Yoni (joʊni, \ˈyō-nē\) Weiss is a New York-based director, historian, producer, and performer. He is a Co-Artistic Director and Literary Manager of Doghouse Ensemble Theatre.

He currently attends Pace University’s School of Performing Arts for a Bachelor of Arts in Directing as part of the International Performance Ensemble. He recently completed an internship as a Publications Intern at Playscripts, Inc. and continues to act as an Alumni Representative and Theatre Archivist/Historian for Interlochen Center for the Arts.

Raised in the suburbs of Detroit, he attended a litany of Jewish day schools before moving away from home to attend Interlochen Arts Academy. At Interlochen, he received the Upstart Crow Award and a Fine Arts Award for Excellence in Theatre.

He is most proud of hijacking his brother’s 1st birthday party to put on his own one-man production of Annie, for which he forced his parents to help him make posters and playbills at age 6.

His directorial work includes the first high-school age production of Elegies: A Song Cycle by William Finn, which was preserved on a cast album that benefits BC/EFA. He has also directed Mass Cycle: A Meditation on Cancer as developed by Vanderbilt Theater Lab, Controlling Interest by Wayne S. Rawley, and Assistant Directed Stephen Sondheim and Hugh Wheeler’s A Little Night Music.

His dramaturgical duties have included in-depth research on A Little Night Music and The King and I, as well as Assistant Musical Directing for City of AngelsThe King and I, Urinetown, and Spring Awakening.

As a performer his selected credits encompass RENT (Mark Cohen), Dog Sees God: Confessions of a Teenage Blockhead (Beethoven), Platonov (Isaac Vengerovitch), Urinetown (Old Man Strong), Shakespeare Translate: Romeo & Juliet (Friar Laurence), Spring Awakening (Ensemble, u/s Otto), The Drowsy Chaperone (Man in Chair), and the world premiere reading of Chisa Hutchinson’s Somebody’s Daughter.

Additionally, has worked for transgender youth organization Stand with Trans, as a stage manager at Interlochen Arts Camp, where he is most proud of constructing a three foot tall Judy Garland mask, and for Stagecrafters at the Baldwin Theater, where he implemented and revamped their historical archival system in addition to working on their “1000 Hats” improvisation program for children.

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