DIANE PAULUS Director of Theater and Opera

 



FEATURES


Boston Globe
For ART’s Diane Paulus, a time to fly
Is anyone hotter in American theater than ART director?
April 12, 2015

“There’s an incredible rigor to what she sets out to accomplish when a project is conceived,” said scenic designer Scott Pask. “She is incredibly interested in immersion, reaching an audience, getting feedback, wrapping them in what we’re doing.”

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Broadway Box
10 Times Finding Neverland Director Diane Paulus Left Broadway Breathless
April 16, 2015

After mastering the Broadway revival, Tony Award-winning director Diane Paulus helms her first new musical on the Great White Way, the family-friendly extravaganza Finding Neverland. And like her other Tony-winning productions, this musical about the backstory of Peter Pan is full of that signature Paulus magic that simply takes your breath away, like this goosebump-inducing moment leading lady Laura Michelle Kelly has in Act II.So in honor Finding Neverland’s official Broadway opening, we’re looking back on 10 times Diane Paulus has broken the mold, gone for the jugular and left audiences breathless.

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The Wall Street Journal
Diane Paulus Has Seen the Future of Theater
July 11, 2014

"The artistic director of the American Repertory Theater thinks theater should be more like a rock concert"

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Boston Magazine
The Power of Ideas
May 2014

"Fresh off her 2013 Tony win with Pippin for best director of a musical, Paulus has once again asserted herself as a theatrical force."

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TIME 100
Diane Paulus
April 23, 2014
by Audra McDonald

"The Broadway genius who reinvents the classics"

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Newsday
Diane Paulus, Tony-winning director, unstoppable on Broadway
February 28, 2014
by Linda Winer

"Diane has an instinctive eye that takes material, transforms it and takes it into the 21st century," says Richards when I asked him what, in such a relatively few years, has made her so successful. "She's an extraordinary collaborator and creates a nourishing environment for artists. And she's very hands-on."

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The Boston Globe
Diane Paulus, Center Stage
By Laura Collins-Hughes
January 4, 2014

For Paulus, the ART’s artistic director, 2013 was a year of snowballing commercial success. In June, she won her first Tony Award as a director, for “Pippin,” which transferred to Broadway from the ART last spring, recouped its $8.5 million capitalization in December, and continues its run. It is Paulus’s third Broadway show, and her third to win the Tony for best revival of a musical.

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The Washington Post
Diane Paulus: A revivalist, from ‘Porgy’ to ‘Pippin’
By Peter Marks
December 20, 2013

It drives Diane Paulus nuts, seeing people asleep in their theater seats. Not because she considers it a breach of playgoing etiquette. No, the torture for this Tony-winning director is the possibility that what’s happening onstage is of such marginal interest that it works on some portion of the audience as a sedative.

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The Wall Street Journal
Diane Paulus, the green thumb of Broadway
June 4, 2013
by Mark Kennedy

If Broadway musicals were gardens, their directors would be the gardeners. And right now, Diane Paulus is the gardener with one of the greenest thumbs in the business.

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The New York Observer
The Daring Leading Player on the Flying Trapeze: Diane Paulus Takes Pippin to the Circus
By Harry Haun
April 23, 2013

One thing the cast seems to agree on is the energy Diane Paulus brings to the production. Mr. Mann, a former Javert now with flowing white hair, has nothing but praise for the way she put the show together at Boston’s American Repertory Theatre, where she is artistic director. “She’s just the smartest person in the room,” he said.

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Boston Business Journal
Women Up- Diane Paulus
By Keith Regan
March 15, 2013

“My generation of directors, you have to be an entrepreneur,” she said. “You have to think about how to get people to see your shows. ... I’ve found that thinking about what makes an audience want to come out and give their time and money in this very busy pace of the world we live in, was fuel for me.”

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The New Yorker
A Man and a Woman
September 26, 2011
By Hilton Als

Diane Paulus’s great achievement is to cut through Heyward’s muddy folklore and to present us with us something more profound. Her Porgy (the beautiful Norm Lewis) and Bess are not archetypal “black lovers”; they are a man and a woman, human beings who are not defined by their race. It was their humanity—their desire to be seen and their fear of being stripped bare by another—that left me breathless when Lewis and McDonald sang the duet “Bess, You Is My Woman Now,” while trembling and glancing sideways at each other. By ridding the script of its sociological and anthropological strain, Paulus allows us to see the people and, perforce, to hear the music.

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The Star
The Big Interview with Diane Paulus
January 21, 2011
by Richard Ouzounian

These days, Diane Paulus is truly the Queen of the Night. It doesn’t matter if you’re talking about her Tony Award-winning revival of Hair (now touring North America), her ground-breaking work as the new head of the American Repertory Theatre at Harvard or her innovative production of The Magic Flute that opens for the Canadian Opera Company on Jan. 29, she is truly the woman of the moment when it comes to putting musical magic on stage.

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The New York Times
High Art Meets High Jinks Onstage
February 3, 2010
by Patrick Healy

Audio Slideshow: http://www.nytimes.com/interactive/2010/02/07/theater/20100207-diane-paulus-multimedia/index.html

AS a theater director, Diane Paulus is a proud populist. What does that mean exactly? For Ms. Paulus it involves creating shows that appeal to the mainstream as well as theater snobs, and blurring the line between viewers and actors, which is why so many of her productions rely on an interactive relationship with the audience. Like the come-one-come-all dance party onstage at the end of her Broadway revival of “Hair.” Or the invitation to boogie on go-go boxes at her Shakespeare-meets-Studio-54 fantasia, “The Donkey Show.” Or a new musical about the Red Sox that is intended to draw on the enthusiasm of Boston fans.

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The Boston Globe
The Patrons Plunge In
January 22, 2010
by Geoff Edgers

After struggling in recent years, the ART has created a splash on the cultural scene this season. Under new artistic director Diane Paulus, the company’s first two productions - both immersive, interactive, unconventional takes on Shakespeare - are selling out and attracting many who rarely go to the theater.

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The Boston Globe
Bold gestures, iron will
September 28, 2008
by Megan Tench

Audio Slideshow: http://www.boston.com/ae/theater_arts/specials/092808paulus/

"Through the years, Paulus went on to rack up a long list of accomplishments as a director - the revival of "Hair"; the acclaimed "Swimming With Watermelons," a show she co-wrote about the interracial romance between her Japanese mother and white father; the Obie Award-winning "Running Man" by jazz composer Diedre Murray and poet Cornelius Eady; as well as a number of operas. Now she is finally tackling an administrative post, as artistic director at the ART."

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The New York Times
Harvard’s Not-So-Square New Director
August 17, 2008
by Celia McGee

"On the list of her accomplishments as a theater and opera director, Ms. Paulus, 42, could point to “The Donkey Show,” an adaptation of “A Midsummer’s Night Dream” set to 1970s disco that played the Pyramid Club and Club El Flamingo in New York as well as watering holes abroad; a Monteverdi “Orfeo” in the vein of Truman Capote; the English National Opera-Young Vic production of “Lost Highway,” based on the David Lynch movie; last summer’s pro wrestling-flavored “Turandot: The Rumble for the Ring” at the Bay Street Theater in Sag Harbor, N.Y.; and the New York Shakespeare Festival’s “Hair,” now at the Delacorte Theater in Central Park. Generation MTV in their sensory overload, often with compact running times and orgiastically esoteric in their sourcing, these productions could take the starch out of the most tightly stuffed J. Press shirt."

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Harvard University Gazette
Diane Paulus appointed artistic director of the American Repertory Theatre
May 16, 2008

"Harvard University and the American Repertory Theatre (A.R.T.) announced today (May 16) the appointment of Diane Paulus as artistic director. She will be the third artistic leader of the A.R.T., following founding director Robert Brustein (1980–2002) and Robert Woodruff (2002–07). Paulus is a critically acclaimed director of theater and opera; her productions have garnered multiple Obie awards, and she is one of the most highly regarded theater artists in the country. She will begin her responsibilities in the fall with the planning of the 2009-10 season."

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Evening Standard
It's an Opera Mash-Up
March 12, 2008
By Fiona Maddocks


"When American director Diane Paulus flew in from the States last month, the passport official asked her what she was doing here. 'I'm staging a new opera,' Paulus began brightly. 'Uh huh,' replied the official, head down, bored. 'An opera based on a film, David Lynch's Lost Highway,' she persevered. The official looked up. 'Now that's more interesting.' "

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Opera News - Feature
Rebel with a Cause
by Mark Thomas Ketterson
August 2006, Vol 71, no. 2

"For her superb staging of The Turn of the Screw, Paulus stripped the stage bare to the back wall, leaving the characters to wander surreally through a carpet of funereal white lilies; the resultant permeability of actual versus theatrical reality perfectly reflected the disintegration of the protagonist’s mind, her haunting cries of “lost, lost” pealing with eerie poignancy in this created environment. In quite another vein, the cynical decadence of Nero’s court in Monteverdi’s Poppea was searingly captured by gilding the production with ostentatious, Vegas-inspired glitz; Seneca’s death was splashed across the tabloids like so much glitterati gossip."

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American Theatre
She Turns the Beat Around
Director Diane Paulus taps the zeitgeist with a mixture of music, pop culture, improvisation— and a little help from her friends
By Lenora Inez Brown
January 2002

"Paulus’s dedication to the ensemble environment gives her productions the sense of being assembled by a group of dear friends who are, if nothing else, enthusiastic about theatre—a Mickey Rooney/Judy Garland hey-let’s-put-on-a-show atmosphere. What audiences see and remember, however, is something far more sophisticated and precise. When Paulus conjures up a place—a ’70s disco in The Donkey Show, her Gen-X version of A Midsummer Night’s Dream; or a World War II—era auditorium crowded with GI’s in Swimming with Watermelons, based in part on the true-life experiences of her parents—she guides her company’s movements so skillfully that, even without a set, the location in all its dimensions is crystal clear. Her approach is similar to a dance in that way: bodies create environments, not just character. "

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