Kate Pitt grew up in New York City with several fish and a funny/brilliant twin brother. She went to Yale to fence foil, found theater, and majored in history.
After graduation, Kate moved to D.C. for a months-long internship with the Folger Shakespeare Library and stayed for four years, doubling the theater’s public programming in Shakespeare’s deathaversary year.
At the Folger, she created a brewery-sponsored young patron event, wrote renaissance love letters, adapted a “serio-comic legendary fairy tale” from a 19th century Othello advertisement, and organized talks on the Institute of Heraldry, crime fiction, cocktails, and the Canterbury Tales. Other duties as assigned included run crew for Fiasco’s Two Gentlemen of Verona and listening to patrons recite Middle English over the phone.
Currently, Kate consults as a new work dramaturg, writes about opera, history, and Shakespeare, translates, and directs. She has dramaturged a prequel to Hamlet, a comic about Hamlet, but not Hamlet (yet).
Kate has developed new American operas about bees, haunted hotels, and John Singer Sargent, used her literally-sophomoric Cyrano research to contribute to a Broadway world premiere, and once reblocked The Three Musketeers with two musketeers on an hour’s notice. Other niche flexes include the ire of anti-Stratfordians, and a Lin retweet.
