Izaya Perrier grew up in the quiet coastal town of Blaine, Washington — a place small enough to nurture curiosity and wide enough to let a young artist dream. Between Vancouver and Seattle, he found himself surrounded by music from an early age, moving between upright bass, jazz charts, wind ensemble scores, and the kind of community music-making that shapes a performer long before they realize it. High school took him all the way to Japan, where he performed on international television at the Funabashi Music Festival in Chiba — a defining moment that confirmed how far music could carry him. He was equally at home in choral settings, earning placements in state and national conventions for ensemble and solo voice.
Izaya’s path brought him to the Indiana University Jacobs School of Music, where he trained in classical voice and opera under Metropolitan Opera baritone and Broadway veteran Timothy Noble. His work at IU spanned productions from West Side Story to Parsifal to Gianni Schicchi, each one expanding not just his technique but his understanding of storytelling as craft, discipline, and emotional truth. When the world locked down during his final semester, Izaya responded the only way he knew how: he created — launching a podcast, producing a virtual recital, and staying connected to his artistry even when the stage went silent.
When life opened again, New York called. Izaya continued his studies at the Brooklyn College Conservatory under the guidance of renowned Metropolitan Opera artist Mark Schnaible. There, his voice deepened, his artistry sharpened, and his curiosity widened. He fell in love with Baroque repertoire, oratorio, and — unexpectedly but wholeheartedly — musical theatre. A production of Sunday in the Park with George cracked something open, and an 80s-inspired Sweeney Todd solidified it: he had found the intersection of everything he cared about. Music. Character. Humanity.
That clarity led him to the Woodstock Playhouse, where he stepped into productions of Grease, Oklahoma!, Clue, and Can-Can. It was a season of rigorous dance calls, long rehearsal days, and the kind of professional growth that only happens when you’re building shows as fast as you’re building yourself. Immediately after, Izaya was cast as the Narrator/Bassist in Sternfeld’s immersive, critically acclaimed production of Into the Woods. The production sold out its entire run, and Jim Walton (Merrily We Roll Along, Sweeney Todd), a close friend of Stephen Sondheim, remarked: “Sondheim would have loved it.”
Alongside his stage career, Izaya has steadily expanded into on-camera work, appearing in a growing slate of short films and independent projects across New York. His screen credits include Office Dreams, Woman in Red, Napalm Dreams, and Malka — each one offering a new space to explore nuance, intimacy, and character-building through the lens. Film revealed another dimension of his artistic voice, and he continues to pursue on-camera work with the same curiosity and commitment he brings to the stage.
Today, Izaya works at the crossroads of theatre, film, and music — as an actor–musician, vocalist, instrumentalist, and storyteller. He believes in work that moves, challenges, and connects; work that blends disciplines; work that asks for honesty. He’s continually searching for the next role that lets him bring all of himself — classical roots, musical instincts, dramatic training, and lived experience — into the story.
Outside of performing, Izaya is someone who values curiosity, connection, and a well-rounded life. He’s always exploring something new — whether that’s diving into a book, discovering music he can't stop replaying, or finding new ways to grow as an artist and collaborator. He’s passionate about building community, making meaningful work with good people, and staying grounded in the joy that got him started in the first place. At the end of the day, he believes storytelling is an act of generosity, and he’s grateful for every opportunity to share that with others.