Jaclyn Biskup is a director and producer working in theatre, television, and film. She is the recipient of an Emmy and Peabody nomination for her work on the digital series, THE SECRET LIFE OF MUSLIMS and currently works as an associate producer at New Ohio Theatre. She was the assistant to Tony Award winning director Anna Shapiro on the Broadway debut of STRAIGHT WHITE MEN (Young Jean Lee) for Second Stage at the Helen Hayes.  Her work in the theatre spans nearly two decades. As the founding artistic director of The Mill, she has directed and produced over 20 productions including the Chicago premieres of VENUS (Suzan-Lori Parks) and THE PRIVATE OF LIVES OF ESKIMOS (OR 16 WORDS FOR SNOW) (Ken Urban.) In NYC, work directed includes WORSE THAN TIGERS (Mark Christler), NICHOLAS, MAEVE, MARIANNE (Matthew Stephen Smith) -- one of Indie Theatre Now's 20 Best of NYC Fringe, HOT STEAMS (Zach Wegner), and IT’S JUST WEIRD NOW (Halley Feiffer) DAYS OF RAGE (Hyeyoung Kim and Shoshana Greenberg.) Her work has been seen at New Ohio Theatre, MCC, Rattlestick, Dixon Place, Town Stages, and the NYC International Fringe. She has assisted on productions at Steppenwolf, The Public, and The American Musical Theatre Workshop.  She has worked on digital projects for PBS NOVA, Delta Air Lines, Caltech, Harvard, and others and holds a BA in Theater from Northern Illinois University and an MFA in Directing and Theatrical Production from Northwestern University.

Artist Statement

I believe that the theatre is an inherently political space and therefore create work to affect positive change in our society. The power of mimesis allows art to illuminate, reconstruct, and ultimately reinvent our world. I consider myself an intersectional feminist and see this as inextricable from my work as an artist. Feminism is a world-building philosophy which seeks to expand freedom for all people. As a feminist artist, my work actively challenges outmoded representations of gender, sexuality, race, and class. The common misconception is that politically minded theatre must be dogmatic or didactic.  My work is neither. My mise-en-scène employs arresting visuals and complex emotional portrayals of character to create dynamic performances that spark dialogue, unveil potential, and stay with the audience long after they leave the theatre. These stagings disrupt preconceived ideas that maintain the status quo and instead open up off stage possibilities for all people.