About The Author

Richard Thomas didn’t set out to reinvent theater. His journey began with late nights at Haiti’s National School of Arts, where rehearsal halls doubled as classrooms and every play felt like a test of endurance and faith. His thesis, "The Judgment of the Negroes," staged at the Rex Theater in 2002, was less an academic exercise than a declaration, a call to wrestle with Haiti’s fractured identity through art.

Since then, he has worn many hats: playwright, director, teacher, consultant, father. His work has carried him from dusty community stages in Jacmel to international workshops in Rochester, New York. After the 2010 earthquake, his theater became something more: a space for therapy, memory, and survival stitched into performance.

He writes the way he directs: unafraid of raw edges. His children know him as the dad who can’t sit still during a rehearsal. Colleagues describe him as a thinker who views theater not as a pastime, but as a means of decoding the human spirit.