Being Southern I have a tendency to write about what I know from growing up in Mississippi during the Sixties and the stories I learned about family. Being the daughter of a French war bride (mother would kill me if I used that term, she firmly stated, "I was NOT a bride. I was married when I came to the United States."), I had an outside perspective on racism mostly through her eyes and influence that surrounded me during my adolescent years.

Some of my plays are about the made up Delaney family in made up Clover, MS. The stories of their evolution during the 20th century are tailored by the aftermath of wars and how the matriarch of the family spanning from 1919 into the 21st century through her granddaughter are affected by traditions that were firmly entrenched in the souls of my characters until something that reflected the true nature of the world would cross their paths. Then they would define what justice should be in their lives and act on it.

Another side of my work reflects my life in New York City, the amazing individuals that have become friends and eventually dissolved into the concrete due to social injustices or saddening revelations to hard truths of a society that turns a blind eye to the homeless and elderly. The cadence of their street poetry and blind faith that there is salvation and peace are reflected in my work.

My major influences are Eugene O'Neill, August Wilson, Tennessee Williams, of course, Lillian Hellman, Manjula Padmanabhan, Pearl S. Buck, Rodgers and Hammerstein, Jerome Kern, Harry Warren, Dorothy Parker, Dorothy Fields, Lorraine Hansberry, Zora Neale Hurston, Beethoven, and Pink Floyd, oh, and the Grateful Dead - Mickey Hart. Additional information upon request.

My idea of a great time is writing "Curtain" on a first draft. The journey that follows is even more extraordinary.