A semi-recent transplant to Chicago, I have stuck my fingers in as many metaphorical pies as the theatre community has let me thus far, including box office and assistant stage management, dramaturgy, social media coordination, and, of course, performance reviewing. Largely, my passion lies in production dramaturgy and new play development, but I like to dabble in writing as well. My eclectic background lends itself to observing all aspects of a production and analyzing how well each element supports the story being told both academically and aesthetically.

I’ve suddenly lost all ability to remember any of the musical theatre canon, but here are some favorites pulled from the vault of my subconscious (in no particular order):

• Ghost Quartet, by Dave Malloy

• SIX, by Lucy Moss and Toby Marlow

• Natasha, Pierre, & the Great Comet of 1812, by Dave Malloy

• The Phantom of the Opera, by Andrew Lloyd Webber, Charles Hart, and Richard Stilgoe (my first love)

• Hadestown, by Anaïs Mitchell

Though I don’t consider myself a connoisseur of musical theatre by any means, I have a strong appreciation for productions with a strong heart, clever plot, and wonderful strangeness.

Notable mentions that have recently come through Chicago are Life After by Britta Johnson and Get Out Alive by Nikki Lynette — support New Works!