Bio

Eulàlia Comas (she/her) is a Brooklyn-based theater practitioner and drama therapist who has worked extensively in theaters and found spaces throughout the city as a director, designer, dramaturg, and stage manager of new and devised works. She also performs as noise theater duo laialeah and is co-Artistic Director of DIY performance venue box machine, both with Leah Plante-Wiener. She was Production Fellow at The Brick Theater (‘23-’24), her play Questions that have Answers was a semi-finalist for the 2024 Terrence McNally New Works Incubator, and she co-founded the volunteer-run, community generated editorial website Staff Picks. As a clinician, she has worked in private practice, community health, and shelter settings with children and families, LGBTQIA+ adults experiencing chronic homelessness and complex trauma, and older adults living in permanent supportive housing. Upcoming work: Gutbelly (2027, TBA), Autofemicide (2027, box machine). Select theater works: SHE SPITS (AGAIN AGAIN) (La MaMa, 2026), CONTINENTAL AGITA (The Collapsable Hole, 2026), Baby Butcher Choke For Free (The Brick, 2026), GIRL CITY! IN MY BASEMENT! (ALab Theater Festival at IRT, 2026), Babies on the Street: The Show (The Brick, 2025), MOBILE WASH FEMALE LOCKER ROOM (box machine, 2025), Replication Baby (CATCH at PS21 Residency, 2025), haircut play :€ (the Exponential Festival at Loading Dock Theater, 2025), Cankersore Paradise (Lenfest Center for the Arts, 2025), Update for our Community (SalON!, 2025), Sex and the Abbey (The Brick, 2024), the electrologist (CATCH 76 at the Chocolate Factory, 2024), Bonefruit (The Tank, 2023), The Dastardly Thornes v. The Town of Goldhaven (The Brick, 2023). She received her BA in Religion from Wesleyan University and her MA in Drama Therapy from New York University.

She lives in Crown Heights with her wife and their cat.

photo credit: Kasey Scheidegger (my wife!)

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Artist statement

I am a theater practitioner clinically trained in drama therapy who makes work with action, friction, sound: work that is destabilized by the presence of its own audience.

As a clinician, I understand that the creative process can be used just as easily for violence as it can be for healing, and I am interested in that effort, transformation, power.

All theater is confrontation, and I develop original works for performance that do not shy away from intransigence.