Linnea Bond is a performance artist, actor, writer, director, and teacher who produces work with intentional social momentum. 

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With degrees in Sociology, Acting, and Devising, her work explores apocalypse on a global, communal, and individual scale. She has employed audience participation, traditional storytelling, clown, essay, audio, and site specificity to probe these themes and frequently makes work through engagement with community partners to explore themes relevant to that partner.

 

As a solo artist, she created BFF, a one woman play about a millennial woman and her mannequin best friend traversing post-apocalyptic America. She has also created a collection of works exploring memory loss: an essay performance drawing lines between herself and her grandmother with dementia, an audience participatory piece about creating theatre in a memory-less dystopian future, and another audience participatory piece about a woman with memory loss and a mysterious hospital visitor. During the pandemic, she premiered a "live movie" in her apartment, where a single audience member designed their own experience watching the fallout of a life-changing phone call (News). Ongoing projects include turning her 300-mile walk from Lexington, Virginia, to Philadelphia into a full length solo show in partnership with First Person Arts' RAW Festival; continuing to develop her two-audience member ambulatory audio adventure New World Rising! about climate change, personal choice, and eco-terrorism; and a future multi-location play using spaces around Philadelphia that invoke previous decades to tell stories about the city’s history.

 

Collaborations form the other half of Linnea’s devising practice, sometimes as a fellow lead artist and other times as a contributing ensemble member for other artists’ projects. Currently, she is collaborating with Lupine Performance Cooperative on Brian’s House, a piece exploring cults and power; with Sohrab Haghverdi on SexPlay, which received a digital premiere and anticipates a reworking for a live performance; and with Blake Edwards on script development of his one-woman show about objectification in a codependent relationship through the lens of a nude figure study model. She has also worked collaboratively with Renegade Theatre Company in partnership with the Andrew Wyeth Museum (N.C. Wyeth's Dream) and with Theatre OBLIvION on their verbatim piece exploring the heroin crisis (Siren Songs). With her graduate cohort of Acting/Devising MFAs at Ohio State University, she created a play exploring reintegration challenges and the civilian-military divide in partnership with veterans and their caretakers (Beyond All Recognition).

 

In addition to her devising work and stage acting, she has also worked as a director, dramaturg, and playwright, and as an actor in Todd Haynes’ most recent films, Carol and Dark Waters. She has taught elementary through adult students, including three years of collegiate teaching coursework at Ohio State. She also founded and produced a playreading company, Queen City Queer Theatre Collective, which celebrated LGBTQIA stories in Cincinnati through generous support from a two-year monthly Absolut Vodka grant. In addition to her graduate research, she draws on extensive acting and movement training with such companies as SITI, Pig Iron, the RSC, American Conservatory Theatre, Double Edge, and Frantic Assembly.

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Linnea uses mixed pronouns (she/he/they).