Artistic Statement
I wasn’t supposed to make it here. I was closeted, living with an eating disorder, mixed-Latiné in an unaccepting hometown, and constantly surrounded by poverty - in lunch money debt with high school friends, almost kicked out of college, and a homeless spell when I first moved to Brooklyn.
My work stands on the shoulders of the writers I found refuge in: unflinching, funny, and resolute in the face of conflict, hardship, and poverty. Writers like The Debate Society (original concepts for plays/community theatermaking), Josh Wilder (unflinching looks at poverty), Clare Barron (standout characters, moments, rapid-fire dialogue), and Hansol Jung (exploration of magic mixing with our realities). I tell ensemble-based plays that are queer-centric, have authentic portrayals of poverty, and force audiences to face urgent issues that threaten our livelihoods in our homes, politics, and unconventional places like a wrestling ring with a touch of magical realism.
Fueled by these incredible writers and with community as the main focus of my process, I tell ensemble-based plays that are queer-centric, have authentic portrayals of poverty, and force audiences to face urgent issues that threaten our livelihoods in our homes, politics, and unconventional places like a wrestling ring with a touch of magical realism. I make work for the kids who loved theater but never thought pursuing it was possible. I make work for people who never thought they’d make it to age 18, 21, or 27. I want to be the writer who gives them hope.
My work stands on the shoulders of the writers I found refuge in: unflinching, funny, and resolute in the face of conflict, hardship, and poverty. Writers like The Debate Society (original concepts for plays/community theatermaking), Josh Wilder (unflinching looks at poverty), Clare Barron (standout characters, moments, rapid-fire dialogue), and Hansol Jung (exploration of magic mixing with our realities). I tell ensemble-based plays that are queer-centric, have authentic portrayals of poverty, and force audiences to face urgent issues that threaten our livelihoods in our homes, politics, and unconventional places like a wrestling ring with a touch of magical realism.
Fueled by these incredible writers and with community as the main focus of my process, I tell ensemble-based plays that are queer-centric, have authentic portrayals of poverty, and force audiences to face urgent issues that threaten our livelihoods in our homes, politics, and unconventional places like a wrestling ring with a touch of magical realism. I make work for the kids who loved theater but never thought pursuing it was possible. I make work for people who never thought they’d make it to age 18, 21, or 27. I want to be the writer who gives them hope.
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SMJ .
Artistic Statement
I wasn’t supposed to make it here. I was closeted, living with an eating disorder, mixed-Latiné in an unaccepting hometown, and constantly surrounded by poverty - in lunch money debt with high school friends, almost kicked out of college, and a homeless spell when I first moved to Brooklyn.
My work stands on the shoulders of the writers I found refuge in: unflinching, funny, and resolute in the face of conflict, hardship, and poverty. Writers like The Debate Society (original concepts for plays/community theatermaking), Josh Wilder (unflinching looks at poverty), Clare Barron (standout characters, moments, rapid-fire dialogue), and Hansol Jung (exploration of magic mixing with our realities). I tell ensemble-based plays that are queer-centric, have authentic portrayals of poverty, and force audiences to face urgent issues that threaten our livelihoods in our homes, politics, and unconventional places like a wrestling ring with a touch of magical realism.
Fueled by these incredible writers and with community as the main focus of my process, I tell ensemble-based plays that are queer-centric, have authentic portrayals of poverty, and force audiences to face urgent issues that threaten our livelihoods in our homes, politics, and unconventional places like a wrestling ring with a touch of magical realism. I make work for the kids who loved theater but never thought pursuing it was possible. I make work for people who never thought they’d make it to age 18, 21, or 27. I want to be the writer who gives them hope.
My work stands on the shoulders of the writers I found refuge in: unflinching, funny, and resolute in the face of conflict, hardship, and poverty. Writers like The Debate Society (original concepts for plays/community theatermaking), Josh Wilder (unflinching looks at poverty), Clare Barron (standout characters, moments, rapid-fire dialogue), and Hansol Jung (exploration of magic mixing with our realities). I tell ensemble-based plays that are queer-centric, have authentic portrayals of poverty, and force audiences to face urgent issues that threaten our livelihoods in our homes, politics, and unconventional places like a wrestling ring with a touch of magical realism.
Fueled by these incredible writers and with community as the main focus of my process, I tell ensemble-based plays that are queer-centric, have authentic portrayals of poverty, and force audiences to face urgent issues that threaten our livelihoods in our homes, politics, and unconventional places like a wrestling ring with a touch of magical realism. I make work for the kids who loved theater but never thought pursuing it was possible. I make work for people who never thought they’d make it to age 18, 21, or 27. I want to be the writer who gives them hope.