Twelfth Night
Spring 2022
Directed by Danielle Rosvally
I was honored to contribute the choreography for Twelfth Night, presented by UB's Department of Theatre and Dance. This involved an opening and closing number, a striptease for Malvolio to transform into his new garb (yellow stockings cross-gartered), and a short transition for Feste to become Sir Topas the priest.
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I thoroughly enjoyed collaborating with Dr. Danielle Rosvally and bringing her vision to life. It was exciting to tell this story through movement, using well-known 80s hits.

"We Call to Hearth and Hall":
Informal ChoreoLab Showing
Spring 2022
Inspired by themes from The Hobbit, and a low base cover of the song "Misty Mountains," we explored ideas of regret and remembrance.


Rooftop Project: Not A Rooftop
August 2021
The third annual Rooftop Project was presented virtually as a YouTube Premiere, connecting artists from different locations. This mini works-in-progress concert involved ten creators, and included dance, singing, and songwriting. I created a solo piece titled "Go On," using text written and spoken by Morgan Kauffman.
Rooftop Project: August 2020
Self Produced

The second annual Rooftop Project was presented virtually via Instagram Live due to COVID-era health restrictions. This mini works-in-progress concert on the roof of my apartment involved five artists (three dancers and two singers). I choreographed a solo for to "I Can't Stand the Rain" (Tina Turner) for my friend Claire Wolking. Additionally, I created a solo piece for myself titled "QUARANtime," using audio interviews from nine performers speaking of their experiences in quarantine.
Steps on Broadway, Professional Performance Workshop: October 17, 2019
Choreographers: Felipe Galganni & Sekou McMiller

It was a joy working with Felipe and Sekou as they collaboratively combined tap and latin jazz to form a cohesive, FUN piece. The professional performance workshop provided an opportunity to perform in a supportive community and network with other dancers and choreographers.

Table of Silence: September 11, 2019
Artistic Director: Jacqulyn Buglisi
I was honored to be a part of such a meaningful production. The Table of Silence Project commemorates 9/11 each year with a performance ritual for peace. With a cast of over 150 dancers, the rehearsal process was a lesson in cooperation. This was my first encounter with Graham technique, and I enjoyed the visceral, core-focused movement.


The Rooftop Project: July 2019
Self produced
I produced a mini works-in-progress dance concert on the roof of my apartment. This was my first time producing work; I organized 13 collaborators to present five pieces of work. I choreographed a piece to "Danzon No. 2" utilizing a cast of five dancers. Additionally, my friend Alicia Campbell sang live for a solo I choreographed and performed to the song "Front Porch," by Joy Williams. It was a wonderful evening of art and community.
Danza Highbridge Festival: September 2018
Choreographed by Cassie Nordgren
Performing in Cassie Nordgren's funny, theatrical dance "Well Hello..." during the Danza Highbrdige Festival was a highlight of my summer. I loved using the heart-shaped sunglasses she provided as a prop, and bonding with the cast during our outdoor tech time. Additionally, the opportunity to support other dancers and choreographers brought me joy.

Venus and Adonis: August 2018
Directed and Choreographed by Marie Zvosec
Performing with Brooklyn Opera Works as part of the dance ensemble of John Blow's Venus and Adonis was a pleasure and privilege. This marked my first experience with opera. The show's themes of romance and power as well as the beautiful music made it a joy to dance and act, despite the tragic ending.


Alexa: June 2018
Choreographed by Cassie Nordgren, Roddy Kennedy, and Ali Marconi
Proud to do my first show in NYC! This incredible project, presented by Inwood Artworks Culture Hub, delved into human relationships with technology, specifically artificial intelligence. Alexa brings Amazon's famous and interactive "Alexa" to life, exploring themes of love and control. I performed in the ensemble, understudied the role of Alexa, and worked as an assistant choreographer. Check out articles about the show using the links below!


Steel Valley Rhythms: 2016-2018
Directed and Choreographed by Michele Dunleavy
I have been involved in Steel Valley Rhythms (SVR) since its inception in 2016, performing site-specific work and participating in residencies. Originally I inhabited a track with primarily tap and rhythm-based choreography; however, in 2018 I took on the "wife" role, which focuses on modern full-body movement and partnering. We performed at various venues: the Carrie Furnace in Pittsburgh as part of the Festival of Combustion, the Borland Project Space at Penn State University, the Arts and Design Research Institute at Penn State University, the State Theatre in State College, PA, and the Scranton Iron Furnaces as part of the International Conference on Contemporary Cast Iron Art (ICCCIA). Check out articles about the shows by using the link below!
American Idiot: February 2017
Directed by Erin Farrell Speer, Choreographed by Michele Dunleavy
I worked as the Assistant Choreographer on Penn State Centre Stage's production of American Idiot. Our pre-production process started in November of the previous semester. We began working through choreography in the studio as early as election season, and continued our work over winter break, coming into the studio periodically around the holidays to refine the movement. By the time the cast got onstage in January, we had strong ideas for most of the numbers. One of my favorite moments as an assistant is when the cast learns the choreography for the first time and it becomes real on bodies other than my own.


Faculty Dance Concerts: 2013-2017
Choreographed by J. Austin Eyer, Michele Dunleavy, Dennis Lue, and Elisha Clark-Halpin
My involvement in faculty work during my time at Penn State was extensive - starting from my first semester - and covered a wide range of styles. Working with faculty to develop original choreography always proved a rewarding experience; being in the room as the creation process occurs was valuable to my education because it showed me how work gets done in real time and taught me about the choreography process.



Mosaic Concert: December 2016
Self Choreographed
For Penn State's annual Mosaic Concert, various music ensembles perform in a massive representation of the School of Music's prowess. I was the first dancer to perform at this concert; Anthony Poehailos invited me to collaborate with him on his clarinet solo "Arlequin," by Cahuzac. I choreographed a piece based on the classic Harlequin character from commedia del arte, and performed with him with the idea of being a puppet controlled by his music. Footage of this piece can be found on the "Videos" tab. We later won first place in the College of Arts and Architecture Graduate Exhibition.

S'Wonderful: September 2016
Directed and Choreographed by Erin Farrell Speer
I served as the Associate Director and Choreographer on an adaption of the show for a Graduate Project on Penn State’ campus. I joined the production rather late in the process. There were times I learned choreography at the same time as the cast; learning and teaching choreography simultaneously was a difficult task, but one I handled well since I pick up movement so quickly. Erin let me stage a number on my own, giving me advice and helping me tweak it, but letting me come up with my own ideas. The experience was beneficial in learning to work with my classmates as an authority figure but also a peer, since I led several sessions where we cleaned choreography.

All Shook Up: July 2016
Directed and Choreographed by Courtney Young
I worked as an ensemble member and dance captain in this regional musical, produced by Nittany Theatre at the Barn. Some of my favorite moments were acting (well, reacting really) to the scenes happening between the principal characters. And, of course, the production numbers! Partnering was another highlight of the experience, since I was basically the girl who got tossed around.

My Fair Lady: June 2016
Directed by Richard Biever, Choreographed by Jill Brighton
I made my musical theatre debut working as an ensemble member and dance captain in this regional musicals, produced by Fuse Productions. I learned to integrate my dance, vocal, and acting training through each rehearsal process. I put a lot of time and effort into learning the vocal lines properly, practicing them each morning to ensure their quality. By the time each show rolled around, I felt completely comfortable integrating all three skills.


Take Me: 2016
Self Choreographed, Filmed by Rasha Guerrier
Rasha and I worked collaboratively to submit work to the Dance Shorts College Film Festival. I decided on an elevator as my setting, which proved a choreographic challenge. Creating interesting movement with limited space taught me the value of simplicity. Additionally, I found new creative opportunities (such as sharing weight with a wall) that were unique to the setting. Our filming sessions were quite an adventure, especially for random people trying to get on the elevator.

Good Kids: November 2015
Directed by Holly Thuma, Choreographed by Michele Dunleavy
I worked as the assistant choreographer on this Penn State Centre Stage play, since there were several intense movement sections. My job included taking notes and creating a “Movement Bible” for the cast, in addition to answering questions and brainstorming ideas in rehearsal. I also gave notes during runs using a notecard system for efficiency. Jotting down notes for each cast member on an individual card, it saved time since all I had to do was hand it to them afterward.

Gus Giordano College/Pro Intensive: July 2015
Scholarship Student
As a scholarship student, I danced for at least five hours a day, in varying styles – from tap to contemporary – but predominantly focusing on jazz. Our teachers were successful performers and choreographers both from the Chicago area and from across the nation. Many had worked with Gus Giordano himself before his death. I developed close relationships with my teachers and my peers. I went above and beyond my role as a student by helping with logistical details (like steaming table cloths for events). I benefited greatly in my dance technique, and increased my exposure to companies in the Chicago area.
Ireland Study Abroad: May-June 2015
Participated in the Dublin Dance Festival
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Studying abroad in Ireland gave me invaluable experience in terms of my worldview and in my view of dance. Living in Dublin for five weeks gave me insight into Ireland’s turbulent history, and provided me with a completely new perspective. Donating food to homeless people and choreographing based on the unconventional, overlooked spaces were memorable and unique experiences. Additionally, I learned – under the tutelage of Elisha Clark-Halpin – how to talk about dance more effectively. We learned not to use words such as “like” or “dislike” in discussing dance. Instead, we were forced to discuss pieces descriptively first before venturing any sort of opinion. Additionally, I performed and took classes as part of the Dublin Dance Festival.



University Dance Company: 2014-2015
Choreographed by Elisha Clark-Halpin
I joined Elisha Clark-Halpin (then the Head of Dance within the School of Theatre) in a cast of six for a concert-length piece on the topic of mental illness. To this day, this is the most meaningful performance I have ever participated in. The process was extremely collaborative, and we did a great deal of research about the subject before delving into the movement aspect. This process taught me how much I value meaning in choreography; dealing with difficult subject matter, while challenging is far more rewarding to me in the long run. It also taught me the importance of research, and was the first time I was asked to collaboratively choreograph. During my solo (pictured) I both recited text and danced simultaneously. This challenge allowed me to dig into a different aspect of my artistry.
National Honors Society for Dance Arts: 2014-2017
Member, Choreographer, Vice President


Penn State's chapter of NHSDA allows students to perform and choreograph once a semester, and allows students to graduate with Honors in dance. I was involved since the inception of the Penn State chapter in Spring 2014, performing regularly in student work. I also choreographed frequently; the first piece was titled “Breaking Free” and occurred during Project Coldplay, a suite of works to Coldplay music, loosely connected with transitions. I worked with a cast of five and used predominantly contemporary movement. The next spring, I choreographed a trio (also contemporary) to “She’s Got You” by Rhionnon Giddens. This piece focused heavily on narrative, telling a story through movement without relying on the lyrics. Finally, I choreographed a tap piece titled “Wade” to the song “Wade in the Water” by Sweet Honey in the Rock (pictured). This proved a challenge to teach and clean since the music is so intricately layered. Additionally, I worked to incorporate full body movement in my choreography.
My responsibilities as Vice President were myriad and plentiful. Over the summer, Ana (the President) and I met on numerous occasions to plan for the year. We met with the School of Theatre to schedule our fall show, scheduled our auditions, and organized all of the surrounding details (everything from who taught choreography to typing up and printing audition forms). We stayed in contact with the rest of the executive board through weekly meetings where we delegated tasks. During the year, we had to deal with some complications with our show venue, which meant we spent time searching for available venues, communicating with venues, and meeting with the Production Manager of Schwab Auditorium. Ana and I met often to collaboratively manage and oversee the rest of the executive board and the choreographers.
American College Dance Association: 2014, 2015, 2016
Northeast Conference
Attending ACDA for three consecutive years was one of the most rewarding experiences of my college career. Each year I spent part of my spring break at the conference taking four classes per day and seeing multiple shows per day. The exposure to artists and professors from around the Northeast Region always inspired me and introduced me a diversity range of movement styles. Taking classes in such a wide variety of genres – hip hop floor work, Paul Taylor, Fosse, floor barre, etc. – broadened my horizons and taught me new techniques to continue researching afterward. Additionally, in 2015 I had the opportunity to participate in an adjudicated performance. Receiving feedback from a panel of experts enhanced my experience of the choreography as I heard fresh perspectives on my performance and that of my peers.

Boston Conservatory Musical Theatre Dance Intensive: July-August 2014
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This program, while focused on dance, included vocal and acting components. It provided the opportunity for me to integrate various elements of theatre with my dance training. I learned a monologue and sang by myself in front of an audience, both valuable experiences. My group’s choreography was predominantly Fosse-based, but we also sang “Brother Can You Spare A Dime” in a dance interpretation of the piece.


Rockettes Summer Intensive: 2011, 2012, 2013
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This intensive taught me about precision, attention to detail, and attention to space. Learning about number lines and formations proved valuable later, especially in musical theatre. The most valuable part of each experience was the speed at which we learned choreography. Perfecting three full numbers in five days taught me to pick up and retain choreography more easily.