I have been involved with theater and opera since I was a kid
My mom was a professional theatrical costumer when I was little. She did some work for Joe Papp during the first few years of Shakespeare in the Park in NYC. She was always doing something -- usually costumes, sometimes sets and lights. A few times a year, the house exploded into color and became an impromptu costume shop. We all learned to hem and hot glue, sew shirts and tack on sequins.
I first hopped onstage in a production of Gilbert and Sullivan's HMS Pinafore, and made the usual rounds of Carousels, Kismets, and classical choruses, including a fun few years in the MIT Musical Theater Guild, both acting and directing. I played Figaro in a Longy School of Music production of Mozart's Nozze di Figaro, and thought hard about pursuing opera professionally as a baritone.
After I moved to California I did a few productions with Palo Alto Players (onstage in Kiss me Kate and in the booth as sound designer for Lisbon Traviata). I also did a few productions with Stanford Savoyards (more G&S). Having made the evolution into a spinto tenor, I spend my time these days with Turiddu, Cavaderossi, and Rodolfo. I've done some roles with Lyric Theater of San Jose (including Ralph in yet another HMS Pinafore), Dickens Festival (Frederic in Pirates), and Stanford (Nanki Poo in Mikado). In 1997, I directed Stanford's production of HMS Pinafore, where I met my wife.
I have not performed much recently but I live vicariously through my wife, a professional opera singer, and my oldest daughter, a young Shakespearean carrying on her grandmother's passion for the theater.
Here are a few reviews (both from productions at MIT). One from a performance of Macheath in Three Penny Opera and the other from a production of My Fair Lady that I stage directed.