P L A Y W R I G H T
I studied playwrighting as an undergrad at Wesleyan, and have had several of my scripts produced by small professional theatres in San Fransisco, Washington D.C., New York, and North Carolina. I still develop original projects for production with my students, as well as creating many literary adaptations for them. Here's a sample:
Edward Gorey drew a deck of playing cards, each illustrated with a drawing and cryptic phrase. He challenged people to create "an evening's entertainment" from contemplating the 2 quintillion possible orders of the cards. In 22 scenes--shuffled and chosen by the audience--this play looks at mis-communication and missed connection in a world where time seems to be running amok, and it's hard to know what to do in face of crisis.
XI YOU JI
"How have you never heard this story? It's our Harry Potter, Wizard of Oz, and meaningful religious stuff all rolled into one!" After that comment from an advisee, I read a public-domain translation of 400+ pages of Wu Cheng'En's novel Xi You Ji (Journey to the West) and created an adaptation for our students. After I thought I had a working draft, the kids sent me back to include the episode of The White Bone Demon. Our production included puppets, masks, projections, and a lot of recounted memories of students from China, Korea and Hong Kong who remembered reading the stories under the covers with a flashlight.
TITANIC 2: THE SEQUEL
A freewheeling adaptation of Alice Gerstenberg's 1916 play The Potboiler. My version of the time-worn tale of a rehearsal gone horribly wrong adds multiple extra characters and seeks to keep the jokes without making all theatre artists look stupid and pompous. I've done three versions of this script over the years: one with 24 characters, one with 7 and one with 9. One production was invited to the North Carolina Professional Theatre Gathering in a year where the focus was on playwrights.
DARK IS A WAY,
LIGHT IS A PLACE
A mix of old folktales and modern found text (transcript of a 9-1-1 call, a shopping list, an email describing school lockdown protocol) exploring the stories we tell ourselves to manage our fear. The production used 24 silver 2"x2"x8' poles and the actors' bodies to suggest the locations and bring the stories to life.
I grew up in a public school system where we had visiting artists from a Shakespeare company in residence working with us every year. From 3rd grade through high school graduation those stories and that language were a lifeline for me. Unsurprisingly, I direct Shakespeare whenever I can fit it into a season, and always do my own cutting.
Shakespeare plays I've directed (several more than once):
The Comedy of Errors, Richard III, The Winter's Tale, Much Ado About Nothing, King Lear, Romeo and Juliet, Macbeth, A Midsummer Night's Dream, The Two Gentlemen of Verona, Cymbeline, Henry IV part 1, Julius Caesar, Henry VI part 2, The Merry Wives of Windsor, Twelfth Night, As You Like It, Pericles, Measure for Measure, and Hamlet.
THE TROJAN WOMEN
Created to tell the story while dealing with the reality that part of the cast was the Acting 1 class, and part of the cast was working after school, with limited time to work together before the end. The chorus of Trojan Women who performed rituals and interstitials in addition to a prologue re-telling the Judgement of Paris ended up working more seamlessly than it had any right to.
THE LEARNED LADIES
I read enough French to be able to work from Moliere's text to create this prose adaptation of The Learned Ladies. Although I love Richard Wilbur's dazzling verse translations, I was working with students who were new to period comedy, and an audience that was not sold on stories written pre-2011. I had the luxury of casting the show before I drafted the script, and so was able to tailor every part to the strengths of the students involved.
...AND MANY MORE