Originally from Los Angeles, Emma studied literature at Sarah Lawrence College before relocating to London. She has an MA in Shakespeare Studies from Kings College London and Shakespeare’s Globe. She then trained on MFA Advanced Theatre Practice at the Royal Central School of Speech and Drama. 

She has worked as a director, dramaturg, and researcher across many disciplines, from opera to Restoration theatre to early modern theatre to new writing. Recent directing credits include Amy Beach's chamber opera Cabildo at Wilton's Music Hall, eco-noir socialist operatic film The Agency by Sarah Sigal and Matthew Olyver at Tête-à-Tête, and a livestreamed, OnComm award-nominated production of Gian Carlo Menotti's The Telephone. Emma was Restoration Project Leader at RADA in fall 2021, and directed a production of Susanna Centlivre's The Basset Table. She facilitated an interrogative process and directed a deconstructed production of Aphra Behn's The Rover at Oxford School of Drama in spring 2022. 


An accomplished dramaturg and researcher, Emma has been the research consultant on Venice Preserved at the Royal Shakespeare Company and Absolute Hell at the National Theatre, during which she was mentored by Joe Hill-Gibbins, with whom she also worked on his production of Le Nozze di Figaro (Wuppertal and English National Opera). Assistant directing credits include assisting Polly Graham on a triple bill of Ariadne Auf NaxosLamento d'Arianna, and the new opera WITCH (Royal Academy of Music 2022); These Wondering Stones (Barbican and Sound Unbound) The Noble Nine (Vault 2019); Libuše (UCOpera); and The Fantastic Bohemian (Arcola Theatre).


Emma is the recipient of a Global Talent visa. She was longlisted for the JMK Award in 2020. 

Emma is co-founder of Global Origins, a network and platform for international, diasporic, and multicultural artists that she runs with Aneesha Srinivasan. In 2019, Global Origins Theatre curated Are We There Yet ?, a two day festival of multidisciplinary art by international and multicultural artists, at the CLF Art Cafe (Bussey Building). Global Origins generated an open-source, collaboratively authored reader on decolonising the canonGlobal Origins leads workshops on decolonising theatre, writing with identity, and ethical representation in theatre at drama schools and theatres including the Royal Central School of Speech and Drama, Guildhall, Mountview, and the Young Vic. Global Origins is partnering with the Gate Theatre on REROUTED: a free digital discussion group for international plays and performance intended to decolonise the canon and expand the limits of British theatre.