work samples

  1. Bad Behavior
  2. AntigoNICK
  3. The Merchant of Venice
  4. Forbidden Fruits
  5. I’m Not Here to Make Friends
  6. Milking the Beast and Going to Hell
  7. What You Will
  8. Plays from Neofuturists workshop


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AntigoNICK February 2018
These are images from the production of Anne Carson’s AntigoNICK that I directed at the University of Chicago in 2018. 


ANTIGONE: We begin in the dark and birth is the death of us 
ISMENE: Who said that 
ANTIGONE: Hegel
ISMENE: Sounds more like Beckett
[NICK starts to wind the red thread around the legs of KREON, who does not notice]
HAIMON: The girl does not deserve to die
HAIMON: No single human being has perfect knowledge
KREON: I do not honor anarchy
EURYDIKE: This is Eurydike’s monologue / It’s her only speech in the play / you may not know who she is / that’s okay / a state of exception / marks the limit of the law / this violent thing / this fragile thing
MESSENGER: be as rich as you like be absolute 
if your joy goes
I wouldn’t buy you for a shadow of smoke
TEIRESIAS: watch out Kreon
watch out I see the future plunging toward you 
and it contains the corpse of your own son 
you’ve made a structural mistake with life and death my dear 
you’ve put the living underground 
and kept the dead up here
ANTIGONE: O Thebes / O gods / O look / I go
I’m the last one left in a line of kings
I was caught 
in an act of perfect piety 
CHORUS: how is a Greek chorus like a lawyer
    they’re both in the business of searching for a precedent
CHORUS TWO: finding an analogy
CHORUS ONE: locating an example / so as to be able to say
CHORUS THREE: this terrible thing we’re witnessing now is / not unique you know it happened before
ANTIGONE: Some men say an army of horse and some men say an army on foot 
and some men say an army of ships is the most beautiful thing 
on the black earth. But I say it is 
what you love
ANTIGONE: O MY BROTHER O MY BROTHER O MY BROTHER O MY BROTHER O MY BROTHER

CHORUS: here we are we’re all fine
    we’re standing in 
    the nick of time

©MMXXIII
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