Palm Beach in 2007 (when I could make the daily 45-minute commute on my own) under the direction of Colleen Smith. During that time, I was working towards my associate’s degree in accounting with Indian River State College and teaching and guesting part-time for a small local studio, Amazing Grace School of Dance.
In 2008 I had the privilege of spending the summer at the Royal Ballet School for their summer intensive. Working with RBS had always been a dream of mine and fulfilling that goal is still one of the most meaningful moments in my training. As someone who started her training late – and had put her training together by piecemeal for two years – it was the confidence boost I needed to boldly venture into the world of professional dance.
During my time at Ballet Palm Beach, I performed some fantastic roles and had my first taste of company life. By the time I left Ballet Palm Beach in 2012, I had garnered experience working with a variety of movement styles, including classical, romantic, neoclassical, and contemporary Ballet. The Romantic Period forever holds a special place in my soul. Ruth C. Petrinovic extensively coached me in several romantic ballet pieces, including Pas De Quatre, Les Sylphides (twice) and Myrtha (which as we all know isn’t quite from the Romantic Period, but the second act draws heavily from the style).
I spent the Summer of 2012 in San Francisco expanding my horizons at the LINES Ballet Summer Intensive. It was refreshing and opened my mind to a myriad of ways to approach the art. Nearly everyone I’ve met who have gone to LINES has called it a “transformative experience.” It certainly was for me. I was ready to drop everything and stay in San Francisco to live my gypsy ballerina dreams…
But as things happen, in the fall of 2012, I was promoted to Ballet Palm Beach’s company. I was thrilled to have my first job and see even more opportunities open up. Unfortunately, 2012 was also the year of significant injuries. A chronic foot problem had grown into a painful issue. I was unable to dance, and my only viable option remaining was that dirty word: “surgery.” Gross.
In November of 2012, I had a bunionectomy on my right foot and so began an arduous six-month recovery process. The ballet gods smiled upon me, and I made a full and happy recovery. After several months of therapy (So. Many. Therabands.) and a gradual return to the studio, I attended the River North Dance Chicago summer intensive before joining Ballet 5:8 in August of 2013. Over my three seasons at Ballet 5:8 I experienced the creation of at least ten original works (and low-key graduated from Florida Atlantic University online with a Bachelor’s Degree in Accounting?!). Much of our choreography had undertones of Balanchine influences. It was fast, it was neo-classical, it was big, and I loved it. As any good bunhead, I love Balanchine, and as much as I loved the work I was doing at Ballet 5:8, I wanted to expand my experience and return to familiar repertoire. I wanted to perform at least one Balanchine ballet during my career- specifically Serenade.
After leaving Ballet 5:8, I joined Charlottesville Ballet for the 2016-2017 season. I performed Les Sylphides for the third time and assisted the directors in coaching the corps de ballet in the romantic style. Who knew all that Romantic Period knowledge was going to come in handy again?
In 2017 I went west to join City Ballet of San Diego (CBSD). From the fall of 2017 to the spring of 2019. During my time at CBSD, I had the privilege of performing on both their mainstage shows and participating in their outreach programs. Highlights from my time at CBSD include performing Balanchine’s Serenade (mission accomplished), Swan Lake corps, Giselle, and Beauty and the Beast outreach.
As the 2019 season came to a close, I decided that it was time for a change of pace. After nearly ten years in ballet companies, I was ready for a new challenge. So seven years later, I finally made it back to San Francisco to start a new adventure and live my gypsy ballerina dreams. I’m here. I’m excited, and I’m ready to create fantastic art with you.
In light of COVID-19 and the current havoc it’s placing on the arts, I’ve recently helped found Digital Dance Project. As the Director of Digital Dance Project, I am working with a team to build opportunities for virtual theater both now and in a post COVID world.
So here’s the real question: Why should you hire me?
Over the years, I have capitalized on my storytelling, my movement quality, and my ability to learn and apply corrections quickly. I embrace the challenges of the artistic process and have a proven track record of completing what I set out to accomplish.
When you work with me, you can expect to work with a strong, versatile dancer with an avid commitment to whatever work I’m doing. You can expect a strong sense of professionalism, organization, and punctuality. Nine years of company life have taught me how to manage my time, my resources, and my body in constructive ways that will produce the best possible results on stage. I’m easy to work with, I love the creative process, and I love bringing art to life.