Performance Consultant · Worldwide
Experience the joy of playing again
Somatic attunement and Brainspotting for musicians, athletes, artists, and performers who want to access their natural flow state — and stay there.
Somatic attunement and Brainspotting for musicians, athletes, artists, and performers who want to access their natural flow state — and stay there.
Most performers practice to play the right notes. To avoid mistakes. To get it right before someone hears them get it wrong. The goal becomes external — approval, safety, a perfect recording.
This work proposes something different. Practice to feel how deeply in flow you can be while playing. Stop not when you miss a note, but when you leave the flow state. Come back to yourself at the end of each phrase. Stop looking outward for safety — that is where you have the least control.
Flow is not a skill to be learned. It is your original state — one that has been interrupted, usually early in life, by experiences that taught your nervous system to brace and protect. The work is simply the return to what was always there.
How connected to yourself are you when performing? That connection is what translates into beauty. One session can shift things. Many sessions can transform them. There is no required commitment — you come for as long as it serves you.
We begin by rebuilding the connection to your inner experience. Learning to feel what is happening in the body is the foundation for everything that follows.
When the nervous system feels safe, flow becomes accessible. We build that safety through somatic awareness and Brainspotting, from the inside out.
The nervous system develops protective patterns that once served a purpose. Through body awareness and Brainspotting, we locate and gently release what no longer serves you.
As deeper layers surface and release, performing becomes lighter. The natural state of flow that was always yours becomes reliably available.
Whether you experience performance anxiety, creative blocks, a desire to feel more free and alive while performing, or something that feels like your body working against you — this work meets you where you are. Sessions are available worldwide via video, and in person for ensemble engagements.
Come for one session or as many as you need. The work begins wherever you are and moves at your pace. Sessions are held via secure video worldwide, or in person for ensemble engagements.
For orchestras, Broadway pit orchestras, chamber groups, athletic teams, and other ensemble systems — custom engagements are available. Please reach out to discuss.
Personal work with somatic attunement and Brainspotting. In person or worldwide via video. Rates vary depending on your situation — get in touch to talk about what works for you.
Orchestras, pit orchestras, chamber groups, teams. Individuals enter flow together. Please reach out to discuss.
25 years performing · New York City
After 25 years as a classically trained musician performing internationally and in New York City, I found myself drawn to the questions I saw performers everywhere struggling with — not technique, but freedom. Why does the joy of playing disappear? Why can someone be brilliant in rehearsal and freeze on stage? Why do our bodies sometimes seem to work against us?
That curiosity led me to the psychology of performance, to Ruth Chiles and the Free to Perform approach, to Brainspotting — and to a practice built on one core understanding: flow is not something you achieve. It is something you return to.
The nervous system holds the blocks. The body knows the way through. And the natural state of a performer — presence, connection, freedom — is always there, waiting.
I work with performers across every discipline because the underlying architecture is the same: a nervous system that learned to protect itself, and a performer longing to feel free again. I know that longing. It's why I do this work.
My intention in taking the Free to Perform training was to learn how to help performers. What I didn't expect was what it would do to my own playing.
I was already performing at a high level — 25 years on Broadway and international stages. I was basically doing everything I wanted to do. But there was still fear. A skipping heartbeat before certain passages. The jolt after a missed note. The quiet exhaustion of performing from a place of control rather than connection.
Throughout the training, something shifted. I started holding the instrument differently. Listening differently. Instead of dissociating from my body while playing, and thinking hard about exactly what to do to play the right notes at the right time, I began feeling into the center of myself — aware of my own experience in a way that had previously been outwardly focused, scanning for approval or disapproval, validation, disgust, people-pleasing.
The self-judgment got quieter. The anxiety — I just notice it now, and so far it calms down. I'm more kind to myself in rehearsals, in performances, in interactions with other musicians.
On a recent night off I found myself thinking about what I wanted to do — and I heard myself say: I just want to play horn. Not to prepare for anything. Not to prove anything. Just to play. I haven't felt that since I was a kid.
That's what I want to share with others. Not a technique. Not a fix. A return.
Focal dystonia is one of the most devastating experiences a performer can face — an involuntary movement disorder that can end careers, and that mainstream medicine too often calls permanent.
It isn't. For many performers, recovery is possible. The path runs through the nervous system — the same place the condition originates.
This work draws on the Free to Perform training developed by Ruth Chiles, author of The Focal Dystonia Cure — a body of work developed over nearly three decades at the intersection of neuroplasticity, Brainspotting, and hands-on work with performers. It understands focal dystonia not as a mechanical failure but as a neurophysiological pattern that can be unwound.
Learn more about focal dystonia work"I work with performers who have been told there is no way back. Often, there is."
Whether you're dealing with performance anxiety, a creative block, focal dystonia, or simply want to feel more free and alive while performing — reach out. Sessions are available worldwide via video, and in person for ensemble engagements.
There's no pressure and no commitment. Just a conversation about where you are and where you'd like to be.
