BESTIARY
 [staged spectacles / creatures that show their teeth ]

Staged spectacle: Kinetic joy caught from the perspective of the wings! Hair in mid-swing, the lifting of a skirt, the synchronized pulse of eleven bodies. Here, theater ceases to be a simulation and becomes an electric reality, reflected in the faces of the audience. This is the point where individual narrative dissolves into an irresistible current of rhythm.
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Mija (co-written with Evynne Hollens, Gaby Moreno, & Anna Gilbert) demonstrates the momentum that's galvanized in a "found family"-- the collective effort to build a home where there wasn't one before.
A NOTE ON THE HABITAT ...
You won't find many painted sets or elaborate backdrops here. These spectacles were all born in modest, black-painted rooms where the budget was tight and the imagination had to be wider.
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I don't build cages. I arrange vantage points where the wild thing reveals itself. By stripping away the flourish, we are left with the raw meaning of the action: visceral, high-contrast, and impossible to ignore.
Rebecca really caused me to discover new actions and breath. I felt something open up in me. I let whatever was happening in me move the piece forward, I didn't try to stifle it. It was so freeing.”
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SKINT (2025)
Staged spectacle: Two men converse openly at the periphery while generations of women sit silently in the living room . The spectacle is their stillness: the tea towels serving as both a shroud and a domestic mask, marking the point where "safety" becomes suffocation.

Skint depicts the gravity of choices made for us before we have language to name them. The play lays bare the mechanics of inherited fate: the way an unconscious decision by a few becomes permanent architecture for the rest.
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COWBOYS WITH QUESTIONS (2022)
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HOUSE OF FUN (2025)
Framed spectacle: The hard structural reality of a kitchen cabinet provides no sanctuary against the soft-bodied intrusion of Marlo the sock puppet. Absurdly, the woman and the puppet share the frame as equals ... and despite its zipper mouth, there's no shutting Marlo up.

House of Fun! (co-written with Asha Dore) skewers the burden of hyper-competent motherhood, transforming a symbol of childhood innocence into a warped mirror of maternal self-loathing.
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CHERUBIN (2019)
Staged spectacle: Here, law and order fail to support (or contain) a primal necessity. As the jailed midwife extends her arms through the bars of the iron gate, she reclaims the only power she has, choosing to help a laboring woman through her contractions when society has abandoned them both.
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cherubin is a response to The Tempest, centering the somatic and structural realities of two women shortchanged by Mr. Shakespeare. It makes room for a parallel narrative that offers the "hag" and the "ingenue" full personhood, with all the disagreements, betrayals,  and discoveries it entails.
Staged spectacle: The sudden evaporation of charm, along with the visual disparity between the imperious, up-lit leader, center-stage, and the bare-legged acolyte in the foreground.

Cowboys with Questions calculates the brutal cost of proximity to a charismatic force -- the point where the sweet promise of a devoted, ecstatic family flips to reveal a horrifying price tag.