Where I'm From

New York City

​

My Dance Training

Eliot Feld's The New Ballet School and The Ballet Tech School with Richard Thomas, Daniel Levans, Christine Sarry, Patrice Hemsworth, and Elizabeth Barrow.

​

My Dance Experience

Most prominently with Feld Ballets/NY and Ballet Tech. Also Ballet Inc., Thang Dao Dance Company, Classical Contemporary Dance Company, C Eule Dance, ACB Dance Company, Christopher Caines Dance Company, Dances Patrelle, and Miral Kotb. In 2012, I co-founded ENCOUNTERS and continue to produce concert dance and choreograph new work.



Other Work Experience

I currently work within the capital markets industry to license intellectual property and sell market data to Financial Institutions. It’s the only other profession I’ve ever had.



A Dance-Related Injury

Patellar Dislocation right before a performance. It was the most excruciating pain I’ve ever felt. I was on crutches for several weeks and had physical therapy for months. Also Osgood–Schlatter’s syndrome from adolescence which still affects me today.



Music I Warm Up To

It varies greatly, but probably Music for a Large Ensemble or Music for Mallet Instruments, Voices and Organ by Steve Reich.



My Favorite Pre/Post Rehearsal Snack

Bacon and Egg on a toasted sesame bagel



Method For Treating Sore Muscles

Glass of wine and massage from a handsome lover.



A Cool Place I Visited While Dancing on a Tour

In 2010 I traveled to nine different cities throughout the Kingdom of Morocco to accompany a choreographer in search of inspiration for a new piece.



Why do you dance?

At this point in my life, one can only assume it’s because I love it.

What do you love about dancing?
After 20+ years of dancing I have yet to articulate what exactly I love about dancing. However, I do know that it mustn’t be the physical aches, pains, and injuries; nor the constant criticism by peers, choreographers, and theater-goers.

What's the hardest part of being a dancer?
The hardest part of being a dancer, holds true for any artist: it is to truly internalize that critical reception is not only subjective, but it is only as valid as the ability of said audience to comprehend the body of work. However, being able to discern a discreditable source’s sour critique is just as important as recognizing an overzealous fan’s unworthy acclaim.