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As a queer person of color, I’m often conflicted that though one of the things that draws me to the commercial work I do is its influence and reach - echoing ideals and concepts to the masses - while its content preaches inclusivity, that behind closed doors, it sometimes feel like a walking contradiction because of how far we have to go. 

In 2021, I was selected to be part of the inaugural cohorts of Broadway for Racial Justice and Baseline Theatrical's Beyond the Stagedoor. Sharing space with other BIPOC commercial theatre artists to train and under specific disciplines, as well as learn how to practice anti-racism, has contributed endlessly to my growth. 


However, many other times in my effort to diversify, I’ve been told I am “putting a round block in a square hole” - implying that if I want to continue to do commercial work, I’ll have to settle for it not truly embracing EDI, or pursue projects decidedly less large. I applaud and stand in awe of my colleagues who have moved and shaken the nonprofit and grassroots scene, AND remain firm in believing that that work has to happen here too. The creative team putting together the arena live show for the children's market's current superstar character should be diverse and anti-racist as much as the ensemble of a mainstay show on Broadway is.  


I am committed to: 

  • Platforming all underrepresented artists, especially groups I don’t identify with

  • Using intentional words and phrasing

  • Being thoughtful of microaggressions and unconscious bias 

  • Creating a transparent and positive company culture

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