Before he ever ran
a program, he was
in the room.
The Actors Studio MFA at Pace. A repertory that doesn’t let you coast — Baraka’s Dutchman as the Conductor, the one who watches everything, says nothing, and in that silence makes the whole play’s argument. Les Liaisons Dangereuses as Valmont, all charm on top of rot. On Tidy Endings as Arthur — a man sitting across from his late partner’s wife, both of them holding grief that has no clean shape. The Actors Studio tradition asks one thing above all else: don’t indicate. Live it.
Other roles followed. Dr. Sanderson in Harvey — the psychiatrist so certain Elwood is the one who’s lost his mind, right up until the play turns that certainty inside out. Richard in The Lion in Winter. Eugene in Yellowman, about what families pass down without meaning to. Fielding in August Wilson’s Jitney. Kenneth at the National Black Theatre in New York City. Film work in New York and LA. A career built stage by stage, call by call, in rooms that don’t applaud effort — only results.
Somewhere in the middle of all of it, he noticed something: he was just as interested in the room as in what happened on the stage. So he started teaching. Then he started running things. And then he realized he was building something inside every institution he touched — whether the institution knew it or not.
Atlantic Acting School: Producing Director of Student Productions, then Director of Admissions. Arena Stage at the Mead Center for American Theater: Learning Engagement Manager. Baltimore Center Stage: directing the Young Playwrights Festival. Program Coordinator at Theatre Major LLC — working directly with high school seniors to map their audition tracks and navigate the college application process for theatre programs. The pipeline mattered to him. Not as a concept. As actual kids who needed actual guidance.
He ran the mentorship committee at Black Broadway Men until last year. He sat on the board of the Canady Foundation for the Arts until he moved across the country. He is woven into a worldwide ecosystem of Black theatre — as a performer, a teacher, a builder, a mentor — that doesn’t stop at any city’s edge.
In 2025, he moved to Carpinteria. He applied for what was listed as an interim role. He came with twenty years of performing, teaching, building, and showing up. The interim part didn’t last.