In 1985 I met my destiny. When the Theatre and I found each other, I recognized at once the complement to my proclivities and susceptibilities: the visual arts and design, the written and spoken word, music and song, movement, gesture, dance, and perhaps most importantly, collaboration.

Not only was this interdisciplinary approach possible, but rather, vital to making the kind of theatre that I’m drawn to.

For 30+ years, I’ve followed my bliss, towards a life in the theatre and the theatre of life. I’ve honed the craft of professional actor; written and devised work collaboratively and independently for the stage; directed a handful of productions small and large; and enjoyed a myriad of assignments as a teaching artist and community engagement facilitator.


As a theatre-maker, I’m interested in exploiting the elements that are unique to the stage: the interdisciplinary aspects, the idea embodied as gesture, the manipulation of time, and the energy of live performance.

As a writer, and specifically as a playwright, I am interested in the power of the word to create and recreate the worlds that enlighten our human experience.


I’m striving to understand, to translate, and to transform the metaphor of the world through the world of metaphor. To value and consciously engage with process, that is my creative ground zero. Ideally, it begins and ends with presence, a respect for the wisdom of the body, the subconscious and the collective unconscious as fields to inform the how and the what of the work.


I believe our left-brain, technology-fed culture prevails to the detriment of our capacity for feeling, and compassion. How can we translate the seemingly monolithic oppressions, struggles, and issues into the stories, words, and images that we can digest and re-metabolize? How can the theatre in these moments--personal and public, create discourse, community and cosciousness—in ways as provocative as they are redemptive. These are some of the questions fundamental to my practice.