I’ve been engaged in the theatre for nearly 30 years. With a proven track record as a producer, director and general manager, I have had the pleasure to work on nearly 75 productions in New York, regionally, and in London.

Most recently I served as Artistic Director
at The Cape Playhouse in Dennis, MA, one of the great surviving icons of the American summer theater. In its 97th year, I produced the 7-show season, including directing the final production, The Fantasticks. Click on the Director tab (above) for a closer look at our award-winning Playhouse season.

Prior to the Cape Playhouse, I was co-director of Perry Street Theatricals, a Producing and General Management firm in New York City. Founded in 2004, I began at the Perry Street Theatre, producing Shylock, by Gareth Armstrong and the award-winning, In the Continuum by Danai Gurira and Nikkole Salter, that played to sold-out houses for six months before embarking on a U.S. tour. 

Moving uptown to 46th Street, Perry Street started producing in earnest, most notably ]the Broadway productions Vanya And Sonia And Masha And Spike (Golden Theatre, TONY Award and Drama Desk for Best Play and Dames At Sea (Helen Hayes Theatre), receiving a TONY nomination for Best Choreography (Randy Skinner). In London, they produced Lend Me A Tenor The Musical on the West End (Gielgud Theatre) and the Theatre Royal (Plymouth), garnering an Olivier nomination.

Off Broadway and regional highlights include: Georgie: My Adventures with George Rose (Drama Desk Award, Davenport Theatre/Barrington Stage), Bedlam’s Hamlet and Saint Joan (Off Broadway Alliance Winner, OBIE nom, 45 Bleecker Theatre); The Saintliness of Margery Kempe (The Duke on 42nd Street); My Life Is A Musical (Bay Street Theatre), ; An Oak Tree (OBIE winner, Barrow Street Theatre); A Dangerous Personality (Women’s Project Theatre), Exits And Entrances (Assembly, Edinburgh Fringe); and at The Perry Street Theatre: In The Continuum (OBIE, Outer Critics Winner, U.S./Int’l Tour, ); Gareth Armstrong’s Shylock (Outer Critics nom, Perry Street Theatre.), and Treason (Perry Street Theatre).

Workshops developed by Perry Street include: The Gershwin's 'Tell Me More' (New World Stages); Breaker Morant (Daryl Roth Theatre); My Life is A Musical (Duke on 42nd St); and A Stranger From Seville (New World Stages).

In 2009, Perry Street expanded the business to include General Management. Productions included: The Aquila Theatre Company’s U.S. tours from 2016-2020, including: 1984/The Odyssey; Hamlet/Frankenstein; A Midsummer Night’s Dream/Sense and Sensibility and The Trojan War. In New York: When Pigs Fly (Stage 42), Little Rock (Sheen Center), Bedlam’s Sense & Sensibility (Gym at Judson), Hamlet and Saint Joan (Culture Project), New York Animals (New Ohio); MsTrial (New World Stages); That Golden Girls Show (DR2 Theatre); Anything Can Happen in the Theater: The Musical World of Maury Yeston (The Triad Theatre); My Name is Rachel Corrie (45 Bleecker Theatre); Rock and Roll Refugee (Royal Family); Me The People—The Trump America Musical (The Triad); Missed Connections, a Craigslist Musical (New Ohio); Date of A Lifetime (NJ Rep/NYC Off Broadway); Ethel Sings (Theatre Row, Beckett); In Bed With Roy Cohn (Theatre Row, Clurman); Dear Jane (Theatre Row, Beckett); Treason (Perry Street); The Mapmakers Opera (New York Musical Festival); WikiMusical (NYMF); An Oak Tree (Barrow Street); J.T. Rogers’ White People (Atlantic Theatre, Stage 2); A Dangerous Personality (Women’s Project Theatre).

Staged Readings include Women On Fire (Quick Center For The Arts); Raison D’Etre (Theatre 71); Red Eye of Love (London, Trafalgar Studio); American Paradox (Theatre at St. Luke’s); The Mask of the Jaguar King (Signature Theatre); The Nation of Ivan (Dramatists Guild); On Rosen Street (46th Street Theatre); Chasing The River (The Clurman); Bourbon Street (Chelsea Studios); Developing Daisy (Theatre For A New City).

Over the course of the past decade, Perry Street has looked after several production companies as general managers, and consultants, including: The Aquila Theatre Co., Bedlam Theatre Co., and Royal Family Productions.

Prior to Perry Street, I was the Artistic Director of Cold Productions, a company founded with producer Patrick Blake; and the liminal stage, an Off Off company he co-founded in 1991. With Cold Productions, we produced: Imperfect Love; The Perpetual Patient (The Misanthrope, Keith Reddin), Where Everything Is Everything; Wrong Way Up; I Wanna Be Adored; Once A Man, Twice A Boy (Irish Arts Center), Cut To The Chase (NYC Fringe).

Producing credits include: The Exonerated (45 Bleecker Theatre, U.S. Tour, Drama Desk, Outer Critics, Lortel, Edinburgh Fringe First); Carl The Second (29th Street Rep), and Temporary Help (Women’s Project Theatre).

As a Director, my credits include: The Fantasticks (Cape Playhouse), Maverick (Connelly, NYC), The Submission (Olney, Helen Hayes nom.), Edison’s Elephant (Metropolitan Playhouse); Eye Of The Beholder (The Zipper); John O’Keefe’s Shimmer (Irish Rep); Doctor Faustus (Culture Project); Lips Together, Teeth Apart (Northstar Theatre, VT); Something About Baseball (Theatre Off Park); Imperfect Love, Lenin’s Omelet; Furious (New York Performance Works); Dilettantes & Debutantes (Miranda Theatre). With the liminal stage, notable directing credits include: Feeding The Moonfish and Quincy Long’s Something About Baseball.

I have directed in a number of festivals at The Players Theatre and SoHo Rep, as well as scores of staged readings and workshops, including: The Oliver Experiment (musical, Ripley Grier Studio); Blood and Fire (Baruch Performing Arts Center); Things Being What They Are (Barrow Street Theatre); You Can’t Grow Tomatoes in the Bronx (Rattlestick); According To Hoyle (Perry Street Theatre); Sex In Mommyville (Peter J. Sharp, Playwrights Horizons); The Cook’s Tour (Perry Street Theatre); John Steinbeck’s The Moon is Down (Kaufman Theatre); and The Devil’s Disciple (Irish Rep).

I was very fortunate to work as an Assistant Director with a number of extraordinary directors. Credits include the Broadway productions of Indiscretions (Barrymore Theatre, Sean Mathias, Dir.), Inherit the Wind (Royale Theater, John Tillinger, Dir), High Society (ACT, San Francisco, Chris Renshaw, Dir.), Queen, The Musical (which became the West End hit, We Will Rock You, Chris Renshaw, Dir.), As You Like It (Long Wharf Theatre, John Tillinger, Dir) and the U.S. tour of West Side Story (Alan Johnson, Dir./Choreo.).

As a longtime theatre professional in New York City, I have served on the board of Theatre Resources Unlimited (TRU) and is a member of the Off Broadway Alliance. For TRU, I co-taught the Master Class on Producing as well as the Producer Development/ Mentorship Program (PDMP), a year-long course on producing theatre in New York.

I have evaluated final projects for the Boston University Graduate Program in Commercial Production: “The Broadway Model” and at The New York Institute of Technology Graduate Program: “Leadership in the Arts and Entertainment Industries;” been a guest lecturer at Pace University and The Lower Manhattan Arts Academy and has sat on scores of panels and discussions for various theatrical organizations and events.

I am a member of the SDC.

I have been a voice over artist since 2001, with clients including Cablevision, Samsung, Bloomberg Television, Major League Soccer, AdWeek, ESPN, Windstream, AOL, Wise Potato Chips, Teenage Mutant Ninja Turtles (recurring character), Petro Oil among many others.

Before starting a life in the theatre, I worked as a project manager for Island Properties, a real estate developer in Oyster Bay, running a year-long feasibility to study to determine whether a Knights of Columbus Hall could be transformed into a fully functional performing arts center; at The Dilenschnieder Group, a boutique global strategic counseling and public relations firm and for two years on the production side at TBWA Advertising.