About

The director at work

I make smart, thoughtful, entertaining, socially aware theatre. I love Shakespeare and Stoppard and really great words. I am dramaturgically prepared; my tablework is thorough; my productions are powerful. Tony and Olivier Award-winning playwright David Edgar says my resume is “scarily distinguished.”

I make theatre and hold spaces that foster the feeling of being not merely accepted, but sought out, connected, useful, celebrated as one’s authentic self without fear of judgment.
I make theatre that tells great stories powerfully and truthfully in spaces that practice radical acceptance. I am also committed to theatre work that guts the cultural church of Shakespeare and starts the Shakespeare block party.

Biography

I have just founded the Redeeming Time Project in Minnesota. Our mission is to use Shakespeare to effect positive change. We leverage the theatrical arts to enable incarcerated and formerly incarcerated adults to develop social, cognitive, and life skills which they will need to reintegrate into the […]

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Directing philosophy

Classic. Smart. Provocative. Truthful. I direct kick-ass Shakespeare. I make smart, thoughtful, entertaining, socially aware theatre. I love Shakespeare and Stoppard and really great words. In addition to my classical experience, I have regularly worked on contemporary plays that explore issues of social justice and […]

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Wish list

I have a little bit of a ‘champion of the underdog’ in me, and look forward to producing and directing some of the great writers who have fallen, if not into the dustbin, at least onto the floor adjacent to history’s dustbin: writers such as […]

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Latest Tweets

Ability is of little account without opportunity.
– Lucille Ball

You lie, in faith, for you are called plain Kate,
And bonny Kate, and sometimes Kate the curst;
But Kate, the prettiest Kate in Christendom,
Kate of Kate Hall, my super-dainty Kate,
For dainties are all Kates, and therefore, Kate,
Take this of me, Kate of my consolation…
--The Taming of the Shrew, Act II, scene i