Santiago Manuel Sosa moved to the United States from Guayaquil, Ecuador after graduating high school. He earned his BFA from Texas State University and his MFA from the University of Wisconsin. He has worked at New York Theatre Company, American Players Theatre, Oregon Shakespeare Festival, Great River Shakespeare Festival, Alabama Shakespeare Festival, Writers Theatre, Illinois Shakespeare Festival, Pennsylvania Shakespeare Festival, Island Shakespeare Festival, Muse of Fire Shakespeare at Sloss, Door Shakespeare, Forward Theatre Co., Definition Theatre Company, Athenaeum Center for Cultural Arts - Chicago, Tennessee Performing Arts Center, Nashville Children’s Theater, Studio Tenn, Shakespeare Rep, and From the Branch—where he served as Artistic Director for six years, directing more than fifteen productions that toured to over fifty cities across the United States.
After graduate school, Santiago moved to Chicago, working in theatre, commercials, voice-over, and print while training in comedy at iO Theater. From Chicago he relocated to Nashville, where he spent four years as an Artistic Associate with the Nashville Shakespeare Festival. During his time at NSF he worked as an actor, director, fight choreographer, costume designer, voice and text coach, and the Apprentice Company Director. Alongside his work at the festival, he served as an adjunct professor, teaching Shakespeare, Period Styles, Voice and Diction, Advanced Voice, Stage Combat, Beginning Acting, Technical Theatre for Directors, Intro to Theatre, Power Plays - Shakespeare and Business, Children’s Theatre, and Theatre Appreciation at Vanderbilt University, Middle Tennessee State University, Lipscomb University, and Belmont University. He was the Fred Coe Artist-in-Residence at Vanderbilt twice (2016 and 2019), teaching Shakespeare and directing A Shayna Maidel in 2016 and Twelfth Night in 2019.
Since 2016, Santiago has focused much of his energy on directing after an eight-year break from the director’s chair. In the fall of 2019, he moved from Nashville to Lawrence, Kansas to work as a Visiting Assistant Professor of Voice and Movement at the University of Kansas. In 2021 he wrote, adapted, and devised Musings of Fire, a multimedia, COVID-safe co-production for KU and Island Shakespeare Festival. Later that fall, he accepted a new appointment at the University of Alabama at Birmingham as Assistant Professor and Head of Performance, where he teaches Shakespeare, Voice, Movement, Dialects and Accent Acquisition, and Stage Combat.
Santiago is the recipient of the Horton Foote Scholarship for Playwriting, the Robert Yeager Award for Directing, the First Night Award for Outstanding Costume Design (Julius Caesar), and the Advanced Opportunity Fellowship for Acting. He is also certified in multiple weapons by the Society of American Fight Directors and Dueling Arts International.
Creative Philosophy
As a director, dialect designer, and text coach, I approach stories through honesty and personal connection. When I begin a production, I hold Miguel Ruiz’s The Four Agreements close, along with a commitment to collaboration, creativity, and bold choices. I value transparency, hard work, and discipline, and I try to lead with kindness and generosity. My aim is to make every show a living, breathing piece of art; one that keeps the script, the ensemble, and the collective imagination at the center of the process.
With Shakespeare, language becomes even more essential. I love encouraging actors to speak because they must, not because they feel they should; to communicate truths and needs simply and clearly, while staying meaningful, definite, and dynamic.
I believe in helping actors find their own voice and individuality, and in exploring how we can bring a story to life, together. I’m committed to a healthy, holistic approach to every aspect of theater-making.
I’ve grown as a storyteller by making the work about the play itself and trusting the people who bring it into being. I love the process. I love shaping stories with a deep belief that excellence lives in the nuance of the narrative and its players, and that kindness and courage are essential to the work.