My dramatic writing begins formally and unfurls from there. It embraces the overlooked, the discarded, the misconstrued. This leads me to often 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? How does the sound of sharpening of knives live inside a score? How can a film’s point of view lead to radical empathy?

Photo by Matthew Murphy