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About Cody

Cody Holliday Haefner is a director, devised-theatre maker, and teaching artist currently based in Los Angeles with roots in New York City, Upstate New York, and Seattle, Washington. Cody is passionate about new plays and re-imagining the classics (and re-defining what is considered a classic to increase equity in the theatrical cannon). He is a co-founder and former artistic board member of the New York theatre company The Brewing Dept., which now acts as the non-profit producer of Corkscrew Theatre Festival. Cody has directed, devised, produced, and collaborated on works at HERE Arts, Dixon Place, HOT! Festival, FringeNYC, Fresh Fruit Festival, Nuyorican Poets Cafe, Intiman Theatre, ArtsWest, the Rochester Fringe Festival and more. Cody holds an MFA in Directing from the University of Washington School of Drama, and a BA in Drama and Theatre Arts from Columbia University. Cody is a recipient of The University of Washington School of Drama Scholarship.

Read more about me at UW Drama’s Blog - Meet an MFA: Cody Holliday Haefner


My Beliefs

I believe that theater has the power to heal and pursue projects that have healing potential, either for society as a whole or for the individual audience members in attendance. Theater can heal through catharsis, inspiration, laughter, empowerment of the disempowered, reminders of our shared humanity, encouragement of empathy, or exposure of societal ills. I believe one of society's greatest ills that needs healing is the global capitalist system that has been built to lift up only a select few while putting down others, while feeding the oppressive structures of white supremacy, sexism, classism and colonialism. As a queer man I am also passionate about lifting up stories that show all the diverse ways we love and make love, and ones that expose and defy the toxic models of masculinity that are currently dominant in our society. I believe empathy is a spiritual and political act.


The Ones I dream of doing

Caucasian Chalk Circle by Bertolt Brecht
The Baltimore Waltz
by Paula Vogel
The Pass by John Donnelly
Bright Half Life by Tanya Barfield
Revolt. She Said. Revolt Again. by Alice Birch
Abingdon Square by Maria Irene Fornes
The Last Days of Judas Iscariot by Stephen Adly Guirgis
Angels in America by Tony Kushner
Life of Galileo by Bertolt Brecht
The Resistible Rise of Arturo Ui by Bertolt Brecht
Oedipus by Ellen McLaughlin
Appropriate by Branden Jacobs-Jenkins
Everybody by Branden Jacobs-Jenkins
Death Tax by Lucas Hnaith
The Christians by Lucas Hnaith
End of Shift by Jenny Connell Davis
Mr. Burns by Anne Washburn
iowa by Jenny Schwartz and Todd Almond
Any of Lear DeBessonet and Todd Almond’s Public Works adaptations

Machinal by Sophie Treadwell
The Stepmother
by Githa Sowerby
Ghosts
by Henrik Ibsen
Doctor Faustus by Christopher Marlowe
Macbeth by William Shakespeare
Twelfth Night by William Shakespeare
Big Love by Charles Mee
Hotel Cassiopeia by Charles Mee
Wintertime and/or Summertime by Charles Mee
A Dream Play by August Strindberg
The Balcony by Jean Genet
The Crazy Locomotive by Stanislaw Witkievicz
The Dumb Waiter by Harold Pinter
Krapp's Last Tape by Samuel Beckett
Cabaret by Kander, Ebb, and Masteroff
Fun Home by Lisa Kron and Jeanine Tesori
Floyd Collins by Adam Guettel and Tina Landau
Parade by Jason Robert Brown and Alfred Uhry
Urinetown by Mark Hollmann and Greg Kotis


Cody giving notes during tech for his MFA thesis production of Githa Soweby’s  Rutherford and Son

Cody giving notes during tech for his MFA thesis production of Githa Soweby’s Rutherford and Son