Horror and Playwriting
I’ve always been passionate about the horror genre. In the theatre world it’s remained largely untapped, despite its capacity to deliver truly engaging stories through the use of extreme circumstances. In horror films, quality writing is sometimes sacrificed for a pulpy fulfillment of tropes, but there is something special about the way a story can unfold on stage. The medium allows for a more intimate examination of the dark emotional climates prevalent in these types of stories. Frightening or disturbing an audience is a powerful tactic, ultimately leaving the viewer vulnerable to the emotional, soulful undercurrents which drive horrific narratives.
A Full Length Drama
Drawing notes from Rosemary’s Baby (and several other classics), the recent nostalgia for eighties cinema, the glamorous aesthetic of Italian horror, and the vein of Brecht’s Epic Theatre, Ordinance is thrilling, stylish, experimental, and, above all, thought provoking in its explorations. With consistently rising stakes, the scope of Ordinance broadens from the intimate to the grand, from personal to universal, from waking horrors to those of nightmares. The story centers on a suburban family with ties to an ancient organization intent on ushering in a New Age for the human race. Mental illness, substance abuse, and the dark voice that lurks beyond the film dividing conscious and unconscious thought mingle dangerously throughout this blood soaked narrative. Ordinance, and its uniquely faceted characters, demands the audience participate in its gruesome journey.
As Days Go By
A One Act
A series of eight separate scenes, soliloquies, vignettes, and even a dance piece, each set along a linear timeline of the apocalypse. A haunting and cerebral look into the profoundness of death, loss, grief, and heart ache felt from people of all walks of life as a terrible virus that turns its hosts into violent monsters, consumes the world.