Hello and welcome! I'm delighted that you're curious enough to check out my website; while the best way to get to know me and my work is probably over tea and cookies, I hope this will give you a sense of what I'm about.
I'm a playwright, performer and third-generation teacher. Those three roles all inform each other and my stories; I've written about everything from Exxon to Aphrodite, but all my work (as a theater practitioner and as an educator) starts from character, a desire to understand people and the world, and the idea that small choices can have radical consequences. You definitely see that in my latest play, Goddess of Mercy, and in my first screenplay, Playing House.
I learned in the classroom that if I want to reach kids I need to treat them as equals (at least equals) and make 'em laugh; I've learned that's doubly true when trying to reach a stage audience. And I've learned that the best way to start a conversation isn't by claiming to have answers -- it's by asking tough questions.
I'm a nomad. I grew up in small-town Maine, but by sixteen I was living on my own in Valencia, Spain, and I've spent the last fifteen years or so bouncing from city to city. Probably as a result, I think a lot about roots and community and what it means to be connected to (or disconnected from) the people around you. Those were the questions behind The Dragon Play, but also one of my works-in-progress, End of Shift. They were also the ideas that drew me to director Soham Mehta, and his short screenplay Fatakra, on which the two of us collaborated.
And I'm the daughter of a Spanish teacher and a shoe-salesman-turned-pastry-chef. I grew up doing community theater alongside bus drivers and lawyers, and spent my early 20s rehearsing shows in Chicago church basements. At the end of the day, I want to write plays where the people I love will recognize themselves (even if it's uncomfortable), lean forward in their seats, and leave the theater talking.