We look to the past to shape our future. Who are you? Where are you going from here?
I’m a properties and scenic artist with a background in scenic carpentry, scenic design, and directing. I am interested in properties and scenic art as they relate to the worldbuilding of the play and help to create context for storytelling. I am currently the Assistant Properties Shop Manager at the Indiana Repertory Theatre and look forward to continuing my career working with properties and the people who use them.
What most excites you about being a part of TAM’s Brave New Worlds Season?
I’m looking forward to returning to rotating rep and also to Shakespeare–it’s been a long time since I’ve had the chance to do either!
We’re all about making old things new and new things classic. Why are you drawn to Classic Theatre? How do you shake it up?
What I love about classic theater is how much room you have to experiment and make new choices. While obviously honoring the spirit of the original work is important and informs a new production, classic theater gives you lots of room to make choices, to look at the original meaning of a piece and ask yourself what new meanings are created if you change a couple of variables. Also heightened language is a delight.
From what sources do you draw your inspiration?
Anything that makes me laugh or cry. Preferably both
You can have dinner with any three influential people. Who are your dream guests, why them, and what is the topic of conversation?
At this particular moment the new Boygenius album is the sad girl album of the summer so I’m going to go with them. Topics to include maintaining long distance friendships. It’s so hard and so important in an industry that’s all about connection but where we all move around so much.
How have the past few years changed your view of making theater and what action are you most proud of?
I’ve been trying to slow down and give things the time they deserve. Theater is often fast and furious at the expense of its artists and I’ve been making a point lately to slow down and move at a pace that really makes theater sustainable. That includes both physically working a number of hours that is sustainable and allows for work life balance, but also taking the time with each build and rehearsal process to make sure we’re thinking about the storytelling, thinking about how the choices are going to impact people, and allowing ourselves time to incorporate experimentation and feedback into our process.
What’s your super power?
Massively expressive eyebrows.
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