THEATRE
My directing background is theatre. The process I bring to film is built on years of experience working with actors and a deep understanding of both scripts and narrative beats. I bring the intimacy and immediacy of the stage in front of the camera and my film work is informed by the trust developed between actor, director and crew during live performance.
I have directed and produced theatre at foremost institutions in the UK, US, and Europe, including the Royal Shakespeare Company, the Almeida, and Signature Theatre (NYC).
THEATRE CREDITS
Ivy Tiller, Vicar’s Daughter Squirrel Killer, Director, RSC, 2022
Commission, Director, Almeida, Pre-production, 2022
Shipwreck, Associate Director, Almeida, 2019
Kettle Of Fish, Director, Yard Theatre, 2018
Returning To Haifa, Director, Finborough Theatre, 2018
Utility, Director, Orange Tree Theatre, 2018
Den, Director & Dramaturg, The Coterie, 2017
Climate Change Cabaret, Director & Dramaturg, The Coterie, 2017
Home Truths, Co-Director, The Bunker, 2017
Brenda, Director, Hightide & The Yard Theatre, 2015
And I And Silence, Director, Signature Theatre, 2014
The Malcontent, Director, Shakespeare’s Globe, 2014
Strange Interlude, Assistant Director, The National Theatre, 2013
Love, Love, Love, Assistant Director, Royal Court, 2013
Love & Information, Assistant Director, Royal Court, 2013
Hamlet, Assistant Director, Shakespeare’s Globe Theatre, 2013
SELECTED PRESS
Brenda - Yard Theatre
★★★★
“Visionary and magical”
★★★★
“Caitlin McLeod’s production plays intriguing games with reality"
“Alison O’Donnell and Jack Tarlton perform excellently”
“I honestly love this knotty Beckett shit. It’s dark as a bat’s eyeballs but it tells you the truth about what it means to be alive."
And I And Silence - Signature Theatre
“Fervently acted and gracefully directed by Caitlin McLeod”
— The Telegraph
★★★★
“a typically first-class production by the Signature, with the director Caitlin McLeod”
— Charles Isherwood, The New York Times
★★★★
— Financial Times
Utility - Orange Tree Theatre
★★★★
“Brings an unpatronising candour to its graceful, low-key depiction of life in breadline America.”
— David Cote, Time Out, New York
★★★★
“This prize-winning American play by Emily Schwend is the latest hit in an astonishing run of form for the Orange Tree”
— Fiona Mountford, Evening Standard
★★★★
— Sarah Hemming, Financial Times
