​My 25+ dance career includes a bit of everything! From tremendous highs to tremendous lows, I have navigated situations which some would not believe. My rare journey through the dance industry has shaped me into who I am today and has humbled me. It comes down to hard work, perseverance, remaining kind, inspiring others, holding accountability, and striving to stay true to who you are and I hope to share this knowledge to help you. This journey has defined me and looking back, I wish I had a mentor to accompany me as a training tool to navigate year in school and as I joined three different companies. ​​

​​​​​​

"I always say, “It’s about progress, not about perfection.”  I had ups and downs that were really hard, and times where people told me I wouldn’t get a job or my body was wrong. I learned how to work through that. It took me years to get to a major company. Everyone has their own way to get where they’re going, and everyone has

stepping stones that they have to take."

​

Pointe Magazine {Suddarth, 2025)​​​​​​

​​​

As a native of Bedford, Massachusetts, I was exposed to ballet at age 5 and trained extensively under Frances Kotelly at The Ballet Academy, Inc. My years at the school focused on applying the Cecchetti Method along with the techniques of partnering beginning at age 9.  From 2004-2008, I continued year-round with the Boston Ballet School and was awarded the PAO Merit Scholarship in my final year.  At Boston Ballet, I continued to study the Cecchetti method while also training in the Vaganova, Bournonville, and French methods. This melting pot of training was key to my success in adapting later in my career.​  My summers were spent with the Boston Ballet school, Central Pennsylvania Youth Ballet, training under Marcia Dale Weary, the Northeast School of Ballet, the Boston Conservatory, and training with Nancy Bielski in New York City beginning at age 12.  After graduating from the Boston Ballet School Trainee program, I auditioned around the country.

​

"I went to about 20 auditions. I was in rooms with 150 girls, everybody hoping for the same thing. The only thing I could get was another traineeship, with Cincinnati Ballet."​(1)

​

I joined Cincinnati Ballet for the 2008 season as an Anthony Albano and K. Ann Choe–Albano Fellow under direction of Victoria Morgan. As the year came to an end, the company chose one female and one male dancer to join them for a second year.  The rest were off without a job and as the recession began, I found myself auditioning 20 or 30 times again. 

 

"My whole childhood was, “If you get into a smaller company, that’s a failure.”

But something happened in that audition and I thought, Maybe it’s okay if I’m not in a major company. Maybe that’s what I need. (2)

​

I went on to join Alabama Ballet from 2009-2014.  Under direction of Tracey Alvey and Roger Van Fleteren, I was privileged to perform most corps de ballet, soloist and principal roles in the Alabama Ballet repertoire throughout those five years. 

 

​In May 2014, I joined Miami City Ballet, under direction of Lourdes Lopez, as a 1st year Corps de ballet member.  In February 2018, I was promoted to Soloist following my performance in Jerome Robbins 'In the Night.'  In January 2022, I was promoted to Principal Soloist and in October 2023, I was promoted to Principal dancer following my performance as the Russian Girl in George Balanchine's Serenade.  That evening I had the privilege of dancing a triple bill of Balanchine's Serenade, Tharp's In the Upper Room, and Robert's Seachange.​  Since joining MCB, I have performed corps de ballet, soloist, and principal roles in a wide range of George Balanchine, Jerome Robbins, Alexei Ratmansky, Twyla Tharp, Paul Taylor, Justin Peck, Durante Verzola, and Amy Hall Garner ballets and was honored to be chosen to perform Odette and Odile in Alexei Ratmansky's Swan Lake, first for its North American premiere in 2022, again in 2024, and most recently in June 2025. 

​

"My path to Miami City Ballet was drawn from a willingness to take risks and to overcome failure along the way. I’ve met a lot of people who never had to audition—they were in a school and went right into that company. But I learned from auditioning in rooms full of dancers, having to stand there and be judged in a different way.

As much as I dealt with rejection, it ultimately helped me become the best dancer I could be."(3)

​

Dance Magazine 1-3 quotes: Friscia, 2020​

​

In, 2018, I founded the Miami City Ballet Mentorship Program.  This program offers the pre-professional division of the Miami City Ballet School guidance from 25+ years of experience in the dance field.  Over five years, I developed a curriculum tailored to the students and their needs throughout the school year.  We strive for progress not perfection through discussions involving etiquette, performance preparation, confidence building, and advocacy development.

​

I hold a Bachelor of Science in Environmental Science and recently graduated from Northeastern University with a Master of Science in Arts Administration and Cultural Entrepreneurship as a Dean's Scholarship recipient.​​

​