Dara Weinberg (resume here) specializes in the theatrical interpretation of forms related to Greek choruses.

Her adaptation from Greek tragedy, UMRZEĆ W ATENACH / TO DIE IN ATHENS, was read in Warsaw (Komuna//Warszawa) on June 3rd, 2012, with a trilingual Polish/German/English text and performers from Berlin, Frankfurt, Warsaw, Łódź, Lublin, Kraków, Cambridge and Minneapolis. TO DIE IN ATHENS was also read in Baltimore, all in English, at the Homewood Museum on the Johns Hopkins campus, in August 2012; an all-Polish version, with new music, will be presented as part of the Dotknij Teatru festival (Touch Theatre) in Łódź at Teatr Chorea’s space in Fabryka Sztuki, on March 27, 2013.

UMRZEĆ W ATENACH, on June 3rd at Komuna.

She is the founder of an improvising chorus group in Baltimore called The Parallel Octave (||8ve), that makes recordings of poems with music. Parallel Octave’s third compilation of short films, ANTHOLOGY III, will screen at the Creative Alliance on July 31, 2013. Here’s the trailer for last year’s ANTHOLOGY II:

The ANTHOLOGY II films can be viewed on the ||8ve website here and on Youtube here.

Parallel Octave has met under the auspices of the Baltimore Free School to hold a session, open to the public, to record a different poem, with music, at least one weekend a month since April 2010.
The group has performed at An Die Music, CHURCH, the Baltimore Free School Talent Show, the Bell Foundry/Wham City Lecture Series, Artscape/High Zero’s “Worlds in Collusion” festival and the Creative Alliance, and teaches education workshops in collaboration with Writers in Baltimore Schools.

Photo by Lloyd Lowe, from Parallel Octave's 2011 screening of ANTHOLOGY I, at the Creative Alliance. L to R: Sandy Koll, Richard Goldberg, me, and Joseph Martin.

Last year’s ANTHOLOGY I screened on July 8, 2011, also at the Creative Alliance; the ANTH I films can be viewed on the ||8ve website here and on Youtube here.

Other directing credits include readings of W TYM MIEŚCIE (an interview-based play) at the Kraków Jewish Community Center; TO DIE IN ATHENS in Indianapolis and Los Angeles; a semi-staged reading of Matthew Smith’s play BLUE WATER, BLACK SAILS, in Baltimore; a staged reading of Ron Allen’s short play, X RESTRUNG CORTEX, at Theatre of Note; THE MARRIAGE OF HEAVEN AND HELL, an improvised dance play based on William Blake’s poetry, at the Met Theatre Company; and A VAST WRECK and BRANDOHEAD at Theatre of NOTE, where she is an associate member.


She co-founded the Indy Convergence (, an annual conference of experimental artists, held yearly in Indianapolis, with Robert Negron and Caitlin Swihart, in 2007.


Assistant directing: MY WANDERING BOY (dir. Bill Rauch) at South Coast Rep, ROMEO AND JULIET (dir. Bill Rauch) and TARTUFFE (dir. Peter Amster) at the Oregon Shakespeare Festival, GOLDA’S BALCONY at TheatreWorks (dir. Aaron Davidman), LYDIA at the Denver Center (dir. Juliette Carrillo), and SOMETIMES A GREAT NOTION at Portland Center Stage (dir. Aaron Posner).

She directed and choreographed the premiere of Helma Fries’s anti-war play HUMAN BOMBING for the Berliner Compagnie, a political theater ensemble in Kreuzberg. The production toured Germany from 2003 to 2007.

She has taught multiple workshops on performance interpretations of Greek choruses (and performing contemporary poems as choruses) to students and to actors since 2001, for Single Carrot Theatre, Many Hats Collaboration, the SF Mime Troupe, Windward School, Carver Center for the Arts, the International American School in Kabaty, Warsaw, Harvard-Westlake School, and others. See resume for complete list.



On A Vast Wreck:

” In a production reminiscent of early Actors Gang efforts, director Weinberg directs a heavily made-up and garishly attired ensemble to tumble and cartwheel through a noisy, acrobatic interpretation that’s heavy on pantomimed sex and out-loud thinking. The strength of Weinberg’s production lies in the energy of her ensemble and Chow’s simple but effective costuming, Closs-Farley’s gargoylish makeup and Jenkins’ haunted-house light plot. -” Steven Mikulan, LA Weekly

“Dara Weinberg’s direction, which practically choreographs it [AVW], reinforces Theatre of Note’s reputation as an exciting cutting-edge house.” – Laura Hitchcock, CurtainUp Los Angeles


On Brandohead:
“The epically opaque “Brandohead” is one for the surrealist books…merging scabrous absurdity, Mayan myth, industry satire and a giant cranium of the ultimate Method actor…Robert Wilson was never like this.” – David C. Nichols, Los Angeles Times


On The Marriage Of Heaven And Hell:
“Blake’s hell is a land of forbidden pleasures, an antithesis to heaven’s stoic morality: Both are on the stage, melding into each other…” – Steven Leigh Morris, LA Weekly


Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s


Get every new post delivered to your Inbox.

%d bloggers like this: