I create theatre that brings people together: playful, musical, and driven by shared discovery. My work is rooted in immediacy and connection, performers taking risks, audiences leaning in, and stories unfolding with energy and intimacy.

I’m drawn to theatre and opera that feel alive in the room. Work where structure meets spontaneity, where comedy and seriousness sit side by side, and where audiences feel part of the event rather than outside it.

My recent work includes The Bartered Bride for Bristol Opera, and La Traviata for Wedmore Opera, where I worked with a community chorus at the centre of the production. I directed Scenes from Under Milk Wood with Nova Music Trust at Spitalfields and Presteigne Festivals, and Gwlad! Gwlad! at the National Eisteddfod — a time-shifting exploration of Welsh identity, nationalism, and belonging told through music, memory, and performance.

Much of my practice sits between professional and community worlds. I’m interested in what happens when those spaces meet — when experienced performers and first-time singers share the same stage, and when opera becomes something immediate, social, and open.

I trained as a baritone at the Royal Welsh College of Music and Drama, and that musical grounding still shapes how I work. I think through rhythm, structure, and breath. I’m particularly sensitive to text and how it lives in the body and in performance.

I’m a Welsh speaker, and language, culture, and place sit at the heart of my work. I’m interested in how identity is formed through shared stories, rituals, and collective experiences.

I’m an ongoing collaborator with Operasonic, where I’m currently developing Capata’s Adventure, a new form of opera for babies and their caregivers, designed for Deaf and hearing audiences alike.

More and more, I’m drawn to work that opens doors to new audiences, new ways of listening, and new ways of being in a theatre space. I’m interested in what opera and theatre can become when they are shared more widely, and when they feel immediate, accessible, and human.

Upcoming work includes further R&D on Capata’s Adventure, and my return to Wedmore Opera to direct Die Fledermaus.