I’m still creative. I’m still independent. I’m still standing. I create process-driven works that challenge assumptions and the status quo and are not afraid to be uncomfortable. I mentor emerging theatre artists and support other local theatre-makers. If you think any of that’s valuable to the world, and you are inclined to give me a birthday present to mark this arbitrary milestone based on our base-10 numbering system (or in the spirit of mutual aid to an always-struggling artist, or to have me working for you instead of ‘the man’), here are some ideas…
Direct, Ongoing Support
Just directly support the next 12 months (or more) of my artistic work. What a gift!
I’ve chosen these amounts with two considerations: 1) a minimum below which I don’t want people supporting me (if $5 a week is a struggle, you shouldn’t be supporting me) and 2) a maximum amount so that I can keep my independence from a single large supporter.
Whether you can support me with money or not, you can join my mailing list to get updates unmoderated by some large corporation’s alogorithm.
The links on this page all go to a payment processor, but contact me if you wish to support me offline (bank transfer, Wise, etc.),
Weekly Support
Predictability is a definite plus for my artistic practice. If you can swing the price of a drink at a cafe or an ice cream cone a week, $5 CAD per week goes a long way for me.
Annual Support, repeating
If you don’t want your credit card getting dinged every week, this is the equivalent of a year’s worth of weekly $5 CAD payments.
Annual Support, non-repeating
For those of you who are distrustful of subscriptions or monthly payments, this is the equivalent of a year’s worth of weekly $5 payments.
Per Project Support
I know that some people prefer one-off gifts to support projects. Well there’s that option, too! Here are two projects that have their own fundraising going on right now!
Yesterday
This is my first dramatic audio project! Based on Yokohama resident Keiko Amano’s memoir, Yesterday chronicles the life of a teenage girl in 1960s Yokohama who is trying to get a ticket to the upcoming Beatles concert.
I Speak in the Halls of Power
So after a brief diversion to scripted works last year, I’m returning to to collective play-making this year. For the first time since my first YTG production, I’m doing a show based on my own writing. In this case, it’s a poem about power, love, and loss and I’m incredibly excited about it.
Other Projects
Aside from the two projects above, here is just some of what I’ll be working on over the next 12 months with your support:
These are just the projects I know of at the moment. I’m sure there will be others, and there are also back-burner projects that, with enough funding, I can move back to the front burner.
Hamlet
I’ve been brought on by StagePlay Japan to direct their spring production of Hamlet. I’m still working out my angle and concept, but I’m really excited to get to work with some of Tokyo’s best actors. This will be the first “regular” play I’ve directed since 2010 and the first Shakespeare since 2009’s Richard III, but classical theatre is a core part of my background and skillset and I’m looking forward to flexing those muscles again.
StagePlay is being very generous, but only your support is going help me break even on the massive amount of time I’ll need to put into this…
Cabaret Night
YTG is planning a cabaret night based on the I Speak in the Halls of Power poem to get the ball rolling on that project. I will be producing.
The goal is fundraising for the I Speak in the Halls of Power project, but these events tend to be break-even affairs
Incoming Tour
I will be supporting a planned but as yet unannounced touring show in the back half of 2026.
Tech Stuff
I am undertaking the painstaking process of disentangling myself and YTG from large platforms run by mega-corporations. This means finding ways to host my own material, build self-hosted solutions, and pay for solutions run by people and orgs that are centered on use-value rather than exchange-value, or rather non-extractive rather than extractive.