As a theater maker, I work across directing, writing, and dramaturgy to build performances between adaptation, new writing, and performance art. I work with classical texts, found materials, and collaborative processes to build performances that test source material to see what they can hold and where they begin to fail.

I usually start with a hunch I can’t name: it might come from a text, a film, a research article, an image, or a question and let the idea grow from there. I first fell in love with the literary side of theater: spoken poetry, storytelling, and character. I’m now equally interested in the use of space and how architecture, rhythm, silence, and the audience’s relationship to the performance change a text’s meaning.

I focus on emotional realism, formal experimentation, and an actor’s physical presence. My work is influenced by the severity of postwar performance, the formal inventions of conceptual art, the psychological depth of American realism, and the structure of classical theater. But I’m more interested in how form emerges through process. I think well spoken Shakespeare is one of the most beautiful things in the world.

I’m drawn to questions of moral responsibility, personal and social change, especially moments when identity and systems break down. My work sits somewhere between interpretation and authorship, new writing and classicism. I’m learning to see that space not as a hindrance, but as an interesting place to begin; a kind of metaphor for all the mixed-up, uncertain moments in life that feel like failure, but end up leading somewhere a little more real. I don’t like writing artist statements, but we’re forced to. If my next project looks nothing like what I’ve written here, I’m 100% okay with that. You shouldn’t believe everything you read online.

Recent projects include: Moments After Ajax, an adaptation of Sophocles that had a public reading at the Brooklyn Center for Theater Research and is currently in development; Ellen McLaughlin’s The Oresteia for Theatre for a New Audience’s studio program; Uncle Vanya at the self-produced 3xChekhov Festival during COVID; The Yellow Wallpaper at IRT and Dixon Place; and Miss Julie at Access Theater. As an associate and assistant director, I’ve worked on and off Broadway on Network (with Bryan Cranston) and Frankie and Johnny in the Clair de Lune (with Audra McDonald and Michael Shannon). For four years, I worked with Theatre for a New Audience on productions including The Winter’s Tale, The Skin of Our Teeth, The Father, and A Doll’s House. I’ve also workshopped new plays and have regularly given dramaturgical feedback to writers in process. Several of the projects I’ve assisted on have won TONY and OBIE awards.

I’ve worked and apprenticed with the Guthrie, Deutsches Theater Berlin, the Ruhrtriennale Festival and Toneelgroep Amsterdam, and Red Bull Theater, and have assisted directors including Arin Arbus, Ivo van Hove, and Max Stafford-Clark. I’ve participated in TFANA’s Director/Actor Project and their directing workshop with Peter Brook, and have developed original work with Mercury Store and the Drama League.

I hold an MA in Psychology from The New School, where I contributed to trauma and psychophysiology research, and a BA in Theater Directing from Fordham University. I also trained at the London Dramatic Academy and the Royal Conservatoire of Scotland.