As a director, I love rallying and collaborating with a team of people, especially when directing new work processes. I love to approach scripts like a musical score, to use music in theatre, and musical theatre as a form, because I can bring my musicality to activate each measure with intention or physicality to tell the story, more strongly than words. I didn’t always understand exactly what people said on the Korean TV shows I grew up watching, but I was able to laugh and make sense of what they meant. When I direct I allow for the space to let characters (and collaborators) exist in their boldest and most honest form. I want coming to see our show to feel like you’re coming over to our show family’s house for a niiiice home-cooked meal — you’re gonna follow our rules and eat what we feed you, but trust that you will be taken care of and have a taste of something new.
I care about theatre that understands equitable representation on and offstage, theatre that is postcolonial and feminist, and theatre that is aware of white supremacy culture’s bad habits and will point them out in efforts to make society better. There is a special place in my heart for plays about family and legacy, plays about understanding identity between its many intersections, plays about finding community, and plays that uncover moments of history or subvert what we were taught to believe.