My Approach:

As a dramaturg, I strive to develop a deep relationship with the work through critical lenses. Within that work I provide editing, sociohistorical research, and processing conversations. As a production dramaturg I advocate for an audience to ensure that the message the director intends reaches those in the room. Within that reality is a negotiation that ensures outreach to communities of interest and that the work is approached for a culturally sensitive place. Sometimes that means stepping aside and finding someone whose voice needs to be heard over those currently in the room while navigating the difficult conversations to ensure that happens. When working with new playwrights I strive to ensure their voice and intention matches their impact while providing editing and research services to help frame their perspectives through the lenses required to be successful. My goal is to amplify their voice to ensure it is heard while balancing the requires needed for the work to reach the stage. 

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As a director, I strive to center the ensemble at all times. The most powerful theatre stems from an engaged and cohesive ensemble. In rehearsal I incorporate Liz Lerman's Critical Response Process in order to provide feedback for growth from the place the creative teams is at to where they envision the work going. 

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I am most comfortable in small black-box settings where an intimate relationship between actor and audience can be formed - modeled from Grotowski's "poor theatre." However, my work spans independent productions to large scale musicals. I've worked in a variety of settings from large outdoor venues, created spaces, black boxes, to digital theatre. My prior productions have involved all ages from youth to adults in settings from volunteer theatre organizations to educational environment. 

My goal is to create a safe emotional transfer from artist to audience. I focus on physical acting as I work with actors, a shift away from psychological approaches with a heightened emphasis on consent. My focus builds eclectically from the works of Meyerhold, Kuzmin, Stanislavsky, and commedia dell'arte. 

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As a translator, I work word by word with emphasis to the rhythm and meter to carry works from source to target language. My translations are adaptations of historical works. They are a negotiation between temporalities and culture that highlight, exaggerate, and extend ideas to create new relevant works in conversation with the past. The plays I translate are dragged, in the sense that they are transcultural negotiations that exist within a third space, neither source nor target. A new queer work.

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You may occasionally find me on-stage as well.