Assorted directing and producing credits

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Condensed Milk (2019)

Written by Cianon Jones

Directed by Emilia Amador

Condensed Milk priemered alongside Frankie Left A Letter during Brown Girls Squared's inagural New Works festival. A fun and at times uncomfterble deep dive into adolescense and how the people in our lifes shape us.

Director's Vision:

  I chose to focus on themes of depression, nostalgia, the fear of vulnerability, and self identity. This play felt to be a case study on how feelings serve as bookmarks in recalling our past.

Ironically you can’t remember the exact date your sister decided to open all your presents on your birthday, but you damn right remember how it felt. Moments like this. Like, The faint sound of your sister's radio playing a little too loud in the next room. Knowing your sister is awake because of how the floorboards creak under the weight of her foot. When you make eye contact and you come to realize your little sister has become a full grown-full out-actual person, and you can see her see you discover her not so well hidden secret. Your relationship with your sister can and should and will evolve, but nothing can change the fact that she's YOUR little sister. Always has been. Always will be.

woebegone(2019)

Written by Cianon Jones

Directed by Emilia Amador

BGS was honored to be welcomed to The Painted Bride to showcase our newest piece, woebegone. A huge cast of demons and devils and drugs and friendship all while embracing your queerness as a person of color. 

Directors Note 

This piece was begging to be a movement heavy piece. I pulled most of my inspiration from the many iconic queer and brown subcultures of the 1980's-00's. Ball Room culture, punk androgyny, afro futurism, drag kings, queens, and artists.

Pump To Pump

Equinox Festival 2020

Written by 

Directed by Emilia Amador

Directors Comment: 

Theatre during the zoom era. A haunting memory. I wanted this piece to lean into its natural whimsy. But on zoom?

Thankfully what I love about theatre is problem solving, and this was a big problem. 

I was inspired by the character and charm derive from having funny zoom backgrounds during the pandemic, so I thought using green screen and paintings of the locations would bring much needed levity that the piece was desperate for. I enlisted the help of Sarah Court to paint these wonderful Nighthawks meets Salvador Dali backdrops. We didn't take ourselves too seriously, and we made sure the audience felt that light heartedness from first glance.