I’m interested in work that plays with theories of the mind and consciousness, and in work that witnesses, but doesn’t judge, how actions and intentions are often divergent with seemingly both comic and tragic results. Assessment of the consequences and results can be richly ambiguous, creating a kind of suspension of full understanding. A portrait emerges of the earnest efforts and convolutions we make to live with each other and with ourselves. There is usually at least one character at the end of life.

My own work is very physical in nature. The body is usually involved in some way that amplifies the play’s question. For example, a dementia story involved shadow-play figures, a play about a marital lie included parlor games about phantom limbs and optical illusions. Natural images and phenomena also play a part. A play about emotional abandonment included the forest fungal network, another, in progress, that concerns a rural couple at odds with the digital age, is set against the problem of space debris from satellites.

And laughter is essential.