Sarah Edgar specializes in eighteenth century stage performance. She is the stage director/choreographer of the Haymarket Opera Company in Chicago and an associate director of the New York Baroque Dance Company. Her 2013 directing debut with the Haymarket Opera Company, Telemann’s Pimpinone, was hailed by Newcity as one of the five best operas in Chicago.  As a dancer with the New York Baroque Dance Company, she has performed at Drottningholm Theater in Sweden, the International Händelfestspiele Göttingen, Danspace at St. Mark’s Theater, the Guggenheim Museum, and the Potsdam Sanssouci Music Festival. From 2006-2012, she lived in Cologne, Germany and toured Europe as a freelance dancer, performing in Italy, Germany, Belgium, Switzerland, and France.

She has taught master classes in baroque dance at numerous universities in the United States and in Germany, and has given several lectures at symposia for eighteenth century performance. She has been an adjunct professor at DePaul University (2018), Wheaton College (2018, 2016), and Northwestern University (2014).

She holds a BFA summa cum laude in dance performance from The Ohio State University, and an MA in Tanzwissenschaft from the Hochschule für Musik und Tanz Köln.

This season she will be directing Handel's Serse and reviving Telemann's Pimpinone for Haymarket Opera Company, directing Monteverdi's Orfeo at Wheaton College, directing Handel’s Alcina for Chicago Vocal Arts Consortium, choreographing Fairy Queen for the Haymarket Summer Opera Course, and reviving her original ballet masque An American at Versailles for Alchymy Viols at the Madison Early Music Festival. She is also performing the Passacaglia of Venus & Adonis at the first Bay Area Early Dance Festival.


My stage direction of seventeenth and eighteenth century opera is marked by my love of storytelling and my desire to faithfully illuminate the emotional truthfulness of each opera's music and libretto.

photo by Dave Moss

photo by Dave Moss

My dance specialties are reconstructing dances from the eighteenth century Feuillet notation, choreographing new dances in a period style, and creating contemporary dance.