COMMERCIAL MUSICALS

I direct because I’m inspired by seeing what the power of the director's point of view does on any piece, specifically, when it leverages the interest that commercial musicals have. These stories that appeal across generations, often developed from a beloved IP. The leveraging of that platform to diversify and thoughtfully retell these stories has always appealed to me.

Because what happens when directors see it as a viable way to carefully fulfill theatre’s social responsibility? To echo ideas to the masses, when they infuse diversity, thoughtfulness, and artistry into a space that was previously dismissed as “fluffy” or “shallow”? Think Tina Landau (“SpongeBob”), Alex Timbers (“Beetlejuice”) and Tommy Kail (“Hamilton”). The few directors that did this work didn’t look like me, and those that did look me like didn’t do this work.

Why can’t asian jewish gay directors be tasked with “Hello, Dolly!”? Why should “experimental downtown work” be the only place artists and directors alike are held accountable for creating work AND space that’s intentional and thoughtful - and be valued for doing so? What if FROZEN can also be these things?

Especially when it comes to reimagining” what these stories look & feel like - that work needs to be done here, too.

In the room, I prioritize safety and humanity through anti-racist praxis. I rely on my background in education to lead rooms as a patient, realistic and thoughtful collaborator - even with thousands of dollars at stake and a ticking clock, I still push out an exceptional product without sacrifice.

The product that I create is full-out, sustainable and reflective of our world today. Detailed, clean and sleek. From ensuring that the shade that wig lace is tinted matches the performer's skin tone to every harmony line's blend - each detail matters to me.

MATILDA

Dr. Phillips Center | Orlando, FL