I aim to make theatre in which the audience-work relationship is unique and vital to each piece, and in which the audience can be made active but not performative. I like to look at the creation of work as a comprehensive practice of making, one that is experimental and form-twisting and joyful in process as well as performance. I find layers of meaning and unexpected pairings that fuse psychological exploration, historical understanding, and pop culture references, like Prufrock’s isolation paired with Cardi B, or luxurious French dining rituals set atop of human swamps. I explore how internal life interacts with the outer world, and don’t usually go in for simplicity. When the world is exploding with its own chaos, how can artistic work do any less? So I make broad use of spectacle, love the deliciousness and tangibility of objects. I love characters that exist between real and imagined worlds, and finding what their language sounds like. I try to map the way an emotion feels in words, to express the thoughts that are always inexpressible.


As I take root in my career, the creative work that increasingly feels vital to me is community-driven and socially conscious. I want to push the boundaries of how we think about this art form: how we use it, how we enjoy it, and how we can make it more accessible and public-facing. How can we work with our artists, our audiences, and our arts workers to create new systems of being with each other?