I direct to spark collisions—between story and audience, between performer and truth, between the moment we walk into the theatre and the moment we leave it changed. My work lives at the intersection of precision and play, building rehearsal rooms where actors feel both fearless and deeply cared for. I believe a production should feel inevitable in hindsight, but impossible to predict in the moment. Whether I’m staging a tightly wound drama or an absurdist romp, my goal is to strip away the noise until we find the beating heart of the piece—and then make it impossible to ignore.