I came into writing plays while pursuing a career as a stage actor, from a place of feeling a deep despair and disconnection to this world and only feeling "safe" and "part of it" when diving into the exploration and performance of a character in a play.
In January 2019 I launched the Santa Fe Playhouse Young Playwrights Project, a free creative writing program for at-risk, underserved and unheard kids and teens. I facilitate workshops for these students because I passionately believe in the healing power of finding one's voice, having a safe and brave space to nurture one's voice and the importance of having a platform to share it, if desired.
My life's journey has often taken me away from performing and/or writing for theatre for years at a time, but the politics and pandemic of 2020 has re-taught me that I MUST write. Playwriting is the form that speaks to me as the language of hope, transformation and possibility and I believe theatre is still a medium that has great potential to help inspire positive change.
My plays tend to be about subjects that pain me, frighten me or enrage me and are inhabited with characters that seem to try to teach me something: about myself, about the world we live in, and about possibilities.
I often write about trauma and its effects but in oder to understand, to break the patterns that cause the harsh woundings. And to find a way through and beyond. Writing plays helps me to communicate in ways, often surprising and mysterious even to myself, that the everyday communications fail to achieve.
Theatre helps me to stay here in this crazy word and try to find meaning, messages and hope. And humor. My plays often tend to be on the "dark-comedy" spectrum and I have found, from experience, the humor comes alive when it transcends the limitations of the written page.
I am a proud member of the Dramatist Guild as well as a member/moderator of HONOR ROLL!: an advocacy and action group of women+ playwrights over forty - and our allies - whose goal is our inclusion in theater. We are the generation excluded at the outset of our careers because of sexism, now overlooked because of ageism. We celebrate diversity in theater and work to call attention to the negative impact of age discrimination alongside gender, race, ethnicity, faith, socioeconomic status, disability, and sexual orientation in the American Theatre and beyond.)
In an apocalyptic future, Martha tries to take care of her loyal companion, Sweetie,
as resources such as food, water and breathable air rapidly diminish. Martha struggles to meet
Sweetie’s demands for basic needs and playtime (!) while dealing with the harsh realities that
Sweetie is oblivious of. News of a friend’s death threatens to push Martha to an emotional place
where she can not take care of Sweetie. Sweetie sees, finally, that Martha is the one that
needs some attention and...cuddle time.