About

Erwin Maas is an award winning New York based theatermaker, educator and international arts advocate from the Netherlands. He has worked extensively in Australia, Europe, South Africa, South Korea and USA. In New York, he directs numerous productions Off Broadway and Off Off Broadway as well as Site Specific. Maas is the Co-founding Director of the Pan-African Creative Exchange (PACE), Artistic Associate & Director of the Fellowship Program for the International Performing Arts for Youth (IPAY), and the Programming Director for the Off Broadway Origin Theatre Company.

He is a frequently invited director, facilitator, educator and speaker for international cultural organizations, festivals, universities, congresses and think tanks including: IFACCA World Summit on Arts & Culture, Salzburg Global Seminar, Assitej World Congress, Yale School of Drama, NYU Tisch School of the Arts, Under the Radar Festival, APAP, National Arts Council of South Africa, Arts Council England, Korean Foundation for International Cultural Exchange,  Tweetakt Festival Utrecht - NL, April Festival Denmark, Univeristy of Amsterdam, WITS University Johannesburg, Carnegie Mellon University, Philadelphia Fringe Festival, Department for Cultural Affairs Los Angeles, Arts Summit of Southern Africa, DAMU Academy of Performing Arts Prague, Georgetown University's The Lab and more.

From 2016 to 2020, Maas was Artistic/Creative Director of the International Society for Performing Arts (ISPA), and from 2010 to 2014, he was the Director of Performing Arts for the Cultural Department of the Royal Netherlands Embassy & Consulates in the USA - Dutch Culture USA. He currently teaches as Adjunct Professor at CUNY Brooklyn College's MFA Performance & Interactive Media Arts Program (PIMA). Erwin is a core-member of Theater Without Borders, a member of Georgetown University's Laboratory for Global Performance & Politics and of the Netherland-America Foundation Cultural Committee. He also serves on the Artistic Advisory Board of the ISSUE Project Room in Brooklyn, the First Nation Spiderwoman Theater, and DecadesOut, an organization at the intersection of Arts, Science & Policy.

Maas was a Fulbright Scholar for his MFA in Theatre Directing at Columbia University School of the Arts in NYC. He also holds a M.A. in Drama Teaching from the Academy of Dramatic Arts Eindhoven in the Netherlands, and a M.A. in Media Arts and Production/Documentary Filmmaking from the University of Technology Sydney - Australia. 

Erwin received numerous prestigious grants and awards including the Fulbright Fellowship, Netherland-America Foundation cultural grants, Shubert Foundation, Matthews Theatre Fund Fellowship, the Consulate General of the Netherlands in New York cultural grants, VandenEnde Foundation, Columbia University Fellowship, Fund for the Performing Arts Netherlands, Dutch Film Fund, the Royal Prince Bernhard Cultural Award, NATi Fund South Africa and many more.

“Erwin Maas consistently brings his actors beyond their ordinary habits of performance, to a professional level of artistry. Though not a native of English, Erwin’s ability to perceive and communicate the rhythm, cadence, harmony, and melody of the English language in Shakespeare, Chekhov, and other classic playwrights, as well as contemporary playwrights, places him among the ablest directors of theatre. His sensitivity to the musicality of language and to the breath of his actors is a unique gift possessed by few directors. His visual imagination and his, almost, cinematic transitions on stage are absolutely eye-catching and show a theatrical innovation. I am confident that Erwin Maas will continue to have a tremendous effect as a director of theatre in America and throughout the world.” – Anne Bogart (Director)

“In his work, Erwin displays an uncommon insight that represents the best of what theatre can offer. He is a director in the grand manner. He represents the upper echelon of professional directors of theatre, and will greatly enhance our nation’s theatrical legacy.” – Robert Woodruff (Director) 

“Erwin’s vision, theatrical ingenuity and directing skills made him a thrill to work with. I knew from the beginning that he was a director different from all the others I had worked with, for his spirit and dedication, and for his unique vision and intellectual flexibility and openness: he is a theatre visionary who has the ability not only to direct some of the highest quality and some of the most innovative theatre, he is also an infectious teacher and a stellar collaborator. Erwin is an avid listener, and always hungry for new ideas. He never ceases to surprise me, by his extraordinary diligence, his commitment to his craft, and his capacity always to challenge himself as well as to encourage those around him to do the same. I strongly believe that Erwin Maas will be a real builder of bridges between theatre artists in North America and Europe. He has already established significant trans-Atlantic collaborations, and I know that he will continue actively to pursue new links and opportunities for cross-cultural work. In my career I have worked with the best and I teach among the greatest theatre artists and thinkers. I believe that Erwin Maas is one of them and he will continue to have a profound impact on the people he works with and on his audiences.” – Kélina Gotman(Dramaturge/Academic)

“Erwin is one of the most venturesome, talented and visionary directors that I have had the opportunity to work with. Among the many amazing aspects of Erwin’s work is an ability to push the boundaries of the medium, moving beyond realism, to an alternate theatrical reality that opens an audience up to new registers of meaning. The result is some of the most challenging, stimulating work that I’ve seen. Erwin has a way of getting under the skin of a particular play and presenting its underbelly, a process that is truly revelatory both in terms of capturing an author’s voice and expanding the vocabulary of theatre. He has forged a unique voice and vision that I feel is posed to transform the field and make a significant contribution to the future life of theatre.” – Brian Kulick(Director) 

“Erwin is an amazingly multi-facetted artist, whose work is always close to reality and up-to-date-discussions, it’s emotional and intelligent at the same time, it explores the boundaries of theater and looks for new expressive forms as well as it shows an extreme knowledge of traditional theater methods. He combines the theater strategies of different cultures and nations which give his productions a specific, multi-layered, strong aesthetic format. Erwin Maas’ work is bold and innovative, and absolutely rich with ideas coming from all the different cultural and educational backgrounds he experienced.” – Katja Langenbach(Director/Dramaturge) 

“When I heard that Erwin Maas single-handedly re-created the Theatre Tomato Revolt (Aktie Tomaat), which took place in the Netherlands in 1969, in his first year at Columbia University through a piece of genius direction, I was very curious to meet this young Dutch director. Maas has a profoundly positive effect on the artistic development of his actors. He not only brings foreign plays to the United States, he also introduces and supports American works and artists abroad.” – Andrei Serban (Tony Award winning Director) 

“Erwin Maas has what it takes. His ability to bring European experiences to the American stage is refreshing and captivating. Combining cultures, presenting new ideas, and finding original ways of expression are what keeps theater exciting and alive. Erwin Maas offers this. He collaborates with actors, playwrights and designers in a way they haven’t experienced working with many American directors. He excites his artistic partners by his different way of thinking and his unique teaching methods.” – Judy Kay (Tony Award winning Actor) 

“It is Maas’ ability to work among cultures and among languages that makes him especially valuable to the theater community in the United States as we seek to make our work known abroad and to enrich the arts here through contact with what is being written and produced elsewhere.” – James Leverett(Dramaturge/Academic)

“Mr. Maas is destined to become an excellent bi-cultural director at a time when international work will become increasingly important. Erwin is part of a vanguard of capable young professionals who will redefine the theatre of the future in a globally connected and increasingly interactive world. He is certain to reach across cultures in a way that will help audiences and theatre artists to develop greater sensitivity and awareness of important global issues.” – Michael Johnson-Chase (Director)

“It is because of his extensive experience in networking, teaching and international engagement in the arts, and his sensitivity to the needs of emerging practitioners that Maas has been so eagerly embraced in South Africa by both local institutions and practitioners. His extraordinary generosity of spirit makes him not just approachable but an incredible ambassador for the importance of diversity in the arts. As part of PACE, Maas worked tirelessly over the last three years to connect both students and professionals internationally with Africa in particular.” – Ricardo Peach (Artistic Director Vrystaat Arts Festival Bloemfontein South Africa) 

New York Times - Critics’ Pick!: “Fearless! Emotionally bare!”

Plays to See - * * * * * Best Bet!: "Poison has some of the best acting I’ve seen in some time! Director Erwin Maas did a phenomenal job! An operatic journey! It comes recommended!”

Huffington Post: “Splendid Performances! Provocative and Universal!”

Theatre Scene: "Finely performed, very well written and strikingly staged! Poison is a challenging and insightful exploration of the human condition that has been perfectly rendered! It’s all part of director Erwin Maas’s masterful and inventive staging!”

Volksblad: "Deeply Moving ... Masterfully Acted ... Smart Direction" 

Broadway World: “Truly Astounding! Huppuch and Laurence do a magnificent job! Absolute perfection; it is, in fact, beautiful! A truly poignant show!”

Theatre is Easy: “Huppuch and Laurence are magnetic! POISON is a play for the lover of European theater and its tradition of tackling the tough questions head-on, with no artifice or spectacle!”

Blog Critics: "This compelling play digs into the gut! Maas seems to direct with a light hand, allowing the actors to appear to truly live their story. It’s an impressive accomplishment all around!”

NRC (Dutch Newspaper): "Dutch play about reconceliation hit in New York!"

"There is something undeniably good going on in this production ... Commandments to the cast, Khemiri, director Erwin Maas, and Origin … the theatre you make is good and worth seeing" - OnStage NY

“The New York production of the Swedish drama “The Hundred We Are” stands out for its gallantry ... honorable and refreshing.” - Ben Brantley (New York Times)

""The Hundred We Are" connects to the everyman of any age-or race … Fabulously acted by Sithole, Cassidy, Chen and Cisco.” - Theatre is Easy

“Maas is very original and inventive … The Hundred We Are is intriguing and relevant.” - Plays to See

"Erwin Maas' direction is a breath of fresh air, pushing his cast to extremes and taking risk ... what he orchestrates is a funny, devastating and eye-catching portrait." - Antonio Minino (The Happiest Medium)

“Maas created a little gem!” – Tom Penketh (Backstage.com)

“A typical Dutch treat on Manhattan. Dutch director Erwin Maas presents himself in the shadow of Broadway. Americans enjoy this outstanding performance of typical Dutch snugness.” – De Volkskrant

“Great excuse to go Dutch! Juicy images, rendered with low-tech aplomb by translator-director Erwin Maas, take us on a journey in the creative and challenging narrative.” – Helen Shaw (Time Out New York)

"Under Maas' sure direction, Welcome to the Woods turns out to be very welcome indeed." - Mark Peikert (NYpress.com)

“As directed by Erwin Maas and conducted by Jorge Parodi, Handel’s baroque opera ‘Alcina’ is no childish fantasy.” – CBS New York

“Director Erwin Maas explored how close theatre can be to film. With this production, he introduced a Quentin Tarantino style to the theatre. Maas was able to bring out the best in each actor. There is a perfect use of music, space, light and projection in this fascinating, exciting and powerfully directed evening of theatre. Bravo!” – Eindhovens Dagblad

"The kind of theater that makes actors want to be actors ... With great performances, an interesting and funny script and solid direction, this show is a winner! ... Maas has done a wonderful job!" - Darron Cardosa (Theatre is easy.com)

"Erwin Maas does it again! ... It is neither expected, nor easy to say the least, but Erwin Maas (33) from Nuenen does it again: he successfully directs a typical Dutch piece for the stage in Manhattan." - Eindhovens Dagblad

“An extraordinary piece of theater! Maas achieves a visual coup.” – Andy Propst (Backstage.com)

“I’d have gladly paid for seconds. How often do you get to see such good opera in your face?” – John Yohalem (Parterre Box)

“Promising director goes America ... Maas does it well internationally! He was admitted to all of the renowned programs of these prestigious schools” – NACEE / Fulbright Magazine

“Powerful work! Director Erwin Maas created a fantastic evening. Without a doubt, Maas and the actors show that De Lindespelers are alive and kicking.” – Eindhovens Dagblad

“The design elements of the play are beautifully executed. The metaphor is apt and the stylization of Maas’ staging encourages a broad interpretation.” – Maggie Cino (NYtheatre.com - Critic’s pick of the week)

“‘Four Americans and a Dutch guy’ have rebuilt a storage room of every level into a stage, important theatre elements are simply written on the wall.” – Berliner Morgenpost

“Young director Erwin Maas inspires youth to continue in theatre.” – Eindhovens Dagblad

"You simply have to love a story that feels like a fractured fairy tale and feels like reality at the same time. Maas’ staging of Welcome to the Woods returns a genre missed from the New York scene since the finale of Anne Hamburger’s En Garde Arts in 1999: site-specific theater." - Leonard Jacobs (The Clyde Fitch Report)

American Opera Projects // Hybrid Theatre Works // The Object Group // Pocket Opera of New York // Theatre Repertory University of Technology Sydney // Vortex Theater Company // Origin Theatre Company // 7 Stages

Amanda Seymour (Costume Designer) // Andrea Gastelum (Masks & Props Designer) // Danny Mikesz (Vocal Coach - Soprano) // Derk van Heel (Lighting & Scenic Designer) // Greg Emetaz (Lighting & Video Designer) // Guy De Lancey (Scenographer) // Irina Constantine Poulos (Choreographer) // Jeanette Yew(Lighting Designer) // Jian Jung (Set Designer) // Jorge Parodi (Conductor - Music Director) // Judith Adong (Playwright) // Katja Langenbach (Theatermaker - Dramaturg) // Kélina Gotman (Dramaturg - Theater Specialist) // Kyle Ritenauer (Conductor) // Laura Jellinek (Set Designer) // Liz Prince (Costume Designer) // Lucrecia Briceno (Lighting Designer) // Marco Calvani (Playwright & Director) // Marscha de Haan (Choreographer) // Michael Haverty (Theatermaker - Puppeteer) // Mimi Lien (Set & Lighting Designer) // Nico de Rooij (Scenographer) // Nico Muhly (Composer) // Oana Botez (Costume Designer) // Paul Lomax(Photographer) // Ray Lustig (Composer) // Rosalind Morris (Librettist - Writer) // Sam Forman (Playwright) // Sam LaFrage (Sound Designer) // Saviana Stanescu (Playwright) // Scott Rozman (Career Coach & Writer) // Tim Cryan (Lighting Designer) // Yvette Christiansë (Librettist - Writer) // Zaid Jabri(Composer)

Atlantic Theater 2nd Stage // Carnegie Mellon University // Cherry Lane Theater // Columbia University SoA - Barnard College // The Connelly Theatre // CUNY Brooklyn College's Performance & Interactive Media Program (PIMA) // Fontys Academy for Dramatic Arts // HERE Arts Center // Kunsthochshule Berlin Weißensee // Manhattanville College's Theater & Dance Department // Ontological Hysteric Theater // Royal Conservatoire The Hague // Sanford Meisner Theater// de Theaterschool Amsterdam // Yale School of Drama // Vrystaat Arts Festival

Well-Lived Enterprises is an umbrella organization that aims to change, improve and help people see themselves, others and the world in a new and unique way. This collaboration between Teacher, and Theater & Opera Director Erwin Maas and Writer and Career Coach Scott Rozman, presents different means, including; books, theater productions, workshops, and more to offer participants experiences that help them see with “new eyes,” experience with heightened awareness, and grow from unique perspectives. Well-Lived Enterprises strives to help others live a more curious, creative, and rich life; a satisfying life; a full life, …a life well-lived!

Advocating and celebrating different views, curiosity, awareness, creativity and self improvement, the "Well-Lived Brand" is currently being developed and will eventually be comprised of: Well-Lived Publications, Well-Lived Productions, Well-Lived Coaching, and Well-Lived Workshops & Trainings.