Paul (he, him) is a Richmond, VA based director and most recently directed for Mo Willems and Deborah Wicks La Puma’s Don’t Let The Pigeon Drive The Bus! for Virginia Repertory Theatre. He was the founding Artistic Director of The Shop in New York City, where he directed the New York premieres of David Harrower's Knives in Hens for The Shop at 59E59 Theaters and Philip Ridley's Dark Vanilla Jungle at HERE Arts Center. Other credits for The Shop include the U.S. premieres of Nobel laureate, Jon Fosse's I Am The Wind translated by Simon Stephens and Philip Ridley's Tender Napalm, both at 59E59 Theaters. Other work: Roald Dahl’s Charlie & the Chocolate Factory and Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery for Virginia Repertory Theatre in Richmond, VA; Marymount Manhattan College’s Department of Theatre Arts’ production of Caryl Churchill’s Love and Information, as well as the virtual production of Branden Jacobs-Jenkins’ Everybody; The world premiere of David Pinski's Yiddish play Professor Brenner and the premiere of a new translation of Peretz Hirshbein's Yiddish play Carcass both for the New Worlds Theatre Project at HERE Arts Center. He has also directed productions for the Stella Adler Studio, and The New School for Drama. He holds a BA in Drama from St. Mary's College of Maryland and an MFA in Directing from The New School for Drama. He has taught Acting in the NYU/Tisch undergraduate program at the Stella Adler Studio, Acting & Directing in the Department of Theatre Arts at Marymount Manhattan College, and was an Associate Professor of Acting & Directing at Long Island University where he also served as Interim Dean for the College of Arts & Design. Paul is currently Head of Upper School Theatre at St. Christopher’s School in Richmond, VA and Artistic Director of Ampersand, the joint theatre company of St. Christopher’s and St. Catherine’s Schools.

“Plays should be experienced, not just intellectually, but actively and tangibly. As a director I have always sought to break down the experiential gulf between a work of art and its spectators. If an audience is going to occupy the same atmosphere as the performers of a given production- effectively breathing the same air- then why not make every effort to transform them from passive observers into "fellow travelers"? I’m interested in creating work that hones in on the heart of a play and strips away the trappings of superfluous artifice in order to place the characters and their respective journeys at the forefront of an audience’s consciousness in as unvarnished and intimate a manner possible. Empathy should be the goal. The audience should feel for and with the characters that stand before them and as a result undergo a visceral experience, so fundamentally powerful, as to unlock their hearts and minds.”