In late summer 2017, I moved to New York City and was welcomed with open arms by my friend and collaborator Sam French onto the creative team of his production of Millicent Scowlworthy. Featuring a team of artists I knew from my time at Carnegie Mellon and the Williamstown Theatre Festival, as well as new faces, it served as an introduction to creating theatre outside of an institutional setting. In addition to dramaturgical research and support, I regularly chipped into help with set up and strike, house management responsibilities, and running the “sound board” (read: a laptop plugged into speakers) and “light board” (read: an extension cord with lamps and lighting fixtures plugged in). This was theatre at it’s scrappiest, which is to also say it’s most fun, daring, and rewarding.

Collaborators