TIME! (and/or Progress?)
This Foreign Concept
Berlin, Germany

TIME! (and/or Progress?) is the first collaboration between performance companies This Foreign Concept and The Plastic Arts. The collaboration will take the form of a joint performance called TIME! ( and/or Progress?) The piece explores themes of time and its passage by utilizing time theory, specifically the Theory of Recurrence, as a theatrical device.The piece will attempt to expose the idea that we ultimately cannot know the meaning of anything, thereby celebrating the absurd, the fantastic, and the potentially scientific: the endless possibilities of our existence.

June 2010
Gallery Dresdnertsr. 14 Berlin, Germany
Echo Fakes the Present

Echo fakes the Present is a performative structure, one in which the audience and the performer simultaneously become the subject of the piece, as well as the objects of attention. I, as the performer/creator take on the role of a host/facilitator, the audience takes on the role of invited guest/participant.

May 2007
English Theatre Berlin
Brief Interviews With Hideous Men
Theater performance-An adaptation for the stage of Brief Interviews with Hideous Men: a
compilation of short stories by David Foster Wallace
All visuals sketched by George Lewis Jr. Adapted and directed by Sarah Lewis

This compilation of dialogues and monologues delves into men’s fear of truly being seen or understood. The loneliness, aggression, and rawness of the characters are laid bare by a series of short interviews conducted by a silent female figure. Movement and visual pasages disrupt th etext to highlight suppressed motives. Should we be witnessing this? How is the seemingly harmless partially loaded?

September 2006
English Theatre Berlin
Adapted and directed by Sarah Lewis
“This is where we live in the lush, disorderly fullness of the flesh.”

Charles Mee’s Salome was originally a solo with dance and text that sets the Biblical Salome in a modern world of sexual transgression and murder. Inspired by images it evoked, we have altered and layered Mee’s Salome with dialogue, added text, movement, and music. Through the use of imagery and cyclical progression, three women—embodying femme fragile, femme fatale and chthonian characteristics—enact a non-linear story. These characters offer insight into the contemporary Salome allowing the viewer to enter her complex corridors of desire, sexuality and femininity. In this adaptation, Salome illustrates a collection of conflicting paradoxes that provide no definitions, but instead unveil numerous questions and theories.