When directing, Victoria likes to create an environment that challenges herself and others. She welcomes questions and experimentation in all her processes with all her actors and wants them to bring her past her own reading of the play she is to direct. Since Victoria is always interested in controversial topics, she understands that she cannot be the voice of every movement and piece but welcomes conversation on part of everyone in order to move forward and accurately tell a story with passion, truth and integrity.
He Who Says No/Quarantine
He Who Said No is one of two plays written by Bertolt Brecht. This specific play is important because it is what Brecht coined as a "learning play." This means that the actors/audience are indistinguishable and all individuals play all roles so that everyone has a knowledgable experience. This specific piece was a devised piece taking in both Brecht's learning play and the current social/global climate created before Trump decided to leave the Paris accord. This process was a very collaborative and exploratory process as Victoria worked with three other people on its entire development through several performances and renditions.
Woven together by the red fabric plaguing this piece, Victoria directed Machinal in a runway style. Utilizing the roles of the jail Guards and the Mother and the Man, Victoria created a double entendre within Machinal: the runway was not only the Woman's march to death but a wedding procession as well. The red fabric was an intrinsic and transformative aspect to her piece as at one point it was the blood of the Man, the clothing of the Mother and the red carpet on which she walked hand in hand with the Man/Guard towards the Priest. Ending in a gruesome execution, the Woman's death became synonymous with forced marriage, while the illuminated window unattainable Utopia.
In the Blood
Written by Suzan-Lori Parks, Victoria co-directed this piece with Caitlin Moore. This piece was particularly challenging due to the complexity and simplicity of the text. Only through exploring and unboxing not only the text but the vast history that burdens are unconsciouses could the directors and actors truly depict a respectful and honest story of hardship that many woman of color face daily. We challenged to light a fire under the stereotypes and boxes that we often place others into and wanted the audience to have the same experience.
Of Mice and Men
In her direction of Of Mice and Men, Victoria experimented with her relationship to space on stage and utilizing the actors as pieces of the set. Determined to always have the actors on stage as they were dressed in a silver mask with either puppy, bunny or mouse ears, the characters were always overlooking the events on stage. Victoria's rendition ends with Lennie looking over the water before he is shot and while he sees the vast pasture he has always imagined, George can only see Curly's wife who lays lifeless directly in front of them, perfectly epitomizing the human condition and tantalizing cycle he is caught in.