As an artist, I’m most interested in creating transformative experiences with my collaborators for the audiences that come to see our work. My writing tends to explore issues of gender and sexuality, and how these attributes contribute to the construction of identity. I’m also an avid fan of Shakespeare, Brecht, Shaw, Wilde, Caryl Churchill, Connie Congdon, Julie Marie Myatt, Tony Kushner, Anna Deavere Smith, and Craig Lucas. These playwrights ask us to think as we watch. I like that, and try to do the same.  I prefer that an audience member leaves the theatre thinking about the world in a different way rather than thinking about what s/he is going to have to drink at the bar. 

When I direct plays, I’m focused on preserving the integrity of the playwright’s work. I consider myself a “playwright’s director,” and I ask actors in my productions to make choices that are grounded in the clues that the playwright has provided. Play analysis and table work are an integral part of my process, and my analysis becomes the road map for my production.  I also like for all collaborators to come into the rehearsal studio with ideas, thoughts, and opinions about the work that we’re creating together. I want them to show me something new about the material that we’re exploring, rather than me telling everyone what to do and how to do it.

I’m inspired by choreographers and directors working with movement, music, and image to create theatrical events. I admire the work of Robert Lepage, Declan Donnellan, Mary Zimmerman, Bartlett Sher, Susan Marshall, Matthew Bourne, William Forsythe, Pina Bausch, and Anne Teresa de Keersmaeker.


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