Click here for a list of Directors Lab Alumnae.
Contact: Quinn M. Corbin, Gersh Agency
Off-Broadway directing includes the American premiers of Carl Djerassi's plays Phallacy and Three on a Couch and the world premiere of Monika Bustamante’s Thirst: a spell for Christabel. Upcoming: world premiere of Jaclyn Villano’s The Company We Keep (Boston Playwright’s Theatre). International productions: A Midsummer Night’s Dream (Prague Shakespeare Festival, Czech Republic), world premiere of Li Tong’s The Power (the first English-language play commercially produced in Beijing), world premiere of Jaclyn Villano’s Unanswered, We Ride (Edinburgh Fringe). During the 2011-2012 season, Elena made her New York City Opera debut with La traviata, which played at the Gilman Opera House at BAM. Recent productions include: The Price (Northern Stage), Falstaff (Brooklyn Philharmonic at BAM), Latin Lovers (Glimmerglass Opera), Naomi Wallace’s The Fever Chart (Underground Railway Theatre), Titus Andronicus (Austin Shakespeare), Mac Wellman’s Muazzez (Great Plains Theatre Conference), A Midsummer Night’s Dream (SUNY and Geva Theate Center), the world premieres of Carolyn Wistrand’s Magdalena’s Crossing (Negro Ensemble Company) and Monika Bustamante’s Io: a myth about you (Austin). Elena’s operetta War Music, which she adapted from Christopher Logue’s retelling of the Iliad (performance ensemble Aurea and the FirstWorks Providence Festival) was further presented in NYC and Chicago, and toured in New England. Other commissions for directed adaptations: Faust (Aurea), a tango music-theatre piece (Chekhov Theatre Ensemble). Elena works regularly with Sir Jonathan Miller, most recently as Choreographer and Associate Director for La traviata at Vancouver Opera, and has served on his Broadway King Lear and multiple operas at Lincoln Center, Seattle Opera, BAM and Glimmerglass. Elena recently served on a panel alongside John Guare discussing The Tempest for The New York Institute for the Humanities. She is a Drama League Directing Fellow and a recipient of the Dr. David Farrar Opera Stage Director Grant. She holds her MFA in Acting from University of Texas/Austin.
Lydia Fort – Productions include: Frida Liberada (Urban Stages), RIP.TIED (freeFall Theatre, FL), When the Water Breaks (YouthInk! Festival at McCarter Theatre, NJ), Jesse (Ensemble Studio Theatre and New Federal Theatre), 365 Days/365 Plays(Classical Theatre of Harlem and Public Theater), A Rat’s Mass and Tell It Underwater (Hangar Theatre, NY), Harvest and Moon on a Rainbow Shawl (Ethnic Cultural Theatre, WA), Wine in the Wilderness (Fortress Theatre), How I Learned to Drive, The Oresteia and The Bubbly Black Girl Sheds Her Chameleon Skin (The City College of New York). Lydia directed readings of Flyin’ West, featuring the legendary Ruby Dee (New Federal Theatre), Heal Me Television, featuring Clarke Peters and Yolonda Ross of HBO's "Treme"(Southern Rep, LA), Heartless Souls (Soho Think Tank), The Kimono Project (Ma-Yi), Blood Ties (Ensemble Studio Theatre), Destination: Ooh, Aah, Yummy (Liberation Theatre), Saturday Night, Sunday Morning and Strippa (Classical Theatre of Harlem) and also programmed a season of Future Classics, Classical Theatre of Harlem’s monthly reading series of new plays. Other directing projects include Darlin, Why Cry? as part of “Ki Jan Pou’n Geri? (How Do We Heal?)” a benefit for Haiti, On the Other Side of the Red Sea (Minutes Before Festival–Three Monos Ensemble) and the solo performance shows girls from the goddess womb and MouthPiece: An Authentic American Idol. As part of Theatre for a New Audience’s American Directors Project, she participated in an invited workshop lead by Peter Brook. Lydia is a New York Theatre Workshop Directing Fellow, Drama League Directing Fellow, TCG New Generations Future Leaders Grantee and an Affiliated Artist with New Georges. She received an MFA in Directing and a Certificate in Arts Management for the Performing Arts both from the University of Washington.
Lauren Keating is a freelance director based in New York City, where her favorite credits include Al’s Business Cards (At Play), Comedie of Errors (New Lions), EARTHA (NYU), The Confidence Man (Woodeshed Collective)and Measure for Measure (New Lions). Laurenhas directed with The Public Theater, Ars Nova, 3LD, Woodshed Collective, New Georges, NYU, Cooper Union, AtPlay, The Players Theater, The Old Vic, The Prospect Theater, Peculiar Works Project, The Space, Vampire Cowboy Battle Ranch, New Lions Productions, The Mint Theater and The Flea Theater. Regional credits include: Translations (Yale University), Fill Our Mouths (Workshop, Oregon Shakespeare Festival), Metamorphoses (Young Actors Studio, The McCarter Theater), The Big Come (The University of New Mexico), Lulu, Learning Russian and Charlotte’s Web (The Hangar Theatre) and Pugilist Specialist and Seagulls (Williamstown Theatre Festival). Lauren has guest directed for Fordham University, is currently a mentor for BFA directing candidates at New York University, and is a teaching artist on staff with BAM and The Public Theater, visiting prisons, high schools and marginalized communities through out the five boroughs. Lauren is a Lincoln Center Theater Directors Lab member, a founding member of The Internationalists, a New Georges Affiliated Artist and the Old Vic/New Voices Exchange American Director, 2009. Lauren is an NYU/Tisch Alumni, the Artistic Associate at The Shakespeare Society and a Drama League Directors Project Fellow. She is currently working on The Harmonious Pimps of Harmony’s Last Show by Daniel Hartley and Adam Lerman, and Fill Our Mouths by Lauren Feldman.
Agent Contact: Mark Subias and Rachel Viola, United Talent Agency
Lila Neugebauer’s recent work includes Annie Baker’s The Aliens(West Coast Premiere, SF Playhouse -- also upcoming at Studio Theatre, DC) and Circle Mirror Transformation (Juilliard), Nick Jones’ Grizzly (Joe’ s Pub), Eliza Clark’s Snow Day (Drama League DirectorFest) and Edgewise (Cherry Lane Studio), The Valley of Fear, Anne Washburn’s When The Tanks Break, and Stephen Belber’s Tape (all at Williamstown Theatre Festival), new works by Kristoffer Diaz and Molly Smith Metzler in The Wii Plays (Ars Nova), Josh Conkel’s The Sluts of Sutton Drive (Ensemble Studio Theatre/Youngblood), associate directing Karen O’s Stop The Virgens (St. Ann’s Warehouse and Sydney Opera House), Make It a Double (The Civilians/Williamstown Theatre Festival Workshop), Home (The Civilians/Arts Emerson), and various projects at Actors Theatre of Louisville and NYU/Tisch. As Co-Artistic Director of The Mad Ones, Lila conceived and directed Samuel & Alasdair: A Personal History of the Robot War (Ars Nova, The Brick, The New Ohio Theatre) and Inspector Pennywhistle and the Nefarious Case of the Sweet Shop Murder (Clubbed Thumb Summerworks Hot Dish). She has developed new work through Playwrights Horizons, New Dramatists, Rattlestick Playwrights Theatre, New Georges, Clubbed Thumb, Partial Comforts, Bay Area Playwrights Festival, Dramatists’ Guild, and Yale Playwrights Festival. Lila is an alum of the Drama League, Soho Rep Writer/Director Lab, Lincoln Center Directors Lab, and The Civilians’ inaugural R&D Group, a member of Ensemble Studio Theatre, New Georges Affiliated Artist, and two-time recipient of Manhattan Theatre Club’s Jonathan Alper Directing Fellowship.
Lily is a theater director and interdisciplinary artist, and the founding artistic director of Door 10, a multidisciplinary art lab and production company dedicated to the creation of original works for performance and media. Recent productions include: Mrożek’s Striptease (HERE, Drama League DirectorFest), Ma Rainey’s Black Bottom (RTA/ Fishkill Correctional Facility), Iphigenia in Tauris (Stella Adler/ NYU), and Twelfth Night: Shakespeare on the Roof! (OfficeOps). Lily was a 2009 select artist of Feldstärke International, a cultural initiative for emerging artists supported by the Centquatre (Paris), the PACT Zollverein (Essen), and CalArts (Los Angeles). She created site-specific collaborative pieces at each venue. Passionate about civic engagement, in 2011 Lily collaborated with renowned performer Anna Deavere Smith and her non-profit, ADS Works, to produce a conference at NYU Abu Dhabi that brought together artists, curators, and civic leaders from around the world to share their work and examine pressing social issues. In association with Rehabilitation Through the Arts, Lily leads a theater company of incarcerated men at a medium security prison in Beacon, New York, where she recently co-directed August Wilson’s Ma Rainey’s Black Bottom. She received her MFA from the California Institute of the Arts, graduated Phi Beta Kappa from Wesleyan University, is a Drama League Directing Fellow, and recipient of the Princess Grace Award.