I believe in stories: subtle stories that nuance our world, askew stories that tilt our view, confounding stories that stick to the inside of our heads like peanut butter to the roof of mouths.

I like to look at old plays – like Shakespeare’s – in fresh ways. I like to help new plays grow, sometimes my own. I explore texts on their own terms; my work is forensic.

I like audiences close to the action not hidden on the other side of a proscenium. I’m most comfortable in spaces and configurations that help sculpt the playing space: thrust, in-the-round, traverse, and site-specific.

I use the techniques of Lecoq and Stanislavski to engage the whole actor – intellect, body, and spirit. I see acting as paradoxical, both pragmatic and abstract. In the rigor of method, there must also be madness.

Among my influences are Lyndsey Turner, Miet Warlop, Pina Bausch, Jon Waters, the American Vaudeville, and the cinema of the 1920s, 30s, and early 40s.