I direct new plays and gender-flipped classics with a focus on telling stories from diverse perspectives.

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On Red Bike at the Know Theatre: “The actors repeatedly rearrange the cartons onstage with carefully paralleled choreography, perhaps representing the repetitive nature of life for the town’s citizens. But occasionally they grab a pair of handlebars and pedal as hard as possible — as kids are inclined to do.

“Gramata-Jones and Jenkins-Copeland are fascinating to watch, sometimes moving in sync with one another and sometimes separately. One often picks up an unfinished line from the other, and occasionally they speak in unison. Such actions are all in service of Svich’s poetic script … the cumulative effect of her cascading text is to depict the tumultuous desire of yearning youth to overcome a stifling environment.” — Rick Pender, CityBeat

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The world premiere of Karen Hartmans’ SuperTrue, at the Know Theatre of Cincinnati, featured seven puppets by Erika MacDonald, video, and a forest of green t-shirts that surrounded the audience.

 

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My Macbeth featured women as Donalbain, Malca, Malcolm, Ross, and Caithness, and combined several servant roles, the Doctor, and Hecate into one mythical character known as the Housekeeper.

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When a media circus descends on the rural cow town of Corinth, TX, to cover a celebrity wedding, a community must confront its own expectations and prejudices about motherhood, identity, and gender roles in a post-modern world. American Medea, by Holly L. Derr, is an unflinching collage of story and culture, a new American myth based on our own contemporary Medeas.  At Skidmore College.

 

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On Harry & the Thief, by Sigrid Gilmer, at the Know Theatre of Cincinnati: “All of this genre morphing, humor and history is effortlessly stitched together by director Holly L. Derr. This is one of the gifts of having Hungerford at the helm. His work in New York and Los Angeles keeps him in the company of the best and brightest young theater makers. He has a knack for choosing collaborators who have so much intellectual street cred they can lean into the joy of the process.” — Stacy Sims, CityBeat

Melody Bates as Lady Montague, Per Janson as Romeo, Rachel Murdy as Escalus, Juliet, and Yvonne Roen as Lady Capulet

Romeo and Juliet at Opera House Arts at the Stonington Opera House derived it’s playworld from the Gothic aspects of the play. Intended to enable the audience to see beyond the idea of fate, the production focused on the choices made not just by the two lovers but also by their community and revealed that it is not the stars that bring about death but rather the violence of the patriarchy.

My production of The Rimers of Eldritch, by Lanford Wilson, used the year in which it was written (1967) to inspire an historicized costume design which, along with the bare-bone aesthetic of the set Wilson imagined, created an American ghost town eerily reminiscent of today’s stuck-in-time Bible Belt mentality. (View the Rimers of Eldritch slideshow).

As Long as Fear Can Turn to Wrath was created collaboratively as part of Son of Semele‘s Company Creation Festival. In a production that evoked the make-something-out-of-nothing lives of the Okies themselves, ensemble acting and a reverence for the words of the original novel combined to tell a story of shared hardship, the value of family, and the importance of class solidarity. Both political and heart-wrenching, this piece reveals the human consequences of joblessness and reinforces the necessity of collective action. (View the Wrath slideshow.)

A song & dance Twelfth Night, Or What You Will at the University of California at Riverside combined the worlds of rave, Las Vegas, and Lady Gaga to illuminate the Illyrian culture of excess central to this love story. I also created a 35-minute version for a tour to underserved communities as part of the Gluck Fellows Arts Education Outreach Program. (View the Twelfth Night slideshow.)

Ruins, a new half musical, half domestic drama, premiered at the California Institute of the Arts in 2010. Unfolding in both the past and the present, this piece by Brittany Knupper chronicles a family’s alcohol-fueled dysfunction. Lyrics by Brittany Knupper. Music by Tyler Gilbert. (See New Play Development for more information or view the Ruins slideshow.)

Common Decency, a new farce by Ann Marie Healy that uses the iconography of Small Town America to uncover the over-complicated social and sexual situations that result from over-simplified values, premiered at the Brown University/Trinity Repertory Company Consortium New Play Festival in 2007.

The Front Page, by Ben Hecht andCharles MacArthur, directed at the American Repertory Theatre Institute for Advanced Actor Training in 2007, featured a female Walter Burns (referred to as W), and an amped up sexual relationship between Hildy and his fiancé, while still evoking the world of the roaring 20s.



Golden Girls, by Louise Page, directed at Smith College in 2006, follows a team of relay runners en route to competition in Athens. Exploited by a shampoo company seeking to sell its Golden Girl shampoo, and by a coach and doctor eager to win, the runners must eventually confront their worst fears and themselves. (View the Golden Girls slideshow.)

Big Dance Theater, New York, NY: The Most Recent History and Most Lamentable Tragedy of the 8ees (‘80’s) Passover, Sortof: directed new piece (text by Henry David Clarke) in Play Play Faster Faster festival, 2005.

Marlboro College, Marlboro, VT

Speak, an original adaptation of the novel by Laurie Halse Anderson, uses expressionism to tell a story of a high school girl  looking for her voice.

The lyricism and onstage piano player in Williams Saroyan’s 1939 The Time of Your Life make it perfect for a musical adaptation. In this Pulitzer Prize winning play, the characters that frequent a ‘Frisco bar make their own melted-pot American family out of companionship, music, and beer. Music and lyrics by David Frye and Terence Purtell.

Scene 9 (world premiere), by Henry David Clarke

Columbia University, New York, NY 1999-2002

Anatomy of Isabelle: A Reconstructed Production, co-produced with SKT, was a documentary production chronicling work on a production of New Anatomies, by Timberlake Wertenbaker, that was halted on September 11. The original play details Isabella Eberhardt’s conversion to Islam and her journey through Northern Africa disguised as a man. We were in rehearsals on September 11, and, when three actors quit because they did not want to play Muslims, we rebuilt the production to include that drama as well as our research into Eberhardt’s life and the Sufi mysticism she practiced.

The Vagina Monologues Spring 01 and 02, Eve Ensler (co-produced with SKT)

When We Dead Awaken, Henrik Ibsen

Monsieur X: Here Called Pierre Rabier, an adaptation of the Marguerite Duras memoir, War

Hundreds of Collisions, an original piece based on the theories of John Cage

Doors, an original autobiographical piece based on the theories of Thadeusz Kantor

Hollywoodland, Tim Braun (world premiere)

In the Penal Colony, an adaptation of Franz Kafka’s short story

SKT, Inc.,New York, NY 1996-2002

Director and Producer

The Looking Glass Theatre: Cymbeline, William Shakespeare

Surf Reality: The Trojan Women, adaptation from versions by Charles L. Mee, Jr.,
Brendan Kennelly, and John Barton

The Connelly Theater: Why We Have a Body, Claire Chaffee

The John Houseman Theater: Like It Is, Johnathan F. McClain (New York premiere)

Producer

29th Street Rep: Floating Redundant, Kimberly Howard (New York premiere)

The Connelly Theater: The Philanderer, George Bernard Shaw

45th Street Theater: Goldfish, Joshua Shelov (world premiere)