My immersive work brings together interactive performance, audience participation, games, visual storytelling, and live event production. Across theater, nightlife, public events, and family entertainment, I’ve worked both inside the experience as a performer and behind the scenes as a producer and manager, creating environments that invite audiences to become active participants rather than passive spectators.
Curran Theatre
Curran Theatre
San Francisco, CA | Front of House · Immersive Performance · House Management · Customer Experience
My time at the Curran Theatre began as an usher and immersive performer and grew into a leadership role overseeing front-of-house operations, hiring, and customer experience. Two productions bookend my years at the theater: Taylor Mac’s A 24-Decade History of Popular Music and Harry Potter and the Cursed Child. Together, they gave me the opportunity to work on both sides of immersive audience experience, from performing directly with patrons to managing the systems, staff, and visual details surrounding a major theatrical production.
Taylor Mac’s A 24-Decade History of Popular Music
Immersive Usher · Performer · Audience Experience
For Taylor Mac’s marathon performances, the traditional boundary between front-of-house staff, performers, and audience became wonderfully blurred. Alongside my responsibilities for patron service, safety, seating, and crowd management, I became an interactive performer within the experience. I sourced and assembled my costume pieces, performed costume changes throughout the event, and joined interactive sequences that extended the performance from the stage throughout the theater.
At different points, we entered the crowd to feed blindfolded patrons, slow danced with strangers, and moved directly through the seated audience. During one sequence representing the eternal struggle of the working artist, we were instructed to crawl lap-to-lap down the aisle. Faced with doing that in an enormous hoop skirt, I lifted the skirt around me and ‘swam’ my way through the audience laps.
The experience taught me how theatrical design, improvisation, hospitality, and audience participation can work together to transform an entire venue into part of the performance.
Harry Potter and the Cursed Child
House Manager · Hiring Manager · Head of Customer Experience
By the time Harry Potter and the Cursed Child arrived at the Curran, my role had expanded into front-of-house leadership. During the production’s original two-part format, with audiences attending two approximately three-hour performances, I helped manage the complex patron experience surrounding an unusually long theatrical event.
As Head of Customer Experience, I helped develop and implement a new in-seat concessions system that allowed patrons to place orders from their seats and have them delivered during intermissions and breaks. I also worked as a hiring manager, helping build and manage the front-of-house team while continuing my regular house-management responsibilities.
I helped develop and source new staff uniforms designed to complement the visual world of Harry Potter, coordinated the necessary costume pieces for the front-of-house team, and made sure staff arrived each day with complete uniforms. The audience-facing staff also underwent a costume change between Parts One and Two, extending the transformation of the production beyond the stage and into the theater itself.
Working on Harry Potter and the Cursed Child brought together many of the things I value most about immersive work: visual storytelling, operational problem-solving, hospitality, performance, and careful attention to how an audience experiences a world from the moment they enter the building.
Google Take Your Kid to Work Day
Creative Director / Editor
Developed during the pandemic as a remote alternative to an in-person Take Your Kid to Work Day experience, this 12-part series combined approximately 90 minutes of edited video with activity packets, experiments, and crafts that invited kids to participate from home. The project required a major creative pivot, including special effect, translating a shared live experience into an interactive program that could unfold through the screen and continue in each child’s own space.
SF Pride Parade 2017
Assistant to Creator • Performer • Production Support
For San Francisco Pride 2017, I worked as assistant to the creator and as a performer in a large-scale glitter roller-skating performance. Our group transformed into a moving rainbow of skaters, each completely covered in color-coordinated glitter, wigs, costumes, and skate covers.
The production began before sunrise at a nearby hotel, where I helped prepare the performers and apply the extensive glitter coverage required to create the unified visual effect. Once transformed, we skated through the city to the parade route and performed throughout the day.
During the parade, we moved as an ensemble, skating formations and interacting with the surrounding celebration as the performance traveled through the streets. Rather than occupying a traditional stage, the city and parade itself became the performance space, placing us directly inside one of San Francisco’s largest public celebrations.
As a producer with Haus Serpens, I helped create immersive, interactive events that blended games, performance, and local entertainment. I produced and hosted themed game nights and bingo events, incorporating local performers and acts into participatory experiences for the audience. I also served as media manager, photographer, and music videographer, documenting performances and creating visual media that extended the world of Haus Serpens beyond the live events.
Haus Serpens was a woman-led Bay Area art collective and performance troupe producing alternative nightlife, theatrical events, and multidisciplinary performance. My work with the collective moved fluidly between live production, performance, physical design, and filmmaking.
I produced Haus Game Nights, developing interactive games and audience experiences while serving as Games Mistress and Props Master. Behind the scenes, I created props and practical elements that supported the strange, playful worlds of the shows.
I also developed much of the collective’s visual media, directing, shooting, and editing trailers, sizzle reels, promotional content, and music videos. Working across both the live events and their screen-based extensions allowed me to translate the energy and identity of Haus Serpens between performance, physical space, and film.
The Go Game
Interactive Game Facilitator • Character Performer • Live Events
I worked with The Go Game, facilitating interactive games that transformed city streets, parks, and event spaces into playful, participatory environments. Depending on the game, I would take on a secret character identity and post up somewhere in the city, where teams had to locate me, identify me, and deliver the correct password before receiving their next mission.
Characters and challenges changed from event to event. As the Art Collector, I tasked teams with creating sculptures and artwork from found materials before presenting their creations for approval. Other games were deliberately more ridiculous, including Cookie Face, costumed characters, physical competitions, and Hotspants, a character built around playful flirtation and improvisation with participants.
I also facilitated larger team-building experiences, including lawn games and collaborative challenges. For events produced in partnership with the Boys & Girls Club, teams assembled bicycles that were then donated to local kids.
The work combined character performance, improvisation, game facilitation, audience interaction, and live event production, with every event requiring me to adapt to the players and whatever happened in the moment.
Prop Master + Games Mistress
For this London showcase of Bay Area punk artists, I served as Prop Master and Games Mistress, sourcing materials locally and creating interactive games that unfolded between musical performances. Rather than letting the energy drop during transitions, I used audience participation, props, and a little controlled chaos to turn the spaces between sets into part of the show.
The role combined live facilitation, improvisation, prop sourcing, and audience engagement, adapting games in real time to the room and the unpredictable energy of a punk-rock crowd. The result was an event that felt less like a sequence of bands and more like one continuous, participatory experience.
Games Mistress & Prop Master | East Coast Tour
I toured with B. Dolan’s Love & Ruin Tour as Games Mistress and Prop Master, bringing interactive games and audience participation into the live show. I sourced materials locally in each city, prepared and managed props, and helped turn the space between performances into part of the experience.
The role combined live facilitation, improvisation, prop sourcing, and touring logistics, adapting the games to different venues and audiences as we traveled through Boston, Rhode Island, New York, and other East Coast stops.
Tourettes Without Regrets
For six years, I was part of the creative and production team behind Tourette’s Without Regrets, Oakland’s long-running underground variety show. My role grew across nearly every part of the production: I served as Producer, Games Mistress, Prop Master, filmmaker, and visual designer, creating interactive games and props, designing promotional flyers, developing early merchandise, and producing popular offshoot events including the Fuck Valentine’s Day Spectacular and Down and Dirty, and pop-ups at the historic Mitchell Brothers O’Farrell Brothers theatre. I also founded the show’s movie nights and screenings, creating more than 15 original short films, parody films, animations, retrospectives, and collaborative video pieces featuring members of our creative community, often on extremely fast turnarounds for live events. My work included recurring audiovisual collaborations with Syzygy, translating their prank calls and beatbox performances into original filmed, photographed, and found-media visuals. Onstage, I hosted games, presented prizes and trophies, and helped shape the chaotic, participatory audience experience that became a defining part of the show.
“A ritual as practiced and intricately designed as high mass… the deepest concentration of raw talent you’re likely to see in a monthly night in the Bay.”
— KQED, on Tourettes Without Regrets
“A raunchy, attention-deficit vaudeville extravaganza.”
— Oakland North, on Tourettes Without Regrets
