Theater Producing Strategy

As a producer, my strategy is rooted in creating bold, socially relevant productions that spark meaningful conversation, achieve artistic excellence, and demonstrate financial sustainability. I select projects where cultural impact and commercial potential intersect, ensuring that each production contributes to the vitality of the art form while offering strong opportunities for return on investment.
I produced The Lightning Thief because of its powerful message to young audiences—that differences are not limitations but sources of strength. The story of Percy Jackson’s learning differences provided much-needed representation, normalizing these experiences while celebrating resilience and identity.
With The Minutes, I was drawn to Tracy Letts’ sharp and thought-provoking exploration of history, power, and community. The production challenged audiences to confront uncomfortable truths while earning a Tony Award nomination, validating its artistic significance and impact.
Glengarry Glen Ross proved that commercial success and cultural relevance can thrive together. By revisiting Mamet’s classic, I produced a work that remains urgent in its themes of ambition, greed, and desperation, while also delivering significant profit and recognition with a Drama League Award nomination. Its success more than offset earlier financial losses, underscoring the strength of my producing approach.
Most recently, I am co-producing Burlesque, the new musical now playing to sold-out houses in London’s West End. The show celebrates dancers claiming Burlesque as an empowering art form and intentional career path, chosen with pride and purpose. Its reception and audience demand suggest a highly promising return.
Ultimately, my producing philosophy is to develop projects that unite artistic vision, social relevance, and commercial success, ensuring that live theater continues to both resonate and endure.

 Film Producing Strategy

As a producer, my strategy is to champion bold, artistically ambitious projects that balance social relevance with commercial potential. My work across theater and film has always centered on supporting strong storytelling voices, particularly those of women, and fostering projects that deepen culture while reaching broad audiences.

Mouse
Executive Producer
I chose to executive produce Mouse, the second feature film by Kelly O’Sullivan, because of its resonant themes, timely subject matter, and O’Sullivan’s proven track record of both critical and commercial success. Kelly’s first feature as a screenwriter, Saint Frances, won the Audience Award and Special Jury Prize at SXSW and marked her as one of the most important new voices in independent film. Her follow-up, Ghostlight, premiered at Sundance 2024 to critical acclaim and national recognition, cementing her reputation as a director with commercial viability and artistic depth.

Mouse carries both social and emotional urgency—exploring grief, female friendship, and the complexity of identity within family and community. For me, as a woman producer, it is vital to support women filmmakers whose work reflects layered, authentic female perspectives. At the same time, the marketplace has already signaled an appetite for O’Sullivan’s storytelling; Mouse has the potential to connect deeply with audiences while delivering meaningful returns. Supporting this project is both a creative imperative and a smart investment.

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You Had to Be There
Associate Producer
As an associate producer on You Had to Be There, I am contributing to a project that embodies my lifelong bridge between theater and film. This hybrid work is part documentary, part theatrical reimagining—bringing to the screen the groundbreaking story of the 1972 Toronto production of Godspell. That production launched some of the most celebrated careers in comedy and music, ignited a cultural shift, and demonstrated how theater can shape an entire generation.


The women at the heart of this story--Gilda Radner, Andrea Martin, Catherine O’Hara, and Jayne Eastman—were true forerunners of women in comedy, whose influence still shapes the industry today. By spotlighting their beginnings, the documentary preserves an essential part of comedy history. You Had to Be There was co-written by acclaimed novelist Jane Mendelsohn, whose literary voice adds depth and insight to this cultural narrative.
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Premiering at the 2025 Toronto International Film Festival, the film captures not just a piece of theater history but also the spirit of artistic community—how love, humor, and creativity transformed a cultural moment. This mirrors my own producing philosophy: using film to celebrate theater while expanding its reach to new audiences.