Firespring Folio

Hey Firespring Folks –

I’ve made a space here for you to look at some of my writing for a variety of applications and venues – you can also check out the rest of my website to see what other projects I’ve been working on. For more context about the piece I included in the application form, you can visit www.timewhatday.com/about

Gig: Reviews of Indie and DIY Albums | Client: No Friends Zine – 2016

How do you communicate in text what is expressed and experienced aurally? The plight of the sometimes music reviewer, in two-hundred 10pt-font words or less.

Gig: Alumni Interviews and Features | Client: Peck School of the Arts – 2012

I was still a kid fresh out of undergrad when the Development Director of the Peck School came to see one of my plays and offered me this job: researching, contacting, and interviewing notable Alumni for the school’s 50th anniversary, then writing up features on the Alumni to both celebrate their accomplishments as well as the school. The web features are no longer live (turns out seven years can really bury something on the internet), but here’s an example of one of my features with Naima Adedapo from my personal archives.

Gig: Popular Entertainment | Client: University of Arizona – since 2016

I love teaching this class because students what they already know and love to develop critical thinking and writing skills – but a seriously dense, twenty-page textbook entry with no pictures can really be a bummer to read, even if you’re passively binge-watching Netflix at the same time. This is a note-sheet on the course website I wrote to help students unpack the major concepts in this reading.

Gig: Dramaturgy Program Notes | Client: Various Theatres – since 2012

Besides writing for my students, working freelance as a production dramaturg is my most frequent gig – and the program note is the most visible part of the work for everyone involved. Here is a folio of program notes I have written over the past few years. Each short note is the result of deep analysis and research on the piece, the performing company, the production team, the organization, and their intended audience – and then synthesizing all of this information into a brief contextualizing thought to offer the moment before the world of the play cracks open each night.