As a director, I am particularly interested in stories that reveal truths about the way people are, both at their worst and best. Plays like The Dumb Waiter and Krapp’s Last Tape showcase the absurdity of life, power, and ambition, while Into the Woods reckons with what the unhappiness that can follow when one achieves what they what they want most.

I work incredibly closely with my designers, far in advance of casting. For me, connection to a production often starts with design elements. Connecting a story or concept to its setting and visual language influences everything I do in a rehearsal room, from blocking and character work to logistical decisions.

When working with a cast, I utilize a combination of discussion, table work, and active analysis to connect a cast to their script. Focusing on this allows both for a cast to feel sure of themselves, grounded in their character, and confident that in a rehearsal room, their thoughts and opinions are always welcome. It’s important that an actor understand the motivation behind their movement, rather than the mechanical order to cross the stage. Because of the groundwork we set, connection to character and story is baked into every decision about staging.