Originally from Plano, Texas, Hope moved to New York City in 2011 to study Media, Culture, and the Arts at The King's College. Quickly discovering her passion for research, marketing, and organizational management, Hope added a Business Administration minor and began producing theater on-campus. Hope lead a complete restructuring of the student theater organization, The King's Players, and re-wrote its constitution. Under Hope's leadership as Managing Director, the organization tripled the number of student participants and created the first profitable student-run organization at the school. For her senior project, Hope produced the sold-out world premiere of Grant DeArmitt's musical, Watson: The Musical

In those first two years after college, Hope trained under Broadway producer, Marc Routh and managed singer/songwriter MAELYN. Her freelance producing career also took off with productions at The West Village Musical Theatre Festival, FringeNYC, The Keen Company, and more. Recently, Hope produced Bertolt Brecht's The Resistible Rise of Arturo Ui with her theater company, Lyra, which was featured in The New York Times along with a Theater is Easy "Best Bet" designation.

Hope is an alum of The 24 Hour Plays: Nationals, and now oversees the program as its Managing Producer. Hope has also joined their year-round team of producers. She worked as an Associate Producer at The 24 Hour Plays: Broadway (2015, 2016) and The 24 Hour Musicals (2016).

Currently, Hope is the Managing Director of Lyra--a theater company dedicated to championing the voices and perspectives early-career artists. Along with her co-founders, Noam Shapiro and Kyle Michael Yoder, Lyra strives to build a creative home for emerging theater makers in New York City. Through productions, workshops, and open-submission policy, Lyra creates theater that aims to challenge audiences, build communities, and reflect the diversity of our world.

Hope is on a mission is to be a gatekeeper of opportunities helping new and unheard artistic voices rise to places of prominence. 

I want the audience to be willing to reconsider whether all the values that they brought into the theater are still valid when they leave. I don’t want to tell them how to think, but I want them to examine what they believe.
— Edward Albee