Thoughts on Playwriting

When I write, I write about everything I am and, even more importantly, about everything I am not. 

Like me, a vast majority of my protagonists are queer women who delight in complication. The protagonists I write are also wholly unlike me. They are, for example, (1) hilariously possessed by demonic spirits, (2) leading a roadkill-worshiping lesbian cult, or (3) in love with arson. 

To me, writing should make us cry—but it is even more important for it to make us laugh. 

One of my most recent plays, a collaborative piece with fellow playwright Tess Inderbitzin titled Camp Cattywampus, features standard playwriting along with songs, poems, dances, and visual art. Just as words are thrown across the stage, so too is paint. 

My writing strives to celebrate the diverse voices of the world in which we all live. I seek to tell stories that have not been told before—or have not been heard. I do not think that theatre should exist in an abandoned, decrepit, locked-up basement of the past. With each word, I instead hope for my writing to whisper to history, shout at literary movement, dance with theatrical traditions, and lick the unusual.