Chris joined The House as a Company Member in 2002 after performing in their second show as Curly in The Terrible Tragedy of Peter Pan. In the time since he has served as a performer, playwright, dramaturg, carpenter, prop builder, grant writer, floor sweeper, water torture cell escape coach, and every little thing in between. 


Favorite performances include ballet dancing with a golden Carolyn Defrin and father-son buddy-movie dance-fighting out of a Martian asylum with Matt Hawkins to Kevin O'Donnell's gorgeous synth-pop score in The Rocketman, breaking Toto's neck as the Monkey King in The Great and Terrible Wizard of Ozlearning guitar and getting to say Shawn Pfautsch's very well chosen words in The Attempters, flopping around as a French sock monkey in The Nutcracker (2011), and getting to flip Tommy Rapley in the air as a mustachioed strongman in The Magnificents. 


With fellow Company Members Jake Minton and Nathan Allen, Chris has co-written Dave DaVinci Saves the Universe (Jeff Nomination New Work), The Sparrow (Jeff Award New Work), Rose and the Rime, and The Iron Stag King Trilogy


Elsewhere, Chris has been seen with Lookingglass Theatre, Screen Door Productions, the Actors Gymnasium, and Barrel of Monkeys, where he is also an Ensemble Member teaching writing workshops to kids throughout Chicago elementary schools, adapting their stories into short plays and then performing the plays for kids, consequently saving the world. It's the best thing. Then there's another pretty cool thing he's gotten to do performing motion capture for WB Games in Mortal Kombat (Johnny Cage, Reptile), Mortal Kombat vs. DC Universe (Batman, Deathstroke), and Injustice: Gods Among Us (again, ahem, Batman to Company Member Brenda Barrie's Catwoman, Sinestro). It's been a pretty sweet job. 


Chris is so fortunate for his family at The House and the things they've allowed him to accomplish. He is ever proud of the company's efforts to reawaken the American theatre, and to do so in a spirit of inclusivity with its audience. He counts himself privileged to be contributing to the jagged, silken, incomparably beautiful, and ever-evolving contours of the Chicago theatre landscape and the community it fosters. He also loves writing about himself in the third person. Thanks for your interest in our work.