"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 from 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 (google it, it's nuts), I interacted one-on-one with the runners-turned-audience members, who were unbelievably game--uh, running up four flights of stairs as part of a theatrical experience? I'd be zonked.

Filmed for short-form content and social media, ASICS' "The Big Chase" was a blend of immersive theatre and commercial media that has me so excited for what else 2017 will bring.

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 ("Z," "Flesh 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.

Mostly, we just had a really good time onstage together. We're glad our audience had just as much fun.

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.