Ghostlight Theater Company

DIRECTOR

For this site-specific production, I transformed an basement into the claustrophobic, North Philadelphia row house. seating the audience directly within the living room of Treat and Phillip, the production forced an intrusive intimacy, making the audience investigators of their tumultuous life.

Utilizing Active Analysis throughout the rehearsal process, the ensemble created a  vocabulary rooted in the "facts" of the environment: contrasting the reality of isolation,"narrative weight" of the space, and impact of neglect. This project served as an exploration of how space can allow actors to react to their confines, feeding into an atmosphere of claustrophobic, high-stakes immersion.

Pinnacle Productions

DIRECTOR

For this production, I centered the vision on the "Almost"—sensing  near-misses and lost potential that haunts the Hunsdorfer household. We chose to highlight the friction between the characters’ self perceptions and  external realities: Ruth in clothes that nearly fit, Beatrice beautiful only within the confines of her own mind, and Tillie possessing a brilliance that shows potential to grow beyond their household. in a house that produces radiation, is an exploration of who can grow when exposed to toxicity.

Utilizing Active Analysis, the ensemble investigated how each character’s "radiation" distorted their perception of their World. We transformed an unutilized sound studio into an immersive, site-specific set that mirrored this psychological state—a space that is cluttered in the past and refuses to clear it's own toxicity. By focusing on the "almost-beauty" of the characters’ lives, the production illuminated the high-stakes struggle for growth when placed in an environment made to stifle it.

Bridges Theater Company

New Work Premiere: CO-WRITER, ASSISTANT DIRECTOR, & Producer

Born from a desire to see more complex, modern, college-aged female characters on stage, Lady Killers was developed through a collaborative process to investigate the "feminine experience" in a digestable way for audiences. The piece explores the friction between the daily reality of modern womanhood and a heightened fantasy world where characters possess the agency to act on their suppressed desires to fight back and loudly.

As Co-Writer, I focused on the juxtaposition of high-stakes absurdity—featuring a stylized Greek Chorus/Barbershop Quartet—against the grounded, visceral truth of the protagonists' experiences. In my dual role as Assistant Director and Producer, I bridged the gap between script development and production logistics, managing the budget and promotional strategy while ensuring the directorial vision remained anchored in the "haunted" reality of the text. This production served as a successful experiment in making heavy social themes digestible through the lens of dark, fantastical absurdity.