The Theatre of Others believes the play watches the audience.

The audience is necessary and they are witnesses to what happens.

We believe that space is psychology and informs the ways in which an audience interacts and reacts to what is presented for them. We create uniquely theatrical events in bespoke sensory performance spaces crafted to encourage curiosity and grant the audience permission to commune with the play.

We produce plays that both welcome and challenge the audience. We are committed to international collaboration and are a laboratory that helps artists grow through intensive study of their craft.

The Theatre of Others creates a shared community of artists and audiences for the purpose of exploring the most profound issues of our lives and times.

Adam Marple is the Co-Artistic Director of the internationally recognized The Theatre of Others and the co-host of The Theatre of Others Podcast (with listeners in over 80 countries and in the top 5% of podcasts worldwide),
Adam has directed over 50 productions and interdisciplinary works Regionally and Off-Broadway in the Americas, Europe, The Middle East/North Africa (MENA), Australia, and South East Asia. He has directed over half of Shakespeare’s canon and frequently adapts classic texts for modern audiences. He was the Company Manager and Director for THE DREAM RESPONSE, a tri-partite collaboration between Chulalongkorn University (Thailand), Hong Kong Academy of Performing Arts (Hong Kong), and LASALLE College of the Arts (Singapore) in exploring a response to Shakespeare’s A MIDSUMMER NIGHTS DREAM in celebration of the 400th anniversary of Shakespeare's death. The finished response toured theatre schools around the Asia-Pacific region and the modes of Collaboration were shared and taught at the 9th Annual Pacific Bond of Theatre Schools at the National School of Drama (India)
He has written, devised, or adapted 16 new works. His latest production The Earth Turns- a Climate-Inspired Performance for COP27, a performance and action event, was selected by The Global Stocktake as an official side event performed in the UN-controlled Blue Zone for delegates in the Tonnino Lamborghini International Conference Center of the COP27 Climate Conference held in Sharm El Sheikh, Egypt. It was additionally invited to perform for the public in the Peace Pavilion amphitheater of the Green Zone.
He is also the founder of The Sustainable Theatre Network, an organization dedicated to not only addressing resource management and practices but also creating sustainable models for creation without losing aesthetic value. Receiving funds from The British Embassy Gulf Strategy Fund and The British Council Creative Commissions Fund, the Sustainable Theatre Network is an international partnership of over 15 theatre schools and organizations from every continent dedicated to researching, creating, codifying, and amplifying less wasteful theatre practices worldwide for use at all levels of theatre-making, from large State-run National theatres to small student-led projects. Accessible as an Open Source/Creative Commons website (https://www.sustainable-theatre.org) dedicated to sharing best practices in sustainable theatre-making alongside a platform where the theatre schools and organizations from the network each share their own research and productions, with performances created for COP27 in Sharm El Sheikh, Egypt and COP28 in Dubai, UAE.
A frequent interdisciplinary collaborator, he was the Project Leader on “The Space Project”, a collaborative project between LASALLE College of the Arts and Carnegie Mellon University (USA) an interdisciplinary collaborative project amongst Theatre, Dance, Fine Arts, Arts Management, and Interior Design students at LASALLE College of the Arts, Architectural and Lighting Design students at Carnegie Mellon University with Cindy Limauro, and Master Scenographer Jean-Guy Lecat to identify and answer questions of space in the presentation of artistic mediums and the creation of portable performance, art, and community space. He often works with the audio-visual improvisational electronic music duo Black Zenith and Serbian composers, piano, and electronic music duo who invented the Hybrid Piano LP Duo.
He was the Festival creator and Artistic Director of Solo Festival, an annual festival designed to showcase performer’s self-devised pieces, provide a platform for new solo work and ideas, and for professionals to highlight the strength of one-person shows and he continues to mentor and teach composition and directing to young theatre-makers around the world from the Yale School of Drama, Accademia Teatro Dimitri, The Juilliard School, and Universidad Nacional Autónoma de México (UNAM) amongst others in his own workshops.
He has been on the faculties of the School of Dance and Theatre at LASALLE College of the Arts in Singapore where he taught in the Acting, Dance, Musical Theatre, and Music programs, he was Visiting Professor of Theatre at Universidad de las Américas Puebla (UDLAP) in Mexico and is currently Assistant Professor of Directing at American University in Cairo. He has taught and/or directed internationally at the Tony Award-winning Lincoln Center Theatre, Actors Theatre of Louisville, and Cincinnati Playhouse in the Park, as well as at the Center for Cultural Decontamination (CZKD)- Serbia, Orvieto Sperimentazione Teatro- Italy, La MaMa Umbria-Italy, Kyoto University of Art and Design-Japan, Hong Kong Academy of Performing Arts, Chulalongkorn University- Bangkok, National School of Drama-India, Goldsmiths University of London, The Victorian College of the Arts at University of Melbourne, and The American University of Beirut
He has been practicing and teaching The Viewpoints for over twenty years having worked with its founders Mary Overlie, Anne Bogart, and Tina Landau. His research centers on the expansion and testing of The Viewpoints as an Interdisciplinary and Transcultural pedagogy. Published: The Viewpoints as Transcultural Pedagogy in Western Theatre in Global Contexts: Directing and Teaching Culturally Inclusive Drama around the World (Routledge) and Applying the Viewpoints to Multimedia Performance (Global Performance Studies)
He holds a B.F.A in Acting from the Professional Actor Training Program at Wright State University, and an M.F.A in Directing from Columbia University in the City of New York
adam@theatreofothers.com
Instagram: @boots_and_sunglasses

Meet the Team

Co-Artistic Directors

Dr. Budi Miller is the Co-Artistic Director of The Theatre of Others. He is the Director of Advanced Training at the Fitzmaurice Institute. He is a Lead Teacher of Fitzmaurice Voicework, a certified integrative studies practitioner, and a UNESCO-designated master teacher of mask work. His practice intersects with Balinese Performing Arts Training (BPAT), Mask Work, Fitzmaurice Voicework, Michael Chekhov, Clown, Viewpoints, Grotowski, and Self-inquiry brought to the world by Ramana Maharshi. He holds a Ph.D. from the University of Melbourne and a B.F.A. in theatre from NYU Tisch School of the Arts.
He has been an actor-director-writer-teacher in the United States, Australia, Singapore, the United Kingdom, Denmark, Hong Kong, Shanghai, Taipei, Malaysia, Vietnam, India, and Indonesia since 1992. He is a Balinese mask dancer and the first teacher to bring Fitzmaurice Voicework to Denmark, Singapore, Hong Kong, Taipei, Malaysia, and Indonesia.
He coached Michelle Williams for her Academy Award-nominated performance in Ang Lee's movie Brokeback Mountain, Jonathan Majors Lovecraft Country: HBO, Creed III, Ant-Man III: Marvel Universe and collaborates with Julian Elijah Martinez (Wu-Tang: An American Saga: Hulu). He has had the privilege of coaching and inspiring actors in many mediums: Broadway, HBO, Netflix, Showtime, major international film markets and theatres around the world, and the Indonesian Film Festival (Judge, 2020).
He was the Head of Acting from 2017-2023 at the Victorian College of the Arts at the University of Melbourne. He has been on the faculties of The Chautauqua Theater Company from 2004-2021, and LASALLE College of the Arts, Singapore 2009-2017. He has taught at Yale School of Drama, The Juilliard School, NYU Tisch School of the Arts, The Actors Center, Wayne State (MFA), The New School (MFA), SUNY Purchase College, University of Southern California, The Bill Esper Studio, Rutgers Mason Gross School of the Arts, The National Theatre Institute, Howard University, Western Michigan University, The National University of Singapore, The Queensland Theatre Company (Brisbane), Curtin University (Perth), and the Michael Chekhov Conference 2002.
He was the Executive Director of the International Antonin Artaud Fringe Theatre Festival 2008. He was a featured presenter at the International VASTA conference in Mexico City in 2010 and London in 2014. He was the conference director for the first VASTA conference in Asia (Singapore) in 2017.
Published Work:
de Roza, E., & Miller, B. (2018). The Lion and the Breath: Combining Kalaripayattu and Fitzmaurice Voicework Techniques Towards a New Cross-Cultural Methodology for Actor Training. Journal of Embodied Research, 1(1), 1 (20:41). DOI: http://doi.org/10.16995/jer.6
Miller, B (2023) “Whose body is dis: taksu, ase, Black queer intersections, and the awakening of the actor’s spiritual practice,” Stages of Reckoning: Antiracist and Decolonial Actor Training, (Edited) Amy Mihyang Ginther, Abingdon, New York, Routledge.
budi@theatreofothers.com
Instagram:@millerbudi

Resident Playwright and Dramaturg
Steven is a Brooklyn-based playwright. His plays include A Thousand Ships at the Bottom of the Sea, Limb from Limb, Negligence, and Adam’s Dream. He is the resident playwright and dramaturg for The Theatre of Others, which has produced two of his plays. His work has also been developed by Chautauqua Theatre Company and Theatre for a New Audience. M.F.A.: Columbia University.
steven@theatreofothers.com
Instagram: @stevengaultney
stevengaultney.com
Creative Producer
Born and raised in Hong Kong, Christie Chang is a multihyphenate—actress, TV host, singer, musical theater writer, and creative producer. Holding a BFA in Drama from New York University - Tisch School of the Arts, she completed her training at the New Studio on Broadway for Music Theatre and has a minor in the Business of Entertainment Media and Technology. As an emerging creative producer, Christie aspires to craft groundbreaking, original works that bring together talents worldwide, weaving authentic narratives that resonate with audiences. Her career has led to collaborations with theater companies and festivals in New York, Toronto, Shanghai, and Hong Kong, reflecting her steadfast commitment to nurturing global artistic connections. In a world where creativity flourishes boundlessly, Christie invites everyone to join her on this exciting journey of exploration and inspiration.
christie@theatreofothers.com
Instagram: @christie_chang
Composer/Sound Designer/Podcast Producer
Jack Burmeister is a Composer and Sound Designer who is passionate about finding synergy between his work and other forms of media, believing that music should work to heighten the viewer’s overall experience. Using elements of orchestral, acoustic, electronic, and choral textures, Jack creates diverse sonic soundscapes to enhance the atmosphere and mood in any given work.
A graduate of the University of Melbourne/VCA, with a degree in Music (Interactive Composition), his notable Sound Designer and Composer credits include MOTHERLOD_^E & The World According to Dinosaurs (Frenzy Theatre), SLUTNIK™ 2: Planet of the Incels (FlickFlickCity), CULT and NIUSIA (Kathryn Yates) the latter receiving the Melbourne Fringe ‘Industry Ready’ award in 2023, Discomfort Zone (Christian Hull).
Jack is the producer of The Theatre of Others Podcast, with over 20,000 listeners in over 90 countries and amongst the top 5% of podcasts worldwide. He was the lead designer on The Earth Turns, an audio play for COP27, and performed in Bright Light Burning at the United Nations Climate Change Conference (COP28) in Dubai. He is the sound designer and composer for The Theatre of Others Audio New Play Festival, developing and producing thirteen exciting new audio plays from Australia, Singapore, Egypt, and America, including Firespeak, Barrelhouse, Sob Story, and Meet Me at Liberation (2023), Whale Song, Success in Contemporary Corporate Praxis, Beautiful, and Sugarbag (2022), Thief, Galatea, and Tales from Arcadia (2021).
jack@theatreofothers.com
@jack_burmeister

Digital Technical Director
Joshua works in theatre and film as a director, performer, producer/ digital producer/production manager, fight choreographer, and educator. Based in the San Francisco Bay Area, he is a company member with FoolsFURY, a performer with San Francisco Shakespeare Festival, and is Technical Director/Digital Producer for Fuse Theatre’s Co-Exist Festival and a director, fight choreographer, and educator with Cal Shakes, San Francisco Youth Theatre, Berkeley Repertory School of Theatre, American Conservatory Theatre, and Dragon Productions. He is an associate member of the Society of Directors and Choreographers, a member of the Society of American Fight Directors, and holds a Master of Fine Arts in Directing for Theatre and Film from the Johnny Carson School of Theatre and Film.
joshua@theatreofothers.com
Instagram: @joshuawaterstone
Director of Musical Theatre Engagement
Tanvi Rajgharia, going by the stage name Jhansi, is a musical theatre performer, composer, and music comedian in India. Jhansi did her BA (Hons) in Musical Theatre Performance from Lasalle College of the Arts, Singapore.
Since then she has been thriving in the field of Music storytelling and comedy in India, doing a variety of shows and festivals with the entity Kommune. She was a contestant on the TLC and Netflix show Queens of Comedy. She played Iago in Disney India’s production of the musical Aladdin. Her musical Don’t Eat my Face Pizza, which she wrote, composed, and directed was produced twice in Mumbai.
Jhansi has also been working in collaboration with Freestyle Love Supreme, as the Indian Ambassador. Over the years, a lot of political, social, and women’s causes have been picked and depicted by her as music videos online, on various platforms.
Currently, she is working on her latest original musical Terrified of Twenty-Five, and a series of twelve Broadway-style music videos, with Indian topics at its core.
tanvi@theatreofothers.com
Instagram: @jhansidramaqueen
Education Director
Indonesian-Scottish, born in Riyadh, raised in Bali, Carina McWhinnie is a versatile performer in every area - from acting on stage, film, singing, to a whole lot of quirky voices. Carina has completed her BA(Hons) in Acting at LASALLE College of the Arts and has since worked in Singapore
Her works include; Donizetti Rita (New Opera Singapore), Fat Kids Are Harder to Kidnap (How Drama) – performing at the Kennedy Centre in Washington DC in 2015, and Sydney Fringe Festival in 2019. Her most recent debut performance was Pangdemonium’s ‘Peter and the Starcatcher’ in 2018 directed by Tracie Pang, starring alongside Adrian Pang. She played the character of Molly Aster.
Returning to her British roots, Carina has recently moved to London from Singapore, to continue her career as a prolific actor, performer, host, and singer and more prominently voice acting for animated shows - a dream she's working towards continually.
carina@theatreofothers.com
Instagram: @carina_mcw

Emilee Annine Moeller is a writer, actress, and former environmental attorney. As a theater, film, and television actress, Emilee debuted on network television on Criminal Minds (CBS) and has appeared in numerous stage and film productions, commercials, and print. Prior to acting, she obtained law degrees from Northwestern School of Law of Lewis & Clark College and Loyola Law School. Always a farm girl at heart, she was raised in Washington state on a wheat and cattle ranch and now enjoys hiking in the Hollywood Hills or hitting the beaches of Southern California.

Elizabeth de Roza is an artist working as a practitioner-researcher, educator, performance-maker, director, dramaturge, and actor-movement trainer. She co-convenes the Embodied Research Working Group within the International Federation for Theatre Research and holds a Ph.D. (Theatre and Performance) from Goldsmiths, University of London. She also serves as an Assistant Editor for the Journal of Embodied Research.
Elizabeth believes in collaboration, and all of her artistic works and pursuits are in constant flux and flow with other artistic disciplines (principally dance, media, and fine arts). She is constantly negotiating the spaces between the Asian forms she is trained in and contemporary art practices. As a performance-maker, her process draws upon human capacities, faculties, and cultures through social and cultural interaction and human understanding. She believes that this approach creates new possibilities for collaboration, critical thinking, and imagining.
Elizabeth’s methodology in performance-making and actor-movement training comes from the foundation of traditional Asian theatrical training/performing methods, martial arts (kalaripayattu), and soft-fireworks, a contemporary, cross-cultural embodied technique in performance practice that she developed and established.
Her research interests focus on embodied experiences, thinking, and practice through making, embodied cognition, and cross-cultural performance at the intersections of both decolonial and feminist theories. She has presented her research and methodology at various international conferences, universities, and theatre conservatories and led master workshops for theatre companies.
Elizabeth credits her formative years in creating inter/cross-cultural performances to the late William Teo, Artistic Director and Founder of Asia-in-Theatre Research Centre (Singapore). Her encounters with Teo, inspired her to research, and experiment with various Asian theatrical training/performing methods. She worked extensively under the late William Teo from 1996 till his passing in 2001.
She was an Associate Artist of The Substation (www.substation.org), from 2001 to 2011, and under the Associate Artist scheme, she was able to develop her artistic research on embodied memory and refine her approaches to inter/cross-cultural performance making. This led her to create these cross-cultural solo performances: Suria (2002), Innocence (2003), Landscapes (2004), and Still Flight (2005), which were also presented at the various International Magdalena Theatre Festivals, 2005 Rhode Island USA (2005), Singapore (2006), Santa Clara, Cuba (2008); Transit – Odin, Denmark (2009 and 2016); Vertice Brasilia (2010).
From 1999 to 2003, with the continuous support of The Substation and the National Arts Council (Singapore), she was able to attend several performance workshops at the Centre of Performance Research in Aberystwyth led by internationally renowned artists such as Goat Island, La Pocha Nostra, and several others. It was in 1999, that she first met Phillip Zarrilli and was introduced to his methodology of pre-performance training and to the South Indian Martial Arts, kalaripayattu. This encounter led to her continuous pursuit of the practice of kalaripayattu as a methodology of working with the body and as a tool for somatic expressions.
As a practicing artist, Elizabeth's works range from site-specific social engagement to cross-cultural | disciplinary performances and to intense black-box physical performances. She has collaborated on many international performance projects with a focus on embodied cultural memories in conjunction with other disciplines and presented them at various prestigious contemporary theatre festivals in South America, Europe, the UK, and Asia. One such work was her collaboration with two Mexican Artists on a physical piece Re:Inventing Sita. This was supported by the Singapore International Foundation and the Cultural Embassy of Mexico and was presented in two festivals in Mexico, Cervantino International Festival and Caminos Teatrales 7 in 2011 and then here in Singapore. The work was mentioned in SIF inaugural launch of Diversities (www.sif.org/story_details).
She formed TheatreStrays (2008-2013) a physical/sensorial performance research (training) group creating intimate, sensorial, physical, inter-medial, non-linear performances in unconventional spaces. The performance research group has presented 3 interactive site-specific performances in Singapore such as Lower Depths@65 Kerbau Road by Gorky, What the Dog Knows inspired by Ionesco, and Paper Boat. Paper Boat - which deals with memories was first premiered in Myanmar, performed in Brazil, in Singapore as part of The Esplanade's Studio Series, ArtScience Museum (Singapore), in Berlin (Germany) at Platoon Kunsthalle as part of Vernissage:Initimate Moments - as an Interdisciplinary Art Exchange in Intimate Moments produced by Belarmino&Partners.