He is also a playwright, director, performer, and cofounder of the Transversal Theater Company, an Amsterdam-based collective of American and European artists, which has produced a number of his works.

Reynolds returned to Scarsdale for his junior and senior years, where he joined a special program, called CORE, for students who had difficulties making it to class.

In this article, transversal theory is delineated through an analysis of early modern English theater, both on the public stage and as in social performances in society at large.

Becoming Criminal shows how the dissident activities and idiosyncratic languages of gypsies, rogues, vagabonds, and cutpurses interacted with normative society and culture.

Witches, werewolves, occultists, academicians, transvestites, baboons, moors, and gypsies, among other creatures, all reflect, for Reynolds, a metamorphic and intersubjective phenomenology for which art or artifice is requisite.

This allows access to affecters and enablers of transversal processes that work to empower individuals and groups in their comprehension and experience of themselves, others, and the world.

Reynolds demonstrates, à la the radical thought of Gilles Deleuze and Félix Guattari, how de la Haba performs Claude Levi-Strauss’ theory of the bricoleur – an ingenious craftsman who fabricates wonders from everyday materials – to the tune of Jacques Derrida’s philosophy of deconstruction – which highlights the arbitrary yet nevertheless emergent quality of wonder – to create a myth-making body of work that offers a profoundly ironic critique of the state of humanity even while it reminds us of the liberatory, generative, and metamorphic powers of artistic expression.