As a theatre maker, I am more interested in how characters develop their sense of identity. In both my writing and directing, I’ve been drawn to complex characters who struggle to claim a unique identity for themselves while negotiating and balancing outside pressures (i.e. family, society, jobs, etc.). These characters make for, in my opinion, extremely dynamic plays. The rehearsal process is much more engaging and fun when you get a chance to break down and uncover these complicated characters. These plays are often more interesting than didactic, issue-based plays.
I got my start in the American Theatre as a producer and director of new work. In college, I had an opportunity to act in a college production of a new play that discussed the ever-present racial tension of the American South. That show opened my eyes to the world of news plays. Until that time, I didn’t know you could write a new play. I believed all the stories were already written. After college I as hired by Arena Stage, in Washington, D.C., where I worked as a producer and assistant director on multiple new works. During my time, Arena Stage gained a national presence as a leader in new play production. While there, I also developed an appreciation for the canon of American Theatre and saw my interest in those works grow.
With regard to form and style, I’m interested in exploring both 20th century plays and more contemporary work. I prefer work with more traditional, linear storytelling, that is grounded in realism, but not bound by it. Plays that have elements of absurdist humor, Brechtian detachment, or mystical/mythical realism also excite me.
I find my career in an interesting place - I’ve recently “emerged” and am beginning the next phase of my career. I’ve been blessed enough to work on a variety of stages. From larger regional theaters to small, up-start theatre companies, I’ve truly enjoyed the opportunity to create the work, regardless of scale. My search for an artistic home led me to Atlanta and I am very excited to create a space rooted in the teachings of the diaspora fused with the insights of the contemporary theatre. I strive to create a home for artists and audiences interested in using theater as a place of civic discourse, a place where we put the play first and really believe in the script and the artists involved in the process, and a place where we model the best practices to help lead a much-needed shift in the American Theatre.