We are all actors: being a citizen is not living in society, it is changing it.

My aesthetic and artistic efforts are deeply informed by my applied theatre research, which is grounded in Performance as Research (PaR). My primary research focuses on the intersections of Performance as Activism, Community Centered Theatre, and Narrative-based Performance, including both devised theatre and solo or ensemble-based work. Additionally, I explore theatre as a tool for social change, using performance to provoke dialogue and inspire action. My research empowers individuals and community organizations to create art that embodies change, revelation, and resistance. Theatre and the performing arts serve as mirrors to society, reflecting its attitudes and mindsets. They can also function as powerful tools for educating people about their current conditions, fostering awareness and inspiring transformation.

Applied Theatre, or Community-Engaged Theatre, encompasses a diverse array of practices aimed at provoking or shaping social change. As a practitioner, I begin many of my classes and performance projects by asking key questions: What is the story here? How can I best convey it to the audience? How can this work serve the community from within? My artistic praxis is organized into four phases: 1) concept, 2) creation, 3) performance, and 4) documentation.

"Applied Theatre is an umbrella term for the use of theatrical practices and creativity that take participants and audience members further than mainstream theatre, that is often in response to conventional people with real life stories" (Prentki). I have developed a skill set and practice that creates an open forum for both theatrical and non-theatrical individuals to explore their artistic curiosities through Augusto Boal’s Theatre of the Oppressed and improvisational techniques. By offering resources and exercises that encourage the use of personal histories and experiences, I aim to foster a community of artists grounded in confidence and artistic integrity.

My research agenda supports the performative community-engaged initiatives provided through these training programs and provided instructional development in:

• Identifying & Engaging Community
• Turning Community Stories into Art (Writing & Design)
• Collaborative Composition & Performance

“Those who try to separate theatre from politics try to lead us into error.”, Augusto Boal. Through my creative scholarship, I engage theatre as a space for social inquiry and cultural critique, devising ensemble and solo-based works that examine how violence and injustice, often amplified through social media, shape the personal psyche. Central to this practice is my original devising framework, the Umbrella Method, which gathers lived experience, memory, and collective storytelling into collaborative performance, holding multiple voices and perspectives within a shared structure. I investigate how narrative-based storytelling can foster resilience, connection, and repair. These projects, gathered under the banner Drama to Drama: From the Headlines to the Stage, address urgent concerns including racial injustice, gender equity, domestic violence awareness, and inclusion. Most remain intentionally iterative, evolving as works in progress where discovery is prioritized over polish. For me, the outcomes are embedded in the making itself. The collaborative journey carries as much weight as any final product. 

At its core, my practice holds that all theatre is both personal and political.

My creative research spans three key areas: directing, performer/playwright, and devised works