Theatrically, I tend to shy away from straight realism and bend towards texts and movement which defy chronology, and push against the boundaries of traditional fourth-wall thinking. All of my writing exists in an intersectional space in the hopes of forcing the audience to reckon with its potential for racism, ableism, gender exclusion, and classism, whether explicitly or implicitly. I hope that the stories I tell through theatre can connect with audiences beyond those traditionally drawn by commercial theatre, and that somehow all this art-making helps make the world better.