United States
I am an entertainment and arts journalist who writes about theater, movies, television and the bustling intersection of the stage and the screen. Whether producing unique features, thoughtful commentaries, detailed investigations or tell-all Q&As, my award-winning reporting has spearheaded pivotal conversations about equity on Broadway, culturally authentic storytelling and abuses of power at prestigious companies. I'm enthusiastic about new musicals, bold adaptations and inclusive workplaces, and aim to platform theatermakers who broaden the definition of theater — as an ephemeral art form, a global industry and an unparalleled audience experience.
Before joining the Los Angeles Times as a staff writer, I was a New York-based editor for The Hollywood Reporter, and have written for The Washington Post, Backstage and American Theatre, among others. I graduated from New York University with a master's degree in magazine journalism, and from the University of California, San Diego with a bachelor's degree in communications.
I'm also passionate about the future of media and encouraging the next generation of entertainment journalists. An alum of the Eugene O’Neill Theater Center’s National Critics Institute and Poynter’s Power of Diverse Voices, I previously served as the national director of the Institute for Theater Journalism and Advocacy at the Kennedy Center American College Theater Festival. I love speaking to students about my work, and regularly lead introductory writing workshops virtually and in-person. Additionally, I enjoy moderating panels and roundtables, and occasionally make appearances on podcasts and TV news shows.
'By the River Rivanna,' depicting a gay romance between a slave owner and an enslaved person, has divided administrators, faculty and students at the community college.
Alumni say the Williamstown Theatre Festival is "deeply broken." The festival says it welcomes change. But is it enough?
Radha Blank's 'Forty-Year-Old Version' on Netflix highlights racism in the theater industry. We asked 40 Black theatermakers for their stories.
The pandemic's collective pause over the last two years had many reconsidering their commitment to the theater industry. Here are 10 of their stories.
Tony-winning "Hamilton" actor Leslie Odom Jr. gets candid about thoughtfully originating Aaron Burr, and the lack of diversity and profit-sharing in the theater industry.
Why Lin-Manuel Miranda says Chu was right to direct "In the Heights" and the circuitous journey the "Crazy Rich Asians" helmer took to the musical remix.
Daniel Fish and members of the cast reflect on the bold revival of the beloved Rodgers & Hammerstein musical - and the more extreme reactions it's elicited from audiences.
It is a unique experience to watch "The Father" alongside your own father. I did so twice - onstage and onscreen.
The gonzo journalism pioneer could be 'pretty despicable.' And unlike its bio-musical counterparts, a new SoCal show about the author doesn't shy away from it.
Creatives from 12 beloved shows, from 'Crazy Ex-Girlfriend' to 'Rap S-,' explain how they surmounted what may be the medium's most daunting challenge.
The Tony nominee gets candid about her painful "Moulin Rouge!" role and her "isolating" exit from commercial theater.
Steven Spielberg, a Broadway show and now a movie musical all have tried to capture the queer love story in Alice Walker's novel. Here's how they did it - and why some argue they've all failed.
Netflix's star-studded spin on the Broadway show underscores a major shortcoming of the landmark 2019 profit-sharing agreement between producers and actors.
Filming live theater is usually a form of sacrilege. A musical about the wives of Henry VIII turned it into grassroots marketing for a new generation of fans.
Bailey opens up about facing racist trolls, protective fans, grueling stunts and more to take on the role a million little girls dreamed of.
Of all the show tunes in the history of musical theater, Adam Driver sings "Being Alive" from "Company" - a choice that makes the Netflix movie even more layered, profound and heartbreaking.