Two women, one sitting on the floor and the other crouching, are engaging in a moment of emotional intimacy, touching faces and holding hands in a dark setting

THEATRE

My directing background is theatre. The process I bring to film is built on years of experience working with actors and a deep understanding of both scripts and narrative beats. I bring the intimacy and immediacy of the stage in front of the camera and my film work is informed by the trust developed between actor, director and crew during live performance.

I have directed and produced theatre at foremost institutions in the UK, US, and Europe, including the Royal Shakespeare Company, the Almeida, and Signature Theatre (NYC).

A woman standing alone in a dimly lit room with orange lighting, casting a shadow on the floor.

THEATRE CREDITS

Ivy Tiller, Vicar’s Daughter Squirrel Killer, Director, RSC, 2022
Commission, Director, Almeida, Pre-production, 2022
Shipwreck, Associate Director, Almeida, 2019
Kettle Of Fish, Director, Yard Theatre, 2018
Returning To Haifa, Director, Finborough Theatre, 2018
Utility, Director, Orange Tree Theatre, 2018
Den, Director & Dramaturg, The Coterie, 2017
Climate Change Cabaret, Director & Dramaturg, The Coterie, 2017
Home Truths, Co-Director, The Bunker, 2017
Brenda, Director, Hightide & The Yard Theatre, 2015
And I And Silence, Director, Signature Theatre, 2014
The Malcontent, Director, Shakespeare’s Globe, 2014
Strange Interlude, Assistant Director, The National Theatre, 2013
Love, Love, Love, Assistant Director, Royal Court, 2013
Love & Information, Assistant Director, Royal Court, 2013
Hamlet, Assistant Director, Shakespeare’s Globe Theatre, 2013

A person standing in a dimly lit room filled with red light, near hair styling chairs and a curtain, with a wall decorated with three small round openings.
Multimedia art installation with a woman standing in a room with chairs, a lamp, and plants on one side, and a projected upside-down face on a screen on the other side.

SELECTED PRESS

Brenda - Yard Theatre

★★★★

“Visionary and magical”

— The Telegraph

★★★★

“Caitlin McLeod’s production plays intriguing games with reality"
“Alison O’Donnell and Jack Tarlton perform excellently”

— The Guardian

“I honestly love this knotty Beckett shit. It’s dark as a bat’s eyeballs but it tells you the truth about what it means to be alive."

— Huffington Post, Best Theatre of 2015

And I And Silence - Signature Theatre

“Fervently acted and gracefully directed by Caitlin McLeod”

— The Telegraph

★★★★

“a typically first-class production by the Signature, with the director Caitlin McLeod”

— Charles Isherwood, The New York Times

★★★★

— Financial Times

Utility - Orange Tree Theatre

★★★★

“Brings an unpatronising candour to its graceful, low-key depiction of life in breadline America.”

— David Cote, Time Out, New York

★★★★

“This prize-winning American play by Emily Schwend is the latest hit in an astonishing run of form for the Orange Tree”

— Fiona Mountford, Evening Standard

★★★★

— Sarah Hemming, Financial Times

A man sitting on a kitchen counter next to a microwave, with various condiments and a bottle of Gatorade, in a dimly lit room with candles.
A young woman and a man in a kitchen at night, having a serious conversation across a table with a pink ribbon and wrapping paper.
A man in a green jacket is squatting with his hands clenched in fists, appearing to scream or yell with his eyes closed and mouth open. In the background, a woman in a denim jacket is standing and slightly out of focus.
A woman holding papers looks at a man who is in the foreground, reading from a book or a notebook. The background shows a light-colored wall and a light source.