Director, The Play That Goes Wrong, Northern Stage, 2024
Director, The Sweet Science of Bruising, (American premiere), Hopkins Center, Dartmouth College, 2020
Director, Orwell in America (world premiere), Northern Stage, VT (2015) and 59E59 Theater, NYC (2016)
Artistic Director, The Cleveland Play House, 1994-2004
Director, Twelve Angry Men, Hungarian National Theater, Miskolc and the Pecs National Theater Festival (2000)
Actor, George Orwell in Orwell in America, 59E59 Theaters, New York City, dir. Peter Hackett (2016)
Actor, Our Town, Northern Stage, White River Junction, VT, dir. Carol Dunne (2015)
Actor, George Orwell in Orwell in America, Northern Stage, White River Junction, VT, dir. Peter Hackett (2015)
Actor, 12 Angry Men, Northern Stage, White River Junction, VT, dir. Malcolm Morrison (2013)
Actor, Lincoln, starring Daniel Day-Lewis, dir. Steven Spielberg (2012)
Actor, The Clean House by Sarah Ruhl, Denver Center Theatre Company, Denver, CO, dir. Wendy Goldberg (2006)
Director, Fiction by Steven Dietz, Curious Theatre Company, Denver, CO (2006)
Director, The Heidi Chronicles by Wendy Wasserstein, Dartmouth College, Hanover, NH (2005)
Director, Slabtown by Steven Cole Hughes, Denver Center Theatre Company, Denver, CO (2005)
Screenwriter, A Rumor of Angels, starring Vanessa Redgrave, MGM/UA (2002)
Lighting Designer: Romeo and Juliet, Hartford Stage, 2025
Lighting Designer, A Doll's House, Huntington Theatre Company 2017
Lighting Designer, King Lear, Northern Stage 2019
Lighting Designer, The Skin of Our Teeth, Berkshire Theatre Festival, 2019
Lighting Designer, Faithful Cheaters, Trinity Repertory Company, 2017
Lighting and Projection Designer: DRACULA, Berkshire Theatre Festival, 2022
Lighting and Projection Designer, Macbeth, A Christmas Carol, Northern Stage, 2016
Lighting and Projection Designer: Photograph 51, Berkshire Theater Festival, 2023
Projection Designer, Esai's Table, Cherry Lane Theater, NY and JAG 2019-2020
Lighting and Projection Design, Beauty and the Beast, Northern Stage 2024
Selected Publications
Georgina Escobar's scholarly and creative work spans theatrical innovation, Latinx performance, and environmental justice through drama. Her contributions include chapters in several prominent academic volumes, such as The Routledge Companion of Latinx Theatre and Performance (2024), and the co-authored essay "Imaginative Collaboration: The Student Stage Manager and New Work" featured in Undergraduate Research in Theatre (Routledge, 2021). She also contributed the scene "Sweep" to Scenes for Latinx Actors (Smith & Kraus, 2019).
Her plays have been included in multiple anthologies spotlighting socially engaged theatre. These include The Future Is Not Fixed: Short Plays Envisioning a Global Green New Deal (Applause Theatre and Cinema Books, 2022) with the short play All Its Tainted Glory, and Lighting The Way: An Anthology of Short Plays About The Climate Crisis (Climate Change Theatre Action, 2021), featuring her piece A Dog Loves Mango. Additionally, an excerpt from her work Monsters We Create appears in I Know What's Best For You, edited by Shelly Oria (McSweeney's Books, 2022).
Escobar's translation and editorial work includes Cosmica by Gabriela Fuentes (Inti Press, 2022) and the bilingual publication of Cosmic (Cósmica) with NoPassport Press (2019). Her original play Matted was published in The Texas Review (Vol. 38, 2019), and her scholarly article "The Frontera Aesthetic: Devising A Hybrid Model of New Work Creation" appeared in Theatre Topics (2021, co-written).
Her early theoretical exploration, Playwright as Enchanter: A Compositional Method for Dramatic Writing, was published by Lambert Academic Publishing in 2011.
Workshops, Panels, and Conference Participation
Georgina Escobar is a sought-after speaker, facilitator, and thought leader whose work in dramatic writing, Latinx futurity, and eco-theatre has been featured in national and international convenings. Most recently, she served as a Playwriting Respondent for KCACTF Region XI (2025) and delivered the keynote address at the Colorado Equity Summit(2022), speaking on "Restoring the Self and Creative Activism in Dramatic Writing."
Escobar's panel and workshop engagements have included appearances at the New Jersey Performing Arts Center(2022), HowlRound TV's Latinx Superfriends Playwriting Hour (2020), and Stages Repertory Theatre (2019), where she led a workshop on world-building. She has participated in experimental and research-based gatherings such as the Hemispheric Institute Encuentro in Mexico City (2019), where she joined the working group "Becoming Porous: Performing with(in) Climate Chaos." Her other workshop residencies include Aurora Theatre (GA), Marfa Live Arts(TX), and The Lark (NY), where she was part of the think tank "Re-Imagining the Mexico/US Project."
As a frequent contributor to academic and professional theatre conferences, Escobar has presented her research and creative process at the Latinx Theatre Commons 10-Year Reunion (2024), Association for Theatre in Higher Education (ATHE) (2020–2021), and Athens Institute for Education and Research (ATINER). Her presentations have addressed topics such as protest theatre, radical imagination, and transnational organizing, with a focus on her "frontera new-work" model.
Escobar has also led workshops and delivered keynotes at several Kennedy Center American College Theater Festivals (KCACTF), including Region I, VI, and XI, where she facilitated sessions like The Playwright's Toolkit and Playwright as Enchanter. Additional academic engagements include speaking at Sam Houston State University's Mosaic: Artists Summit (2021), the Fashion Institute of Technology (2021), and the UTEP Women's and Gender Studies Conference(2020), where she presented work on Monsters We Create: A Frontera Funk Tale.
Early in her career, she was featured on panels at HB Studios (NYC), Emerson College, and the Revolutions International Theatre Festival, contributing to national conversations on cross-cultural and borderless theatre practices.
Shaping the Future of African American Film: Color-Coded Economics and the Story Behind the Numbers, Rutgers University Press, 2014
Director, One Flea Spare , by Naomi Wallace, Dartmouth College.
Director, Something in the Air , by Richard Dresser, Dartmouth College.
Director, Twelfth Night , by William Shakespeare, Dartmouth College.
Reading, Third , by Wendy Wasserstein, Dartmouth College.
Actress, The Good Person of Setzuan , Wu Wei Theater of Frankfurt, U.S. tour.
Books:
Teatro y Cultura de Masas: Encuentros y Debates. México: Escenología, 2010.
Freak Performances: Dissidence in Latin American Theatre. Forthcoming, University of Michigan Press, November 2018.
Edited Volumes:
With Jimmy Noriega, eds. Theatre and Cartographies of Power: Repositioning the Latina/o Americas. Carbondale: Southern Illinois UP, 2018.
With Sara Muñoz, eds. Special Issue of Hispanic Issues Online: Freakish Encounters: Constructions of the Freak in Hispanic Cultures. Forthcoming, Spring 2018.
With Paola Hernández, eds. Fifty Key Figures in Latinx and Latin American Theatre. London: Routledge, 2022.
With Michael Chemers, eds. Monsters in Performance: Essays on the Aesthetics of Social Disqualification. London: Routledge, 2022.
Articles:
"¿Dónde está el paraíso?: Este cuerpo mío de Mariana Villegas y el afecto corporal." Religación 8.35 (January-March 2023): https://revista.religacion.com/index.php/religacion/issue/view/36.
"Neoliberal Transactions: Stating Prostitution in the Mexican Nation." Theatre Journal 74 (2022): 129-49.
"The Projection of the Self in Latin American Performance Art." Latin American Literature in Transition. Volume V: 1980-2017. Debra Castillo and Mónica Szurmuk, eds. Cambridge: Cambridge UP: 2022.
"Los circuitos de la invisibilidad. Performance, violencia y sexualidad." Perspectivas políticas de la escena latinoamericana. Diálogos en tiempo presente. Eds. Lola Proaño-Gómez and Lorena Verzero. Buenos Aires/Los Angeles: Argus-a Artes y Humanidades, 2017. 135-148.
"Theatre and Mass Culture: Pedagogical Tools for Stimulating Critical Thinking." Latin American Theatre Review 50.1 (Fall 2016): 191-204.
"Circuits of Invisibility: Performance, Violence, and Sexuality" Lateral, Journal of the Cultural Studies Association. (5.2, Fall 2016).
"Desesperanza en el porvenir: Reflexiones sobre la puesta en escena de Amores de Cantina de Juan Radrigán." Chasqui: Revista de literatura latinoamericana 45.2 (November 2016): 150-166.
With Claudio Valdés Kuri. "Between Pen and Sweat: An Account of an Experience between a Director and a Dramaturg" Theatre Topics 26.1 (March 2016): 131-40.
"Teatro Latino en los Estados Unidos: La estética teatral de Migdalia Cruz." Cuadernos de Literatura 37 (January-June 2015).
"Vida del proyecto." Monstruos y prodigios. La historia de los castrati: Recuento de un proyecto teatral inclasificable. Ed. Leonel Sagahón. México: CONACULTA (2014). 45-57.
"Una apuesta por el teatro." Revista Paso de Gato 10.51 (2012): 86-88.
"Transgresiones femeninas o cómo Jesusa Rodríguez encontró el cuerpo de Sor Juana." Revista Letras Femeninas 38.1 (2012): 55-69.
"Una máquina teatral: Forma e identidad en el teatro de Migdalia Cruz." Latin America Theatre Review 43.1 (2009): 103-120.
"Una cuestión de gustos: hacia una crítica teatral de la ética del consumo en Misa en Los Pinos de Jesusa Rodríguez." KARPA: Dissident Theatricalities, Visual Arts, and Culture. (January 2009). Online: <http://www.calstatela.edu/misc/karpa/Karpa2.1/Site%20Folder/index.html>.