Me
Hello. Here’s a bit that’s true. Or here is a story that’s somewhat true.
I’ve always written. My work is published in places like On the Seawall, Camroc Press Review, Apex Magazine, and Interfictions. My writing has been set to music by Nicole Truesdell, recorded and longlisted for the New Media Writing Prize, and available to print form the Short Édition kiosk at Seattle Public Library.
In 2016, I founded Bracken, a literary magazine that publishes poetry, fiction, and art born of the love of the woods.
I discovered playwriting in 2017 and had my first production in 2018 in London. Since then, my work has been produced on both sides of the Atlantic by Kibo Productions, Slackline Productions, Women’s Writes, and others. I’m a Dramatist Guild Foundation National Fellowship Finalist (2023-2024) and a quarterfinalist in the ScreenCraft Stage Play Competition 2023.
My short film pressed/bluebells premiered in Cannes in 2022 and another short film Soot Darlings is an official selection at Video Art & Experimental Film Festival (VAEFF).
In July 2023 I trained with Frantic Assembly in London and came back ready to start Verbooom.
I edit other people’s work and help them get unstuck. See Creative Check-ins.
I’ve been mentored by Stella Duffy and Kevin Dyer.
I’m a member of the Dramatists Guild of America and Writers Guild of Great Britain.
a wee artist statement
I was a poet first. Now I write plays like a poet, chiseling them down to things with little fluff, and I write poems like a playwright, always a conversation with the other. I’m influenced by Alice Birch who is kind and brutal and really gets words, by Harold Pinter who hates words, and by Bulgakov who uses words to build worlds I used to disappear into. I’m deeply interested in interdisciplinary work and collaboration, and in movement and physicality in theatre. I’m ever inspired by Crystal Pite and Kidd Pivot.
As an immigrant and cultural vagabond, I’m fascinated by language, its acquisition and loss, its purpose and musculature. I believe that English is a language created by men and is therefore insufficient at telling female-centric stories. Since these are the stories I’m most desperate to tell, I’m creating a new language of theatre that sounds and moves like women.
As a parent of a teen in the US, I’m galvanized by the gun violence problem. I’ve always been interested in what’s below the surface. I want to explore the mentality of kids and parents living with constant anxiety about violence, yet whose country is not a war zone. I think theatre is a perfect medium to explore this, because having a bunch of people in a room is political.
I’m desperate to make theatre that breaks your heart, kicks your head in, then undoes your buttons and does them up again wrong.
