Artistic Mission

Directorial Philosophy

To be a director, or a choreographer, at its core, is to foster interpersonal relationships through collaboration; rooted in the belief that an elevated state of harmony, beauty, and creation can be achieved if people are brought together, and their voices are focused towards a common dream. Children dream to see what the world could be, while adults dream of what the world should be. If what Walt Disney says is true, that “we all have the ability to achieve our dreams if we have the courage to pursue them,” then these fantasies can come to life from the depths of our imaginations through the creation of theatre. 

Theatre allows us to create worlds that are wildly fantastic, absurd, and beautiful. Today’s world is rampant with darkness: artists are stifled, people are isolated, and dreams are snuffed-out. Theatre provides an opportunity to create in a way that sheds a hopeful light on our dreams and interpersonal relationships. By its nature, theatre brings people together, whilst opening the eyes of all who are present to the harmony and hope that comes as a result of the creative process. Thus, I approach directing as a collaborator, not a dictator. There is collaboration between myself, the writer(s), other artists, and the audience. It is my job to foster the growth of artists, whilst providing the opportunity to showcase their art.

My process begins with collaboration between me and the writers through careful reading and analysis of the text and score (if applicable). When possible, I prefer to work through direct communication with the writers. If not, dramaturgical study of the original text is critical. I view the text as the voice of the playwright, composer, and / or lyricist; a dream that they once had, filled with questions about society, our humanity, and truth. My work must bring these dreams into existence, while remaining true to these questions. Anne Bogart suggests in A Director Prepares that it is not the responsibility of the director to provide answers, but rather ask the questions, a philosophy with which I wholeheartedly agree. At the root of every show I try to find what I call: “the question.” In essence, this is a focused vision that the production highlights to those who encounter the theatrical narrative, and is based both on my perception partnered with the playwright’s work. 

The process of creating theatre is the height of collaboration with other artists; each with their own thoughts, influences, and dreams for the piece. Through careful and deliberate casting and selection of designers, I gather an ensemble of artists to come together to bring a new world to life, whilst imbuing their individual voices into it. Though I “direct,” I am simply the leader of a group of artists whom are all working in conjunction with one-another. This is why the Über-marionette style coined by Craig is an incredibly cruel disservice to the development of imaginative thought, and process among the cast.  As a director and choreographer, I aim to make an environment in which people gain courage to play, and pursue their dreams through the deliberate creation of community via the process and product.

Diane Paulus suggests in The Audience Experience, great theatre inspires others to make their own art. This philosophy makes the audience a valued collaborator in the process. Once the audience enters “the space” they become willing participants in my artistic, and directorial process: one that presents them with beauty, harmony, and dreams, as well as questions. Rather than being heavy-handed, and maladroit with my art, I aim to encourage the audience to choose their own answer for the question(s) posed by the text. From here, it is my hope that my art will be catalytic, and by asking questions of the audience about our shared world and humanity, they will be inspired to bring forward their own dreams, so that we can all celebrate the glory of communal creation beyond my production.