As a Queer musician, mentor, and leader, I believe choral music reaches its full potential only when it reflects the full diversity of the community it serves. For me, Diversity, Equity, and Inclusion are not administrative add-ons; they are the bedrock of a creative environment where every community member feels safe, valued, and empowered. This means proactively dismantling barriers for people across all sexual orientations, gender identities, races, abilities, and socioeconomic backgrounds.
Currently serving as the Dean of Students & Belonging at Northwest Academy, Aaron has spent the mid-2020s navigating the delicate social hierarchy of middle school choral programs—a feat of diplomacy that makes UN negotiations look like a light soundcheck. His 2026 directorial season includes Between the Lines, following his successfully staged (and miraculously on-pitch) runs of Once Upon a Mattress (2025) and HONK! Jr. (2024).
Aaron’s "Choral Cred" is extensive: as Chair of Musicianship for the Chicago Center for Music Education (ChiME), he managed seven neighborhood choral programs simultaneously—proving he can track a budget as precisely as a syncopated rhythm. From securing corporate partnerships in New Orleans to harmonizing as a baritone with the Portland Gay Men’s Chorus, Aaron has consistently bridged the gap between "high art" and "high impact," usually while wearing a very well-tailored blazer.
Whether he was originating roles at the National WWII Museum or providing "strategic therapy" as a consultant for Porchlight Music Theatre, Aaron brings a rare combination of technical rigor and theatrical flair to the podium. He firmly believes that a choir is the ultimate democracy: everyone has a voice, but someone still has to decide when the song is over (and it’s usually him).
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"My job is 10% waving a baton and 90% convincing a room full of soloists that the ensemble is actually the star of the show."
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