As an artistic director at Theatre de la Jeune Lune, as well as in outside projects, Serrand weds a unique and almost contrarian aesthetic to a propensity for producing tons of work. In recent months he's co-directed a new staging of Carmina Burana, a run of The Miser at Jeune Lune, and an energy-packed Maria de Buenos Aires in the same space. Like all the best directors, Serrand is an idea man. His miser Harpagon, portrayed with acid restraint by Stephen Epp, is all about money and meanness rather than the humorous figure traditionally portrayed. And in his tango opera, Serrand evoked the sensuality and abandon one would expect, but threw in a strong dose of the dread and death that underpins high romance. Serrand routinely embraces invention and left-field choices that provide ample ground for thought and insight even in shows that strain the viewer's endurance. He's diving back into a partnership with Cambridge's American Repertory Theatre (from which The Miser also sprang), this time for a staging of Kafka's novel Amerika. He is, it seems, constitutionally incapable of doing boring work.