PAPER DAUGHTER (2023) tells the story of a family in San Francisco’s Chinatown during the 1900 Bubonic Plague. Our story begins on Lunar New Year as a Grandson lights incense for his Mother. Grandfather tells the tale as he remembers it— beginning with patient zero through the quid pro quo shook on in the Oval Office to suppress the news and blame the Chinese. This play provides insight into the arduous immigration process the paper sons and paper daughters had to go through to get in through Angel Island. PAPER DAUGHTER provides an insight into the timelessness of  family relationships, prejudice and violence, politicians and oppression and of course, illness.The tradition of community oral storytelling has aided in the remembrance of events past, and serves as foreshadowing events future.These three stories dissect the power of fear mongering in three separate times and locations. Echoes of current day issues of racism, capitalism, and consumerism are prevalent in each of these three narratives.

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THE STRANGE LIBRARY (2024) is a musical setting by Whitney George of the recent novella (2014) of the same title by Haruki Murakami The work, originally presented as a quazi-graphic novel of illustrations and collage, are moody and mysterious depictions of a child’s darkest dream that match Murakami’s surreal imagination. The plot is equally eerie: a little boy enters a quiet library -- “even more hushed than usual,” we’re told in the opening line -- and is sent to Room 107, where he meets a creepy old librarian who leads him deep into a maze of dark catacombs beneath the library. There, we learn of the librarian’s ghoulish designs and the boy encounters a small man wearing the skin of a sheep and a pretty young girl pushing a tea cart, their worlds now “all jumbled together.” Not even fresh-made doughnuts can sweeten the boy’s nightmarish predicament as the librarian’s prisoner.