Artist Bio

Dianne McIntyre has previously choreographed Crowns and King Hedley II at the Goodman. Her Broadway credits include Joe Turner’s Come and Gone for Lincoln Center Theater, and King Hedley II, Mule Bone and Paul Robeson. London credits include King, The Musical at Piccadilly Theatre. Off Broadway, her work has appeared in Spell #7 at The Public Theater (Audelco Award), The Great MacDaddy with Negro Ensemble Company and the New Federal Theatre production of It Hasn’t Always Been This Way at the Castillo Theatre. Regional credits include productions at Crossroads Theatre Company; Crowns at the Alliance Theatre, Hartford Stage and Dallas Theater Center; Polk County at Berkeley Repertory Theatre, Arena Stage and McCarter Theatre; Death and the King’s Horseman at Syracuse Stage; 80 Days and Shout Up a Morning at La Jolla Playhouse and Miss Evers’ Boys at Centerstage. She directed and choreographed In Living Color (Helen Hayes Award) and Open the Door, Virginia! (Helen Hayes Award nomination) at Theater of the First Amendment, I Could Stop on a Dime and Get Ten Cents Change at Centerstage and Cleveland Play House and Crowns at Cleveland Play House. She choreographed Ntozake Shange’s new choreopoem, why i had to dance, produced by Oberlin College and Cleveland’s PlayhouseSquare. Additional regional credits include work at the Mark Taper Forum, Opera Theatre of Saint Louis, the Huntington Theatre Company, Karamu House and The Kennedy Center. Her film credits include Beloved and Fun Size, and on television her work has appeared in for colored girls who have considered suicide/when the rainbow is enuf, Miss Evers’ Boys (Emmy Award nomination) and Langston Hughes: The Dream Keeper. Ms. McIntyre appeared as a soloist in the 651 Arts 2010 tour FLY: Five First Ladies of Dance.

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