Kitt Lavoie is a director, playwright, actor, and designer. A graduate of Fordham University with a Bachelor’s Degree in Political Science, Kitt holds a Masters of Fine Arts in Directing from the Actors Studio Drama School. He is the Artistic Director of The CRY HAVOC Company (www.cryhavoccompany.org), a not-for-profit theater company he co-founded in 1997 as a resource for theater directors, actors, and playwrights. Kitt is a member of the Professional Playwrights’ Workshop and a Member of the Stage Directors & Choreographers Society (SDC).

Over the past twelve years, Kitt has directed more than eighty shows in New York City, including the original productions of more than thirty-five plays. Recent directing credits include the premieres of: Yukon Brass by Jennifer Reichert (Center Stage), I'll be Jonah if you be the Whale by Jeremy Wine (Epic Rep), Bad Girls by M.Z. Ribalow (CRY HAVOC), Creative Writing by J Holtham (Luna Stage), The Gin Dialogues by Kit Williamson (Fordham University), Ingrid Milligan Is…by Maggie Smith (Ensemble Studio Theater), Maria Micheles’ plays October 31 (Brooklyn Playwrights Theater) and Sleep Over (Theater for the New City), and Ben Rosenthal’s plays Obit (Expanded Arts), Birth of Punk (Actors Studio Theater), and Welcome Back, Buddy Combs (Actors Studio Theater). He has also recently directed new productions of: Sunday on the Rocks by Theresa Rebeck (CB Productions/Abingdon Theater), Italian American Reconciliation by John Patrick Shanley (Sanctuary Theater), a benefit performance of the Off-Broadway hit Stopping Traffic written and performed by Mary Pat Gleason (Signature Theatre Company), and The CRY HAVOC Company’s much-lauded production of Romeo & Juliet featuring a female Romeo and female Juliet (walkerspace). He also collaborated on the development of the new play Roommate, written and directed by James Ryan and featuring Terry Kinney and Piper Perabo at HB Playwrights.

Also a published and widely produced playwright, Kitt is author of seventeen produced plays and musical books, including Twice Rather Perish and The Median Line (which both received the Herbert J. Robinson Award for Dramatic Writing), Party Girl (Best in Fest, Algonquin Theatre 2008 One Act Festival), [pwnd] (2009 NYIT Best Short Original Script nominee), realer than that (published by Samuel French, Inc./winner of the 2009 Samuel French New Play Festival), and a rock musical adaptation of J.R.R. Tolkien’s The Hobbit (sanctioned by the Tolkien Society).

Kitt also works regularly as a private acting coach, teaches weekly acting and playwriting classes for The CRY HAVOC Company and The Rising Sun Performance Company, and moderates the twice-weekly CRY HAVOC Workshop focused on the development of new works. His students currently appear on Broadway, Off-Broadway, on television, and in major films. He also hosts the biweekly CRY HAVOC Podcast, which focuses on elucidating the craft of acting, directing, and playwriting for an audience of both artists and theater-goers.

He continues to work regularly as an associate to Tony-nominated and Emmy-winning director Lonny Price – with whom he has worked on the Roundabout Theater Company’s Broadway revival of 110 in the Shade (starring Audra McDonald and John Cullum), the new musical Kiki Baby at Primary Stages, Camelot (starring Gabriel Byrne) with the New York Philharmonic, and the Great Performances recordings of the Philharmonic Camelot and the Tony-winning revival of Stephen Sondheim’s Company (which was nominated for several Emmy Awards), among other projects. He spent two months in early 2009 in Cape Town, South Africa, where he worked with Mr. Price on the feature film adaptation of the Athol Fugard play “Master Harold”… and the boys starring Freddie Highmore and Ving Rhames. This summer, he made his debut as a film writer/director with Rainbow Rabbit Reliant.

Kitt is currently completing work on two full-length plays (A Writer for Children and Veep – both in workshop with CRY HAVOC), as well as collaborating as book writer on two new musicals. He is also in postproduction for a documentary, Guest Artist, about Broadway actors working at semiprofessional theaters in the Midwest, which he shot this past fall.