I discovered my love of books at an early age; their covers, the way they smell, not to mention the writing and illustrations themselves. My mother tells the story of my first day of kindergarten, and how I came home royally pissed off because they didn't teach me how to read yet. I didn’t have to wait long, though, before my favorite time of school was the Book Fair. Dear god, yes, please give me that list of books and let me check off as many as my parents were willing to pay for (3)!. Give me books. Let me hold them, smell them, and absorb them before even reading a page. I think I fell in love with the act of “getting a new book,” before falling in love with actual reading. 

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I also love jigsaw puzzles. That’s what creative writing is for me: putting together a puzzle, with pieces I either make myself or create with others through collaboration. Nowhere is my love of puzzles rewarded more than in creating works of theatrical drama, adapting works for the stage, or musically discovering how a story sings. 

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My single-digit self fell in love with musicals, by way of the early Disney channel; movies like Pete’s Dragon, Bedknobs and Broomsticks, and The Happiest Millionaire were my favorites, along with classics like The Sound of Music and My Fair Lady on double VHS. I loved those big boxes.

 

My first real Broadway musical obsession was The Phantom of the Opera. At age 11, I watched Michael Crawford and Sarah Brightman perform “Music of the Night” during the televised Presidential Inaugural Gala in January 1989, and made my parents buy me the double cassette tape the next day. Say what you will, but Phantom of the Opera is my favorite musical to this day, my gothic gateway into the genre of storytelling I love most: musical theatre.

 

By the time I made it to (and through) college at Texas State University, I discovered I had a voice. I love to sing. My first gig was Big River, with a cast of 40 … outdoors… in Texas … in the summer. I don’t think I’ve ever sweat so much (every night), or cried so hard (through the whole last number on closing night). From there, I continued working in the Austin, TX theatre community until my next move. It was while working there, and listening to my favorite musicals, that I received inspiration for my first illustrated storybook, in a Sondheim lyric from Passion: 

 

“There is a flower, which offers nectar at the top. 

Delicious nectar at the top and bitter poison underneath.

The butterfly that stays too long and drinks too deep

Is doomed to die.”

 

I wondered: would the butterfly listen if someone told him it was poison? What if that someone was a mouse? Excuse Me, Mr. Butterfly is a plea for empathy and kindness, for doing the hard thing, in service of what is right, even for those who may outwardly despise you. 

 

I made the move to L.A. in December 2000, and spent the next two years bouncing around in the background and very small parts. There was no lasting Hollywood success, but I had some wonderful experiences, learned to be on a film and tv set, auditions, acting classes, and made great friends. 

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It was around this time my cousin suffered a miscarriage. I know, left turn, stick with me. I asked myself, “What possible explanation could there be for something so heartbreaking?” I ended up writing her a story called, The Little Spirit, about an impatient little spirit who just can't wait to be born. And that story, originally a statement of love and support for my cousin, ended up touching more people than I expected.

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I returned to Texas in January 2003, where I performed in Houston for the next few years, before moving to NYC in January 2006. By 2012 I had the lead in a national tour, an Off-Broadway show, and more years of experience under my belt. I was ready to put my passion and energy into my own work. 

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My first writing project, Dougie Who, was born out of necessity. After a candid conversation with a friend about my deepening depression, he told me to pick a date, book a room, and write a show. That conversation changed the trajectory of my life. Dougie Who was created as a goal with built-in accountability, as the premise turned on training for and running a full marathon. The show would change how I feel about myself, my life, and give me the confidence to pursue my next project.  

 

I’ve loved Disney’s The Happiest Millionaire since I was 5, dancing around the living room with my mom. In 2016, the 50th anniversary of the film was approaching, so I pitched Disney a celebration concert including folks from the 1967 film, to benefit Broadway Cares/Equity Fights AIDS. Miraculously, they said yes! A very real miracle–I was the first outside producer they allowed to pull from the Disney Vault. With amazing collaborators, we pulled it off at Joe’s Pub, and raised $10,000 for BC/EFA. It was an incredible honor to work with some legendary actors, including Lesley Ann Warren, Dana Ivey, Joyce Bulifant, Tonya Pinkins, Brad Oscar, Nicholas Barasch, and Brooke Shields. 

 

It continues to be a career goal to bring a full musical version of The Happiest Millionaire to the stage. I’m proud to say that the concert, a dream come true already, has gotten me that much closer. The draft is ready to workshop, and I call her Cordy!, so named for the main character, who has every potential to be a newly beloved Disney Princess. 

 

After the success of The Happiest Millionaire 50th, I knew I wanted to write a queer story, something I would have loved as a kid, something that could help me and others struggling with self acceptance. I wanted to write a coming out story like none I had ever seen. One where the announcement is met with thunderous applause, the unquestionable support of an entire audience. The result is my two-part screenplay Queersville and The Color of Fear, set in a rose-tinted Technicolor world where 1950’s tv-style nostalgia and diversity thrive in peaceful harmony … until they don’t. 

 

A queer-centric illustrated book is in the work as well: Goodbye Closet. A simple, poetic farewell letter to the protections we no longer need; what's left in the closet when we come out.

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“Have you ever seen the 1980 Disney horror movie, Watcher in the Woods?” This was the question my friend asked, sparking a conversation that led to the creation of Watcher in the Woods: A New Musical. From novel to musical concept, to reading, then a fully staged workshop production, Watcher in the Woods: A New Musical intertwines familial love, loss and reconnection with gothic supernatural mystery. The production continues to gain new perspectives and new life, guided by a close team of collaborators. 

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​Also on the horizon: a new tiny superhero is being born. Look out for Kid Pigeon!

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I've recently moved back to Texas, starting over a bit, but leaving nothing behind. If theatre has taught me anything, it's that you can create anywhere. And that’s what I intend to do.