Jaz Woodcock-Stewart is a Theatre Director and Artist. She makes work between theatre, performance, dance and whatever feels right.

She is from the Black Country and based in London.

She recently won Jury Prize for Civilisation at Fast Forward Festival, the European Festival for Young Stage Directors at Staatsschauspiel Dresden. The Prize is a new directorial work there.

Her upcoming projects are 
Gulliver's Travels by Lulu Rackza for the Unicorn Theatre (postponed due to Covid) opening 6 Mar – 17 Apr 2022

Electric Rosary by Bruntwood Prize winner Tim Foley at the Royal Exchange, Manchester, 23 April - 14 May 2022

A tour of her original work Civilisation  in collaboration with choreographer Morgann Runacre-Temple toured this year to New Diorama, HOME and Hellerau.

In 2019, she was nominated by the National Theatre to make something new at Performance Laboratory Salzburg, a MITOS21 project at Thomas Bernhard Institut.

As an assistant director, she has worked on 3 of Ivo van Hove's english language productions. She has also assisted Tim Crouch, Joe Hill-Gibbins and Simon McBurney.

She is co-artistic director of Antler. They were Associate Artists at the Bush Theatre 2017-2018. Her play Lands ran at the Bush Theatre and was published by Oberon Books.

Her training is a culmination of time spent on the National Theatre Studio Director's Course, The Jerwood Assistant Director Program at the Young Vic, Uri Roodner's Contemporary Theatre course at East 15 Acting School and Dartington College of Arts.

She has been a finalist for the following directing awards//

Oxford Samuel Beckett Theatre Trust Award Shortlist 2020 Scenes from Coppelia (own work)

Genesis Future Directors Award Shortlist 2019 The Tin (own work)

RTST Sir Peter Hall Directors Award Finalist 2018 Top Girls by Caryl Churchill

Genesis Future Directors Award Finalist 2017 The Bear/The Proposal by Anton Chekhov

JMK Award Finalist 2016 Woyzeck by Georg Buchner






@jazwoodstew

jwoodcockstewart (at) gmail (dot) com




Complex, raw and insensibly smart, I could watch it forever. 

KATE WYVER, THE GUARDIAN on CIVILISATION


Really funny, mightily moving 

FERGUS MORGAN, TIME OUT on LANDS


There is real pleasure in seeing a show that plays with ambiguities through form. Where the images it presents are layered and strange. It’s often this work that turns out to be the most rewarding, it is the work that rumbles around in your head long after it’s over.

LYN GARDNER, THE STAGE on CIVILISATION

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