Coral Flowers


With a natural tendency to be loud, my artistic gatherings began in San Jose, California as a Musical Theatre performer in 2008. I owe it to my Nana and Papa. My Nana, Esther Goes, is the most artistic in our family and not only reacted to my home performances with such love, but uplifted them as well. Her and my Papa, Harley Goes, popped OFF and paved the way for me to discover what theatre meant to me in that current capacity. Studying voice with the Brigitte Doss-Johnson, dance with Marie Stinnett, (and being the one of the only triple threat Mixed Filipinas in a sea full of white colorblindness) - the world was truly my oyster. I had a blast performing in show after show, producing cabaret fundraisers, being a Youtube sensation (if you know, you know), dating white boys, venturing throughout theme park entertainment, and being the token Brown girl in almost every artistic social circle I existed in without realizing it.

My artistic gatherings soon became artistic wanderings as I pursued a BFA in Drama from New York University’s Tisch School of the Arts (New Studio on Broadway) and my appearance quickly became an asset. At Tisch, I wasn't a performer, I was a Filipina performer. As my Lola would say - I woke up from my lethargic state of mind. 

Throwing me into an internal battle of wanting to fight every institution I was a part of, recognizing the privilege it is to be able to fight at all, and finally embracing my Filipina-ness, I grew toxically independent and rejected most teachings. I wanted to jump into the dismantling of these oppressive systems, but how could I when I have been perpetuating these systems by whole life. There was a lack of alignment between what I was breathing and what I was dreaming. Why did my Mom assimilate to White America? Why have worked since 16 and still have less money than my colleagues that have never had a job? Why is the demographic of my public school district different than the demographic of the theaters I auditioned for? Why have I never played a Filipina role onstage? Why do I hate white men? 

There are obvious answers to these naive questions, but it took me time to legitimize them and address them. I thank my mother, Michèle Ivey, and Minh Đỗ for supporting this process. Once I got there, damn, I came swinging. I finessed a scholarship to study at the Shanghai Theater Academy and secured my four year NYU degree to be attained in three (that killed two birds with one stone. I got to save a year's worth of tuition AND I got to claim my time sooner). 

Then the pandemic hit. While all my friends -- including my most favorite roommate, Bobbie Edmunds, went home to their families, I decided to stay in my apartment in NYC and live by myself until things blew over. For a couple reasons:

  1. I had booked my first professional reading in NY and it wasn't cancelled (yet). 

  2. It made me feel cool, rebellious, and ~not like the other girls~. 

  3. I wanted to stand in solidarity with a friend who had to stay put. His family is in Poland. (Fast forward 8 months, he's now my partner).

Being alone and able to see my existence independently from any outside influences or structure, was when shit went down. In a wonderful way. Who am I? What am I doing? What do I want to do?

I am Emily Goes. A Mixed Filipina American with the platform, privilege, and power to see and speak. For a while, I used it to tell I told a bunch of white people how white and racist they are, but, ha. That's not sustainable. I also found myself getting a job at Lululemon on the Upper East Side and became the nanny of a wealthy white family. Again, there was a lack of alignment between what I was breathing and what I was dreaming. I've taken most of my life trying to join someone else's table, instead of creating and celebrating my own. And, I can. Don't take that shit for granted [, Emily]. Don't deprive yourself of appreciating what is in front of you. Claim space. Create space. Create unique, beautiful, system-altering space. And, don't feel bad about leaving spaces you need to.

That's leads to today. I quit the jobs that are not in alignment with what I am dreaming. I love to learn. Mostly about Brown and Black folks. I currently stand in New York City in multiple capacities: Marketing Director and Member of the Anti-Racist Advisory Board at Broadway Bound Theatre Festival, Creative Designer/Social Media Marketer at The CRAFT Institute, and the East Coast Programming Director of the Collegiate Association for Artists of Color. I am represented by Entertainment Lab. I am healthy. My family and loved ones are healthy. Health is wealth

I look forward to fueling the possibilities within storytelling internationally and continuing to be an artist in productive, intersectional, conscious, and system altering ways.


My "brand" is messy, inconsistent, flawed, and ever-changing (because values always change and time is fake), but today, January 28th, 2021, I can wholeheartedly say that my mission is to create brave spaces for people of the global majority and to provide platforms for other artists to do the same. I will brightly embrace the tidal wave of life and be a reliable person that makes you smile. I will sing and dance, regardless of if I am given a stage. Meh.

It's not that deep. I send my love and energy to my Lola with every step I take.   




Shotgunning a beer!

Work Experience


Social Media Manager, Broadway Bound Theatre Festival

Spearheading BBTF’s voice on our social media, I am able to bring light to the ongoing injustices within the theater community, Off-Broadways role in the system, and the current reconstruction and re-envisioning of the theatre festival. I curate all graphics to uplift artists and storytellers as well as highlight the BBTF playwrights and the way they are (or will) personally break American theatre's status quo. Thank you Lenore and Rick for providing a platform for me to escape my asleep Broadway robot performer brain to truly discover why I am an artist.

Specific projects HERE.

October 2020 - PRESENT

Marketing, The CRAFT Institute

I design CRAFT Course's creative assets as well a few pages of their website. Using Zoom and iMovie, I transcribe, analyze, and curate video trailers for CRAFT's education archive. Much admiration and appreciation for Monica, Mauricio, Eve, Ciara, and the CRAFT family.

Specific projects HERE.


East Coast Programming Director, CAAC

I partner with like-minded organizations, businesses, and individuals to host collaborative events championing advocacy, education, and power for all people.

Specific events HERE.


Theatre Youth Teacher, Tabard Theatre

Leading children’s summer camps to create a theatrical show and engage in activities and training including improv, monologue work, movement exploration, and theater history to brighten young minds to all that can be in their confident & imaginative future. Thank you Cathy and Joe Cassetta for always seeing so much more in me than I seem to imagine. 

SUMMER 2016 - WINTER 2019

Entertainment, Cedar Fair's CA's Great America

For multiple seasons, I was a full time Entertainment Department Performer. Performed in productions: 40 Seasons of Summer (Rookie Performer of the Year), Mistletones, Hot Rhythm Nights, Cable Car Connection. 



NYU Tisch School of the Arts

BFA Drama


Shanghai Theatre Academy