Scroll through the gallery below to see featured content from past productions I’ve directed. For more information on my directing, assistant directing and dramaturgy experience, please contact me
A Mouthful Of Birds
By: Caryl Churchill & David Lan
“Jewels Three” Miller Studio, Boston University | May 2019
Central Organizing Intent:
To find an internal balance between our most primal, base instincts and the external pressures of societal rigidity. What happens when the boundary between chaos and order is paper thin?
- Cast -
Mouthful of Birds is a fight for balance between morality and primality. Through mediums of dance, poetry, and spectacle, the play follows the journey of seven individuals through what Churchill calls “an undefended day” where the air outside of ourselves is as violent as our inner state. The play is a loose adaptation of The Bacchae by Euripides and by throwing ancient themes of Dionysian volatility and Apollonian rigidity into our modern world, Churchill and Lan unearth gristly questions about human nature and desire. Mouthful of Birds asks what happens when our most primitive methods of survival are thrown into battle with modern societal structures and oppression. Much like The Bacchae, the play demands an internal balance between these forces—else, we risk self-destruction, descent into violent madness, and a soul either unbridled entirely, or stifled and snuffed out.
Movement Direction: Maggie Markham
Stage Management: Emma cavage
Assistant State Management: Rachel Hoy
Scenic design: Danielle DeLaFuente
Sound Design: Jennie Gorn
Costume Design: francesca Padilla
Assistant Costume design: Danielle Bazan
Lighting Design: Jonas Hayes and Angus Goodearl
DramatuRg: Emma Roth
by: Eric Ulloa | “Jewels two” Miller Studio, Boston University | August 2018
Central organizing intent
To dim the lights on the sensational in order to churn up the incredible power of community, love and a mutual bearing up of a seemingly impossible weight
Oreine Robertson: Jenn, Carla
Alex Hatcher: Darren, Michael, Father Weiss, Bill
Dillon McGuire: Joe, Chris, Rabbi Praver, Mike
Aida Neitenbach: Carrie, Kat, Georgia
Sarah Hirsch: Sally, Yolie, Jeriann
Lucy Rydell: Cathy, Julie, Starr
Stage Manager: Jackie Collet
Scenic Design: Saskia Martinez
Lighting Design: Hannah Solomon
Multimedia Design: Jonas Hayes
Sound Design: Kirk Ruby
Photography: Mark Fortunato & kayce kvacek
“How did this happen to us?”
It echoes around the room with such an ache of “why?”-- Why Newtown? Why Sandy Hook? Why 6 year old children? There’s an incomprehensible grief that beats in the heart of this play and the question it begs feels impossible to answer. How does a town move on from the senseless murder of twenty elementary schoolers? Is healing possible when the wound has been ripped so wide?
On December 14th, 2012 the nation and the world watched in horror as the tally of the dead steadily increased. When the fog of panic and confusion had lifted away we were handed the cold facts that 26 children and faculty had lost their lives at the hands of one 20 year old boy.
Now six years and over 1,300 mass shootings later, there has not been a single piece of comprehensive national legislature pass through congress to reform the way we buy and sell guns. Looking back at this tragedy from our current cultural and political moment, it is hard to say anything other than we failed these families.
But that is not what this play is about.
This play is not about a shooting. Or gun control. Or the NRA. It is not a political call to action or a calculated grab at audience heart strings. This is a play about a community and how they rebuilt their world. As the quote in the beginning of the play states, it is about learning how to light a candle rather than sitting and cursing the darkness. Playwright Eric Ulloa, after conducting over sixty interviews with community members of the town, formed a play using their words to share their story. In doing this, we are able to dim the lights on the sensational, redirect the media spotlight, and truly see the overwhelming power of love and community. In the words of one of the six year old survivors of the attack, “Every day there are shadows, but every day there is also light too.” In watching this play, I ask you to uncover the multi-layered levels of compartmentalization we have all had to embrace to endure the daily barrage of tragic news coverage and honor the lives of those lost. It is one small drop in a pond, but as Yolie says in the play “the ripples, the vibrations… it just emanates out. It’s life. This stuff spreads.
The great god pan
By: Amy Herzog | “Jewels Two” Miller Studio, Boston University | December 2017
Central organizing intent
To look into our memory and face the demons that hide there in order to strip away the false comfort of denial.
Jamie: Brendan Gilhooly
Frank: Jules Tanner
Paige: Michelle Moriarty
Cathy: Lucy Rydell
Donna: Jasmine Brooks
Polly: Annalise Cain
Stage Manager: Jolie Frazer
Assistant Stage Manager: Mia Moshier
Lighting design: Mark fortunato
scenic design: katey christianson
Can a memory be forgotten and then remembered? Can a “memory” be suggested and then remembered as true? As an inherently difficult field to study and measure, the science and psychology around memory remains inconclusive at best. Several prominent theories of posttraumatic stress disorder posit that dissociation from a traumatic experience can result in insufficient encoding of a memory--the memory is not forgotten but rather never created in the first place. This then begs the question: if a memory has never existed for an individual, does the trauma still exist? Then to further complicate the puzzle, how does accountability of the perpetrator come into play? How can something like this be handled in a legal sense when the key witness has never had a memory of the event happening ?
Herzog takes up these questions and breathes them to life in Jamie. As he reaches for concrete answers to an unanswerable question, we are forced to wonder if he would have been better off simply left in the dark. How does our perception of ourselves change based on a label of “victim” or “survivor”--and if you don’t remember it in the first place, does it even matter to begin with?
ASSISTANT DIRECTING AND DRAMATUGRY
Our Country’s Good
By: Timberlake Wertenbaker | Directed By: Judy Braha | Boston University Studio One Mainstage | December 2018
My role within this project:
As assistant director, I worked with director Judy Braha with scene work, character development, actor physicality and dialects. After initial staging had been completed, I ran a second rehearsal room to polish scenes and work with actors. Through the whole process I served as an organizational arm, helping keep this large production’s many moving parts streamlined and efficient.
As dramaturg, I created an in depth online resource for the cast and creative team breaking down the complex history behind this based-on-a-true-story play. I also built a pre-show dramaturgy display, boiling down my research to the most essential elements and then arranging the information clearly and succinctly.