The traditional power dynamic of theater rehearsal spaces is based in a culture in which the director is in the ultimate position of power. This power dynamic can, and has, led to an abuse of power that has often resulted in the harm and harassment of mainly female-identified actors. The #MeToo movement proved just how prevalent on an issue this remains to be in the entertainment industry. My thesis project demonstrates the process of creating a feminist rehearsal space with a focus on building a culture of consent, respect, and collaboration that aims to rectify the past harm female-identified actors have faced at the hands of patriarchal directing styles. This process will be based on the tenets of theatrical intimacy coordinator, Chelsea Pace, and the guidelines she lays out in her 2020 book Staging Sex to create a rehearsal space that respects the actor’s boundaries and give them agency. I also address the issue that in order to fully incorporate feminism in theater there needs to be attention given to the gender stereotypes that are present in the scripts that we stage. For this research, I directed a production of Tom Stoppard’s Rosencrantz & Guildenstern Are Dead and demonstrated how to take the sexist elements of a culturally important and popular play and stage them through a feminist lens.