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Resident Directors

These directors have a home base at Roundabout to develop their own work, take artistic risks, and play a role in planning the company's seasons.


Roundabout: Marvin's Room. Described by the New York Times as “one of the leading lights of downtown theater,” Anne has directed at most major New York non-profit and regional theaters. Her recent credits include Tom Holloway’s And No More Shall We Part starring Alfred Molina and Jane Kaczmarek at Williamstown Theatre Festival, Marjorie Prime by Jordan Harrison with Lois Smith at Playwrights Horizons (Lortel and Drama League Nominations for Outstanding Director), Buzzer by Tracey Scott Wilson with the Public Theater, The Nether by Jennifer Haley with MCC, You Got Older by Clare Barron with P73 Productions (Drama Desk nomination), Smokefall by Noah Haidle with Zachary Quinto at MCC, The Goodman Theater and South Coast Rep, 100 Days a new musical by The Bengsons at Z Space in San Francisco, Your Mother’s Copy of the Kama Sutra by Kirk Lynn with Playwrights Horizons, The Muscles In Our Toes by Stephen Belber with the Labyrinth Theater Company. Other credits include: Lisa D’Amour’s Pulitzer Prize finalist play Detroit starring David Schwimmer and Amy Ryan at Playwrights Horizons (NY Times, New York Magazine and Time Out NY Top 10 Productions of 2012), Maple and Vine also at Playwrights Horizons, Somewhere Fun by Jenny Schwartz at the Vineyard Theater, Amy Herzog’s Belleville for Yale Rep, NY Theatre Workshop and Steppenwolf (Lortel Nomination for Outstanding Director), Chloe Moss’s This Wide Night starring Edie Falco and Alison Pill for Naked Angels (Lortel Nomination for Outstanding Director), the musical We Have Always Lived In the Castle by Adam Bock and Todd Almond with Yale Rep, Stunning by David Adjmi and Greg Pierce’s Slowgirl for LCT3, You Better Sit Down: Tales from My Parents’ Divorce with the Civilians at Williamstown, ArtsEmerson and The Flea, God’s Ear by Jenny Schwartz with New Georges and the Vineyard. She is a Sundance Program Associate, a Usual Suspect at New York Theatre Workshop, an alumna of the Soho Rep Writers and Directors Lab, a current member of Soho Rep’s Artistic Council, Lincoln Center Directors Lab, The Drama League of New York, a founding member of The Civilians, an Associate Artist with Clubbed Thumb and co-creator of the CT Directing Fellowship, and member of New Georges Kitchen Cabinet. From 2000-2006, Anne was on the directing faculty at NYU. She received her MFA in directing from UCSD, and a BA in Slavic Languages and Literature and Theater from Stanford University. Anne is an Executive Board Member of the SDC. Anne’s awards include two Obie Awards, including one for Sustained Excellence, the Joan and Joseph Cullman Award for Exceptional Creativity from Lincoln Center, the Alan Schneider Director Award, the Barrymore Award for Best Director, and a Lilly Award.


Roundabout: Time and the Conways. Other Broadway: Indecent by Paula Vogel (co-creator; Tony Award, Best Direction of a Play, Outer Critic's Circle Award, Drama League and Lucille Lortel nominations). Select Off-Broadway: Time and the Conways (Old Globe); How To Transcend A Happy Marriage and The Oldest Boy by Sarah Ruhl (LCT); Luck of the Irish by Kirsten Greenidge (LCT3); Familiar by Danai Gurira, Stage Kiss by Sarah Ruhl, Milk Like Sugarby Kirsten Greenidge (Playwrights Horizons); Orlando by Sarah Ruhl (CSC); Orpheus (NYCO); Dark Sisters (MTG/Gotham); Menopausal Gentleman (The Ohio). Regional includes productions at Yale Rep, La Jolla Playhouse, Shakespeare Theatre Company, The Old Globe, ART, Oregon Shakespeare Festival, McCarter, and Woolly Mammoth among others. Rebecca is a Henry Crown Fellow at The Aspen Institute, and a graduate of the Yale School of Drama.

Roundabout Directing Fellow

This program was created in 2017 as a launch pad for the next generation of directors. It focuses on underrepresented talent, and is a balance of hands-on learning with the season’s directors and development of the Fellow’s own craft.


Cristina is a Latina director, writer and theater maker whose mission is to create empathy and conversation by directing new plays and musicals, as well as socially conscious adaptations of classics that place women of color at the forefront. Her work challenges the preconceived notions of what the American Theater can be, while confronting the intersections between our public, private, and political selves. Cristina holds a BA in Theatre from Barnard College at Columbia University and has participated in the Williamstown Theatre Festival Directing Corps, the SDCF Observership Program, and as an assistant director at both The New York Theatre Workshop and The Public Theater. Today, Cristina is the 2019–20 Roundabout Directing Fellow and the Founding Artistic Director of Checkmark Theatre Company, an NYC-based company dedicated to underrepresented artists and the telling of their stories. Checkmark most recently produced Eliana Pipes’s newest play, DREAM HOU$E (2019 Leah Ryan Prize, 2019 O’Neill Finalist,) at Ars Nova’s ANT Fest directed by Cristina, and will be transitioning into a theatre, film and television production company to develop a new, digital series inspired by the life of Marie Antoinette written by Cristina in the 2019–20 Season.

2020/21 Tow Foundation Playwright in Residence

This residency offers playwrights the opportunity to focus on their craft, gain experience and insight into all aspects of the nonprofit theater world, and debut their work.


Dave Harris is the 2020-2021 Tow Foundation Playwright in Residence. He is a poet and playwright from West Philly. His play Everybody Black is currently playing at the 2019 Humana Festival. His plays have been featured and developed at Victory Gardens Ignition Festival, Theater503 in London, Great Plains Theater Conference, The Kennedy Center, Lesser America, OSF Black Swan Lab, and Fault Line Theatre Company. He is a member of The Working Farm at SPACE, a two-time finalist for the O'Neill Theater Conference, and a semi-finalist for The Relentless Award. He has received commissions and fellowships from Ensemble Studio Theatre, Cave Canem, Callaloo, and The Kennedy Center. Dave is a second year MFA student in Playwriting at UC San Diego.

Company in Residence

Fiasco Theater was invited to become Roundabout’s first Company in Residence following their work on Into the Woods (2015). We aim to encourage them to continue their exploration of classic musicals and plays by providing the time and space that a young company needs to do their best work.


Fiasco is an ensemble theater company created by graduates of the Brown University/Trinity Rep M.F.A. acting program. Past shows include Cymbeline (TFANA/Barrow Street), Into the Woods (Roundabout, Old Globe, McCarter, National Tour/Menier Chocolate Factory), Measure for Measure (New Victory/Long Wharf), The Two Gentlemen of Verona (Folger/TFANA) and Twelfth Night (Classic Stage Company). Cymbeline was honored with the 2012 Off-Broadway Alliance Award for Best Revival. Into the Woods garnered the 2015 Lucille Lortel Award for Best Revival & Off Broadway Allaince Award. Fiasco Theater is Company in Residence at Roundabout Theatre Company as well as at NYU-Gallatin. Fiasco Theater receives generous support from SHS Foundation, Howard Gilman Foundation, Lucille Lortel Foundation, Shubert Foundation, Actor’s Equity Foundation, New York State Council on the Arts & the Harold and Mimi Steinberg Charitable Trust.

Associate Artists

This group of directors and playwrights comprises artists who have created some of Roundabout's best-known works and artists who will be creating the work of the future. They call Roundabout home and are able to develop the projects they are the most passionate about here.


Roundabout: After Miss Julie, The Constant Wife. Other Broadway: Heisenberg, Rodgers and Hammerstein’s Cinderella, The Lyons, Cry-Baby, Reckless. New York premieres include works by David Auburn, Lynda Barry (The Good Times Are Killing Me), Douglas Carter Beane (As Bees in Honey Drown), Charles Busch, Julia Cho, Lisa Kron (2.5 Minute Rude), Kenneth Lonergan (This Is Our Youth, Lobby Hero), Craig Lucas (The Dying Gaul), Nicky Silver (The Lyons, Too Much Sun) and Paul Vogel (How I Learned to Drive, The Long Christmas Ride Home). He has directed at London’s Donmar Warehouse and Menier Chocolate Factory, Dublin’s Gate Theatre and the Sydney Opera House. Mark is the artistic director of the Yale Institute for Music Theatre and serves on the Executive Board of SDC.


Roundabout: Roundabout: The Real Thing, Picnic, Look Back in Anger (Lortel nomination for Outstanding Direction); Tigers Be Still. Broadway: A Doll's House: Part 2, The Glass Menagerie, Seminar (Golden Theater; also Ahmanson, L.A.). Recent: Fun Home (Public Theater, Tony Award, Best Direction of a Musical); Uncle Vanya (Soho Rep.); The Realistic Joneses (Yale Rep., CT Critics Circle Award for Outstanding Director); The Big Meal (Playwrights, Lortel Award for Outstanding Director); We Live Here (MTC); A Doll’s House (Williamstown); August: Osage County (Old Globe, SD Critics Circle Award for Outstanding Direction); Kin (Playwrights Horizons); The Coward (LCT3); Dusk Rings a Bell (Atlantic); Circle Mirror Transformation (Playwrights Horizons; Drama Desk nomination, OBIE Award for Outstanding Direction); The Aliens (Rattlestick, OBIE Award for Outstanding Direction); and Jollyship the Whiz-Bang (Ars Nova/Under the Radar Festival). Graduate of the Juilliard Directing Program, NYTW Usual Suspect, Drama League Directing Fellow and recipient of the Princess Grace Award.


Joshua Harmon’s plays include Bad Jews, (Roundabout Underground; Roundabout/Laura Pels; West End), Significant Other (Roundabout; Broadway/Booth Theatre), Admissions (Lincoln Center Theater; Drama Desk and Outer Critics Circle Awards, Outstanding Play), and Skintight (Roundabout). His plays have been produced across the country and internationally in Australia, Canada, Germany, Israel, Russia, South Africa, and throughout the U.K. Fellowships include MacDowell, Atlantic Center for the Arts, and NNPN/Actor’s Express. He is under commission from Manhattan Theatre Club. Education: Juilliard.


Miranda is a Princess Grace Award/Honoraria–winning director, writer and curator of performance originally from Boston. She is currently as an Associate Artist at Roundabout Theatre Company; previously as the 2017/18 Directing Fellow, currently the Artistic Development Associate. Miranda is a New Georges Affiliate Artist, member of the Lincoln Center Theatre Directors Lab, the Wingspace Mentorship Program, a Manhattan Theatre Club Directing Fellow, and a former Allen Lee Hughes Directing Fellow at Arena Stage. Miranda is a graduate of Wesleyan University where she double majored in German Studies and Theater and was awarded the Rachel Henderson Theater Prize in Directing. Her work is radically inclusive, fundamentally multi-voiced, oriented towards sparking dialogue and in direct conversation with the current American state of affairs.


Roundabout: The Big Knife, Mrs. Warren's Profession, A Man for All Seasons, A Touch of the Poet, A Naked Girl on the Appian Way, Death Takes a Holiday (Drama Desk nomination), Howard Katz, The Paris Letter. LCT: Junk, The City of Conversation, The House in Town. Broadway: The Father, Outside Mullingar, An Enemy of the People, Born Yesterday, Elling, Oleanna, The Royal Family, Mauritius, Inherit the Wind, Doubt (Tony Award), Frozen (Tony nomination). Off-Broadway includes Incognito, The Whipping Man, Defiance, Flesh and Blood, The Beard of Avon and The Grey Zone. Awards: Tony, Drama Desk, Outer Critics Circle, Lucille Lortel, Obie (twice), Callaway.


Roundabout: Scapin, Waiting for Godot (2009 Drama Desk nomination), A Flea in Her Ear, Bye Bye Birdie.Irwin is an original member of Kraken and San Francisco's Pickle Family Circus. Original works include Fool Moon, Largely New York, The Harlequin Studies, Mr. Fox: A Rumination, The Happiness Lecture, and The Regard of Flight. Theatre: Show Boat (SF Opera), Old Hats, Endgame, Broadway/West End revival of Who’s Afraid of Virginia Woolf (2005 Tony Award, Helen Hayes Award), The Goat or Who is Sylvia, Accidental Death of An Anarchist, 5-6-7-8 Dance!, Waiting For Godot at Lincoln Center, The Tempest, Garden of Earthly Delights, Texts for Nothing, 2003–04 Signature Theatre Playwright-in-Residence, The Seagull, A Man's A Man, 3 Cuckolds. Television: “PBS Great Performances; Bill Irwin Clown Prince,” “Third Rock from the Sun,” “Northern Exposure,” “Sesame Street, Elmo's World,” “The Regard of Flight,” “Closing Ceremony 1996 Olympic Games,” “The Cosby Show,” “The Laramie Project,” “Subway Stories,” “CSI,” “The Good Wife,” “Law & Order: SVU,” “Elementary” and the upcoming “South of Hell.” Film: Interstellar, Identity Theft, Rachel Getting Married, Higher Ground, How the Grinch Stole Christmas, Definitely, Maybe, Dark Matter, Raving, Across The Universe, A Midsummer Night’s Dream, My Blue Heaven, Scenes from a Mall and Stepping Out.


Roundabout: Dinner With Friends. Broadway: Amélie, China Doll, The Heidi Chronicles, A Delicate Balance, Edward Albee’s Who’s Afraid of Virginia Woolf? (Tony Award, Best Direction of a Play, 2013); Clybourne Park (Tony Award nomination, Best Direction of a Play, 2012). Pam recently directed the world premiere of Beau Willimon’s The Parisian Woman for South Coast Repertory, as well as Craig Lucas’ The Lying Lesson at The Atlantic Theater. Pam directed Horton Foote’s Harrison, TX at Primary Stages, and Itamar Moses’ Completeness at Playwrights Horizons, as well as the world premiere at South Coast Repertory. She also directed the world premiere of David Wiener’s Extraordinary Chambers at the Geffen Playhouse, and Rachel Axler’s Smudge at Women’s Project in 2010. Other credits include: Edward Albee’s Occupant at The Signature Theater; A Lifetime Burning by Cusi Cram at Primary Stages; Edward Albee’s A Delicate Balance at Arena Stage with Kathleen Chalfant and Ellen McLaughlin; All the King’s Men by Robert Penn Warren at Intiman Theatre; The Four of Us by Itamar Moses at Manhattan Theater Club; Roberto Aguirre-Sacasa’s Good Boys and True (Steppenwolf). Pam directed the world and New York premieres of Edward Albee’s Peter and Jerry (Hartford Stage and Second Stage); Bruce Norris’ The Unmentionables (Woolly Mammoth) and the world premieres of Richard Greenberg’s Our Mother’s Brief Affair (South Coast Repertory); John Fugelsang’s All the Wrong Reasons (New York Theater Workshop) and The Four of Us by Itamar Moses (The Old Globe). Further credits include Edward Albee’s The Goat, or Who is Sylvia? (Alley Theater, Vienna Theater); David Mamet’s Romance (Goodman Theatre); Gina Giofriddo’s After Ashley (Philadelphia Theater Company); Edward Albee’s Play About the Baby (Philadelphia Theater Company, Goodman Theatre) and Bach at Leipzig by Itamar Moses (NYTW); amongst others. Pam is an alumna of the Lincoln Center Director’s Lab, the Women’s Project Directors’ Forum and the Drama League Fall Production Fellowship. Pam serves as the Board Chair of the downtown company Clubbed Thumb and is a member of SSD&C.


Roundabout directing: Assassins (Tony Award), The Mineola Twins, The Ritz, Design for Living, Pal Joey, The Humans. Other directing credits include An Act of GodThe Last Ship, Casa Valentina, I’ll Eat You Last, The Other Place, Dogfight, Other Desert Cities, The Pride, 9 to 5, Wicked, Blackbird, November, The Receptionist, Three Days of Rain, The Odd Couple, Glengarry Glen Ross, Laugh Whore, Take Me Out (Tony Award), Frankie and Johnny in the Clair de Lune, The Vagina Monologues, bash, Love! Valour! Compassion!, Proposals, Corpus Christi. Film: Love! Valour! Compassion! As an actor: The Normal Heart (Tony Award nomination), Angels in America (Tony Award nomination) and The Baltimore Waltz. He is the recipient of Outer Critics Circle, Drama Desk, Lucille Lortel, Helen Hayes, Clarence Derwent, Obie and Joe A. Callaway awards. He is a member of Naked Angels and an associate artist at Roundabout Theatre Company.


Roundabout: Anything Goes, The Pajama Game, 1776, Follies. Other Broadway credits include In Transit, Nice Work If You Can Get It; Wonderful Town; Living on Love; Grease; Little Shop of Horrors; Seussical; Kiss Me, Kate and Swinging on a Star. Off-Broadway and regional: Two Gentlemen of Verona (NYSF); Saturday Night (Second Stage); Love’s Labor’s Lost (Old Globe); My Paris (Long Wharf); Ever After (Paper Mill); Diner (Signature Theatre); The Unsinkable Molly Brown (Denver Center Theatre); The Band Wagon, I’m Getting My Act Together…, Bells Are Ringing, Carnival and Babes in Arms (City Center Encores!). TV: “Once Upon a Mattress,” “The Music Man” (Emmy nomination) and “2 Broke Girls.” She has received three Tony Awards (out of nine nominations), three Drama Desk Awards, three Outer Critics Circle Awards, the Astaire Award, the George Abbott Award, the Smith College Medal (her alma mater) and the Pennsylvania Governor’s Award for the Arts. She is a member of the Executive Board of the Stage Directors and Choreographers Society.


Roundabout: Bernhardt/Hamlet, The Understudy. Rebeck is a widely produced playwright throughout the United States and abroad. New York productions of her work include Dead Accounts at the Music Box Theatre; Seminar at the Golden Theatre; Mauritius at the Biltmore Theatre in a Manhattan Theater Club Production; The Scene, The Water’s Edge, Loose Knit, The Family of Mann and Spike Heels at Second Stage; Bad Dates, The Butterfly Collection and Our House at Playwrights Horizons and View of the Dome at New York Theatre Workshop. Omnium Gatherum (co-written, finalist for the Pulitzer Prize in 2003) was featured at the Humana Festival, and had a commercial run at the Variety Arts Theatre. Her newest work, Poor Behavior, premiered at the Mark Taper Forum in Los Angeles in 2011. Dead Accounts, commissioned by the Cincinnati Playhouse, premiered January 2012. In television, Ms. Rebeck has written for “Dream On,” “Brooklyn Bridge,” “L.A. Law,” “American Dreamer,” “Maximum Bob,” “First Wave” and “Third Watch.” She was the creator of the NBC drama “Smash.” She has been a writer/producer for “Canterbury’s Law,” “Smith,” “Law and Order: Criminal Intent” and “NYPD Blue.” Her produced feature films include Harriet the Spy, Gossip, and the independent features Sunday on the Rocks and Seducing Charlie Barker, an adaptation of her play, The Scene.


Jenny was the 2016/2017 Tow Foundation Playwright-in-Residence at the Roundabout Theatre, where she has recently been named an Associate Artist and is also under commission. Select plays include: diventare (The Harold & Mimi Steinberg National Student Playwriting Award), Horse Girls (Fordham/Primary Stages, the cell, Ars Nova; New York, Collaboraction; Chicago, Annex Theatre; Seattle, published by Samuel French), Jason&Julia (Williamstown Theatre Festival Workshop Production, Wyoming Theatre Festival Reading, City Theatre of Pittsburgh Reading), Stagedream (co-written with Lee Overtree, upcoming: workshop at Playwrights Horizons Theatre School), Aunt Sylvia Is Dead (The Collective; published in The Collective Anthology 2014), Kingdom Come (Roundabout Underground Reading Series, Roundabout Underground Production directed by Kip Fagan, published by Samuel French), Part & Parcel (Primary Stages Reading Series, Perry Mansfield Theatre Festival, Roundabout Theatre Company Reading), Damsels (developed at Space on Ryder Farm, upcoming: reading at the Signature Theatre directed by Meredith McDonough). Jenny has developed plays with/been commissioned by the O’Neill Theatre Center, Williamstown Theatre Festival, Northlight Theatre, Piven Theatre Workshop, Primary Stages, Space on Ryder Farm, and Roundabout Theatre Company. BFA: Boston University, MFA: Fordham University/Primary Stages. Jenny currently attends the Lila Acheson Wallace American Playwrights Program at The Juilliard School.


Whitney is a director, musician, and actor. Recent work: Othello (Trinity Rep), Blood Wedding (Atlantic Theatre Co/NYU), Freedom Riders (NYMF), Macbeth in Stride (Miami Theater Center). As Associate Director: Marvin's Room (Broadway), If I Forget (Roundabout). Upcoming: Rita Tambien Rita (Julliard), Aleshea Harris’ What to Send Up (The Movement), The Secret Life of Bees (Atlantic Theatre, Associate Director). Whitney was the inaugural Roundabout Directing Fellow and is currently a 2050 Fellow at the New York Theatre Workshop. This year she will be in residency at Ars Nova as part of their 2018 Makers Lab, and at the Drama League as part of their Next Wave Residency where she is developing an African American production of Anton Chekov’s Three Sisters set to original music. MFA Acting: Brown University/Trinity Rep, BA: Northwestern University.

Roundabout Directors Group

The Roundabout Directors Group was created to offer resources and provide career assistance to early career directors for the American Theatre who have traditionally been denied equitable opportunities in the theatre industry. Building on the work begun through the Roundabout Directing Fellowship, the group will create artistic community for directors at similar stages of their careers, fostering camaraderie, lateral mentorship, and insight into the workings of a large not-for-profit institution.


Cristina holds a BA in Theatre from Barnard College at Columbia University and was the 2019-20 Roundabout Directing Fellow. She has worked in the Williamstown Theatre Festival Directing Corps, the SDCF Observership Program, and as an assistant director at The New York Theatre Workshop, The Public Theater, and on Broadway. Today, Cristina is a 2020-21 Drama League Directing Fellow, and the Founding Artistic Director of Checkmark Productions, an NYC based company dedicated to underrepresented artists and the telling of their stories in theater and film. Checkmark most recently produced Eliana Pipes’s newest play, DREAM HOU$E (2019 Leah Ryan Prize, 2019 O’Neill Finalist,) at Ars Nova’s ANT Fest directed by Cristina, and is currently developing TONI, a new series inspired by the life of Marie Antoinette written by Cristina.


Rebecca Aparicio is an NYC-based director and writer dedicated to developing new work and raising visibility and access for marginalized communities. As a director, favorite credits include the award-winning production of Radical by Nelson Diaz-Marcano (HERE),  Morir Sonyando by Erlina Ortiz (Parsnip Ship), Paper Towels by Nelson Diaz-Marcano  (The Wild Project). This summer, she will be directing In The Heights at Live Arts. As an associate/assistant director, recent credits include: Gloria: A Life (dir. Diane Paulus, A.R.T. and dir. Emily Mann, McCarter Theatre), Evita (dir. Sammi Cannold, NY City Center), The Fre (dir. Niegel Smith, The Flea), and An Iliad (dir. Whitney White, Long Wharf). She’s developed work with Classical Theatre of Harlem, Musical Theatre Factory, The Tank, Ars Nova, HERE, FringeNYC, The Flea, and more. She is member of Roundabout Theatre’s Directing Group 2019-20, an MTC Jonathan Alper Directing Fellow, a two-time SDCF Observership Award recipient, and a Resident Director at the Flea.  As a writer, her award-winning musical Pedro Pan was developed by New York Musical Festival, Musical Theatre Factory, Rhinebeck Writers Retreat, and FringeNYC. Additional writing credits: Legacy (Prospect Theatre), Nora Saves The World (Barn Arts), and The Garcia Sisters (Red Mountain Theatre). Rebecca is a member of the Latinx Theatre Commons, Latinx Playwrights Circle, and a founding member of Magic Forest Theatre, dedicated to creating new musicals for young audiences. Her band Wild Magnolia recently released an EP, available on all platforms.


Kathleen Capdesuñer is a director of new works based in NYC. She is a 2019/20 The Civilians R&D Group Director, 2019/20 Manhattan Theatre Club Directing Fellow, 2018/2019 Roundabout Directing Fellow, 2017/18 McCarter Theatre Center Directing Apprentice, Latinx Theatre Commons Steering Committee Member, and The COOP Youth Advisory Board Member. Kathleen has developed work at: Roundabout Theatre Company, Yale University, Columbia University, Ensemble Studio Theatre, McCarter Theatre Center, Teatro LATEA,  and internationally in the Fringe Festival circuit. She is a first-generation Cuban-American from Kissimmee, Florida and committed to making equitable change in this industry.


Esther M. Cohen (she/her) is a Philadelphia-grown, New York-based director-dramaturg. She makes plays - usually brand new, always unpretentious, and entirely driven by the brains, limbs, and hearts of the imperfect folks inside them. Recent projects include VACATIONS by Greg T. Nanni (The Balcony), STACY & MIA (World Premiere, The Tank) and THE COMMAND CENTER (World Premiere, ANDTheatre) by SMJ, and THE WOLVES by Sarah DeLappe (Quadramics Theatre Company). Esther has assisted at The O’Neill Center, The Drama League, and Yale Rep and has worked in the Artistic and Literary departments of Signature and Second Stage. She is a member of the 2019 Williamstown Theatre Festival Directing Corps. She is an alumna of the National Theater Institute and the University of Pennsylvania, where she studied Politics, Philosophy, and Economics. Esther drinks iced coffee year-round, binges science podcasts at an alarming rate, and has never met a dog she didn't want to steal. See more at


Liza Couser is a director and producer of new plays and musicals based in New York. Her work uses vulnerability, music and humor to nurture curiosity and capture the human condition. Recent projects: Oratorio for Living Things (Assistant Director, Ars Nova), Cowboy Face (Producer, Dixon Place), Casablanca on The Hudson (Director, Dixon Place). Liza has collaborated and presented work with 59E59 Theaters, The Tank, Theater for the New City, BRIC Arts, VOX Theater, and Dartmouth College. As a performer, her work has been seen at Northern Stage, the New London Barn Playhouse, the Flea Theater, and Playhouse on Park among others. Outside of the rehearsal room, Liza also works as a script reader and teaching artist. She is a proud member of the Roundabout Directors Group, a previous Artistic Fellow at Ars Nova, and an alum of the SDCF Observership Program.


V Greene (they/them) is a director, facilitator, and maker with a passion for new work development. They are dedicated to exploring the potential of queered practices in confronting power and control both in material as well as in their rehearsal room. They are drawn to spaces of limbo, moments of holding your breath, and the vulnerability of anger. They are a member of the inaugural Roundabout Directors Group, and their work has been seen at the Tank, Fordham University, the Playroom Theatre, Dixon Place's HOT! Festival and as part of IRT's 3B Development Series. V was a member of Oregon Shakespeare Festival's 2017 FAIR program, and a recipient of Hampshire College's Community Partnerships for Social Change grant. They have worked with the Voices Inside program, PEN International Voices Festival, the Singapore Literature Festival, and Cornerstone Theater Company, among others.


Santiago Iacinti (they/them) is a Mexican born queer femme nonbinary director, writer, choreographer. Their work is that of resistance, activism, and liberation; they want to dismantle the culture of elitism and inaccessibility in the theatre perpetuated by institutions that operate as primarily white, heteronormative, male spaces. They seek to end systematic erasure, decolonize the American canon, and develop original work that stages new futures for people of color and the LGBT community. Their interdisciplinary approach disrupts the safe, commercial, hyper-realistic landscape in the American theatre through the use of film, dance, and shadow puppetry. Lastly, as a bilingual artist, Santiago is determined to bring work in Spanish to the forefront. Their directing credits: The Great Gatsby (Milwaukee Rep), To Saints & Stars, Bees & Honey, Heridas Graves En El Parque De Juegos (San Diego Repertory Theatre). Iacinti has assisted May Adrales, Gaye Taylor Upchurch, and Jackson Gay. Assistant director credits include: In The Heights (Milwaukee Rep, Seattle Rep, Cincinnati Playhouse), Things I Know To Be True (Milwaukee Rep, Arizona Theatre Company), Kill Local (La Jolla Playhouse), The Blameless, tokyo fish story (Old Globe). Santiago Iacinti is an inaugural member of the Roundabout Directors Group, a former Directing Emerging Professional Resident at Milwaukee Rep, the first Artistic Literary Intern at the Old Globe, and an alumnus of Directors Lab West. Website:


Lauren Kiele DeLeon is a Miami born, Uruguayan-American director, poet, and intimacy director. Lauren’s work tends to focus on theatre for social change, new plays, climate change, and the female presenting body on stage. Selected directing and intimacy directing credits include City Theatre Next Generation (Adrienne Arsht Center), Men On Boats (SUNY Purchase), Austentation (SUNY Purchase), The One Minute Play Festival (INTAR), A Hannukah Carol (West of 10th), Playgrounds (The Lark), Serials (The Flea), Recipe for A Sellout (The Wild Project), Surely Goodness and Mercy (AD, Theatre Row), Stork (Hudson Guild Theatre), Tonantzin (Nuyorican Poets Cafe), Bad Penny (AD, The Flea), and Voices Inside (TheatreLab). Lauren recently left her position as the Development Assistant at The Lark Theatre to join Manhattan Theatre Club as their Individual Giving Associate. She is a Resident Director at The Flea Theatre and director for New Perspective Theatre Company's current season. In the Fall, Lauren will be beginning her MA at NYU Tisch in Performance Studies.


Marlee Koenigsberg is a New York based theatre director, deviser and storyteller known for her strong visual aesthetic and focus on inclusion in the arts. Marlee is drawn towards work that thematically examines otherness (whether it be culture, gender, race or ability) and stories that celebrate difference. As the daughter of a deaf adult, Marlee passionately strives to create innovative and accessible theatre for all. Selected directing credits include Silent Sky (Guest Director, Adelphi University), O’Neill & Williams’ Shorts (Guest Director, Adelphi University), The Signal Season of Dummy Hoy (New York Deaf Theatre), The Strange Case of Dr. Jekyll and Mr. Hyde (New York Deaf Theatre), Tea with Vivien (United Solo & Estrogenius Festival), Bratton Late Night Cabaret (Chautauqua Theater Company). She is an Active Member of Underground Skills Exchange (U.S.E) where she workshopped an original reimagining of Cyrano De Bergerac as the inaugural Development Lab featured Artist and Director. Marlee received Directing Fellowships from Westport Country Playhouse and Chautauqua Theater Company where she worked season long as an assistant director, dramaturge and integral support to additional artistic programming. She has trained, assisted and/or worked with Lark Play Development Center, Powerhouse New York Stage & Film, Gia Forakis & Company and Our Voices. She earned a B.F.A in Theatre Arts from Adelphi University. 


Rory Pelsue ( is a director of operas, musicals, new plays, and classics. He recently made his L.O.R.T. debut directing the world premiere of Read to Me at Portland Stage, directed Deathbed Edition at Ars Nova ANT Fest, co-directed a workshop of Circle Jerk at Ars Nova Maker’s Lab, and assisted Sir David McVicar on the Metropolitan Opera Premiere of Handel’s Agrippina. Rory is currently on the faculty of Queens College, where he teaches Directing, Theater History, and Acting Shakespeare. Upcoming projects include Sunday in the Park with George at Northwestern University and the world premiere of The Show on the Roof at Boise Contemporary Theater. Originally from Newburyport, Massachusetts, Rory recently received his MFA in directing from the Yale School of Drama, where he received the Julian Milton Kaufman Memorial Prize for directing. At Yale, Rory directed Passion , Tent Revival, Othello , Bluebeard's Wife, The Apple TreeAnd Tell Sad Stories of the Death of Queens, Antony + Cleopatra and Mies Julie. Additional artistic leadership experience includes serving as artistic director or associate artistic director of Yale Cabaret, Yale Summer Cabaret, MaineStage Shakespeare, and Oxbridge Opera, a UK-based company that specialized in rarely-heard editions of Gilbert and Sullivan operas. As an assistant director, Rory has worked at Roundabout Theater Company, McCarter Theater, Yale Repertory Theater, Irondale Theater, and Compagnia de’ Colombari. He received a BA in Liberal Arts from Sarah Lawrence College and has trained with Carmen Morgan and Art Equity. @rorypelsue


Dominique is a director and dramaturg based in Brooklyn, New York. They believe in l[i/o]ving like it is the end of the world. They have worked as a director, assistant, and collaborator at Ensemble Studio Theatre, The Haiti Cultural Exchange, MCC, The Old Globe, The Lark, Soho Rep, The Atlantic, The Bushwick Starr, Clubbed Thumb, Long Wharf, Flux Theatre Ensemble, WP, The Movement Theatre Company, and The Black Lady Theatre. They are the director in residence for the National Black Theatre through 2021, a NAMT 2019 observer, a member of Roundabout Theatre Company’s Directing Group, and a member of Mabou Mines’ Maker program.


Kayla Stokes is a director, playwright, and maker. She is passionate about creating and supporting weird, new or reinvented, multicultural, challenging, messy stuff! Recent work includes Dutchman (Carnegie Mellon), pato, pato, maricón (Ars Nova ANT Fest), Six Left Feet (The Black Box Project), 26 Pebbles (Princeton Day School, Scenography). Selected assisting/interning projects includes We’re Gonna Die (Second Stage), “Daddy” (The New Group/Vineyard), OSCAR at the Crown (The Neon Coven), Light Shining in Buckinghamshire (NYTW). Additionally, Kayla is dedicated to incorporating sustainable and equitable practices in and outside the theatre. Kayla is a recent graduate of Carnegie Mellon University where she earned a BFA in Directing.

Adams Deputy Artistic Director

This position was created specifically for Scott Ellis in 1998, making him a senior member of Roundabout's artistic team. In 1993, Scott directed Roundabout's first-ever musical revival, She Loves Me, and became a leading voice for this genre at the theatre, advising on the development of initiatives across the institution.


Roundabout: She Loves Me (1993 and 2016; Drama Desk and Tony Award nominations, Outer Critics Circle Award, Olivier Award for Best Director London Production), Picnic (1994), Arthur Miller’s The Man Who Had All The Luck starring Chris O’Donnell, The Rainmaker starring Woody Harrelson, 1776 (Drama Desk, Outer Critics Circle and Tony Award nominations), Company, A Month in the Country (1995) starring Helen Mirren, A Thousand Clowns, The Boys from Syracuse, The Look of Love, On the Twentieth Century, The Understudy, Entertaining Mr. Sloane, Streamers, Twelve Angry Men (Tony Award and Drama Desk nominations), Harvey, The Mystery of Edwin Drood, The Unavoidable Disappearance of Tom Durnin. Other Broadway: The Elephant Man, You Can’t Take It With You, Curtains starring David Hyde Pierce (Tony Nomination, Best Direction of a Musical), The Little Dog Laughed (Lucille Lortel Award Nomination), Steel Pier (Drama Desk, Outer Critics Circle and Tony Award nominations). Off-Broadway credits include Gruesome Playground Injuries, Mr. And Mrs. Fitch, Good Boys And True, The Waverly Gallery, The Dog Problem, Flora, The Red Menace, Dark Rapture, That Championship Season and The World Goes ‘Round…The Songs Of Kander And Ebb (Drama Desk Award and Outer Critics Circle nomination). For television, the Executive Producer on Showtime’s “Weeds” for the three years. Other credits include “The Michael J. Fox Show,” “30 Rock” (Emmy Nomination, Outstanding Directing For A Comedy Series), “Modern Family,” “Nurse Jackie,” “The Good Wife”, “Hung,” and “The Closer”. Graduate of Chicago Goodman School of Drama.

* Generously underwritten by Margot Adams, in memory of Mason Adams.