Directing Resume


Frances Loy is a British theatre director currently living in Los Angeles, who creates text-based, ensemble driven work, inspired and ignited by the darker experiences of humanity and is a big believer in theatre’s power to educate, politicise and ignite positive change. She has a strong aesthetic towards up-close and intimate theatre that puts the audience in the heart of the world created by the actors, and has particular experience in alternative and found space venues. She has also created immersive theatrical experiences for the commercial business sector, including most recently a highly successful experience for MasterCard holders as part of a content capture, brand awareness campaign in the lead up to the Grammys.

Currently, Frances is developing a project with the Fountain Theatre in Los Angeles, in conjunction with their co-Artistic Director, Deborah Lawlor, who has conceived and is writing the piece. It is based upon the life of Freddie Herko, an extraordinary star of the 1960’s dance and art scenes, who was the darling of Andy Warhol’s factory, but who met an untimely death at the age of 28. The Fountain has received an NEA Grant towards artistic development of this hybrid theatre/dance/immersive piece. More information can be found at Freddie at the Fountain


Frances is the founder and Artistic Director of Ferment Theatre, which opened its debut production in New York in January 2016; TONIGHT/JUNGLE was a rep presentation of two companion pieces by Philip Ridley, and was co-produced with The Shop at Here Arts Center. Frances directed Harry Farmer in Tonight with Donny Stixx for the productions.

TONIGHT/JUNGLE was Ben Brantley’s Critic’s Pick in the New York Times, saying Tonight With Donny Stixx,” directed by Frances Loy, and “Dark Vanilla Jungle,” staged by Paul Takacs, offer an ideal introduction to the savage beauty of Mr. Ridley’s world…both productions aredesigned to manipulate our senses by stealth…in highly physical interpretations, Ms. Kerr and Mr. Farmer are willing to go as far as their demented characters demand in self-aggrandizement and self-abasement…beautifully modulated performances. They are always in control of studies in the escalating loss of control.

The full review can be found http://www.nytimes.com/2016/01/30/theater/review-in-tonight-jungle-by-philip-ridley-darkness-rules.html Ferment Theatre and The Shop are looking for co-producers to aid an LA transfer in 2017.

Recently in Los Angeles, Frances directed Lyndsey Hynds Bachelorette, the world premiere of Robin Rice Lichtig’s Women w/o Walls, produced by Broads Word Theatre in conjunction with the Lounge Theatre, and has directed benefit performances of The Golden Girls Live in Drag for AIDS/LifeCycle, and Rogue Machine’s Around the Clock Festival. She is a member of Director’s Lab West 2015.

Prior to the transatlantic move, Frances was one of the founding members and co-Artistic Directors of Theatre Delicatessen, declared by Time Out London to be the “Leading Light of Pop Up Theatre” due to their work in alternative space venues around London’s West End, and featured by the Observer newspaper as one of young four companies named the Future of British Theatre, in 2011. For Theatre Delicatessen she directed the first major revival of Philip Ridley’s Mercury Fur to critical acclaim, as well as an all female version of Ibsen’s Dolls’ House and a dystopian, post-apocalyptic Midsummer Night’s Dream. As co-Artistic Director she also helped create the multi-form festival Theatre Souk, which provided cutting edge opportunities for emerging and experimental performance artists and companies. She is delighted that Theatre Delicatessen continues to go from strength to strength, following its creation of a unique way of building bridges between the corporate world and the arts, and is proud that it was the first UK theatre company to commit to the Living Wage Program. More information on Theatre Delicatessen can be found at www.theatredelicatessen.co.uk

During her time in London, Frances also worked as freelance director, directing at the Hen and Chickens, the New Diorama, Leicester Curve, associate directing on the West End under Daniel Kramer, and assistant directing at Shakespeare’s Globe under Matthew Dunster. In 2010 she was invited to take part in the National Theatre Studio’s annual Director’s Course, and has also trained at the Young Vic on various courses and workshops. She remains a member of the Young Vic Director’s Network.

Frances has strong roots in political and community theatre, solidified during six months in Malawi working with local community groups to create and tour productions around HIV/AIDS education, malaria prevention and conservation issues. She continues to work in community engagement, as a leader of the Emerging Leadership Council of My Friends Place, a homeless youth day shelter in Hollywood, and as a Court Appointed Special Advocate for children under the care of Department of Children and Family Services.

Frances has a BA (hons) in Drama and English from Bristol University, UK.


My absolute passions, inspiration and drive when it comes to theatre stem from the triumvirate of community, storytelling and activism. I see my life as a theatre director as a very long term goal, I want to always be learning, to be developing as an artist and to be gaining experience which transcends into my work which will grow and develop for many more decades to come. This is where community comes in – community at large throughout the world who provide the inspiration, audience and voices in which us as artists create our work. Community as in my people, my tribe, those who I continue to cultivate around me to help create this work that we all deem so important. I work in theatre because I am a believer in community and work best when in close proximity to others, and I am drawn to writers whose words need to be spoken aloud and are enhanced by sound, light, stage and movement. My job is to be a catalyst for these brilliant people, to bring together the very best people for this specific project, now, in this space, and lead them on the journey of play making, providing opportunities to explore, discover, fail and grow as we create.

I adore text, I love the development of stories through a writer’s eye and ear and how poetical and lyrical those stories become when you bring the experiences, opinions and talent of actors voices into the mix. I particularly love stories that punch you through the gut to seize your heart, to wring the tears of joy alongside those of pain in shared experience. The extremities of lightness and dark fascinate me. I love how stories as old as time are still relevant and prevalent today and will be tomorrow and hundreds of years from now. As a director, I like to start with words and actors and a space, and to collaborate closely with designers and stage management to help create the physical world as the actors explore the internal one. I’m a big believer in theatre’s staying power, that when all else is gone our stories will remain; and yet it’s transiency – that the show you see tonight will never be repeated again and that feels so important as our world becomes increasingly categorised, recorded and stored away as data.

And finally, my real passion, drive and belief is in theatre’s power to change; it transcends language and culture to bring people together, and ultimately has the greatest power to educate, politicise and inspire. Theatre is the greatest collaboration of artists and non-artists, building silent relationships between performer and audience, giving voices to the voiceless and understanding to the misunderstood. It unites us, whatever our community and no matter our story, and it is our responsibility to ensure this method of connection is upheld, and held up to the highest standards.

Directing Resume