MOVEMENT · RITUAL · TRANSFORMATION · PLAY

My practice begins with the body.
​
I use movement, sound, text and space to build theatrical worlds with an ensemble. I’m interested in work that feels alive in the room — where actors can play, audiences are part of the event, and transformation happens in front of us.

The Body First

Getting the work onto its feet.

I think physically. I like to get work out of our heads and into the room early, using movement, space, rhythm and action as ways into character, text and story.

I’m interested in what actors discover through doing — what changes when a line is spoken while moving, when a relationship is explored through distance, or when an ensemble begins to find a shared physical language.
​
Movement isn’t something I add once the scene has been built. It’s often how I find the scene in the first place.

BODY

Discovery through action

SPACE

Using the whole room

RHYTHM

Finding the pulse

Ritual + Transformation

Theatre as an act of collective imagination.

I think about theatre as a kind of ritual: people gathering in a space and collectively agreeing to imagine something together.

I’m drawn to transformation — watching actors become something else in front of us, seeing ordinary objects take on new meaning, or allowing bodies, sound and imagination to completely change the way we experience a space.
​
​
I don’t always want to hide the mechanics of theatre. Sometimes watching the transformation happen is where the magic lives.

RITUAL

Gathering together

TRANSFORMATION

Making change visible

IMAGINATION

Creating the world together

Ensemble + Collaboration

Building the work together.

I’m interested in what happens when an ensemble starts to develop a shared language. I don’t want actors simply executing an idea I’ve already decided — I want them actively involved in discovering how the world of the piece works.

I come into the room with a strong sense of the world we’re making, but I like to leave space for surprise. We test ideas, make offers and throw things away. Improvisation, movement and text help us discover what actually belongs to this particular group of people and this particular piece.
​
For me, collaboration doesn’t mean directing by committee. It means creating a room where everyone can bring their instincts and expertise to the work, while I hold the bigger picture and shape those discoveries into a coherent whole.

OFFER

Bringing ideas into the room

DISCOVER

Finding what we couldn't plan

SHAPE

Building those discoveries into a whole

Audience + Space

The audience is part of the event.

I’m interested in what changes when we acknowledge that the audience is in the room with us. Theatre is happening live, with other people, in a particular space. I want the relationship between actors and audiences — and the architecture holding them — to shape how the work is made.​

I don’t think of space as a neutral container for a production. Where the audience sits, what the actors can see, the distance between performer and audience, and what the architecture allows all change the way a story is experienced.
​
I’m drawn to work that lets that relationship stay alive — whether through direct address, shared light, unconventional staging or simply allowing actors to acknowledge the people watching them. I want audiences to feel that their presence matters: that this particular performance is happening with them, not just in front of them.

ACTOR

Playing with the audience

AUDIENCE

Part of the event

SPACE

Letting the room shape the work

Directing + Training

The rehearsal room as a place to experiment, discover and grow.

Working with actors in training is an important part of my directing practice. I’m interested in creating rooms where actors can be rigorous without becoming afraid of getting things wrong — where curiosity, play and experimentation are part of how we find the work.

I encourage actors to make offers, follow impulses and take ownership of the material. Rather than beginning with a fixed idea of what a scene should look like, we investigate it together through text, movement, improvisation and the body, allowing discoveries in the room to shape the production.
​
For me, training and directing feed one another. Working with emerging artists keeps my own practice questioning and evolving, while my professional directing work gives actors a rehearsal process that asks them to work with independence, generosity and courage.

PLAY

Follow the impulse

RISK

Try the unknown

OWNERSHIP

Trust your choices

GUEST DIRECTOR

East 15 Acting School + Fourth Monkey

I want the rehearsal room to be a place where we can make something none of us could have made alone.