Creep L.A.: AWAKE

During Creep L.A.’s "AWAKE,” I learned that your brain can only populate your dreams with real faces it has seen before.

Comfort can be found in the familiar. Faces are familiar. The baby crying in the upstairs apartment is familiar, but today the crying is different than it was last night. The reproduction of a recognizable Van Gogh that hung in your grandmother’s home is familiar. But removed from context, the familiar can become discomforting.

Creep L.A.’s “AWAKE” was featured in People Magazine (twice), featuring a quote from Anna Kendrick, about a different Creep L.A. production two years ago. I have never met Anna Kendrick. I was not in the performance she saw, two years ago. I was not in the performance she saw last week.

But now I have a screenshot of myself on to text to my grandmother.

It’s exciting to remove from the familiar. It’s exciting to continue to experience learning. About performance, collaboration, and ways in which I conduct myself as an artist, professional and holistic contributor to a community.

If you enjoy Ryan Murphy sexy-horror, and you enjoy those glamorous Kardashian photo booths, come see Creep L.A.’s “Awake.” I’m somewhere between Suspiria’s Suzy, Dorothy Gale and the White Rabbit.

Maybe I’ll see you, maybe I won’t. Either way, sweet dreams xx


At no point during the process of creating a "fractalized re-telling of the epic of Gilgamesh" did I read the epic of Gilgamesh.

I did, however, read Rebecca Solnit, Ariana Reines, Emma Cline, Brenda Shaughnessy and Heidi Julavits.

I cannot recommend these reading materials enough.

I cannot recommend this show enough. I am in it. Over 400 photos of me are in it. "If you seek my monument, look around you."

More info here.

Tickets here.

Via No Proscenium:

"Pushes aesthetic and structural bounds...some of the most moving sequences I’ve encountered in some time.

"I found myself on the verge of tears, suppressing the instinct to try and hug Deem..."

Via We Like L.A.: They Who Saw the Deep is Like Being Lost in the Weirdest Dream You Can Possibly Imagine

Via  Ceaseless Fun’s They Who Saw the Deep Redefines an Epic


In the winter of 2017-18 and spring of 2018, I facilitated live, audience participatory reads of film scripts as part of creative collective Female Animal L.A.

On April 30, we recreated the fanciful world of Wes Anderson's Fantastic Mr. Fox to coincide with fundraising for Akasa. Our event successfully raised enough money to fund an entire semester of curriculum for one Los Angeles school.

Residing in its current iteration at Botanica in Silverlake, Female Animal L.A. is an event series driven by celebrating film, food, and community, while raising money for local nonprofits. The Female Animal team produced a live read of said film’s shooting script, as well as a curated experience including food, cocktails and key art pieces, as well as hosting local vendors.

Founded in 2012, Akasa generates wellness curriculum for schools in low-income neighborhoods, through which "students and families learn about the process of growing, harvesting, sourcing and cooking food and examine their own neighborhood food system to make informed choices about their overall health + wellness."

Previous editions have evoked locales anywhere from a Manhattan brownstone (You've Got Mail) to an O.C. pool party (the pilot episode of The O.C.). Each event’s profits are donated to a local nonprofit providing important services to our community.



Nick Roney and the Little Ugly team are fun, and also complete kooks.

Nick Roney is crazy enough to think devised live performance is cool, and its tenets are worth experimenting with in the medium of film.

I would join Nick Roney's cult, if provided with the opportunity.

The circumstances of this video are true-to-fact, mostly. I'm certain the true-to-life, raw naturalism of this piece is what earned it its title of Vimeo Staff Pick.

Bisous xx


"The trio of Natalie Llerena, Juliet Deem, and Rachel Rivera are mesmerizing....a dance duet between Rivera and Deem was nothing short of electric" — No Proscenium

September 28 through October 14, I'm performing in Grief, a devised piece based on director Meredith Treinen's experience of losing her brother to cancer, as fractalized into she and her two sisters' individual experiences of family, sisterhood, death, loss and celebration.

We spent seven weeks creating and culling narrative from real events from Meredith's life, found scraps of poetry and literature, music, dance/movement and baking.

To join us, click through for tickets here

More press here.

14th Factory: Leaves of Grass

With Wilderness, I performed at the 14th Factory, an interactive, multi-disciplinary art space currently on view in Lincoln Heights, as part of a new collaboration with Beth Morrison Projects & RVCC. Our devised movement piece (see a rehearsal video hereLeaves of Grass, previously presented in the REDCAT Studio Series, is a meditation on interpersonal relationships, identity and the phenomenon whereby couples begin to resemble each other over time. The piece explored Lily Kwong’s indoor garden through the text of Walt Whitman.

ASICS: The Big Chase

This weekend I performed in a first-of-its-kind experiential running event produced for ASICS, in which participants ran a 2.5 mile loop through historic areas of Downtown L.A. encountering vignettes from an original noir storyline. Continuing my work with Wilderness, I devised my own portion of the performance and helped cull dialogue from Dorothy Parker, Raymond Chandler, Nathanael West and John Fante. 

I played a "feral femme fatale:" Theda Bara meets '30s heroin'd socialite meets straight-up witch.


Alone in an abandoned hydrotherapy room on the fourth floor of DTLA's Dutch Chocolate Shop building, I interacted one-on-one with the runners-turned-audience members-turned-gumshoe detectives.

Filmed for short-form content and social media, ASICS' "The Big Chase" was a blend of immersive theatre and commercial media that was workshopped at the Cannes Lions.

Renditions: Bloody Mary @ Montserrat

Renditions is a monthly experience hosted by Montserrat, featuring curated works of art, film, theatre, dance and music all originally-devised and inspired by the same story. In this case, just in time for Halloween, the night centered around Bloody Mary.

Based on an initial sketch by Grace DeVoll (ZFlesh and Bone), our piece follows a party-girl-turned-good-girl as she pops a couple Xanax, dodges her well-meaning blue-blood fiance, and calls upon her childhood idol, the ghost Bloody Mary, for pre-marital advice.

Writing partner/drinking partner Jacqueline Tozzi and I spent a couple days improvising and rehearsing with director Maxwell Hamilton to adapt the piece to our sense of humor and chemistry.

I also accidentally chewed and swallowed multiple prescription antihistamines, as opposed to the provided mints as planned, proving I will do anything for the sake of a good bit.

The Day Shall Declare It

After having seen the first run of Wilderness' The Day Shall Declare It in L.A., I accosted Wilderness artistic director Annie Saunders post-show, determined to get involved. I was over the moon to work with the cast & creative team of the 2016 run of The Day Shall Declare It.

I was directly involved with the creative production, social media, and front-of-house functions for this homage to Tennessee Williams, Studs Terkel and the American dream. Said KCRW, "You need to go see this play. Take your friends who don’t like theatre." If you did drop by, we probably chatted at the front door! (Or over a post-show negroni.)

I feel unbelievably lucky to have witnessed some spectacular goings-down in that abandoned DTLA engine shop, and the magic created by the Wilderness collaborators.

Shitty Awful Everything

In the ensemble of absurd dark comedy "Shitty Awful Everything," I played a wife, a secretary and a post-apocalyptic biker to standing room only audiences. The production was praised for its "electric cast" and "infectious energy:" more reviews & press here and here.