|
|
Associate Professor in Acting and Directing and Head of Directing, Valerie is currently an Artistic Associate at A Contemporary Theatre (ACT) where she oversees the Hansberry Project, an African American theatre lab. She has directed projects for professional companies including Actors Theatre of Louisville, Alabama Shakespeare Festival, The Mark Taper Forum, Seattle Childrens Theatre, Northwest Asian American Theatre and Capitol Repertory Theatre. Valerie has participated in new play development for the New York Theatre Workshop, The Children's Theatre Company of Minneapolis, The Mark Taper Forum, Seattle Repertory Theatre and at the ACT/Hedgebrook and Seattle Rep/Hedgebrook Women Playwrights Festivals working with playwrights including Kia Corthron, Caridad Svich, Gina Gionfriddo, Laurie Carols and Valetta Anderson. In addition, she has served as Artistic Director for The Performing Ensemble of Hartford and the Ethnic Cultural Theatre at the UW, and was a participant in the 1997-98 NEA/TCG Career Development Program for Directors assisting Tina Landau, Douglas Hughes, Lisa Peterson, Gordon Edelstein and Sharon Ott. Valerie is a recent recipient of both the Stage Directors and Choregraphers Foundation's Sir John Gielgud Directing Fellowship and a UW Presidential Faculty Development Fellowship and is an alumna of Holy Cross College and the University of Washington (MFA).
Robert A. Dahlstrom, Professor Emeritus in scenic design, has designed for many theatres, among them The Royal Danish Opera, Le Grand Théâtre de Genève, Moscow International Theatre Center, The National Stage of Norway, Opéra Décentralisé de Neuchâtel, American Repertory Theatre, American Conservatory Theatre, Alliance Theatre, Arizona Theatre Company, Asolo Theatre, Cincinnati Opera, Old Globe Theatre, San Francisco Opera, and San Jose Rep. In Seattle he has designed numerous productions for Seattle Repertory Theatre, Seattle Opera, Pacific Northwest Ballet, A Contemporary Theatre, and Intiman Theatre. He has taught at the University of British Columbia, Rockford College and Northern Illinois University and is a member of United Scenic Artists Local #829.
William D. Forrester, Associate Professor Emeritus in scenic design, received his MFA from Yale University in 1969. Professor Forrester has designed scenery for many professional theatres in the Seattle area including the Seattle Repertory Theatre, Intiman, Village Theatre and ACT, as well as for the Alliance Theatre, Arizona Theatre Company, Colorado Shakespeare Festival, Denver Center Theatre, Geva Theatre, Kansas City Rep, Portland Center Stage, Utah Shakespearean Festival and Utah Festival Opera. He is a member of United Scenic Artists Local #829.
Sarah Nash Gates, Executive Director of the School of Drama, teaches costume design and costume history. She has designed for A Contemporary Theatre, Denver Center Theatre Company, Intiman Theatre, Oregon Shakespeare Festival, Pennsylvania Opera Theatre, the Aspen Music Festival, Seattle Repertory Theatre, Seattle Children's Theatre, Seattle Opera, Pacific Performance Project and Ringling Brothers, Barnum and Bailey Circus. She also has taught at RBB&B Clown College. Professor Gates is a past president of USITT, a member of United Scenic Artists Local #829 and is President of U/RTA.
206-543-3076 shafso@u.washington.edu Head of the MFA in Acting (PATP) Program Mark Jenkins, Head of the PATP, Associate Professor, has had a long professional career in New York, Hollywood, and regional theatres around the country. He has worked on Broadway, off-Broadway and made his professional debut with the New York Shakespeare Festival. His film and television credits include The Andromeda Strain, Riverrun, Apocolypse Now; guest starring roles on many major television series: Hawaii Five-0, Medical Center, The FBI, Barnaby Jones, etc. Regional theatre roles include playing Biff in Death of a Salesman at Seattle Rep, Still Life, Husbandry, and The Waverly Gallery at The Empty Space Theatre; The Wild Duck, A Doll's House, Duet for One and The Seahorse at Intiman, Cat's Paw at the Old Globe, etc. He appeared in the recent production of David Hare's Stuff Happens at ACT in Seattle and will appear in the forthcoming feature The Spy and the Sparrow.
He is a life-time member of the Actors Studio and has frequently collaborated with Russian Stanislavski master, Leonid Anisimov in Russia, Japan and the U. S. He co-founded Seattle's Freehold Theatre Lab Studio in 1991. His McCarthy era play All Powers Necessary and Convenient has been produced twice by the School of Drama and was published by the University of Washington Press.
Theatre History Odai Johnson, Associate Professor in theatre history and head of the Ph.D. program, took his MFA from the University of Utah and his Ph.D. from the University of Texas at Austin. His articles have appeared in Theatre Journal, Theatre Survey, New England Theatre Journal, Theatre Symposium and the Virginia Magazine of History. His books include Rehearsing the Revolution (University of Delaware 1999), The Colonial American Stage: A Documentary Calendar (AUP: 2001) and Absence and Memory on the Colonial American Stage (Palgrave-Macmillan, 2005). He is currently serving as resident researcher for the Colonial Williamsburg Foundation's reconstruction of the Douglass Theatre. He has also worked as a playwright and dramaturg at Sundance and Wordbridge.
Professor
of Acting and Directing. Mr. Jory joined the faculty after 30 years
as producing director at Actors Theatre of Louisville, where he
founded the Humana Festival of New American Plays in 1979. Mr. Jory’s
book, Tips: Ideas for Actors, was published in 2000 and his second
book, Tips: Ideas for Directors, was published in 2002. His Tips II for Actors was published in 2005.
Head, Design Program Geoff Korf, Head of the Design Program and Assistant Professor of Lighting Design joined the UW faculty in 2001. He received his MFA from the Yale School of Drama in 1991, and has taught at California Institute of the Arts, Southern California Institute of Architecture, and the University of Michigan. Mr. Korf has designed lighting for more than 250 productions over the past 23 years, including productions on Broadway, at the Mark Taper Forum, Seattle Repertory, Oregon Shakespeare Festival, Long Beach Opera, San Francisco Opera, South Coast Repertory, La Jolla Playhouse, The Guthrie Theatre, Yale Repertory, The Old Globe, Minneapolis Children's Theatre, Seattle Children's Theatre and Cornerstone Theater, where he has been a member of the Ensemble since 1996.
Scenic Design 206-685-8657 Thomas Lynch, Professor in Scenic Design, received his MFA from Yale and has previously taught at NYU's Tisch School of the Arts. Mr. Lynch's designs for Broadway, Off-Broadway, international Opera, national tours, and London West End have most recently included the Metropolitan Opera's highly praised production of Handel's Rodelinda featuring Renee Fleming, the Broadway revival of A Raisin In The Sun, Susan Stroman's long-running Contact, the dance musical Swing!, and the premiere of Arthur Miller's new play Finishing The Picture. He is the scenic designer for the current production of the Ring at Seattle Opera, for which he won an EDDY (Entertainment Design Award). He has produced over 200 designs in major American theatres, including Arena Stage, Goodman Theater, A.C.T. (San Francisco), The Guthrie Theatre, American Repertory Theatre, The Mark Taper Forum, Berkeley Repertory Theatre, McCarter Theatre, Old Globe, Williamstown Theatre Festival, Steppenwolf Theatre and Yale Rep.
Catherine Madden, Senior Lecturer in Alexander Technique, was a
student of, and assistant to, fabled Alexander teacher Marjorie
Barstow for nearly twenty years. Ms. Madden is a former Chair of Alexander
Technique
International. She is also Director of the Alexander Technique
Training and Performance Studio in Seattle and Associate Director of
ATA, an Alexander Technique training school with centers in Tokyo and
Kyoto. Ms. Madden is on the founding faculty of United
Kingdom Alexander Technique Associates in London and was on the founding faculty of the Performance School in Seattle. Internationally she is a regular Guest Teacher at Alexander Technique
training centers in Europe, Australia and Japan. She has
been a featured speaker/ teacher for several International Congresses
of the Alexander Technique Teachers, and is preparing to fill this
role in the 2008 Congress. Her specialty is the direct integration
of the Alexander Technique into the acting process. She also directs
and teaches acting in Seattle.
Katherine Mezur Assistant Professor Katherine Mezur is a feminist scholar, director, and choreographer whose research focuses on gender studies, corporeality and media, and transnational performance in the Asia Pacific region. She holds a Ph.D. in Theatre and Dance, emphasis on Asian Performance, from the University of Hawai'i at Manoa, an MA in Dance (Mills College) and a BA in Film and Photography (Hampshire College). She is author of Beautiful Boys/Outlaw Bodies: Devising Female-likeness on the Kabuki Stage (Palgrave Macmillan, 2005), a history of the kabuki female gender performance and its contemporary practices, aesthetics, and politics. Her current project, Cute Mutant Girls: Remapping the Female Body in Contemporary Japanese Performance, focuses on contemporary Japanese women choreographers/directors, performers, and visual artists. She is one of the team of engineers and artists on an NSF (National Science Foundation) grant, "SGER: Collaborative Research: Interactive Choreography in 3D Tele-Immersive Spaces - Expanding Human Perception through Creative Practice," for 2007-08. Her research interests include collaborative "performance as research" projects working with live performance and new media in transnational contexts. She has taught at CAL Arts, Georgetown University, Mills College, and McGill University. Shanga
K. Parker Shanga
Parker, Head of the BA program, teaches Acting and Directing in
the PATP and BA programs. Associate Professor Parker has acted professionally
in regional theatres including A Contemporary Theatre, Rites and Reason Theatre, Intiman
Theatre, La Jolla Playhouse, Tacoma Actors Guild, South Coast Repertory, Actor’s
Theatre of Louisville and at
the International Theatre Festival in Sibiu, Romania. He has also directed at the Rites and Reason Theatre, Ball State University and the Public Theatre of Kentucky. Television credits include “Married...with
Children”, “Family Matters” and “Fresh Prince
of Bel Air.” He received his training at Brown University
and UC/San Diego and is a member of AEA, SAG and AFTRA. Theatre History Affiliate Professor Thomas Postlewait received his Ph.D. from the University of Minnesota. He has previously taught at Cornell University, MIT, University of Georgia, Indiana University, and Ohio State University. He has published Prophet of the New Drama: William Archer and the Ibsen Campaign (Greenwood Press, 1986) and the edited volume of William Archer on Ibsen: The Major Essays, 1889-1919 (Greenwood Press, 1984), his forthcoming books are The Cambridge Introduction to Theatre Historiography (Cambridge UP) and The Correspondence of Bernard Shaw and William Archer (University of Toronto Press). Prof. Postlewait co-edited Interpreting the Theatrical Past: Essays on the Historiography of Performance (U. of Iowa Press, 1989) and Theatricality (Cambridge UP, 2003). He has contributed essays to both the Cambridge History of American Theatre and Cambridge History of British Theatre, and has published over a dozen essays on theatre historiography He contributed over 50 entries for the Oxford Encyclopedia of Theatre and Performance (2003). He is past-President of the American Society for Theatre Research (1994-97) and Vice-President for Research in the Association for Theatre in Higher Education (1998-2000). Since 1992 he has been the editor of the award-winning books series, “Studies in Theatre History and Culture,” University of Iowa Press, which has published over thirty-five books by scholars from over a dozen countries. He received the award of “Distinguished Scholar” from Ohio State University in 2006.
Judith Shahn, Senior Lecturer in Voice and Dialects in the PATP, has been a leading voice specialist in the Northwest for the last twenty years. Her innovative approach to dialect training has been documented in VASTA's publication Essays in Voice and Speech. An actress and director as well, Judith has coached dozens of productions at the Seattle Repertory Theatre, Intiman, ACT, as well as the Oregon and Utah Shakespeare Festivals. Most recently, she coached the national tour of A Light in the Piazza and To Kill a Mockingbird at Intiman Theatre. Judith is a designated
Linklater teacher and is a member of AEA, AFTRA, SAG and VASTA. Directing credits at the UW include: Fallen Angels, The Queens, Sled, As You Like It, Othello and last season an original script called Humor Me. Internationally, Judith
was invited to teach at The Giving Voice Conference in Cardiff, Wales.
Deborah Trout, Senior Lecturer in Costume Design, trained at Yale (MFA) and has designed at ACT Theatre, Actor’s Theatre of Louisville, Alliance Theatre Company, Arizona Theatre, the Children's Theatre in Minneapolis, Denver Center Theatre, Intiman Theatre, Juneau's Perseverance Theatre, PCPA Theaterfest, Portland Center Stage, Seattle Children's Theatre, Seattle Repertory Theatre, and off off Broadway among others. She has also designed clothes for many Shakespeare productions as well as contemporary playwrights at the Oregon, Idaho and Santa Cruz Shakespeare Festivals. She was co founder of the New York based commercial millinery business "Mackey and Trout". Ms. Trout is a member of United Scenic Artists Local 829.
Professional Actor Training Program, MFA in Directing Program 206-616-9792
Chris Walker Sound Design Chris Walker has been a professional sound designer and composer for 19 years. In Seattle he’s worked at the Seattle Repertory Theatre, Intiman, A.C.T., the Seattle Children’s Theatre and others. He’s designed at regional theatres in San Francisco, Los Angeles, La Jolla, San Diego, Phoenix, Kansas City, Houston, Chicago, Philadelphia, Washington D.C., Boston and New York. Internationally he’s designed in Taiwan, Singapore and Moscow. He has been resident sound designer for the Seattle Children’s Theatre since 2002. Previous to this he spent seven years as resident sound designer for the American Repertory Theatre in Boston, after spending four years as sound engineer and resident designer for the Intiman Theatre. He’s received a Dramalogue award and a San Diego Theatre Critic’s Circle award for sound design, as well as being nominated for an NAACP award. Commercially, he’s composed music for Intel and Starbucks. He holds a B.A. in Classical Piano Performance from Cornish College of the Arts.
Barry Witham is Professor of theatre history. He has published in numerous professional journals and read papers at national and international conferences. He is co-author of Uncle Sam Presents, a memoir of the Federal Theatre Project and editor of Theatre in the United States: A Documentary History. His new book, The Federal Theatre Project: A Case Study, (Cambridge, 2003) was recently honored as "an outstanding academic title" by Choice Magazine. Professor Witham also worked for four years as a professional dramaturg at the Seattle Repertory Theatre. He is a member of the National Theatre Conference and of the College of Fellows of the American Theatre. In 2002, he was honored by the University of Washington with a Distinguished Teaching Award, and in 2003 he was the recipient of the Betty Jean Jones Award for teaching excellence by the American Theatre and Drama Society. |
|
|
Subscribe to our E-News
|
|
||
School of Drama Calendars (UW NetID Required)
|
||||
