I created UNCOMMON POCKETWATCH in 2013, with the drive to make theatrical works born from deep consideration of the process in which they are built.
The company completely refocuses the essential creative question away from “WHAT are we making” to “HOW will we make it?” As a director, this renewed process-sensitive approach has carved space for me to develop and direct work on whatever creative time-signature each project demands, without regard to conventional theater making practices. Deeply rooted in rigorous text analysis, the process centers on devising a very specific rehearsal methodology for each play in order to connect and reiterate the cardinal meanings of the text to the artists as we rehearse it.
Plays that speak to me are largely from the Modern cannon (ex Chekhov, O’Neill, Albee, Brian Friel, Churchill). That said, I’ve also created new work, specifically in my year at the Puppet Lab at St. Ann’s Warehouse, and my work with actor/writer Diane Davis on our documentary play The Uncertainty Principle. The connection for me between these original pieces and classic works I’ve made is that in both cases, the form and/or process of the play is inseparable from its content.
THREE SISTERS by Anton Chekhov, translated by John Christopher Jones
In May 2013, I organized a company of 14 actors to began rehearsals for Act I. We set out to explore the play in the timeline constructed by the story; each act was rehearsed independently of the others, and the time between acts was strictly dictated by the passage of time Chekhov wrote. We concluded rehearsals for Act IV in October of 2018. We are now preparing a process to put everything together, discover the story as a whole, and share with our first round of audiences.
GHOST SONATA by August Strindberg
In development
DESIRE UNDER THE ELMS by Eugene O’Neill
In development
THE UNCERTAINTY PRINCIPLE, written and performed by Diane Davis
a documentary play about the experience of abortion in the contemporary United States. We began developing it in 2012 and have