Lauren is a multidisciplinary theatre maker from New York City. She is a director, choreographer, collaborator, and experimental playwright. Lauren holds her MFA from Sarah Lawrence College and her BFA from LIU, Post. Selected directing credits include: Iphigenia and Other Daughters, Orson's Shadow, Rumors, The Inferno Project, House of Yes, Trojan Women 2.0, The Changeling, 'night Mother, and Damnee Manon Sacree Sandra. As a performer, Lauren has performed in several countries, including Scotland and Greece. Selected performance credits include: 4.48 Psychosis, Crave, Midsummer Nights Dream, The Bakkhai, Three Tall Women, and her solo show, All the Tiny Pieces. Her plays have been produced at Sarah Lawrence College and around New York City.
Lauren has served on the advisory board of Rapscallion Theatre Collective as well as heading their volunteer program and serving on the literary committee. She served as Director of Development for TheatreRats, and has worked in casting for Horizon Theatre Repertory. She is an audition coach in Manhattan and is a member of the Lincoln Center Directors Lab and Society of Stage Directors and Choreographers. Lauren is the co-founder of Commuter Assembly Devising Collective and she currently teaches devised theatre at Long Island University. www.laurenreinhard.com
Yvonne Rainer / Sarah Kane / Chuck Mee / Pina Bausch / David Herskovits / Ruth Maleczech / Lee Breuer / Man Ray / John Cage / my generous and fearless students at LIU Post.
Thank You For Listening (or the Everyday Dying of Stained Glass Shadows) as part of the Woods Cannon
I am working on a play cannon surrounding one family. The plays are being made in various ways (traditional playwrighting, devised, etc...) depending on the needs of the particular play. Two plays have been made and I'm currently working on the third play titled "Thank You For Listening (or the Everyday Dying of Stained Glass Shadows.)" I was inspired to start this project when I was making what has turned out to be the first play in this cannon, a solo play. Some of the characters I was writing felt exciting and interesting and started to become an obsession. While they all had to get cut from the first solo play I set out to write more plays that would fully explore the many members of this family as they mine their shared trauma for answers about their VERY close relationship to the natural world.