Holly L. Derr

  • About MeHolly Derr is a director and professor of theater specializing in the Viewpoints u0026amp; Composition, the performance of gender, and applied theater history. Originally from Dallas, TX, she holds an MFA in Directing from Columbia University and a BA in Theater from The University of North Carolina at Chapel Hill. She was the founding Artistic Director of SKT Inc., a small, New York based not-for-profit theater, and has directed new plays for Big Dance Theater and the PlayPenn New Play Development festival. Holly has served on the faculties of Marlboro College and Smith College, and has taught and directed at the American Repertory Theater Institute for Advanced Theater Training at Harvard University, The Brown University/Trinity Repertory Theater Consortium, and the California Institute of the Arts. Most recently, Holly presented her original script, American Medea, at Ensemble Studio Theater/LA and directed Twelfth Night at the University of Riverside. Favorite past projects include In the Penal Colony, Speak, The Time of Your Life (as a musical adaptation), The Front Page, and new plays by Gregory Moss, Ann Marie Healy, Timothy Braun, and Colin Denby Swanson.
  • Creating
    • DirectingAs a director, I use a combination of the Viewpoints u0026amp; Composition and the tools and philosophies of Epic Theater to represent multiple points of view within one theatrical event, disrupt the false binary of gender roles, and explode the social constructs of identity. But more than anything, I use these techniques to organize human experience within a community: to tell stories. ♦ A song and 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 thirty-five minute version for a tour to underserved communities as part of the Gluck Fellows Arts Education Outreach Program. ♦ In December of 2010 I directed a semi-staged reading of my play American Medea at the Ensemble Studio Theater Los Angeles. American Medea combines the real-life stories of Andrea Yates, Darlie Routier, Deborah Green, and Susan Smith with the structure and characters of Euripides’ play to elucidate the cultural construction that is modern motherhood. ♦ Ruins, a new half musical, half domestic drama, premiered at the California Institute of the Arts in 2010. Unfolding in…
    • New Play DevelopmentNew play development is a crucible in which ideas are lit up by the fire of necessity. Ideas that begin as sounds and images in a playwright’s mind become black words on a white page become sounds and images in the space and time of a public forum. An audience consumes the performance, interprets it, and turns it back into ideas. Artists working to create quickly and collaboratively under the pressure of this compressed time invest in ideas that seem to have been plucked out of the ether, but in reality have been released by the heat of that necessary fire. ♦ In December of 2010 I directed a semi-staged reading of my play American Medea at the Ensemble Studio Theater Los Angeles’s Sunday Best, a monthly “artistic gymnasium” for actors, directors, and writers focusing on plays-in-progress. American Medea creates a post-modern collage of the real-life stories of Andrea Yates, Darlie Routier, Deborah Green, and Susan Smith and the structure and characters of Euripides’ play to elucidate the cultural construction that is modern motherhood. ♦ Ruins premiered at the California Institute of the Arts in 2010. Unfolding in both the past (through Rogers and Hammerstein-style song and dance) and the…
    • Plays/AdaptationsWRITING/ADAPTATIONS Warriors Don’t Cry, an adaptation of Melba Patillo Beals’ memoir of the integration of Little Rock High School (in process) American Medea, using the structure and characters of Euripides’ play with text from the letters, trials, and news coverage of Susan Smith, Andrea Yates, Darlie Routier, and Deborah Green; read at Ensemble Studio Theater LA’s Sunday Best, December 2010 Speak, an adaptation of the novel by Laurie Halse Anderson The Time of Your Life (original musical adaptation), based on the original play by William Saroyan Anatomy of Isabelle: A Reconstructed Production, a documentary production chronicling unfinished work on a production of New Anatomies (Timberlake Wertenbaker’s play about Isabelle Eberhardt, an early 20th-Century European traveler who converted to Islam and lived among the Sufi Mystics of North Africa), which was interrupted by the tragedy of 9/11 In the Penal Colony, an adaptation of Franz Kafka’s short story 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 autobiographical piece about the director based on the theories of Thadeusz Kantor
  • Teaching
    • Research Statement
    • Teaching PhilosophyTEACHING PHILOSOPHY My journey has been characterized by confronting the unknown. I was born and raised in Dallas, TX, and have always been deeply interested in the culture of the South, especially as represented by my Louisianan grandmother and her small town worldview. After attending the University of North Carolina at Chapel Hill (where one of my favorite classes was The Sociology of the South), I moved to New York City and lived consecutively in Hell’s Kitchen and Dominican Harlem. There I became fascinated by the difference between the politics of multiculturalism and actual life in diverse communities. I moved from there to rural Vermont, where I participated in old- American-style Town Meetings and other New England traditions. Seeking the kinds of adventure I read about in my favorite childhood books (Little House on the Prairie, A Wrinkle in Time), I found real-life adventure by living American culture in its many forms. As a teacher, I try to engage students in this ongoing adventure of discovery. I value the unique contributions of diverse students and help them to start from where they are by bringing their experience to the table, but I also encourage them to embrace the unfamiliar. Whether…
  • Production Photos
    • The Wolves
    • Hamlet: Fall of theu0026nbsp;Sparrow
    • Red Bike
    • SuperTrue
    • Macbeth
    • Comedy of Errors
    • American Medea
    • Harry and theu0026nbsp;Thief
    • Romeo and Juliet
    • The Metal Children
    • Rimers of Eldritch
    • As Long as Fear Can Turn tou0026nbsp;Wrath
    • Twelfth Night, or What Youu0026nbsp;Will

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    • Ruins
    • Golden Girlsby Louise Page, photos by Jon Crispin

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  • Blog
  • September 29, 2011

    Destabilizing Gender Through Performance

    Part of a a collaboration between The Good Men Project and Role/Reboot on a special series about the End of Gender. Cross Posted at Ms. I am gendered, just not in all the ways you might think. Whatever part of my brain makes me like makeup and sparkly jewelry isn’t going away any more than…

  • September 15, 2011

    The Personal is Political, and it Always Has Been

    Cross Posted at Ms. What happens when you take the Trojan women out of The Trojan Women? That’s what playwright Jocelyn Clarke has done in his new play Trojan Women (after Euripides), adapted from the Greek playwright Euripides’ 2,400-year-old original. East Coast-based experimental theater group SITI Company is currently performing the Clarke play, directed by…

  • September 8, 2011

    Alice Childress’ Trouble in Mind: An African American Classic Finds New Life

    Cross-posted at Ms. When The Help premiered earlier this summer, African American feminists bemoaned the lack of civil rights narratives told by the black women who actually lived through the era. Though it probably won’t be a Hollywood blockbuster, a bulwark American theater is about to open a civil rights play written by an African…

  • August 31, 2011

    the overthrow of existing conditions

    I have to admit, I was skeptical of Rivka Solomon and Bobbi Ausubel’s play That Takes Ovaries before I saw it. As a theater director/professor and a feminist, I am not a fan of cultural feminism (that which valorizes women because of their biology). As theater, it tends to titillate audiences without changing the status…

  • August 27, 2011

    a short play written on the occasion of the assassination of osama bin laden

    This Mother Jones article about how much we still don’t know about what happened in the Bin Laden raid reminded me of the short play I wrote that weekend. I was frustrated at how certain the media seemed of the narrative, particularly when their version of it confirmed their preexisting biases, and wanted to write…

  • August 19, 2011

    “Porgy and Bess:” Without the Racism and Sexism?

    Cross-posted at MsMagazine.com How should artists approach remounting the classics? Should they respect all of the author’s original intentions and stage a version of the show that reflects them perfectly? Or should they attempt to remove the historical residue often attached to pieces that, however conscious the authors may have been of trying to do…

  • August 12, 2011

    a visit with SITI

    Today I was privileged to sit in on rehearsals for SITI Company’s The Trojan Women at the Getty Villa. This company employs a specifically theatrical technique to make art that fully exploits the liveness of the space and time of performance. Composed of actors, designers, and a director who have been working together at a…

  • August 12, 2011

    the universal and the specific

    In January I will be directing a university production of Our Town. Those of you who know my theatrical tastes may well be surprised to hear that I love this play. I love the theatrical device of the narrator, the lack of set, the deliberate use of stereotypes, and the simple and touching story and…

  • August 12, 2011

    Unemployment: A Play

    An office. A fluorescently lit, cubicley structured, windowless, office. Scene one A: So, what qualifications for this job do you particularly view yourself as having? B: Well, if I could ask – the ad was a bit vague – what are the qualifications for this job – I mean, what are you hoping to –…

  • August 10, 2011

    rehearsal butterflies

    I’m getting ready for my first rehearsal for another incarnation of American Medea tonight, and my stomach is full of butterflies. One of my teachers, Anne Bogart, always says that being nervous is a good sign – it means that you’re invested and that the work is meaningful to you. I agree, and for the…

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