philosophy.

As an artist, I mainly strive to do three things:

  1. Challenge, create, and redefine theatrical conventions,

  2. Create characters that are breathing before they leave the page.

  3. Make people laugh hard.

challenge, create, and redefine theatrical conventions.

Theatre holds a special place in my heart because it is a medium where boundless imagination collides with the beautifully flawed limitations of human capability. This duality is a driving force behind my work as a playwright, inspiring me to explore the balance between what is possible and what feels impossible.

In my writing, I challenge traditional theatrical conventions, encouraging audiences to engage with the unexpected. I’m fascinated by the tension between tradition and innovation—while my themes and characters are firmly grounded in reality, the worlds they inhabit often feel unsteady, dreamlike, and teetering on the edge of chaos. This style allows me to experiment with the fourth wall, suspend disbelief, and embrace absurd logic as tools for storytelling.

I wrote Friends of Inez during a time when my mental illness felt bigger than I was. I wanted to tell the story of someone whose fear and hopelessness consumed every corner of her life—my own greatest fear at the time—and then write her a way out of it. The play weaves a deceptively simple plot with a high-concept structure, layered characters, and a raw, fractured humanity at its core. It’s a story that dismantles and reimagines our expectations of theatre.

create characters that are breathing before they leave the page.

An acting teacher once gave me advice that transformed the way I see characters (and people.)

“You have something in common with everyone. Even the worst person you know. You’re probably at least 50% alike. Probably more.”

It’s simple advice, repeated in acting classes everywhere: at the end of the day, what does your character want? But this opened up a new world for me. I started seeing humans not for what they said, thought, or did, but for what they wanted. Strip away morality, and we’re all just passionate, scared, angry, joyful people doing our best with our own interests at heart.

This realization changed everything. When I understood that I could make an 80-year-old right-wing politician relate to a 17-year-old stoner kid, I truly fell in love with playwriting. Theatre is the only medium that lets us live through an experience rather than simply observing it. It’s live and breathing, just as we are. It has the power to break down barriers, spark new conversations, and help us understand one another better.

As an artist, I strive to write plays that take audiences on a journey. Whether they latch onto an unexpected character or find themselves relating to someone they never thought they could, my hope is that they leave the story seeing the world—and themselves—a little differently.

make people laugh hard.

Humor is healing, as we all know. There is nothing that this world needs right now more than healing.