I write for the theater because nothing compares to the electricity in the room - the collective gasp, the quiet tears, or the roar of laughter echoing through the space. I write to shock, to awe, to bring people together, to put a voice to my feelings that bubble up after witnessing what is happening around me in the world. Writing is my therapy. My way to make sense of the world.

I am drawn to a myriad of stories: of resilience, of broken characters that overcome obstacles, of characters that are challenged by societal norms and face discrimination. I highlight the struggles of women, neurodivergent individuals, mental health, and global warming with the ultimate goal to entertain, to transport the audience to another world, to induce discussions and questions, and to allow actors to perform intriguing characters. While I'm inspired by many incredible artists, there are three works that truly opened my eyes to the boundless possibilities of the stage—and taught me never to self-censor my vision: “How I Learned to Drive” by Paula Vogel, “Avenue Q” with music and lyrics by Robert Lopez and Jeff Marx and a book by Jeff Whitty, and “In the Next Room (or The Vibrator Play)” by Sarah Ruhl.

My plays take place in space, in a kitchen, in an office, at an airport, in a police station, in the past, in the future, in the here-and-now. I believe there are no limitations to what can take place on stage. The use of silence, tension, humor, heartbreak, heart-pounding action, and subtleness permeate my stories. And I’m a fan of the unexpected and surprising the audience. My writing is a love letter - to myself, to works that came before me, and to the audience.