Actors Journal

🎭 Performance Reflection: 

Don’t Fear the Reaper

Performing in Don’t Fear the Reaper was one of the most creatively fulfilling and bizarrely delightful experiences I’ve had on stage. The play, a dark comedy centered around the grim reaper — allowed for a perfect mix of satire, absurdity, and unexpected heart. I had the opportunity to play two contrasting but thematically linked characters: a dead journalist and a gate guardian.

🗞️ The Dead Journalist

This character was an interesting challenge — someone who had crossed over into death, yet still clung to the instincts of a living reporter. I approached the role with a mix of ghostly detachment and determined curiosity. There was something fun about playing a character who was technically “done with life” but still nosy enough to dig up the afterlife’s secrets.

Costume-wise, I wore a tattered, old-fashioned shirt with mesh arms and checked pants. The costume helped me embody that limbo between the living world and the dead, especially paired with pale makeup and shadowed eyes that gave a haunted look without losing the comic undertone.

 🗝️ The Gate Guardian

 As the gate guardian, I leaned more into the stylized, mythological energy of the show. My job was to hold the boundary between the living and the dead — but of course, in this show’s world, that came with a healthy dose of sarcasm and comic timing.

This role demanded a strong physical presence, so I experimented with posture and vocal control to give the character authority, while still allowing the comedy to land. The costume here was dramatic — A flowing shirt with a waistcoat, long skirt and top hat. This was my first physical performance role. A fantastic experience working with an acrobatic with circus experience, helping me create the lifts for an incredible show. 

 🎭 Overall Experience

 This show stood out for its bold tone — balancing mythology, existential questions, and humor in a truly unique way. I loved switching between two roles that explored different facets of death: one still tethered to their past identity (the journalist), and one who had accepted their role in the system (the gate guardian).

The rehearsal process was collaborative and loose in the best way — we got to play a lot, test out different interpretations, and lean into the surreal world our director envisioned. I walked away from this performance not only with a deeper understanding of comedic timing in ensemble work, but also with more confidence in using costumes and physicality to inform my character choices.

Big thanks to Lipa for this opportunity.  

🎭 Performance Reflection Journal — Unforgettable

🗓️ Entry: July 2023

 Title: A Solo into Silence — 

Unforgettable

Creating Unforgettable was the most personal, demanding, and transformative experience I’ve had as a performer and theatre maker. It wasn’t just a show — it was a layered journey through memory, identity, and love, told through the body, voice, and space. This was my first solo piece, and I created everything from the ground up: the script, the lighting and sound cues, the physical choreography, and the emotional rhythm that held it all together.

🧠 The Story: A Man vs. Memory

The play centered on a man facing the slow and terrifying decline of his memory due to CTE (Chronic Traumatic Encephalopathy). I wanted to explore what it means to lose your story — and how much of ourselves lives in the moments we think we can hold on to.

I split the narrative into three distinct memories — the emotional pillars of this man’s life:

1. His first date with his wife – Soft, nostalgic, intimate. A place of warmth, charm, and early love.

2. His martial arts past – Where his physical identity once lived. I used Kyokushin techniques and spear work to bring this to life — raw, stylized, and expressive.

3. Moments with his daughter – Tender and heartbreaking. A memory fading just as quickly as it’s being grasped.

Each scene drifted in and out like fragments, layered with sound and light to mirror the fragmentation of his mind.

⚙️ Creative Process & Tech

The technical side was a beast — I personally designed all light and sound cues, timing shifts in mood with extreme precision to guide the audience deeper into the dreamlike structure of the piece. Every light fade, every music swell was timed to memory — to feeling.

The music underscored the disintegration — it was composed to move from melodic warmth to jarring distortion. The cues worked almost like another character, surrounding the man, teasing him with clarity, or swallowing him in noise.

👕 Visual & Physical Language

I performed in all white, to suggest a kind of dream-state or mental limbo — timeless, neutral, fragile. The starkness of the costume contrasted with the physicality of the martial arts scenes, making the movement more striking and ghostlike.

The martial arts elements — especially Kyokushin and spear techniques — were not just aesthetic. They represented control, muscle memory, and discipline… all slipping away. The physical vocabulary became broken over time, just like the man’s mind.

💭 Reflection

Unforgettable pushed me beyond acting — into creator, director, choreographer, technician, and emotional core. It forced me to carry the full weight of storytelling on my own, in front of a live audience, with no safety net.

Performing solo meant being hyper-aware of silence, breath, and pause. I learned how to hold space, how to pace internal time, and how to trust that my body could carry a narrative even when words failed.

Emotionally, it left a mark. I connected deeply with the character’s fear of forgetting, especially when playing the scenes with his daughter — knowing that the memory was slipping even as he was reliving it.

🌙 Final Thoughts

This piece made me fall in love with theatre all over again — for its intimacy, its honesty, and its power to give shape to stories that often go unsaid. Unforgettable reminded me that memory isn’t just something we have — it’s something we fight to keep alive.

Audition Journal Entry — Hercules (Live-Action Disney)

🗓️ Entry: 2024

🎙️ Title: The Call That Changed My Silence

Some experiences change you — not with a role or a contract, but with clarity, recognition, and validation. My audition for Disney’s Hercules live-action remake was exactly that.

✨ The Opportunity

When I got the invite to audition, I was stunned. This wasn’t just any role — it was Disney. It was Hercules. And it was in London, meaning I had to pack up and throw myself right into the deep end of an open-panel audition — singing, dancing, and reading sides in front of a full creative team. Nerves? Yes. But more than that, I felt a wild mix of adrenaline and gratitude.

We had to come prepared. Movement routines were quick and high-energy, the singing section pushed us vocally, and the scenes required instant connection. I was ready. I poured everything I had into that room — focus, humor, physicality, presence. And when I walked out, I felt good. Not perfect. But proud.

⏳ The Wait

What happened next was… strange.

Other actors who auditioned that day heard back almost immediately. You could feel the buzz in the room — phones lighting up, quiet excitement turning into celebration. I waited. I checked my phone. Nothing.

A few days passed. Still nothing. Then a week. Then two.

My head went in circles: Did I mess up something subtle? Did they lose interest? Did I just miss the moment?

📞 Then — The Call

Two weeks later, my phone rang. Unknown number. London code.

It was the casting director — and not an assistant, not an auto email, but her. She said, “First, I want to say — you didn’t get the role.”

My stomach dropped.

Then she said:

“But I need you to hear something. We absolutely loved your work. We spent a long time talking about your audition. It stood out — it really did.”

She explained the delay: they weren’t sure whether to bring me back for a second round. Not because I wasn’t good enough, but because the final decision came down to needing someone with “more weight” — more credibility in the acting world — not talent. That hit me. Hard.

In the best way.

💭 Reflection

In this industry, so many of us attach our value to “yes” or “no.” But that call — that moment of being seen, really seen — shifted everything.

I didn’t walk away with the part, but I walked away with something more rare: the knowledge that I’m already in the rooms I used to dream of. That my work can hold its own with the best. That I’m on their radar, and not just as a name in a pile — but as a serious contender.

That’s a massive, massive win.

This experience gave me confirmation that I’m growing, I’m visible, and I’m walking the path the right way — with discipline, integrity, and fire. And next time? Maybe I’ll be the one making the phone buzz before I even leave the building.

🎭 Journal Entry — Second Round: New Waters

🗓️ Entry: Jan 2025

🎙️ Title: Setting Sail (Almost)

I recently submitted two of my original theatre plays — Trading Faces and Murder on the High Seas — to a three-round competition for programming on a cruise ship theatre circuit.

Both scripts made it through to the second round, which was a huge boost. Knowing that my work resonated with industry readers — especially in such a unique and competitive setting — felt like solid confirmation that these pieces have legs.

Even though they didn’t advance to the final round this time, they’re very much still alive in my mind. These plays deserve to be seen, and I’m already considering which companies or venues to approach next. There’s something exciting about knowing these scripts are ready to travel — maybe not by cruise ship just yet, but soon enough.

🎭 Journal Entry — Tom Finds a New Home

🗓️ Entry: March 2025

 Title: Tom Sets Off on His Own Adventure

One of my proudest recent moments was selling my original comic, Tom: Mythical Adventures, to an educational theatre company.

What started as a personal creative project — a blend of mythology, imagination, and character-driven storytelling — is now stepping into a new life on stage, interpreted through young voices and fresh perspectives. Seeing Tom head off into the world to teach, entertain, and inspire is a surreal kind of joy.

It’s always strange to let a character go, especially one you’ve built from scratch — but it’s also deeply rewarding. Tom is off to live his next chapter, and I couldn’t be more excited to see how his journey unfolds through a different lens.

🎭 Journal Entry — The Hollows: Almost Ready to Rise

🗓️ Entry: 2025

🎙️ Title: Building 

The Hollows

Right now, I’m deep in the world of my original anime and comic project: The Hollows.

It’s a story I’ve been shaping for a long time — dark, layered, and rich with world-building, character arcs, and emotional weight. I’ve officially completed Season One, and I’m currently writing the final season. Each chapter has been crafted with long-term vision and deep intention, blending action, mystery, and heart.

Once the final season is done, I’ll be preparing to submit the series to Crunchyroll — a platform that shaped so much of my love for anime. It’s wild to think I’m now creating something I hope can stand beside the stories that once inspired me.

This process has pushed every side of my creativity: scriptwriting, visual storytelling, lore design, character development — and most of all, discipline. The Hollows is the biggest world I’ve ever built, and I’m nearly ready to share it with the world.

🎭 Journal Entry — By the Power of Grayskull…

🗓️ Entry: 2025

🎙️ Title: Masters of What’s to Come

While I can’t say too much (yet), I’m incredibly proud to share that I’ve been working on the upcoming Masters of the Universe film — slated for release in 2026.

This project is iconic — a massive, mythic story with deep roots in pop culture and fantasy. Being involved in something with this much legacy and scale has been surreal, humbling, and creatively electric.

The details will come in time, closer to the film’s release, but for now all I can say is: this one means a lot. It’s a world filled with power, transformation, and timeless themes — and I’m grateful to be even a small part of bringing it back to the screen.

🎭 Journal Entry: July 2025 – Building the Hollows

It’s been a heavy but exciting couple of weeks.

Season 2 of The Hollows is deep in development, and I’ve honestly never written anything like this before. The stories are darker, bloodier, and more emotionally loaded than Season 1—and somehow, it all still feels personal. It’s wild watching this world I started as a concept now pulling me into it fully.

I’m refining scenes that deal with guilt, memory, and monsters that feel like they crawled out of something deeper than folklore. I’ve been pushing myself not just to come up with cool horror ideas, but to write moments that hit emotionally—even in the middle of all the gore and madness.

Also—I’ve got a promo scene coming soon for Season 1.

I’m filming it as a gritty interview room sequence: white wall, cuffs, minimal lighting. Just raw, found-footage energy. I’ll be voicing Detective Hiromi, and it centers around a suspect describing what happened to his roommate on the night the Knock Knock Man came.

It’s going to feel like a ripped-tape recording. I want it to be real, eerie, and tense as hell. Just one voice cracking under the weight of something he wasn’t supposed to survive. I’m hyped to shoot it—because I really want to merge my writing and acting fully this year.

I’ve also been experimenting with cover art and visuals—building Hiromi’s look, the world’s tone, and even the monsters in the background. Seeing them come to life visually makes everything click.

Still a lot to do.

Still obsessed with it.

Still loving the process.

More soon.  

🎯 Journal Entry: Darkrock Firearms Training – July , 2025

Tomorrow I’ll be training at Darkrock—firearms work, tactical movement, and screen-ready weapon handling.

This isn’t for a specific role—just part of the long game. I want to be ready for anything that gets thrown at me. Whether it’s crime thrillers, action films, military roles, or gritty genre stuff—if I get handed a weapon on set, I want it to look and feel real.

No hesitation. No guessing. Just instinct and muscle memory.

This kind of training isn’t just about pulling triggers. It’s about control, safety, awareness, and realism. How you move, how you breathe, how you reset. And how to build presence without overselling it.

I’ve always believed if you’re going to play someone dangerous—you better earn it.

A full scenes video will be up soon, showing the training in action. Hoping to capture some sharp moments that show how far I’ve come—and how much more I’m pushing for.

Level up. Day by day.

🎯 Dark Roc Training – My Tactical Wake-Up Call (In the Best Way)

Rocked up to Dark Roc HQ at 8:30 AM both days. – just early enough to grab a coffee and pretend I wasn’t already nervous. Spoiler: I was. But the vibe was chill, the people warm, and the gear? Oh people… the gear.

First thing – body armour on, sidearm holster strapped, eye pro and ear defenders locked in. I looked like I was about to breach Area 51, not train for screen combat. Safety? 10/10. These guys do not mess around — and I instantly respected that.

Then it was straight into the fun stuff:

🚀 What We Got Up To

• 🔫 Handgun and Assault Rifle Training – learned how to shoot like I actually knew what I was doing.

• 🧠 Tactical Movement in Pairs and Teams of 4 – imagine chess, but with smoke grenades and way more sweating.

• 🏃‍♂️💨 CQB (Close Quarter Battle) – clearing rooms and corners like a SWAT team (or at least trying to).

• 💥 Flashbangs & Smoke Grenades – yes, they’re just as badass as you think.

• 🎥 Camera Movement Training – crucial for actors/stunt performers. You can’t just look cool, you need to move cool — and these guys know exactly how to drill that in.

• 🔄 Weapon Reloading Skills – fast reloads, tactical reloads, malfunction drills — because if it looks clumsy on camera, it is clumsy.

• 🔧 Weapon Damage Checks – because even in film, your Glock doesn’t magically fix itself between takes.

🎬 Why This Training Matters (Especially for Film)

This wasn’t just “playtime with cool toys.” This was detailed, professional, industry-relevant training designed to make actors and stunt professionals look believable, confident, and safe on camera. Every single move was taught with an eye on cinematic realism — because no one wants to be the guy fumbling a reload on Netflix.

Whether you’re running, shooting, clearing a room, or standing still looking tough — it has to read on-screen. Dark Roc absolutely nail this balance between authenticity and performance.

💥 The Team? Next Level.

Honestly, the instructors? Incredible. Some of them are active in the screen industry, others come from elite military backgrounds — and all of them are absolute professionals who know how to teach, push, and motivate.

They’re not just there to make you “look the part” — they build you into it. Their attention to detail, their knowledge, and their passion? Unreal.

Special shoutout to the media guys as well – snapping photos, filming slick footage, making sure you actually look good doing this stuff. They’ll tell you when you look awkward, and I respect that. They want to help you build a showreel that sells, not just “get a few cool clips.”

📝 Quick-Fire Highlights

• ✅ Super clear instruction

• ✅ High-end gear and weapons

• ✅ Realistic tactical training

• ✅ Direct film & TV application

• ✅ Media support that actually helps

• ✅ Safety-first environment

• ✅ A team that wants to see you win

🙌 Thank You, Dark Roc!

To the entire Dark Roc team — THANK YOU. What a wild, brilliant, professional experience. I came out of it stronger, sharper, and totally fired up to bring these skills onto set.

I genuinely can’t recommend this training enough to anyone working in screen combat, stunts, or action performance. If you’re serious about levelling up? Start here.

Already looking forward to the next round of training — and bringing even more energy next time.

Let’s go.

Journal Entry - Tuesday 19th August. 

Today was a full one. Started the morning with a portfolio update shoot — nothing major, just keeping things sharp with my sword and traditional Japanese swordsman outfit and current for what’s ahead. Always good to step in front of the lens and reset the energy.

 This afternoon was different — I had a costume fitting for an upcoming project. Can’t go into details (Gotham loves its secrets), but I will say this: I’m getting the chance to work on a production that means a lot to me, even if it’s just in a small role (For Now) with a few good moments here and there. Sometimes it’s not about the size of the part, but about being part of a world you’ve admired for years.

 Stepping into the fitting, feeling the textures, catching those subtle design choices — it was one of those surreal reminders that storytelling takes a whole city of people, on and off screen. 

 Can’t wait to be on set and experience it from the inside.