Statement

I believe theatre is not a stage, but a sensorium; not just spectacle, but a vessel of transformation. My lived path—from Detroit’s rhythms of resilience to the moment I discovered that I am autistic—has taught me that difference is not a limitation but a portal. Through sensory awareness, pattern recognition, hyperfocused inquiry, and synthesizing big ideas, I learned to translate my world into performance, and performance into knowing.

My formal training anchored me in the rigour of acting technique—Stanislavski, Chekhov, Linklater, Fitzmaurice —while my global studies immersed me in Indigenous ceremonies, Balinese ritual theatre, and meditational lineages. These experiences formed The Theatre of Spirit, a living methodology that unites art, embodiment, autism, and the sacred.

As an artist-scholar, I teach, perform, write, and mentor at the nexus of Performance & Disability Studies. I dismantle boxed-in categories—(I’ve never fit neatly into one, nor do I intend to start now.)—and invite all bodies, minds, and ways of perceiving into presence. My work cultivates inclusive performance ecologies, amplifies neurodivergent voices, and maps new terrain for how theatre can heal, engage, and evolve.