director

THE PILLOWMAN

The Pillowman placed the audience inside a mirrored interrogation room, where they could see themselves reflected as witnesses—watching, reacting, and laughing as violence unfolded. Judgment was never handed down; it was reflected back. By leaning into the comedy embedded in the writing, the production sharpened the violence rather than softening it.

The stories were staged using masks and shadow puppetry, borrowing the visual language we associate with children’s storytelling—an expectation of innocence deliberately violated by the brutality being described. This collision let the play’s dark humor emerge fully: laughter arrived, then curdled, as the audience questioned why they were laughing at all.

#CRAZYLAND

#Crazyland is a comedy about an older gay writer, a younger crush, and a secret he really shouldn’t be keeping. As he hides the relationship from his boss and best friend, the play leans into the humor of insecurity, age, and the messy ways people try to feel relevant—and wanted.

FIRE

The staging resisted sentimentality, allowing comfort to emerge through proximity, shared silence, and restraint. The encounter existed as a brief suspension in time—two people aligned by grief before returning to separate lives.

UNLEASHED

Unleashed used two canine characters to explore instinct, power, and escalation within a shared public space. The work functioned as a study in how impulse and dominance surface when social structures break down.

BRIDAL SHOWER

Getting dressed becomes a battleground as Mark and Tristan prepare for a wedding they resent—the wedding of Mark’s ex-boyfriend, now marrying into political power. Drag is wielded as provocation. As tenderness flips into cruelty, the comedy exposes how love, jealousy, and protest share the same impulse: to be seen, even when it hurts.

CONCERT OF THE MIND

Concert of the Mind was developed as a live exploration of perception, memory, and the limits of cognition. The piece transformed feats of mentalism into a communal experience—inviting the audience to test the boundaries between skill, intuition, and belief. Through mass memorization, musical improvisation, and visual reveal, the performance highlighted the scale and precision of human cognition, inspiring awe and curiosity.

MISFORTUNE

Misfortune is a short film about grief and misplaced blame—the feeling that someone’s death rests on your shoulders even when it does not. The story follows a woman caught between memory and self-reproach, searching for release from a guilt that refuses to resolve cleanly.

HOLLAND AMERICA LINE VIDEO REFRESH

A large-scale rebranding of Holland America Line’s onboard digital media, this project refreshed the visual language of more than fifteen commercial-style video spots. As co-director and editor, I helped develop the concepts, guide storyboarding, and shape a cohesive cinematic identity for content distributed across ships worldwide.

THE COMEUPPANCE

credit: director

writer: Brendan Jacobs-Jenkins

producers: Michelle Orosz, Marianne Goodell

assistant director: Nim Dhillon

set design: Brian Bernhard

lighting: tbd

cast: tbd