ABOUT ME

Hi, I'm Aria!

I’ve always been a curious one...The kid who asked too many questions, dreamed beyond what I could see in front of me, drew worlds into existence, and got in trouble for wanting to know more. My creative life began with drawing wildlife and landscapes, making comic strips, and writing stories. Those stories eventually became plays I performed with friends. Curiosity was never a phase. It became the foundation of my creative life.

Storytelling has always been how I understand cultures, era's, and people. Their contradictions, their humor, their shadows, and their histories. Basically the unseen layers beneath behavior. That path has taken me from early creative work to performances at the Edinburgh Fringe Festival and across Europe, and into a lifelong relationship with character, voice, and presence.

Born in Central America, I’m deeply proud of my Latin American, Mediterranean, and Sephardic heritage. I grew up in a Spanglish household where language was musical, emotional, and alive. I’m fluent in English and Spanish, speak Italian, and have working knowledge of French. Moving between languages and cultures shaped how I listen, and how I approach character, rhythm, and emotional truth.

Language, sound, and cultural memory continue to inform everything I do, from acting and voice work to coaching and teaching. For me, expression is never just technical. It’s ancestral, embodied, and alive.

I trained as an actor in New York at the Stella Adler Studio of Acting, the Neighborhood Playhouse, and The Actors Studio, before continuing my training in England at City Academy and other London-based schools. Living and studying abroad deepened my relationship to text, character, and classical storytelling. I later returned to New York to continue my training. These experiences, across cities, cultures, and disciplines, profoundly shaped my relationship to craft, presence, and truth.

Acting and living abroad taught me to listen deeply, to savor life, and to remain open to emotion, contradiction, and the moment as it unfolds. Over time, the work became less about performance and more about intention. More about meeting both the material and the world with curiosity and courage. Acting and living abroad taught me to listen deeply, to savor life, and to stay open to emotion, contradiction, and the moment as it unfolds. It became less about performance and more about intention, about meeting the work and the world, with curiosity and courage.

Alongside performance, I’ve worked as an artist and teacher, and spent years immersed in accent and voice coaching. That path eventually led me into metaphysical study and healing work. Another artistic form and language for the same exploration: how energy, voice, body, and belief intersect.

After a period of stepping back from acting to focus on coaching and inner work, I’m returning to performance with greater clarity, depth, and freedom. I no longer separate the parts of myself, bringing craft, intuition, intellect, and play into the same space. That hiatus clarified my relationship to the work. Acting is not something I do to be seen. It’s how I understand connection, presence, and being fully alive. It’s how I engage with others through storytelling and emotional truth.

I’m drawn to stories that trust the audience, to characters with agency and contradiction, and to work that feels alive, intimate, intelligent, and occasionally a little strange (in the best way).

Storytelling has been my way of understanding people, culture, eras, and the unseen layers beneath behavior...

THE WORK

Acting is where all of my curiosities collide.

It allows me to explore human complexity through embodiment, intellect, instinct, humor, vulnerability, and shadow. I’m drawn to characters with emotional depth, intelligence, and edge. Those who are layered, deep, self-aware, (or on the path to self-awareness).

Curiosity has always been my compass.

Whether on camera, on stage, or behind a microphone, I approach performance as both craft and listening practice.

It’s grounded in truth, specificity, and play, because the most interesting moments often arrive when we stop trying to control them.