Current WorkAs an opera librettist, it's been a joy to collaborate with the wonderful emerging composer Nathan Fletcher on "A Bridge for Three." That's our new 20-minute work for Washington National Opera, and it's being brought to life in Jan '18 through the "American Opera Initiative" program!
Working under the mentorship of Pulitzer-winning librettist Mark Campbell on this project has proved to be an incredible privilege.
Next up, we head into workshops on the piece in October, then a last round of revisions and our premiere! If you're in D.C. in January, I hope you can join us for the performance at the Kennedy Center. It's my first professional commission in the field, and I'd love to share the work with you.
Opera is a new direction for me, and discovering this medium as an artist has become a focal point and a highlight of my 2017.
Earlier this year, I was awarded "Best Librettist" by Opera Theater Unlimited for my original drama Full Moon Bender, created in their 48-hour opera festival. You can watch a video of that 15-minute short right now, featuring beautiful work from collaborators Brian Ciach (Composer & Pianist), Kathleen Normington (Director), and sopranos Autumn Allee and Emily Schmeichel-Frank:
Looking ahead, I'm thrilled to announce that I've been commissioned to write the libretto for a new chamber opera through Houston Grand Opera's HGOco "Song of Houston" initiative!
For our HGOco commission that's set to premiere in 2021, my collaborator the brilliant composer Nell Shaw Cohen and I are creating a feminist rodeo opera. (Yup, I said a Feminist. Rodeo. Opera.)
A feminist rodeo opera.
A. Feminist. Rodeo. Opera. With the visionary musician Nell Shaw Cohen. Yeah, okay, I'm pretty excited.
Meanwhile, as a playwright, I'm working on a new full-length script called Truest. It's about two sisters on a vengeance spree, and feels like Sam-Shepard-Meets-Thelma-And-Louise after 4 shots of espresso and 3 shots of rum, but also it's a comedy.
Truest started with a fun first reading as part of the Custom Made Theatre's "Undiscovered Works" series in San Francisco in February of last year.
Then, it headed to Berkeley Rep in June for a developmental residency at The Ground Floor.
In December, director Jessica Holt led the new draft through a vibrant workshop production with the New York Acting Company at the American Academy of Dramatic Arts in NYC. (More info).
Development on "Truest" continues in 2017, and soon I'll be announcing the dates for an upcoming reading of the next draft of the script.
Meanwhile, as a performance artist, I'm making new work in the rehearsal studio!
(That mostly means "I'm making new work in my bedroom," but sometimes also in an actual rehearsal studio.)
Anyway, I'm working on Thirst Trap, my new solo show which will have its first developmental performance in San Francisco in October. Part story and part stunt, it's shaping up to be 45 minutes of really wild work onstage. I hope you can join me!
Stay in touch and find out where to catch upcoming performances on the show calendar page!
Recent WorkIn 2016, I recruited and led a team of 24 top-notch Bay Area theatermakers to create the serialized theater format Better Than Television, a television-inspired live show complete with fake commercials, real theme songs, and other surprises including Trigger Warning, a cathartic examination of gun violence in America. Also in 2016, I performed new solo work as a featured artist with Hatch Performance Collective, a group that devises site-specific events in non-traditional spaces around the Bay Area.
In 2015, I had scripts seen on three continents, and enjoyed a wonderful World Premiere run of my feminist vaudeville play The Horse's Ass and Friends, directed by Ellery Schaar at Repurposed Theatre in San Francisco, CA.
In 2014, I launched my solo performance Take Me Home: a One-Woman Odyssey, based on Homer's epic adventure poem, with runs in SF and in Edinburgh, Scotland. I was honored with the "Keep An Eye On" Emerging Artist Award from Theater Bay Area, my ensemble (Neo-Futurists) was named "Best Theater" (SF Weekly Readers' Poll) and "Best of the Bay" (SF Bay Guardian), and my monthly event (Saturday Write Fever) was named "Best of the Bay (Humor/Improv)" by San Francisco Magazine. Personally, I was called "one very insightful and confident woman with a devilish sense of humor" by Huffington Post.
In 2013, I was profiled in the Sept-Oct 2013 issue of Theater Bay Area Magazine, and SF Weekly named me one of "11 Bay Area Theater Artists to Watch."
In 2012, I first became the most frequently-produced female playwright in the San Francisco Bay Area, a title I still (to my knowledge) hold, with 100+ productions and readings (and counting) in front of audiences since Jan '09. So, that's pretty neat.
In 2011, The San Francisco Chronicle called me a "Local Luminary," and The SF Bay Guardian's "Year in Theater" awarded one of my shows "Most Memorable Food Fight."
In other words... it's been a pretty sweet couple of years, theater-wise. You know, if you like that sort of thing.
Which I do.
My greatest artistic inspirations are playwright Tom Stoppard (for the challenge), artistic director Charles Ludlam (for the style), experimental ensemble Forced Entertainment (for the imagination), and actor Madeline Kahn. All the roles in all my plays are written for Madeline Kahn.
My mentors and teachers have included Carl Weber, Ehren Fordyce, Cherrie Moraga, Craig Slaight, Norman Kline, and James Kass. A high school dropout, I earned a B.A. with Honors from Stanford University ('05). I've eschewed the M.F.A. route in favor of learning directly from audiences, and from fellow artists young and old, with voices both known and new.
My plays have been performed across the U.S. and in the U.K., in venues ranging from Midtown Manhattan to small-town Montana.
I have appeared onstage hundreds of times with companies including The San Francisco Mime Troupe, No Nude Men, and American Conservatory Theater. Among other things, I've played... two different executioners (both male)... a talking bear... a perfect woman made in the image of Aphrodite... an asthmatic hunchbacked albino mother... and even Princess Salome (yes, of the seven veils, and no, it wasn't a comedy). I have showcased original solo performance at venues including Zeum, The Marsh, San Francisco Theater Pub, La Peña, The Garage, and Salon San Carlos.
As a charter member of the San Francisco Neo-Futurists, my hometown's branch of the 25-years-running national ensemble which creates non-illusory performance, between Dec 2013 and Jan 2015 I wrote and performed almost 40 original works as part of the rotating cast of the ongoing show Too Much Light Makes The Baby Go Blind (30 Plays in 60 Minutes). After fruitful collaborations with fellow Neo-Futurists from NY and Chicago, I stepped out of the ensemble in 2015, becoming one of the first alums of an SF company I'm proud to have helped build.
What My Work Is LikeCritics and theatermakers have described me as "upsetting," "refreshing," "an Absurdist," "a natural Brechtian," "a ruthless innovator," "a highly engaging raconteur," "relentless," "hilarious," "a sociopath," "a genius," "urgent," "pointless," "often humorous," "smarter than I remembered," "cute with a chewy gunpowder center," "poignant and very, very funny," and "really... something." Watching my pieces onstage, they've claimed to witness "the death of God," "the death of fun," and "fun."
Audience members have laughed, wept, gasped, stormed out, thrown actual cash at the actors, sat quietly, jumped onstage to dance, and said some very nice things including "I needed that," "Don't tell my girlfriend, but I liked your play better than hers," "I would die to have written that," and "I am coming back again tomorrow."
If you've seen my work, and would like to tell me what it was like for you, please do! Audiences are my heroes.
Game Writing and Narrative DesignI love writing games and interactive narrative, and specialize in projects for mobile and social platforms like iPad and Facebook. My favorite projects are close collaborations where I work with a team to create an immersive and compelling fusion of narrative design and platform mechanics.
Right now, I'm working on the dialogue for a chatbot! Chatbot design is an exciting new field, with a lot of possibilities.
In the recent past, I created interactive text and photo adventures for the launch of the app Sequel, and wrote quests and stories for the mobile game Westbound!, a pioneer-themed adventure full of cowboys and saloons, with over 100,000 5-star user reviews. I also worked on the content team for Thred, a new visual mobile platform from Will Wright (designer of The Sims).
If you're seeking game writing or interactive content, please start a conversation with me via Email firstname.lastname@example.org or Twitter @WayBetterThanTV
Dramaturg & Writing Coach
I've worked in dramaturgy at super-established places like Tony-winning American Conservatory Theater and OBIE-winning The Builders' Association, with a specialty in new play development. Past projects include dramaturging the world premiere of Bone To Pick & Diadem by Eugenie Chan for Cutting Ball Theater (where I was formerly the Literary Manager), and the world premiere of Failure 2 Communicate by Valerie Fachman for Performers Under Stress.
I am mostly retired from production dramaturgy, but still love working one-on-one with playwrights.
I am available for private consultations (in person or online) to support the development of new scripts, and offer personalized writing coaching for authors at all levels. If that sounds cool, contact me and we can start a conversation about your writing goals and what we can do with the budget you've got! There's almost always something 🙂
Science Facts About Me
Dislikes: Jerks, bullies, the fact that over 20% of American children live in poverty.
Likes: Nachos, not being dead.