Jeremy Lydic

As Director of Production for Pomegranate Arts, Jeremy has managed all production aspects of the premieres and subsequent world tours of Lucinda Childs’ Available Light, Taylor Mac’s A 24 Decade History of Popular Music and Holiday Sauce (for which he is also Co-Set Designer), and several other productions. Also with Pomegranate, he has served as Production Manager for the North American tours of Batsheva’s productions of Ohad Naharin’s Last Work and Venezuela.

Jeremy has managed productions touring to Manchester International Festival (Manchester, UK), Melbourne Festival (Melbourne, Australia), Festival D’Automne (Paris, France), LIFT (London, UK), Berliner Festspiele (Berlin, Germany), Tanz Im August (Berlin, Germany), Internationale Sommerfestival (Hamburg, Germany), Onassis Cultural Center (Athens, Greece), Lincoln Center’s Mostly Mozart Festival (New York, NY), and many other major International festivals.

A highlight of Jeremy’s career was stepping out of the role of Head of Props and into that of Production Manager for the International Tour of Robert Wilson, Philip Glass, and Lucinda Childs’ production of Einstein on the Beach, for its final performances in Gwangju, South Korea.

Jeremy has worked as Technical Director at The Park Avenue Armory for the presentations of Heiner Goebbels production of De Materie and Peter Sellars’ staging of St. Matthew’s Passion.

Jeremy first got his feet wet working as Production Manager for Richard Maxwell’s NYC Players revival of Good Samaritans at the Bonn Biennale (Bonn, Germany), as well as Drummer Wanted at Centre Georges Pompidou (Paris, France) and Exodos Festival (Ljubljana, Slovenia), and Caveman and Joe at Ruhrfestspiele (Recklinghausen, Germany) in 2004.

“I never start with no. I work to find a way to balance what the artist needs with the realities of time and budget.

Art and practicality do not always mix. My objective is to find a path to yes.”

As a sculptor, Lydic works in a variety of media, which springs from his experience as a props artisan. He mixes media in a playful way, and is always interested in exploring the dichotomy between art and craft.

Jeremy has worked as a Props Artisan, Supervisor, and Designer for Theater and Opera, as well as dance, television, and special events, for nearly 20 years.

Jeremy worked on scores of productions at The Public Theater (New York, NY) as Prop Master, Assistant Prop Master, and Props carpenter, throughout the 2000s. Additionally he worked as Prop Master for productions at Classic Stage Company, MCC Theater, The New Group, Primary Stages, Working Theater, Synapse Productions, Carnegie Hall, City Center Encores, Bard Summerscape, Peak Performances, and many other NYC based companies. Lydic was Assistant Props Supervisor on the Broadway productions of Reasons to Be Pretty and Superior Doughnuts.

In 2007, Jeremy started the Lydic! Design and Production Props Studio. Since 2007, he has built selected props for over 60 Broadway shows, including Book of Mormon, Big Fish, Something Rotten, Gigi, On the Twentieth Century, Cats, Fish in the Dark, and The Last Ship. He has also made props for Late Night with Jimmy Fallon, Saturday Night Live, and Last Week Tonight.

Highlights include designing and building Mother Courage’s wagon for Meryl Streep, in George C. Wolfe’s production of Mother Courage at Shakespeare in the Park. Lydic can be seen working on this and talking about it in John Walter’s documentary, Theater of War.

Jeremy Lydic formed the ensemble company, semi:theater, in 2006. semi:theater’s first work, The Wal-Mart Extra-Vocational Theater Club Presents the Miracle of Corn Syrup was presented at the Ohio Theater as part of The Ignite Festival. Later semi:theater works include A Swamp Thing commissioned by the Globesity Festival at Theater for the New City, A Brief Presentation By the Society for the Preservation of Live Digital Imitation presented at Dixon Place, and Apache:Street/Bridge presented at “One Million Forgotten Moments.”

In 2007, Lydic became a member of the Lincoln Center Directors Lab. With several other members of the Lab, Lydic founded The Internationalists, an international directors collective. With The Internationalists, Lydic produced two 24-Hour long international theater events, as well as several other festivals. With the Internationalists, Lydic directed The Complete Life and Death of Kurt Cobain by Peca Stefan in London, Herjolfur Has Stopped Loving by Siggtrygur Magnusson, and created several original works with semi:theater, including a diptych based on the Illiad and the Odyssey - Respark/Revisit and To The Oars! as part of a year-long residency at LaGuardia Performing Arts Center. Lydic also co-directed (With Doug Howe) Dancing, Not Dead, by John Freedman, at Theaterlab.

Lydic’s set and video designs have centered around environments for dance  

In 2005, Lydic was set and props designer for Noemie LaFrance’s production of Agora, which initiated the rehabilitation of the then decrepit McCarren Park Pool.

Lydic designed Adamantine for Susan Marshall and Company, as well as several of her Frame Dances. These works were presented at Peak Performances at Montclair State University, Baryshnikov Arts Center, and the Festival of Arts and Ideas at Yale University.

With Jeanette Yew, Lydic designed video, as well as the sets for Arthur Yorinks’ The Invisible Man at The Greene Space.

As a bass-baritone, Lydic has sung everything from early to contemporary music in ensembles large and small, and as a soloist.

Lydic was a member of Meredith Monk’s Young Artist Workshop at Carnegie Hall, where he performed selections from Facing North.

For many years, Lydic was the bass section leader for Christs Church in Rye, New York, with whom he also toured and sang in many of the great cathedrals of England.

Highlights include singing Rachmaninoff’s All Night Vigil with the Dessoff Choir, and singing as an early member of C4.

Lydic has performed in several experimental music theater performances, including Nick Brooke’s “Time and Motion Study” at MASSMoCA, and Tina Goldstein’s “Cause for Alarm” at 3LD.