For the last 3 years, I have been working in the intersection of performance, ritual and storytelling, with an interest in how creating theater aids us in processing the human experience for a healthier daily existence. I am a co-artistic director and ensemble member of the award-winning theater company, The NY Neo-Futurists who write an ongoing weekly show of 30 non-fiction plays performed in 60 minutes. This work is deeply personal with a commitment to non-illusory performance and serves as a reliable sanctuary where New Yorkers can experience truth and vulnerability. Offstage, I produce sober raves, the most inclusive form of catharsis, and heightened collective ritual currently in this city. I also produce ritual labs for spiritual communities to reimagine their connection to prayer and spirituality as a creative practice.
I believe passionately that part of my role as an artist is to reinvent what theater’s role is today and how it reaches people from a variety of social backgrounds. Developing work in communities, non-traditional spaces and mixing mediums allows me to create work of substance while finding multiple entry points for my audiences.
I view the theater as a sublime meeting place where audiences and performers can break with convention and safely transgress, subvert, question and explore our present reality. My goal as a theatre artist is to create an immersive experience from which audiences carry more awareness, spontaneity and inventiveness into their everyday lives, theater that challenges its audiences to remain engaged and vulnerable in trying times.
I am a detail-oriented creator. Every aspect of the performance, beginning from the moment the audience enters, is meticulously designed. To construct my performances, I juxtapose source material in a collage style to create an uncanny world of the references we are all familiar with but do not necessarily experience as parts of a whole reality. I use popular culture references, academic discourse, verbatim text from interviews, found sound bytes, and original sound design. The material is developed through movement, improvisation, gesture the architecture of the performers' bodies and the topography of the theatrical space.
I use physical comedy and satire, as a model to find humor in the tragic complexities and absurdities of our lives. Using the essential language, archetypal characters and ritual behaviors of everyday existence, I playfully transpose them in a brutal, honest, grotesque form. The grotesque is a kind of mask that permits the actors and audience to engage playfully. We suspend judgment and revel in our truth.