I prescribe to the belief that theater is a moral art form. It allows me to put a mirror up to our social and political lives today and try to build a case for the unequivocal ‘right and wrong.’ I want to make work that digests our current culture – which is directed by individuality, exactitude, simultaneity – in a way that produces a bottom line for every last person in the audience to wrestle with. Through this process, we become better people: we try to find a collective answer in the gray area. We look at the people, the place, or the time where the rule doesn’t apply and develop our shared moral understanding to encompass this new territory. In this regard, I often write plays that place contemporary problems, such as the role of apathy in our lives or the manner in which we are implicated into other people’s wrong doings, within a traditional tragic form. The tension of large and small, new and old, specific and general allows for a constructed instability that primes an audience for meaning-making.