Directing is facilitation,
facilitating the creators of disparate pieces and parts towards their best selves, and towards a larger vision that makes meaning from all of these elements together. Facilitating other artists in finding their voice within the whole, asking questions and drawing ideas out of actors and designers is the thing I love most about being in the rehearsal room.
I am drawn to new work, directing it and devising it, because the need for problem solving and collaboration at every stage of the process. I am drawn to the discovery, to figuring out the way that a work speaks in its own particular style and voice. I am draw to the experimentation that is necessary in the room with a new work as these things are discovered. I like work that is in conversation with the rehearsal and performance process, work that asks directors and performers to engage in something akin to magic to pull it off. I like impossible stage directions and nonlinear narrative flow because they push everyone- designers, performers, myself and the audience- so far outside of the world that we know that it allows for the opportunity for new rules to emerge, and there is the language of the work.
Now more than ever I feel the call to collaborate with playwrights, designers, and performers to create models for the world that we would like to inhabit. Performance can be a space for radical imagination, a collective incantation for liberation. I believe that new work has the unique opportunity to speak to the immediacy of our time, and to create literal spaces for communities that are underrepresented in main stream media. I am drawn to works that expose the visceral messiness and complication inherent in the modern human condition, pieces that dive deep into the contradictions of our time, with sincerity, lightness, humanity, and humor.