Before I was anything, I was a dancer. Bodily awareness and the desire for an audience, cultivated so young, never leaves you.

My work comes from and is most interested in the body. My characters relate primarily through the physical, words are often secondary. My subjects are that which is deeply felt but difficult to express: objectification, desire, assault, trauma, regret, girlhood, grief. I am unafraid of heightened text and fantastical worlds, of dream ballets and poetry and soliloquy and song when words are not enough. My plays are collages, full of texture.

My plays are born out of images: a young man pulling a woman’s body out of a box like a doll, a young girl sobbing in a light blue leotard, a woman in flip flops and a housecoat arriving at a river, an old man pouring bottle after bottle of wine into a large plastic tub. These images arrive as engines, each a unique world of its own but always sensual and striking, full of tension and conflict, awaiting an audience.

I was taught that plays are containers for human events. I like to expand that container to include the audience. I think a lot about the complicity, about voyeurism and bodies in seats vs. bodies on stage and how to manipulate that relationship to greatest effect. I think a lot about mirrors, characters refracting off each other and the audience to reveal previously hidden truths.

I do not write to find or communicate answers. I make plays to sit inside a conflicting image, to feel its effect on the body, to stretch and share and refract it against itself in front of an audience, creating a communal pressure cooker of tension and breath that bubbles its way to release.