Claire Moodey is a Brooklyn-based theatre artist holding a B.A. in Theatre from Bard College. She has worked as a farm hand, electrician, dry stone wall builder, archeologist, and puppeteer in California, France, Scotland, Jordan, New York, and Vermont. She spends a good deal of time thinking about compost and solar panels.
Her original work <the invisible draft> premiered in 2011 at Theater for the New City’s Dream Up Festival and traveled form there to the New Orleans Fringe Festival. She is currently developing Spectral Findings, a theater concert, and a new play entitled femme pathos.
Performance credits include Mother Bayard/Ermengarde in Long Christmas Dinner at Alice Tully Hall, dir. Jonathan Rosenberg, dancer in Pascal Rambert’s a (micro)history of world economics, danced at LaMama, Erin Courtney’s The Service Road dir. Meghan Finn, Judith in John Kelly’s The Escape Artist at P.S. 122, Minerva in Bread and Puppet’s adaptation of Monteverdi’s The Return of Ulysses, the Herald in Marat/Sade, dir. Susanna Gellert, Lucy in The Pains of Youth, dir. Jonathan Rosenberg, and was a core member of the undergraduate collaborative theatre company The Blushing Players.
A fellow in the Target Margin Theater’s 2014 Institute for Collaborative Theater Making, Claire Moodey is currently pursuing research about in the ongoing series Performance Research Sessions: Form & Function. Collaborative projects include TRAGEDY – with Maxwell Cramer, Milo Cramer and Ariel Stess – and Colors Project – with e.g.burt. She has also created lighting design at Dixon Place, the HOWL Festival and the Spiegeltent at Bard Summerscape and video design for her own works and John Epperson’s Show Trash (part of LYPSINKA! A Trilogy 2014).