I’m a director/choreographer who came to directing through the drama and dynamics of movement: the modern-dance stage. I operate from the sensation of movement.

My way into working with playwrights doesn’t stem from a simple discussion, but through a kinetic and visceral interaction. This creates a necessary playful space for the exchange and transformation of ideas with performers, playwrights, composers or designers alike.

By engaging with playwrights in this way I find keys into their play. This includes everything from what has motivated their current project, to the dynamics and progression of an act’s scenes to the arc of their play. It gives me insight into a playwright’s overall process and passion.

It also gives me a sensorial experience of the characters’ actions, conflicts, motivations, and the currencies of their needs. In directing or adapting a pre-existing text I look for a similar connection through the kinesthetic sensations of the drama. I call this gestalt the dramaturgical subtext of all collaboration. I use it as a benchmark to create a stage experience. And as a director I keep this in mind as I develop a working process for rehearsals, as well as how I communicate. This is the same reason and inspiration that drives my passion – to translate human circumstance and feeling into a visceral and theatrical experience. This is not only for the audience, but for the production team as well.