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 never fails to incite me to operate in an intrinsically unconventional manner: I always seem to see things another way. Therefore, the major concern of my work has become rethinking ‘classics.’ I am interested in digging into works that have accumulated ‘cultural baggage’ to then present them in a manner that encourages audiences to experience them and think about them in fresh, new ways.
My aesthetic focuses on the lower end of Aristotle's hierarchy (music & spectacle - what I would call 'the extra-ordinary') and is guided by ‘the three Ms’: music, movement, and metaphor. With each production, I pose a set of theoretical and practical questions I wish to investigate, and develop a conceptual framework that shapes a production’s mise-en-scène and allows it to operate on the level of metaphor - a seed planted from which each and every choice grows. Working with metaphor also sets the work in the present, enhancing the immediately of the live event. I work in a horizontal manner in which no element is more important than any other, each speaking its own language, in the service of crafting athletic, visually, physically, and aurally imaginative productions. I am focused, first and foremost, on working in a laboratory setting, forming each new temporarily-gathered band of strangers into a true ensemble, working as a company of artists experimenting to reach collectively-articulated goals via collectively-practiced means.
I am more interested in composing an experience rather than simply ‘staging a play.’ That is: I consider myself a composer of action, a wrighter of play. I remain invested in exploring the physical intensity engendered in the communion of performer and spectator, in crafting environmental, immersive experiences of which audiences are wrapped inside. Focused on the eventness and the ritual aspects of performance, I conceive of theatre less as a product enacted for an audience, but rather as a sensory experience in which audiences are invited to participate: performance as event rather than object, one that erases the hard lines often drawn between performers and spectators. To this end, I do not believe in hiding anything from the audience, which often makes actor-musicianship and integral element of my productions.
I make theatre because I believe it is as necessary to our survival as water or air. We need theatre – an awesome center for and of community – the way we need each other: to gather, to talk things over, to share stories, and to watch – together – something human. I believe in the enormity of what the theatre can be and do. On stage we rehearse empathy, creating societies in which we model alternative notions of how to be with one another in the world. In other words, we make visible an impression of the possible and, actually, expand the limitations of what is possible. What is theatre-making if not imagined possibility, realized?