MIRANDA POETT
ARTIST IN RESIDENCE
Hi there!
My name is Miranda Poett and I am thrilled to be officially joining The Skeleton Rep Team! I was born in California, where I grew up on a cattle ranch, before attending a beautiful little, hippy boarding school in the woods called Midland. It was there, at our small amphitheatre nestled in the trees, that my love of theatre transformed into something I knew early on would be a lifelong pursuit. In the fall of 2010 I said goodbye to my beloved west coast for colder winters and better pizza as I began the next chapter of my journey at Drew University in Madison, New Jersey. While I was only able to stay at Drew for 3 semesters, it helped lay an incredible foundation for my training, as well introducing me to another aspect of theatre I would fall in love with: Lighting Design.
After leaving Drew I spent a year back in California, working in the cellar of a winery not far from home, before making my inevitable return to New York. I knew that I wouldn’t be able to stay away from the east coast long, and in January of 2013 I made Brooklyn my new home. It would take some time for me to find my footing in this strange new city, but around August that year, a friend from high school invited me to come audition for her all female production of Love’s Labour’s Lost. And that’s when my life in New York forever changed. That’s when I met Ria.
Ria was the Dumain to my Longaville (Bromain and Longabro as our phones still read) and that production sparked a friendship and artistic kinship that has only grown through the years. The year following that chance encounter I was accepted into The New School for Drama’s BFA program, and finally had the opportunity to continue with my education and training. Over the next four years, beyond the usual course of studies, I would go on to develop a deep love for mask and clown, find a new appreciation for my body as instrument through Feldenkrais and Alexander (and now, Theatre of The Articulate), rediscover my voice and love for singing, and begin to truly hone my Shakespeare skills. I eternally grateful for many of the important lessons during my time at The New School, both artistically, and personally.
While I was in school, Ria and I continued to collaborate. How I managed to find the time, I still have no idea, but my sophomore year, Ria would finally direct me in full, as a young Madonna named Vanessa in a new play by Emily Claire Schmidt called Whatchamallit: A Play about Jesus. Three years later and that magical piece is still being transformed into a new musical called The Inconvenient Miracle: A Mysterious Birth Musical, which I had the honor of Lighting at the workshop performance at The Tank this past May.
Throughout the years I’ve participated in countless readings in Ria’s famed living room. I’ve been the head Lighting Designer for the last three Skeleton Rep productions, and most recently, I was thrilled to have our relationship come full circle, as she directed my senior thesis, an Adaptation of Titus Andronicus titled House of Andronica: A Titus Redux*.
I am ecstatic to be coming on board with a company and human who I already know, love, and respect so much. I can’t wait to get started.
Let’s go explore some modern myth, shall we?
*The title was totally Ria’s idea.
My name is Miranda Poett and I am thrilled to be officially joining The Skeleton Rep Team! I was born in California, where I grew up on a cattle ranch, before attending a beautiful little, hippy boarding school in the woods called Midland. It was there, at our small amphitheatre nestled in the trees, that my love of theatre transformed into something I knew early on would be a lifelong pursuit. In the fall of 2010 I said goodbye to my beloved west coast for colder winters and better pizza as I began the next chapter of my journey at Drew University in Madison, New Jersey. While I was only able to stay at Drew for 3 semesters, it helped lay an incredible foundation for my training, as well introducing me to another aspect of theatre I would fall in love with: Lighting Design.
After leaving Drew I spent a year back in California, working in the cellar of a winery not far from home, before making my inevitable return to New York. I knew that I wouldn’t be able to stay away from the east coast long, and in January of 2013 I made Brooklyn my new home. It would take some time for me to find my footing in this strange new city, but around August that year, a friend from high school invited me to come audition for her all female production of Love’s Labour’s Lost. And that’s when my life in New York forever changed. That’s when I met Ria.
Ria was the Dumain to my Longaville (Bromain and Longabro as our phones still read) and that production sparked a friendship and artistic kinship that has only grown through the years. The year following that chance encounter I was accepted into The New School for Drama’s BFA program, and finally had the opportunity to continue with my education and training. Over the next four years, beyond the usual course of studies, I would go on to develop a deep love for mask and clown, find a new appreciation for my body as instrument through Feldenkrais and Alexander (and now, Theatre of The Articulate), rediscover my voice and love for singing, and begin to truly hone my Shakespeare skills. I eternally grateful for many of the important lessons during my time at The New School, both artistically, and personally.
While I was in school, Ria and I continued to collaborate. How I managed to find the time, I still have no idea, but my sophomore year, Ria would finally direct me in full, as a young Madonna named Vanessa in a new play by Emily Claire Schmidt called Whatchamallit: A Play about Jesus. Three years later and that magical piece is still being transformed into a new musical called The Inconvenient Miracle: A Mysterious Birth Musical, which I had the honor of Lighting at the workshop performance at The Tank this past May.
Throughout the years I’ve participated in countless readings in Ria’s famed living room. I’ve been the head Lighting Designer for the last three Skeleton Rep productions, and most recently, I was thrilled to have our relationship come full circle, as she directed my senior thesis, an Adaptation of Titus Andronicus titled House of Andronica: A Titus Redux*.
I am ecstatic to be coming on board with a company and human who I already know, love, and respect so much. I can’t wait to get started.
Let’s go explore some modern myth, shall we?
*The title was totally Ria’s idea.
Miranda Poett as Vanessa in Whatchamacallit -- Photo Credit: Hunter Canning
Miranda Poett as Titus Andronica
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Miranda Poett as a Lighting Designer
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Miranda Poett as Child (in Eurydice by Sarah Ruhl)
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