I write some plays for mature audiences and some plays for teenagers. While my plays for mature audiences come largely from a singular artistic vision, my TYA work frequently deploys an ensemble-based script-building process.

I want all of my work to live a bit to the left of the familiar, to bend or break form, to mix prose fiction with theatre, but still be rooted in a character-driven story; I write plays that move easily, but with a bit of a limp. I love theatre that feels like at any moment, the wheels can come off.

Theatre should not traumatize, but it should challenge. I often look to stories of people and places on the margins. The underdogs, the overlooked - those who may feel disconnected. I look to find the human in the monster and the monster in the human. Much of my work examines the uncomfortable.

Many of the plays are intended to challenge the skills of the actors, designers, or directors. Lately, much of my work has become madcap and energetic and even comic.

I believe that Theatre-for-Teens should be art, and this provides a challenge to audiences and young actors alike.

Sometimes the plays require a bare stage — a few chairs and a few actors making the world out of language. Sometimes the plays are canvas on which a design and director team can create something I cannot imagine.

Finally, I want to risk a piece of myself with my writing.