Creative Discipline with Director DANIEL BOISROND

Daniel Headshot

My creative discipline series continues with Daniel Boisrond. He is a New York based director whose work can be seen at The National Black Theatre this season. In our interview we discuss storytelling that broadens perspectives, using technology to push boundaries in the theater, and the importance of completing a project regardless of its success.

TS In a recent article I define Creative Discipline as the ability to complete a single project from idea to creation to development to production. However, it may also be defined as one’s creative practice e.g. cinematographer, dancer, or sculptor. How would you describe your creative discipline? 


“My interest as a director is deeply rooted in the desire to tell stories that provoke thought, spark dialogue, and foster empathy among diverse audiences. “ 

TS What determines your interest as a multi-hyphenated creative? 

DB My interest as a director is deeply rooted in the desire to tell stories that provoke thought, spark dialogue, and foster empathy among diverse audiences. I'm drawn to projects that challenge traditional forms of theater and introduce innovative uses of technology, immersive narratives, and underrepresented stories, especially those that shine a light on the experiences of marginalized communities.

TS What are three things you cannot create without? And why? 

DB a) Collaborative Community: The creative energy and diverse perspectives of a collaborative team are essential. Each member brings unique insights that enriches the storytelling process. b) Cultural Narratives: The stories of resilience, hope, and struggle from various cultures, especially my own Haitian immigrant background, provide a rich source of material that informs my work. c) Innovative Technology: Technology enables me to push the boundaries of traditional theater, creating immersive and interactive experiences that engage a modern audience in ways previously unimaginable.

TS Walk me through your creative process? How do you create? Can you identify a routine? 

DB My creative process begins with a spark of inspiration, often from a personal experience or a powerful story that needs to be told. From there, I immerse myself in research to fully understand the context and nuances of the narrative. Sketching initial ideas evolves into drafting and revising scripts, often in collaboration with a team whose feedback is invaluable. Rehearsals are a dynamic space for experimentation, allowing us to refine and adjust the production. My routine involves continuous reflection and adaptation, ensuring the final piece resonates deeply with audiences.

TS Where does your inspiration come from? 

DB Inspiration comes from a myriad of sources—everyday life, the resilience and stories of immigrant communities, historical events, and the transformative power of cultural identity. Art, music, and literature also provide endless wells of creativity.

TS For whom do you create? 

DB I create for audiences seeking stories that reflect their experiences and challenges, for those yearning for representation, and for anyone eager to engage with theater that challenges norms and broadens perspectives.

TS When do you know it’s time to abandon a project?

DB Knowing when to abandon a project comes from recognizing when the story no longer resonates or the creative process has ceased to be productive. However, I'm open to revisiting abandoned projects if new inspiration or perspectives emerge that can rejuvenate them.

TS At what stage in your creative process do you invite collaborators? 

DB Collaborators are invited early in the process, often during the initial conceptual stages. Their insights and creative input are crucial for shaping the direction and depth of the project.

“The completion of a project, regardless of its success, is a testament to the dedication and hard work invested.”

TS How important is it for you to finish a project from start to finish?

DB Completing a project from start to finish is crucial for me. It's a journey of bringing an idea to life, learning, and growing along the way. The completion of a project, regardless of its success, is a testament to the dedication and hard work invested.

TS What creative obstacles do you face? Personal or professional. 

DB Both personal and professional obstacles arise, from finding the right balance between innovative storytelling and audience engagement - to managing the logistical challenges of bringing a vision to life within budget and time constraints.

TS What tips do you have for creatives who may be facing their own creative challenges?

DB a) Embrace collaboration; it can transform your work in unexpected ways. b) Remain open to feedback but true to your vision. c) Allow yourself to step back and take breaks; fresh eyes can bring new insights.

TS What projects are you currently working on and where can our readers follow and find your work? And/or What projects are you excited about?

DB Readers could follow my work @

And below is a link to my most recent project.


Daniel Boisrond (Director) is a multifaceted artist whose vision transcends mediums. He wears multiple hats with finesse - an actor, director, brand strategist and an entrepreneur as the founder (ceo) of 3:5Creative[s], a creative agency. With a BFA from the University of North Carolina School of the Art and with a decade-spanning career in the industry he has worked on projects such as MTV's "Eye Candy" (Ethan), Quicken Loans Rocket Mortgage Super Bowl Commercial featuring Michael Keegan-Key, idigress (Caleb) and Skeleton Crew (Dez) at Premiere Stages at Kean University. Directing credits include ShopTalk (ArtYard), Roots (Dixon Place & La MAMA), For Colored Girls..(Breakthrough Theater of Winter Park). Recent directorial projects include: Packages O’ the Things We Deliver at the National Black Theater. 


Headshot of TyLie Shider
TyLie Shider

“I consider myself an investigative-playwright with a background in journalism. This is an exciting opportunity for me to marry my degrees in media and theatre as I continue to develop plays and make a holistic contribution to the American theatre.”