I am often interested in the spectacle of masculinity, particularly as it relates to Latinx men. That masculinity can be traumatic and yet I’m breathlessly drawn to it. So my plays, like Cockfight and The Rafa Play are explosive and funny and magical and dirty: men hatch out of eggs and seduce boys, tennis superstars fall in love with me, my fantasies are realized only to fall to pieces. I’m interested in the collision of worlds. I’m interested in what happens, as it does in my play Ritu Comes Home, when a young Bangladeshi girl emerges from a suitcase and decides that she now lives with her “sponsors,” two taut gay men who have different ideas about what charity means. I’m interested in humanizing villains, as I do in Topsy Turvy Mouse, a fictionalized exploration of Abu Ghraib torturer Lynndie England’s future. I’m interested in addictions, ones I have and ones I don’t have. I’m committed to reminding audiences that addictions don’t negate our humanity, that compassion for suffering is advisable and commendable. Ultimately though, it's important to me that my plays are funny, that they have reach both in and out of the theatrical community.

I also love making work with actors and community members. A number of my plays are made in collaboration with companies or groups of amateur performers.