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425.281.2177 [email protected] www.PeteRush.com COSTUME DESIGN: 2012: Coriolanus David Quicksall Seattle Shakespeare Company The Art of Racing in the Rain Carol Roscoe Book-It Repertory Theatre Bed Snake Elise Hunt Washington Ensemble Theatre Rent Bill Berry 5th Avenue Theatre Antony and Cleopatra John Langs Seattle Shakespeare Company 2011: Cymbeline Henry Woronicz Seattle Shakespeare Company The Happy Ones David Gassner Seattle Public Theater Three Musketeers Tammi Doyle Bellevue College The Importance of Being Earnest Ki Gottberg Seattle University 2010: Hamlet John Langs Seattle Shakespeare Company Cider House Rules Jane Jones Book-It Repertory Theatre Sextet Roger Benington Washington Ensemble Theatre Henry 5 Russ Banham Seattle Shakespeare Company Electra Sheila Daniels Seattle Shakespeare Company 13th of Paris Shana Bestock Seattle Public Theater 2009: Turn of the Screw Rita Giomi Seattle Shakespeare Company The Merchant of Venice John Langs Seattle Shakespeare Company Last Night at ballyhoo Sussanah Burney Second Story Repertory Night Flight Myra Platt Book-It Repertory Theatre Betrayal Wendy Dann Hangar Theatre, Ithaca NY Neighborhood Three Makaela Pollack Washington Ensemble Theatre 2008: Retreat From Moscow Carol Roscoe ArtsWest Swansong Stephanie Shine Seattle Shakespeare Company Romeo and Juliet George Mount Wooden O/ SSC Henry IV Stephanie Shine Seattle Shakespeare Company The Adding Machine John Langs New Century Theatre Co. Private Lives Susanna Wilson Second Story Repertory 2007: Mr. Popper’s Penguins John Gordon Hill Youth Theatre Northwest Bat Boy Christopher Zinovitch ArtsWest Beauty and the Beast Wendy Dann Hangar Theatre, Ithaca, NY The House of the Spirits Myra Platt Book-It Repertory Theatre Travesties Suzanna Wilson Seattle Public Theater 2006: Art Robert Moss Hangar Theatre, Ithaca NY Twelfth Night Dave Dannenfelser Hobart William Smith College 425.281.2177 [email protected] www.PeteRush.com COSTUME DESIGN: Continued 2005: The Wiz Dan Knechtges Hangar Theatre I Am My Own Wife Wendy Dann Hangar Theatre Hansel and Gretel Wendy Dann Hangar Theatre School Tour SCENIC DESIGN: 2011: Sense and Sensibility Makaela Pollack Book-It Repertory Theatre 2009: Betrayal Wendy Dann Hangar Theatre, Ithaca NY 2008: Retreat From Moscow Carol Roscoe ArtsWest Henry IV Stephanie Shine Seattle Shakespeare Company 2006: Tales of a 4th Grade Nothing Sam Gold Hangar Theatre School Tour 2005: Iron Gia Forakis Kitchen Theatre, Ithaca NY 2004: Same Life Over David Zarko Northeast Theatre, Scranton PA Lettuce and Lovage David Zarko Northeast Theatre Legal Snarls David Zarko Northeast Theatre A Christmas Carol Rachel Lampert Kitchen Theatre Company 2003: Lion, Witch and the Wardrobe Wendy Dann Hangar Theatre KIDDSTUFF Icarus Kevin Kittle Icarus Theatre Ensemble Boston Marriage Alison Prouty Icarus Theatre Ensemble 2002: Angels in America Ross Haarstad Risley Theatre, Cornell Footprints on the Moon Dan Knechtges Hangar Theatre School Tour Three Mutants Katie Pearl State Theatre, Ithaca NY SPECIAL SKILLS: Drafting, rendering, model making, carpentry, prop fabrication, scene painting, sewing, basic draping, visual art, sculpture, puppet making, installation, photography, photoshop, cardboard quilt artist References available on request.

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Oregon Shakespeare Festival Production History = 1990S 1991
Oregon Shakespeare Festival Production History = 1990s 1991 saw the retirement of Jerry Turner, and the appointment of Henry Woronicz as the third Artistic Director in the Festivals 56 year history. The year also saw our first signed production, The Merchant of Venice. The Allen Pavilion of the Elizabethan Theatre was completed in 1992, providing improved acoustics, sight-lines and technical capabilities. The Festival’s operation in Portland became an independent theatre company — Portland Center Stage — on July 1, 1994. In 1995 Henry Woronicz announces his resignation and Libby Appel is named the new Artistic Director of the Festival. The Festival completes the canon for the third time in 1997, again with “Timon of Athens.” The Festival’s production of Lillian Garrett-Groag’s The Magic Fire plays at the Kennedy Center in Washington DC from November 10 through December 6, 1998, and is selected by Time Magazine as one of the year’s Ten Best Plays. In this decade the Festival produced these World Premieres, including adaptations: 1990 - Peer Gynt,1993 - Cymbeline, 1995 - Emma’s Child, 1996 - Moliere Plays Paris, 1996 – The Darker Face of the Earth, 1997 - The Magic Fire, 1998 - Measure for Measure, 1999 - Rosmersholm,1999 - The Good Person of Szechuan Year Production Director Playwright Theatre 1990 Aristocrats Killian, Philip Friel, Brian Angus Bowmer Theatre 1990 At Long Last Leo Boyd, Kirk Stein, Mark Black Swan 1990 The Comedy of Errors Ramirez, Tom Shakespeare, William Elizabethan Theatre 1990 God's Country Kevin, Michael Dietz, Steven Angus Bowmer Theatre 1990 Henry V Edmondson, James Shakespeare, William Elizabethan Theatre 1990 The House of Blue Leaves McCallum, Sandy Guare, John Angus Bowmer Theatre 1990 The Merry Wives of Windsor Patton, Pat Shakespeare, William Angus Bowmer Theatre 1990 Peer Gynt Turner, Jerry Ibsen, Henrik Angus Bowmer Theatre 1990 The Second Man Woronicz, Henry Behrman, S.N.
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2009 Illinois Shakespeare Festival Program School of Theatre and Dance Illinois State University
Illinois State University ISU ReD: Research and eData Illinois Shakespeare Festival Fine Arts Summer 2009 2009 Illinois Shakespeare Festival Program School of Theatre and Dance Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/isf Part of the Theatre and Performance Studies Commons Recommended Citation School of Theatre and Dance, "2009 Illinois Shakespeare Festival Program" (2009). Illinois Shakespeare Festival. 23. https://ir.library.illinoisstate.edu/isf/23 This Book is brought to you for free and open access by the Fine Arts at ISU ReD: Research and eData. It has been accepted for inclusion in Illinois Shakespeare Festival by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. Richard III the theatre at ewinrr 0 cultur-ll, center· • I ~ ILLINOIS " SiHAKJESPlEARJE Sponsored by (&HYDER) THE SNYOER COMPANIES FESTIVAl .-1.PAAf~IHS I HOflLS l (NSUFAl,CE l l'l:ALESf.t.TE 7 - 200J ::_ J21!d JCCkfrJf! AMidsummer Night's Dream by William Shakespeare June 25, 28, 30,July 2, 5, 9, 11, 17, 19, 23, 25, 30, August 2, 4, 8 Scapin by Bill Irwin and Mark O'Donnell, adapted from Jean Baptiste Moliere June 26, 27,July 1, 3, 10, 12, 18, 21, 24, 29, 31, August 6, 9 Richard Ill by William Shakespeare July 16, 22, 26, 28, August 1, 5, 7 DEB ALLEY JOHN POOLE Anistic Director Managing Director The 2009 Illinois Shakespeare Festival is made possible in part by funding and support provided by individuals, businesses, foundations, government agencies, and organizations.
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ACTING SHAKESPEARE: a Roundtable Discussion with Artists from the Utah Shakespeare Festival’S 2013 Production of the Tempest
116 ACTORS’ ROUNDTABLE ACTING SHAKESPEARE: A Roundtable Discussion with Artists from the Utah Shakespeare Festival’s 2013 Production of The Tempest Michael Flachmann Utah Shakespearean Festival Company Dramaturg Featuring: Henry Woronicz (Prospero), Melinda Parrett (Ariel), Corey Jones (Caliban), Melisa Pereyra (Miranda), Fred Stone (Alonso) lachmann:Welcome to the Actor Roundtable, the final event of this year’s Wooden O Symposium, a F three-day conference for students and scholars of Shakespeare’s plays. My name is Michael Flachmann, and I’m the Utah Shakespeare Festival Company Dramaturg. I’ll be moderator for our Actor Roundtable discussion on The Tempest. First, I’d like to introduce the actors: Henry Woronicz, who plays Prospero; Melinda Parrett, Ariel; Corey Jones, Caliban; Melisa Pereyra, Miranda; and Fred Stone, Alonso. The Tempest is done so often. It’s such a wonderful play. It fits a lot of different times and places. I wonder if we could begin with a question on what The Tempest says to today’s audience right here in 2013 Cedar City. How relevant is it today? Henry, could we start with you? Woronicz: That’s the question of the theater artist approaching any play. Why are we doing this play? As much as administrators of a theater company like to pay attention to box office and season selection, you spend a great deal of time trying to figure out why you are doing any given play, other than the fact that it might be a good play or it balances out the season or is a cash cow. A Shakespeare play in particular, because it’s kind of a Rorshach ink blot, can be many things to many people, and this iteration of The Actors' Roundtable 117 Tempest—this is the second time I’ve done the role of Prospero— as you work on it, you find different things that rise to the surface in you.
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Jeb Burris Aea, Sag-Aftra
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Spring 2016 PSF Newsletter
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DOROTHY MARSHALL ENGLIS 831 South Gore Avenue St. Louis, MO 63119 314-968-5443 (home) 314-968-6966 (office) 314-753-6854 (cell) E-mail: [email protected] CURRICULUM VITAE PROFESSIONAL APPOINTMENTS Webster University, Conservatory of Theatre Arts St. Louis, MO, Faculty member, 1979 – 2003; 2005 to present Department Chair, 2005 to 2020 Full Professor since 1992 Head of Design and Technical Program, 1980 – 2003 Webster University, Director, London Campus (in association with Regent’s College), 2003-2005 Acted as Webster’s onsite representative in managing study , undergraduate, and students in all programs Part of team that negotiated new partner contract between Webster University and Regent’s College Initiated speaker series in International Studies and Business Webster University, President of the Faculty Senate / Chair of the Faculty Executive Committee 1992 – 1998 Presided over conversion of university faculty governance from direct committee election to a representative senate Presided over Webster University’s systemic change from one large body into five academic units Worked in collaboration with three presidents in transition Tulane University, Newcomb College, Department of Theatre and Speech Visiting Assistant Professor, 1977-1979 DEGREES Master of Fine Arts in Costume Design, with honors Carnegie-Mellon University, College of Fine Arts, 1977 MFA Thesis project: KING LEAR by William Shakespeare Bachelor of Arts, magna cum laude in Drama and English Tufts University, Jackson College, 1974 2 PROFESSIONAL MEMBERSHIPS Art Schools Network (non-profit organization formed for art school leaders), Member of the Board of Directors (2010-2016) College to Career Committee Society for Directors and Choreographers, Associate United Scenic Artists, Local 829, Costume Design United States Institute for Theatre Technology (USITT) Costume Commission Association for Theatre in Higher Education (ATHE) AWARDS AND HONORS St.
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SETTING the SCENE: DIRECTORIAL USE of ANALOGY in TWENTIETH-CENTURY AMERICAN SHAKESPEARE PRODUCTIONS by LAWRENCE RONALD TATOM B
SETTING THE SCENE: DIRECTORIAL USE OF ANALOGY IN TWENTIETH-CENTURY AMERICAN SHAKESPEARE PRODUCTIONS by LAWRENCE RONALD TATOM B.A., California State University Sacramento, 1993 M.F.A., University of North Carolina – Greensboro, 1996 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of Theatre 2011 This thesis entitled: Setting the Scene: Directorial Use of Analogy in Twentieth-Century American Shakespeare written by Lawrence Ronald Tatom has been approved for the Department of Theatre. _________________________________ Oliver Gerland, Associate Professor __________________________________ James Symons, Professor Date___________________ The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of the scholarly work in the above mentioned discipline. IRC protocol # 0902.28 Tatom, Lawrence Ronald (Ph.D., Theatre) Setting the Scene: Directorial Use of Analogy in Twentieth-Century American Shakespeare Productions. Thesis directed by Associate Professor Oliver Gerland This dissertation charts the historical development of the use of analogy by stage directors in twentieth-century American Shakespeare productions. Directorial analogy, the technique of resetting a play into a new time, place or culture that resembles or echoes the time, place or culture specified by the playwright, enables directors to emphasize particular themes in a play while pointing out its contemporary relevance. As the nineteenth century ended, William Poel and Harley Granville-Barker rejected the pictorial realism of the Victorian era, seeking ways to recreate the actors-audience relationship of the Elizabethan stage.
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To Download the PDF Resume
Joe Payne Composer, Sound and Projection Designer 1848 Stonebrook Dr, Knoxville, TN 37923 • 801-502-7256 • [email protected] • www.paynesound.com Education B.S. in Theatre; emphasis in Sound Technology & Scenic Design, Weber State University 1995 University Employment/Teaching University of Tennessee, Knoxville, TN Associate Professor of Sound and Digital Media Design, Department of Theatre 2011-present Illinois State University, Normal, IL Assistant Professor of Sound and Media, School of Theatre 2010-2011 The University of Utah, Salt Lake City, UT Clinical Adjunct Faculty, Department of Theatre 2000-2010 Memberships United Scenic Artists local 829, as a Sound Designer, 2003-Present. TSDCA - Theatrical Sound Designers and Composers Association. Central Region Representative 2016-19. USITT - United States Institute for Theatre Technology, Commissioner, Digital Media Commission 2017-Present. OISTAT - International Org. of Scenographers, Theatre Architects, and Technicians Sound Working Group. SETC – Southeastern Theatre Conference. Freelance Composition, Sound, and Projection Design Riverside Theatre, Vero Beach, FL ProJection Design Almost Heaven, John Denver Sherry Lutkin 2020 MarBle City Opera, Knoxville, TN ProJection Design Shadowlight J Marvel/K Frady 2020 Cincinnati Playhouse in the Park ProJection Design Lifespan of a Fact Wendy Goldberg 2019 Sound Design and Composition Sooner/Later Lisa Rothe 2018 Sound Design Native Gardens (world premiere) Blake Robison 2016 Sound and Projection Design Ring of Fire Jason Edwards 2015 Sound Design Pride and Prejudice Blake Robison 2015 Original Music Ten Little Indians John Going 2002 Imagination Stage, Bethesda, MD Sound Design Cinderella Kate Bryer 2018 Sound Design Charlotte’s Web Kate Bryer 2017 Pioneer Theatre Company, SLC, UT (as guest designer) Sound Design and Composition Curious Incident...Dog…Night-Time Karen Azenberg 2017 Syracuse Stage Sound Design and Composition Deathtrap Paul Barnes 2017 Berkeley Rep Sound Design Hand to God David Ivers 2016 Repertory Theatre of St.
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Peterpeter Andand Thethe Starcatcherstarcatcher Streamingstreaming Augustaugust 1818 –– 31,31, 20202020 PHOTO by KIM BUDD
playbill PeterPeter andand thethe StarcatcherStarcatcher StreamingStreaming AugustAugust 1818 –– 31,31, 20202020 PHOTO BY KIM BUDD PASSION. CREATIVITY. PERFORMANCE. A cast of faculty with the highest degrees in their fields, clear paths toward degree completion, and front row seats to AN 2020 our spectacular natural environment. Economical approaches (NOPE) to an excellent educational value. We set the stage for a superb d institution of higher education, located in the tain landscape of southern Oregon, that is an inclu- learning experience. Stop by and take in a performance! or the future that guides all learners to develop the acities, and audacity to innovate boldly and create e. aph (SURE WHY NOT) CHALLENGE ACCEPTED or the Arts at Southern Oregon University serves as ts school as well as a regional arts center, presenting nd contemporary art to the Rogue Valley commu- SOU.EDU | 855-470-3377 nd beyond. Southern Oregon University is home to the Oregon Center for the Arts, proudly bringing music, theatre, and other public events to the Rogue Valley community 2 Go to oca.sou.edu for more information SOU OSF Playbill Ad JAN 2020.indd 1 2/6/20 2:33 PM BELLE FIORE WINERY, ESTATE AND VINEYARD PHOTO BY KIM BUDD Ashland’s Premiere Destination Winery PASSION. CREATIVITY. Pavilion Tasting Room PERFORMANCE. Monday & Tuesday: 12pm-5pm, Wednesday-Sunday: 12pm-8pm *Seasonal hours subject to change. See www.belleﬁ orewine.com Chateau Tasting Room A cast of faculty with the highest degrees in their fields, Private Tastings at the Chateau. clear paths toward degree completion, and front row seats to AN 2020 our spectacular natural environment.
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Michael Elich Resume 11
MICHAEL ELICH michaelelich.com AEA SAG/AFTRA 541-482-8313 [email protected] THEATRE Oregon Shakespeare Festival (59 roles in 47 productions) Hamlet Claudius Lisa Peterson Great Expectations Jaggers Penny Metropulos The Heart of Robin Hood (American Premiere) Prince John Joel Sass Twelfth Night Feste Darko Tresnjak Troilus and Cressida Thersites Rob Melrose The Pirates of Penzance The Pirate King Bill Rauch The African Co. Presents Richard III Stephen Price Seret Scott She Loves Me Steven Kodaly Rebecca Taichman The Music Man Harold Hill Bill Rauch Coriolanus Aufidius Laird Williamson King John King John John Sipes The Taming of the Shrew Petruchio Kate Buckley Richard III Buckingham Libby Appel Idiot’s Delight Harry Van Peter Amster A Midsummer Night’s Dream Theseus Mark Rucker The Merchant of Venice Antonio Michael Donald Edwards Enter the Guardsman The Actor Peter Amster Trojan Women Poseidon Liz Diamond Cabaret Verboten The Conferencier Penny Metropulos Henry IV, part 1 Hotspur Michael Donald Edwards Nora Torvald Richard E.T. White Awake And Sing! Moe Axelrod Debra Wicks Fifth of July John Landis Clinton Turner Davis Utah Shakespeare Festival Treasure Island (Mary Zimmerman adaptation) Long John Silver Sean Graney Henry VI, part 1 Duke of York Henry Woronicz Shakespeare in Love Burbage Brian Vaughn The Merry Wives of Windsor Dr. Caius Paul Barnes As You Like It Jaques Robynn Rodriguez The Clarence Brown Theatre, TN King Charles III Prime Minister Evans John Sipes Red Mark Rothko John Sipes Hartford Stage Comedy of Errors The Duke/Dr.
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Wayne T. Carr
Wayne T. Carr AFTRA, AEA Eye Color: Black Hair Color: Black Height: 5' 9" [175.26 cm.] TELEVISION S.W.A.T. Co-Star CBS Billy Gierhart Stuck In The Middle Guest Star Disney Channel April Winney Pleading Guilty (Pilot) Co-Star Fox Jon Avnet Matadors (Pilot) Co-Star ABC Yves Simoneau FILM Macbeth Supporting Scott Rudin Productions Joel Coen Who's Afraid of the Big Black Wolf? (Short) Supporting Triglav Film Janez Lapajne THEATRE Macbeth Macbeth Utah Shakespeare Festival Melissa Rain Anderson Othello Othello Utah Shakespeare Festival Kate Buckley Seven Guitars Canewell Yale Repertory Theatre Timothy Douglas Pericles Pericles The Guthrie, Folger, OSF Joe Haj Antony and Cleopatra Pompei Oregon Shakespeare Festival Bill Rauch All the Way Stokley Carmichael Seattle Rep, OSF Bill Rauch Great Society Stokley Carmichael Seattle Rep, OSF Bill Rauch Tempest Caliban Oregon Shakespeare Festival Bill Rauch Taming of the Shrew Lucentio Oregon Shakespeare Festival David Ivers Midsummer's Demetrius Oregon Shakespeare Festival Christopher Liam Moore As You Like It Orlando Oregon Shakespeare Festival Jessica Thebus Funk It Up Cast Joe's Pub, NY Q Brothers Gentrifusion Cast Red Fern, NY Moritz Von Stuelphagel Richard II Duke Aumerle Pearl Theater Co., NYC J.R. Sullivan Bomb-itty of Errors Adriana Hudson Valley Shakespeare Chris Edward Romeo and Juliet Tybalt Indiana Repertory Tim Ocel A Christmas Carol Dick Wilkins The Goodman Kate Buckley Trouble in Mind John Nevins Milwaukee Repertory Timothy Douglas Eurydice Lord of the Underworld Milwaukee Repertory Jonathan Moscone Love's Labour's King of Navarre Milwaukee Shakespeare Jennifer Uphoff Gray Much Ado Don Pedro Nebraska Shakespeare Cindy Phaneuf Fat Pig Carter Renaissance Theaterworks Susan Fete TopDog UnderDog Booth Renaissance Theaterworks Susan Fete Tartuffe Damis American Players Theatre David Frank Julius Caesar Popillius American Players Theatre Sandy Robbins Seussical Wick Brother Fulton Opera House Robin McKercher Joseph..
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