My Creative Work

Artistically, I come from a theatre background. As a director, playwright, and dramaturg I’ve primarily worked on new plays by living writers, devised works, and works featuring spectacle. I’m most interested in works that embrace theatricality—exposing and centering the mechanisms and constructs of the theatre, as opposed to hiding them.


While living in Chicago, I directed Chicago and World Premieres at The New Coordinates, First Floor Theater, and Chimera Ensemble.

I was commissioned to write two plays: Liveaboard (a three-hander about a woman living on a slowly-sinking sailboat on Seattle’s Lake Union while grieving her father—set on a photorealistic boat), and Little Girl, Don’t Fall (a pop musical adaptation of the Bluebeard fairytale, in collaboration with composer Matthew Muñiz).

As literary manager and ensemble member at First Floor Theater, I helped program several seasons of world- and Chicago- premiere productions and curated two short play festivals. I was also a producer for The University of Chicago’s Chicago Performance Labs, a performing arts residency featuring more than fifteen new works of performance annually.

Deer and the Lovers at First Floor Theater

After moving (home) to Seattle, I’ve begun working as the Communications Manager at The Williams Project, an ensemble theatre dedicated to paying artists a living wage. I organize with a mutual aid pod through South King County/Eastside Mutual Aid. I also received a pastoral fellowship at Valley and Mountain, a congregation dedicated to liberation theology. In this fellowship, we studied radical political and spiritual texts (including James Cone’s God of the Oppressed, Audre Lorde’s Sister Outsider, and James Baldwin’s Go Tell It on The Mountain), and produced a youth poetry open mic featuring renowned performance poet Staceyann Chin.

Since 2019, I’ve been cultivating a creative nonfiction writing practice. In 2022, I published Good Housekeeping for the Sick in Bitter Pill Press’ Apple a Day Zine, where I wrote about my domestic rituals in moments of acute chronic pain.

Future Visions

I’m looking to continue cultivating my essay practice and to publish more works in the coming years. I’m also looking to develop more reporting skills to fuse more journalism into these creative works.

In my performing arts practice, I’m interested in working on multi-disciplinary works that could fuse dance, documentary/docu-theatre, site-specific performance, installation, film, contemporary performance, parties, and food. I’m particularly interested in community-engaged works and artistic practices in support of social movements. Given my essay practice, I’m also curious about using the form of an essay across unexpected media.

As a producer, I’m also fantasizing about artist collectives, worker co-ops, and solidarity economy models to create sustainable and artist-centered modes of production.

Finally, parties and food are a big part of my artistic and community practice. I might be bashful or self-effacing about many parts of my creative work, but I’m not remotely modest about my cooking. It’s exquisite. Having recently moved into an apartment with a yard and neighbors who are like family, I’m throwing more parties, seeking to assemble people from all parts of my life, with the hope that they might run off into the sunset and make some art together, become besties, or…make out…or whatever. I have fantasies of artist salons in bars and parties with cool music in galleries. I’ll wine and dine you and make some too-elaborate food and a layer cake.

Lineages and Inspirations

I seek to root and inspire myself in long lineages of art and politics—particularly liberation movements, queer art, auto-theory, experimental theatre, and contemporary dance. Here are some works and artists inspire me spiritually, aesthetically, politically, and/or formally.

Bill T. Jones/Arnie Zane Company’s What Problem?

Young Jean Lee’s Untitled Feminist Show

Tony Kusher’s Angels in America

Paula Vogel’s Indecent and How I Learned to Drive

The life and work of Lorraine Hansberry (particularly Imani Perry’s biography Looking for Lorraine)

Jenny Odell’s Saving Time

600 HIGHWAYMEN’s A Thousand Ways

Ayanna Young’s Podcast For the Wild

Luisa Diez and Jake Flores’ podcast Why You Mad

Sarah Jaffe’s Work Won’t Love you Back

Saul Williams’ Neptune Frost and Bill T. Jones and Saul Williams’ Motherboard Suite

Carmen Maria Machado’s In the Dream House

Myriam Gurba’s Mean

Alexander Ekman’s Midsummer Night’s Dream ballet

Alicia Kennedy’s On Storytelling

Sophie Lewis’ Abolish the Family: A Manifesto for Care and Liberation

Maggie Nelson’s The Argonauts and Bluets

bell hooks’ All About Love

Sarah Schulman’s The Gentrification of the Mind

David Graeber’s Fragments of an Anarchist Anthropology and Debt

Mia Birdsong’s How We Show Up

Leah Lakshmi Piepzna-Samarasinha’s Care Work

Olúfẹ́mi O. Táíwò’s “Being-in-the-Room Privilege: Elite Capture and Epistemic Deference”

Emily St. John Mandel’s Station Eleven (both the novel and the mini-series)

John Sayles’ The Secret of Roan Inish

Jen Silverman’s We Play Ourselves

Back to Back Theatre Company’s Ganesh Versus the Third Reich

Derek DelGaudio’s In and Of Itself

Yanyi’s newsletter The Reading

Manual Cinema’s Frankenstein