• Producing

    I like to make stuff happen.

    Producer, "Endings and Beginnings" Party

    • Coordinated a party to celebrate the Foundry Theatre's closing and its book, A Moment on the Clock of the World, working closely with founder Melanie Joseph.
    • The party featured 300 guests, book readings, live music with a second line band, a DJ, an informal museum of company artifacts, a bar, and heavy hors d'oeuvres. 
    • Read more about the company's legacy here. 


    Co-Artistic Director, 2018-2019

    Producing Director, 2017-2018

    • ​Led a month-long after school program for New Haven middle-school students, in which they: learn about theater, write original plays with one-on-one mentorship, and see their imaginations realized in public performances of their plays, fully designed and produced by their graduate student mentors.
    • Recruited, hired, trained, and managed a team of 19 artist-mentors from Yale School of Drama, fostering a unique and positive two-way learning environment from curriculum through production.
    • Over three years with the program, I also served as a mentor (2017) and director (2019), working to celebrate young people's creativity.
    • For a taste of this magical program, check out our 2018 shows on YouTube.

    City of New Haven Department of Arts, Culture, & Tourism

    Fellow, Summer 2017

    • Curated and produced public programming including:
    • Summer-long series of artist talks, panels, and workshops for the Ely Art Center exhibit "Broad Stripes and Bright Stars"
    • Pre-show audience enrichment talks with local food truck pairings for Elm Shakespeare's production of Romeo and Juliet

    • OperaPalooza, an evening of outdoor opera bringing hundreds of attendees to the New Haven Green

  • Yale Cabaret

    With my amazing co-artistic director Latiana "LT" Gourzong (left) and managing director Armando Huipe (right).

    Mission & Values

    LT, Armando, and I collaboratively developed this mission and values statement in consultation with our Artistic Associates; these words guided us throughout our stewardship of Yale Cabaret.

    Yale Cabaret welcomes and awakens Yale School of Drama and our communities. When we enter this basement, we adventure into the artistic unknown, open ourselves to transformation, and discover each other anew.


    Cultivate Surprise. We nurture the new and nascent, the fragile and unfinished, the risky, experimental, and curious.


    Embrace Divergence. We pursue a multitude and diversity of experiences, identities, aesthetics, and cross-mentorships. Inclusion activates our community to elevate our work.


    Practice Compassion. We are people first. Yale Cabaret invites audiences and artists into process together to develop the ways we watch, work, and treat each other.


    Share Joy. Here we fill our well, not parch it further.


    Shared with special thanks to Amauta M. Firmino and Jeremy O. Harris, historians for Yale Cabaret’s 50th anniversary.

    In 1968, Yale School of Drama students established a basement performance venue in the former home of the Phi Gamma Delta fraternity at 217 Park Street. Envisioned as an alternative outlet for drama school students’ creativity and experimentation, Yale Cabaret became a forum for our expanded New Haven communities, whom we invite to gather around food, drink, conversation, fellowship, and artistry. Since its founding, the Cabaret has remained in continuous operation, producing hundreds of plays, old and new, alongside musicals and musical revues, comedy shows, dance, performance art, and genre-defying performance. Artists who spent the early days of their careers at Yale Cabaret include Meryl Streep, Angela Bassett, Wendy Wasserstein, Sigourney Weaver, Christopher Durang, John Turturro, Lynn Nottage, Anna D. Shapiro, Henry Winkler, David Alan Grier, Tony Shalhoub, Paul Giamatti, Liev Schreiber, Trip Cullman, Melissa James Gibson, Tarell Alvin McCraney, Lupita Nyong’o, and many hundreds more. Each generation of School of Drama students renews the Cabaret with their talent and energy. Every year, a new student leadership team curates its season from School of Drama student proposals—uplifting peers’ passions, impulses, and curiosities. With evening and late night performances on Thursdays, Fridays, and Saturdays, eighteen weekends a year, our basement offers ever-changing, ever-surprising experiences to all who enter.

  • Our Yale Cabaret Season

    Looking back at our season, I am proud to have produced two festivals of new works and stewarded seven world premieres, five productions of new plays (premiered within the last three years), three radical adaptations of extant plays, and one truly epic drag show—a season that testifies to my passion for nurturing nascent works that forward the contemporary theatrical field. Moreover, those works were made by a more inclusive and representative group of Yale School of Drama students, including many working outside their disciplines of study to collaborate in new ways—supported by the launch of a new digital forum that helped folks connect.


    Our Yale Cabaret team deepened our commitment to our communities both within and beyond Yale: we produced The Whale in the Hudson, the first Cab show for young audiences in at least a decade, and we were recognized by the New Haven Pride Center with a Dorothy Award for championing queer stories. We also made the Cabaret a more convivial space with capital improvements and by hiring our new Chef Dana Cesnik Doyle, the Queen of Tarts. The spirit of hospitality permeated our work down to the details—from writing regular letters to our audiences, to hosting a late-night live-piano-karaoke holiday party, to designing a lobby that invited everyone to make their mark by writing on our walls.

    Cab 1: The Purple Flower

    by Marita Bonner

    conceived by Mika H. Eubanks and Aneesha Kudtarkar

    In her surreal masterpiece, The Purple Flower, Marita Bonner asks not if the revolution will happen, but when. Originally published in The Crisis in 1928, The Purple Flower is credited as the first known experimental work written by a black American woman. Bonner combines biblical imagery and political allegory to disrupt what she calls "the thin-skin-of-civilization." Though never performed in Bonner's lifetime, this seminal text of the African American avant-garde remains extremely relevant and urgent today.

    Cab 2: Fade

    by Tanya Saracho

    directed by Kat Yen

    Two Latinos at a Hollywood studio: one writes; one cleans. Can they subvert the stereotypes of a whitewashed TV show? Tanya Saracho’s timely play explores race, class, and the politics of belonging within the Latinx community. Does status determine your value? Does blending in mean fading out?

    Cab 3: The Light Fantastic

    by Ike Holter

    directed by Molly FitzMaurice

    Deep in the dark heart of Indiana, a sinister and mysterious force knocks on the front door of the big house on the hill. Ike Holter’s contemporary comic riff on old school horror follows former mean girl Grace back to her home town after another failed stint of city living. Down-on-her-luck, she strikes a Faustian deal that leaves her all-too-indebted. Grab your popcorn for a side-splitting, blood-splattered blockbuster.

    Cab 4: Untitled Ke$ha Project

    directed and conceived by Latiana "LT" Gourzong

    Imagine singing, imagine song, imagine words, imagine text. Imagine placing all of those things on top of each other whether or not that was the original intention. What is your story, and how might you want to tell it through music? Through song, joy, and experiences come join our interesting tale of life told through Kesha songs.

    Cab 5: Agreste (Drylands)

    by Newton Moreno, translated by Elizabeth Jackson

    directed by Danilo Gambini

    A Brazilian tale of love and loss, desire and death, ignorance and violence. Based on true events, Newton Moreno’s AGRESTE (DRYLANDS) is a poetic narrative set in Brazil’s suffocating and desertified northeast. Three storytellers share with the audience their accounts and reenactments of a moving love story between two young farm workers that unravels in perplexing ways, as their intimacy becomes the subject of local gossip, and the memories of their relationship are ransacked by a conservative, violent and deeply fragile community.

    Cab 6: TBD festival of rough drafts

    an evening of works-in-process

    produced by Latiana "LT" Gourzong & Molly FitzMaurice

    TBD, our new festival of works-in-process, offers a laboratory for artists to experiment with the very first draft of an idea—live with an audience. This shared-bill of several radically different short-form works-in-development invites our communities to experience newer, rawer, rougher work: an evening of performance that’s more questions than answers.

    Cab 7: it's not about my mother

    by Lizzie Milanovich

    directed by Sam Tirrell

    After their mother’s funeral, two half-sisters reunite in their family basement to begin clearing out her house. Unpacking pretty clothes and bitter memories, Midge and Nancy confront the aftershocks of a troubled childhood through the ghost of the Gold Dust Woman they called Mom. It’s Not About My Mother is a bittersweet memory play about coming to terms with the death of a person you might not entirely miss.

    Cab 8: Taking Warsan Shire Out of Context on the Eve of the Great Storm

    by Christopher Gabriel Núñez

    directed by Olivia Plath

    It’s 2050 & during the permanent sunlight of the summer solstice, Aparna drags a wedding gift for her sister halfway across the world to the research center where she works in the Arctic Circle. As a monster storm creeps towards them, Aparna and the group of scientists her sister is a part of try to cobble together a ceremony of dignity in the face of certain death.

    Cab 9: The Whale in the Hudson

    by Brad McKnight Wilson

    directed by Maeli Goren

    Miss Melody, the best teacher in the world, is leaving the school, and it has something to do with the mysterious whale in the Hudson River. Taylor does what any fourth-grade private eye would do: takes a slug of apple juice and launches an investigation. Full of music, imagination, and adventure, The Whale in the Hudson is a story for the young and young at heart.

    Cab 10: School Girls; Or, the African Mean Girls Play

    by Jocelyn Bioh

    directed by Christopher D. Betts

    Paulina, the reigning queen bee at Ghana’s most exclusive boarding school, has her sights set on the Miss Universe pageant. But the arrival of Ericka, a new student with undeniable talent and beauty, captures the attention of the pageant recruiter—and Paulina’s hive-minded friends. This buoyant and biting comedy explores the universal similarities (and glaring differences) facing teenage girls across the globe. How far would you go to be queen bee?

    Cab 11: The Rules

    adapted from Charles Mee

    directed by Zachry J. Bailey

    Rule Number One: Do not smudge the squeaky clean floor.
    Rule Number Two: Spitting is not permitted at the dining table.
    Rule Number Three: If you must resort to cannibalism, make a compelling defense.
    Rule Number Four: Enjoy. Avoid distressing other patrons with visible expressions of existential dread.
    Rule Number Five: Do not break THE RULES.

    Cab 12: Dragaret

    directed by Jakeem Powell & Arturo Soria

    Make your February fierce with the 6th annual Yale Cabaret drag show. Come celebrate the Saints and Heroes; Kings and Queens; icons of the past, present and future. Join us for glitter, glam, and a gorgeous drag extravaganza. Friday night will feature New Haven and Connecticut Queens while Saturday will be the Yale School of Drag. Let’s get sickening!

    Cab 13: Lenny's Fast Food Kids Gang

    by Angie Bridgette Jones

    directed by Alex Keegan

    Back in the 90’s, Lenny’s Fast Food Kids Gang was the perfect spokeskids for diversity for Lenny’s Burgers. They were cool, hip, and could solve any problem with a kids meal. At their fifteen year reunion, they can barely talk to each other. Once something sparks a fuse during their reunion, they are all put to the test of what it means to be the spokespeople for diversity, and what that means for them in their personal lives.

    Cab 14: Novios: part one

    by Arturo Luis Soria III

    directed by Sohina Sidhu & Amandla Jahava

    In NOVIOS: part one, cooks serve desire with a side of sass. Parched en el calor of a gringo’s kitchen, they long for the cool sueño americano; trapped in a haze of machismo, they want to be seen. A queer downpour might just set them free.

    Cab 15: Avital

    by Michael Breslin and the company

    On August 13, 2018, the front page of the New York Times made a splash: “What Happens to #MeToo When a Feminist Is the Accused?” This question doesn’t even begin to cover the strange entanglement between Nimrod Reitman, a gay graduate student, and Avital Ronell, his queer dissertation advisor and academia’s reigning queen of deconstructionist theory. Part lecture, part dazzling spectacle, AVITAL dives headfirst into problematique questions about abuse of power, queer desire, and grad school.

    Cab 16: Satellite Festival

    a weekend of new works across multiple venues and genres

    produced by Rebecca Adelsheim & Molly FitzMaurice

    Now in its fourth year, the Satellite Festival features multiple performances across different venues. The festival weekend of new works includes live music, dance, installation, and experimental performance. Join us as we leave familiar ground and launch into orbit!

    Cab 17: Fireflies

    by Donja R. Love

    directed by Christopher D. Betts

    Somewhere in the Jim Crow South, the sky is on fire. Olivia’s fierce rhetoric is the secret force behind her husband Charles: a charismatic leader who galvanizes the march toward freedom with the speeches she writes. When four little girls are killed in a church bombing, Olivia and Charles’ marriage is threatened. This tragedy and years of civil unrest leave a pregnant Olivia believing that “this world ain’t no place to raise a colored child.”

    Cab 18: Alma

    by Benjamin Benne

    directed by Cat Rodríguez

    Working mom Alma has singlehandedly raised her daughter, Angel, on tough love, home-cooked comida, and lots of prayers. But on the eve of the all-important SAT exam, Alma discovers her daughter isn’t at home studying. A schooling and la chancla await Angel at home—but so does a creeping realization that more is at stake than just a test score. A sacrifice from Alma’s past weighs heavy on their present; now, Alma fears that her worst nightmare may soon be their reality. Will the American Dream cost them a life together?

  • & More

    Managing Editor for Web, Social Media, & Special Events

    2017 - 2018

    Newsletter & Social Media Editor

    2015 - 2016

    Curatorial & Operations Associate

    2012 - 2014

    Salonathon is an inclusive community, and new arts incubator: its weekly cabaret was a home for underground, emerging, and genre-defying art.

    Artistic Intern

    2012 - 2013

    Performance Programs Fellow


  • Design

    Scenic & Properties Design

    My past life as a freelance scenic and properties designer took me on many weird and wonderful adventures—and still keeps me thinking through theater in three-dimensional space. I had the pleasures of working on Colossal and Edith Can Shoot Things and Hit Them (Company One), Cascabel (Lookingglass), Thou Proud Dream (SITE Festival, Northwestern), Hit the Wall (Chicago Commercial Collective & The Inconvenience), Ghost Bike (Buzz22), The Reckoning of Kit and Little Boots, Sexual Perversity in Chicago, and Orestes at Delphi (First Floor Theater), Night of the Magician (Screen Door), The Glass Inward (The Island), and The Woods (Mechanical Advantage); production designer of the short films No One Knows I'm Gone (University of California Los Angeles Masters Thesis) and Siren Syndrome (University College London Film Society).

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