Artistic Statement
I want to make art that punches your feelings and haunts your bones and puts a curse on everything you are, but in a good way.
I want to find the magical in the mundane, and then dig even deeper than that to find the human truth within the magic, and maybe throw in a good scare or two for good measure.
Sometimes I want to make the audience climb up the back of their chairs because the tension is so unbearable, and sometimes I want to give the audience a character's heart to hold in their hands like a baby bird, and sometimes I want to do both of these things at the same time.
I want to make plays that culminate in things like a man turning into a dragon, an entire set disappearing in the blink of an eye, a soul-rending howl of victory/bloodlust--and I want the audience to think, "of course, there's no other way this could have ended."
I want to find the magical in the mundane, and then dig even deeper than that to find the human truth within the magic, and maybe throw in a good scare or two for good measure.
Sometimes I want to make the audience climb up the back of their chairs because the tension is so unbearable, and sometimes I want to give the audience a character's heart to hold in their hands like a baby bird, and sometimes I want to do both of these things at the same time.
I want to make plays that culminate in things like a man turning into a dragon, an entire set disappearing in the blink of an eye, a soul-rending howl of victory/bloodlust--and I want the audience to think, "of course, there's no other way this could have ended."
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Madison Mondeaux
Artistic Statement
I want to make art that punches your feelings and haunts your bones and puts a curse on everything you are, but in a good way.
I want to find the magical in the mundane, and then dig even deeper than that to find the human truth within the magic, and maybe throw in a good scare or two for good measure.
Sometimes I want to make the audience climb up the back of their chairs because the tension is so unbearable, and sometimes I want to give the audience a character's heart to hold in their hands like a baby bird, and sometimes I want to do both of these things at the same time.
I want to make plays that culminate in things like a man turning into a dragon, an entire set disappearing in the blink of an eye, a soul-rending howl of victory/bloodlust--and I want the audience to think, "of course, there's no other way this could have ended."
I want to find the magical in the mundane, and then dig even deeper than that to find the human truth within the magic, and maybe throw in a good scare or two for good measure.
Sometimes I want to make the audience climb up the back of their chairs because the tension is so unbearable, and sometimes I want to give the audience a character's heart to hold in their hands like a baby bird, and sometimes I want to do both of these things at the same time.
I want to make plays that culminate in things like a man turning into a dragon, an entire set disappearing in the blink of an eye, a soul-rending howl of victory/bloodlust--and I want the audience to think, "of course, there's no other way this could have ended."