born 1982 in Luxembourg


After her Drama and Theatre studies at Royal Holloway, University of London, Anne Simon acquired her first professional experiences as a director's assistant and deputy stage manager at the Théâtre National du Luxembourg and the Ruhrfestspiele Recklinghausen.


In 2007, she wins a competition for young directors (Champ Libre) with her first directing work, mixing kitchen sink drama of the 1950's and In-yer-face theatre of 90's Britain. Since, Anne Simon has since been directing in all the major and minor theatres in Luxembourg and is a regular collaborator with various independent groups. Since 2009 she has been directing internationally, mainly in Germany, Austria, Barcelona and New York City where she is an associated artist with a local company, The Circle Theater of New York. She is a founding member of the Luxembourg Volleksbühn.


Simon's work characterises by strong visual and musical influences and elaborated kinetics as well as a constant occupation with tensions between naturalism, realism and the hyper-real or even surreal and the imaginary. Simon mostly directs contemporary drama and has occasionally been writing or collage-ing texts of her own and is devising more and more work. 

She mainly directs in English and German. 


Although acting is not a main activity, Simon has basic acting training and performs on rare occasions.


In 2013, Simon wrote and directed her first short film D.  - a reproduction. 

Selected directing works: 


  • Crave, Sarah Kane, 2008 (Théâtre des Casemattes, in German)

  • Bug, Tracy Letts, 2009, (Théâtre National du Luxembourg)

  • Die goldenen letzten Jahre, Sibylle Berg, 2010 (Theater Trier)

  • Swimming to Iraq, based on two monodramas by Nahidh al Ramadhani, 2010 (Fundamental Monodrama Festival)

  • Zu schwankender Zeit und an schwankendem Ort, Nico Helminger, 2012 (Ruhrfestspiele Recklinghausen, Théâtre National du Luxembourg)

  • Prometheus: we are the Gods now, Anne Simon, 2012 (Théâtre National du Luxembourg)

  • Oh, the humanity and other good intentions, Will Eno, 2013 (Théâtre des Casemattes)

  • Begrabt mein Pferd in la Mancha, (Kicking a dead horse), Sam Shepard, 2013, (Théâtre des Capucins) 

  • Don Quijote, after Miguel de Cervantes, adaptation Anne Simon, 2014 (Théâtre National du Luxembour/Théâtres de la Ville/Ruhfestspiele Recklinghausen)

  • Killer Joe, Tracy Letts, 2015 (Théâtres de la Ville de Luxembourg)

  • Trail of Crumbs - a recurring dystopia for Hansel and Gretel, 2015 (The Circle Theatre of New York)

  • Dosenfleisch, Ferdinand Schmalz 2015, (Schauspielhaus Salzburg)

  • Kindertransport, Diane Samuels, 2017-18, (Théâtres de la Ville de Luxembourg, Queen's Theatre Hornchurch, UK Tour)

  • Stupid Fucking Bird, Aaron Posner, 2019, (Théâtres de la Ville de Luxembourg)

  • Reigen, Arthur Schnitzler, 2020, (Schauspielhaus Salzburg)

  • The Hothouse, Harold Pinter, 2021, (Grand Théâtre de la Ville de Luxembourg)


D'Land, Claude Reiles

 In Zeiten der Orbáns, Trumps und Gaulands inszeniert Anne Simon mit Cocóóó Chanël einen wahnwitzigen, völlig überdrehten Politporno.

​(Über: Cocooo Chanëll, den Ubu als Kinnék)

D'Land, Josée Hansen

Anne Simon s’en est donnée à coeur joie dans la mise en espace de ces saynètes touchantes et grinçantes à la fois, en faisant un ballet d’impromptus et d’images fortes. 

(Sur: Microdrames)

Wort, Erik Abbott

The company has created a disturbing and theatrically vivid work that both embraces the familiar bleakness of the original and transcends its mythic horror with one that is all too recognisable. 

(On: Trail of Crumbs)

Sous ses airs de Paris Hilton extravertie, elle est décidément plus rock’n’roll que Carole Lorang, et, après des acteurs comme Tom Leick et Jules Werner, la première réalisatrice de cette génération de jeunes qui ont fait leurs études en Angleterre plutôt qu’en France, en Belgique ou en Allemagne, et trouvent tout naturel de monter des pièces anglaises ou américaines en V.O. Nourrie au cinéma – son père dirige les cinémas Utopolis – et proche du monde de la musique, elle est néanmoins une femme de théâtre. Elle est probablement la première représentante du théâtre hyper-kinétique au grand-duché.

D'Land, Josée Hansen