Emily is a New York based director and choreographer specializing in new play and new musical developement.
Emily is passionate about creating community, fostering positive change, and sharing career-development resources with young artists. During her time as Literary & Artistic Manager at ACT – A Contemporary Theatre, Emily spearheaded efforts to make the institution a Deaf-friendly space through artistic programming, inclusive casting, meaningful community partnerships, and capital improvements which included the implementation of closed captioning in both main stage spaces. Also at ACT, Emily founded and managed the Kenan Directing Fellowship, which generously supports one emerging director every six months. Through her efforts with RED STAGE, which she founded, Emily has produced the world premiere Worse Than Tigers, and commissions emerging female playwrights. RED STAGE also shares funding and career development opportunities with artists across disciplines through their "resource library" at redstage.org. As an educator, Emily has adjudicated new play festivals at universities and taught courses on acting and movement technique.
Recent directing credits include CORIOLANUS: Fight Like a Bitch (Rebel Kat Productions), A Christmas Carol (ACT- A Contemporary Theatre), the world premiere of Worse Than Tigers (RED STAGE), Gregory Award-winning Romeo & Juliet (Seattle Immersive Theatre), Pilgrims (Forward Flux), Snowglobed (Playing in Progress) and Milwaukee Repertory Theater’s The Other Woman, Wandering and their world premiere of the devised play Pot of Gold. Emily has choreographed at Book-It Repertory Theatre (Slaughterhouse Five), Café Nordo (Don Nordo Del Midwest), ACT Theatre (A Christmas Carol), and for the UMO Ensemble's Resistance Cabaret - Resistance is Fertile!
Emily was born in California, raised in New Jersey, attended Bucknell University, and earned her MFA in Directing from Ohio University. She has a passion for travel and theatrical exploration. Whether she is collaborating abroad with the Hong Kong School for the Deaf on a visual theatre piece, or incorporating Chinese Water Sleeve choreography to make the Musical Theater International premiere of Just So Jr. fly off the page, Emily feels an immense gratitude for the diverse experiences from which she can draw to tell the stories worth telling.