Joule Voelz is a writer, filmmaker, and stage director based in Los Angeles. As an undergraduate at Harvard, she concentrated in History and studied film production with award-winning Canadian filmmaker Guy Maddin in the Department of Visual and Environmental Studies. She recently stage directed Harvard College Opera's 25th Anniversary Production of Mozart's Le Nozze di Figaro. In her free time, Joule enjoys Mozart, crosswords, amateur detective work, and playing her viola.
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"This concept of timelessness was realized in Stage Director Joule Voelz’s decision to dress her characters in costumes from many different time periods, the effect of which this reviewer was skeptical upon reading in the program, but was convinced upon seeing the harmonious flow of fashions throughout the plot. That this idea to make an “anti-period piece” (Voelz’s own description) owes much to our modern hyper-meta entertainment tastes, shows how borrowing from our time is a way to express all time in a story from old times. ... Keeping in mind the fact that [Harvard College Opera] exists as a completely undergraduate organization, from pit to singers to crew, the production constituted a monumental undertaking and a solid success." (Patrick Valentino, Boston Musical Intelligencer)
"With the leadership of Musical Director Sasha Scolnik-Brower and Stage Director Joule Voelz, HCO pulled off an impressive operatic feat. The quality of vocal and orchestral talent was superb, creating a sense in the theater that the audience felt transported to another world." (Libby Langsner, Tufts Daily)
"I usually start thinking about films from images, so I was intrigued by a movie about someone who’s working in some sort of bureaucracy that’s never explained, but this person has their own agenda. From there I imagined what kind of characters I might find there, what they might do." (Interview by Vincent Lan, Harvard Crimson)
"The second half of the demimonde program was a truly special treat – both an excerpt of Act I and a full Act IV of Leoncavallo’s unfairly overlooked La bohème, which has always been overshadowed by the more commercially successful Puccini treatment of Henri Murger’s same tales of the Latin Quarter. Nicely handled by director Joule Voelz, the troupe of young Parisian free-lovers provided both a festive and freewheeling Christmas Eve dinner scene, and a truly moving finale in that cold artists’ garret." (Charles Geyer, MyScena)