Daphnie Sicre, Ph.D. (she/ella) is a bilingual multi-hyphenated artist. She is a director – dramaturge – scholar – educator – consultant who shares a deep passion for Black and Latinx perspectives in theatre, especially AfroLatinidad. Engaging in anti-racist and culturally competent theatre practices, she helps bring stories from the page to the stage. She is also a scholar, having multiple book chapters, journal articles and news articles. When she is not serving as a director or dramaturg professionally, she can be found conducting workshops, teaching, writing, or researching Black and Latine theatre and representation. Dr. Sicre is very interested in using theatre to promote social change and bring conversations on hard topics. She is always looking for new works, collaborations, and ways to diversify theatre.

Equity, diversity, and inclusion, encompassing diverse identities and experiences, are inseparable from her daily practice, and she strives to create a brave creative environment through consent based, anti-racist, and disability-inclusive theatre practices. She firmly believes theatre can play a transformative role in shaping diverse perspectives and fostering critical thinking. Born in Ecuador to Peruvian and Spanish parents, she adamantly works to uplift underrepresented voices to the forefront of the American theatre.

Daphnie has directed for The Fire This Time Festival, Moving Arts, East West Plays, Skylight Theatre, Greenway Court Theatre, Hollywood Fringe (New Musicals Inc), Playwrights’ Arena, Garry Marshall Theatre, The Road Theatre, San Diego Rep/Latinx New Play Festival, The Robey Theatre, The Fountain Theatre, Circle X, The Hollywood Fringe/New Musicals Inc, Austin Latinx New Play Festival, FringeNYC, First Foot Productions, the Blindspot Collective, BMCC, NYU, Columbia University, and LMU, where she currently teaches.

She also directed Stranger by Kendra Augustin (Stage Black) in NYC, where she won Best Director and the AUDELCO nominated Not About Eve by Karl O’Brian Williams (Braata Productions). She has also attended DirectorsLab West and Latinx Theatre Commons Directing & Design Colaboratorio.

When not directing, she is the resident dramaturge at the Robey Theatre, where she runs the Playwright’s Lab. Selected dramaturgy credits include the musical, It Happened in Key West-Book, Music, & Lyrics by Jason Huza, Jeremiah James and Jill Santoriello (Bristol Riverside Theatre), and Vámonos by Julissa Contreras (INTAR). She also worked with Launch Pad, Playwrights’ Arena Readings Series, The Fountain Theatre, TheaterWorks Harford, Hartbeat Ensemble, New Play Project, FringeNYC, Bratta Productions, First Foot Productions, Lehigh University, NYU, and Columbia University as a dramaturge.

Her latest publication is a book chapter in Contemporary Black Theatre & Performance: Acts of Rebellion, Activism, & Solidarity. Other publications include, an article in Theatre Symposium; Race & Theatre, “Being Black and Latinx in Theatre Today” and the co-published “Training theatre students of colour in the United States” in Theatre, Dance and Performance Training. She’s written book chapters in Stages of Reckoning- Anti Racist and Decolonial Actor TrainingThe Routledge Companion to African American Theatre and Performance, Black Acting Methods, and Shakespeare & Latinidad. Upcoming book chapters will appear in The Routledge Companion Latinx Theatre and Performance and Every Great Dream: Visioning African American Theatre for Young Audiences.

Her research focuses on Theatre for Social Change, AfroLatine Theatre, Latine Theatre, Latin American Theatre, Black Theatre, & Theatre of the Oppressed plus engages in theories and practices of Hip Hop Theatre and Applied Theatre.

She is also a culture consultant for Nickelodeon, having worked on the Emmy nominated Santiago of the SeasFace Music Party, and the upcoming film, Teenage Mutant Ninja Turtles.