The Very Grey Matter of Edward Blank- Mrs. Timonel
Motherhood is not something to be taken lightly. And so, Mrs. Timonel, mother-figure to Edward, was a challenge I fully embraced. In crafting a mother, I learned how dimensional and complex a mother-child relationship can be (life looks different when you aren't a kid). Toppled with being a schizophrenic imagining, within this role I learned to not care how I looked when trying something new. There was no space to be self-conscious if I was going to be the best that I could be. There was only room to play, risk, fail, and feel. Mrs. Timonel was my first chance to truly be lead a production.  And with that came responsibility to not be afraid to look loony, especially when playing this lunatic character.  
Ghost: The Musical- Ensemble
Being an ensemble member in Ghost meant being one character, running off stage, changing, and returning minutes later as someone new. In the case of the photo next to this text, I was the lucky subway goer about to get a metal trashcan thrown in my face before becoming a sassy elderly ghost. But in all seriousness, I learned the value of creating and quickly shedding diverse characters. 
I was also able to learn the value of the rehearsal process. I was injured while dancing and could not perform in final productions. However, being able to see the production on stage, as an audience member, made every past rehearsal so valuable. I was able to see how small instances in a rehearsal, ones that seem minuscule, impact a production. Now I understand that there is no scene or moment too small to give your all to, even during the rehearsal process.
Peter and The Starcatcher- Narrator
Narrating provides the unique opportunity to both be invested in the plot as its unfolding but also as an omniscient presence. In Peter and the Starcatcher I was challenged to find the balance between playing a character who the audience knows is telling the story while also being an invested pirate when not narrating. This production in its nature is childlike and I was reminded that theatre is play. So, to find the balance I became a kid again. A kid who was playing make believe, and sometimes took a pause to instruct my playmates beside me.
Ernest and the Pale Moon- Corypheus
Chorus 4 was my first leading role in a production. Ernest and the Pale Moon is a narrative, poetic play. My role consisted of narrating and essentially being three different characters; in an instant  my objectives would change. I learned to value living in the moment. Doing that, I was able to honestly be three different people in one hour. 
I also have now fallen in love with narrative theatre. It poses the challenge of creating a picture with your words over physicality at times. It reinforced the importance of Tone Color Imagery for me as an actor. I was truly telling a story with my words, and I wanted to paint a picture in the audiences' mind. 
Bridge to Terabithia- Gina Fulcher & Dark Seeker
Bridge to Terabtihia taught me that every character lives beyond their lines. The role of Gina was scripted to be the back-up for the 'head bully', she had no character development. In playing Gina, I learned to create a backstory and a full-dimensional character for myself. I leaned to have quirks and feelings beyond my, "Move it beanpole!" lines, creating an appropriately lively character on stage. 
Beauty and the Beast- Enchantress & Footstool
Being the footstool I learned to appreciate humor. At times during rehearsals I would dread getting sat on and my knees would ache. That was until I changed my perspective. 
In the process of this production, I learned to take the things that I wasn't so excited about and make them fun. I added everything I was feeling into my character, making it more dynamic. This had people laughing with me, not at me. I began to enjoy everything I had to do, uncomfortable or not, because it became a part of my character's internal monologue and made me love being the footstool.
 Narnia: The Lion, The Witch, and The Wardrobe- Fenris Ulf
Physicality, vocality, and how to howl: Fenris Ulf was the rough and tough right hand man to the evil White Witch.
This was my first speaking role and feature part. I learned to move like a wolf, how to create an effective character voice, and, of course, how to howl. Most importantly, I learned stage combat. I had many battles and an epic death. I learned about the intricacy and the tricks to making a fight look like it hurts, and it takes a lot. This role opened  my eyes to all that it takes to physically be a complete and compelling character, and now, physicality is one of the many things that is must when I create a character. 



​A Christmas Carol-Lady in the Street & Party Guest
This role, my first ever role, honestly taught me to love theatre. The production taught me all the basics; it acted as my theatrical  foundation. It was  my introduction into theatre and where I found my passion for the art; that is the most important lesson.