Over twenty, ranging from musicals to Shakespeare, from devised work to classics.

I’m not sure why I asked myself this question as it is incredibly difficult to answer. I’d probably award a tie between Cyrano de Bergerac and I Didn’t Expect Such Humanity. With Cyrano, I set the play in a party supply office, though we performed it outside and was able to play with the script in fun ways. For Humanity, the cast came together in wonderful ways and we were able to choreograph an ecstatic, movement-based piece dealing with sensitive material in a conscientious, enlightening way.

Though all the design listed in my CV was foundational, it was working on the lights for I Didn’t Expect Such Humanity that left me with the most fond remembrances. During the performance when the playwright from Brazil was in attendance, the lighting programming failed and I had to run to the board and reprogram the whole show on the fly in order to allow some important moments to shine.

I really enjoyed playing Gloucester in King Lear. I’ve been in the play twice, the first time as Oswald and I remember eyeing the role of Gloucester even then as a bright-eyed freshman in college. When I tackled the role of Gloucester, it was as a PhD student, still young for the role, but relatively aged and mature compared to others in the production. It is still the greatest challenge I have faced as an actor.

I write in fits and starts. I find that when I need to write something and that ever-evasive thing known as inspiration isn’t striking, I can always write evocative stage directions and it will bring me into the world of the play. I love what stage directions can do for making play  writing real!