My practice is grounded in the ideas of Civic Dramaturgy proposed by LaRonika Thomas as well as three guiding principles, presence, service, and care found as "red threads" tying together the ideas in Applied Theatre: Ethics by co-editors Kirsten Sadeghi-Yekta and Monica Prendergast. 

Often unseen, dramaturgy functions as the invisible architecture of a process, shaping artistic vision, supporting research and context, and fostering dialogue among artists and audiences. The dramaturg is often referred to as the "eyes of the audience" to hone this skill, I prioritize engaging as audience member anywhere I go. 

My practice is rooted in the belief that dramaturgy must extend beyond the rehearsal room into the communities a production serves. Every story unfolds within a specific place, shaped by local histories, values, and lived realities, and when inquiry turns outward, it becomes an act of civic engagement rather than solely interpretation.

​

This approach aligns with applied theatre and Civic Dramaturgy, centering presence as sustained attention, service as reciprocal collaboration, and care as an ethical commitment to artists, stories, and audiences. 

​

These principles have shaped every corner of my work, framing dramaturgy as an ethical practice that is attentive to process, accountable to community, and responsive to the specific conditions of its moment. I understand dramaturgy not simply as a role, but as an artistic and civic practice that listens, questions, connects, and grounds a production from its earliest spark through its final performance.

​

To practice dramaturgy, for me, is to hold both context and moment together, asking not only why this play and why now, but why this play, right here, right now. In doing so, dramaturgy becomes a bridge between art and public life, accountable to both artistic ambition and civic impact.