I've been choreographing gnarly and exciting moments of stage violence for the past five years with actors of all ages, ranging from middle school to adult. My work prioritizes storytelling and character while leaving plenty of room for spectacle and shock. To me, violence on stage should always be intentional, beneficial to the story, and (hopefully) make a few audience members wince. 

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Recent fight direction credits include As Destiny Would Have It, seen at the Chicago International Puppetry Festival with Penny Benson Puppetry, Macbeth, Romeo and Juliet (Shakespeare on Tour!), The Taming of the Shrew (Mortal Fools Collective), Hamlet (Warehouse Theatre), Henry IV: Tread on Kings (Elsewhere Shakespeare), and Twelfth Night, Ride the Cyclone, Antigone, Much Ado About Nothing (Clemson University).

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Combatant credits include Henry IV: Tread on Kings (Elsewhere Shakespeare), The Ides: Julius Caesar (Shakespeare & Friends) Macbeth, Edward II (Treehouse Shakespeare) and Arden of Faversham (Shakespeare and Performance).

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My fight direction work for Treehouse Shakespeare Ensemble's 2022 production of Macbeth is featured in vol. 44 no. 2 of The Fight Master, the journal of the Society of American Fight Directors.