Profiles/Articles about O’Harra’s work

Seth Colter Walls, “High Schoolers Get In on an Avant-Garde Musician’s Latest Show.” New York Times, May 30, 2023.

Brooke O’Harra and Katherine Brewer Ball, “Not So Authentic Kabuki,” ASAP/Journal 4, no. 1 (2019): 29–38.

Miki Kaneda, “Performing History: Swallowing and Spitting, of Drooling (Perspectives from Contemporary Japanese Performing Arts),” ASAP/Journal 4, no. 1 (2019): 23–28.

Ellie M. Hisama, “Seeing & Hearing Anew: On Theatre of a Two-Headed Calf’s Drum of the Waves of Horikawa,” ASAP/Journal 4, no. 1 (2019): 79–84.

Solomon, Alisa. “Who Knows Where or When: AIDS and Theatrical Memory in Queer Time.” Theater, January 2019, 48:3.

Del Vecchio, Jessica. “There’s Always Room for Cream.” Brooklyn Rail, January 2018.

Gone, Patrick Bella. “A Performance About Queerness Emulates a Soap Opera.” Hyperallergic, December 4, 2017.

Holmes, Heather. “Queer Charisma.” Mosquito, October 30, 2017.

Selvaratnam, Tanya. “Five Questions for Brooke O’Harra.” Huffington Post, June 14, 2016.

Frank, Priscilla.  “14 Artists Who Are Transforming the Future of Opera.” The Huffington Post, August 26, 2014.

Luber, Steve. “The Theatre of a Two-headed Calf: Simulacral Performance and the Deconstruction of Orientalism.”  Theatre Survey. Volume 54, Issue 01, January 2013, pp 87-106.

Del Vecchio, Jessica. “Sontag: Reborn and: You, My Mother.” Theater Journal, Volume 64, Number 4, December 2012.

Del Vecchio, Jessica.  “Mother of All Collaborations: The Theatre of a Two-headed Calf Debuts a Chamber Opera.”  Brooklyn Rail.  February 2012.

Murrin, Tom. “You, My Mother: Experimental Opera Comes to La Mama.” Paper Magazine, February 9, 2012.

Kastleman, Rebecca. “A Silenced Woman.”  American Theatre, February 2010.

Clements, Alexis.  “Two for the Time:  Reviving Susan Glaspell in NY.”  Brooklyn Rail, November 2009.

Blankenship, Mark.  “A New Recipe for Trifles: Theatre of a Two-headed Calf re-imagines a classic American play.  Theatre Development Fund, January 2010.

Harnetiaux, Trish. “Room for Cream? Always.”  The Brooklyn Rail, March 2008.

Babb, Roger. “Front & Center: Kabuki meets Punk.” American Theatre, October 2007.

Babb, Roger, “Rape, Shame and Suicide: Theatre of a Two-Headed Calf Makes Kabuki/Punk Waves.”  The Brooklyn Rail, October 2007.

Luber, Steve. “In Media Res: Why Multimedia Performance?”  PAJ (Performing Arts Journal) 87 (2007): 15-29.

Kuhn, Sarah. “Ask a Director.”  Back Stage, November 8-14, 2007.

Shaw, Helen.  “Pretty in Punk.” TimeOut NY, Oct 25-31, 2007.

Schloff, Aaron Mack. “Translation in Action: Meet me in Buenos Aires.”  American Theatre, May/June 2007.

Hunka, George. “Shaw, Kabuki, Eva Peron: The Usual Mix.” New York Times (Sunday) June 25, 2006.

Luber, Steve.  “Bizarre Barbara: Kabuki, Shaw, and Language.”  Sesquicentennial Shaw: An International Bernard Shaw Conference, Brown University, June 10, 2006.

Blankenship, Mark. “Passport to Argentina: PS 122 brings Buenos Aires to U.S.”  Variety Magazine, November 2006.

Hunka, George.  “Going South:  A sampler of daring new Argentinean theater comes to PS 122.”  TimeOut NY, Nov. 2-6, 2006.

Babb, Roger. “Two-headed Calf with Roger Babb.”  The Brooklyn Rail, Dec 2005/Jan 2006.

Gray, Channing. “Cabin fever at Perishable Theatre: Visiting company will help mount an extravagant production of The Cataract.”  The Providence Sunday Journal, May 1, 2005.

Keramidas, Kimon. “Witkiewicz’s THE MOTHER by The Theatre of a Two-headed Calf at La Mama.” Slavic and East European Performance Vol. 24, No. 2 (2003): 50-55.

Keramidas, Kimon. “Two by Witkiewicz in Manhattan: Tumor Brainiowicz and The Water Hen.” Slavic and East European Performance Vol.22, No.3 (2002): 88-92.


Del Rosso. “Review: I’m Bleeding All Over the Place: A Living History Tour.” ONE Magazine, June 21, 2016.

Soleski, Alexis. “I’m Bleeding All Over the Place  Explores the Psyche (Don’t Get Hurt)” New York Times, June 20, 2016.

Shaw, Helen. “Review: I’m Bleeding All Over the Place: A Living History Tour.” TIMEOUT New York June 7, 2016.

Smith, Olivia Jane. “Olivia Jane Smith on You, My Mother.”  New York Theater Review.Com. February 17, 2012.

Jorden, James.  “Mom-entously Original.”  New York Post. February 14, 2012.

Horowitz, Andy. “You, My Mother at La Mama.”  Culturebot. February 14, 1012.

Contino, Particia. “La Mama and Two-headed Calf present You, My Mother.”  FlavorPill.  February 14, 2012.

Rosenberg, Marion Lignana. “ Review: You, My Mother.” TimeOut New York.  February 13, 2012.

Vignola, Trish. “You, My Mother.”  Off Broadway  February 13, 2012.

Montgomary, Mitch.  “NY Review: You, My Mother.” BackStage.  February 10, 2012.

Soloski, Alexis.  “You, My Mother:  Mothers, Daughters, Animals Suits.”  Village Voice.  February 8, 2012.

Jaworowski, Ken. “Sometimes, It takes a Woman to Solve a Murder.” New York Times, February 2, 2010.

Shaw, Helen. “Trifles:  Theatre of a Two-headed Calf polishes Susan Glaspell’s Stylish Gem.”  Time Out New York, February 4-10, 2010.

Soloski, Alexis.  “Room For Cream Season One: The Box Set! Downtown’s Favorite Lesbian Serial Stirs it Up Again.”   The Village Voice, February 3, 2009.

Feldman, Adam.  “Room For Cream Season 1.”  Time Out New York, February 5-11, 2009.

Balthasar, Jonathan.  “Room for Cream: a new lesbian soap opera at La Mama theatre.”  Go Magazine,  February 5, 2009.

O’Brien, Samantha. “Get it While it’s Hot.”  Offoffonline, January 5, 2008.

Tweed. “Kabuki-Punk and Simulation.” Obscene Jester, November 11, 2007.

Cote, David. “Drum of the Waves of Horikawa.” TimeOut NY,  Nov 1-7, 2007.

Del Signore, John. “Opinionist: Drum of the Waves of Horikawa.”  Gothamist, November 4, 2007.

Saltz, Rachel.  “Adultry, Blood, Guts, And Samurai.”  New York Times, November 1, 2007.

Murray, Christopher. “Drum of the Waves of Horikawa.”  Back Stage, October 27, 2007.

Rodriguez, Bill. “Making Waves: Kabuki met Punk Rock at Perishable.”  Boston Phoenix, April 25, 2007.

Simonson, Roger. “Major Barbara.” TimeOut NY, January 19-25, 2006.

Stevens, Andrea. “Shaw’s Skewers, Kabuki-Style.”  New York Times, January 18, 2006.

Shaw, Helen.  “A ‘Major’ Achievment.”  The Sun, New York, January  17, 2006.

Rodriguez, Bill. “Pure Magic: The Perishable’s The Cataract.”  Providence Phoenix, May 13-19, 2005.

Luber, Steve. “My Kingdom for a Potato.” Offoffonline, May 13, 2004.

Mufson, Daniel. “All Thumbs: Henry Fielding’s Tom Thumb, fried and with lots of butter.” Village Voice, May 5, 2004.

McNulty, Charles. “The Avant-Garde gets Polished: Two plays by Stanislaw Witkiewicz.”  Village Voice, April 8, 2003.


Co-Director of Performance Intensive at Penn

Performance Intensive is an eight-day pilot program taking place in Philadelphia from January 5 to January 12, 2020. Artists working with performance in the context of visual art, sound, dance and/or theater assemble for generative conversation through a structured set of activities that include workshops, performances, lectures and individual and collaborative praxis. The Performance Intensive includes performances, lectures and workshops by Visiting Artists Jibz Cameron, taisha paggett and Wilmer Wilson IV, Visiting Scholar Tavia Nyong’o and is co-facilitated by Sharon Hayes and Brooke O’Harra.

Performance and Exhibitions

Times Passes – An on-going, long-term performance collaboration with Sharon Hayes.  An 8-hour performance that uses the book on tape of Virginia Woolf’s To the Lighthouse as its spine, Time Passes investigates.  Neighborhood House Theater, Philadelphia, 2018; Performing Garage, NYC, 2011

Room for Cream Season 4: The Mini-Series (3 episodes) – A live-lesbian soap opera that ran for four seasons. I conceived of the project, directed it, co-wrote for it, and performed as a regular character in the serial. This last season was performed as part of the 40th Anniversary show at the New Museum: Trigger: Gender as a weapon and a tool. New Museum, NYC

Room For Cream Season 3  (6 episodes) – This project is a live-lesbian soap opera that ran for three seasons. I conceived of the project, directed it, co-wrote for it, and performed as a regular character in the serial. La Mama, ETC NYC, 2010

Room for Cream Season 2 (8 episodes) – La Mama, ETC NYC,  2009

Room for Cream Season 1- the Box Set  (11 episodes) – La Mama, ETC NYC, 2009

Room for Cream Season 1  (11 episodes) – La Mama, ETC, PS 122, 2007-8

Dyke Division’s Room for Cream video installation and Youtube channel: This installation and Youtube channel was curated and commissioned by The New Museum for their 40th Anniversary show Trigger: Gender as a weapon and a tool. New Museum, NYC 2017-18

I’m Bleeding All Over the Place: Studies in directing or nine encounters between You and me. Delving into the emotional landscape of everyday conflict, this work examines how gender and sexuality, narrative and story, conflict and resolution, relate and come to form in the dynamic space between the audience and the performer. I’m Bleeding All Over the Place is envisioned as a research project and a series of performances created to actively investigate the site and the moment of a performance event as a living political space in which a group of people come into a specific relation to each other for a brief period of time. I have performed 6 parts of this project thus far. The first three were performed at the New Museum in 2014 while I was there in residence. The fourth was a “Living History Tour” performed with 10 actors for two weeks at La Mama ETC in 2016. The next installment will occur in Philadelphia in April 2019 at the Common Field Convening.

Act 2 – A collaborative performance project developed for the Stedelijk Museum in Amsterdam.  Sharon Hayes and I staged Act 2 of the Henrik Ibsen play, Hedda Gabler with only a single character, Hedda and all other characters’ lines un-spoken. The Stedelijk Museum, Amsterdam, Netherlands, 2012

Kaygan Zemin (Turkish Lesbian soap – 3 episodes) – This is project that I collaborated on with an organization of queer activists in Istanbul to create their own version of Room for Cream. I co-wrote, directed, and performed in the episodes. Lambda Istanbul, Istanbul, Turkey, 2009

I could gnaw off my hand  – a collaboration with visual  artist Jim Drain – I choreographed it piece based on Iggy Pop. Green Naftali Gallery, NYC, 2007

A Quality of Life (in Japanese) – a project I conceived, co-wrote, directed and performed in with a group of 10 artists in Japan. Street Performance, Ueno Park, Tokyo, Japan, 1996-7

Professional Directing

Be Holding (composed by Tyshawn Sorey)Philadelphia, PA, 2023

The Marriage of Earth and Sky (audio play)Playwrights Horizons, NYC, 2021

Room for Cream Season 4: The Mini-Series – The New Museum, NYC, 2017

Melissa, So Far – Andy’s Summer Playhouse, NH, 2017

I’m Bleeding All Over the Place: A Living History Tour  – La Mama E.T.C., NYC, 2016

That’s How the Rent Gets Paid – The Kitchen, NYC, 2015

Jack Spicer’s Billy the Kid – Mt. Tremper Arts, Phoenicia, NY, 2014

I’m Bleeding All Over the Place – New Museum, NYC, 2014

The Opera Project: You, My Mother – River To River Festival, LMCC, NYC, 2013

Jack Spicer’s Billy The Kid – The Side-Arm, New Orleans, LA, 2012

The Opera Project: You, My Mother – La Mama, E.T.C., NYC, 2012

Hotel Play an excerpt (with Wally Shawn) – La Mama, E.T.C., NYC, 2011

You, My Mother (work-in-progress) – University Settlement, NYC, 2011

Trifles – Ontological Hysteric Theatre, NYC, 2010

Trifles (developmental showing) – Prelude ’09 Festival, Martin Segal Theatre, 2009

It cannot be called our mothers but our graves  (Macbeth) – Soho Rep Studio Lab, Industry City Studio, NYC, 2008

Gentleman Caller -Clubbed Thumb, NYC, 2008

The Drum of the Waves of Horikawa – HERE, NYC & Perishable Theater, Providence, 2007

Macbeth – Soho Rep Studio Lab, NYC, 2007

Maria/Stuart  (reading) – Soho Rep Writers and Directors Lab/reading, 2007

Must Don’t Whip Um – Walker Arts Center MN, St. Ann’s Warehouse NYC, 2007

El Panico – BAiT, PS 122, 2006

Major Barbara – Annex Theatre, La Mama E.T.C, NYC, 2006

Cataract – Perishable Theatre, Providence, RI, 2005

Major Barbara  (Part I) – Chashama, NYC, 2004

How High The Moon – Perishable Theatre, Providence, RI, 2004

The Life & Death of Tom Thumb – La Mama, E.T.C., NYC, 2004

Be What You Want to Be – Public School 134, Bronx, NY, 2004

Temporaria – Perishable Theater, Providence, RI, 2003

The Difference Engine – Bowery Poetry Club, NYC, 2003

The Mother – La Mama, E.T.C., NYC, 2003

The Mother (Part I) – Bowery Poetry Club, NY, 2002

Looking for the Pony – Samuel French One Acts Festival, NYC, 2002

Looking for the Pony – Vital Theatre, NYC, 2002

Tumor Brainiowicz – La Mama, E.T.C., NYC, 2002

Tumor Brainiowicz (Part III) – Dixon Place, NYC, 2001

Tumor Brainiowicz (Part II) – Chashama, NYC, 2001

Tumor Brainiowicz (Part I) – Manhattan Theatre Source, NYC, 2001

The Madman and the Nun – Madame Palmetto’s Co., New Orleans, LA, 2000

Kyogen Plays – Hangar Theater, Kidstuff, Ithaca NY, 1999

Punch and Judy – The Wedge/Hangar, Ithaca NY, 1999

The Wife Seller/AFB – The Wedge/Hangar, Ithaca NY, 1999

Awards, Residencies and Honors

PEW Center for the Arts Project Grant with Girard College for Be Holding, 2020-2023

Sachs Foundation for Arts Innovation Provost Interdisciplinary Grant, 2019

Sachs Foundation for Arts Innovation Course Development Grant, 2019

Velocity Grant from The Warhol Foundation/Temple U., 2018

The Foundation for Contemporary Art Grant, 2017

Doris Duke IMPACT Award, 2015

NYSCA Grant for I’m Bleeding All Over the Place, 2013

NYSCA Individual Artists Award for Directing The Opera Project: You, My Mother, 2011

Performance Garage Artists Residency, 2011

University Settlement Artists Residency, 2010-11

Franklin Furnace Foundation Individual Artists Award for Performance, 2009

Art Matters Travel Grant for Room for Cream Istanbul, Turkey, 2009

Village Voice Best of New York 2008 for Room for Cream

OBIE Award Grant 2008

TimeOut New York Best 0f 2007 for Drum of the Waves of Horikawa

Gothamist Best of 2007 for Drum of the Waves of Horikawa

NYSCA Individual Artist Award for Directing Drum of the Waves of Horikawa, 2007

Lower Manhattan Cultural Council Swingspace Project Development Grant (2005/06)

HERE Artist in Residence (2005/07)

Nominee for the Alan Schneider Director Award (2005)

NEA/TCG Career Development Grant for Directors (2002-04)

Chashama AREA grant recipient (3 times:  2001, 2002, and 2004)

Polish Cultural Institute Award/Travel Grant for Outstanding Direction of Polish plays 2003

Drama League Directing Fellow

Marquis Scholar (4 year full tuition, room, board, and books college/academic scholarship)

Conferences and Talks

Artists Talk/ Performance: “I’m Bleeding All Over the Place: Post No Bills, a conversation with Ross Gay and Brooke O’Harra on the uncultivated audience.” Common Field Conveing, Philadelphia. April 2019. 

Artists Talk: “Isobe Yugaimon or Ee’sSoGayYougayman” Performing History Conference, Columbia University, NYC October 10, 2017.

Talk: Film screening of Sharon Hayes’ video installation Ricerche: three and conversation with artist Sharon Hayes, director Brooke O’Harra. Northeastern University, Boston. April 2017.

Talk: Film screening of Sharon Hayes’ video installation Ricerche: three and conversation with artist Sharon Hayes, director Brooke O’Harra, and MHC student participants.” Mount Holyoke College Art Museum. October 1, 2014.

Talk: MoMA Mondays. “Sharon Hayes and Brooke O’Harra Talk about Ricerche: Three.” Museum of Modern Art, NYC. February 14, 2014. 

Talk: “On Directing Stanislaw Ignacy Witkiewicz.” 2009, Yale University, Eastern European Studies, New Haven, CT.

Conference: “Panel: Prelude 2009”, Martin Segal Theatre Center, The Graduate Center, CUNY, New York, NY.

Conference:  I site-directed a performance for artist Sharon Hayes. Istanbul Biennial 2010. Istanbul, Turkey.  

Conference:  Guest V.I.P., International Theatre Festival: The World as a Place of Truth. UNESCO’s The Grotowski Year. Wroclaw, PL.  June 14-30, 2010.

Talk: “Chikamatsu in Dowtown New York:  The Theatre of a Two-Headed Calf explores the codification of outlaw culture in a performance of the 1726 Kabuki play DRUM OF THE WAVES OF HORIKAWA”  2008, Five College Japan Lecture Series, U Mass Amherst, MA.

Conference: “Intercultural Illuminations: Practice and Performance.” 2007, NoPassport – Dreaming the Americas, CUNY, New York, NY.

Conference: “Panel: Curators/NYC.”  2006, PRELUDE 06, Martin Segal Theatre Center, The Graduate Center, CUNY, New York, NY.

Conference: “BAiT: Buenos Aires in Translation.”  2006, PRELUDE 06, Martin Segal Theatre Center, The Graduate Center, CUNY, New York, NY.


Performance Intensive Philadelphia (2020)
The Performance Intensive includes performances, lectures and workshops by Visiting Artists Jibz Cameron (presented at Fringe Arts), taisha paggett (presented at Icebox Project Space) and Wilmer Wilson IV (co-presented with Philadelphia Contemporary), Visiting Scholar Tavia Nyong’o (presents at the Institute for Contemporary Art). This performance series was co-facilitated by Sharon Hayes and Brooke O’Harra.

Nostalgia isn’t what it used to be: 11 evenings of theater and performance (2008-10)
Co-curated with Sharon Hayes, this is a series that explores the intersections of theatre and performance, now and in the past.  Notable guests have included John Jesurun, Peggy Shaw, Lucy Sexton of Dance Noise, Novice Theory, The Nonsense Company and works by Joan Jonas and the Wooster Group.

Two-headed Calf’s Salon/Saloon (2003-7)
Co-curated with Brendan Connelly, this was a series (9 events in all) where we curated experimental writers, musicians, filmmakers, dancers, and theater artists into evenings of casual performance and conversation.  There were usually five artists in an evening always from differing disciplines – the performances were followed by discussion and then a dance party.


Full-time Faculty, Senior Lecturer, Creative Writing Program (also English and Theatre Arts), University of Pennsylvania 2016-currently
Intro to Directing; Advanced Directing; Intro to Acting; Acting and Directing Lab (The Racial Imaginary, Japanese Theater, Contemporary Theater); Queer Archives, Aesthetics, and Performance (developed with Heather Love); Rehearsal and Performance (Directing Theater Arts productions), Self-Scripting: Writing for Space and Time, Experimental Playwriting, Is This Really Happening? Politics and Performance, The Racial Imaginary.

Visiting Faculty, MFA Playwriting, Rutgers University, Winter 2022
Playwrights in Rehearsal and Playwriting Workshop.

Assistant Professor, Department of Theater and Dance, Bates College 2013-2015
Directing and Advanced Directing; Beginning Acting and Advanced Acting; What is Performance?; Advanced Performance Seminar; Advisor for all directing thesis and independent study projects.

Visiting Assistant Professor, Theatre Arts Department, Mt. Holyoke College, 2008-2013
Directing and Advanced Directing; Acting 1 and Acting 2; Advanced Performance Seminars (Japanese Theatre: Theory and Practice, Performing with Video, Feminism and Form); Viewpoints and Movement for the Actor; Theatre Practicum (this involves directing a mainstage play each semester). 

Faculty (Lecturer), New York University’s Tisch School of the Arts Experimental Theatre Wing, 2004-2008 (teaching 4 classes a year)
Upper-Level Scene Study in Eastern/Western Performance, Ibsen/Strindberg, and Contemporary Theater; Self-Scripting; Kyogen for the Summer Acting Program, Directing for the Experimental Theater Wing Mainstage productions.

Adjunct Faculty, New York University’s Tisch School of the Arts Drama Department, 2006-2009 (Summer Institute)
Advanced Improvisation, “Downtown” Theatre (a Summer intensive of 16 hours a week of lecture and attending 3 performances a week – for 5 weeks).

Instructor, Tulane University, Department of Theater and Dance, 1997-2000
Acting Shakespeare, Fundamentals of Acting (I taught 6 sections of this class over 3 years). 

Instructor and Curriculum Development Committee Member, Ministry of Education of Japan, Narita, Japan, 1995-1997
Curriculum Development: Performance, Debate, Formulating the Critical Argument in Writing.

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