PORTFOLIO

A featured vocal performance as part of The Big Reprise, showcasing my work as a vocalist within a live cabaret setting.

I approached the material with a strong focus on vocal interpretation, storytelling and connecting directly with the audience through the performance.

The performance allowed me to explore a more direct vocalist-led approach, balancing musicality with character, intention and stage presence.

This performance strengthened my confidence as a vocalist and reminded me of the importance of making every musical choice serve the story being told.

Malvolio is the strict and self-important steward of Olivia's household. His ambition, pride and desire for social advancement make him central to one of the production's major comic storylines.

I explored Malvolio's seriousness and self-belief, allowing the comedy to come from his complete commitment to his own perception of himself.

The role gave me the opportunity to work with heightened language, physical comedy and the contrast between Malvolio's confidence and his eventual humiliation.

Malvolio challenged me to trust stillness, precision and character intention while allowing the surrounding comedy to develop naturally.

Working as part of the Chorus and Ensemble required a strong understanding of the production as a whole, contributing to the world of the play while supporting the principal storytelling.

As an Ensemble Swing, I developed an understanding of multiple tracks and the responsibility of being prepared to step into another performer's position when required.

I focused on maintaining consistency, accuracy and awareness of the wider ensemble picture while preparing for the additional demands of swing work.

The experience developed my adaptability, attention to detail and ability to understand choreography and staging from multiple perspectives.

The Priest is a character within the school's institutional world, representing the expectations and structures surrounding the students at the centre of the story.

I approached the role with attention to the contrast between the character's authority and the emotional world of the young people around him.

Preparing as the Male Principal Cover required me to maintain a detailed understanding of the character, staging, musical material and cues so that I could step into the role when required.

The experience strengthened my discipline as a cover and taught me the importance of being performance-ready even when not scheduled to perform the role.

Riley is a character at the centre of Across The Line, providing an opportunity to explore the personal and emotional circumstances driving the story.

I focused on building Riley from the character's intentions and relationships, ensuring that the performance remained grounded and truthful.

The role allowed me to explore a more character-driven performance, balancing dialogue, physicality and emotional storytelling.

Riley encouraged me to trust the quieter moments of a performance and to find detail within the character rather than relying solely on larger choices.

Igor is the enthusiastic, hunchbacked henchman and the loyal, comedic sidekick to Dr. Frederick Frankenstein. Singing the 11 O'Clock number "Transylvania Mania" and the Company's Tenor 1. As this was a college production, every cast member was double casted, meaning, I was also an ensemble member at select performances.

I wanted my approach to Igor to be nuanced and thought through, not just the comedic sidekick. Although my interpretation was comedic, I still wanted the audience to see that Igor was more layered than just the slapstick assistant. I stayed present, I allowed Igor to lust, to feel, to be embarrassed but most importantly, to care.

The way we did Young Frankenstein at PRAXIS was pretty unconventional, and exposed me to a brand new approach to putting on a production. PRAXIS Theatre took this show on a schools tour, alongside having a week sit down at our home theatre. As a performance company, we helped tour this show venue to venue by all sharing the duties of stage crew when off stage.

As Vocal Captain, I looked after the vocal arrangements of the score. I had many responsibilities as Vocal Captain, from running company warm-ups, to distributing and assorting vocal parts to each cast member. As first port of call for any enquiries or company issues, I developed a great sense of leadership and ensured that every aspect of the production ran smoothly.

A featured solo performance within Once Upon A Crime, allowing me to take a more focused role as a vocalist and storyteller.

I focused on clear storytelling through the vocal performance, making sure that the interpretation of the material remained connected to the wider performance.

Performing as a featured soloist required me to take ownership of the stage and maintain a strong connection with the audience throughout the performance.

The experience developed my confidence in carrying a performance independently while continuing to use musicality and storytelling together.

Working as part of the featured ensemble gave me the opportunity to contribute to a live charity concert while performing as part of a wider company.

Alongside performing, I took on co-directing responsibilities, contributing to the creative direction and shaping how the material was presented on stage.

The project required close collaboration between the performers and creative team, developing my ability to communicate ideas while listening to and supporting other performers.

Taking on both performance and directing responsibilities gave me a broader understanding of the creative process and strengthened my leadership within an ensemble.

Bill Sommersby is a principal character within Troubles A Brewin', giving me the opportunity to take on a leading role within the production.

I worked to establish Bill as a clear and recognisable character through physical choices, vocal choices and a strong understanding of his place within the story.

Performing Bill gave me valuable experience of carrying a principal role and maintaining character consistency throughout a full production.

The role helped develop my confidence as a principal performer and strengthened my ability to combine character, comedy and storytelling on stage.