Tell us a little about yourself.

I’m originally from Sidney, Ohio. I grew up homeschooled, crafting, and performing with the local children’s dance company. I graduated for the first time with both a high school diploma and an associate of science degree under my belt through an agreement with our local community college. From there I began studies in Chemistry at Ball State University; but after stumbling on theatre tech, I realized that I had a major change to make. I started working intensely in the theatre department’s scene shop and training in the summer at the Glimmerglass Opera in stage operations, which eventually led to my employment here at the Hartford Stage.

What is one of your earliest theatre memories, and how did that translate to where you are today at Hartford Stage?

I had a family friend who encouraged me to audition for a local production of the musical Babes in Toyland when I was 8. That led me to dance classes, which became a strong hobby and stress-reliever that I’ve carried in periods throughout my life. Through those classes in college, I found the theatre department and the scene shop, my first foray into the world of theatre tech. One thing led to another, and I’ve come to realize that I’m exactly where I need to be – and that’s pretty cool. I’ve been a crafter since I was a child, and, eventually, my childhood hobbies became part of my job. Who knew they’d pay me to do the things I did already just for the fun of it?

What would people be surprised to learn about your job? 

They might be surprised by how much they don’t see. They see everything from the audience’s perspective but not necessarily every prop or element we created or put on stage. For example, in Cry it Out the main character shuffles through a diaper bag at one point. It’s full of baby products that may never be seen. We try to go the extra mile to make things easier to immerse the actor in the show whenever possible.

We heard you have a deep love for A Christmas Carol.  What about it sparks your interest?

For me, it’s not just about the show but the experience of being a part of a production at Hartford Stage – this production in particular. It was the first show I ever worked on here, and it immediately felt like an extension of my own large family Christmas. It’s like coming home for the holidays since many of us – adult actors, children, and technicians – all return year after year to be a part of making the magic once again. We’ve had so much fun over the years.

You helped create an exhibit for Hartford Stage’s 20^th anniversary production of A Christmas Carol at the Wadsworth Atheneum two years ago. Can you share some details about that exhibit?

This was a huge collaborative effort. I love bringing audiences into immersive experiences; it’s pretty much what I do on a day-to-day basis, but this presented a new challenge for me because it was an exhibit. Since it was the 20^th anniversary of the show, we wanted to pay homage to the long-lasting joy that this production has brought to so many over the years, as well as honoring the many people who have always worked so hard to make it possible. We pulled different items from throughout the years that would remind the community of the production and give them the feeling of stepping into the show at the Wadsworth.

You’re known around the office for your involvement in the Gala. Can you talk about your process? What do you enjoy most about the Gala?

The theme is given to us from the managing and artistic directors, and it becomes a companywide effort to get it off the ground. The Gala is held in our scene shop, so we work very hard to transform our day-to-day work space into something fun and immersive for our donors. Over the past few of years, we’ve welcomed our guests into a Gilded Age garden party/New York at Night scene, an Around the World travel theme, and most recently, a Beach “Ball.”

I treat the Gala like Halloween in spring. I love things that are themed; and considering I’m always dressing down in clothing that can be destroyed for my job, the Gala is my excuse to dress up at work. So why not go all out? Two years ago, I was honored to wear a gorgeous dress that was made for, but cut from, The Age of Innocence. The ladies of the costume and wardrobe crew even took time out of their very busy schedules to help get the look “just right” – from the shoes, to the hair, make-up, and accessories. For that one night, I pretty much got to be a princess, or a countess, if you want to be specific.