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Marguerite currently serves as the House Manager for Manoa Valley  Theatre Company in Honolulu, Hawai'i and the Managing Director for the Honolulu Fringe Fest. Her directorial work encompasses absurd & avant-garde physical theatre. She is interested in stories told through the body, with little to no spoken language. Natural elements such as earth (desert) and water (ocean) inspire her. Rituals, spirituality, Latin American poetry, and metaphysics can all be found in her work.

Marguerite is also an educator; she has taught theatre courses and workshops to youth, teens, and adults. You can find out more here.

 

She recently adapted Samuel Beckett's Act Without Words into a one-woman būto performance.  Marguerite's most recent directing production was Ōta Shōgo's The Water Station. She has served as Assistant Director for the All Soul's Procession in Tucson, Arizona (an event that attracts over 100,000 attendees) for multiple years.  Her most recent stage management project was under the direction of Julie Iezzi for the renowned Kabuki production entitled The Maiden Benton and the Bandits of the White Waves, which ran for two weeks in Honolulu then toured for one week throughout Japan.  

Marguerite holds a Master's in Fine Arts in Theatre Directing and a Bachelor's in Creative Writing.
You can find her portfolio here

You can find her resume here

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Marguerite is a like the multi-tool of theatre; she directs, house-manages, stage-manages, and sound designs.  She began acting in community theatre in Washington D.C. at the age of 8.  After 15 years of community theatre on the East Coast and Arizona, she relocated to San Francisco, California where she formally studied circus arts and performed in a traveling fire circus for 4 years. 

In 2014, Marguerite returned to Tucson, Arizona where she cultivated a career in technical theatre and directing, which led her to Honolulu, Hawai'i to pursue her Master's of Fine Arts degree and where she also founded Ojito, an experimental physical-theatre troupe. In Hawai'i she was exposed to theatre of Polynesia and Asia, both extremely influential on her work as a director.

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