Sabrina Peck conceives, directs and choreographs original theater works infused with movement and music. She often travels to diverse communities to collaborate with professionals and local residents on visually stunning productions that reflect the history and lifeblood of those people and places. Productions include Common Green/Common Ground, with community gardeners from Brooklyn, East Village, Harlem and the South Bronx (developed as Visiting Artist at NYU Tisch School of the Arts); Speaking our Streets, with former tobacco workers and residents of the West End in Durham, North Carolina; Commodities, with commodities pit traders on Wall Street; Odakle Ste with Bosnian Muslim refugees in Croatia; Waiting, with former Bosnian refugees at Wave Hill Gardens in New York; and To the River, with 40 children from Hell's Kitchen.

As a director, Peck most often collaborates with living playwrights. She brings to the play development process a keen sense of narrative rhythm and shape; an instinct for telling a story with economy and originality; and a formidable command of lighting, sound, movement and other elements of heightened theatricality. Most recently, Peck and playwright Chiori Miyagawa conceived and developed The Antigone Project, a reimagining of the Sophocles by five contemporary women playwrights including Lynn Nottage, Karen Hartman and Caridad Svich. Peck directed the developmental readings of the pieces at The Public Theater, Second Stage, Classic Stage Company and The Vineyard Theater. The Women's Project presented the final production. Peck has also directed Dawn Saito's Blood Cherries at Dance Theater Workshop in NYC (with Jonathan Rosenberg); Stephanie Fleischmann's Blue Hyacinths for the Dawn Powell Festival in NYC and Eloise and Ray for HBO's Stage to Screen Series; Lenora Champagne's Wants at the Ohio Theatre; and Amy Brenneman's Interstates at the So Grand Theater. At New Dramatists in NYC, she developed with Todd London The Trials of Monica Lewinsky, based on the verbatim Grand Jury Testimony (later presented at HBO's U.S. Comedy Arts Festival in Aspen). For New Dramatists she also served as resident director, staging a reading of Chimps, a new play by British playwright Simon Block, among other projects. Passionate about music, Peck has also directed staged readings of several original chamber operas, including composer Philip Johnston and Fleischmann's The Hotel Carter at Mabou Mines, and composer Miki Navazio and Fleischmann's Far Sea Pharisee at the Public Theater. She is a member of both the Society of Stage Directors and Choreographers and the Lincoln Center Theater Director's Lab.

Peck is equally at home staging large-scale musicals as she is designing original movement for classic plays. In both cases, her choreography is inventive, dynamic, and always concerned with furthering the story or revealing the essence of a character. Most recently she choreographed The Clean House at Lincoln Center Theater, written by Macarthur-winning playwright Sarah Ruhl and a finalist for the Pulitzer Prize. At Yale Repertory Theatre she choreographed Medea/Macbeth/Cinderella--an interweaving of the two classic plays and the Rodgers and Hammerstein musical (recipient of two Ovation Awards in LA). Other musicals include Eleanor: An American Love Story (Ford's Theatre, Washington, D.C.); Heart Land (Goodspeed Opera House at Chester); The Good Person of New Haven (Long Wharf Theater); Kudzu (Ford's Theatre); and A Community Carol (Arena Stage). Plays with movement include Henry VIII (New York Shakespeare Festival); Richard II and Richard III (Theater for a New Audience). Choreography for film/TV includes Anita Liberty for Bravo, and Everybody Over Here for Nickelodeon. Large-scale extravaganzas include Harvard's 350th Anniversary Stadium Spectacular.

For Cornerstone Theater Company, she has choreographed many inventive music-theater adaptations of classic plays, including The Videostore Owner's Significant Other, an adaptation of Lorca's The Shoemaker's Prodigious Wife in D.C. (recipient of a Helen Hayes award) and The Maske Family Musical. She has also choreographed many of Cornerstone's epic community collaborations, including The House on Walker River, an adaptation of the Oresteia on the Walker River Pauite Indian Reservation in Nevada; Too (2) Noble Brothers, an adaptation of Shakespeare's Two Noble Kinsmen with high school students on the Lower East Side (sponsored by the New York Shakespeare Festival); and The Winter's Tale: An Interstate Adventure, a nationally-touring adaptation of Shakespeare's The Winter's Tale with 50 Americans ages 7-77 (the subject of the documentary Cornerstone on HBO Signature). Currently an Associate Artist with the company, she recently taught at the Cornerstone Institute, a training program for community-based theater artists.

Peck has taught courses and/or created original productions as Visiting Artist at several universities, including NYU Tisch School of the Arts, Duke University and Harvard University. Her course in community-based performance teaches college students the history of community-based theater and brings them into neighboring communities to collaborate with local residents on original productions. This experience educates college students about the neighborhoods that exist just outside the ivy walls, and builds mutual understanding between economically and ethnically diverse populations. In this way, students not only learn how to make good theater, they become better prepared for a future of civic engagement.

Peck has also coached acting students in movement and choreography at the Yale School of Drama (while choreographing Medea/Macbeth/Cinderella), the Juilliard School (while choreographing The Time of Your Life and Native Speech), and the American Repertory Theater Institute (while choreographing The lady from Maxim's). She's worked extensively with young people, and she is the creator of the award-winning CityStep teaching and performance program in Cambridge, MA public elementary schools. See peck's work with young artists.

Peck received her B.A. in Social Studies from Harvard University, where she wrote her honors thesis on the Breton separatist movement in France and received a David McCord Prize for Outstanding Achievement in the Arts. She has a Movement Specialist Certificate from the New School and studied extensively at the Laban/Bartenieff Institute of Movement Studies. Her early training includes classical piano, ballet and Graham technique, and a year as Twyla Tharp's assistant.