Meet Eli Sibley
CURRENT
RECENT
Intimacy, The Tempest by William Shakespeare, directed by Joseph
Papke
Director, Unidentified Human Remains and the True Nature of Love
by Brad Fraser for WLG Productions
Director, Dracula, the Vampire Play by Tim Kelly for Locally Grown
Theatre
ONGOING
Lecturer
Alexander Technique, U of M/Guthrie
Teaching Artist
Acting, Children’s Theatre Company
SHORT AND DIRTY BIO
An actor and theatre professional for over 20 years, Eli's credits include production, playwrighting, and movement direction. She's worked nationally from coast to coast and internationally from Central Europe to China. She's been a singer, a dancer, a puppeteer, an extra, and a Blue Dinosaur. Her one woman movement, storytelling piece, Born of a Fairytale was produced both in DC and New York to great applause. And the inaugural production of the company she founded with her husband, Vacant Lot Theatre Co, was privileged to work closely with renowned playwright, Erik Ehn, bringing Child's Drawing of a Monster to its world premier in New York and then moving it to Boston. Along with her MFA and AmSat Alexander Technique certification, she is also a certified Laban Movement Analyst. She continues to work across the country and globe but also with local Twin Cities theater companies and acting studios. Eli loves combining the craft of acting and life, and supporting them through movement and the Alexander Technique, not only with acting students but also her general teaching population. When she is not doing that, she tries her hand at being a mom and mostly succeeds. Just ask her kids!
“It was refreshing to be led by someone with such a clear sense of the world (both physical and otherwise) of the production — (Eli) took control of our few sessions together in a way that made me feel absolute trust in her, both as a person and as an artist. Starting with “macro” concepts (i.e., hipster and restoration) allowed me to wade into Alceste’s physicality at just the right pace... the “macro” work led clearly and smoothly toward the more “micro,” specific movement work with the Misanthrope characters — the idea to have us play ourselves and then play other characters in the world was especially helpful, both because personal impressions were so integral to our world of the play and because finding extreme contrasts in movement helped break open my own ideas of how Alceste moved (and solidified some ideas I had been inkling around with).”