Michigan Based Theatre Artist

With experience in Viewpoints, Brecht, Stanislavski, and Improv-based development work, I lead my productions ensemble-first. If the actors are in perfect tune with each other, with the script, and with the set, more dynamic characters and story lines are created on-stage. I like developing my production with this focus on a connected ensemble because of the depth, creativity, and interesting choices it begets 

I use movement heavily in my blocking process. I have trained in Rasa boxes, Laban's Efforts, Viewpoints, and more, and bring that connectivity to my blocking processes. I work with actors to develop movements that not only create interesting pictures on stage, but are motivated by the intentions and emotions of the characters. I see blocking a play much like choreographing a dance-- the movement of a character and a piece gives the audience just as much information as the words. 

I like to challenge the idea of what is "normal" on stage. By engaging deeply with the text and focusing on one or two thematic pinpoints, I challenge my designers and actors to stretch what they think is possible on stage. Especially working with theatres that have limited resources, it is incredibly important to always be thinking about innovation, and what we can create with little. If you can make something thought provoking with limited resources, it inspires to keep that innovation with a larger budget.