A Little About Me…
In a creative career that thrives on hyphenates, I wear many hats — actor, writer, playwright, screenwriter, devisor, dramaturg, consultant, coach, and all-around creative collaborator. I’ve lived and worked in two of the most artistically vibrant cities in the world — London and New York — and have been fortunate to contribute to some truly inspiring projects. At the heart of everything is my love for storytelling: especially bold, female-driven narratives that are unafraid to be messy, funny, or fierce.
Where It All Began
I’m originally from the South Shore of Massachusetts, raised in a Greek-immigrant family where storytelling was part of daily life. From a young age, I gravitated toward the arts — dance classes, acting workshops, and singing lessons quickly became my second home. When it came time for university, I followed my wanderlust across the ocean to the UK.
Training & Education
I earned my BA in Drama and Music from Kingston University London, where I specialized in physical theatre, devising, jazz singing, and music history. My training explored a wide range of storytelling techniques — including clowning, Lecoq, Laban, and Viewpoints — and nurtured a love for ensemble-based and experimental work.
Craving a deeper grounding in classical technique, I pursued an MA in Acting at Guildford School of Acting (University of Surrey). There, I trained intensively in voice, movement, classical text, and on-camera performance.
Most recently, I completed an MA in Dramaturgy and Writing for Performance at Goldsmiths, University of London, where I further developed my playwriting practice, deepened my dramaturgical approach, and explored new forms of collaborative storytelling.
In addition to formal degrees, I’ve continued to expand my skills through a range of industry-focused training:
Additional Training Includes:
Royal Court Theatre – Introduction to Theatre Translation
British Centre for Literary Translation – Summer School (Multi-Lingual Prose, Daniel Hahn)
Cinelab Film School – Intro to TV Writing with Ezequiel Rubin
Gotham Writers – Creative Writing 101
Barrow Group – Screenwriting with Lorrel Manning
ESPA/Primary Stages – Playwriting Workshop (Rogelio Martinez), Dramaturgy (Winter Miller)
Lighthouse Writers Workshop – Dramatic Writing Masterclass with Halley Feiffer
This combination of practical performance, formal study, and continuous professional development shapes how I approach storytelling — with curiosity, structure, and a deep respect for collaboration.
A Writing Life in New York
In NYC, I threw myself into the hustle — auditioning, collaborating, and navigating the industry. But I soon realized I wanted more than the underwritten female roles I was reading for. So, alongside a fellow actor and Massachusetts native, I began writing. Our first project was Steel Birds, a reimagining of Chekhov’s Three Sisters set in Honolulu during Pearl Harbor. We performed it in a festival and were nominated for two New York Innovative Theatre Awards.
That project cracked open a new path. I kept writing — short plays, monologues, comedy sketches, articles, podcasts — and had work produced in New York, Massachusetts, California, and the UK.
Collaborative & Creative Work
Over the years, I’ve written for and collaborated with theatre companies, festivals, and platforms including:
Infinite Variety Productions
LadyFest NYC
EstroGenius Festival
Bath Fringe Festival
Dog Show Comedy Podcast
LadySpike Media
OnStage Blog
My storytelling spans stage, screen, and audio — often centered on untold or overlooked women’s stories, brought to life with grit, humor, and care.
Performing History
One of my most meaningful collaborations has been with Infinite Variety Productions, a documentary theatre company telling women’s true histories. In In Their Footsteps, I portrayed Jeanne Christie, a Vietnam War Donut Dollie, using real transcripts and oral histories. We toured to Edinburgh Fringe, Borderlight Festival, and even performed for the Women Overseas Service League in Texas. The piece remains one of my most rewarding artistic experiences.
Teaching & Facilitation
Alongside my creative work, I’ve developed a strong practice as a workshop facilitator and teaching artist. I’ve led drama, writing, and performance workshops for children and young people in educational and community settings. I love creating spaces for expression, confidence, and collaborative learning — especially through devised theatre and storytelling.
Back to London
When the pandemic reshaped everything, I returned to Massachusetts — reconnecting with my values and the stories I wanted to tell. Eventually, I felt the pull to return to the UK, and completed a Master’s in Dramaturgy and Writing for Performance at Goldsmiths, University of London. There, I deepened my writing voice, rediscovered the city I once called home, and built a new artistic network.
What’s Next
This season, I’m immersed in two major creative projects that push me to interrogate history, power, and the systems that shape who gets to be heard — and who gets left behind.
Setting the Sky on Fire
In collaboration with Playful Substance, I’m currently developing Setting the Sky on Fire, a historically inspired play set in Los Alamos, New Mexico, on the eve of the first nuclear test.
On July 15, 1945, women from all walks of life — scientists, army personnel, Pueblo workers, maids, nannies, and the infamous Kitty Oppenheimer — sat in silence, eyes fixed on the southern horizon. A mysterious “gadget” was about to be tested, and no one was quite sure what it would do. Would it work? Should it work? What would happen next if it did?
This piece captures the haunting stillness before an irreversible moment in history. It’s a story about complicity, motherhood, ambition, and the invisible labor that underpins seismic world events — told through the lives of women too often sidelined in historical memory. Intimate, tense, and poetic, Setting the Sky on Fire invites us to sit with uncertainty, just as they did, and ask: What are we willing to see — and what are we afraid to know?
The Elect
I’m also co-creating The Elect, a near-future thriller exploring the moral and psychological fallout of state-sanctioned gene editing in children. Set just a few steps ahead of our current moment, the play confronts how scientific advancement — when co-opted by ideology — can reshape what it means to be human.
The story follows two women: Nadia, a driven investigative journalist, and Monica, a former detective haunted by a case she couldn’t finish. They're pulled into a chilling conspiracy when a teenager named Therese is arrested for the murder of her parents — one of many violent acts linked to adolescents genetically engineered through a government program called The Preference Election.
Marketed as a humanitarian breakthrough, the program allowed wealthy families to design children who were emotionally restrained, hyper-intelligent, and politically compliant — a generation bred not for progress, but for control.
Staged with theatrical abstraction, The Elect blends live surveillance, stylized movement, and fragmented memory to explore truth in a society shaped by manipulation. At its core, the play asks: What happens when a government decides who is worthy of humanity? And more urgently — can empathy survive in a world designed to erase it?
Both of these works stretch me as a writer, dramaturg, and collaborator — asking me to hold tension, challenge narrative conventions, and trust deeply in the process. I remain devoted to stories that center complex, tenacious women in moments of upheaval — because these are the stories that ask us to feel, to question, and to act.
As always, I’m looking forward to the next chapter — wherever the story leads.