Vision & Program Philosophy
Theatre That Invites Courage
I believe theatre possesses the ability to unsettle, entertain, and enrich our lives. The stories I choose are those that challenge assumptions while creating opportunities for empathy, reflection, and meaningful dialogue. Whether through trauma, joy, injustice, absurdity, or celebration, I seek works that ask audiences and artists alike to engage deeply with the human experience.
I am particularly drawn to plays and musicals that have been misunderstood, marginalized, or challenged. These works often ask difficult questions rather than offering simple answers, creating opportunities for performers and audiences to confront complex ideas together. Productions such as BENT, For Colored Girls Who Have Considered Suicide / When The Rainbow Is Enuf, and Mitzi's Abortion have profoundly shaped my understanding of theatre as both an artistic and communal practice. They remind me that emotionally demanding stories require thoughtful preparation, intentional rehearsal processes, and opportunities for continued conversation beyond the final curtain.
At the same time, I hold a deep appreciation for the rigor and discipline of classical theatre. My directing work on Maurice Maeterlinck's The Intruder challenged actors to communicate profound emotional truth through stillness, physical awareness, and sensory exploration. By asking the actor portraying Grandfather to rehearse while blindfolded, we explored helplessness and mortality through embodied experience rather than imitation. Experiences like these continue to shape my directing philosophy: technical precision and emotional authenticity are strengthened when artists are given clear processes, meaningful context, and opportunities to discover rather than simply perform.
Whether directing Shakespeare, opera, horror, devised theatre, comedy, or new works, I am drawn to productions that invite transformation. I want audiences to laugh unexpectedly, sit in silence, question long-held beliefs, and leave carrying conversations into their homes and communities.
“Theatre ought to disrupt our assumptions, ignite conversations, and reestablish the enchantment of live storytelling as a communal, restorative experience.”
Programming Philosophy
A successful season extends beyond performance. It includes workshops, educational resources, community partnerships, audience engagement, and opportunities for reflection before, during, and after the rehearsal process.
Every season begins with a series of questions:
What stories does our community need right now?
What will challenge artists to grow?
What opportunities for learning, collaboration, and conversation can this production create beyond the stage?
How can we responsibly support artists while asking them to engage with emotionally demanding material?
My programming philosophy balances four priorities:
Artistic Growth — selecting work that expands performers' technical and creative abilities.
Community Relevance — presenting stories that resonate with contemporary audiences and encourage dialogue.
Educational Value — providing meaningful opportunities for learning, research, and interdisciplinary collaboration.
Production Sustainability — choosing projects that are achievable within available resources while fostering community partnerships.
Consent, Collaboration, and Artist Development
Every production reflects my belief that outstanding theatre is built through clear communication, thoughtful preparation, and collaborative leadership.
My rehearsal process integrates principles from theatre pedagogy, directing, movement practice, and consent-based rehearsal methodologies to help artists develop confidence, creative agency, and professional collaboration skills. Rather than viewing consent as a practice reserved only for intimate scenes, I approach it as a foundation for rehearsal culture itself—supporting healthy communication, clear expectations, and shared responsibility throughout the production process.
Depending on the needs of the production, my work may include:
Structured rehearsal agreements and communication practices
Reflective rehearsal techniques and role closure activities
Movement and embodiment practices informed by Laban, Alba Emoting, and related methodologies
Accessible rehearsal practices that support diverse learning needs
Community conversations and educational programming surrounding challenging material
Production-specific intimacy choreography and documentation