I'm a writer and director working across theatre and opera. My work often leans towards the surreal and absurdist, exploring what we hold onto in the face of a strange world.

My recent work as a writer-director includes Eyes in the Side of a Skull, a dance-like piece of theatre set entirely to Bach's Violin Partitas; and How Long Have We Been Here?, an exploration of the work of anthropologist Marc Augé. Two people are trapped in a lift for eternity, trying to piece together what their lives were like from their fading and jumbled memories.

I’ve also made work as a choreographer: [crops], a piece of dance that grew and altered movement harvested from the audience’s fidgeting. Alongside this, I write essays for the Dance Art Journal - most recently one on the failed creative relationship between Martha Graham and Alexander Calder.

Currently, I am developing Feast, a play responding to the climate emergency and based on Breton maritime folklore, and making a series of experimental pieces with the costume designer Kathy Udaondo, playing with what costume is and can be.

Across all these different forms, I’m interested in the strange and unstable, and in what we turn to when the world around us refuses to give easy answers.

I've worked as an assistant director for a wide range of directors and theatres, including Mehmet Ergen at the Arcola, Annie Kershaw and Jonathan Bank at Jermyn Street Theatre, and Stephen Barlow at the Royal College of Music.

I trained on LAMDA's MA Directing course, where I was taught by Katie Mitchell. Before that, I studied English Literature at Exeter University, where I won a Paddon Award for new writing, and did an exchange at Vassar College in New York, specialising in theatre-making and dramaturgy. I am also a graduate of British Youth Opera's Serena Fenwick programme and the Royal Opera House's observership programmes.

Outside of my work, I play clarinet (badly but enthusiastically) and take ballet classes.