Big inspires me. There is something thrilling to me about an actor who is willing to be outrageous in order to communicate. It’s a terrible thrill – the thrill of knowing you have put something “too big” out there to the world, and you can’t take it back now. I think this helps explain my attraction to Shakespeare . . . to musical theatre . . . and to the old styles commonly revived in physical theatre.
I write through improvisation . . . often. I may begin with movement that I find inherently interesting or with an activity I think my character would do. I may spend hours knitting or dancing or throwing props around before I start writing or drawing anything on paper. In my abstract work, I enjoy playing with randomness in the intersection of movement and words — looking for patterns that I can build on and learning the meaning that others see in my work that I didn’t put there, which I can tap into to communicate.
My current work, DREADFULLY WHITE, is an Applied-Theatre project where the audience employs problem solving strategies in collaboration with characters. This physical theatre play incorporates Commedia influences, poetry, and a number of Styrofoam heads. Absurdist elements in this unusual tragicomedy tell of a delusional family system taught to a child who will grow up to become caretaker for the family abuser– a zany look at a serious subject.