Elena Araoz is a stage director of theater and opera as well as an actress and writer.

As a director, she works internationally, Off-Broadway and across the country. Upcoming this season, Araoz will direct the Off-Broadway world premiere of Adam Seidel’s Original Sound (Cherry Lane Theatre), the world premiere new opera I Am A Dreamer Who No Longer Dreams by creator and librettist Cerise Jacobs and composer Jorge Sosa (White Snake Productions at The Paramount in Boston), the New York premiere of Migdalia Cruz’s play Fur (New York Theatre Workshop Next Door and Boundless Theatre Company), The Migration Plays at the McCarter Theatre Center by Mfoniso Udofia, Martyna Majok, Heather Raffo, Adam Gwon, and Karen Zacarias, and Virginia Grise’s translation of All’s Well That Ends Well (Play On and Classic Stage Company).

Araoz’s most recent NYC productions include Mac Wellman’s A Chronicle of the Madness of Small Worlds (New York Theatre Workshop Next Door), Maria Irene Fornes’ plays Mud and Conduct of Life (Boundless Theatre Company), Catherine Filloux’s Kidnap Road (La Mama), Octavio Solis’s Prospect (Boundless Theatre Company), Dipika Guha’s Mechanics of Love (To-by-For Productions), Virginia Grise’s She-She-She (Ice Factory Festival, New Ohio Theatre), Hilary Bettis’ Alligator (New Georges and The Sol Project), Warren Leight’s new play Union Square Incident for The 25 Hour Plays on Broadway (American Airlines Theatre), and multiple events for Anna Deavere Smith and the Institute on the Arts and Civic Dialogue.

Regionally, Araoz has most recently directed Romeo and Juliet (Shakespeare Festival St, Louis), Ibrahim Miari’s In Between(Walnut Street Theatre), Lynn Nottage’s Sweat (People’s Light), the theatre/orchestra collaboration Azaan by composer Christopher Rogerson and playwright Dipika Guha (Oregon Symphony) and Naomi Wallace’s The Retreating World (Great Plains Theatre Conference). Two Arms and a Noise (a physical theatre piece about the life of an indigenous Peruvian woman which Araoz originally wrote and directed as a New York Theatre Workshop fellow and which was recognized by the Latino Theatre Commons as one of "thirty-six plays and writers that everyone should know”) performed for the Bucharest International Theatre Platform in Romania.

The Drama League named Araoz the inaugural Beatrice Terry Artist-In-Residence where she completed her play Plastic Drastic (an environmentally-aware music-theatre adaptation of The Odyssey, Rhyme of the Ancient Mariner, and Hansel and Gretel) which she also directed for Omaha’s Rose Theatre. Plastic Drastic is currently being produced at numerous collages and universities.

The New York Times has praised Araoz's productions as "striking," "primal," "wild," "stirring," and "refreshingly natural," The Boston Globe as "riveting," "dreamy," and “vivid,” and The New Yorker as “refreshing.” Time Out New York mentions, “Elena Araoz is a director with deep wells of imagination; she seems drawn to magical realist work.” As her productions are critically acclaimed for superb acting, she regularly teaches acting at universities and young artist programs. She is a faculty member at Princeton University.

Other directing credits include the collaboratively-created Off-Broadway piece Architecture of Becoming by Kara Corthron, Sarah Gancher, Virginia Grise, Dipika Guha, Lauren Yee (Women’s Project at City Center), Off-Broadway American premieres of two Carl Djerassi plays, Fallacy, starring Lisa Harrow and Simon Jones and Three on a Couch, Natalia Naman’s Lawnpeople (Cherry Lane Mentor Project), Monika Bustamante’s Thirst: a spell for Christabel (HERE), The Price (Northern Stage), Naomi Wallace's The Fever Chart (Underground Railway Theatre), A Midsummer Night's Dream (SUNY and Geva Theatre Center), Don DeLillo's The Word for Snow with Kathleen Chalfont (CUNY), and Jaclyn Villano’s The Company We Keep (Boston Playwrights’ Theatre).

Internationally, she directed the world premiere of Li Tong Chen's The Power in Beijing, the first English-language play commercially produced in Beijing, A Midsummer Night’s Dream for Prague Shakespeare Festival in the Czech Republic, and the world premiere of Jaclyn Villano's Unanswered, We Ride for the Edinburgh Festival Fringe, Scotland (which was also seen at 59E59 and Last Frontier Theatre Conference).

Opera credits include La traviata (New York City Opera at BAM’s Howard Gilman Opera House), Lucia di Lammermoor (Opera North), Falstaff with Sir Thomas Allen (Brooklyn Philharmonic at BAM’s Howard Gilman Opera House), and choreography for Latin Lovers arranged by Steven Blier (Glimmerglass Opera).

As a director, Araoz is attracted to epic stories, and her productions are known for huge dance-like theatrics and acutely naturalistic acting. Her acclaimed operetta War Music, which she adapted with composer Paul Philips from Christopher Logue's retelling of the Iliad, and devised with six performers, stages the bloodiest scenes from the Trojan War. War Music, commissioned by performance ensemble Aurea for the FirstWorks Festival, was also presented by the New York Institute for the Humanities, Chicago Humanities Festival, the Chorus of Westerly, and toured New England. With New York’s St. Fortune Collective, she directed the site-specific theatrical event Wood Music, which toured through and around the historic Florence Mill in Omaha and turned the entire building into a musical instrument for the audience to play with the band nestled inside.

She has worked extensively with Sir Jonathan Miller, most recently as Choreographer and Associate Director for his La traviata at Vancouver Opera and has worked on his Broadway King Lear starring Christopher Plummer and multiple operas at Lincoln Center, Seattle Opera, BAM and Glimmerglass Opera. In 2015, she served as Associate Director with Sir Richard Eyre on Ghosts at BAM. She also served as Assistant Director to Steven Soderbergh on The Library at The Public Theatre and Darko Tresnjak on Antony and Cleopatra at Theatre for a New Audience.

New play workshops include Benjamin Benne’s Alma: #nowall (National Playwrights Conference Eugene O'Neill Theater Center), Matthew Paul Olmos’ three girls never learnt the way home (The New Group), Monet Hurst-Mendoza’s Torera (The Public Theatre’s Emerging Writers Group Spotlight Series), Welcome to Fear City by Kara Lee Corthron (Atlantic Theater Company, Labyrinth Theater, PlayPenn), Bridgette Wimberly’s Exile (Audible), Children of the Republic by Gonzalo Rodriguez Risco (Playwrights Realm), Tiny People by Christopher Oscar Peña (Two River Theatre), Megastasis by Kia Corthron (New York Theatre Workshop, Yale University, New Works Brooklyn), Sibyl Kempson’s River of Gruel (New Dramatists), Gina Femia’s Allond(r)a ((Leah Ryan Prize), Kara Corthron’s What Are You Worth? (Miranda Theatre Company), Andrea Thome’s Purgatorio (Astoria Performing Arts Center), Jessica Almasy’s Light Creatures (Personal Space Theatrics), Obra Negra by Flavio González Mello and translated by Carmen Rivera (Lark Play Development Center’s Mexico/US Exchange), Maria Alexandria Beech’s Good People with versions in both English and Spanish (Two River Theatre), Benjamin Benne’s What \ Washed Ashore / Astray (Upstream Artists' Collective), and Virginia Grise’s Your Healing is Killing Me (New Works Brooklyn).

New York acting credits include Amelia in House of Bernarda Alba (Pearl Theatre Company), Helena in A Midsummer Night's Dream (American Globe), and Diana in All's Well That Ends Well (New York Classical Theatre). Regionally, Johnna in August: Osage County (Arden Theatre Company), Aouda in Around the World in 80 Days (Triad Stage), Lila Mahnaz in The Rant (InterAct Theatre). She is featured in the award-winning green screen feature film Mars by Geoff Marslett.

Araoz is a Founding Member of The Sol Project, a New York Theatre Workshop Usual Suspect, a Time Warner Foundation Fellow Alum of the Director’s Lab at Women’s Project Theatre (2012-2014), a New Georges’ Affiliated Artist and Audrey Resident, and a recipient of the Dr. David Farrar Opera Stage Director Grant. She holds her MFA in Acting from the University of Texas at Austin and is a proud member of SDC, AEA, AGMA, and SAG-AFTRA (eligible).