Jamey Miller is…
…a New York- and Boston-based director and creative producer who gravitates toward new works and contemporary revivals that are bold, brainy, and a little bit unhinged. His artistic home lives somewhere between the emotionally raw and the theatrically outrageous. He tells stories that explore identity, power, and modern culture through unexpected tones and forms.
Recent directing credits include Waiting for Wicked (Soho Playhouse Lighthouse Series) and Incels and Other Myths (New York Theater Festival). For the latter, he was nominated for the festival’s Best Director award out of over 100 productions.
Jamey began his professional career working as an assistant in major talent agencies including APA and ICM Partners. He later supported the producing team of Jamie Forshaw and Evan Mayer at Madison Wells Live on projects including Swept Away (Broadway/Longacre Theatre), We Live in Cairo (New York Theatre Workshop), The Thing About Jellyfish (Berkeley Repertory Theatre), and Jaja’s African Hair Braiding (Regional Tour).
He has had the privilege of observing directors including Sammi Cannold, Tyne Rafaeli, and John Rando. These formative experiences have shaped his collaborative, process-driven approach to storytelling.
He graduated summa cum laude from Boston University’s College of Communication with a B.S. in Film and Television, where he directed four revival mainstage productions: Heathers, Pippin, Into the Woods, and Chicago. He was awarded the Scarlet Key, the university’s highest alumni honor, for his artistic and theatrical contributions to the BU student body.
Jamey is an associate member of SDC.
Practice + Process
I approach my directorial work from a place of empathy and humanity. I believe the only way to put excellent work on the stage is to make the stage an excellent place to work for the entire company. I pride myself on creating a rehearsal space rooted in compassion, honesty, and shared vision. One of my actors once called me an “actor’s director,” which I take to mean that the actor/director relationship is at the core of my work. I believe that in order to extract meaningful performances, I must start by building meaningful relationships with my cast and crew so that there is a profound level of trust at all stages of the creative process. From there, we can explore, make mistakes, and discover together. I believe that we must first connect with one another in order to truly connect with the text, its characters, and our audience.
Here is how collaborators describe my approach:
