My performing journey
strictly Ballroom
Strictly Ballroom was my very first musical. I was just 16 years old when the show opened in Sydney. Unfortunately, I broke my foot during the fifth preview and wasn’t able to perform on opening night. But there was an unexpected silver lining—I watched the show from front-of house seats, sitting next to Nicole Kidman, whom Baz Luhrmann kindly introduced me to.
I understudied the role of Scott Hastings, which was an unbelievable honour. At 16, performing in front of a massive audience and doing what I loved felt like a dream come true—and I truly wouldn’t be where I am today without that experience.
Baz Luhrmann was also a profound inspiration. His passion and generosity ignited my love for acting and pushed me to want to deepen my craft. Covering Scott meant I had the rare opportunity to work one-on-one with Baz for a full day during rehearsals—an unforgettable moment that still stays with me to this day
Cats
When I first heard that Cats was returning to Australia, I’ll be honest—I wasn’t excited. That hesitation came purely from hearing about the number of injuries past cast members had experienced on the show. It was Rowan Brown, a fellow castmate from Strictly Ballroom, who convinced me to go in and audition. I’m incredibly grateful he did, because Cats became one of the most fun, fascinating, and truly feline experiences of my career.
The rehearsal process was unlike anything I’d ever encountered. Each cast member was given a plain white rehearsal tail. One day, we were asked to bring in our own perfume or cologne and spray it onto our tail. Our director collected them, numbered them as we exited the room, and then scattered all the tails across the space. When we re-entered, we had to—fully in character as felines—find our own tail using scent alone. It was a strange, playful, and deeply immersive exercise that perfectly captured the spirit of the show.
Once in performance, the company grew incredibly close, which only heightened the experience. I understudied the role of Rum Tum Tugger, and Cats marked the first time I ever went on as an understudy—yet another unforgettable milestone in my journey
The Siege of Robin Hood
The Siege of Robin Hood marked my first step from stage into screen work, and I had the opportunity to play Friar Tuck. Coming from a theatre background, discovering how performance translates to camera was both challenging and exhilarating.
One of the most exciting elements of the film was the fight choreography. I’ve always had a strong connection to martial arts—I currently practise Brazilian Jiu-Jitsu and trained in Kung Fu growing up—so merging that physical discipline with screen acting felt like a natural extension of my skill set.
This project ignited a genuine love for screen storytelling. I’m particularly drawn to action-driven work and emotionally grounded, character-led dramas, and The Siege of Robin Hood confirmed that screen is a space I’m eager to continue growing into alongside my theatre career
Aladdin
Aladdin was one of those shows that taught me a great deal about myself and about the musical theatre industry. It was my third professional musical, and I was genuinely excited to be part of the production. The choreography was impeccable, the costumes immaculate, and the set design completely immersive.
In this show, I covered the role of Kassim, and I was incredibly fortunate to perform a full week of shows in the role. Experiencing that consistency—living in the character night after night—was the moment I truly realised: this is what I want to do. That week cemented my love for acting and confirmed that this is the path I want to pursue.
To this day, I hope Aladdin returns to Australia. It would be a dream to audition for—and ultimately play—Kassim again. That role was pivotal for me; it’s where my passion truly locked in and where I knew, without doubt, that this is what I want to do with my life
West Side Story
West Side Story. Where do I even begin?
Being part of West Side Story was yet another unforgettable chapter in my career. It’s a musical theatre classic, and it marked my first-ever featured ensemble role. But beyond the work itself, it was also where I met the love of my life—which makes the experience even more meaningful.
To this day, West Side Story is the only production I’ve done that toured Europe. We spent six weeks in Germany, beginning in Cologne, travelling through Berlin, and finishing in Dresden. Experiencing that tour while falling in love with the woman I knew I wanted to spend my life with made it feel like a “holiday” in the best possible way. As someone who loves history, being in Germany was completely unforgettable.
Before the final two cities of the tour, I stepped into the role of Bernardo. That moment marked my first-ever leading role in a professional musical theatre production. Standing on stage in that role, I couldn’t help but think back to the 16-year-old boy who first fell in love with acting while working with Baz Luhrmann—who then confirmed that passion understudying Kassim in Aladdin. To arrive at that point, playing Bernardo in West Side Story, felt like a full-circle moment and a quiet affirmation that I was exactly where I was meant to be
A Chorus Line
Sadly, the production of A Chorus Line that I was part of never made it to opening night. Government restrictions were introduced, limiting the number of people allowed inside a venue. However, we were able to perform a single preview with a paying audience before everything shut down—and for that reason alone, this show deserves its place on this page.
More importantly, it was one of the most exceptionally talented casts I have ever worked with. I was surrounded by artists who continually inspired me and pushed me to want to be better.
While I’m deeply saddened that we didn’t reach opening night, I hold onto the hope that A Chorus Line returns to Australia in some form. It remains a dream show for me, and I would jump at the opportunity to be part of it again
Hamilton
When I got the call from my agent telling me I’d been cast as Charles Lee in the ensemble of Hamilton, I genuinely could have fainted. The level of excitement I felt was unmatched. This was a show I had followed for years—one that had finally come to Australia—and somehow, I was going to be part of it. I was in complete disbelief.
Hamilton became the longest contract of my career, spanning two and a half years. In that time, I met extraordinary people and had the opportunity to meet Lin-Manuel Miranda, along with the entire original creative team behind the show. A lot can happen in two and a half years, and being surrounded by such exceptional artists taught me a great deal—not just about my craft, but about the kind of person and performer I wanted to be.
I fell deeply in love with this show. I wanted—desperately—to understudy. Any role. That drive led me to do something I hadn’t been asked to do. I reached out to our producer and shared that I had begun preparing audition material for all the male principal roles, with the hope of being considered for a standby position in a future contract. I made it clear this was a direction I was deeply passionate about pursuing within the Hamilton company.
Even if nothing came of it, I was determined to give it everything I had.
Over the next four months, I worked relentlessly on characterisation and development, submitting tapes for King George, James Madison, Mulligan/Madison, George Washington, Laurens/Philip, Burr, Lafayette/Jefferson—and finally, Alexander Hamilton himself.
Some time later, I was offered the opportunity to understudy Alexander Hamilton.
I was also fortunate enough to go on in the role multiple times. I will never forget the first moment I stepped onto the stage in Brisbane, looked out at the audience, and spoke his opening words:
“My name is Alexander Hamilton.”
That moment is one I will carry with me forever.
Grease
I was still performing in Hamilton when I found out I’d booked Grease. I had two weeks left on the New Zealand leg of Hamilton, and from the moment I got the news, every walk to and from the theatre was soundtracked by “Grease Is the Word”—on an admittedly unhealthy loop. That’s how excited I was to step into this role.
I threw myself into the work, dissecting the script and pouring time, care, and energy into shaping who Kenickie was as a person. I was eager to dive headfirst into the character, and I’m deeply grateful to my director, Luke Joslin, for trusting me and allowing space to collaborate creatively on discovering who our Kenickie was.
That opportunity opened the door to several unforgettable moments beyond the production itself. That same year, I was invited to sing at the Melbourne Christmas Carols and to perform the national anthem at the MCG in front of 86,000 people—an experience I still struggle to believe actually happened
One Day in September
One Day in September was a whirlwind. We had just two weeks of rehearsals and five performances—already a short run—but it honestly felt like it disappeared in the blink of an eye.
During that brief rehearsal period, I had to essentially learn the full script of the lead character, Sam Thompson. By the time we reached the theatre, though, I was ready. Sam was a deeply complex and emotionally charged character, and I loved digging into that depth and vulnerability.
Produced by the Jill Perryman Theatre Company, this project was truly unforgettable. I was surrounded by extraordinary artists, including Des Flanagan and Ashley Rubinacht—two performers I deeply admire. Watching them work and perform taught me an enormous amount.
I look forward to the day One Day in September returns to the stage. It’s an important piece of theatre, and it deserves another opening night
Annie
I was thrilled to move straight into a new show off the back of Grease. From Kenickie, I stepped into the role of Rooster Hannigan in Annie. In all honesty, the transition was challenging. Kenickie felt grounded and naturalistic, while Rooster exists in a heightened, vaudevillian world that was completely unfamiliar to me.
That stylistic shift proved demanding, particularly during rehearsals. To meet it head-on, I spent a significant amount of time researching the genre, era, and performance style of vaudeville so I could do the role justice and be the best Rooster I possibly could.
Rooster only appears onstage for around 20–25 minutes, which left me with plenty of offstage time. That space allowed me to pursue other interests and creative endeavours. I rediscovered my love for reading—something that had waned over the previous year—and finally tackled a book I’d always wanted to read: Dostoyevsky’s Crime and Punishment (yes, I’m absolutely flexing).
It was also incredibly meaningful—and a genuine childhood dream—to work alongside Gregory Page, the original Yellow Wiggle. I was very young when I watched Greg on television, and while I don’t remember much consciously, I’m certain he played some small part in igniting my passion for singing, dancing, and acting
strictly Ballroom
Strictly Ballroom was my very first musical. I was just 16 years old when the show opened in Sydney. Unfortunately, I broke my foot during the fifth preview and wasn’t able to perform on opening night. But there was an unexpected silver lining—I watched the show from front-of house seats, sitting next to Nicole Kidman, whom Baz Luhrmann kindly introduced me to.
I understudied the role of Scott Hastings, which was an unbelievable honour. At 16, performing in front of a massive audience and doing what I loved felt like a dream come true—and I truly wouldn’t be where I am today without that experience.
Baz Luhrmann was also a profound inspiration. His passion and generosity ignited my love for acting and pushed me to want to deepen my craft. Covering Scott meant I had the rare opportunity to work one-on-one with Baz for a full day during rehearsals—an unforgettable moment that still stays with me to this day
Cats
When I first heard that Cats was returning to Australia, I’ll be honest—I wasn’t excited. That hesitation came purely from hearing about the number of injuries past cast members had experienced on the show. It was Rowan Brown, a fellow castmate from Strictly Ballroom, who convinced me to go in and audition. I’m incredibly grateful he did, because Cats became one of the most fun, fascinating, and truly feline experiences of my career.
The rehearsal process was unlike anything I’d ever encountered. Each cast member was given a plain white rehearsal tail. One day, we were asked to bring in our own perfume or cologne and spray it onto our tail. Our director collected them, numbered them as we exited the room, and then scattered all the tails across the space. When we re-entered, we had to—fully in character as felines—find our own tail using scent alone. It was a strange, playful, and deeply immersive exercise that perfectly captured the spirit of the show.
Once in performance, the company grew incredibly close, which only heightened the experience. I understudied the role of Rum Tum Tugger, and Cats marked the first time I ever went on as an understudy—yet another unforgettable milestone in my journey
The Siege of Robin Hood
The Siege of Robin Hood marked my first step from stage into screen work, and I had the opportunity to play Friar Tuck. Coming from a theatre background, discovering how performance translates to camera was both challenging and exhilarating.
One of the most exciting elements of the film was the fight choreography. I’ve always had a strong connection to martial arts—I currently practise Brazilian Jiu-Jitsu and trained in Kung Fu growing up—so merging that physical discipline with screen acting felt like a natural extension of my skill set.
This project ignited a genuine love for screen storytelling. I’m particularly drawn to action-driven work and emotionally grounded, character-led dramas, and The Siege of Robin Hood confirmed that screen is a space I’m eager to continue growing into alongside my theatre career
Aladdin
Aladdin was one of those shows that taught me a great deal about myself and about the musical theatre industry. It was my third professional musical, and I was genuinely excited to be part of the production. The choreography was impeccable, the costumes immaculate, and the set design completely immersive.
In this show, I covered the role of Kassim, and I was incredibly fortunate to perform a full week of shows in the role. Experiencing that consistency—living in the character night after night—was the moment I truly realised: this is what I want to do. That week cemented my love for acting and confirmed that this is the path I want to pursue.
To this day, I hope Aladdin returns to Australia. It would be a dream to audition for—and ultimately play—Kassim again. That role was pivotal for me; it’s where my passion truly locked in and where I knew, without doubt, that this is what I want to do with my life
West Side Story
West Side Story. Where do I even begin?
Being part of West Side Story was yet another unforgettable chapter in my career. It’s a musical theatre classic, and it marked my first-ever featured ensemble role. But beyond the work itself, it was also where I met the love of my life—which makes the experience even more meaningful.
To this day, West Side Story is the only production I’ve done that toured Europe. We spent six weeks in Germany, beginning in Cologne, travelling through Berlin, and finishing in Dresden. Experiencing that tour while falling in love with the woman I knew I wanted to spend my life with made it feel like a “holiday” in the best possible way. As someone who loves history, being in Germany was completely unforgettable.
Before the final two cities of the tour, I stepped into the role of Bernardo. That moment marked my first-ever leading role in a professional musical theatre production. Standing on stage in that role, I couldn’t help but think back to the 16-year-old boy who first fell in love with acting while working with Baz Luhrmann—who then confirmed that passion understudying Kassim in Aladdin. To arrive at that point, playing Bernardo in West Side Story, felt like a full-circle moment and a quiet affirmation that I was exactly where I was meant to be
A Chorus Line
Sadly, the production of A Chorus Line that I was part of never made it to opening night. Government restrictions were introduced, limiting the number of people allowed inside a venue. However, we were able to perform a single preview with a paying audience before everything shut down—and for that reason alone, this show deserves its place on this page.
More importantly, it was one of the most exceptionally talented casts I have ever worked with. I was surrounded by artists who continually inspired me and pushed me to want to be better.
While I’m deeply saddened that we didn’t reach opening night, I hold onto the hope that A Chorus Line returns to Australia in some form. It remains a dream show for me, and I would jump at the opportunity to be part of it again
Hamilton
When I got the call from my agent telling me I’d been cast as Charles Lee in the ensemble of Hamilton, I genuinely could have fainted. The level of excitement I felt was unmatched. This was a show I had followed for years—one that had finally come to Australia—and somehow, I was going to be part of it. I was in complete disbelief.
Hamilton became the longest contract of my career, spanning two and a half years. In that time, I met extraordinary people and had the opportunity to meet Lin-Manuel Miranda, along with the entire original creative team behind the show. A lot can happen in two and a half years, and being surrounded by such exceptional artists taught me a great deal—not just about my craft, but about the kind of person and performer I wanted to be.
I fell deeply in love with this show. I wanted—desperately—to understudy. Any role. That drive led me to do something I hadn’t been asked to do. I reached out to our producer and shared that I had begun preparing audition material for all the male principal roles, with the hope of being considered for a standby position in a future contract. I made it clear this was a direction I was deeply passionate about pursuing within the Hamilton company.
Even if nothing came of it, I was determined to give it everything I had.
Over the next four months, I worked relentlessly on characterisation and development, submitting tapes for King George, James Madison, Mulligan/Madison, George Washington, Laurens/Philip, Burr, Lafayette/Jefferson—and finally, Alexander Hamilton himself.
Some time later, I was offered the opportunity to understudy Alexander Hamilton.
I was also fortunate enough to go on in the role multiple times. I will never forget the first moment I stepped onto the stage in Brisbane, looked out at the audience, and spoke his opening words:
“My name is Alexander Hamilton.”
That moment is one I will carry with me forever.
Grease
I was still performing in Hamilton when I found out I’d booked Grease. I had two weeks left on the New Zealand leg of Hamilton, and from the moment I got the news, every walk to and from the theatre was soundtracked by “Grease Is the Word”—on an admittedly unhealthy loop. That’s how excited I was to step into this role.
I threw myself into the work, dissecting the script and pouring time, care, and energy into shaping who Kenickie was as a person. I was eager to dive headfirst into the character, and I’m deeply grateful to my director, Luke Joslin, for trusting me and allowing space to collaborate creatively on discovering who our Kenickie was.
That opportunity opened the door to several unforgettable moments beyond the production itself. That same year, I was invited to sing at the Melbourne Christmas Carols and to perform the national anthem at the MCG in front of 86,000 people—an experience I still struggle to believe actually happened
One Day in September
One Day in September was a whirlwind. We had just two weeks of rehearsals and five performances—already a short run—but it honestly felt like it disappeared in the blink of an eye.
During that brief rehearsal period, I had to essentially learn the full script of the lead character, Sam Thompson. By the time we reached the theatre, though, I was ready. Sam was a deeply complex and emotionally charged character, and I loved digging into that depth and vulnerability.
Produced by the Jill Perryman Theatre Company, this project was truly unforgettable. I was surrounded by extraordinary artists, including Des Flanagan and Ashley Rubinacht—two performers I deeply admire. Watching them work and perform taught me an enormous amount.
I look forward to the day One Day in September returns to the stage. It’s an important piece of theatre, and it deserves another opening night
Annie
I was thrilled to move straight into a new show off the back of Grease. From Kenickie, I stepped into the role of Rooster Hannigan in Annie. In all honesty, the transition was challenging. Kenickie felt grounded and naturalistic, while Rooster exists in a heightened, vaudevillian world that was completely unfamiliar to me.
That stylistic shift proved demanding, particularly during rehearsals. To meet it head-on, I spent a significant amount of time researching the genre, era, and performance style of vaudeville so I could do the role justice and be the best Rooster I possibly could.
Rooster only appears onstage for around 20–25 minutes, which left me with plenty of offstage time. That space allowed me to pursue other interests and creative endeavours. I rediscovered my love for reading—something that had waned over the previous year—and finally tackled a book I’d always wanted to read: Dostoyevsky’s Crime and Punishment (yes, I’m absolutely flexing).
It was also incredibly meaningful—and a genuine childhood dream—to work alongside Gregory Page, the original Yellow Wiggle. I was very young when I watched Greg on television, and while I don’t remember much consciously, I’m certain he played some small part in igniting my passion for singing, dancing, and acting