From the earliest myths, to the most recent franchise and pop culture phenomenon, stories are how we make sense of the world, and how we make sense of ourselves. I will not cry because strong men do not cry. I am a spunky woman and must stay spunky in front of my man even when I am hurting. I am a victim because women are victims. I am not a victim because men can’t be victims. My gender doesn’t exist, I am just looking for attention.

Our inner stories can kill us, or each other, or perpetuate violent cycles of oppression and abuse that stretch back further than recorded story. I believe meta theatrical explorations into the mechanics of how we tell stories and who gets to tell them can save lives in the real world.

My meta theatrical practice uses every tool available to step outside of reality into a hyper reality. Puppets are not real. So they can be more than real. Our brains respond with wonder and surprise to circus, magic, haunted house gags, and gruesome illusions from the grand guignol. That deep wonder is where our real stories live.

Now throw it all in a blender, and add archaeological approaches to media. What does a black and white movie mean on stage. Or fuzzy lines on a VHS tape? The static before a needle drop or the whine of a 1959 Magnavox television as it’s turned on?