BIO

Alba Rosa Albanese is an artist, writer, and director born in Brooklyn, New York to Brazilian and Italian immigrant parents. She speaks several languages and has a multi-cultural heritage. On her debut stage performance, The New York Times penned, “Alba is a slithering siren as the Red Queen.” Alba is also known professionally as Ava Lee Scott, a performance artist and creator in immersive theater experiences with emerging technology. She created several theatre experiences in New York, and performed for Film Festivals around the country including; Tribeca Film Festival, Future of Storytelling Summit, North Bend Film Festival, Overlook Film Festival, and Lincoln Center’s New York Film Festival. In addition to acting and performing stunts in theater, films, and television, Alba wrote and performed her character in the Off-Broadway show, Sleep No More 2011-2019, she wrote the book and lyrics, and performed in the off-Broadway immersive musical Serenade, and wrote and performed in a one-woman immersive show with AR for New York Film Festival. Alba also partnered with Microsoft to create her Avatar, The Oracle Annabellee, in an interacting live storytelling experience, where theatre and technology merge. She created a multi-platform experience, Home of Enchantments, where viewers follow the narrative alongside the different storytelling platforms, which includes immersive theatre, film, a television series, and the latest in XR emerging technology. Alba is a graduate of the Sandford Meisner professional acting conservatories in New York. She trained with William Esper, Maggie Flanigan, Terry Knickerbocker, Alec Baldwin, Ellen Geer, at the Lee Strasberg Theatre and Film Institute, Shakespeare with Ellen Geer and at The New School. Alba co-founded Actors Theater of NYC, a nonprofit theater company, and launched her independent production company, Brooklyn Girl Inc, to develop and produce untold stories of women, and people who are marginalized in our community and the world.


Alba is a NYC ARTIST CORPS, NYC Cultural Affairs and NYFA Artist Grant recipient, and lives in Brooklyn, New York.

The New York Times interview

After the show, I spoke with Ava Lee Scott, its writer-director, about the appeal of this fluid and interactive 19th-century performance style. “It comes down to a longing for human contact,” she said. “Today, everything is dehumanized by technology. We miss the intimacy of the Gilded Age — a handwritten letter, flowers at the door, giving a lock of hair, looking into someone’s eyes, feeling a human touch. There is a void today, and people want connections. We want storytelling and poetry in our lives.”

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“…not-to-be-missed World Premiere of the immersive and intimate art performance from Ava Lee Scott”

“It comes down to a longing for human contact…

…Today, everything is dehumanized by technology. We miss the intimacy of the Gilded Age — a handwritten letter, flowers at the door, giving a lock of hair, looking into someone’s eyes, feeling a human touch.

There is a void today, and people want connections. We want storytelling and poetry in our lives.”

She has a gift. She IS a gift, and one that hundreds and hundreds of people have been blessed to open and be opened by.”

I was absolutely floored by Ava Lee Scott’s work in “Home of Enchantments.”

It’s a one-on-one experience where Scott plays a character named Belle, a spiritually gifted yet troubled individual who calls upon you to help her through an especially dark, trying situation.

It’s an extensive tale that requires a powerhouse performance from Scott that not only hits the beats of the story crafted, but also comes with interactive emotional elements that feel deeply personal. It’s a beautiful mix of making the participant feel vulnerable and on edge while also sending you on your way with a surprisingly full heart.

(And the fact that Scott conducted one of these shows after the next at Overlook is absolutely astounding.)”

Saunder Gusinow

Barbed Wire

“Creator Ava Lee Scott is exceedingly inventive; she’s taken the things most bothersome about immersive theatre and banished them from her work.”