Theatre’s primary job is to entertain. For me though, the theatre I want to make transcends entertainment alone: it's a sacred space where universal truths are clarified through the lens of human complexity. My favorite stuff out there is philosophy disguised as amusement.
I approach each play with curiosity, unearthing the universal from the specific and probing the depths of human nature. I value collaborators not only for their talent but for their willingness to engage in honest dialogue, fostering a creative environment where ideas flourish and fear is banished from the rehearsal room. Humor is essential; and anyone working with me should beware the onslaught of beautifully timed, horrible puns.
I care deeply about how each detail we chisel serves the larger narrative. While I love excavating a beautiful stage picture, supporting the text with poetic lighting, and adorning the actors with costumes that make them pop against the set, I pay close attention to the sonic realm as well. From the whisper of a line delivery to the deafening silence between words, each auditory punctuation can deepen the emotional resonance of the experience. Often I find myself building the aesthetic off the musical rhythms of the play.
Through dark yet enchanting stories, mischievous and gorgeous language, and relatable yet extraordinary characters, I seek to illuminate the inherent goodness in humanity, weaving together laughter and tears in a celebration of life's complexity. Ultimately, my goal is to create theatre that not only entertains, but also leaves audiences with a profound sense of connection and introspection, inviting them to ponder the mysteries of existence long after the curtain falls.
To quote Brian Friel, “For me the true gift of theatre, the real benediction of all art, is the ringing bell which reverberates quietly and persistently in the head long after the curtain has come down and the audience has gone home.” Whenever I hear that ringing bell, I will know I have not tolled in vain.
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