After working in New York theater as a director, producer, and writer for over two decades, I’m now working as the Chief Creative Officer of the Denver Immersive Repertory Theatre.
My theater work spans from new and traditional musicals to the avant garde fringe to environmental/immersive works. Favorite credits include (as director): the immersive concert experience "Kabarett Weimar"; seven NYC productions of my musical adaptation (with Dianne Adams McDowell) of "Charles Dickens’ 'A Christmas Carol'"; David Ives’ "Don Juan in Chicago" (first NYC revival); "The Duchess, aka Wallis Simpson" and "Orchidelirium" (both U.S. premieres).
As writer: "Triassic Parq: The Musical" (with Marshall Pailet and Bryce Norbitz) (NYC Fringe Best Musical ’10; Off Broadway ’12: Lortel Nom.; L.A. ’13: 11...
After working in New York theater as a director, producer, and writer for over two decades, I’m now working as the Chief Creative Officer of the Denver Immersive Repertory Theatre.
My theater work spans from new and traditional musicals to the avant garde fringe to environmental/immersive works. Favorite credits include (as director): the immersive concert experience "Kabarett Weimar"; seven NYC productions of my musical adaptation (with Dianne Adams McDowell) of "Charles Dickens’ 'A Christmas Carol'"; David Ives’ "Don Juan in Chicago" (first NYC revival); "The Duchess, aka Wallis Simpson" and "Orchidelirium" (both U.S. premieres).
As writer: "Triassic Parq: The Musical" (with Marshall Pailet and Bryce Norbitz) (NYC Fringe Best Musical ’10; Off Broadway ’12: Lortel Nom.; L.A. ’13: 11 Ovation Award Noms, Winner: Best Musical; San Franciso ’14: 8 SGBATCC Noms; Published and licensed by Broadway Licensing.); "Scooby-Doosical" with Keith Varney;
"Beyond the Veil," a ghost play; and "Fakespeare's 'Clew'", which was the first play to open before a live paying audience in NYC after the pandemic shutdown.
As producer: Keith Varney’s "I Got Fired: A Revenge Musical" (with Liz Ulmer, dir. Steve Bebout, NYMF ’10; Theater for the American Musical Award; South Korea’s Daegu International Musical Festival ’11);
the late, great Arthur Kopit’s revised "BecauseHeCan" (first NYC revival, dir. Nicholas Cotz).
In theater-adjacent work, I've has lectured on “A Christmas Carol” at Brooklyn College, and my essay, “Journey On,” on how the AIDS crisis impacted the development of the American Musical, was published in the trade journal “Musical Theater Today”.
I grew up in Pittsburgh, PA, and earned my BFA in Musical Theater from Syracuse University.