I write for the theater.
My medium is everything available in the traditional theater (e.g. lighting, costumes, dialogue, sound) as well as non-traditional theatrical elements e.g. movement, multimedia/video, puppetry, magical realism.
I’ve become fluent using absurdity, farce, and other non-traditional elements to embrace multiple topics in a single play. After graduate school, my work moved quickly away from the proscenium (as outdated as a landline) to writing plays that don’t follow traditional structures or story lines using non-traditional elements. I present stories in the theater the way abstract painters explore/push the boundaries of canvas. I incorporate non-traditional elements because the absurdity of today's socio/economic/political situation demands them of the artist in order to accurately depict the world to help audiences gain understanding of their own plight.
My vision is Alley Cat Theater, an inclusive theater that promotes and introduces Boston audiences to new, non-traditional work addressing today’s issues.
I’ve become fluent using absurdity, farce, and other non-traditional elements to embrace multiple topics in a single play. After graduate school, my work moved quickly away from the proscenium (as outdated as a landline) to writing plays that don’t follow traditional structures or story lines using non-traditional elements. I present stories in the theater the way abstract painters explore/push the boundaries of canvas. I incorporate non-traditional elements because the absurdity of today's socio/economic/political situation demands them of the artist in order to accurately depict the world to help audiences gain understanding of their own plight.
My vision is Alley Cat Theater, an inclusive theater that promotes and introduces Boston audiences to new, non-traditional work addressing today’s issues.
