The Onion Cellar Program - American Repertory Theater

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Depression, Soho Rep; and Quincy Long’s Whole Hearted, Mark Taper Forum’s Taper Too in Los Angeles. Adaptations: Fellini’s Juliet of the Spirits, Zurich; Phoebe’s Got Three Sisters, Cucaracha Theater in New York; O’Neill’s The Great God Brown, N.Y.U. and Harvard University. Has taught at the Yale School of Drama, New York University, and Columbia University, currently teaches at Harvard University, at the Harvard’s Extension School, and the A.R.T. Institute for Advanced Theatre Training. CHRISTINE JONES — Set Designer A.R.T.: Nocturne, The Merchant of Venice, The Taming of the Shrew, Man and Superman, When the World Was Green (A Chef’s Fable), Hot ‘n’ Throbbing, Picasso at the Lapin Agile; Silence, Cunning Exile, and The L.A. Plays. Broadway: Spring Awakening with music by Duncan Sheik, The Green Bird, with director Julie Taymor. Off Broadway: Much Ado About Nothing, Shakespeare in the Park; Flesh and Blood, Nocturne, New York Theatre Workshop; Burn This, Signature Theatre; Debbie Does Dallas, Jane Street Theatre; True Love, The Zipper; Silver River, Lincoln Center Festival. Opera: The Elephant Man, Minnesota Opera; Lucia de Lammermoor, New York City Opera; Guilio Cesare, Houston Grand Opera. Faculty member at NYU and Princeton. CLINT RAMOS — Costume Designer Designs set and costumes for theatre, opera, dance and film. Recent credits include Aunt Dan and Lemon (Merrimack Repertory Theater), Romania. Kiss Me (The Play Company), Taming of the Shrew( Commonwealth Shakespeare Co.), Angels in America (Opera Boston). Other credits include References to Salvador Dali Make Me Hot (Public Theater/NYSF), And God Created Great Whales (Foundry Theater/Culture Project). New York : Public Theater, Vineyard Theater, Red Bull Theater, Dance Theater Workshop, Ma-Yi Theater, Mint Theater and others. Regional : Baltimore Center Stage, Speakeasy Stage, East West Players, Merrimack Repertory Theater, Dallas Theater Center, Opera Theatre of St. Louis., Opera Boston among others. International: Noorlaand Operan (Stockholm), Teatro Pilipino ( Manila) , Kanon Dance (St. Petersburg), Stuttgarter Ballet (Stuttgart), De Nederlandse Opera ( Amsterdam) and others. Upcoming: Ah! Wilderness ( Baltimore Center Stage), Purity ( PS 122), Taming of the Shrew ( Dallas Theater Center), Ophelia 3 ( Here Arts Center). JUSTIN TOWNSEND — Lighting Designer With Marcus Stern: Arabian Nights. Recent New York credits: Eve Ensler’s, The Treatment (directed by Leigh Silverman), Culture Project; BAIT festival, PS122; Bone Portraits at (directed by Lear DeBessonet), Walker Space; Learning Curve (directed by Michael Sexton) Samuel Beckett; and Savage Acts, Ohio Theatre. Resident: Hartford Stage, Playmakers Rep, Portland Center Stage, The Intiman, Georgia Shakespeare Festival, Arden Theatre. Member of Two Headed Calf, creating new work with Brooke O’Hara and composer Brendan Conelly. Graduate of California Institute of the Arts and a founding member of TENT. RYAN MCKITTRICK — A.R.T. Associate Dramaturg Received his M.F.A. in Dramaturgy from the A.R.T./MXAT Institute for Advanced Theatre Training and his B.A. in History and Literature from Harvard. His articles on theatre have appeared in The Boston Globe, Correspondence, A.R.T. News, ARTicles, and The Boston Phoenix. Mr. McKittrick is a recipient of the TCG New Generations Award and the NTC Scholarship Award. He is also a Lecturer in Theatre Arts at Brandeis University. JENNIFER STURCH* — Stage Manager Six years at Trinity Repertory Company in Providence, RI. Highlights: World Premiere of Paul Vogel’s The Long Christmas Ride Home (also at Long Wharf Theatre, New Haven, CT), Homebody/Kabul, Henry V (part of The Henriad; Shakespeare’s Kings), all directed by Oskar Eustis; the premiere of Boots on the Ground; Suddenly Last Summer; Stones in his Pockets (dir. Brian McEleney); A Moon for the Misbegotten, Who’s Afraid of Virginia Woolf?, West Side Story, My Fair Lady (all directed by Amanda Dehnert). KATHERINE SHEA* — Assistant Stage Manager A.R.T.: Production Associate Island of Slaves, Desire Under the Elms. A.R.T. Institute Stage Manager The Front Page, Arabian Night, Zoya, Mayhem, A Bright Room Called Day, Island of Anyplace, The Bacchae, Spring Awakening, Donnie Darko.
ROBERT WOODRUFF — Artistic Director A.R.T.: directed Island of Slaves, Orpheus X, Olly’s Prison, Oedipus, Sound of a Voice, Highway Ulysses, Richard II, Full Circle (2000 Elliot Norton Award for Best Director) and In the Jungle of Cities (1998 Elliot Norton Award for Best Director). A.R.T. Institute: directed Charles L. Mee’s Trojan Women A Love Story. His credits include the premieres of Sam Shepard’s Curse of the Starving Class, Buried Child (Pulitzer Prize), and True West at the New York Shakespeare Festival; In the Belly of the Beast, A Lie of the Mind, and Philip Glass’s A Madrigal Opera at the Mark Taper Forum; The Comedy of Errors (with the Flying Karamazov Brothers) at Lincoln Center; David Mamet’s adaptation of Red River at The Goodman Theatre; The Tempest, A Man’s a Man, and Happy Days (among others) at La Jolla Playhouse; Julius Caesar at Alliance Theatre; The Duchess of Malfi and Nothing Sacred at the American Conservatory Theatre; The Skin of Our Teeth at The Guthrie Theater, and Baal at Trinity Repertory Company. His work has been seen at most major U.S. Arts Festivals and abroad. Recent work includes Medea at the National Theatre of Israel and Saved at Theatre for a New Audience. Mr. Woodruff co-founded The Eureka Theatre, San Francisco, and created The Bay Area Playwrights Festival. GIDEON LESTER — Associate Artistic Director Recent translations: Marivaux’s Island of Slaves and La Dispute (published by Ivan Dee, directed by Anne Bogart at the A.R.T.), Bertolt Brecht’s Mother Courage (directed by János Szász), Georg Büchner’s Woyzeck (directed by Marcus Stern), and two texts by the French playwright Michel Vinaver, King and Overboard (published by Methuen and staged at the Orange Tree Theatre in London.) Adaptations: Wings of Desire by Wim Wenders, Peter Handtke, and Richard Reitinger, directed by Ola Mafaalani; Kafka’s Amerika (directed at the A.R.T. by Dominique Serrand), Anne Frank for the Carr Center for Human Rights at Harvard, and Enter the Actress, a one-woman show that he devised for Claire Bloom. Born in London in 1972, Mr. Lester studied English Literature at Oxford University. In 1995 he came to the US on a Fulbright grant and Frank Knox Memorial Scholarship to study dramaturgy at the A.R.T. Institute for Advanced Theatre Training at Harvard. When he graduated from the Institute, Mr. Lester was appointed Resident Dramaturg. He became the A.R.T.’s Associate Artistic Director in 2002. He teaches dramaturgy at the A.R.T./MXAT Institute, playwriting at Harvard. ROBERT J. ORCHARD — Executive Director Mr. Orchard co-founded the A.R.T. with Robert Brustein in 1979 and served as the Company’s Managing Director for twenty-one years. He currently serves as Executive Director of the A.R.T. and the Institute for Advanced Theatre Training, and Director of the Loeb Drama Center at Harvard University. Prior to 1979, he was Managing Director of the Yale Repertory Theatre and School of Drama where he also served as Associate Professor and Co-Chairman of the Theatre Administration Program. For nearly twenty years, Mr. Orchard has been active facilitating exchanges, leading seminars, and advising on public policy with theatre professionals and government officials in Russia. At the A.R.T. he has produced nearly 170 productions over half of which were new works. In addition, he has overseen tours of A.R.T. productions to major festivals in Edinburgh, Avignon, Belgrade, Paris, Madrid, Jerusalem, Venice, Sao Paulo, Tokyo, Taipei, Singapore, and Moscow, among others. Under his leadership, A.R.T. has performed in eighty-one cities in twenty-two states and worldwide in twenty-one cities in sixteen countries on four continents. Mr. Orchard has served as Chairman of both the Theatre and the Opera/Musical Theatre Panels at the National Endowment for the Arts, on the Board and Executive Committee of the American Arts Alliance, the national advocacy association for the performing and visual arts, and as a trustee of Theatre Communications Group (TCG), the national service organization for the American professional theatre and publisher of American Theatre magazine. In addition he has served on the Board of the Cambridge Multi-Cultural Arts Center and as President of the Massachusetts Cultural Education Collaborative. In 2000, Mr. Orchard received the Elliot Norton Award for Sustained Excellence. (*) Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Actors’ Equity Association (AEA), founded in 1913, represents more than 45,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence. www.actorsequity.org
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The Onion Cellar Program - American Repertory Theater

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