ABOUT

I am a director, originally from Orlando, FL, who draws from backgrounds in music and performance theory to create work that pits heart against intellect.

Here are some ideas I spend time considering and practicing:

Rhythm & Tone: For me, scripts have a ‘sound’ more than a ‘look.’ I hear overlaps, pauses, crescendos, and timbres on first read. I seek out collaborators by way of their natural rhythms and voices, like assembling an orchestra.

Human Spectacle: Though I generally favor minimalism, I am struck by a certain type of spectacle I call human spectacle: moments that vary distinctly from show to show and involve some obvious logistical risk. It’s the moment your heartbeat accelerates not because of a striking image—pyrotechnics! flying performers!—but because you recognize the human stakes of the actor’s labor—catch the prop! land the joke! hit the note!

Rehearsing a Future: I believe that live performance presents an opportunity for its audience to imagine an alternative version of this world. Perhaps it is a funnier version, or one with better singing.

I am interested in rehearsing a more just, humanitarian version of reality. The foundation of this idea comes from Jill Dolan’s theory of the Utopian Performative. She describes it as such:

I believe that theatre and performance can articulate a common future, one that’s more just and equitable, one in which we can all participate more equally, with more chances to live fully and contribute to the making of culture.

I maintain an active relationship with these tenets; there are days and projects during which they feel more or less true. I welcome your reactions on the Contact page if you feel so moved.