Training

Voice Type: Soprano
Range: D2–Eb6
Dance/Movement: Strong and alluring mover, mostly training experience
Special Skills: Puppetry (single rod)
Violin (San Jose Youth Chamber Orchestra – 1st & 2nd violin)
Fluent in English & Tagalog
Singing experience in French, Italian, German, Latin
Union Status: Non-Union

Awards & Recognition

Vocal & Performance Detail

Rita Moreno Award Nominee: Best Lead Actress (Bright Star)

National Association of Teachers of Singing (NATS):
🥇1st place – Contemporary Commercial Music (2023)
🥇1st place – Art Song Division (2015)
🥈2nd place – Musical Theatre Division (2015)

                     Cathy — The Last Five Years The Western Stage (2024)

             Woman #1 — Songs for a New World Sunnyvale Community Players (2022)

         Kate Monster — Avenue Q CMTSJ (2018)

             Roxie Hart — Chicago CMTSJ Mainstage (2019)

        Alice Murphy — Bright Star Mitty High School (2019) 

            Elle Woods — Legally Blonde CMTSJ Mainstage (2019)

    Sophie Sheridan — Mamma Mia CMTSJ Marquee (2018) 

Voice:

Classical/Opera: Rachel Michelberg
Musical Theatre: Linda Middlebusher
Contemporary: Kristin Cifelli
Jazz: Clifford Samoranos
Lead vocalist in rock band (Exodus) – 2 years

Dance:

Jazz: Dustienne Miller
Shannon Self
Ballet: Steve Erwin
Tap: Aaron Tolson

Acting / Speech:

Linklater voice technique (1 year)Acting with Igor Golyak
Mitty High School Speech & Debate Team
🥇 1st place – Dramatic Interpretation (2015 Novice Tournament)
🥉 3rd place – Duo Interp (2017 Berkeley Invitational)

Selected Theatre Credits......

The stage was the first place I ever felt like I could be loud and delicate at the same time. It was my first language. It taught me that crying in front of strangers could be a form of control, that a well-placed pause could land harder than a scream, and that sometimes a soft soprano is sharper than a knife. Musical theatre has never just been entertainment to me - it’s where I grew up learning how to be human.

I grew up on early call times and pinching myself too hard when a line remained blurry. But somewhere along the way, the spaces that once made me feel busy started to feel unsafe. I took a step back from theatre not because I fell out of love with it, but because I had to learn how to protect the parts of myself it kept asking me to sacrifice.

Some institutions deserve their reputation - and eventually, my mission shifted: to protect the child I used to be from the place that claimed to raise her. As my eyes adjusted, the machinery revealed itself for what it was: performative, transactional, and more invested in preserving its image than in protecting the children it was built on. I watched as convenience was prioritized over safety, loyalty over accountability. I didn’t stop loving the work; I just started loving myself more.

In that quiet, in the separation, I found my voice again - not through someone else’s script, but through my own songs. I realized what I loved most about theatre wasn’t just performing - it was the writing, the weaving, the building of emotional arcs through melody and story. Now, when I return to the stage, I do it on my own terms.

I choose roles that make room for contradiction - for anger and softness, for humor and harm and hope. Whether I’m slipping into the heartbreak of Cathy in The Last Five Years, the steel and spirit of Alice Murphy in Bright Star, or the messy magnetism of Roxie Hart, I’m always looking for the emotional undercurrent - the ache behind a belt.

I studied voice and theatre at Boston Conservatory and Berklee College of Music, and I’ve spent the last decade navigating the strange miracle of performance: telling someone else’s story in a way that somehow still feels like mine.

Storytelling on Stage — selected roles and performances from Ande Estrella