Margot Bordelon

Margot Bordelon is a Brooklyn-based director who specializes in new work. Current/Upcoming: Do You Feel Anger? by Mara Nelson-Greenberg at the Vineyard, and Something Clean by Selina Fillinger at Roundabout Underground. Recent projects: Eddie and Dave by Amy Staats at Atlantic Theater Company, Plot Points in Our Sexual Development by Miranda Rose Hall at LCT3, Wilder Gone by Angela Hanks for Clubbed Thumb (NYT Critic’s Pick), Do You Feel Anger? at ATL’s Humana Festival, The Last Class: A Jazzercize Play by Megan Hill at ACT in Seattle, Too Heavy For Your Pocket by Jireh Breon Holder at the Roundabout Underground and the Alliance, The Pen by Julianne Wick Davis and Dan Collins for Premieres NYC (NYT Critic’s Pick), peerless by Jiehae Park at Yale Rep, Cherry Lane, and Marin Theatre Company, and A Delicate Ship by Anna Ziegler for Playwrights Realm (NYT Critic’s Pick). Margot’s work has been seen at Ars Nova, American Theater Co., Berkeley Rep, Cherry Lane, Clubbed Thumb, Dodo, Juilliard, The Lark, NYTW, P73, Perry Mansfield, Play Penn, Portland Center Stage, Primary Stages, The Public, PWC, Rattlestick, SPACE at Ryder Farm, Steppenwolf, the Wilma, and Woolly Mammoth, among others. Margot moved east after spending six years in Chicago working as a director, writer and performer. She is a founding member of Theatre Seven of Chicago, and spent four seasons working on the artistic staff of Lookingglass Theatre. BFA: Cornish College of the Arts. MFA: Yale School of Drama.


Letter from First Rehearsal: Wives

As women, we’re endlessly bombarded with everything about us that is not right—the way we look, speak, love, parent, choose to lead, the choices we make about our bodies.

Playwrights' Perspectives

Playwright’s Perspective: Wives

Most of my plays end with a question. In a way, this is an admission of guilt. It is me, the playwright, admitting that I do not have the answers to the questions I pose.


The American Voice: Sisterhood of Delight

The Nahargarh Fort rests on a ridge overlooking the city of Jaipur, India. It was erected in the 18th century with a dual purpose: a retreat for the maharaja and a defense structure with sweeping views. But when Jaclyn Backhaus visited, on a family trip in 2007, she was struck by the view from within.


Backstory: Laugh of the Wives

When the universe of arts and letters has been systematically skewed in favor of male voices — male perspectives on work, domesticity, strength, weakness, psychology itself — the sense that these perspectives are subjective gets distorted, and increasingly the male experience begins to be assumed as the universal one.