Shauna Bloom SAG-AFTRA / AEA

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Shauna Bloom SAG-AFTRA / AEA www.shaunabloom.com FILM Memoria (w/ James Franco) Supporting RabbitBandini Productions San Francisco 2177 Co-Star La Boca Productions/Jose Figueroa Knock Her Socks Off Supporting 48 Hour Film Project/John Johnson The Shabbos Goy Lead Monsey Made Movies Walking Out on Love Lead AFI/Beau Yarrow Visas and Virtue* Supporting Cedar Grove/Chris Tashima TELEVSION/INTERNET The Mentalist Recurring Guest Star CBS / Chris Long American Horror Story Co-Star ABC / Alfonso Gomez-Rejon It’s Not Porn, it’s HBO Supporting Dir. Alberto Belli The Bold & the Beautiful Under 5 CBS Nip/Tuck Co-Star FX / Brad Falchuk Life-ers Co-Star Webseries The Tonight Show with Jay Leno Day Player NBC George Carlin Show Co-Star Fox Television Days of Our Lives Co-Star Corday Productions THEATER *LA Weekly Prod of the Year Some Girl(s) Lindsay Sherry Theatre/Eric Hunnicut Closeness of the Horizon Annie Odyssey Theatre/Darin Anthiny The Dinosaur Within Maria The Theatre @ Boston Court/Michael Michetti Why Torture is Wrong Luella (u/s) The Blank Theatre/Daniel Henning Relatively Close Beth WJCC Celebrity Series Screwballs Joanie Odyssey Theatre Leipzig Mutti Lee Strasberg Theatre Backwards in High Heels The Girl Road Theatre/Ken Sawyer Ouroboros* Catherine Road Theatre/Michael Michetti After the Fall Elsie Barnsdall Park/Mark Rydell Tainted Blood Miss Quimby Road Theatre/Michael Michetti The Seventh Monarch Miriam Deaf West/Deborah LaVine Table Manners Sarah u/s Merrimack Repertory 1001 Arabian Nights Princess Budr American Stage Festival Comedy of Errors Courtesan American Stage Festival TRAINING BFA in Theatre Arts – ACTING, San Diego State University (Minor in Child Development) Steppenwolf West [Scene Study, View Points and Improvisation]: Alexandra Billings, Shannon Cochran, Eric Hunnicutt, Jeff Perry, Tim Phillips [On-Camera Audition], Salome Jens [Scene Study], Kate Geer [Shakespeare], Carter Thor Studio [Film], Stuart K Robinson, Fawnda McMahon [Commercial], Larry Moss [Dialects], Jean Louis Rodrigue [Movement] SPECIAL SKILLS Flute, Piccolo, Piano, Sign Language, Yoga, Spanish, Ice Skate, Lit and History Buff, Children's Theatre, Archery, Swimmer, Tap and Jazz Dance, Sing [alto] Dialects: American: Brooklyn, Standard New York, Texas/Arkansas/Standard Southern, Boston, Valley European: British, Cockney, Russian, German, Polish AWARDS LA Stage Scene Best of 2005, Outstanding Actress/Featured Role (“Backwards In High Heels”) Winner, First Stage Monologues Unlimited, Hollywood, Best Ensemble, Ouroboros, Backstage West Garlands MANAGER: Andrew Stawiarski - ADS Management - (310) 909-3036 AGENT: Brianna Ancel/Scot Reynolds / Phone: 818-509-0121 / Fax: 818-509-7729 10950 Ventura Blvd, Studio City, CA 91604 / [email protected] .

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UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Doing the Time Warp: Queer Temporalities and Musical Theater Permalink https://escholarship.org/uc/item/1k1860wx Author Ellis, Sarah Taylor Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Doing the Time Warp: Queer Temporalities and Musical Theater A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater and Performance Studies by Sarah Taylor Ellis 2013 ABSTRACT OF THE DISSERTATION Doing the Time Warp: Queer Temporalities and Musical Theater by Sarah Taylor Ellis Doctor of Philosophy in Theater and Performance Studies University of California, Los Angeles, 2013 Professor Sue-Ellen Case, Co-chair Professor Raymond Knapp, Co-chair This dissertation explores queer processes of identification with the genre of musical theater. I examine how song and dance – sites of aesthetic difference within the musical – can warp time and enable marginalized and semi-marginalized fans to imagine different ways of being in the world. Musical numbers can complicate a linear, developmental plot by accelerating and decelerating time, foregrounding repetition and circularity, bringing the past to life and projecting into the future, and physicalizing dreams in a narratively open present. These excesses have the potential to contest naturalized constructions of historical, progressive time, as well as concordant constructions of gender, sexual, and racial identities. While the musical has historically been a rich source of identification for the stereotypical white gay male show queen, this project validates a broad and flexible range of non-normative readings.
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Download My PDF Resume
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American Horror Story
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