i am a stage director for opera and music-theater based in LA.

in 2020, i will premiere “sanctuaries”, an site-specific chamber opera exploring the effects of gentrification  on the black community in portland, oregon; followed by “concerto for having fun with elvis onstage”, a collaboration with composer daniel corral at REDCAT in Los Angeles.

i came to the idea of directing opera after studying experimental theater in college and playing in nightclubs as a musician for more than a decade. gradually i recognized that opera was the synthesis of everything i loved: composing stage pictures, complex music, projects epic in scope and scale. a bizarre dream of performing ionesco in a jewel-box theater inadvertently led to my opera directorial debut with "la tragédie de carmen" at san diego opera in 2017. later, i associate directed john cage’s “europeras 1 & 2” at LA phil, alongside macarthur fellow yuval sharon. 

“la tragédie de carmen”

“provocative, visually stunning ... artistically fascinating and thought provoking.”

“a perfect, ‘experimental’ approach to opera, for open-minded aficionados, and those new to the artform.”

the san diego union-tribune created a short documentary about the process of rehearsal with the singers, utilizing grotowski-based physical theater, group improvisation and extended vocal techniques for unsung texts. you can watch it and read more about the show here.

popular music

before committing to opera, i worked as the songwriter, choreographer, guitarist and lead singer of brooklyn-based punk-funk band trick and the heartstrings, and LA disco ensemble yellow alex. i collaborated with grammy winning producer paul epworth (adele, florence + the machine) and had song placements in indie films, ABC TV and the iTunes worldwide playlist. my last record, house of discipline, has received nine months of airplay on LA’s KCRW.

prisoner of fashion    /    house of discipline

as an actor, i have performed in work produced by eve ensler, and alongside multi-grammy winner billy childs and the lyris quartet.

what’s next?

i am committed to collaborations that develop new audiences for the expanding frontiers of opera. this can take the shape of theatrical events on stages and in alternative spaces, or  institutional alliances that focus on new curatorial experiences for opera initiates.

let’s do.