Director/Playwright/Designer/Producer
PROJECTS
Poster Design by Maggie Molloy
THE BOX OFFICE
October 2023
This is THE BOX OFFICE, how may we help you?
It’s opening night of La Bohème and Box Office Assistant, Jess, has to make a choice. Does she attend her stepfather’s funeral the next day or stay behind in the Box?
A 90-minute dark comedy, THE BOX OFFICE asks the question: who is allowed to grieve and for whom and what?
Directed by Claire Marieb
Written by Claire Crowley
Featuring Isabelle Deveaux, Giancarlo Herrera*, Bilgin Turker, Donna Jean Fogel*, Michael Takiff
THE BOX OFFICE had its world premiere at The Tank in NYC on October 28th, 2023
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PLANTING DAY
In Development
"Planting Day" grapples with the inescapable fact that two things can be true at the same time. It follows a couple's moral dilemma of wanting to start a family while facing a world that is slowly burning. We see a young queer individual struggle to find their place in the world while finding love (or something of the sort) in an unlikely place. A mom finds herself unsure how to relate to her daughter. And of course, George the dolphin is there to watch it all unfold, falling victim to his meddling habit a few too many times. But please, hold the popcorn...plastic's back on the menu.
UNCLE VANYA
This endeavor began as a group of young artists saying "yes" to themselves instead of waiting for someone else to do so. Our small yet mighty team of five took on an even greater challenge by choosing excerpts from Annie Baker's translation of Uncle Vanya. As a director, I thought the cabin fever-esque nature of this play fit nicely having recently emerged from worldwide quarantine. In the room we spoke about mental illness and melodrama. What feels like it is life or death for these characters and what actually is life or death for them? Or more importantly, which do they prioritize? Finally, we emboldened each other to take risks. Do something bold or risky every time you step into the world of this play. The rawness and transparency of our artistic process and progress was seen in each performance, and in presenting that, we accomplished our goal.
"Physical Touch is NOT my Love Language and ASMR is Inherently Sexual", as it stands, is a “radio play” in one act performed/recorded in the style of ASMR (Autonomous Sensory Meridian Response). I like to think of this piece as a catharsis play that allows open conversation and connection over topics such as mental health, intimacy (both romantic and platonic), and the coping mechanisms we have developed to survive in this ever-changing and ever-terrifying world. It is my attempt at recreating the feeling of being in a dark and cozy theater surrounded by strangers sharing in the same experience. The use of ASMR in this piece is integral to that sense of catharsis because it has the potential to elicit a physical response in the listener that can connect them even further to what is being said. I began writing this piece as my response to theatre moving to the online format and in an attempt to express the overwhelming amount of loneliness and disconnect I felt. It is my hope that this piece helps people feel less alone and creates a new safe space to exist in as we lost so many over the past year.
DANCE NATION
The cast for this production was made up of actors that identified across the entire spectrum of gender and sexuality. The production explored what it means to live in a body that feels other than your own, uncomfortable, watched, and regulated. The creative team explored the growing pains and true moments of bliss that come with unearthing your individuality.
TOP GIRLS
The concept for this production came from the art installation "The Dinner Party" by Judy Chicago. The production pulled from extensive historical research not only on the historical characters at the dinner party and Thatcherism but also the effect the original production had on the conversation around women and their influence at that time. Through a critical lens the production examined the exclusionary practices of second wave feminism as well as Caryl Churchill's own use of tokenism in the play.
LOOKING AT THE WORLD THROUGH GLASS EYES
Looking at the World Through Glass Eyes is a comedic one-act musical that follows an aspiring taxidermist's journey as she applies for taxidermy school, much to the dismay of her vegan mother. She does this with the help of today's leading taxidermists, inspired by how found their way to this fascinating art form and established their place in the taxidermy community. This musical is based off of real posts and comments from an online taxidermy forum for beginners.
THE RESIDENT
This piece was devised by the ensemble and adapted from "Her Body and Other Stories" by Carmen Maria Machado. The creative team explored the haunting nature of trauma and the strange moments in which trauma decides to visit. A new type of ghost story.