ACCESSIBILITY WITH ARTISTRY.
Play On Shakespeare would not be possible without the 1,000+ artists, including playwrights, dramaturgs, theatre professionals and actors who’ve made it possible to understand and enjoy Shakespeare’s genius without the barriers of language. We’ve collaborated with 36 playwrights and 38 dramaturgs, each with their own distinct insights, passion, expertise, and craftsmanship.
Learn more about our artists and their unique voice in creating their translations.
Natsuko Ohama-Trained under legendary voice teacher Kristin Linklater. She is a founding member and permanent faculty of Shakespeare and Company Lenox, Mass., a senior artist at Pan Asian Rep New York, and was the Director of Training at the National Arts Center of Canada. Natsuko has taught at numerous institutions all over North America, including the NYU Experimental Theater Wing, Cal Arts, Columbia University, the Sundance Institute, New Actors Workshop, the Stratford Festival. Recently taught in Shanghai China, Stromboli Italy, Istanbul,Turkey, Orkney Scotland, and at the Wooster Group Summer Institute in New York. She also has an extensive workshop and private teaching practice in New York and Los Angles. A Drama Desk nominated actress, she has portrayed roles ranging from Juliet to Lady Macbeth from Hamlet to Prospero (Los Angeles Women’s Shakespeare Company) from the action film Speed to the cult series Forever Knight and American Playhouse on PBS. She has been seen on screen in Pirates of the Caribbean 2, and on stage at the Kirk Douglas Theatre in Dogeaters as Imelda Marcos and favorite recent roles as Polonius in the LAWSC production of Hamlet at the Odyssey Theatre and Winnie in Beckett’s Happy Days at the Boston Court Theatre in Pasadena. Ms. Ohama’s play Geisha of the Gilded Age-Miyuki Morgan, was staged at the Ventford Theater in Lenox, Mass. As a director credits include the Press and FACE for Visions and Voices at USC, and Macbeth 3 at the HERE Theatre in New York starring Lisa Wolpe. She is the recipient of the Playwright’s Arena Outstanding Contribution to Los Angeles Theatre Award and appears in the recent publication Voice and Speech Training in the New Millennium (Conversations with Master Teachers) by Nancy Saklad. She heads the voice progression for the MFA Acting Program at USC.
Desdemona Chiang is a stage director based in Seattle and the San Francisco Bay Area. Co-Founder of Azeotrope (Seattle).
Directing credits include Oregon Shakespeare Festival, California Shakespeare Theater, Seattle Repertory Theatre, Playmakers Repertory Company, Long Wharf Theatre, ACT Theatre, Seattle Children’s Theatre, Aurora Theatre Company, Seattle Shakespeare Company, Shotgun Players, Crowded Fire Theatre Company, Seattle Public Theatre, Impact Theatre, FringeNYC, Playwrights Foundation, Golden Thread Productions, Washington Ensemble Theatre, One Minute Play Festival, Ohio Northern University, University of Washington, and Cornish College of the Arts, among others. Assisting and dramaturgy credits include: Oregon Shakespeare Festival, Intiman Theatre, Playmakers Repertory Company, A Contemporary Theatre, California Shakespeare Theater, Arizona Theatre Company, Mark Taper Forum, Magic Theatre, Theatreworks, Rattlestick Playwrights Theatre, among others. Adjunct Faculty, Cornish College of the Arts.
Awards/Affiliations: Vilcek Prize for Creative Promise in Theatre, SDC Sir John Gielgud Directing Fellowship, Drama League Directing Fellowship, TCG Young Leader of Color, Lincoln Center Theater Directors Lab and Directors Lab West. Gregory Award Recipient for Outstanding Direction. Intersection for the Arts Triangle Lab Artist-Investigator. BA: University of California at Berkeley MFA Directing: University of Washington School of Drama.
Lezlie C. Cross is a dramaturg, scholar, and teacher currently working at the University of Portland. Her recent dramaturgical work includesTimon of Athens; The Very Merry Wives of Windsor, Iowa; As You Like It; All’s Well That Ends Wellat the Oregon Shakespeare Festival; A Midsummer Night’s Dream, Treasure Island, Guys and Dollsand William Shakespeare’s Long Lost First Playat the Utah Shakespeare Festival; A Raisin in the Sun at Cincinnati Shakespeare Love’s Labours Lost at Actor’s Theatre of Louisville;and The Tempest,Much Ado about Nothingat Classic Stage Company. Her published articles and book reviews appear in the journals Shakespeare Bulletin, Theatre Annual, The Journal of American Drama and Theatre and Theatre Survey as well as the book projects Shakespeare Expressed: Page, Stage, and Classroom and Performing Objects and Theatrical Things. Her article in Theatre History Studies (2017) places the controversy surrounding Play On! in historical context. She holds a PhD from the University of Washington, a MA from the Shakespeare Institute, University of Birmingham, UK, and a BA from Whitman College.
MARTINE KEI GREEN-ROGERS is an Assistant Professor at SUNY: New Paltz, a freelance dramaturg, and the President of the Literary Managers and Dramaturgs of the Americas.
Her dramaturgical credits include: The Greatest with the Louisville Orchestra, Fences and One Man, Two Guvnors at Pioneer Theatre Company; Clearing Bombs and Nothing Personal at Plan-B Theatre; the Classical Theatre Company’s productions of Uncle Vanya, Antigone, Candida, Ghosts, Tartuffe, and Shylock, The Jew of Venice; Sweat at the Goodman; productions of Radio Golf, Five Guys Named Moe, Blues for An Alabama Sky, Gem of the Ocean, Waiting for Godot, Iphigenia at Aulis, Seven Guitars, The Mountaintop, Home, and Porgy and Bess at the Court Theatre; The Clean House at CATCO; Hairspray, The Book of Will, Shakespeare in Love, UniSon, Hannah and the Dread Gazebo, Comedy of Errors, To Kill A Mockingbird, The African Company Presents Richard III, A Midsummer Night’s Dream; and Fences at the Oregon Shakespeare Festival; 10 Perfect and The Curious Walk of the Salamander as part of the 2006 and 2007 Madison Repertory Theatre’s New Play Festival; and A Thousand Words as part of the 2008 WI Wrights New Play Festival.
She also works with the Great Plains Theatre Conference and is affiliated with NNPN.
Rob Melrose is the Founding Artistic Director of the Cutting Ball Theater and works nationally as a freelance director. He has directed at The Public Theater (Pericles, Prince of Tyre), The Guthrie Theater (Happy Days, Freud’s Last Session, Pen, Julius Caesar – with the Acting Company); The Oregon Shakespeare Festival (Troilus and Cressida – in association with the Public Theater), The Old Globe (Much Ado About Nothing); Magic Theatre (An Accident, World Premiere); PlayMakers Rep (Happy Days); Black Box Theatre (The Creature, World Premiere, BATCC Award for direction), as well as Actors’ Collective; The Gamm Theatre; Cal Shakes; and Crowded Fire, among others.
His directing credits at Cutting Ball include A Dreamplay, Ondine (World Premiere), Mount Misery (World Premiere), Communiqué no˚ 10, Strindberg Cycle: The Chamber Plays in Rep, Krispy Kritters in the Scarlett Night (World Premiere), Pelleas & Melisande, the Bay Area Premiere of Will Eno’s Lady Grey (in ever lower light), The Tempest, The Bald Soprano, Victims of Duty, Bone to Pick & Diadem (World Premiere), Endgame; Krapp’s Last Tape; The Taming of the Shrew; Macbeth; Hamletmachine, As You Like It, The Death of the Last Black Man in the Whole Entire World, Roberto Zucco, and My Head Was a Sledgehammer among others. His translations of Woyzeck, Ubu Roi, Pelleas & Melisande, and Communiqué no˚ 10 have been published by EXIT Press. He has also translated Phèdre, The Chairs, The Bald Soprano, No Exit, The Stronger, and The Man with the Flower in his Mouth. He has written a number of plays including Helen of Troy, Asylum, Divorsosaurus, and his rock musical of L. Frank Baum’s Ozma of Oz. He has taught at Stanford University, UC Berkeley, USF, the University of Rhode Island and Marin Academy. He has a B.A. in English and Theater from Princeton University and an M.F.A. in directing from the Yale School of Drama.
John Dias assumed his position as Artistic Director of Two River Theater in August 2010 after working as a producer and dramaturg in New York for 20 years. In partnership with Managing Director Michael Hurst he has brought new vitality to the 20-year-old Red Bank theater, including producing subscription shows on two stages for the first time; launching the theater’s first literary department and commissioning program for new plays; presenting annual events such as a musical theater cabaret in collaboration with New York University’s Graduate Musical Theatre Writing Program and the Crossing Borders festival of Latino plays; and developing numerous arts-education initiatives for young people including A Little Shakespeare, an annual production of one of Shakespeare’s plays performed by high-school students. Throughout his career, John has been a leading advocate for bold new American plays and stimulating productions of the classics, including the Broadway productions of Lisa Kron’s Well and Shakespeare’s The Tempest. For 12 seasons, he worked in a variety of capacities at The Public Theater/New York Shakespeare Festival, including Associate Producer and Associate Artistic Director. During much of his tenure at The Public, working for Producer George C. Wolfe, he was responsible for all aspects of play production on the theater’s six stages and the Delacorte Theater in Central Park. He also ran the theater’s literary department, overseeing new-play workshops and productions of classics by Shakespeare and other writers, and he directed and taught in the Shakespeare Lab, a professional actor-training program. Previously, John was dramaturg at Hartford Stage Company, and co-founded and led Affinity Company Theater, a production company dedicated to bringing daring new works from around the world to New York, and The Playwrights Realm, an off-Broadway company that produces new plays by emerging artists. He has been a Tony Award nominator, a consultant for the National Endowment for the Arts and numerous other organizations, and he has taught at New York University and Yale University. John currently teaches in the graduate school at Columbia University. He received his BA from George Washington University and his MFA from the University of Massachusetts at Amherst.
Kimberly Colburn is South Coast Repertory’s literary director and co-director of the Pacific Playwrights Festival. Her recent dramaturgical work has included the world premiere productions of Going to a Place Where you Already Are by Bekah Brunstetter, Orange by Aditi Kapil, and Future Thinking by Eliza Clark. Formerly, she was the literary manager at Actors Theatre of Louisville, where she was the dramaturg for the world premieres of Partners by Dorothy Fortenberry, The Roommate by Jen Silverman and Dot by Colman Domingo, among others. Prior to that, she was the associate literary director at SCR and was the dramaturg for world premieres of The Long Road Today by José Cruz González, Zoe Kazan’s Trudy and Max in Love and A Wrinkle in Time adapted by John Glore, among dozens of other productions and readings. She has worked with companies including Los Angeles Opera, Mixed Blood Theatre, Sledgehammer Theatre, Oregon Contemporary Theatre, Critical Mass Ensemble, Artists at Play and Native Voices at the Autry.
Luan Schooler is the Director of New Play Development & Dramaturgy at Artists Repertory Theatre in Portland, Oregon. Since starting there in 2015, she has initiated projects with Yussef El Guindi, Larissa FastHorse, Linda Alper, Andrea Stolowitz, Dael Orlandersmith, Hansol Jung, Anthony Hudson, and Susannah Mars. Before joining Artists Rep, she was Literary Manager/Dramaturg at Berkeley Rep for several years, and worked with many writers including David Edgar, Naomi Iizuka, Salman Rushdie, Dominique Serrand, Rinde Eckert, Lillian Groag, Bridget Carpenter, and Robert Fagles. While at Berkeley Rep, she served as production dramaturg on many productions, including with Lisa Peterson on Shakespeare’s Antony & Cleopatra. At OSF, she provided dramaturgy during two seasons, including on David Edgar’s Continental Divide, a project so large it required three dramaturgs: Lue Douthit, Douglas Langworthy, and Luan Schooler. (Interesting side note: the collective noun is ‘aggravation’, as in, “an aggravation of dramaturgs”.) Prior to all these experiences, she was a company member of Perseverance Theatre in Juneau, Alaska for many years. There, she learned what makes plays tick by working with artists like Paula Vogel, John Murrell, Molly Smith, Per Olav Sorensen, Pavel Dobrusky, John Luther Adams, and many others.
Waylon Lenk is Karuk from the villages of Ka’tim’îin and Taxasúfkara, as well as an Oregon-based dramaturg/producer. He is currently a dramaturg on the Oregon Shakespeare Festival’s production of Off the Rails, and a doctoral student at the University of Oregon’s Theatre Department, where his current research involves reading indigenous North American maps as performance texts. He also teaches Introduction to Acting, and recently directed a shadow puppet adaptation of a Klamath legend in the University’s Many Nation’s Longhouse. Last season he was the Shakespeare Dramaturgy Resident at the Oregon Shakespeare Festival, and worked on The Winter’s Tale and Richard II. He has previously presented work at Oregon State University, Portland Public Schools, the Piggyback Fringe Festival in Wakefield, Quebec, and at the Sycuan Band of the Kumeyaay Nation’s U.S. Grant Hotel. His work approaches Native theatre from his position(s) as a dramaturg and a pikváhaan, or Karuk storyteller. As a dramaturg he actively promotes the work of Native playwrights and is involved research to extend the boundaries of what is considered “Native theater.” As a pikváhaan he uses tools from the field of theatre to (re)activate his people’s body of literature. His work has been funded by Oregon State University, Advocates for Indigenous California Languages, and the Yurok Tribe. He is currently developing a piece that uses traditional Karuk pikvah and primary historical documents to grapple with the ongoing legacy of the California Genocide aka Gold Rush with funding from The Evergreen State College’s Longhouse Education and Culture Center. He holds an M.F.A. in Dramaturgy from Stony Brook University, and a B.A. from Lewis & Clark College.
Andrea Hiebler is currently the Director of Scouting and Submissions at The Lark. Andrea first joined The Lark as an intern back in the summer of 2006, then served as Literary Associate for Playwrights’ Week before becoming a full-time member of the artistic team in 2009. She now manages multiple play submission and fellowship selection processes, writer scouting and tracking and serves as a facilitator for a variety of Lark programs and writers’ groups.
A New York native, Andrea graduated from The College of Wooster in Ohio with a B.A. in Theatre and English. She has participated as a script reader for Sundance and The Ruby Prize and hosted a series of affinity sessions on Dramaturgy/New Play Development at the national TCG conference. Away from the theater, you can find her listening to classic rock or rooting for her favorite New York sports teams at a local bar.
Mead K. Hunter launched his theater career as playwright in residence at Storefront Actors Theatre in Portland, Oregon, and like most theater folk, went on to take a turn at nearly everything job description the field encompasses. He earned an MFA in Dramaturgy and Dramatic Criticism from Yale University and a PhD in Critical Studies from UCLA. He has taught performance history and text analysis at UCLA, UC San Diego, University of Iowa and the California Institute of the Arts. He also guest lectures on contemporary theater at institutions around the United States, and frequently consults for various art service organizations as well as commercial entities.
For 10 years he served as Director of Literary Programs for A.S.K. Theater Projects in Los Angeles where, among other duties, he commissioned many original scripts, including Naomi Iizuka’s 36 Views, Mayhem by Kelly Stuart, Marlane Meyer’s The Mystery of Attraction, and The Lively Lad by Quincy Long. While in L.A., he also curated the popular Common Ground Festival, which introduced numerous companies to the region including RedMoon Theater and Diavolo Dance Company.
From 2002-2009, Mead was Portland Center Stage’s Director Literary & Education Programs. While at PCS, he was the production dramaturg on many world premieres (including Celebrity Row by Itamar Moses, and Glen Berger’s O Lovely Glowworm), in addition to curating the company’s annual festival of new work. Beloved dramaturgical endeavors elsewhere include the world premieres of Sam Hunter’s The Whale at Denver Center, The Huntsmen (by Quincy Long) for Portland Playhouse, The Monster Builder (by Amy Freed) and Ithaka (by Andrea Stolowitz) for Artists Repertory Theatre, Amy Freed’s Shrew! at SCR’s Pacific Playwrights Festival, and of course getting to work with Doug Langworthy on the Henry VIplays for the Play On! project.
Today Mead is a professor in the Performing Arts Department of the University of Portland, where he teaches theater history, dramaturgy and script analysis, and recently directed Naomi Iizuka’s Good Kids. He is also an associate editor for Methuen Ltd., working currently on the forthcoming Methuen Guide to Contemporary Drama. Mead is especially proud to be the former artistic director of The New Harmony Project, a play development organization dedicated to supporting new works for performance that reflect the resilience of the human spirit.
Mead K Hunter
Julie Felise Dubiner is the former Associate Director of American Revolutions: the United States History Cycle. While at OSF, Julie served as dramaturg for Beauty and the Beast; The Wiz; Sweat, The Cocoanuts; The Liquid Plain; and Party People. At Actors Theatre of Louisville, she collaborated on more than 40 productions and projects in the regular season and the Humana Festival, and co-created Rock & Roll: The Reunion Tour. In Philadelphia, she was project manager of the musical The Rosenbach Company and dramaturg at the Prince Music Theater. In Chicago, Julie freelanced with Defiant Theatre, blue star performance company, Steppenwolf Theatre Company and others. She has been a guest dramaturg at the Kennedy Center and KCACTF, the O’Neill Playwrights Conference, the New Harmony Project and elsewhere. Julie is the co-editor of two anthologies of Humana Festival plays; co-author of The Process of Dramaturgy: A Practical Guide; and a contributor to The Routledge Companion to Dramaturgy, Innovation in Five Acts: Strategies for Theatre and Performance, HowlRound, the LMDA Source Book; and is a Kilroys nominator. Julie holds a BA from Tufts University and an MFA from Columbia University.
Nancy Keystone is a Los Angeles-based, multi-disciplinary theatre maker, visual artist, & founding artistic director of Critical Mass Performance Group (CMPG). She is an honored recipient of a 2014 Doris Duke Performing Artist Award, & 2011 United States Artists Hoi Fellowship. Critical Mass Performance Group is a collaborative ensemble developing new works and adaptations of classic texts since 1985. It was named 2013’s Best Theater Company by LA WEEKLY.
In her roles as CMPG’s chief investigator, writer, director, and designer, Keystone has recently helmed: AMERYKA (2010-2016) a kaleidoscopic new work illuminating the promises and betrayals of the United States, through the surprising relationship with Poland;ALCESTIS, a deconstruction of Euripides’ play about love and sacrifice, developed at Getty Villa Theatre Lab, premiered at Theatre @ Boston Court in Pasadena; APOLLO, an epic trilogy exploring the US space program, its relationship with Nazi rocket scientists, and the surprising intersection with the Civil Rights Movement–Parts 1 & 2 premiered at Kirk Douglas Theatre 2005, Part 3 premiered with the full trilogy at Portland Center Stage 2009; THE AKHMATOVA PROJECT, movement-theatre piece inspired by life & work of Russian poet, Anna Akhmatova. Other recent Keystone/CMPG projects: BREAD, 2011 site specific interactive performance-salon, Cornerstone Theater commission; 365 DAYS/365 PLAYS #47 by Suzan-Lori Parks, 2007 site specific, Angels Gate Cultural Center; adaptation of ANTIGONE, 2001 at Portland Center Stage.
As a freelance artist Ms. Keystone has directed & designed award-winning productions at regional theaters (Portland Center Stage, Center Theatre Group/California Plaza, East West Players, Theatre @ Boston Court, Actor’s Express, Georgia Shakespeare Festival, San Francisco Shakespeare Festival), as well as opera (Musica Angelica, Long Beach Opera, San Luis Obispo Mozart Festival) and film.
As a visual artist she creates paintings and collages for exhibitions and commissions. Her work has been honored with, and supported by Theatre Communication Group’s 2003 Alan Schneider Director Award, MacDowell Colony Fellow, grants from NEA, Association of Performing Arts Presenters/Doris Duke Foundation, TCG/Pew Charitable Trusts, Center for Cultural Innovation, Flintridge Foundation, Alfred P. Sloan Foundation, Drama League of New York fellowship. She is on visiting faculty at UCLA, and has been a guest lecturer at colleges and universities around the country. She holds a BA in Theatre from UCLA, and MFA in directing from Carnegie Mellon.
Drew Barr has directed productions of new, modern, and classical plays and musicals for theaters across the United States and around the world. He directed the Dutch-language premiere of the National Theatre of London’s War Horse, which opened the 2013 Holland Festival at Amsterdam’s Royal Carré Theatre before a year-long tour of the Netherlands and Belgium. For the National Theatre, he also directed the Australian premiere of War Horse, which ran in Melbourne, Sydney and Brisbane. He was the Resident Director for War Horse on Broadway at Lincoln Center Theater. Also on Broadway, Drew served as associate director for Simon McBurney’s acclaimed revival of All My Sons by Arthur Miller, as well as Nicholas Hytner’s productions of Sweet Smell of Success and Twelfth Night. He recently served as associate director/dramaturg for the Simon McBurney and James Yeatman stage adaptation of Robert Evan’s autobiography, The Kid Stays in the Picture, which played a sold-out run at London’s Royal Court Theatre.
Drew’s other New York directing credits include the premiere of Neal Brennan’s one-man show, 3 Mics, which played at the Lynn Redgrave Theater and was recently filmed for Netflix. He directed revivals of Brian Friel’s Lovers and Frank Marcus’s The Killing of Sister George for The Actors Company Theater (TACT) at the Clurman Theater, as well as the Off-Broadway premieres of Adam Bock’s The Typographer’s Dream and Karl Gajdusek’s Greedy, for Clubbed Thumb.
Regionally, Drew has directed for such companies as Great Lakes Theater, Idaho Shakespeare Festival, PlayMakers Repertory Company, Portland Stage Company, Perseverance Theatre, Boise Contemporary Theater, The Actors Company Theater, Clubbed Thumb and Page 73.
In addition to work as a private coach, Drew has directed and guest taught for many of the country’s leading actor training programs, including the Juilliard School, NYU’s Graduate Acting Program, SUNY Purchase, the University of Delaware’s PTTP, the University of Washington’s School of Drama and the Department of Dramatic Art at the University of North Carolina Chapel Hill.
Degrees, Studies and Affiliations: M.F.A. Graduate Acting Program of NYU’s Tisch School of the Arts; A.B., Drama (with Honors), Stanford University; SDC, AEA. drewbarr.com
Katie Peterson is the author of three collections of poetry, This One Tree, Permission, and The Accounts. Her poems, essays, and reviews have appeared widely. Recently, she contributed a poem to the Boston Review’s 2017 anthology, Poems for Political Disaster. She has received fellowships to support her work from the Bread Loaf Writers’ Conference, the Foundation for Contemporary Arts, the Radcliffe Institute at Harvard University, and the American Academy of Arts and Letters. With her partner Young Suh, she has made and shown multimedia work in film, sculpture, and artist’s books; last year Mills College Museum of Art presented a show of their collaborative work entitled “Can We Live Here? Stories from a Difficult World.” Peterson is Associate Professor of English at the University of California Davis where she teaches in the Graduate Creative Writing Program. She often teaches on a short term basis at Deep Springs College in rural Inyo County, California, where she is a member of the Board of Trustees.
Nakissa Etemad is a professional dramaturg, producer, director, and French translator based in San Francisco, CA. She is the recipient of the 2015 Elliott Hayes Award for Outstanding Achievement in Dramaturgy for her work on four multi-city world premieres of Marcus Gardley’s the road weeps, the well runs dry through LARK’s Launching New Plays into the Repertoire (Perseverance Theatre, AK; Pillsbury House Theatre, MN; LATC; Univ. of S. Florida’s School of Theatre & Dance). The Regional VP Metro Bay Area for Literary Managers and Dramaturgs of the Americas (LMDA), she has worked in the field of dramaturgy since 1992, including full-time posts as Dramaturg & Literary Manager for Philadelphia’s The Wilma Theater, San Jose Repertory Theatre, and Resident Dramaturg & Artistic Associate for San Diego Rep. Ms. Etemad has fostered 24 professional world premiere plays & musicals and dramaturged over 90 productions, workshops & staged readings with such writers as Tom Stoppard, Arthur Miller, Lynn Nottage, Luis Valdez, Polly Pen, Marcus Gardley, Charles L. Mee, Doug Wright, Octavio Solis, Julie Hébert, Chay Yew, Dael Orlandersmith, Katori Hall, Lillian Groag, Culture Clash, D.W. Jacobs, Ray Leslee, Heather McDonald, Steven Dietz, Lauren Yee, David Adjmi, Dan Dietz, Geetha Reddy, Garret Jon Groenveld, Marisela Treviño Orta, Torange Yeghiazarian, Stephanie Fleischmann, and Jeanne Drennan.
Highlights include: Dramaturg for East Coast Premiere/2nd Production of Arthur Miller’s penultimate play Resurrection Blues at The Wilma; The Philadelphia Orchestra & The Wilma Theater’s Every Good Boy Deserves Favor by Tom Stoppard & André Previn, with David Strathairn and Richard Easton; the inaugural world premiere production of Marcus Gardley’s every tongue confess in Arena Stage’s Kogod Cradle; the world premiere Wilma-commissioned musical Embarrassments by Polly Pen and Laurence Klavan; world premiere of The Doors musical Celebration of the Lizard at San Diego Rep, with workshops starring Billy Zane and Grace Jones; Producer of San Jose Rep’s 5th Annual New America Playwrights Festival 2001, featuring Lynn Nottage, Polly Pen, James Milton, Naomi Iizuka; and Dramaturg for Katori Hall on her play The Mountaintop in Bay Area Playwrights Fest. Ms. Etemad has also provided dramaturgy for Oregon Shakespeare Festival, Alliance Theatre, Arizona Theatre Company, O’Neill Music Theater Conference, La Jolla Playhouse, Shotgun Players, Golden Thread, African-American Shakes, French Consulate SF, The Cutting Ball Theater (as Resident Dramaturg for BATCC award-winning productions of Marcus Gardley’s …and Jesus Moonwalks the Mississippi, Ionesco’s The Bald Soprano and Victims of Duty), Playwrights Foundation (PF) and six Bay Area Playwrights Festivals, Crowded Fire, Alter Theater, George St. Playhouse, Diversionary Theatre, Austin Script Works, and the inaugural season of Berkeley Rep’s The Ground Floor with Gardley’s the House that will not Stand.
Philippa Kelly (PhD Shakespeare) is Resident Dramaturg for the California Shakespeare Theater and regularly serves as production dramaturg for various regional theaters. She is also Professor and Chair of English at the California Jazz Conservatory. For her research Philippa has been awarded fellowships from the Fulbright, Rockefeller, Walter and Eliza Hall, and Commonwealth Foundations at UC Berkeley, Oxford University and Bellagio, as well as Fellowships at the Australian National University and Sydney University and a multi-year Senior Fellowship at the University of New South Wales. Philippa is the co-recipient of a Bly Award for Innovation in Dramaturgy from the Literary Managers and Dramaturgs of the Americas, culminating in a volume, Unpacking Dramaturgy: Diversity, Inclusion and Representation, Case Studies From the Field, co-edited with Amrita Ramanan, to be published by Routledge Press in the summer of 2019. Philippa is team leader for grants awarded by the Walter and Elise Haas Foundation and the California Arts Council for curriculum components taught in under-served Oakland schools. She has published many works, including 11 books (presses include Halstead, Ashgate, Oxford University Press, Michigan, Arden), 45 internationally refereed articles, and 43 playbill articles. Philippa has published extensively on King Lear, the closest to her heart being her book, The King and I(Arden Press, 2011). A meditation on Australian identity through the lens of Shakespeare’s King Lear, The King and I illuminates contemporary social attitudes toward the fringe-dwellers of society. Finally, Philippa is proud to lead a year-round community theater group entitled Berkeley Theater Explorations, the purpose of which is to make dramaturgy foundational to community theater appreciation.
Davina Moss serves as Literary Manager at Hampstead Theatre, London. Previous employment includes Public Theater and New Works at the Liverpool Everyman and Playhouse. As a freelance dramaturg, her most recent projects include the first production of The Merchant of Venice in the Venetian ghetto with Italian-American theatre collective Compagnia de’ Colombari. She holds an MFA in Dramaturgy and Dramatic Criticism from the Yale School of Drama, where her credits include ’Tis Pity She’s a Whore, Macbeth, The Oresteia, Tiny, and Clybourne Park.
Ishia Bennison has worked as an actor/ producer since she was seventeen. Her first introduction to Migdalia Cruz was in London when she produced and performed in Miriam’s Flowers, a wonderful play written by Migdalia. Little did we know that nearly 30 years later we’d have the pleasure of reuniting and working together on on Macbeth and Richard III for OSF. We’ve had a blast.
Romeo and Juliet and Merry Wives of Windsor, Mad World My Masters and Candide (RSC and national tour); Julius Caesar (Donmar, all female version); The Importance of Being Earnest (The Rose, Hong Kong Festival); Our Private Life (Royal Court); The Canterbury Tales (tour and The Rose), A Couple Of Poor, Polish Speaking Romanians(Soho Theatre); A New Way To Please You, Sejanus -His Fall, Speaking Like Magpies, Cymbeline, Measure for Measure (Royal Shakespeare Company); Bites (Bush Theatre); Strange Orchestra, Mother Courage (Orange Tree); Who’s Afraid Of Virginia Woolf? (Manchester Library); Arabian Nights (Young Vic Company); Antony and Cleopatra (BAM New York), A Midsummer Night Dream (Brazil tour), Merry Wives (India tour), Richard III (Riverside Studios & The Tower of London) Poetry Or Bust, Samson Agonistes, Romeo and Juliet (Northern Broadsides); Medea (Lilian Baylis); Les Miserables (Nottingham Playhouse) Turcaret (Gate); One For The Road (Meridian Prods.); Educating Rita (Oxford Playhouse); Red Devils (Liverpool Playhouse).
Television and Film includes:
Happy Valley – two seasons; New Tricks; Last Tango in Halifax; True Dare Kiss; At Home With The Braithwaites – four seasons; Holby City; Emmerdale; Coronation Street; Burnside; Love Hurts; Give And Take; Mother’s Day; Story Teller; Bread; Eastenders; Much Ado About Nothing; Mitch: A Family Affair; Kessler; Bid For Power; King David with Richard Gere; Anno Domini; The Awakening; Jesus Of Nazareth.
Producer of 7 documentaries for BBC and Channel 4
Andrew is a faculty member in the Department of Theatre and Dance at the University of Texas at Austin where he teaches courses in dramaturgy, Shakespeare, acting and performance studies and serves as the co-head of the B.A. program. Since 2012, Andrew has also been the managing director of the Oscar G. Brockett Center for Theatre History and Criticism. With the Brockett Center, he has worked on a variety of initiatives such as The American Theatre Archive Project and the American Theatre Magazine’s historical almanac column.
Andrew is co-author of the 11th edition of textbook The Essential Theatre and has published essays in Theatre History Studies, American Theatre Magazine, and the Routledge Companion to Dramaturgy. He has presented scholarship at the American Society for Theatre Research (ASTR), Association for Theatre in Higher Education (ATHE), Association for Practical and Professional Ethics, American Society for Eighteenth Century Research and the Mid-America Theatre Conference.
As a dramaturg and actor, Andrew has worked with the Guthrie Theatre, Oregon Shakespeare Festival, Children’s Theatre of Charlotte, First Folio Theatre, ZACH Theatre, Austin Shakespeare, and Children’s Theatre of Madison. He is also an artistic associate with The Great River Shakespeare Festival where he has worked as an actor for ten seasons. Andrew is an award-winning teacher. In 2016, Dr. Carlson received the Regents’ Outstanding Teaching Award and is a 2017 Provost’s Teaching Fellow.
Andrew Ian Carlson
Liz Engelman is on faculty in the Playwriting and Directing area at UT Austin. As a dramaturg, Liz splits her time between the school year at UT Austin, and summer in Ely, MN, where she is the founder and director of Tofte Lake Center at Norm’s Fish Camp, a creative retreat center in the Boundary Waters. Liz has served as the Alumnae Relations Coordinator at Hedgebrook, a retreat for women writers on Whidbey Island, as Resident Dramaturg at Mixed Blood Theatre, as the Literary Director of the McCarter Theatre, the Director of New Play Development at ACT Theatre in Seattle, Washington, Literary Manager/Dramaturg at Seattle’s Intiman Theatre, and as Assistant Literary Manager at Actors Theatre of Louisville.
Liz has worked on the development of new plays across the country and abroad, including The Playwrights’ Center in Minneapolis, Bay Area Playwrights Festival, ASK Theatre Projects, New York Theatre Workshop, the O’Neill Playwrights Conference, South Coast Rep, Denver Center, and Florida Stage. She has directed new plays at The Illusion Theatre, Mixed Blood Theatre, The Playwrights’ Center in Minneapolis, and Carleton College. Liz has been a guest at Washington University in St. Louis, the University of Puget Sound, Cornish College of the Arts, and has taught playwriting at Freehold Studio Theatre Lab and The Playwrights’ Center.
Liz studied dramaturgy and new play development at Brown and Columbia universities, where she received her BA and MFA in theatre and dramaturgy, respectively. Liz is the co-editor with Michael Bigelow Dixon of several collections of plays, and a book on playwriting exercises; two volumes of monologues with Tori Haring-Smith; and a collection of Hedgebrook plays with Christine Sumption. She has written articles published in Theatre Topics and Theatre Forum.
Liz has served as President, Board Chair and is a current Board Member of LMDA, Literary Managers and Dramaturgs of the Americas. She serves as an Ambassador-at-Large for the National New Play Network and is on the Advisory Board for Scriptworks. She is a board member of the National Theatre Conference.
Expertise: New play dramaturgy, playwriting, directing…and paddleboarding.
Amrita Ramanan is a dramaturg, creative producer, and artistic leader who holds the values of anti-racism, anti-colonialism, equity, access, diversity, and inclusion at the core of her practice. Her dramaturgy credits include Sitayana (East West Players), BULL: A love story (Paramount Theatre); Cambodian Rock Band, Snow in Midsummer, Oklahoma!, As You Like It, Macbeth, Alice in Wonderland, Henry V, and Henry IV Parts 1 & 2 (Oregon Shakespeare Festival), Mary T. & Lizzy K., Trouble in Mind, Ruined, My Fair Lady, The Music Man, and Duke Ellington’s Sophisticated Ladies (Arena Stage). She has produced and curated several new play development incubators, including Oregon Shakespeare Festival’s Black Swan Lab for New Play Development and Arena Stage’s New Play Reading Series. She is a board member of the Literary Managers and Dramaturgs of the Americas and a National Theater Project advisor for the New England Foundation for the Arts.
Christine Sumption has served as a dramaturg for Hedgebrook Women Playwrights Festival (20+ years), Sundance Theatre Lab, the New Harmony Project, Goodman Theatre, Oregon Shakespeare Festival, Icicle Creek Theatre Festival, Seattle Repertory Theatre, and Seattle Children’s Theatre, and has worked with numerous playwrights including Tanya Barfield, Dipika Guha, Kathleen Tolan, and Cheryl L. West. Her directing credits include productions at Seattle Repertory Theatre, Seattle Children’s Theatre, Tacoma Actors Guild, and DARTS/Company Subaru in Tokyo, where she served as Resident Director for three years. She was on the artistic staff of Seattle Repertory Theatre for nine seasons, where she served as dramaturg/literary manager, edited publications, and produced the annual Women Playwrights Festival in partnership with Hedgebrook, a Whidbey Island writers retreat. She teaches at Cornish College of the Arts. Hedgebrook Plays, Volume 1, which she co-edited with Liz Engelman, was published by Whit Press in November, 2012.
Heidi Schreck is an award-winning playwright, actor and screenwriter living in Brooklyn. Her latest play Grand Concourse premiered at Playwrights Horizons, Steppenwolf, and theaters across the country, and was a finalist for the Susan Smith Blackburn prize. Her other plays include Creature (New Georges and Page 73); There Are No More Big Secrets (Rattlestick Playwrights Theatre); and The Consultant (Long Wharf Theatre). Awards include the Page 73 Fellowship, the Lilly Awards Stacey Mindich Prize, and the Claire Tow Fellowship at Playwrights Horizons. As an actor, Heidi has performed extensively at theaters in NYC and regionally, including the Roundabout, Playwrights Horizons, Center Theatre Group, Shakespeare in the Park, Clubbed Thumb, Berkley Repertory Theatre, Manhattan Theatre Club, and the Women’s Project. She has also appeared on Nurse Jackie, Billions, The Good Wife and Law and Order: SVU. Heidi is currently a writer and co-executive producer on Amazon’s I Love Dick. Other television writing includes Showtime’s Nurse Jackie and Billions, as well as projects in development with ITV and Bravo, and a mini-series inspired by Mary Gaitskill’s Bad Behavior. Heidi has received two OBIEs, a Drama Desk, and the Theatre World Award.
In addition to her dramaturgical work, Lydia Garci is the Denver Center for the Performing Arts first-ever Executive Director of Equity and Organization Culture. Lydia was a resident lecturer and teacher at the Oregon Shakespeare Festival, where she dramaturged more than 20 plays in 8 seasons including the world premieres of Sean Graney’s The Yeomen of the Guard, Alexa Junge’s Fingersmith, Tracy Young and Oded Gross’s The Imaginary Invalid and The Servant of Two Masters, and Octavio Solis’s Quixote.
She is also a trained staff facilitator for issues of diversity, inclusion, and equity. She holds a BA in English and American Literature and Language from Harvard University and an MFA in Dramaturgy and Dramatic Criticism from the Yale School of Drama, and is a member of the Literary Managers and Dramaturgs of the Americas (LMDA).
Lydia G. Garcia
Alex Barron is a dramaturg and producer based in New York. He has worked on the artistic staffs of MCC Theater, SPACE on Ryder Farm, The Playwrights Realm and Manhattan Theatre Club, and as a consultant for the Sundance Institute Theatre Program and Scott Rudin Productions. As a dramaturg, he’s developed new plays at the Sundance Theatre Lab, New York Stage and Film, The O’Neill Center, The Public Theater and the Denver Center, among others. Alex produced Naked Radio, a new play podcast, for Naked Angels Theatre Company and is a producer on The New Yorker Radio Hour.
Ayanna Thompson is Director of the Arizona Center for Medieval & Renaissance Studies (ACMRS) at Arizona State University. She is the author of Shakespeare in the Theatre: Peter Sellars (Arden Bloomsbury, 2018), Teaching Shakespeare with Purpose: A Student-Centred Approach (Arden Bloomsbury, 2016), Passing Strange: Shakespeare, Race, and Contemporary America (Oxford University Press, 2011), and Performing Race and Torture on the Early Modern Stage (Routledge, 2008). She wrote the new introduction for the revised Arden3 Othello (Arden, 2016), and is the editor of Weyward Macbeth: Intersections of Race and Performance(Palgrave, 2010) and Colorblind Shakespeare: New Perspectives on Race and Performance (Routledge, 2006). She is currently working on a collection of essays for Cambridge University Press, and is collaborating with Curtis Perry on the Arden4 edition of Titus Andronicus. Professor Thompson was the 2018-19 President of the Shakespeare Association of America, and was one of Phi Beta Kappa’s Visiting Scholars for 2017-2018.
Alan Armstrong was the founding director of the Southern Oregon University Center for Shakespeare Studies, working in collaboration with the Oregon Shakespeare Festival to make performance more central to Shakespeare teaching and scholarship. He led twelve NEH national Shakespeare institutes for school teachers and served as a senior scholar for NEH institutes for college and university professors at Shakespeare’s Globe (London) and the American Shakespeare Center. He is currently research dramaturg for the Oregon Shakespeare Festival’s 2017 productions of Henry IV, Part One and Henry IV, Part Two, and 2018 production of Henry V.
Dr. Armstrong studies both original and contemporary staging of Shakespeare’s plays. His most recent work includes a book of interviews entitled Oregon Shakespeare Festival Actors: Telling the Story; an essay discovering textual evidence for the doubling of Egeon and Dr. Pinch in original performances of The Comedy of Errors; and an article on “Actors as Evidence: Building a Character.” For many years, he also co-edited the international journal Literature and History and reviewed OSF productions for Shakespeare Bulletin.
Armstrong earned his Ph.D. in Renaissance literature from Cornell University, where he was a Woodrow Wilson Fellow. He has been the recipient of a Leverhulme Fellowship (University of Southampton, U.K.) and ACLS research grant (Bodleian Library, University of Oxford), and has taught also at Hamilton and Kirkland Colleges, the Georgia Institute of Technology, and the Mary Baldwin University/American Shakespeare Center’s graduate program in Shakespeare and Performance.
Armstrong has been production dramaturg for eight OSF Shakespeare plays: King John; Coriolanus; Henry VIII; Hamlet; Henry IV, Parts One and Two; Henry V; and Pericles. He was also dramaturg for OSF’s world premiere production of Great Expectations and literary consultant for its production of Wit.
Joy Meads is recently the Director of Dramaturgy and New Works for A.C.T. in San Francisco. Formerly the Literary Associate and Artistic Engagement Strategist at Center Theatre Group, where her dramaturgy credits include Forever by Dael Orlandersmith, Marjorie Prime by Jordan Harrison, The Royale by Marco Ramirez, and A Parallelogram by Bruce Norris. Previous to CTG, Joy was Literary Manager at Steppenwolf Theatre Company and Associate Artistic Director at California Shakespeare Theater, where she ran the theater’s New Works/New Communities program. Joy has also worked with Portland Center Stage, the O’Neill, South Coast Rep, Chicago Dramatists, The Playwrights’ Center, Native Voices at the Autry, NYTW, and Campo Santo + Intersection for the Arts.
Aaron is the Literary Director & Dramaturg at New York Theatre Workshop and has been on the Artistic Staff at the theatre since 2012. At NYTW, he serves as the resident dramaturg, oversees the literary office, co-administers the 2050 Artistic Fellowship, and works extensively on the theatre’s public programming initiatives. Before moving to New York, Aaron worked at the Williamstown Theatre Festival and Arena Stage as a dramaturg and producer. As a freelance dramaturg, Aaron has worked with the Eugene O’Neill Theater Center, Oregon Shakespeare Festival, Ma-Yi Theater Company, and People’s Light and Theater Company. He has collaborated with Ayad Akhtar, Hammaad Chaudry, Sibyl Kempson, Anaïs Mitchell, Rachel Chavkin, Colman Domingo, Nathan Alan Davis, Mfoniso Udofia, Hansol Jung, Heidi Schreck, Jeremy O. Harris and Lucas Hnath, among others. He has been published in HowlRound: A Journal of the Theater Commons, Shakespeare Theatre Company’s Asides Magazine, and Arena Stage’s Sub/Text: Your Virtual Dramaturg. Aaron is a graduate of Brown University.
Drew Lichtenberg is Literary Manager and Resident Dramaturg at the Shakespeare Theatre Company, where he has worked on 40 productions over 8 seasons, including 19 plays from the Shakespeare canon, and world premieres by David Ives, former poet laureate Robert Pinsky, Heather Raffo, Yaël Farber, Jeffrey Hatcher, and Ellen Mclaughlin. In his ten-plus years as a dramaturg, Drew has also worked on Broadway and in London’s West End, as well as at theatres around the country including Woolly Mammoth, Baltimore Center Stage, the McCarter Theatre Center at Princeton University, Yale Repertory Theatre, Williamstown Theatre Festival, and the Public Theater’s Shakespeare in the Park Festival. He is currently working on freelance dramaturgy and adaptation projects with the Young Vic in London, the Brooklyn Academy of Music, and Theater J.
He is a part-time faculty member at the Catholic University of America and Eugene Lang College at the New School and he has guest lectured at a variety of institutions including Georgetown University, American University, George Washington University, Denison University, Ohio University, Carnegie Mellon University, the Goethe Institute, and the Alliance Française. He has served as a responder for the Kennedy Center’s American College Theatre Festival and advised on arts funding panels for the D.C. Commission for the Arts and Humanities, the Baltimore Cultural Alliance, and the Cuyahoga County Community Partnership for Arts and Culture. He has appeared as a guest panelist on the National Theatre’s Platform series, Howlround, and Maryland Public Television, and as a judge on the New Plays panel of the D.C.-area Helen Hayes Awards. He has presented at the annual meetings of ATHE and the Comparative Drama Conference, and his writing and reviews have appeared in Theater,Theatre Journal, Text & Presentation, and Contemporary Theatre Review. His scholarly monograph, Piscatorbühne 1927-8: The Season that Changed Modern Theatre, is forthcoming from Northwestern University Press.
He holds a Master’s and a Doctorate in Fine Arts in Dramaturgy & Dramatic Criticism from Yale School of Drama.
Christian Parker is a director and dramaturg. He has just completed a seven year stint as Chair of the MFA Theatre program at Columbia University, where he also oversees the Dramaturgy concentration. He was the Associate Artistic Director of the Atlantic Theater Company from 2001-2014, and served as the Literary Manager of Manhattan Theatre Club for several seasons. He is a founding member of the new itinerant theatre company, New Neighborhood, where he is developing a new show with the theatrical band The Petersons. Notable directing projects include plays by Tina Howe, David Hare, Leslie Ayvazian, Jeff Whitty, Ken Weitzman, Marco Ramirez, David Auburn, Cusi Cram, Rolin Jones, and Laura Eason. He was the resident director of the Kenyon Playwrights Conference, and has developed work with the O’Neill, Sundance Theatre Labs, New Harmony, Gulfshore Playhouse and Perry-Mansfield, among others. He is a past Tony nominator. BA, Middlebury College. MFA, Columbia.
James Magruder (Dramaturg, Troilus and Cressida) is a playwright, translator, and fiction writer. His adaptations of Gozzi, Moliére, Marivaux, Hofmannstahl, Lesage, Labiche, Giraudoux, Sidney, and Dickens have been performed on and off-Broadway, at regional theaters across the United States, and in Germany and Japan. He has published three books of fiction (Sugarless, Let Me See It, and Love Slaves of Helen Hadley Hall) and wrote, or co-wrote, the books to the Broadway musicals Triumph of Love and the inauthentic Broadway Head Over Heels. He lives in Baltimore and teaches theater at Swarthmore College and the Yale School of Drama.
Kate McConnell received her MFA in dramaturgy and dramatic criticism from Yale School of Drama in 2005, specializing in Shakespeare production. She was the dramaturg on Romeo and Juliet and The Taming of the Shrew at OSF in 2007 and has had the pleasure of contributing a variety of articles to OSF’s various publications in the years since. Kate spent several years as a visiting assistant professor of English and Theater at Colgate University, and while there she continued to work as a freelance dramaturg. She currently lives in Los Angeles, where she is a senior creative director at Thinkwell Group, an experience design company, turning her dramaturgical skills to developing and telling stories in location-based experiences such as museums and theme parks. Some of her notable projects at Thinkwell include The Hunger Games: The Exhibition, Georgia Aquarium’s Aquanaut Adventure, Expo 2020 Dubai, and the new permanent exhibits at the Richard Nixon Presidential Library. Kate is very excited for this opportunity to take a deep dive into Shakespeare’s language and enjoying the new discoveries and conversations it provokes.
Currently, CEO/Creative Director of Play on Shakespeare.
During her 25 years at the Oregon Shakespeare Festival, Douthit oversaw a full service literary department as Director of Literary Development and Dramaturgy.
Play on! began in 2012 as a pilot program under her supervision. She was the Production Dramaturg for more than 50 productions, including 15 world premieres including: Hannah and the Dread Gazebo; Head Over Heels; Family Album; The Unfortunates; Throne of Blood; and Equivocation.
She has also worked on over two dozen Shakespeare productions. She is the co-adapter of a six-actor Macbeth and seven-actor Measure for Measure, which were both produced at OSF and elsewhere. She was the co-producer of the Black Swan Lab in 2009, going on to produce the lab from 2010 to 2016.
Douthit is the recipient of the 1999 Literary Manager & Dramaturgs of the Americas (LMDA) Prize in Dramaturgy: The Elliott Hayes Award.
She received a PhD at the University of Washington, an MFA from Trinity University, and an MA from University of Arizona.
Ben Pryor is the Provost and CEO of Antioch University Seattle. Before serving as a dramaturge for Play On!, Pryor was a founder and longtime member of the Glacity Theatre Collective in Toledo, Ohio. As an actor with GTC he appeared in Who’s Afraid of Virginia Woolf?, Breathing Corpses, Eurydice, Suburban Motel, All’s Well, Betrayal, Waiting for Godot, Exhibition, Hunting Cockroaches and Circle Mirror Transformation. Pryor joined the GTC for the Toledo Symphony’s production of Stoppard and Previn’s Every Good Boy Deserves Favour at Carnegie Hall in 2011.
Pryor is originally from southern California where he attended the Johnston Center of the University of Redlands where he played Ferdinand in The Tempest. He has worked with the South Coast Repertory Theatre and has appeared in short films and a children’s television production for ABC. Pryor has a Ph.D. in Philosophy.