Matt is a director & educator currently based in Maryland. He has an MFA in Directing from Western Illinois University, a PhD in Theatre from the University of Missouri, and is currently enrolled in the MA in Arts Administration Program at Rowan University. Additional training includes the DirectorsLab Chicago and LaMaMa’s International Symposium for Directors in Spoleto, Italy. His production of Our Town at Ozark Actor's Theatre won Best Drama and Best Director of a Drama at the 2019 St. Louis Regional BroadwayWorld Awards. He is also an acting teacher, focusing on Stanislavski and Suzuki/Viewpoints. He also works as a dialect coach and a Shakespearean text coach. He is currently an Assistant Professor of Theatre at Salisbury University in Maryland and is in the process of founding the NYC-based collective Left Bank Theatre Ensemble. He is a member of the Stage Directors & Choreographers Society.

For me, theatre-making is not a job. It’s how I express who I am, what I feel about myself, what I feel about my environment, what I feel about the world.
- Ivo van Hove
 
 Theatre is an art and what is important is not that people have fun but that the final result is an art.
- María Irene Fornés

 
Creating theatre is a process, not of staging the dramatist’s text, but of using the motivation and opportunity for expression to be found in a text to establish a space where certain directors and certain seductive actors can exist and, at a certain moment in time, lure on an audience that has come, not to see a certain drama, but to experience what it is like to be in that particular space with these particular people. 
- Ian Carruthers, "The Theatre of Suzuki Tadashi"

If people want to see something they already understand, they shouldn't go to the theatre. They should go to the bathroom.
-Bertolt Brecht


By good luck, I was left-handed, as indeed, throughout my whole life, I had never done aught in the right-handed way. 
- Goethe
I am left-handed, and in a world so thoroughly oriented to the ‘right,’ my view is always unavoidably skewed. Perpetually on the opposite side of ‘normal,’ my left-handedness causes me to operate in an intrinsically unconventional manner. That is, I always seem to see things another way. Therefore, rooted in the belief that art-making can expand the limitations of what is possible, my work is grounded in confrontations with well-known texts so that we will experience perspectives on the plays in ways that we have never experienced before. I am not interested in merely ‘staging plays,’ but rather curating experiences that are unique and couture.

As a theatre-maker, I consider myself a composer of action and thus a ‘wrighter of play,’ and my working process is closer to what a fine artist or craftsperson does, and I consider the rehearsal and performance space no less a laboratory than that of the chemist, who, like the artist, concocts and experiments as a means of discovery. I am dedicated to crafting environmental, immersive, and visceral experiences in which audiences are wrapped and invited to participate. This is because a performance event is ultimately created out of the interactions of everyone present – of all who are in the same place at the same time and breathing the same air.

 
I am committed to exploring how we create a world in which we operate profoundly from a place of deep care in our relations with each other. On stage I am committed to rehearsing alternative notions of how to be with one another. I am interested in expanding the limitations of what is possible both on the stage and in the world. What is theatre-making if not imagined possibility, realized?