selected clippings
Theater Review, New England Theatre Geek
Loud, rebellious female characters from classic literature are juicy fodder for feminist reclamation, and understandably so. For women and folks of marginalized gender identities, it’s rare to see ourselves reflected as complex human beings in historical texts, even if most of these surviving texts are by dead white men. Shakespeare, for instance, likely didn’t have radical feminist intentions when he wrote Taming of the Shrew. But Kate’s story is reshaped and retold again and again and again, problematic parts and all, if only to prove to the world that yes, women like her always existed.
The Wife of Willesden, a Kiln Theatre Production currently running at the A.R.T., strives to continue in this tradition, reexamining with the titular character from Chaucer’s “The Wife of Bath” (a tale from The Canterbury Tales) through a 21st century lens. The text was adapted (or translated, which I would argue is more accurate) by novelist Zadie Smith, with raucous, ensemble-driven direction by Indhu Rubasingham.
about me
I'm a writer, reader, and theater-dabbler; a feminist, queer, utopian-driven weirdo. As an essayist and theater critic, my work has been published in Severance Magazine, Howlround Theatre Commons, OnStage Blog, and The Journal for Dramatic Theory and Criticism. As an educator and dramaturg, I've taught courses on play analysis, musical theater, Shakespeare, and multicultural theater history. I currently live in Cambridge, Massachusetts, where I spend much of my time kickboxing, singing, thrifting, and writing about writing.
MFA - UMass Amherst, Dramaturgy (2021)
Certificate in Advanced Feminism - UMass Amherst (2021)
BA - Washington College, Theater & English (2013)