Regina Crowley has a long track record in theatre as a performer, director, theatre-
maker and creator, working across devised, contemporary and classical forms. A
Designated Linklater Voice Teacher since 2010, she co-wrote a book with Bernadette
Cronin on the work of Kristin Linklater, published by Routledge in 2023. She draws
extensively on this practice and has led voice and performance workshops nationally
and internationally, most recently in China and Japan, as well as throughout Ireland.
Her training includes work with Kristin Linklater, Yoshi Oida, Enrique Pardo, Lorna
Marshall, Bella Merlin, and the Moscow School of Cinematography, among others.
She has collaborated with artists across multiple disciplines, including visual artists
James Coleman and Katherine Beug, and the renowned director and actor trainer
Philip Zarrilli.
As a theatre-maker and performer, Regina has contributed to the creation of a wide-
range of work that foregrounds collaboration, physicality, and the expressive power
of voice. A founding member of Gaitkrash Theatre Company, she has been involved
in all of the company’s productions to date as a deviser and performer. Her directing
credits include Killing Stella for Gaitkrash, Gone Full Havisham, and Stitch, created
in collaboration with Irene Kelleher (Best Site-Specific Production, Best Company
and Best Technical Team, 2025 by The Arts Review). Additional directing credits
include Shakespeare’s Romeo and Juliet and The Merchant of Venice,
O’Casey’s Juno and the Paycock, and Sleepwalking (based on the work of Franz
Kafka) for Steeple Theatre Company; Orlando by Mike Bartlett, The Events by David
Greig, Earthquakes in London by Neil Bartlett, Love and Information by Caryl
Churchill, Lorca’s Blood Wedding, and Scenes from the Big Picture by Owen
McCafferty with degree students at MTU Cork School of Music. She has also
collaborated with musician Gabriela Mayer on a number of projects, including Time
and Time Again, Prometheus Now for the Cork Midsummer Festival, and Notes to a
Star, developing interdisciplinary performance work.
Her performance credits include Mouth in Beckett’s Not I and W2 in Beckett’s Play,
English in England by Tim Crouch and Claire in after The Maids by Jean Genet
directed by Philip Zarilli (nominated for Best Ensemble in the Wales Theatre
Awards), all with Gaitkrash Theatre Company and Juno in Juno and the Paycock by
Sean O’Casey.