My work is border fluid and post-experimental. It exists on a plane with my ancestors and is steeped in a deep tradition that crosses multiple cultures from the Spanish castles of Avila, to the pyramids of Tenochtitlan, to the wild cactus of the Texas brush where in a dark deserted cinema I tasted the lips of my first lover and understood that the truths I’d been sold as a child were fallacy. My plays and musicals meet at the cross section of queer culture and mestizaje and question the artificial borders we have laid down across gender and culture, comedy and trauma, race and class through the deep desires of complex characters that exist within the fringes of contemporary methods and structures of story-telling.

I create theatre in order to affect the audience emotionally, philosophically, intellectually, or even physically. I aim to move them in some way; to leave them with a measurable amount of personal growth - even if the only thing that grows within them is joy. I believe joy is revolutionary, and catharsis is manipulative - that doesn’t mean I withhold it.

I create within the realm of the post-experimental, acknowledging that plentitudes of elements from experimental theatre movements of the past should no longer be relegated to this label of avant-garde. I create with a deep understanding of these methods and their uses, and integrate them into narrative structures whenever their effects might enhance the story, or the audience’s understanding or experience of it.

My work exists in a taboo stratum between Texas and Mexico on a border with no wall; and just as I have always existed in a chasm between Mexican traditions and American pop culture, rock ‘n roll and classical, femininity and machismo, devout Catholicism and disbelief. I exist between multiple places and identities that create a tension that motivates my work, making it difficult to categorize; but I do not aim to be categorized.