"Truth through Flexibility” 

To me, the Super Objective of my work as an artist is to get at Truth. Theatre as an art form is inherently a series of lies that we tell in order to tell the truth; be that personal truth, experiential truth, etc.. Because we deal in ephemera, the only constant is change. My personal way to navigate that reality is to be enthusiastically adaptable. In this way artistic dexterity allows change to be an asset not a liability. 

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“Care in Collaboration”

Empathy is at the core of my being as a person and as a creative. I’ve come to accept that even within a discipline that isn’t nearly as eccentric or feelings-oriented as acting, that my emotions are an inexorable part of my artistic process. I feel strongly that the art we make is important, but I feel even more so that how we treat one another while art-making matters far more, which is why I aspire to hold space for frequent check-ins. Our work is vulnerable, often stressful, and we are gifting each other our hearts when we create art. I’ve learned that I thrive in an environment where we teach each other how to be good stewards of each other’s hearts. And that this kind of vulnerability is a strength not a weakness. 

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“Good Conflict”

In American culture, conflict is a dirty word. But because we’re making art and come to the artmaking with different perspectives, conflict is an inevitable part of our work. That said, I firmly believe that there is such a thing as healthy conflict. Good conflict is disagreeing about how a moment should go and talking it through respectfully to come to a plan of action. It makes the art better. Similarly, while I hope never to misstep in my interpersonal collaborative relationships, I know that, as humans, intent and impact aren’t always aligned. I’m grateful for opportunities when collaborators trust one another enough to have these conversations where intent can be acknowledged but impact is centered. Active listening and respect are two ideals I strive to bring to my collaborations, and I appreciate when I am able to have these kinds of productive conversations with collaborators that make me feel closer to them. 

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“Forefront Grace”

Most of our problems in the theatre boil down to a lack of time (if not a lack of budget). Every person in every department is up against something, whether that’s a deadline, a board of directors, a curtain call, or a first preview. I’ve found that naming these circumstances, in the moment, deepens our understanding of one another and helps to separate our professional obstacles from our personal frustrations. Keeping this in mind, I hope to forefront grace for myself and others throughout the process. Theatre-making is a marathon not a sprint, and more grace as the process goes on is a value I like to hold close. Part of holding grace is recognizing that, when talking about solutions, I hope to go out of my way to understand what is and is not in the control of my fellow collaborators to understand the things they’re up against so we can solve problems in community.