Madison Joy LeFever

DIRECTING

DIRECTING

I’ve had the privilege to study with an array of seasoned professionals throughout my time at university. From guest directors visiting from across the country to professors who are actively educating and working in the field, I’ve learned the most about myself by staying curious, looking under the rug, and approaching new and contemporary work with genuine interest and care. That mindset has helped me create spaces where people feel safe taking creative risks. I’ve always been drawn to play development, and that pull has shaped how I show up in every room. I’m especially interested in why risk matters, approaching it with curiosity, and using it to deepen storytelling and support the creative growth of the ensemble.

What am I most interested in right now?

Harm reduction and its impact in arts spaces surrounded by rural conservatism, anti-fat bias, comedy-horror, occultism, musicals by singer-songwriters breaking free from industry norms, absurdism, puppetry, found space, and reclaiming golden age musical theatre with a queer lens.

Woman in vintage clothing with a floral crown, standing next to a piano in a dimly lit setting.

what the Gods gave me by Eryn Mcvay, Western Washington University (2023), Sattva Photo

Children performing a play on stage dressed as cowboys and cowgirls with pistols and rifles.

Men on Boats by Jaclyn Backhaus, Western Washington University (2022), Sattva Photo

An image inspired by Madison’s dramaturgy findings… Photo by Madison LeFever

Stage performance with a group of women in vintage costumes, some kneeling and others standing, with a woman in the center raising her hand, set against black background with large stylized cat eyes. The set includes steps with triangular patterns, suggesting a theatrical or cabaret scene.

Cabaret, Western Washington University (2021)

DRAMATURGY

DRAMATURGY

Dramaturgy is so important—and honestly, in my opinion, it’s the most essential tool in the director’s toolbox. The tool. If you're stuck, if something isn’t landing, if a moment feels off—nine times out of ten, dramaturgy will get you there.

If dramaturgy has taught me anything, it’s that humans repeat patterns—and those patterns almost always trace back to something deeper. That root can unlock everything: intention, rhythm, conflict, resolution.

A woman with short hair, earrings, and makeup holding a lit candle with both hands, her other hand resting on her forehead, in a dark setting with a wooden post behind her.

In the Shadow of Lilith: Reclaiming Rage, Reclaiming Power by Madison LeFever

This analysis explores the evolving symbolism of Lilith, from a demon of seduction to a representation of divine feminine rage and autonomy. Drawing from what the Gods gave me by Eryn McVay, this excerpt examines a feminine family that relies on Lilith's guidance to maintain their lineage through ritualistic practices, including a male sacrifice to preserve their prosperity.

The play highlights the tension between inherited traditions and the desire for personal autonomy. Ultimately, the piece critiques patriarchal structures, examining how divine feminine rage, when channeled as resistance, becomes a tool for survival and liberation.