MAY ADRALES May Adrales directed the world premieres of Katori Hall’s Whaddabloodclot!!! (Williamstown Theater Festival); A. Rey Pamatmat’s Edith Can Shoot Things and Hit Them (Actors Theatre of Louisville);Schlessinger and Reid’s musical In This House (Two River Theater Company); Thomas Bradshaw’s Mary(The Goodman Theatre); Tommy Smith’s The Wife (Access Theater) and The Bereaved (Partial Comfort Productions). She has developed and directed work at The Public Theater, Roundabout Theater, Second Stage Theatre, New York Theater Workshop, Playwrights Horizons, Primary Stages, and Long Wharf Theatre. She is a Drama League Directing Fellow, Women's Project Lab Director, SoHo Rep Writers/Directors Lab and NYTW directing fellow alum, and recipient of the TCG New Generations Grant, Denham Fellowship and Paul Green Directing Award. She proudly serves as an Associate Artist at Milwaukee Rep, where she directed Dael Orlandersmith’s Yellowman and Katori Hall’s The Mountaintop. She is a former Director of On Site Program (Lark Play Development Center) and Artistic Associate (The Public Theater). MFA, Yale School of Drama. Upcoming Productions: David Henry Hwang’s Dance and The Railroad (Signature Theater) and Stefanie Zadravec’s Electric Baby (Two River Theater Company). May has directed and taught at Juilliard School, Fordham University, NYU and Bard College. May is a Lecturer at the Yale School of Drama.
SUZANNE AGINS
TEA ALAGIC MELIA BENSUSSEN
Gisela Cardenas is a director based in New York City interested in working with classics and adaptations from a contemporary perspective. Has an M.A in Performance Studies (NYU) and an M.F.A in Directing (Columbia University). Past credits: Shakespeare’s “Macbeth” (Riverside Church Theater), Garcia Lorca's “Don Perlimplin” (Repertorio Espanol); Aeschylus “Agamemnon” (Drama Desk Nomination 2006/Directing); "Antigone" adapted by Jose Watanabe ("Sibiu International Theater Festival—Romania), New York Revival of Kander & Ebb's “Kiss of The Spider Woman” (Vortex Theater Company); HotInk Festival 2008; Part 1 of "An Oresteia" (Classic Stage Company). Awards: Princes Grace Theater Fellowship (2007), 2008 Phil Killian Directing Fellow (Oregon Shakespeare Festival), 2008-10 Women's Project Director’s Lab, recipient of the 2008 Josephine Abady Award (League of Professional Theatre Women) and recipient of the TCG/ NEA 2009/2011 Career Development Program for Directors. Upcoming productions include Euripides Medea and Richard III.
LINSAY FIRMAN Linsay Firman’s NYC productions include Rachel Bond’s Anniversary, Garrett M. Brown’s Americana and Jose Rivera’s Flowers all at the EST Marathon, Perdita by Pierre Diennet (Lion Theater), Joy Tomasko’s Unfold Me, Catherine Trieschmann’s Crooked, Heather Lynn MacDonald’s Pink (all at Ariel Tepper’s Summer Play Festival), Anne Washburn’s Apparition (chashama; named one of Time Out New York’s ten best plays of 2003), Howard Barker’s The Power of the Dog and The Possibilities, Joe Orton’s Loot, Peter Rose’s Snatch (Soho Rep). Linsay is the Literary Manager at EST and the Associate Director of the EST/Sloan Project. She began working in new play development as the Associate Director of Soho Rep, where she worked from 1998 - 2004. While there, she founded and ran Soho Rep's renowned Writer/Director. Additionally she was a 2003/2004 Resident Director at New Dramatists, a Director/ Dramaturg in The Lark's 2007/2008 Meeting of the Minds writer’s group and is an Associated Artist of New Georges. She received her M.F.A. from CalArts. Upcoming: Photograph 51 by Anna Ziegler at EST.
Susanna Gellert most recently directed Bar Joke by Sam Allingham (Old American Can Factory) and Open the Dark Door by David Nugent (New York Music Theater Festival). Other recent credits include Visiting Day by Andy Bragen (Sewanee Writers’ Conference), Fugue States (PS 122), You Can’t Take It With You (University of Rochester), The Boss in the Satin Kimono (New York International Fringe Festival), The Duchess of Malfi (FSU/Asolo Conservatory), and Marat/Sade (The Fisher Center for Performing Arts at Bard College). New York directing credits include The Lacy Project (Soho Think Tank’s Ice Factory ’07, the Ohio Theater), adaptations of Tamburlaine the Great and Valkyrie (Target Margin Theater’s Laboratory), Match and L’Interieur (American Living Room), as well as workshops at the Lark, EST, and NYU. Chicago directing credits include The Winter’s Tale, The Bathhouse, Electra, and Joe Whyte’s Nebraskoblivion. Yale School of Drama: The Duchess of Malfi, The Lacy Project, Measure for Measure, The Shoemaker’s Prodigious Wife, and Devil Caught Rope. Yale Cabaret: Request Concert, Tuesdays and Sundays, and Two Rooms. She is a member of Wingspace Theatrical Design Group and a recipient of SDCF’s Sir John Gielgud Fellowship and the Julian Milton Kaufman Memorial Prize. Susanna is a graduate of Yale School of Drama and The University of Chicago. This September she will begin coursework in Columbia University’s Doctoral Program in Theater Studies.
Jyana Gregory is currently directing a new adaptation of Euripides' Iphigenia
at Aulis for City College in Harlem. She is the Artistic Director of
NYC-based ACTIVE EYE (www.activeeye.org) for whom she has directed
Hard Lovin' Ever After, Dojoji, Woyzeck, and Senjo. Jyana spent 2 years
at Cleveland Public Theatre as a Future Leaders Fellow (sponsored by
Theatre Communications Group) being mentored in Artistic Direction.
She helped produce 2 seasons of work and also directed Suzan-Lori Parks'
Venus and Wallace Shawn's The Designated Mourner as well as works-in-progress
of Adam Rapp's Nocturne and Jill Levin's The Lawyer Play. Other directing
includes Your Nightgown is Jealous When You Dream (collectively devised,
mugwumpin, SF & Denver), Siegfried's Nerve (Target Margin Theater's
Lab Festival, NYC), Cosi Fan Tutte (Chrysalis Opera, Boston), Zeami's
Izutsu (Lincoln Center Directors Lab/HERE, NYC), Handke's Kaspar (Blueprint
Series, Ontological Theatre, NYC), and a reading of Whooping Momma
and Dookie Braids (Young Playwrights, NYC). She has assisted Chen Shi-Zheng,
David Herskovits, and Diane Paulus and worked for Richard Foreman.
Jyana is a member of the Lincoln Center Directors Lab. She is a graduate
of Yale University and has studied traditional and contemporary performing
arts in Japan.
DYANA KIMBALL
Wendy McClellan’s world premieres include: Liz Duffy Adams’ Or, (Women’s Project, New York), Deborah Stein’s Wallflower (Stages Repertory Theatre, Houston), Laurie Brook’s Brave No World (The Kennedy Center), Jennifer Maisel’s Birds (Rorschach Theatre, DC) and Goody Fucking Two-Shoes (Actors Theatre of Louisville), Gregory Gunter’s Antigone. Tertiary. Sexxx. (LA Weekly Award Nomination Best Comedy Direction), the anthologies Neon Mirage, Uncle Sam’s Satiric Spectacular, Fast and Loose, and Trepidation Nation (all Humana Festival of New American Plays), and Leon Martel and Penka Kouneva’s musical Steel: John Henry and the Shaker (LA Ovation Award Nomination Best New Musical). Developmental workshops include: Julia Pearlstein’s Rat Bastards (Mabou Mines Suite), Olga Humphrey’s Cornbury (New Georges), Kara Manning’s Sleeping Rough (MCC Theater), Sarah Hammond’s Green Girl (SPF at The Public) and House on Stilts (New Dramatists). Musical development includes: Loewe Award Winners Liz Duffy Adams and John Hodian’s The Listener of Junk City, Erin Kamler and Carson Kreitzer’s Runway 69 (both at New Dramatists). Other regional credits include: Glen Berger’s Underneath the Lintel (Actors Theatre of Louisville), Barbara Field’s A Christmas Carol (Actors Theatre of Louisville), Shaw’s Misalliance (Alabama Shakespeare Festival). She has held staff positions at Red Bull Theater, Actors Theatre of Louisville, A.S.K. Theater Projects, Mark Taper Forum and Great Lakes Theater Festival. She was the recipient of the 2006 New York Coalition for Women in the Arts and Media’s Collaboration Award. Wendy is an Affiliated Artist with New Georges, a member of SDC, and a member of the Women’s Project Directors Lab 2008-2010. She is a graduate of The University of North Carolina’s School of the Arts.
Meredith McDonough’s NY credits include the premieres of Adam Rapp's Members Only, Gary Winter's The Impotent General, and Betty Shamieh's Again and Against (New Georges). Regionally, Meredith is directing the premiere of Megan Mostyn-Brown's The Secrets Lives of Losers this winter with UMKC's graduate department and directed the premiere of Alison Moore's Hazard County at Actors Express in Atlanta. She also directed Driving Miss Daisy for Delaware Theatre Company in March 2007. During her 3 seasons at Actors Theatre of Louisville, she directed the world premieres of Kuwait, A Bone Close to My Brain, Heaven and Hell, and Backstory in the Humana Festival of New American Plays. She was also the 2004 Boris Sagal Fellow at the Williamstown Theatre Festival where she directed Sarah Ruhl's Eurydice on the Nikos Stage. Other favorite credits include Angels in America, Full Circle, Balm in Gilead, Baltimore Waltz and A Bright Room Called Day. In addition to her work developing new plays, she also works with new musicals, and was the New Works Program Director for the National Alliance for Musical Theatre. She holds an MFA in directing from UCSD and a BS in Performance Studies from Northwestern University, and is a 2006 Drama League Directing Fellow. (Photo: EURYDICE by Sarah Ruhl, Directed by Meredith McDonough, Williamstown.)
Shannon O’Donnell is currently Resident Director and Dramaturg at People’s Light & Theatre Company, outside Philadelphia, where she is directing the world premiere of Jason and the Golden Fleece by John Olive. Last spring, Shannon directed the critically praised Philadelphia premiere of 4.48 Psychosis by Sarah Kane at Theatre Catalyst. Last winter, she directed the world premiere of A Higher Place in Heaven by Pamela Parker, now nominated for a 2005 Barrymore Award for Best New Play. At People’s Light, she directed the world premieres of The Forgiving Harvest by Y York and The Thoughts & Travels of Nicki by Russell Davis, in addition to The Cuban Swimmer, Trying to Find Chinatown, The Moon Please, The Little Prince, The Secret Garden, and Last Train to Nibroc. In spring of 2006, she will direct Yemaya’s Belly by Women's Project Playwright Quiara Alegría Hudes. Shannon has produced a series of summer festivals of new and experimental plays at People’s Light, and is currently Producer for six new play commissions. She received grants to establish the Young Women’s Ensemble, an advanced student ensemble that created and performed three original works for theatre. Shannon was awarded the 2000 Princess Grace Theatre Apprenticeship Award for Directing, and is a member of the Directors’ Forum at the Women’s Project in New York. Starting this fall, Shannon will be working as a Research Associate for Harvard Business School, traveling to Copenhagen, Denmark and other European countries to interview artists about their art-making process and create written and film documentation.
TERESA K. POND Teresa K. Pond Recent work includes Richard III (New York Classical Theatre); Off-Broadway production of Pinkalicious (in its 3rd year of an ongoing run) and international debut of Pinkalicious in Toronto (ongoing run); premiere productions and readings including Knife, Fire, and Fang by Kathryn Walat as part of the Directors Lab with The Women’s Project Theatre. Other New York productions include Barber of Seville (Bleecker St Opera), Princess of Riverside Drive, Extraordinary! (Vital Theatre), Much Ado About Nothing (Loft Theatre), and others. Award-winning premiere of Half Life (starring Anna Chlumsky) hailed as the top show of The New York International Fringe Festival (New York Magazine). Regional theatre both east and west coasts: Opera - Suor Angelica, Paggliacci (Anchorage Opera), Amahl and the Night Visitors; Theatre - Caroline or Change, Sylvia, Shakespeare in Hollywood (Cyrano's Theatre, AK); The Clean House and Nickel and Dimed (Western Stage Theatre, CA); The Foreigner, Perfect Wedding (Millbrook Theatre, PA); plus Of Mice and Men, West Side Story, among numerous other plays and musicals while she was artistic director of ACT in Anchorage, Alaska. Teresa received her MFA in Directing from UC-Irvine where she directed Tartuffe, Macbeth (L.A. Times review) and west coast premiere of The Day Maggie Blew Off Her Head, as well as developing original feminist theatre work such as the collaborative production Woman (Re)Considered. Teresa has directed at New York University and Stella Adler Conservatory, and she is a member of The Lincoln Center Directors’ Lab, The Women’s Project Directors Forum, and a co-leader of the NYC playwright-director company NewShoe. A proud member of the Society of Stage Directors and Choreographers (SDC). SARAH RASMUSSEN Sarah Rasmussen is a 2011 Princess Grace Award recipient. Upcoming: developing/ directing the world premiere of Crashing the Party for Mixed Blood’s inaugural season of free theater, collaboratively creating We Play for the Gods (Women’s Project), In the Next Room (The Jungle) and a new musical for Ten Thousand Things. Recent work includes: Chile Pod, a new TYA musical (La Jolla Playhouse), Sacrifice (Culture Project’s Women Center Stage), 1001, Red Ink: New Work by First Nation Writers (Mixed Blood), Twelfth Night, Skin of Our Teeth (UCSD/La Jolla Playhouse). Sarah has developed and directed new work with SoHo Rep Writer/Director Lab, the O’Neill, PlayPenn, The Lark, New Dramatists, Theater Masters, UCSD's Baldwin New Play Festival and Playwrights Center. She’s been a Guest Director at Long Island University’s BFA program (Eurydice, A Flea in Her Ear, I Am Montana), Brooklyn College MFA’s playwright’s showcase and a teaching artist in her home state of South Dakota. As an assistant director: Lincoln Center/Broadway, The Public, OSF, Old Globe Shakespeare Festival, Guthrie. As an associate director: Arena Stage. Sarah currently serves as the Associate Director of Oregon Shakespeare Festival’s Black Swan Lab, and annual new work development program. She is a recipient of a Fulbright, Drama League Directing Fellowship, OSF’s Phil Killian Fellowship and is a member of the Lincoln Center Directors’ Lab and SDC. MFA, UCSD.
Alice Reagan's directing credits include Day Like Today by Sam Marks (Partial Comfort);The Egg-Layers by Lauren Feldman (New Georges/Barnard College); Prison Light by Austin Flint (HERE Arts Center); Stuck (Women Center Stage/Culture Project); Happy Thoughts by Alexander Wright (Bard College); The Verge by Susan Glaspell with Performance Lab 115 (Ontological-Hysterical Theater); Caucasian Chalk Circle with PL115 (Chocolate Factory);What of the Night? by Maria Irene Fornes (Barnard); a workshop of the new musical Le Fou by Bekah Brunstetter (New Georges); Sprinkler by Katherine Ryan (DirectorFest); The Knights, adapted from Aristophanes by Rob Handel (Target Margin Theater);Alice in War by Steven Bogart (Summer Play Festival); Women of Trachis by Katherine Ryan (Target Margin);A Small Hole by Julia Jarcho (FringeNYC); Pickford with Beth Kurkjian (Blueprint Series); Dawn Powell’s 1932 satire Big Night (Bates College). She received a chashama A.R.E.A. Award to direct Euripides’ Alcestis on East 42nd Street. She is a Resident Artist with Performance Lab 115, and was formerly Artistic Associate with Target Margin. Princess Grace Award. Princess Grace Special Project Grant. Drama League Directing Fellow. Lincoln Center Directors Lab. New Georges Associate Artist. Mabou Mines/SUITE Resident Artist Program. MA in Performance Studies: NYU. MFA in Directing: Columbia. Alice is Assistant Professor of Professional Practice, Directing in the theater department at Barnard College/Columbia. Upcoming: Two Serious Ladies by Julia Jarcho; The Winters Tale at Barnard College, December 2012; I Came to Look for You on Tuesday by Chiori Miyagawa at La Mama, September 2013.
Lauren Rosen is currently directing Boy Gets Girl
at SUNY Stony Brook. Other recent credits include her adaptation of
Carson McCuller’s Wunderkind as part of the Women Center Stage
Festival at Culture Project, August Strindberg’s A Dream Play,
Abingdon Square (Brick Theatre, NY), Failure to Thrive (Culture Project,
NY), Closer (Guest Artist, Johns Hopkins University), Not I (Lincoln
Center Directors’ Lab), an adaptation of E.B. White’s The
Door (Howard Studio, Burlington, Vermont), Miss Julie (MXAT Conservatory,
in Russian), The Ghost Sonata (CSV, NY). She assistant-directed Verdi’s
Otello, and Puccini’s La Boheme at Hawaii Opera Theatre. Ms.
Rosen has been a guest director at Johns Hopkins University and Fordham
University. She is a member of Lincoln Center Directors’ Lab,
The Women’s Project Directors Forum and she is a New Georges
affiliate artist. She has had the opportunity to collaborate with New
York playwrights on the development of new scripts by directing workshops,
readings and offering dramaturgical feedback. MFA in directing from
Moscow Art Theatre / A.R.T. Institute for Advanced Theatre Training
at Harvard University.
Lisa Rothe has workshopped, developed and directed over one hundred new plays and musicals, working with award winning writers such as James Still, Ellen McLaughlin and Pulitzer nominated Rinde Eckert. Recent directing credits include: Interpreting William by James Still (Indiana Repertory); Eyepiece by Rinde Eckert (Hancher); Looking for the Pony by Andrea Lepcio (Synchronicity Performance Group @ Seven Stages in Atlanta); Penelope by Ellen McLaughlin and composer Sarah Kirkland Snider (Getty Villa, Gallatin School in NYC, Princeton University); My Ohio (Vermont Stage Company); Couldn’t Say by Christopher Wall (MITF - Best Director Award) as well as productions for NYMF and SPF. Future productions: Hold These Truths by Jeanne Sakata (Epic Theatre and Chautauqua Theatre); Penelope (Playmakers Repertory Theatre). She joined the Lark Play Development Center in January 2010, where she deals with providing expanded opportunities for playwrights and strategic multi-lateral partnerships aimed at advancing new work to production nationally and globally. She is a Fox Fellow recipient, and alum of the Drama League and Women's Project. MFA: NYU Graduate Acting and NYU Grad Director’s Lab.
Linnet Taylor is from London and attended Cambridge University. She is a winner of Britain’s Woolwich national playwriting award. London credits include The Roaring Girl (BADA). U.S. credits include The Winter’s Tale, Gilgamesh, Rosencrantz and Guildenstern are Dead, Lysistrata, Archie Loves Nathan, El Gato Sin Amigos (the last three at the Hangar Theatre’s Wedge space), and The City of Kites and Crows (an adapted Coriolanus for three actors). New York productions include Such a Beautiful Voice is Sayeda’s by Yusef El Guindi, Passengers by Betty Shamieh, and Eastern Standard. She has been a Drama League directing fellow (2002 and ongoing), a directing fellow at Geva Theatre, Rochester, and a member of the Women’s Project Directors Forum (ongoing). She is directing Twelfth Night with her own company, Fifth Estate, for private performances during winter 2005.
Daniella Topol--For Women’s Project: Catherine Treischmann's How the World Began, Sheila Callaghan’s Lascivious Something (in partnership with Cherry Lane), Trista Baldwin’s Sand. Upcoming; Lloyd Suh's Jesus in India (Ma-Yi, NY), Ari Roth's Andy and the Shadows (Theatre J, DC), Jessica Dickey's Charles Ives Take Me Home (Rattlestick, NY). Recent productions include: Lloyd Suh's Jesus in India (Magic Theatre, SF), Stefanie Zadravec's Electric Baby (Quantum Theatre, PA), Catherine Trieschmann's How The World Began (South Coast Rep in association with WP), Carla Ching's Sugarhouse at the Edge of the Wilderness (Ma-Yi Theatre), Rajiv Joseph's Monster at the Door (Alley Theatre), Anna Ziegler’s Photograph 51 (Theatre J, DC), Judith Thompson’s Palace of the End (Epic Theatre), Susan Bernfield’s Stretch: A Fantasia (People’s Light and Theatre Company), Caridad Svich’s Instructions For Breathing (Passage Theatre), Sheila Callaghan's Dead City (New Georges), Niko Tsakalakos and Janet Allard's Pool Boy (Barrington Stage)and the Cherry Lane Mentor Project. A graduate of Carnegie Mellon, Daniella has been the Artistic Program Director of the Lark Play Development Center and the New Works Program Director of the National Alliance for Musical Theatre. She is an NYTW Usual Suspect, an EST Member, a member of the Lark's Artistic Cabinet and Board of Directors and is a WP Lab alum.
GAYE TAYLOR UPCHURCH Gaye Taylor Upchurch--For Women’s Project, upcoming: Laura Marks’ Bethany (January 2013). Off-Broadway: Simon Stephens’ American premiere of Bluebird with Simon Russell Beale (Atlantic Theater); Simon Stephens’ Harper Regan with Mary McCann (Atlantic Theater). NYC: Susan Mosakowski’s Escape (La Mama); Patrick Huguenin’s Paper Dolls (NY Fringe; Outstanding Ensemble Award); Naomi Iizuka’s Language of Angels (Lincoln Center Institute); Charles Forbes’ minor gods (SPF). She has developed new work at New Dramatists, NY Stage & Film, The Kennedy Center, Dixon Place, Playwright’s Center, LCT Director’s Lab, and SPACE on Ryder Farm. She worked with Sam Mendes as Associate Director on The Bridge Project productions of Cherry Orchard, Winter’s Tale, Tempest, and As You Like It (BAM/Old Vic/international tour). GT is an alumna of UNC School of the Arts, Women’s Project Directors Lab, and The Drama League.
KARA-LYNN VAENI Kara-Lynn Vaeni's recent projects include the premiere of Deviant by A. Rey Pamatmat (nominated for IT "Best Production" Award), Molly Rice's Medea Unharnessed at The Drilling Company, Hell the Opera at PS 122 (Associate Director), a new translation of Life is a Dream at U-Mass Amherst, and Lee Blessing's Two Rooms in NYC. This year she was a Guest Artist at Hofstra University where she taught acting and directed her adaptation of Calamity John's Cowboy Musical, a feminist parody of King John, for which she also wrote original lyrics. She has directed other productions and workshops at The Flea, New Georges, The Lark, South Coast Repertory, Ma-Yi and the NY Fringe. Currently she is staging fights and dances for Don Juan in Hell, based on Mozart's Don Giovanni for the Estates Theatre in Prague and for Nextwave at BAM. Next up is the national tour of Lost in Yonkers for Montana Repertory Theatre. She recently received her MFA from the Yale School of Drama, where she was won a Presidential Public Service Fellowship and the Julian Milton Kauffman Prize for Directing.
NICOLE A. WATSON
KIM WEILD
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Melia Bensussen is the recipient of an OBIE Award for Outstanding Direction, and has directed extensively around the country, including work at the Huntington Theatre, Merrimack Repertory Theatre, Actors Shakespeare Project, Baltimore Centerstage, Hartford Stage Company, Oregon Shakespeare Festival, La Jolla Playhouse, the New York Shakespeare Festival, MCC, Primary Stages, the Long Wharf, Actors Theatre of Louisville (Humana Festival), People's Light and Theatre Company (Barrymore nomination for Best Direction), San Jose Rep, and many others. Most recently she directed the world premiere of Kirsten Greenidge’s LUCK OF THE IRISH at the Huntington, and her production of TWELFTH NIGHT at Actors Shakespeare Project received the 2012 Eliot Norton Award for Best Production (mid-size theatre). She was twice given Directing Awards by the Princess Grace Foundation, USA, and is a recipient of their top honor, the Statuette Award (for Sustained Excellence in Directing). A graduate of Brown University, she is a featured artist in Women Stage Directors Speak, by Rebecca Daniels (published by McFarland and Company), and her production of Twelfth Night at the Oregon Shakespeare Festival is featured in Women Direct Shakespeare, by Nancy Taylor (published in 2005 by Fairleigh Dickinson University Press). Her edition of the Langston Hughes translation of Garcia Lorca's Blood Wedding is published by TCG, and her essay on THE MERCHANT OF VENICE (The Traveling Pound of Flesh) was recently published in Jews, Theatre, Performance in an Intercultural Context by Brill Publishing. Melia is currently Chair of the Performing Arts Department at Emerson College in Boston. 
LEAR deBESSONET
Dyana Kimball is a founding member of Ontik and the founder and former Artistic Director of Boston Directors’ Lab in Boston, MA. NYC productions include: CONVERSATION by Alexis Clements (University Settlement, Emerging Artist Theatre and Dramatists Guild); NUMBERS by Kieron Barry (Manhattan Repertory Theatre); YOUR OWN PERSONAL APOCALYPSE by Alexis Clements(Chashama and OMFM); Georg Buchner's WOYZECK (Central Park); Elmer Rice's THE ADDING MACHINE (Theatre at Riverside Church); Bertolt Brecht's BAAL, ISLAND OF SLAVES by Marivaux, and Bixby Elliot's LOVE AND LITERATURE (Schapiro Theatre at Columbia); LIBRARY PLAY by Paul Cohen (J. Houseman Theatre), STILL LIFE by Emily Mann (Belt Theatre), RUBBER by Tom Sleigh (RAW Space) and CHOPPING by Magdalena Gomez (HERE Arts Center). Regional: ORESTES 2.0, by Charles Mee Jr.-Brookville, NY (LIU, CW Post guest director); DON GIOVANNI, by Mozart-Juneau, AK (Opera-to-Go); WHAT WILL I DO WHEN YOU'RE GONE, by Neil Bell-Cambridge, MA (The Market Theatre/BTM); TRAVELING NAKED, by Debra Lake Fortson-Boston, MA (Boston Playwrights Theatre); THROUGH THE LEAVES, by Franz Xaver Kroetz-Boston, MA (BDL); TRANSFIGURATION OF BENNO BLIMPIE, by Albert Innurato-Boston, MA (BDL). Dyana received her MFA in directing from Columbia University and currently teaches directing at Marymount Manhattan College. She is also a teaching artist in several NYC public schools and is the head of Columbia University's Theatrical Collaboration Program for High School Students.
Contact: 
Agent: Seth Glewen, Gersh Agency at 212-634-8124 and 
Meiyin Wang is the associate artistic director of Singapore Repertory Theatre and a co-founder of theatrewagon, an international collective, in NY. Her work has been seen around the U.S, Singapore and Italy. Highlights include Sarah Kane's Cleansed; Scratch/Medea; A Lover's Discourse; Mother Courage; Ivanov; Bullet for Unaccompanied Heart at the Theater of the Riverside Church, Theater Row, Prospect Theater, Barrow Group, Yale University Theatre, Premio Dams Festival(Bologna, Italy) among others. In Singapore - Postcards from Persephone (Best Director, Best Script finalist for National Life! Awards; Betrayal (SRT, National premiere, starring Indian film legend Shabana Azmi); The Good Citizen (SRT). Meiyin's work has been described by Singapore Straits Times as "Bold, Brisk and Brilliant" and she was featured in the national news as the top female director to watch. She has assisted Robert Woodruff, Eduardo Machado, Lisa Peterson and has worked at ART, The Public Theater, INTAR, Prospect Theatre, Classic Stage Company and Long Beach Opera. As a writer, Meiyin's work has been recognized by Hewlett Packard, Singapore Youth Festival and Singapore National Arts Council. She is currently the Associate Producer to Mark Russell for Under The Radar 2007. Meiyin is also a musician, photographer, cook and traveler. Upcoming: C4 The Chekhov Project; La La Lear Sisters; Dead Letter Office. Training -- Columbia M.F.A, Yale B.A., in Political Science.
Goddess Hair by Patricia Ione Lloyd (Redshirt Entertainment), Stall by brokeMC (Tiny Rhino), a reading of Venus by Suzan-Lori Parks (2012 Conference of Curious People), Pete the Girl by Charity Henson-Ballard (Rising Circle/Culture Project Women’s Center Stage), Little Louise by Patricia Ione Lloyd (Fire This Time Festival), a reading of Sound by Don Nguyen (The Civilians), Abby in the Summer by AP Andrews (Playwrights Horizons Theatre School), Brooklyn Skank by Fernanda Coppel (Subject Theatre Company), Come Back to Me by Jesse Cameron Alick and Manikato adapted by Jesse Cameron Alick (Shakespeare in Paradise, Bahamas), Now the Cats with Jeweled Claws (Target Margin Theatre), Spunk (Penobscot Theatre, Bangor, ME), Jump Jim Crow by Jesse Cameron Alick music and lyrics by Justin Levine (Subjective Theater Company), Cold Keener by Zora Neale Hurston (Target Margin), 30 Patriot Actors by Erin Browne (Columbia). Work with 52nd Street Project, Playwrights Horizons Theatre School, The Civilians, and Williamstown. Training: MFA, Directing - Brown University/Trinity Rep; BFA, Tisch School of the Arts, NYU. Member of the 2008/2010 Women's Project Lab. Van Lier Directing Fellow 2009, Second Stage Theatre. Member 2010-2011, Civilians' R&D Group. 
Kim
Weild is a director, performer and teacher. She is the 2006 Bill Foeller
Directing Fellow to The Williamstown Theatre Festival where she conceived
and directed the new play Paradise Now. She is a Kennedy Center Directing
Fellow, the recipient of a Kennedy Center Fellowship, a Columbia University
Theatre Fellowship and has held the David Parsons Chair at LACHSA.
She is the Artistic Director of Burning Wheel which is dedicated to
the creation of new work, the dynamic re-imaginings of the classics
and the training of theatre artists. Most recent productions include,
Uncle Vanya, The Eccentricities of a Nightingale and Endgame. The design
of her production of Uncle Vanya has been chosen for exhibition in
the Prague Quadrennial and the show itself will be performed in Prague
in June. Kim received her BFA from New York University-Tisch School
of the Arts (University Honors Scholar) and is an MFA candidate (2007)
in the directing program at Columbia University. Her thesis production
will be the N.Y. Premiere of Charles Mee Jr.'s Fetes de la Nuit opening
February 14, 2007. Current plays in development are new adaptations
of Miss Julie with playwright Luis Alfaro, Racine's Phaedra, and a
new play entitled FAUN.
