Adrienne Boris

Adrienne Boris is a director of opera and theater with a special interest in new work, stories about women, and opera in non-traditional spaces. She co-produced and directed the critically-acclaimed world premiere of DIVAS: A New Play with Opera Music with OperaHub, where she was Artistic Associate for three years. Other recent directing projects include La scuola degli amanti or: Cosi fan tutt(i) with Lowell House Opera, several short world premieres as part of Boston Opera Collaborative’s annual Opera Bites, La bohème with Long Island Lyric Opera (Rockville Center, NY) and NEMPAC Opera Project, The Last Five Years and Next to Normal with Arts After Hours, Liz Duffy Adams’s Or, a play based on the life of Aphra Behn, with Maiden Phoenix and Simple Machine Theatre Companies, which was nominated for three Elliot Norton Awards by the Boston Theatre Critics’ Association including Outstanding Fringe Production. Adrienne was the 2013 Young Artist Stage Director at Opera North where she directed an all Young Artist production of Mark Adamo’s Little Women. As the Artistic Administrator at Opera Boston, she staged Brecht/Weill’s The Seven Deadly Sins, Salieri’s First the Music then the Words, and Mozart’s Bastien and Bastienne in bars and cafes throughout the city as part of Opera Boston Underground. Her work with OBU was featured twice at First Night Boston. She has developed new plays at New Repertory Theatre, Fresh Ink, Anthem Theatre Company, and The Boston Center for American Performance. As an assistant director, she has worked Off-Broadway on the world premiere play Ring Twice for Miranda and with Austin Pendleton on his new production of Fiddler on the Roof at New Repertory Theatre. Adrienne frequently coaches singers and actors at all levels on dramatic interpretation and has served on the adjunct faculty at Boston University College of Fine Arts, School of Theater. M.F.A. Directing, Boston University, B.A. Kenyon College.

Adrienne is also an avocational mezzo-soprano and uses her expertise on both sides of the table to help singers of all skill levels present their best selves in auditions. Her work focuses on clarity of objective and thought, physicalizing the musical phrase, and connecting emotionally to the character's journey in the piece.