Peas, Pierre Pathelin, and Purgation; or, Three Farcical Arts of the Deal — University Theatre at UGA 2019; Société Internationale pour l’Étude du Théâtre Médiéval, Genoa, July 2019.

“Deathbed Deceptions,” staged reading of scenes from The Farce of Master Pierre Pathelin, Ben Jonson’s Volpone, and Moliere’s The Imaginary Invalidfor Bedchamber Scenes in Early Modern European Drama, a collaborative project of UGA and the Université Paul-Valéry Montpellier 3, 2017.

Machinal (Sophie Treadwell) — University Theatre at UGA 2017.

The Bakkhai (Euripides, translated by Robert Bagg with original music by Louis Romanos) — University Theatre at UGA 2014.

Life is a Dream (written in collaboration with George Pate, based on La vida es sueño by Pedro Calderón de la Barca and La retablo de las maravillas by Miguel de Cervantes, with songs by Grant Parker) — University Theatre at UGA 2011.

The Rez Sisters (Tomson Highway, with original found-object percussion score by Louis Romanos) — University Theatre at UGA 2010.

Antígona Furiosa (Griselda Gambaro) — The Active Group at the Martin Segal Theatre, CUNY Graduate Center 2000.

The Lesson (Eugene Ionesco) — Lewis and Clark College 1979, guest director

The Ride Across Lake Constance (Peter Handke) — Oregon Free Studio Theater 1977


Container For A Life — Hotel Utah, San Francisco 1988: Original text combined with text on bees from How to Imagineby Gianfranco Baruchello: cabaret performance with film and dance exploring memory, sensation and desire.

Sheltered Lives — The Lab, San Francisco 1987: Original text: song cycle for three dancers on the relation of architectural imagery and the female body; installation incorporating paper and fabric sculpture; vocal score and electronic music by Thomas Miley. 

Still Life — Centerspace, San Francisco 1986: Adaptation of Chekhov spoken and sung by four dancers; includes material from “The Grasshopper,” Three Sisters, Uncle Vanya, and The Cherry Orchard.

Earthwork and Curves — New Performance Gallery, San Francisco 1983: Original text and excerpts from John McPhee (In Suspect Terrain) and Samuel Beckett (Watt): exploring geological processes, places; collaboration with dancer Laura Lipman Clark.

Private Transportation — Brand X Studio, San Francisco 1982: Adaptation of Stanley Crawford’s surrealistic novel Travel Notes: exposition of travel fantasies and nightmares.

Monologue of the Lady Voyager — Choreographers’ Workshop, San Francisco 1981: Original work based on Carlos Fuentes’ Terra Nostraand life of Juana la Loca: travelogue on loss and loneliness.

Blueprint for a Season on the Riviera — Choreographers’ Workshop, San Francisco 1981: Text drawn from Diary of Polina Suslovaand Biography of Malcolm X: vacation and revolution.

Deliberation and Decorum — Bay Area Performance Alliance 1980: Adaptation of “The Waltz” by Dorothy Parker.

The Fefu Project — Kearney Street Project, Portland, Oregon 1979: Adaptation of Maria Irene Fornes’ Fefu and Her Friends.

Saudades— Moving Space, Portland 1979: Adaptation of Gunther Eich’s radio play The Rolling Sea at Setubal: creation and destruction of a world based on nostalgia; collaboration with Jean Graham.