Rebecca Miller Kratzer (she/her) is a New York-based theatre and opera director. Rebecca makes work that sits at the intersection of opera, music, dance, and theatre through an artistic practice rooted in collaboration, joy, and ritual. She works across and through mediums in opera, ancient, classical, and early modern theatre, new writing, dance theatre, and musical theatre to develop new work, dismantle notions of genre, and interrogate the canon. As a cultural practitioner who empowers free expression, Rebecca creates healthy spaces that cultivate the creativity and confidence of her colleagues to challenge norms and initiate change.
She holds a BA from Brandeis University and an MFA in theatre directing from Columbia University and is a proud Associate Member of SDC.
She is a visiting guest director, adjunct, and lecturer at various colleges and universities, including Emerson College, Rutgers University, and Montclair State.
She is also a coach for actors, singers, and directors. More information can be found here.
Rebecca was the 2020-2021 Directing Fellow at Opera Saratoga, where she directed an al fresco production of Don Quichotte at Comacho’s Wedding and assistant directed Man of La Mancha. In 2020, she interned for director Katie Mitchell, working on New Dark Age, a new production at the Royal Opera House, Covent Garden. She also recently worked with director Whitney White on virtual projects and served as the associate director for a new production at the Bushwick Starr.
Rebecca formerly served as the Artistic Director of the NEMPAC Opera Project. She produced and directed opera in Boston's historic Faneuil Hall, including Mozart's Don Giovanni (June 2018), Beethoven's only opera, Fidelio (June 2017), and Rossini’s La Cenerentola (June 2016). She also assistant stage directed and fight choreographed Puccini’s La Bohème (June 2015) and served as the program and stage director for NEMPAC’s Summer Children’s Musical Theater during the summer of 2014.
Rebecca previously directed and assistant directed with theatre and opera companies, including Opera Saratoga, the NEMPAC Opera Project, Opera del West, The Tank NYC, Trinity Repertory Company, The Footlight Club, The Boston Theater Marathon, Bridge Rep of Boston, Hub Theatre Company, Weston Playhouse, and The New York Times.
Other directing credits include the East Coast premiere of Matthew Aucoin's Second Nature (Opera del West), Massenet’s Cendrillon (Opera del West), The Drag (Fordham Theatre Mainstage), Chekhov’s Three Sisters, Shakespeare’s The Merchant of Venice, and Caryl Churchill’s Seven Jewish Children (Columbia University) Sarah Ruhl's In the Next Room, or the vibrator play (The Footlight Club), Handel's Alcina (Opera del West), a staged reading of Sean Crawford’s Blue Moon (Hub Theatre Co.), three short plays for The Boston Theater Marathon, Open Theatre Project’s SLAMBoston, and Trinity Repertory Company's Write Here, Write Now! Festival, Speech & Debate, and Children of Eden (Brandeis University).
Associate directing credits include DEFINITION (the Bushwick Starr) and the developmental stages of OperaHub's DIVAS (formerly Trunk Show). Assistant directing credits include Finish the Fight (The New York Times, dir. Whitney White), Man of La Mancha (Opera Saratoga), Dog Paddle (Bridge Rep of Boston, dir. Guy Ben-Aharon), Mud Blue Sky (Bridge Rep of Boston, dir. Bridget Kathleen O'Leary), The Love of the Nightingale (Hub Theatre Co.), and Oliver! (Trinity Rep, dir. Richard and Sharon Jenkins). She also fight choreographed Coyote on a Fence, "ART" and The Love of the Nightingale with Hub Theatre Co. of Boston, and curated and moderated talkback series for Bridge Rep’s productions of The Forgetting Curve, Julius Caesar, Salomé, and Mrs. Packard, which she also dramaturged.
She has held development and event management positions at Trinity Repertory Company, SpeakEasy Stage Company, and the Isabella Stewart Gardner Museum. She has additional experience with the Katz Company, The Broadway League, and The Actors Fund.
