I've been fortunate in this life to be able to reinvent (and continually educate) myself in order to follow several diverse paths.  I've taken part in the professional worlds of classical ballet, opera, musical theatre, assisted in the C-suite at the New York headquarters of a global company and then transitioned into a cyber security consultant performing a myriad of highly technical services.  While with the firm, I completed yoga teacher training and taught classes to my corporate colleges in the boardroom after work. I also had the pleasure of helping found Kroll's 'Women in Cyber' group and of teaching English as a second language while in New York.

    I was two years old when I begged to take dance classes. Fast forward to my last two years of high school in which I was dancing 20+ hours a week in the pre-professional company of the Atlanta Ballet. I danced in the company’s Nutcracker ballet at the Fox Theatre for seven years.

   One reason I chose Butler University (Indianapolis, IN) for my undergrad was their renowned Ballet Major which draws students internationally.  I was accepted into the program, but offered a scholarship from the Voice Performance department, so I took class with the dance majors whenever it fit into my schedule while pursuing a degree in Vocal Performance. 

   I began studying classical singing concurrently with ballet when I was fourteen. My final year of high school an independent study arrangement allowed me to leave school early each day to study voice, piano, and theory with my teacher Mary Francis Katz and attend weekly master classes with Elizabeth Colson who became my teacher after college. 

   While majoring in Voice, I sang in the opera chorus in many productions with the Indianapolis Opera.  After college I sang with the Atlanta-based Capitol City Opera Company and studied at the American Institute for Musical Studies (A.I.M.S.) in Graz, Austria with Elizabeth Colson, Everett McCorvey, and Andrea Huber.

   In New York I worked with several teachers and coaches on transitioning my singing to a more musical theatre style.  Teachers included Jeannie Lovetri, Matt Farnsworth, Tom Burke, Shirley Callaway and Sheri Sanders. 

   I studied acting with Matthew Corozine and took scene study classes with Austin Pendleton  (HB Studios)  and with Caymichael Patten.

   One of the highlights of my time in New York was performing in readings of many new musicals. I particularly enjoyed readings where I had scene work and songs as many different characters in a single show. I was a “regular” for NYU’s Graduate Musical Theatre Writing program working on multiple thesis readings each spring for their masters students. I originated lead roles in fully staged new musicals at both the NYMF and Fringe Festivals. 

   With cabaret director Erv Raible I created a solo act, entitled “My Shirley Years” which had two runs in New York as well as a 30 show run at the Edinburgh Fringe Festival in Scotland.  The show was a love letter to my childhood idol, Shirley Temple, and I wove in other repertoire of the 1930’s,  and songs sung by leading ladies in Shirley Temple films, such as Alice Faye. 

    It was with the songs of Alice Faye that I debuted at Weill Recital Hall at Carnegie Hall on the bill of a Mabel Mercer Foundation Concert. 

    At Lincoln Center's Avery Fischer Hall I performed a medley of Cinderella pieces with  the Little Orchestra Society  conducted by Dino Anagnost for their Cinderella Young People's Concert.

   For eight years I was a frequent performer for the Ziegfeld Society of New York working with the director and composer, Mark York, on music of the early 1900’s as well as American Songbook Standards.  Mark spent his early career working for composer Cy Colman (Sweet Charity, Barnum) as his protégé and is now the leading authority on Cy's music and estate.  

   Mark composed and produced a fully costumed and staged musical on the life of Marilyn Miller in which I played the title role. We teamed again on a biographical musical of the life of American composer Kay Swift who was a famed collaborator and romantic partner of George Gershwin. The musical featured the music of both composers and was mounted by the Kay Swift Estate. 

    From 2017-2019, I performed in New York and on short tours with NYGASP. I was often a featured dancer (while singing!) in these highly choreographed operettas. It was a joy to be part of this top notch company, a true family, of repertory performers, (Shows are listed in the resume.) 

    From 2014-2023 I worked with Kroll, an investigations consultancy founded in 1972.  I enjoyed working with this group, most of whom had moved to the private sector after careers with  "the three letter agencies" (CIA, FBI, Secret Service.)  I began as the C-suite executive assistant, and after six years in that role developed into a Senior Cyber Security Consultant  passing the CISSP exam (similar to something like the bar exam for lawyers).  

    I became a Kroll consultant myself and personally provided managed services for a large roster of clients including phishing exercises, trainings, vulnerability scans, third-party risk assessments and completed numerous M365 Cloud assessments of client environments.  With Kroll colleagues I worked on large annual risk assessments, assisted in penetration testing, and worked on CFIUS (Committee on Foreign Investment in the United States) audits and monitorships.

   In August of 2019 I moved to San Francisco and have had the pleasure of performing in the "Pantos" (*See footnote) for the past three Decembers at the Presidio Theatre.  I've made debuts at other regional theaters here including Peninsula Lively Arts, The Magic Theatre, The Mountain Play, and Contra Costa Civc Theatre.  During the pandemic I wrote and filmed a cabaret act which is viewable on this site.

* "Panto" is short for "pantomime". It's an imported British holiday tradition of an all-singing-and-dancing  wacky retelling of a fairy tale using pop music for the score with rewritten lyrics.