Tiffany is a multi-hyphenate with a background in television, theatre, and experiential marketing. She has over 15 years of experience in the entertainment industry.
As an actress she made her feature film debut dancing alongside John Travolta in Hairspray. Since then, she has been seen on screens large and small in Jessica Jones (Netflix), The Family (ABC), Rescue Me (FX), College Road Trip (Disney), and The Underlings (Youtube).
With a recognized talent for producing multimedia, immersive experiences, Tiffany has worked with networks such as HBO, TNT, NBCU, and TruTv and tech giants like Google and Airbnb. Other brands that have called upon her scripting, staging, and show-calling skills include Target, Verizon Media Group, Boom Supersonic, Limited Brands/Victoria's Secret, Martha Stewart Omnimedia, The Rockefeller Foundation, and Cornell University.
A strong advocate and ally for women and the underrepresented, Tiffany has produced side events for the Commission on the Status of Women at the United Nations. And in 2017, she served as Dia&Co's Style Icon which allowed her to champion more size inclusivity in media. She continues to offer thought leadership at various industry events and universities including SXSW, Ithaca College, New York University, and Pace University.
Her pilot scripts, co-created/written with Diana Deibel, include ShyTown, Automates, and Frances, Choose, are currently in development. When she's not producing, directing, writing, or performing, she's livin' it up with her family in Brooklyn!
ARTISTIC STATEMENT
I am an interdisciplinary artist with a diverse palate for smart, quirky plays and musicals that remind us to live voraciously, with empathy and humor. I strive to create thought provoking, modern, and surprising pieces by infusing visual media elements, movement, and music into my work. I find non-traditional spaces and storytelling structures to be exciting but am equally at home in a proscenium, staging a classic. Whether performing in a small play like Fat Pig or directing a large musical like Shrek, I am drawn to stories where complex characters challenge the expectations of others as they work to claim their own identity.
My love of the uniquely human quest to self-actualize is intrinsically linked to my love of theatre as a medium. It has been said that, “The theatre, as an art form, is the height of creation, for we literally create a complete and living world which focuses on ourselves as human beings. The situation may be made or fabricated, but the experience is completely real.” With the introduction of technology, we now find ourselves able to interact quickly with each other, to view curated lives through Instagram or Facebook, but we don’t actually connect. To me, this is the foundation of why experiencing theatre continues to be so vital to our society.
Theatre is communal and because of that, it creates space for us to confront our potential and redefine what we believe is possible as a group. If we, together, can believe that a cardboard box is really a castle and poetry and song are really the best way to express our feelings, then perhaps we can challenge ourselves to see the world in a new light or from a different perspective. Often it is a limit in imagination that stops great innovation. Simple questions like “What if?” and “Why not?” deserve reflection both by the artists shaping our stories and the audiences receiving them.
I am a 6’ tall, plus size woman. Many people thought I should be a basketball player, not a performer. Their imagination could only place me in one role. However, for every five people who told me that I couldn’t be a performer, there was one that told me I could. One person that dared others to see a world where I could be more than the limits of their imagination. With every show I direct, every company I lead, every opportunity I’m blessed to receive, I strive to give with the same generosity of spirit that has been given to me.
This fuels my desire to develop new works that amplify the voices so often ignored – primarily those of women and marginalized communities. It drives my need to re-evaluate the works of the past and mine them for new perspective. And as I look to the future, I want to create and champion work that develops characters with the complexity of existence we actually inhabit. I believe that if we change the world we see inside the theatre, then we can change the world outside of it too.