‘Resilience, empathy, and the power of storytelling’

When I stepped onto the stage at Clark University’s Michelson Theater for the first time this year, the heat of the blinding lights and the watchful gaze of the audience filled me with a sense of calm determination, a stark departure from the immobilizing fear I felt when I first started performing in high school. What soothed my normally anxious demeanor was the ever-present idea that no matter what happened on that stage, the community with whom I built my performance and shared the long rehearsals would have my back. 

 This past fall, I had the privilege of playing Juror No. 8 in the Clark University Player’s Society (CUPS) production of “12 Angry Jurors,” a rancorous courtroom drama, and The Mastiff in the Visual and Performing Arts Department’s (V&PA) production of “The Moors,” a gothic dark comedy set in the surreal Victorian moors. Both roles, while vastly different, offered me invaluable lessons about performing, collaboration, and, ultimately, myself.

“12 Angry Jurors” opened on Nov. 7, just two weeks before “The Moors” premiered on Nov. 21. Balancing two shows with overlapping tech weeks was a challenge that tested my time management and adaptability, but it also deepened my appreciation for the art of acting. While “12 Angry Jurors” demanded intense focus and attention to detail from me to both relay necessary plot details to the audience as well as fully portray Juror No. 8’s unwavering determination and moral integrity, “The Moors” allowed me to explore the complexities of playing a morally ambiguous dog grappling with his own idea of love and the inner workings of relationships all while asking the audience existential questions about his place in the world. Yes, it was as fun and thought-provoking as it sounds!

Working on “The Moors” was a particularly unique experience. This performance marked the first time the V&PA offered a class-based theater production, which encouraged a more collaborative environment and facilitated a more educational approach to performing and the craft of putting on a show. The class was taught by Professors MaryBeth Dekara and Jessie Darrell-Jarbadan and introduced a second cast, which provided me with new perspectives on how to develop my character and fostered a sense of camaraderie among the ensemble. I had never experienced a show with an alternate cast before, and I can tell it’s going to be a rough adjustment for my future shows without one. What would have been a very small cast, consisting of only six people, was doubled and allowed for so much creative exploration and a melting pot of ideas within the theater that this show easily became one of the most intuitive and rewarding pieces of art in which I’ve participated.

Reflecting on the whirlwind of auditions, callbacks, rehearsals, and performances, what stands out most are the relationships I built and the lessons I learned. The cast and crew of both productions became my second family, supporting one another through late-night rehearsals and moments of doubt. My friend Eva Sanchez-Navitsky ’26, who played Agatha Branwell in “The Moors,” agreed that the show was extremely well-organized by a passionate crew.

“We got to do a lot of character work to become absolutely one with our characters,” Branwell recalled. “The most rewarding part of this production was seeing all the tech come together and produce literal magic. Our set was maybe the most beautiful thing I’ve ever seen, and our lights perfectly brought the space to life. The costumes were incredible, and I felt like a true Victorian lady in those dresses.”

Her words are truly indicative of the collective effort that makes theater so engaging. From tech to costumes to character development, every single person and detail fired on all cylinders to create something magical — something that you just can’t replicate anywhere other than on the stage.

My journey with theater began with lighter roles in high school. I played Bill Austin in “Mamma Mia!” and Professor Bhaer in “Little Women.” But my confidence grew with each production, leading to more challenging roles at Clark, including The Narrator in “The Iliad, The Odyssey, and All of Greek Mythology in 99 Minutes or Less!” and Professor Callahan in Clark Musical Theatre’s “Legally Blonde.” Each character taught me something new, whether it was how to command a stage or connect with an audience. Playing Juror No. 8 and The Mastiff, however, pushed me to dig deeper, both as an actor and as a collaborator.

For prospective students who may feel hesitant about stepping onto the stage, I can’t recommend it enough. Whether you’re a seasoned performer or someone just testing the waters, Clark’s theater opportunities are a welcoming space to explore your creativity and build lifelong skills. Being able to perform in front of my peers, transforming myself into someone else to entertain and connect people with these stories, has taught me resilience, empathy, and the power of storytelling. It’s shown me that vulnerability is a strength and that growth often happens outside of your comfort zone. I was a scared and anxious kid, terrified of what could go wrong, but it was only after experiencing what Clark’s performance space had to offer and applying myself fully that I started to realize the amazing opportunities that can be born from something scary and unfamiliar. I’m proud to say that I found myself on that stage. 

So, if you’re considering auditioning for a role or joining a production team, take the leap. You might just discover something extraordinary about yourself, as I did, time and time again.