Performance Artist


I've conquered giants with preschoolers and made scandalous films with 80-year-olds. I made theater in remote Australian deserts with Aboriginal communities and sent disposable cameras across a landscape the size of Great Britain. I spent years in a run-down Brisbane glass factory studying Japanese performance systems, and performed in a legendary Samurai town tucked away in the hills west of Tokyo. I've told the Orestia to seven-year old's in South Brooklyn and watched in amazement as they debated women's rights, revenge and trial by jury. I've collaborated with Tuberculosis scientists, mentored performers, danced with people experiencing Cerebral Palsy and taught drama in some of the toughest schools in New York City. 

 My (near-on) 20 years in performance work is underpinned by the belief that by taking risks with creativity, we break invisible barriers and become more connected to our inner self, those around us and our communities.


Deeply rooted in the performing, literary and visual arts, my work moves beyond the traditional silos of how art is created, engaged with, utilized and funded. I am interested in the ways creative processes and outputs can connect with non-arts industries, sharing skills and processes across sectors.


Originally from Australia and now living in New York, I have predominantly worked within education and community development. Creatively, my performance forms include text based plays, experimental performance, dance theatre, devised performance and film.

I have worked internationally with OzFrank (Australia), the Lotos Collective (London), Suzuki’s Toga Summer Festival (Japan) and Witness Relocation (New York City), and since 2007 I have trained in the psycho-physical performer training called Nobbs Suzuki Praxis (NSP), an adaptation of the Suzuki Method of Actor Training (SMAT).

I have researched arts education, arts and community cultural development and culture shock and have presented at 'Zone 126 GradNation: Strengthening Families, Transforming Communities', at the ‘Cultural Diplomacy in the United Nations Symposium,’ and 'Creative Communities Conference: Risks and Possibilities' at the Griffith Centre for Cultural Research and in ‘Drama Australia: NJ’.  I have a BA in Applied Theater (First-Class Hons) and a MBA in Innovation and Leadership.


Partnerships include:

Educational Theatre Association 

Australian Women in New York

The Australian Consulate, NY

Catholic Charities Family Stabilization, Queens North Community Center

Ligo Project

Witness Relocation

Miho Suzuki

Mor Mendal


Community Word project

Wingspan Arts

Metro Arts

Oz Frank

The Song Room

Access Arts

Barkly Regional Arts

Tony Busch

Theatre Guide, Australia

Kate Lee silences the room with a stare, her piercing blue eyes fixing the audience and holding them so strongly it takes what seems like minutes before your attention is willed further upstage by Tom McCosker. So begins an amazing performance.

David King, Community Word Project, NYC Kate is a true professional. She is reliable and talented in developing and implementing quality curriculum for various age groups. Her determination is admirable. She handles challenges with grace and is responsive to feedback. Kate also develops a true rapport with the youth and communities she serves

Sharon Jasprizza

Manhattan Mid-town Community Council

Kate continues to amaze me with her versatile, creative and adaptive processes to get the job done. The particular energy Kate brings to a project and it's outcome is one that makes self belief and empowerment linger long after her work.


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