Hi, all!

Wow, what a crazy first half(ish) of the semester. I’m spending the weekend sleeping extra and getting back on a somewhat normal schedule for, well, everything. I’m still a little shocked that I spent two months working hard on an intense show about sexual assault and victimhood and somehow it worked. We had a great run last Sunday—my dancers were superhuman and my chops were happy with me—and now I’m diving deep into footage, thinking critically about the next steps for face the mirror. I’d really love to take it on the road in California and the Southwest, so if your school or venue wants to host a night or two, give me a shout. For the time being, though, I just want to take a few moments and expound a little on what this show means to me and how it came into existence.

I’ve wanted to make some of my sexual assault stuff into a cohesive show pretty much since I started writing it. I’m always really happy to present the work within the scope of a larger concert—that’s where most opportunities to play new music live—but I wanted to challenge myself to take these somewhat-disparate pieces that each told little stories and fit them into a larger arc. It’s important to me that my audiences have some access to my thoughts on how all these things go together, and the easiest way to do that is to mash them together on the same evening of music and performance. This wasn’t an easy process, and I didn’t expect it to be. I’d actually planned two or three more pieces of my own for face the mirror, including one with a sweet title I’m looking forward to putting together this year, but time constraints and the need to maintain my mental health kept those from coalescing.