People can be born in different places and times, and live very different lives, but when we intersect on feelings, for me that sweet spot is what I want to live in and explore with people. I make theater that uncovers the inner workings of how humans think and make decisions. I provide audiences a magnifying glass to the human experience through my work. I want to connect our world, and show that the majority of our differences are not through experiences but inequities. The majority of human experiences provoke very similar emotions, but it is how we are able to experience these emotions that separates us. I want people to be moved to set aside their own agendas, and understand how their particular toolbox could build others up.

While I thoroughly enjoy working with plays, I feel at home when working on musicals or plays with music. I find it incredibly exciting interpreting song, and uncovering how the patterns woven into the music translate to the action of the story. I sometimes find theatre with music can be more accessible. Most cultures and backgrounds introduce music from birth, and many audience members have a developed relationship with music. As a director I want to induce feelings in the audience, and music is the universal character that does not explicitly state or limit its feeling, allowing audience members the space to find many meanings.

In my most formative years, it was weird to stand out, take up space, and stray from the norm. However, since growing up as a woman, especially in the arts I understand the power of collective living. I believe what could have been my biggest disadvantage is actually my superpower as a female director. In my rehearsals, my sharpened skills are being a visionary, leader, and listener, that does not put me higher than someone who explores, questions, and performs. We all need each other. I promote equitable collaboration.

I am particularly committed to creating and making theatre that is accessible and reflects the current moment. Alongside developing and presenting work in traditional capacities, I believe we need more established and celebrated systems to present theater that does not take decades to develop and millions of dollars to be seen. In an era of where TV, film, and media are turning out content at a rapid rate, I am constantly trying to find new ways to create and direct thoughtful theater that does not need to go through traditional pipelines and systems. I believes this will allow for more equity and diversity in stories, creative teams, and audiences, and a more fruitful theatre industry.

In my process I see myself as step one in a cyclical experience (besides the playwright of course). I create the world of the play, then collaborators join me to bring my thoughts to life. I share my ideas and goals, and then once I have passed off my visions, I listen. I actively listen to the actors as they find the voices of the people who will live in this world. Then I transform from an artistic visionary to a supportive team leader as the actors share the world with the audiences. Our goal is then for audiences to take something away from their individual theatrical experience, and let it flow and pour into our collective reality. Then if we are lucky, we begin again.