The ineffable joy of directing: I feel the audience get something – a pivotal moment in a relationship, a discovery about a character or maybe a joke – and I can track it back to discovering it, then helping the actor to grab it, focus it and send it out. I’m talking to the audience, only it’s even more powerful because so many other peoples’ imaginations are part of it, and even though I may seem invisible, I am profoundly present.
Perhaps my most important skill as a director is my ability to create the particular process that each project needs to reach its fullest potential. From classics to new plays to nascent ideas whose form is emerging, I marry a strong sense of story to a nimbleness of creative process. I am sensitive to the needs of the material, and I can wear many hats: director, producer, adapter, dramaturg, inventor of form.
I started out as a director of new plays downtown. If you wanted something moving, funny, beautiful, but you had no time and no money, I could do it for you. While my horizons have grown, the skills I developed early still scaffold everything I do. I am a deep and sensitive reader. I’m very good at working with playwrights to discover the story they want to tell. I create an environment which brings out my collaborators’ best work. I can make an audience laugh. I almost never lose my cool.
To these skills, I have added a host of others: I have shot with four cameras in a studio, and a single camera on location. I have directed Shakespeare with casts of 16, and 6. I have collaborated with composers and video designers. I have worked with movie stars and students, for audiences from New York City to Texas and beyond.
I have a dark view of the world that is often expressed through humor. I revel in the glory of language and its theatrical potential. I want to capture the ways that people actually talk – the fragments, stutters and false starts that crack the surface to reveal what’s really going on. If you want to see specifics of the work that I have done and where I have done it, please click here for my resume. Also, I invite you to look around my website. For each project, I have tried to illuminate both the work and the unique process that created it. Enjoy!
New Feet Productions
New Feet Productions is dedicated to developing and producing new and classical works that ripple with theatrical language and invention. I founded New Feet in 2007 in order to support the development of INTO THE HAZARD (HENRY 5), my six-actor adaptation of Shakespeare’s HENRY V. In May 2009, New Feet fully produced INTO THE HAZARD (HENRY 5) at Walkerspace with sets and lights designed by Tony-winning designer Christopher Akerlind. Since that time, New Feet has produced or co-produced world premieres of works including: MILK by Emily Devoti, (co-produced with New Georges – 2010), ALL DAY SUCKERS by Susan Dworkin at the New York International Fringe Festival (2010), This American Life journalist Jack Hitt’s solo performance MAKING UP THE TRUTH (International Festival of Arts and Ideas, Spoleto Festival, Joe’s Pub – 2011-12) and Maya Macdonald’s LEAVE THE BALCONY OPEN (2012).