The Good, the God and the Guillotine is a personal response to Albert Camus’ powerful 1942 novel The Stranger. It tells Camus’ story as filtered through the alienating medium of the screen, the microphone, and theatrical distance.

Three performers speak and sing with to an accompaniment of three laptop musicians, set against reactive objects, lights, and hand-drawn animations.

Credit: script and original concept.

Fortnight is two-week long exploration of what it means to ‘be here, now’. “Part theatrical magic, part philosophical treasure hunt”, Fortnight is a thrilling experience for 200 people who sign up to receive communications and attend secret events around their city, which are specially created for and by them.

Credit: concept, text, and original producer.

Moving, unsettling and bitter-sweetly funny, Third Person Redux, investigates the events that unfolded out of the electric meeting of two of history’s most infamous lovers: Bonnie and Clyde.

As they illustrate, control and sometimes miscommunicate the story, the performers veer between the emotional, the factual and the fantastical as they pick-apart the particulars of this strange love affair. Delivered in the third person through a variety of lo-fi media including video, drawings and overhead projection, Third Person Redux creates a fragmented tale of evidence, rumours and the surprising connections between love, life, death, and donuts.

Credit: script and direction.

Three performers stage the story of a stagnant American suburbia, circa 1963, where the minutiae of everyday life has become strange: glass windows portend violence, a spot on the wall promises freedom and a stranger appears in the living room.

The audience witnesses the construction of this strange world on three flat screen monitors, behind which the performers can be seen assembling the backgrounds, costumes and props necessary to crafting a series of perfect images.

Building the visual world in front of the audience using live video feeds, the performers also manipulate miniature figurines, houses and scenery in a play on scale that toys with the boundaries of perception. Virtuoso is a negotiation of the live and the mediated, ruminating on love, home, and perfection.

Credit: script and direction.

A visually decadent, aurally immersive performance that asks the audience to question what is real in a world of increasing technological sophistication. Obscured behind a cinematic screen, three performers are seen as shadows, silhouettes or in stark clarity, creating a fully enveloping environment to accompany their narration which the audience hear through headphones.

The performers narrate a walk that switches between the ‘here and now’ of the story and dream-like memory, using live foley to create a hyper-realistic world of sound for the piece.

Credit: script and direction.

Invisible Messages is a surreal dissection of disappearance and identity conducted by three people whose journeys around the world serve as a springboard for an investigation of the ephemeral nature of perception, mobility and fame.

The piece was born out of my adventurous journey-cum-experiment in September of 2005 on the Trans-Siberian Railway.

Credit: script and direction.

Apostasy raises questions about the way we interpret Christian myths and how an ancient story can relate to a modern world. It focuses on two spelunkers cum lovers whose journey deep into the earth ends up crossing paths with ghost-like apparitions that may or may not be Jesus and Mary.

Apostasy is performed using a highly physical, circus-theatre format with the majority of the action taking place suspended off the ground.

Credit: script and direction.

Third Person is a lecture-cum performance in the form of a third person narrative. Two performers, who may or may not be the subject of discussion, speak into microphones and use video projection, slides and overhead projectors (all under their own control) to tell the story of a relationship falling apart.

Third Person is an experiment in using a simple format to tell a complex story without apology or commentary.

Credit: script and direction.

A 6-hour durational performance installation investigating the feverish affair of sleeping and questioning our perception of waking.

Dance, circus, and theatre combine in a landscape of original music, industrial lighting, and sculptural costume.

Credit: script and direction.

About Silence is a 90-minute exporation of the thoughts that just won’t stop when you look at the news. It is a stream-of-conscious description of what it means ti be alive now.

Every showing of About Silence is different and the performers all come from the arts community who are local to each place it is performed. These performers do not rehearse and are given only small directions just before the show starts.

Credit: script and direction.

Three Ring is a theatrical event that merges circus, theatre, dance, and performance art told by five inmates in an asylum for circus performers. It focuses on memory, loss, and a world that is unraveling.

Credit: script and direction.

Cinematic in scope and viscerally charged, Cheap Thrills is a story about complacency, the easy way out and the fear of the dark. It takes place over the course of one night as a strange man arrives at an even stranger house. There, he encounters a family obsessed with reenacting old Hollywood death scenes. The night has secrets to hide and in the end, they just might be deadly.

Credit: script and direction.

Set in a household of whirling dysfunction – a journey through the experience of growing up gay in a family of strangers.

The script is available to purchase via Amazon.

Credit: script and direction.

Based on the clinical writings of sexual psychologists from the early part of the 20th Century, Poor Angels is a multimedia mediation on sexuality.

Credit: script and direction.