From Kickboxing to Capulets: Dennis Andres Talks ‘Juliet and Romeo,’ Career Reinvention, and Creating His Own Stories
“Then I heard this piece of advice — it wasn’t directed at me personally, but it felt like it was. It was something like, ‘If you’re complaining about bad scripts, you better also be writing.’ And that hit me hard. I thought, that’s really good advice. So I took it to heart… I couldn’t control the ocean, but I could guide my direction a bit.”
I had the pleasure of talking with Dennis Andres. Dennis is a German-Canadian actor and filmmaker whose path into the entertainment industry was anything but linear. Born in Canada to a German mother and Austrian father, Andres spent his early years in Berlin before his family relocated permanently to Southern Ontario in 1995. He was raised primarily in Hamilton, where he attended Cathedral High School and first began to navigate an evolving sense of identity that would eventually lead him to acting.
Initially, Andres’ ambitions were focused on athletics. A competitive martial artist and football player, he earned a national ranking in kickboxing and captained several of his high school teams. He had aspirations of playing professional football and trained intensively toward that goal until repeated concussions and a doctor’s warning forced a career reconsideration. The physical and emotional toll of that decision — alongside a period of memory loss and depression — prompted a broader search for direction. Briefly enlisting in the Canadian Armed Forces, Andres soon found himself disenchanted, prompting further introspection about his professional future.
An unexpected suggestion from a school co-op counselor opened the door to the performing arts. Initially drawn to stunt work, Andres entered a school drama class as a means of gaining practical experience. What began as a pragmatic decision quickly evolved into a deeper connection with acting. Early exposure to live theatre — through community service hours at Hamilton’s Theatre Aquarius and a birthday gift of acting lessons from a family friend — planted the seeds for what would become a full-fledged career in performance.
His breakout role came in 2017, when he was cast as Ian Matthews on CBC and Netflix’s Workin’ Moms, a series created by Catherine Reitman. The role, which allowed him to explore comedic and dramatic terrain, became a launching pad for further television and film appearances. Andres later appeared in Netflix’s Feel the Beat alongside Sofia Carson, and took on a role in the pilot reboot of The Greatest American Hero opposite Hannah Simone. More recently, he was featured in Apple TV+’s The Changeling (2023) alongside LaKeith Stanfield.
In 2025, Andres plays Lord Paris in Juliet and Romeo, a musical reimagining of Shakespeare’s classic, slated for release in North America on Mother’s Day weekend, May 9th. The production — filmed on location in Italy and featuring an ensemble cast that includes Rebel Wilson and Jason Isaacs — marks another significant moment in Andres’ career. In his portrayal of Paris, Andres sought to imbue the character with a sense of layered strength and emotional sincerity, deviating from more traditional depictions. The project’s title, which emphasizes Juliet before Romeo, signals a modern approach to a familiar narrative.
During the industry-wide production halt caused by the actor-writer strikes, Andres turned inward, reflecting on the trajectory of his career and his creative goals. That period of pause led him to begin writing and developing his own material, motivated by a desire for greater agency in the types of stories he was telling. He has since launched a production company (name to be announced later this year), with a focus on grounded, character-driven films. His first feature, a cheeky thriller, is currently in pre-production.
Throughout his work, Andres remains committed to an ethos of authenticity — both in performance and personal expression. He talks about the value of listening over speaking, failure as a form of growth, and the importance of finding grounding influences in a profession often marked by instability. Despite his increasing visibility in the industry, Andres has maintained a relatively low public profile and is candid about his discomfort with the performative elements of networking. His social media presence is minimal, with Instagram (@Denniscrandres) serving as his primary public platform.
Outside of acting and filmmaking, Andres has a wide range of interests including motorcycles, cooking, photography, and travel. He is also a new father and actively involved in youth-focused philanthropy, including work with Resilient Kids and Dolly Parton’s Imagination Library.
As he continues to build his filmography and develop original projects, Andres remains rooted in a belief that perseverance, patience, and passion — tempered with humility — are essential to long-term creative fulfillment. “You can’t control the ocean,” he said of his evolving approach to the industry, “but you can learn how to set a sail.”
Yitzi: Dennis Andres, it’s a delight and honor to meet you. Before we dive in deep, our readers love to learn about your personal origin story. Can you share with us the story of your childhood and how you grew up?
Dennis: Pleasure’s mine, absolutely. The origin story of Dennis — alright, let’s see how fast I can sum this up. My family’s originally from Europe. My mother’s German, my father is Austrian.
My mom had this dream of living in Canada, and a few years after meeting my dad, she got pregnant with me. She figured it’d be a smart idea to fly over to Canada, give birth to me, and that would basically put her in a stronger position to stay here.
Nickname for that is “anchor baby,” if I’m not mistaken. I was born, and she thought, “Great, I can stay.” But they told her, “No, he can stay, you have to go.”
So I got on a flight with my mom at about three weeks old and grew up in Berlin. Then she did a rinse and repeat with my little sister — back to Germany again, raised us there.
In 1995 — pretty sure it was March — we finally moved to Canada for good. This time, my mom did all the paperwork properly. She knew the pregnancy trick wasn’t gonna work twice. Everything came through, and she finally became a Canadian citizen, along with my dad. He came kicking and screaming — he wasn’t as much of a fan as she was.
So yeah, origin story — ’95, we came over. We bounced around Southern Ontario for a while, then finally settled in Hamilton, Ontario. That’s where I did the growing-up part and went to high school — Cathedral in Hamilton. And yeah, I’m still in the Southern Ontario area now.
Yitzi: So tell us about the next chapter. Tell us the story of how you entered the entertainment industry.
Dennis: Oh my gosh, the entertainment industry. So, I was an athlete pretty much my whole life growing up. That was my main thing. I was in martial arts for years — kickboxing — and I fought competitively in Ontario and across Canada. I also played football for a long time. I loved it. Football was everything to me. That was the dream. I wanted to play pro, go to the NFL. I was six feet tall, 200-something pounds, played defense. That was the plan.
Then a family friend, who had played for Tennessee and later for Lackawanna, invited me to one of their games. I got front-row seats to see the kind of guys I’d be going up against — and it was terrifying. These guys were titans. I remember sitting in the bleachers, watching the tailback burst through the line and slam into a linebacker. You could feel the impact vibrating through the stands. That moment hit me hard. I thought, “Okay, maybe I bit off more than I can chew.”
That, combined with a few injuries and concussions, made me realize football might not be the way. This all happened during high school. My coach, knowing how many concussions I’d had, told me to treat my books the way I treated my helmet. So I got extra help — tutors, more homework, all of it — hoping I could still land a scholarship.
But when I finally hung up the pads, everything fell apart. My grades dropped, and I fell into a deep depression. It felt like losing a huge part of my identity. I started dealing with memory loss. I’d have conversations and forget them completely. I’d wake up, get ready for school, and suddenly be downstairs with no memory of how I got there or whether I’d eaten. So I saw a doctor, and he basically said, “Keep playing and drool on your kids at 30, or find something else.” That was a wake-up call.
Right around this time, you were training to be a Rabbi, actually. Anyway, I was in a really low place. My marks were terrible, I was lost, and I didn’t know what was next. I joined the Canadian Armed Forces a couple years later, but I realized pretty quickly that wasn’t the right path either.
I started doing co-ops — just trying different things — and after a few of them, I sat down with my co-op counselor and said, “I hate all of this. I’m miserable.” Then her colleague popped her head out of her cubicle and said, “Why don’t you try being a stuntman?” And I was like, “You’re a genius! Why didn’t I think of that?”
So I ran to the drama teacher and said, “Hey, I’m gonna be a stuntman!” And she said, “Come step into my class.” I’d always liked drama, but just as a way to goof off and get a credit. I never thought of it as a career.
Back in high school, in order to graduate in Canada, you need a certain number of volunteer hours. I had a neighbor across the street — Thomas — he was a retired art teacher and an usher at Theatre Aquarius in Hamilton. He suggested I do my community service there. I didn’t want to, but I needed the hours, and my mom told me I had to. So I did.
I got to see Death of a Salesman, Peter Pan — so many shows. I was probably 14 or 15, easily the youngest usher there. I found it super entertaining, even if I was a jock and felt like I could’ve been getting those hours some other way. But looking back, it was one of the more fun ways to do it.
Thomas kind of kickstarted the whole thing. After one show, we were in the car, and he asked, “So, what’d you think?” I didn’t want to seem ungrateful, so I said, “Yeah, it was great.” Then for my birthday, he got me acting classes. At the time, I had no interest in being an actor. I was like, “No way, I’m not doing that.” But my mom told me, “He got these for your birthday, you’re doing them.” So I went — every Saturday — begrudgingly.
The course ran for eight or nine weeks. At the end, the teacher came up to me and said, “Thanks.” I asked, “For what?” He said, “Usually, we see guys like you on football fields, making fun of people like us doing this.” That stuck with me. I thanked him for not making me feel like an outsider. I didn’t expect it to be a great experience, but it was.
After that, I put acting back on the shelf — until that co-op counselor suggested stunts again. I went back to the drama teacher, fired up, and told her, “I’ve got a plan!” She said, “We have a school play coming up. You should audition.” I said, “No way. I don’t want to act, just do the stunts.” She said, “Just go audition.” So I did.
And I ended up falling in love with it. I booked the lead role, built the set, helped with wardrobe — I was all in. No turning back after that. I did a co-op at the Hamilton Players Guild, which is the oldest community theatre in Canada — maybe even North America. I worked behind the scenes with props and wardrobe, then started stage managing. I loved it. Eventually, I said, “Alright, time to get on stage.”
I started acting in a few productions and realized I had to make a living. So I looked for an agent. Long story short — well, short story long — that’s how it all started. That’s how I began this entertainment adventure, and here I am.
And fun fact — the first agent and manager I ever got, Jessica Martins, is still my agent and manager to this day. She’s more like family now than anything else. But yeah, that’s where it all started — and where it’s going.
Yitzi: Can you share with us the story of some of your first big breaks in television and film?
Dennis: Wow. Big breaks… it was a long road — definitely a long, tough road. But I guess the first real break would’ve been playing Ian Matthews on Workin’ Moms, which aired on CBC and Netflix.
That casting process took a couple of months. I actually thought I didn’t book it. I was super excited about the audition because it was such a great opportunity, and I really liked the character and the show. Workin’ Moms did a great job of breaking the mold for what cable television was showing at the time. Catherine Reitman — the showrunner, director, and star — did something fresh and new. That was really clear in the way the project was presented during the audition process, and I was pumped to possibly be a part of it.
But like I said, the casting took a while, which is pretty common for bigger shows. I remember after my first audition, I didn’t hear anything for two or three weeks. I figured it wasn’t going to happen.
Then, while I was actually on set shooting a commercial, I got a call from my manager. She told me I had a callback for the show and to make sure I was prepped and ready. But even then, it was probably another month before the actual callback happened. And when you’re a young actor trying to pay your bills, that month feels like six.
Eventually, we did the callback and a few chemistry reads, and everything went pretty smoothly after that. I booked it.
Now, my manager thought it’d be hilarious to bring me into the office and pretend like I didn’t book it. She had a bit of fun with that, but that moment — that booking — was definitely the catalyst for everything that came after.
Yitzi: You probably have some amazing experiences and anecdotes from all the different sets you’ve been on. Can you share with our readers one or two stories that most stand out in your mind from your professional life?
Dennis: My goodness. I think I’m getting close to 20 years in this industry now. There’s definitely a handful of standout moments — some really unforgettable ones.
Obviously, the Workin’ Moms casting process for season one was a big one. That whole experience, getting to really sink my teeth into that character, will always stand out.
But one that really sticks with me was when I shot a pilot in L.A. for the reboot of The Greatest American Hero with Hannah Simone. That was my first American pilot, and it was absolutely nerve-wracking. Up until that point, I’d only been sending in self-tapes to the U.S. — never really worked there.
So I get a callback for the reboot. It didn’t end up getting greenlit, unfortunately, but it had a lot of promise and was a blast to be part of. I remember I got a redirect on my audition, and just as I was about to send in that second tape, they said, “Never mind, don’t worry about it.” I was like, “No, no, I finished it. I’m sending it anyway.” So I sent it, and they liked it.
Twelve hours later, I get a call: “You’ve got a chemistry read with Hannah Simone in L.A.” And I was like, “I’m broke. I can’t fly to L.A.” And they go, “No, no, they fly you out, idiot. Don’t worry about it.” I was like, “Oh, okay!”
So that Sunday I submitted the audition, Monday I found out about the chemistry read, and by Tuesday or Wednesday I was on a flight. Thursday was the read. Everything moved so fast — just breakneck speed. I was hyped, adrenaline pumping. I was ready.
Then you find yourself standing on the 20th Century Fox lot, looking up at these buildings that feel larger than life. These are the kind of moments you dream about as a young actor. You’re trying to stay cool, but reality starts to kick in — hard. You’re sitting in the lobby, looking around at your competition, trying to stay calm. Celebrities you grew up watching are walking by. It’s wild.
Then the casting director comes out like, “All right, you ready? We’re gonna mic you up.” And I’m like, “Yeah, yeah,” but inside I’m freaking out. They take you into this long room with spotlights at the front. In the back, just bright enough to see, are maybe 15 people sitting there watching.
They go, “Stand in the spotlight,” and you’re trying to be charming and relaxed while doing the scene. Everyone was super cool, the energy in the room was great and welcoming, which really helped. But you still lay it all out there, and afterward they just say, “Great. Thanks for coming in.” And then you’re outside, standing in front of the building going, “What just happened? Did I do okay? Did I say something stupid?” You start overanalyzing everything.
That was one of the more monumental experiences for me — just stepping into that world for the first time. And for anyone getting ready to go through something like that — yeah, it’s surreal. That’s what you’ve got to look forward to.
And of course, this most recent film, Juliet and Romeo, which comes out May 9th — that was another incredible experience. I mean, how often do you get to go to Italy and work in actual historical locations and castles? These days, so many films are shot on lots, in studios, on green screens. So to actually be in Italy, shooting one of the greatest love stories of all time, in places like Verona and Castell’Arquato — it’s just unreal.
It’s hard to top that. So I’d say the two moments that really stand out are: the fast-paced, high-pressure experience of doing a chemistry read at 20th Century Fox, and spending three months in Italy filming in some of the most beautiful, historic places on Earth. Those are definitely high up on the list.
Yitzi: It’s been said that sometimes our mistakes can be our greatest teachers. Do you have a story about a humorous mistake that you made when you were first starting and the lesson that you learned from it?
Dennis: Oh my god. I guess the most humorous mistake I made was getting into this industry to begin with!
But yeah, all right — I’ve got one story. I’m not gonna mention any show or movie names, but I was cast in this one project, and I was supposed to start work on a Monday. The day before, on Sunday, I went to visit my dad. My brother was visiting from Austria — long story — and we were all set to hang out for the day, then I’d head to work the next morning. Easy peasy.
So I get to my dad’s place, and I’m just goofing around in the kitchen with his dog. I went to adjust my pants, and I must’ve moved a little too quickly and got too close to the dog’s face. The dog jumped up and bit me — right on the nose. Split it wide open.
It was bad. Blood everywhere. Not a cute look.
Now, here’s where the mistake really kicks in — I thought the smart move would be to super glue my nose shut and just show up on set the next day like nothing happened. So that’s exactly what I did. I didn’t tell anyone what had happened. I figured maybe makeup could cover it up.
They were not thrilled when I showed up. Turns out a fresh nose injury is not something that blends easily, no matter how much foundation you pile on.
So yeah, moral of the story: maybe communicate things a bit better. Don’t show up to work with a super glued face and just hope for the best. Definitely one of the funnier — and dumber — mistakes I’ve made early on. And yep, still got the scar to prove it.
Yitzi: I’m sure you’ve heard this, but I feel like you’re a doppelganger for Chris Pratt.
Dennis: Yeah, once or twice. I’ve definitely heard it once or twice. Actually, that reminds me of a funny story.
The first time I ever got recognized — it was hilarious. What you just said, I’ve heard a bunch of times over the years, especially with Chris Pratt’s crazy rise to fame. So, I went into this barbecue joint I used to go to way more than I care to admit. They knew me by name in there.
I was just grabbing lunch, and the woman behind the counter, super sweet, was like, “Hey, what’s it gonna be today?” I asked what the special was, and she said there wasn’t one, so I ordered a chicken sandwich. Then she goes, “Hey, I saw your twin on TV last night.”
And I’m thinking she means Chris Pratt, because usually that’s what people say — Passengers or Jurassic World had just come out around then. So I go, “Oh yeah? What were you watching?” And she says, “Workin’ Moms.”
And I’m like, “Oh yeah, that was me.”
She goes, “Yeah, okay — get out of here.”
Didn’t believe me at all.
It was hilarious. I thought she was about to tell me I looked like Chris Pratt, but she had actually seen me — and still didn’t believe it was me. It’s one of my favorite recognition stories — getting recognized for being yourself and still not being believed.
Yitzi: So, let’s talk about your work. You have so much impressive work. You mentioned Juliet and Romeo — tell us all about that and the exciting things you’re working on now, and what you hope to be working on in the near future.
Dennis: Yeah, I’m really excited that Juliet and Romeo is finally coming out. We shot it a little while ago — before the actor-writer strike — so it’s been a bit of a wait. It’s amazing to finally see it coming to life. There was so much time, energy, and passion poured into that project, so it’s really rewarding to watch it take flight.
During the downtime from the strike, I actually had some time to focus on writing my own material. Right now, I’m working on a few projects where I’m taking on more of a writer-director-producer role. It’s a whole different side of the industry, but it’s something that really lit a fire in me.
What’s interesting is that during the strike — and I think a lot of people in the industry probably felt this too — I started to really reflect on what I was doing. I realized I felt kind of out of control in my career. Like, there was this lingering sense of unease. I wasn’t comfortable with how little say I had in what I was working on or the direction things were going.
And I think I was hitting a point in my life — maybe just getting older — where that lack of control started to feel heavier. It’s not as charming in your 30s as it is in your 20s, you know? I spent a lot of time kicking rocks and being frustrated during that period.
Then I heard this piece of advice — it wasn’t directed at me personally, but it felt like it was. It was something like, “If you’re complaining about bad scripts, you better also be writing.” And that hit me hard. I thought, that’s really good advice.
So I took it to heart. I realized, like, if I don’t see the kind of roles I want to play, if I’m not being offered the stories I want to tell — then why not create them myself? I started writing, and through that process, I discovered I had more to say than I thought I did. A lot more.
Taking that first step into writing and creating my own projects was honestly the best move I could’ve made. It was the first time in my career where I felt — not necessarily in control — but like I had a sail. You know what I mean? Like I couldn’t control the ocean, but I could guide my direction a bit. And with enough grit, patience, and tenacity, I could actually steer toward something that felt more aligned with me.
It felt really good to take matters into my own hands. I’ve always kind of been that kind of person anyway, so it made sense that I’d eventually do that creatively too.
So yeah — fasten your seatbelt. Some of my own projects are on the way soon.
Yitzi: I can’t wait to see it. So, let’s talk a bit about Juliet and Romeo. You play Lord Paris — can you tell us how your personal character, Dennis, is similar to and different from Lord Paris?
Dennis: Oh man, where do I start? So first off, we took a bit of a different direction with this version of Lord Paris. I’ve played a lot of similar types of characters over the years, so it felt refreshing to try something a little more layered. We made him a bit more hardened, more in the vein of Russell Crowe’s Maximus in Gladiator. I wanted him to be someone who’s strong, steady — a guy who knows who he is and believes in doing the honorable thing. After having a conversation with Tim, we both agreed that that would be a good trajectory for Paris in this adaptation of the story.
That said, Paris is given a very specific task — he’s expected to marry into the Capulet family, basically to merge two powerful houses and create a kind of alliance, a superpower of the time. That’s obviously not something Dennis has ever had to do, so that’s a big difference right there.
But the version of Paris I wanted to portray is someone who’s confident, loyal, and a natural-born leader, which I think are traits I relate to or try to embody. He’s looking out for his family and his people. He believes in what he’s doing, which is why it hits him so hard when Juliet doesn’t return those feelings. He was genuinely excited about the idea of marrying her, and when that falls apart, it’s deeply personal.
So I don’t know that I can relate to Paris on a huge scale in terms of his circumstances, but I do connect with his sense of certainty and his desire to do right by his people. Tim really helped me fine-tune the character to bring out those traits, and I got to have a lot of fun with it. I don’t often get to play guys like Paris, so it was a cool challenge.
Yitzi: Great. Just to clarify, is it called Romeo and Juliet or Juliet and Romeo? Because I’ve seen it called Verona’s Romeo and Juliet.
Dennis: It’s Juliet and Romeo. Originally, it was called Verona’s Romeo and Juliet. I’ve had a couple of brief conversations with Tim, and he said he thought the Juliet and Romeo title was a lot more fitting for this particular version and adaptation of the film. I don’t think it’s necessarily that Juliet is more of a main character. I just think this particular adaptation calls for it. I think Tim’s drive and passion for this project, and the way he wanted to tell his version of this beautiful story, calls for just a minor shift. I think that’s kind of the tongue-in-cheek wink, if you will, that he’s going for. Based on what I’ve heard him say I think it’s the perfect shift that’s necessary for the film without shifting too much.
Yitzi: Great. This is our signature question. You’ve been blessed with a lot of success now. Looking back to when you first started acting, you must have learned a lot. Can you share five things that you’ve learned now that you wish you knew when you first started acting?
Dennis: Wow. That is a loaded question. Only five things? We could sit here for hours.
All right. I guess first, learn as much as you can, and always keep learning. You don’t know where your career can take you these days, or where those opportunities will come from, so learn from different departments. Talk to other people on set and find out what they do. You never know which of those things you learn along the way, or which of those people, will lead you to the ultimate opportunity.
Use auditions as a way to sharpen your tools, not just to book parts. Try things and take risks — especially in auditions. Sometimes you’re up against hundreds of people. And it’s been said thousands of times, but the casting director and the producer — they want you to be the answer to their problem. They want you to shine. Don’t be afraid to stand out. Don’t be afraid to take risks. Just try. The worst that can happen is you hear a no.
If you believe you’re truly meant to do this, don’t let anything get in your way. Not even family. Nothing. You have to persevere. You have to push through. It’s like the three Ps: passion, perseverance, patience. That’s so important. This path can be a long, hard road for a lot of people. For others, it might be shorter. But what I’ve learned over the last 20 years is that everyone’s journey is super different.
Something else — get good at networking, but be genuine. I remember I went to L.A., and every single person I met down there, one of the first questions they asked was, “So what do you do?” And I remember thinking, I don’t like this. It felt gross. I just didn’t like it. So I guess the easiest way to say it is: be authentic. Authenticity is huge. It helps you stand out in a big way. In a sea of people asking what you do for a living, just show it.
And if you’re complaining about something, make sure you’re doing your version of it. If you’re complaining about scripts, make sure you’re writing. If you’re complaining about actors, try acting. If you think you have a vision, try directing.
And definitely try producing — because that shit is fucking humbling.
Yitzi: Beautiful. So this is our final aspirational question. Dennis, because of your great work and the platform that you’ve built, you’re a person of enormous influence. If you could put out an idea, spread an idea, or inspire a movement that would bring the most good to the most people, what would that be?
Dennis: Listen. Just listen. We do this thing — and I’m guilty of it too, I think we all are — where we’ve developed this weird habit of always thinking we have an answer to everything. And recently, I’ve discovered that listening is going to be way more powerful going forward than always needing to have the answer.
I’m a stubborn German guy. I know a thing or two about not listening and thinking I’m right. But the older I get, the more I realize that listening is probably one of the best tools you can have.
Even if you do have the answer, maybe just wait a few extra seconds before giving it. I’m trying — I’m a recovering cynic. I’m working on letting listening guide me. You put up soft guardrails and try to do more listening and less talking.
It’s like rule number one for actors: listen more, talk less.
So yeah, if there’s anything I’d tell my younger self… shut up and listen.
Yitzi: Dennis, how can our readers support your work? How do they watch your latest films? How can we keep following what you’re doing?
Dennis: Oh man. I mean, admittedly, I’ve got to get better at the whole social media thing, but I guess Instagram is probably the best way — @DennisCRAndres.
I’m not super active on social media. I need to improve on that. But if anything’s going to happen in the near future, that’ll probably be the first place people hear about it.
And not quite yet, but soon, I’ll be announcing the name of my production company and the film I’m currently working on. It’s in the pre-production stage right now.
When I get to a more comfortable place with it — less vulnerable — I’ll share more about that. But yeah, @Denniscrandres on Instagram is probably where you’ll hear about anything big first.
Yitzi: This has been an amazing conversation. I wish you continued success and blessings. And definitely, let’s do this again next year. Dennis, it’s been so nice getting to know you, and I’m excited to share this with our readers.
Dennis: I’ve got my fingers crossed. I want to ask you some questions now — I did all the talking.
I’m really grateful you had me on, man. I appreciate your time.
From Kickboxing to Capulets: Dennis Andres Talks ‘Juliet and Romeo,’ Career Reinvention, and… was originally published in Authority Magazine on Medium, where people are continuing the conversation by highlighting and responding to this story.