I make art in order to create what is lacking in real life, and thereby to fulfill and enrich the emotional lives of both artists and audience members. My work and practice are unique in their use of old forms for new functions, and in their synthesis of genres and styles; I draw on theatrical movements including Absurdism, Surrealism, French Farce, Expressionism, modern and contemporary dark comedy, the Classics, and most importantly, the English Renaissance. As a fervent Shakespeare scholar, my ultimate purpose in my studies is to take what I can learn from those older works about use of language, character, story, dramatic and literary conventions and innovations, and more, and use those tools to create new dramatic works. Language is my sharpest tool for artistry, and is the foundation and the impetus for the elements of the play that follow. When it comes to literary devices, my inspirations and choices come from an informed place, but they are never mere repetitions of the past.
My playwriting is simultaneously escapist and socially conscious; I do not aim to preach, but my writing does portray versions of real-world problems alongside their potential solutions and ideals, in order to lead by example. This often presents itself subtly, by different means in each play; however, the most personal and abundant example of this lies in the sexuality of my characters — they are asexual, every one, and the vast majority of their relationships are aromantic as well. These aspects of the characters are never explicitly specified within the text, except in my play about my experience of asexuality, THE ACE ISH. Actors can and do read romance and sex into the scenes where they see fit; however, my stories are always complete without the addition of romance or sex, such that any asexual, aromantic, and sexually and romantically unexperienced audience members who might be present, can be fully invited into the journey of the play without feeling excluded or alienated. On a more purely artistic level, I strive to enable the performers and audience to disappear into an experience separate from their everyday lives. As theatre artists, we get to build fantastical realms, travel to them, and live within them; this is why theatre is the closest thing in the world to magic, and I value its power as such.