I’ve been directing for over half of my life. In that time, I’ve directed a wide range of plays, from early modern comedies to dramas hot off the playwright’s presses. My plays have toured in Michigan, Ohio, and New York City. I have a particular passion for verse dramas, but I enjoy all sorts of directing. I excel at creating ensemble pieces and empowering actors to work alongside me as artists, rather than, as E. Gordon Craig demanded, “ubermarionettes.”
I enjoy working with student actors, or people who don’t consider themselves actors. I once directed a series of concert readings starring professors, in plays about their disciplines (for example, we used physics professors for Copenhagen). They brought a kind of experience to the work that was unusual and surprising. Audiences enjoyed this take on the play–it had a different kind of honesty than it would have with traditional actors.
That said, many of my favorite shows have featured incredibly skilled and experienced actors; I welcome their work and creativity.
- The Caucasian Chalk Circle, by Bertold Brecht (trans. W. H. Auden)
- Shoemaker’s Holiday, by Thomas Dekker
- Volpone or The Alchemist, by Ben Jonson
- Homebody/Kabul, by Tony Kushner
- Assassins, by Stephen Sondheim
- The Seagull, by Anton Chekov (trans. Michael Frayn)
- The Marriage of Anansewa, by Efua Sutherland
- The Merchant of Venice, Twelfth Night, Antony and Cleopatra, or Measure for Measure by William Shakespeare
- Dr. Faustus, by Christopher Marlowe
- The Little Foxes or The Children’s Hour by Lillian Hellman
- Peter Pan by J. M. Barrie
- Medea by Euripides (trans. Jean Anouilh)