Ensemble rehearsal

Theatre Director · Actor · Educator

Rob
Adler

Chicago-Based Theatre Director

I direct new work, classics, devised performance, and musical theatre. My rehearsal rooms combine close script work with physical composition, improvisation, and theatre games—concrete tools that help actors take risks, solve problems, and live fully in the moment.

Great Acting Looks Improvised

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The Work

Selected Directing

GANGSTERS! — DePaul University
2026 · DePaul University · Chicago

GANGSTERS!

by Zach Helm

Challenge
Stage the political force and theatrical scale of Zach Helm’s play without losing the individual people inside the machinery.
Process
Text analysis, status, physical rhythm, and structured improvisation gave every actor clear actions and a distinct life inside a large, fast-moving cast.
Result
A bold, politically charged production that used the power of the whole company and an openly theatrical style rather than pretending the world was realistic.
Clybourne Park staged reading — Interact Theatre Company / LAPL. Amy Pietz and Erròn Jay.
2026 · 2025 · 2024 — Interact Theatre Company / Los Angeles Public Library

Interact / LAPL Series

Fully staged reading series

Challenge
Create complete theatrical events with professional casts in compressed rehearsal conditions, across a range of texts and styles.
Process
Fast, precise, text-driven direction. Clybourne Park (Bruce Norris), Wit (Margaret Edson), Waiting for Lefty (Clifford Odets), The Humans (Stephen Karam).
Result
Clear storytelling in library venues—built through immediate actor trust, precise choices, and fast, practical problem-solving.
Birthday Candles — DePaul University, production photo
2025 · DePaul University · Chicago

Birthday Candles

by Noah Haidle

Challenge
Create a century of lived experience — from age 17 to 107 — without realistic scenery or literal props.
Process
Spolin space work and close attention to one another. The actors built every object—the cake, the bowls, the kitchen itself—through weight, memory, relationship, and use.
Result
Audience members interviewed six months later described marbled countertops, flower measuring cups, a piano on stage left — a fully realized world built entirely from space and collective belief.
Goosebumps the Musical: Phantom of the Auditorium — Chicago Playworks, DePaul University, 2022
2022 · Chicago Playworks · The Theatre School, DePaul University

Goosebumps the Musical

by John Maclay & Danny Abosch

Process
Built the school-company world through ensemble rhythm, physical composition, status, and precise transitions — in close collaboration with music direction, movement, projections, and the design team.
Result
A visually expansive Chicago Playworks production at the Merle Reskin Theatre.
View production gallery ↗
Bad Hamlet — Coin & Ghost Theatre Company
2019 · Coin & Ghost Theatre Company · Los Angeles

Bad Hamlet

from Shakespeare's First Quarto

Challenge
Make Shakespeare function as live material rather than inherited authority — finding genuine argument, interruption, and language-making inside the text.
Process
Built from the First Quarto using Spolin's Contrapuntal Argument to drive script development. Actors interrupted, argued, and rebuilt language in the room.
Result
"Uniquely entertaining…innovative in a few different ways." — LA Weekly. "Shakespeare for a new generation." — Accessibly Live Off-Line.
Patriot Act — Bootleg Theatre, Los Angeles
2011 · Bootleg Theatre · Los Angeles · With Roger Guenveur Smith

Patriot Act

Original devised work

Challenge
Build a theatrical event before a conventional script existed, using the room, the political moment, and Roger Guenveur Smith’s powers as a performer.
Process
Weeks of meetings in an empty theatre. A chalk Constitution on the stage floor. Surveillance cameras, hidden windows onto the city, fireworks on the Fourth of July, live music, dancers, a DJ. The piece took shape through conversation, research, and what we discovered in the space.
Result
A political event that could only have happened in that theatre, at that moment. The performers, music, images, city, and audience made the world together.
Watch documentation ↗
Loop — DePaul University
The Covid List Project — DePaul University
Teaching at The Theatre School, DePaul University
Exagoge — Theatre Dybbuk (Dir. Aaron Henne)
Rehearsal Practice

What I Bring to the Room

Tools for the Rehearsal Room
I use theatre games to get actors out of explanation and into playable action. When a relationship, rhythm, or moment is stuck, a game gives attention something concrete to do—then gets out of the actor’s way.
Text Through Action
I track action, relationship, rhythm, status, language, and the practical consequences of textual choices. My background as an actor means I understand what an actor needs to hear—and what gets in the way.
The Room
Actors do their best work when they feel safe enough to take risks and responsible enough to the play to make specific choices. I work to create that room—generous, demanding, and alive.
How I Collaborate
I arrive prepared, stay curious, listen before I intervene, and offer tools instead of rules. Timing matters: the right note at the wrong moment is not useful.

Games are not warm-ups. They give actors something concrete to do, make risk playable, and turn analysis into action. Rehearsal is where we prepare deeply enough to be surprised.

01
Come Prepared. Stay Surprised.
I do my homework, but I do not arrive with a finished production for actors to execute. The room has to be able to discover something none of us knew in advance.
02
Games Make Problems Playable
A good game turns a vague note into something an actor can actually do. Attention shifts out of self-consciousness and into the scene.
03
Research Feeds the Play
Research gives us facts, images, objects, and provocations. We put them on their feet and find out what they can do.
04
Actors Make the Work
Actors need room to invent and a clear problem to solve. Precision and risk are not opposites; the more concrete the task, the more freely the actor can play.
Press & Recognition

What Critics Say

"

Uniquely entertaining…innovative in a few different ways.

LA Weekly · Bad Hamlet, Coin & Ghost

"

Shakespeare for a new generation.

Accessibly Live Off-Line · Bad Hamlet, Coin & Ghost

"

As a company, Coin & Ghost clearly has talent and ambition.

Stage Raw · Bad Hamlet, Coin & Ghost

"

Rob Adler is possibly the best improvisation acting teacher in the United States.

Aaron Speiser · Acting Coach to Will Smith, Jennifer Lopez, Gerard Butler

Published Work

Writing on Directing

Two peer-reviewed publications that begin with what happened in rehearsal, follow the question, and bring the argument back to the work.

Theatre Topics Volume 35 Number 3 November 2025 — journal cover
Theatre Topics · Vol. 35 No. 3 · November 2025 · pp. 263–275

Beyond the Script: Harnessing the Power of Play in Clybourne Park

Notes From the Field. A director's account of how three Viola Spolin theatre games — Kitty Wants a Corner, Where Exercise with Floorplans, and Contrapuntal Argument — transformed a constrained staged reading into a dynamic theatrical event with professional Los Angeles actors. One audience member remarked they forgot the actors were holding scripts because their physical engagement with the space and each other was so compelling.

Read via DOI ↗ Project MUSE ↗
Theatre Journal · Vol. 77 No. 3 · September 2025

The Alchemy of Space: Viola Spolin & the Conjuring of the Invisible

Video essay published as an online-only feature. Argues for Spolin's space work as theatrical invocation rather than illustration — placing invisible space within a broader tradition of materialist performance theory.

View at Theatre Journal ↗
About
Rob Adler

Rob Adler

Rob Adler is a Chicago-based theatre director, actor, and educator. He directs new work, classics, devised performance, and musical theatre. He brings close script analysis, physical composition, improvisation, and Viola Spolin’s theatre games into the room—not as a fixed system, but as tools actors and ensembles can use to make the work more alive.

He has worked with Coin & Ghost Theatre Company, Theatre Dybbuk, Interact Theatre Company, the Los Angeles Public Library, and the Bootleg Theater, and has collaborated with Roger Guenveur Smith. He is an ensemble member of Interact Theatre Company and the founder of AdlerImprov.

Rob joined the faculty of The Theatre School at DePaul University in 2017 and served as Co-Head of BFA Acting from 2023–2026. He holds the 2021 Excellence in Teaching Award, the 2024–25 Wicklander Fellowship for Professional Ethics, and a 2022 University Research Council Grant.

20+
Productions
Since 2017
DePaul Faculty
3
University Honors
4
Directed Films
Formation

Training & Influences

Degrees & Certificates
  • BFA Acting — The Theatre School, DePaul University
  • Certificate in Film Directing — UCLA Extension
  • Certificate in Sketch — The Second City Conservatory
  • Certificate in Shakespeare — British American Drama Academy (BADA)
Influences & Additional Training
  • Viola Spolin Theatre Games
  • Complicité
  • SITI Company
  • Second City
  • Moment Work
  • The Actors' Gang
  • Joyce Piven
Screen Work

Film Direction

You Too?
>
2025
"The Alchemy of Space" — Viola Spolin & the Conjuring of the Invisible · Theatre Journal, Johns Hopkins UP
2018–19
"You Too?" — Official Selection: Pasadena IFF, Chicago REEL Shorts; Best Film Finalist, Collected Voices
2016
"Fat Lamb" — starring Mike Stutz
2012
"iVote" — starring Eric Roberts, Dan Lauria & Sharon Lawrence · Bahamas IFF; Finalist, Best Short Film
Full Record

Credits & Record

Theatre — Director
2026
GANGSTERS! by Zach Helm — DePaul University
2026
The Humans by Stephen Karam — Interact Theatre / LAPL (fully staged reading)
2026
Waiting for Lefty by Clifford Odets — Interact Theatre / LAPL (fully staged reading)
2025
Birthday Candles by Noah Haidle — DePaul University
2025
Wit by Margaret Edson — Interact Theatre / LAPL (fully staged reading)
2024
Clybourne Park by Bruce Norris — Interact Theatre / LAPL (fully staged reading)
2022
Goosebumps the Musical by John Maclay & Danny Abosch — Chicago Playworks, DePaul University
2022
I'm Not Rappaport by Herb Gardner — Interact Theatre via BroadwayWorld
2021
The Covid List Project — Devised by the ensemble, DePaul University
2021
I'm Pretty Fucked Up by Ariel Stess — DePaul University
2020
Loop by Kevin Coval / devised adaptation — DePaul University
2020
Talley's Folly by Lanford Wilson — Interact Theatre / LAPL
2019
Bad Hamlet — Coin & Ghost Theatre Company, Los Angeles
2019
The Fantasticks by Tom Jones & Harvey Schmidt — DePaul University
2016
The Diary Project — Devised from Anne Frank's diary, USC
2011
Patriot Act — Bootleg Theatre, Los Angeles · With Roger Guenveur Smith
2008
Moby Dick Rehearsed by Orson Welles — Bootleg Theater, Los Angeles
2008
Rise Up & Shout — Will Geer Theatricum Botanicum, Topanga, CA
2003
ZHX Soundscape — WNEP Chicago Improv Festival · Top Ten Plays of 2003
Devised Work, New-Work Development & Artistic Collaboration
2020–21
Loop and The Covid List Project — Devised with DePaul ensembles
2011
Patriot Act — Bootleg Theatre · With Roger Guenveur Smith
2016–22
Exagoge — Theatre Dybbuk, Fowler Museum · Dir. Aaron Henne · Devising collaboration and performance
Academic Positions
2023–26
Co-Head BFA Acting — The Theatre School, DePaul University
2017–
Assistant Professor — The Theatre School, DePaul University
2014–17
Full-Time Lecturer — School of Dramatic Arts & School of Cinematic Arts, University of Southern California
2002–
Artistic Director — AdlerImprov Studio, Los Angeles · adlerimprov.com
Publications
2025
Beyond the Script: Harnessing the Power of Play in Clybourne Park — Theatre Topics Journal, Notes From the Field · Johns Hopkins University Press
2025
Playing Therapist: Improvisation in Occupational Therapy — Book Chapter, Using Applied Drama in Nursing and Healthcare Education
2014–17
Backstage Expert Columnist — Backstage Magazine
Download Directing Résumé
Contact

Let's build something
extraordinary together.

Available for directing projects, commissions, university workshops, and collaborations. Based in Chicago.

InstitutionThe Theatre School, DePaul University
RésuméDownload PDF