As a theater maker, my work sits somewhere between interpretation and authorship, new writing and classicism. I focus on emotional realism as well as formal experimentation, and I am influenced by the severity of postwar performance, the formal inventions of conceptual art, the psychological depth of American realism, and the structure of classical theater. But I am most interested in how form emerges through process. I am drawn to questions of moral responsibility and personal and social change, especially moments when identity and systems break down.

Recent projects include: Moments After Aias, an adaptation of Sophocles, that will premiere at JACK in the Summer of 2026, and previously received a public reading at the Brooklyn Center for Theater Research; Ellen McLaughlin’s The Oresteia for Theatre for a New Audience’s studio program; Uncle Vanya at the self-produced 3xChekhov Festival during COVID; The Yellow Wallpaper at IRT and Dixon Place; and Miss Julie at Access Theater. As an associate and assistant director, I’ve worked on and off Broadway on Network (with Bryan Cranston) and Frankie and Johnny in the Clair de Lune (with Audra McDonald and Michael Shannon). I worked with Theatre for a New Audience on productions including The Winter’s Tale, The Skin of Our Teeth, The Father, and A Doll’s House. I’ve also workshopped new plays and have regularly given dramaturgical feedback to writers in process.

I’ve also worked with the Guthrie, Deutsches Theater Berlin, Theaterhaus Jena, the Ruhrtriennale Festival and Toneelgroep Amsterdam, and Red Bull Theater, and have assisted directors including Arin Arbus, Ivo van Hove, and Max Stafford-Clark. I’ve participated in TFANA’s Director/Actor Project and their directing workshop with Peter Brook, and have developed original work with Mercury Store and the Drama League. My work has been supported through the Puffin Foundation and the Society for Classical Studies.

I hold an MA in Psychology from The New School and a BA in Theater Directing from Fordham University, and trained at the London Dramatic Academy and the Royal Conservatoire of Scotland.