Holly L. Derr
Holly L. Derr is a writer, director, and professor of theater specializing in the Viewpoints & Composition, the performance of gender, applied theater history, and new play development. Her most recent production,Comedy of Errors, ran at The Saratoga Shakespeare Company.
Originally from Dallas, TX, she holds an MFA in Directing from Columbia University, where she studied with Anne Bogart and Robert Woodruff, and a BA in Theater from The University of North Carolina at Chapel Hill. She was the founding Artistic Director of SKT, Inc., a New York-based non-profit theater, and has directed new plays for the California Institute of the Arts, Big Dance Theater’s Play Play Faster Faster Festival, and the PlayPenn New Play Development Festival. Holly has served on the faculties of Marlboro, Smith, and Skidmore Colleges and has taught and directed at the American Repertory Theater Institute for Advanced Theater Training at Harvard University, The Brown University/Trinity Repertory Company Consortium, CalArts, the University of California at Riverside, and Chapman University.
Holly recently directed Macbeth and her own play, American Medea, at Skidmore College, Romeo and Juliet at Opera House Arts at the Stonington Opera House, and Harry and the Thief, by Sigrid Gilmer, at The Know Theatre in Cincinnati. Favorite past projects include As Long As Fear Can Turn to Wrath, In the Penal Colony, Speak, and new plays by Gregory S. Moss, Lauren Yee, Timothy Braun, and C. Denby Swanson.
Holly is also a feminist media critic who writes about theater, film, television, and comics, using the theoretical and analytical tools of the theater to reflect upon broader issues of art, culture, race and gender politics. Follow her @hld6oddblend and on Facebook.
NewCritcriticism & analysis
According to the LA Stage Alliance, there are about 25 female artistic directors in the greater-Los Angeles area. Though I was initially cheered, that number, it turns out, represents only about 8 percent of Los Angeles' artistic directors.
Holly L. Derr writes about different a ll-female productions of Shakespeare's plays and how this opens up further opportunities for discussion about gender, relationships, and the timelessness of the stories.
Even though Los Angeles has a f ifteen percent Asian population, the question is still up in the air about the representation of these artists and their stories in mainstream media channels.
Holly L. Derr questions if the Hollywood Fringe Festival’s “open access” producing training is at the expense of diversity considering the inherent privilege in the model of producing.