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“I kept circling around this moment in 1882, the first time that she stayed in the land that would become her eventual home. She was only 16 and I knew in my gut that this moment helped define her as a person, as a writer, as an artist, and as an activist. I wanted to explore this younger Beatrix – before she became the Beatrix Potter we all know. But it wasn’t until I discovered Edith Rawnsley that the story clicked into place.”

“To tell this story, I had to tell my own—how I found my connection with Wat Misaka, and how he reconnected me with my own family.”

“… it is important to listen closely to the innate use of words, the tone, and the things that are being said, or not being said.”

“… it is important to listen closely to the innate use of words, the tone, and the things that are being said, or not being said.”

Capture your Plan-B moment at every performance this season

I have never loved Macbeth. Can I say that aloud, as a theatre person? Is it allowed? Too late, Mel. Too late. [But] I have always wondered — what would happen if Lady Macduff had her say?

BALTHAZAR, more than any other play I’ve written, is a play of ideas and it is a play informed by my own journey as a woman in law, by my evolution as a scholar of women and the law, and by my own recognition of the importance to me of both my feminine and masculine sides.