I enjoy describing myself as a gothic feminist playwright. Ever since I was a child, I was fascinated with gothic literature— the darkness, the drama, the lavish romance, the intricate plots, the hauntingly sinister beauty of it all. But traditional gothic literature can feel archaic or even misogynist to a contemporary audience. So I explore the different ways I can make this very specific genre more exciting and accessible to twenty-first century theater-goers. 

​

I am a very hands-on writer—meaning that I don't only write alone in my room. I often rely on actor or director friends to read my work out loud. Since a play is meant to be heard and seen—not read on the page—I strive to experience the play with these senses as much as possible: whether that means gathering together Zoom, organizing private or public readings, renting a studio so we can explore the play on its feet, etc. I incorporate a great deal of the feedback I receive from the artists or audience to continue to develop the piece. Because I am a trained actor as well, I will also act in my plays so I can get a better sense of the emotions, rhythms, and physicality required to bring the role to life. Often, I learn how to make certain roles more accessible and exciting by taking the time to step into the role and being open to new discoveries about who this person is. 

 

My overall goal as an artist is to reclaim the gothic genre. I want gothic literature to be associated with brave, flawed, and complex women, not damsel-in-distress stereotypes. I want these works to include provocative and relevant themes, not cliche supernatural devices. I want new gothic works to feel fresh and exciting, not stagnant and predictable.