My dramatic writing begins formally and unfurls from there. It seeks to embrace the overlooked, the discarded, the misconstrued. This leads me to use found text in the construction of new work and to ask which stories are most ignored. Drawn to the architecture of ancient myth, I find beauty in archetype over psychology. Blurring the distinctions between musical theater, opera and film, I wonder: Why can’t a list of arias become an aria? How can a how-to manual create a Requiem?  Where does the sharpening of knives fit into song? Can television be weirder?

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