A STATEMENT OF PURPOSE
As a theatre artist, I aim to be a strong and impactful voice in theatre. The urgency of this mission became clear to me after the 2016 presidential election when I realized that the world would benefit from having more women and people of the global majority in leadership positions. The world thrives when we ensure the most oppressed are cared for and supported. To illustrate the need of those who are oppressed and who reside in the minority in a community, the stories of their lives, their loves, their struggles, and their triumphs must be shared. It is crucial that the people at the table making decisions about which stories receive attention and funds reflect the population who would benefit from having their voices heard and their existence
humanized. Diverse storytelling is not just a choice but a necessity. Stories bring people together, when shared and created, and have the possibility of creating a community where there once was none.
With that in mind, having different faces around that table is important to help decide the stories told. Once chosen, it becomes imperative that the person who decides how the story is told understands the plight of the population represented in the tale. I intend to claim a seat at the table or add one of my own so that I can decide which stories are shared and ensure they highlight the humanity of the population represented. In this era of political turmoil and strife, which is spurred on by people in positions of leadership who cling to ideals rooted in white supremacy and patriarchy, it is imperative to share stories that reinforce and highlight the humanity of those populations that are most oppressed. The world must be reminded that we are all human beings entitled to respect by our existence.
Creating a sense of community and connection is not just a part of my artistic vision; it is its core. With every production I approach, I want to create an environment that invites the audience into the world my collaborators and I have created and makes them feel a part of it. I strive to leave audiences moved by the strength of their emotions, to stir conversation, and to provoke deep thought. Moreover, when the production is all laughs, I want the audience to exit having had an experience that will flit through their minds for weeks to come, leaving laughter in its wake. Theatre, for me, has always been about connection and community. The theatre has long been a refuge for me, and I have found like-minded people even when it seemed on the surface that we would have no reason or way to connect. Community created over a shared love for art and entertainment and a desire to leave people moved and changed. Thus, it is a part of my artistic vision and its core foundation. Building up from the strong base of my vision is a need to craft a spectacle that will engage and delight the senses. A spectacle that draws one in visually, aurally, and physically. I want to create theatre that holds the audience captivated, fully present in their bodies, in the space with the actors, engaged and committed until the final curtain call.
My career plans are big. The trajectory I have outlined is expansive. I appear to have taken the proverb “Knock and the door shall be opened” literally. My career started in stage management, which taught me to be practical and flexible. I shoot for the edges of the galaxy, knowing that as long as I clear atmosphere, I will be pleased with the outcome of any project. My ideal career involves creating art and paying bills; doing one without the other does not lead to long-term fulfillment. Pursuing my Directing MFA will afford me the necessary training and credentials to accomplish both goals. I foresee a dynamic career path in which I balance teaching at a collegiate level with directing shows for regional theatres. More than simply a method to
reliably pay the bills, I see teaching as a necessary aspect of being a leader. I want to be in the classrooms instructing future theatre artists on ways to develop their voices without drowning out the voices of others. I want to support young theatre makers as they navigate a world that can leave them burnt out and drained of the joy theatre can bring.
People such as myself, with a strong sense of self, a point of view, and a desire to foster more community, are not just wanted but needed in the theatre world right now. This profession would not have survived for thousands of years without strong voices who saw its merit to advocate for and innovate with it. The theatre needs leaders who will not shy away from taking a stance and advocating for those who need their voices uplifted. We need leaders with a head for storytelling and an eye for spectacle because ignored stories have minimal impact. Shared stories unite people from disparate backgrounds as they see each other’s humanity. I have been telling stories and creating art since my childhood. I have been a leader since I opened my mouth and declared my first need. I know who I am. I know what I want. I am not just a part of the future of theatre but an essential part of it.
humanized. Diverse storytelling is not just a choice but a necessity. Stories bring people together, when shared and created, and have the possibility of creating a community where there once was none.
With that in mind, having different faces around that table is important to help decide the stories told. Once chosen, it becomes imperative that the person who decides how the story is told understands the plight of the population represented in the tale. I intend to claim a seat at the table or add one of my own so that I can decide which stories are shared and ensure they highlight the humanity of the population represented. In this era of political turmoil and strife, which is spurred on by people in positions of leadership who cling to ideals rooted in white supremacy and patriarchy, it is imperative to share stories that reinforce and highlight the humanity of those populations that are most oppressed. The world must be reminded that we are all human beings entitled to respect by our existence.
Creating a sense of community and connection is not just a part of my artistic vision; it is its core. With every production I approach, I want to create an environment that invites the audience into the world my collaborators and I have created and makes them feel a part of it. I strive to leave audiences moved by the strength of their emotions, to stir conversation, and to provoke deep thought. Moreover, when the production is all laughs, I want the audience to exit having had an experience that will flit through their minds for weeks to come, leaving laughter in its wake. Theatre, for me, has always been about connection and community. The theatre has long been a refuge for me, and I have found like-minded people even when it seemed on the surface that we would have no reason or way to connect. Community created over a shared love for art and entertainment and a desire to leave people moved and changed. Thus, it is a part of my artistic vision and its core foundation. Building up from the strong base of my vision is a need to craft a spectacle that will engage and delight the senses. A spectacle that draws one in visually, aurally, and physically. I want to create theatre that holds the audience captivated, fully present in their bodies, in the space with the actors, engaged and committed until the final curtain call.
My career plans are big. The trajectory I have outlined is expansive. I appear to have taken the proverb “Knock and the door shall be opened” literally. My career started in stage management, which taught me to be practical and flexible. I shoot for the edges of the galaxy, knowing that as long as I clear atmosphere, I will be pleased with the outcome of any project. My ideal career involves creating art and paying bills; doing one without the other does not lead to long-term fulfillment. Pursuing my Directing MFA will afford me the necessary training and credentials to accomplish both goals. I foresee a dynamic career path in which I balance teaching at a collegiate level with directing shows for regional theatres. More than simply a method to
reliably pay the bills, I see teaching as a necessary aspect of being a leader. I want to be in the classrooms instructing future theatre artists on ways to develop their voices without drowning out the voices of others. I want to support young theatre makers as they navigate a world that can leave them burnt out and drained of the joy theatre can bring.
People such as myself, with a strong sense of self, a point of view, and a desire to foster more community, are not just wanted but needed in the theatre world right now. This profession would not have survived for thousands of years without strong voices who saw its merit to advocate for and innovate with it. The theatre needs leaders who will not shy away from taking a stance and advocating for those who need their voices uplifted. We need leaders with a head for storytelling and an eye for spectacle because ignored stories have minimal impact. Shared stories unite people from disparate backgrounds as they see each other’s humanity. I have been telling stories and creating art since my childhood. I have been a leader since I opened my mouth and declared my first need. I know who I am. I know what I want. I am not just a part of the future of theatre but an essential part of it.