Director - Creator
Éamon Boylan (they/them/theirs) is a New York City based director and creator whose recent and upcoming projects include Soft Butter (Ars Nova, Musical Theatre Factory), Waafrika 123 (National Queer Theater), Container (WP/Public Theater), Femmebodys, or: the way we move (MTF, Town Stages), and Through the Crack in The Closet Door (Corkscrew), Rooms (BAM studio), and The Rite of Spring (American Theater Company/CORE Series). They have incubated work with resident artists at Next Wave Festival (BAM) as well as at LCT3/Lincoln Center, the O'Neill, WP Theater/The Public, Joe's Pub, Clubbed Thumb, American Theater Company, Judson Memorial, Musical Theatre Factory, Lucky Plush Productions, Dragon's Egg Studio, Chicago Cultural Center, Studio Theatre, and elsewhere.
Éamon is committed to developing equitable and accountable industry practices, regularly dramaturging for storytellers centering trans experiences. A graduate of The University of Chicago, Éamon extended their studies in directing at The National Theater Institute after completing independent research with Royal Shakespeare Company, Shakespeare Birthplace Trust, and Folger Library Institute. They are a 2019 Trans Lab Fellow, a 2019 Sokoloff Arts Fellow, and a member of the 2017-19 SDCF Observership Classes.
I must enter the room barefoot.
I must activate space locally and invite experiences ethically. I strive to organize my audiences.
While growing up exposed to a wide array of artistic experiences, I have only learned to create by finding curiosity in collaboration, by expressing the ensemble, and by actualizing accountability.
I am a trans, queer artist infuriated by canonical homogeneity and oppressive power structures which permeate creative process. As a leader, I draw great inspiration from artists who create process-driven content under models of transformative justice and civil disobedience. I trace their models of action in my own work, ranging from the postmodern to more classical frameworks of theatre-making.
I must create pathways for the sustainable development of new work. I must discover new ways to frame shared experiences. I must center my creative focus on experiences which matter and voices which remain unheard.
Only recently have I begun to include my own voice in that category, as not only a director but also a creator. I am a hybrid of so many things, and so the work I love is often a hybrid of various disciplines, styles, perspectives. I am drawn to that which challenges the medium and demands development under new models of artistic production. Every voice requires different resources and every project needs to look different as a result.
I do not believe queer theatre operates under the same temporal or spatial constraints as other theatre. I write and direct the kinds of shows I like to see: experience-driven, anti-theatrical, community-centered work. This kind of theatre invites me to enter the room, take off my shoes, and begin to make something new.