We are such stuff as dreams are made on...
That was the title of my one-woman cabaret at Glasgow's Òran Mòr (Great Music in Gaelic). I somehow knew, even then, that the classics and music would be the great and inseparable loves of my career as an artist.
Cutting my teeth as a working actor in London on everything from film to new works, I was drawn time and again to work with productions that combined poetic text with musical story-telling. Then in 2013, I had the privilege of performing in THE MERCHANT OF VENICE both as a member of the cast and as director for the production's music, all played live by the actors.
I have since had the immense privilege to perform alongside the most incredible classical actors and hone my craft in some of the canon's most challenging roles. I have also been honored to lead astonishing teams of fellow actor-muso's in scoring and accompanying these productions. Even as a playwright and teacher, I work with our natural musicality to access and find freedom in heightened language.
People often ask me how I went from Musical Theatre performer to classical actor. I think my deep connection to music is no different than my deep connection to classical text; they both vibrate in a way that is heightened, epic, larger than "real" life. The only thing is, as a female-identifying artist, a life in our current classical theatre tradition can be...challenging. The classical genre has been built on racism, misogyny, colonialism and patriarchal values. In my work as a classical artist, I want to acknowledge the harm caused by these traditions, reimagine them to be inclusive rather than exclusive, reclaim space for those who have felt "othered", and reinvent a new classical tradition that celebrates accessibility, diversity and harmony (wink).