As a director I am drawn to honest, radical, and deliberate work in which I can see myself or my community reflected. Our identities are complex, moving matrices and the work I am most excited about responds to these shifts. I am drawn to honest work that is not bounded by stereotypes, but revels in the complexity of human identity and engages with the myriad questions surrounding ‘authenticity’. I am also drawn to radical work that attempts to push against conventionalism with characters that complicate assumed tropes, with acts of disidentification that work against the dominant ideology, or innovative form. I am drawn to deliberate work that aims to impact audiences with a purpose and work with intentional design choices that support and enhance the text.
Playwrights like Alexis Scheer, Octavio Solis, and Guadalís Del Carmen brilliantly play with tensions in work that is honest, radical, and deliberate; Alexis’ plays are unflinchingly daring in how she radically repositions Latina femininity with raw power; Octavio’s work creates worlds that gleam with dark poetry and brutal violence imposed by society and individuals alike; Guadalís’ scripts push against the weight we place upon our differences with delicate honesty.
I am committed to working on new plays because they can reflect the world we live in. I distinctly remember my feeling of disbelief when a professor suggested that I should simply reach out to a playwright I was reading. My earliest training focused exclusively on playwrights like Shakespeare and Arthur Miller, so the suggestion seemed like the most absurd impossibility; but working on new plays is a great opportunity to collaborate on a living project. New plays are free from the burdening weight of the cannon, they respond to the world we live in directly, and they contain the reality of a living playwright who can collaborate in the artistic creation.