What do you do for the Phil?
I set up the stage before each concert—risers, podium, chairs, and music stands for Steven and the musicians. Each stand gets a light, and I make sure the wiring is neatly arranged so that everyone can move safely and comfortably.
Once the orchestra and staff begin arriving, I shift into problem-solving mode. Someone might need help moving equipment or setting up tables. Staff may need cases of water or decorations brought inside. Programs need to be distributed, and sometimes the weather adds an extra layer of challenge. Whatever the situation, my goal is simple: to make things run smoothly so the musicians can focus on performing their best. If I can make their experience a little easier or more comfortable, then I’ve done my job.
Why do you like it?
I don’t just like it—I love it. It’s incredibly rewarding to give back to my community in a meaningful way and to feel like I’m part of something larger—the orchestra and the community coming together through music.
Was there ever a time that was especially stressful before or during a concert?
Yes, there was one moment that stands out. A new musician was missing just as the concert was about to start. No one had seen him, and he wasn’t answering his phone. After a few tense minutes, I finally found him standing quietly near a back entrance, warming up. It turned out he wasn’t playing in the first piece and simply didn’t know where the Green Room was. Once we cleared that up, everything went off without a hitch!
What has been your all-time favorite moment with the Phil?
One of my favorite memories was a Fourth of July performance that began with an unexpected downpour. It rained heavily right before the concert, and we had to move quickly to protect the instruments and keep the musicians dry. Everyone jumped in to help—I loaded instruments (and some soaked musicians in concert black!) into our cargo truck until the storm passed. When the skies finally cleared, it turned into a beautiful summer evening, and the orchestra gave an incredible performance for the people of Plymouth. That concert reminded me how much teamwork and dedication go into every show.
What’s the most unusual request a musician or guest artist has ever made?
Guitarist Eliot Fisk once needed a music stand that was much shorter than any of the ones we had. None of our standard stands would work. So I improvised by modifying one of our sound baffles, attaching a thin strip of wood to create a lower platform for his sheet music. It looked great on stage and worked perfectly for him.
You’re also an actor by profession. What’s been your favorite role, and why?
A student film from Boston University called Do Rabbits Cry, based on Julio Cortázar’s short story Letter to a Young Lady in Paris. It’s a surreal story about a man who becomes ill and starts vomiting live baby rabbits. It was an unusual project but incredibly fun to perform—and I think I did a pretty good job!
How do you prepare for your roles, and what do you do to stand out?
I begin by memorizing the dialogue until it’s second nature. Once I know the lines inside and out, I can be more flexible and creative—ready to take direction, explore new interpretations, and really inhabit the character.
What are you most looking forward to from the Phil in the next few years?
I’d love to see more young people discovering the Phil. Many don’t realize how deeply classical music influences what they already listen to—rock, pop, film scores, and more. There would be no rock and roll without the classical composers who came before. And beyond that, there’s nothing like the experience of being in a concert hall surrounded by 63 musicians performing with passion and precision. It’s powerful and inspiring, and I hope more young people get the chance to feel that energy for themselves.
