Adding Afrofuturist Imagination to the
Media Multiverse
As artists, it is our responsibility to help shape the world with our vision. My dream is to create bold, weird, and wild theater—a space where love, futurism, and Afrocentric themes collide.
a personal and universal exploration of the many intersections of Blackness and Womanhood.
uses original poetry, narrative, movement, and inspiration from performance art from the African diaspora to explore what creates connection and disconnection between Black women and the world around them.
with their Best Rehearsal Room award
a personal and universal exploration of the many intersections of Blackness and Womanhood.
As a Director...
I’m driven by a love for weird, whimsical, and deeply human storytelling.
I want to create work that surprises people, challenges them, and makes them fall in love with the performing arts all over again.
Whether it’s a modern twist on a classic or a completely original world rooted in Afro-futurist science fiction, my goal is always to celebrate diversity and deliver stories that feel fresh, vibrant, and full of heart.
I believe in making a statement without making it feel like a lecture—leaving audiences entertained and thinking and feeling in ways they didn’t expect.
My love for directing comes from my background as an actor. Being onstage taught me to dig deep into a writer’s intention and connect every choice to something meaningful.
As a director, I bring that same curiosity to my work, but now I get to step back and look at the big picture. I love pulling together all the elements of design and performance to create a world that feels alive.
For me, directing is about creating an atmosphere where the cast and crew feel empowered to do their best work while giving the audience an unforgettable experience.
Watch My Work
I was a little intimidated when I was presented with the unique opportunity to direct a horror play. I was unfamiliar with the horror genre and had never directed anything like it. This horror story was set in a preschool, which was a bit unexpected, but the concept was made for a fun and thrilling show!
Crimson was presented through California State University Fullerton's 10-minute play festival.
Written By Kate Checkwood and Featuring Chris Suarez, Naiomi Valendia, Macy Fay, and Lorenzo Isacs
Cover image credit: Mark Ramont
View My Concepts
On April 3, 1968, in room 306 of the Lorraine Motel, history gives way to a surrealist dream world. My vision for The Mountaintop transforms this space into a world where the ordinary and the extraordinary collide.
Dog-eared pink sheets, a cluttered desk—each detail grounding us in realism only to crack open into moments of surreal wonder. From snow filling the doors and windows to feathers raining from the sky during a pillow fight, the room itself becomes alive with possibility.
This isn’t a play about the myth of Dr. King; it’s about Martin and Michael, too. The many layers of a man with scuffed shoes, stinky feet, and the world's weight on his shoulders. Opposite him is Camae, a sharp, unapologetic angel of death whose humor and boldness push him to reckon with his legacy.
Through their dynamic, the play reveals King’s humanity: his fears, flaws, and fierce commitment to change. It asks us to see greatness not as perfection but as persistence in the face of imperfection.
This production invites the audience to meet Martin as a man, to feel the messy beauty of his story, and to reflect on their own role in the unfinished dream he left behind.
I am Blackness and Womanhood. For me, the future is complicated by the intersections of
my identity. They Tend to Themselves is a story of how I am using the lessons and blessings
from my past to become an architect of the unfettered future I wish to see.
They Tend to Themselves is about the self-determination that guides my life and the lives
of Black women everywhere. We move forward bravely in the face of fear and heartache,
and we constantly go back to get the things our ancestors left for us.
