I have Aaron Wexler to thank for my involvement with Langhorne. After several failed auditions at the Mill, he contacted me to sign on as lighting designer for Theresa Rebeck’s Mauritius, and since then, I found myself designing lights on nearly every show for both the 2011 and 2012 seasons. However, though I am proud of the work I have done as the de facto “residential’ lighting designer for the Langhorne Players, the stage still beckoned me to come play on it.

 

Having been involved with theatre since before I was born (my parents were both drama majors at Trinity University, San Antonio, Texas and even had their wedding in the courtyard at the Ruth Taylor Theatre), I am no stranger to the theatrical profession. From my first “role” as a lion in a Creative Dramatics class for five year olds to my tenure at the Actors Studio Drama School (The New School University, NYC), I find myself “on the boards” in over fifty productions, taking a hiatus in middle school to discover myself and try out choir for a bit. While at other theatres, I play some of my favorite roles and even share the stage with such acting giants as Ossie Davis (Actors Studio), yet the Langhorne stage continues to elude. That is, until one day in April when Kate Fishman cast me in Jeff Daniel’s Apartment 3A, and finally, I could add the Langhorne Players to my resume.

 

Additionally, I add director to my roles at Langhorne with last year’s 100 Saints You Should Know and the upcoming 33 Variations. And though I have actually appeared onstage at the Mill only once, my work as a designer, director, and actor is continually sharpened by the professionalism, camaraderie, and dedication to making theatre that not only entertains but also educates and inspires. Thank you to Aaron Wexler for contacting me, and thank you to everyone else for making the Langhorne Players the kind of place I want to return to every year.