Additional Credits

DESIGNERS

William Bloodgood (Scenic Designer) previously designed at Syracuse Stage for Irving Berlin’s White Christmas, Red, Caroline, or Change, Radio Golf, Picasso at the Lapin Agile, Fences, Ma Rainey’s Black Bottom, Broadway Bound and The Sisters Rosensweig. Well known at American regional theatres, he has worked with Arena Stage in Washington DC, Arizona Theatre Company, the Berkeley Repertory Theatre, Alley Theatre in Houston, Chicago Shakespeare Theatre, the Children’s Theatre Company in Minneapolis, Denver Center Theatre Company, Hong Kong Repertory Theatre, Indiana Repertory Theatre, Intiman Theatre in Seattle, Kansas City Repertory Theatre, the Old Globe Theatre in San Diego, Portland Center Stage, Seattle Repertory Theatre, San Jose Repertory Theatre, and the Oregon Shakespeare Festival in Ashland, Oregon where he has designed scenery for 150 productions. He had the honor of designing the US national exhibit for the 2011 Prague Quadrennial exposition of theatre design, and is the recipient of many awards for his work, including the Oregon Governor’s Award for the Arts in 2002.

Helen Q. Huang (Costume Designer) has designed previously at Syracuse Stage for Ma Rainey’s Black Bottom. Design credits: Classic Stage Company (New York), The Washington Ballet, Woolly Mammoth Theatre Company, The Studio Theatre, Ford’s Theatre, Shakespeare Theatre Company, Arena Stage, Signature Theatre Company, Folger Theatre, The Guthrie Theatre, Oregon Shakespeare Festival, The Children’s Theatre Company (Minneapolis), Milwaukee Repertory Theatre, Philadelphia Theatre Company, Utah Shakespearean Festival, Disney Entertainment, PlayMaker Repertory, Boston Lyric Opera. International: Scenic and costume design at National Opera House of China and the Central Television of China. Awards: Helen Hayes Award and Ivey Award. Other credits: costume design for works in the exhibition “Curtain Call: Celebrating a Century of Women Designing for Live Performance” at The New York Public Library, Lincoln Center and the Prague Quadrennial. Huang is a professor in the MFA Costume Design Program at University of Maryland, College Park, and she has served as an Expert Judge with Beijing Figurative Design Training Consortium, China.

Dawn Chiang (Lighting Design) designed lighting for the Syracuse Stage productions of The Boys Next DoorRent, Little Women, Fiddler on the Roof, A Christmas Carol, Hamlet, M. Butterfly and The Dybbuk. She has designed the lighting at numerous regional theatres includingArena Stage, Denver Center Theatre Company, Oregon Shakespeare Festival, Milwaukee Repertory Theatre, Arizona Theatre Company, Alliance Theatre, Mark Taper Forum, Guthrie Theatre, San Jose Repertory Theatre and Geva Theatre Center. On Broadway, Dawn designed the lighting for Zoot Suit, was co-designer for Tango Pasion, and Associate Lighting Designer for Show Boat, The Life and the original production of La Cage Aux Folles. Off-Broadway, she has designed for the Roundabout Theatre, Manhattan Theatre Club, and co-designed the first two seasons of the Encores! concert musical series at City Center. Dawn was resident lighting designer for New York City Opera, where she designed for A Little Night Music and Fanciulla del West. She is the Lighting Designer for the award winning FDNY Fire Zone at Rockefeller Center. For the Whitney Museum of American Art, Dawn created a lighting performance piece, “delights: Art on 5 Outlets”. She designed the lighting for a large touring show for Disney, Disney Fair, and has worked on concert tours for Paul Anka, The Carpenters, Diana Ross, and Loggins and Messina. Awards include two Drama-Logue awards, a THEA Award (Themed Entertainment Association) and nominations for the American Theatre Wing, Los Angeles Drama Critics’ and San Francisco Bay Area Critics’ Award.

Michael G. Keck (Composer). Previously at Syracuse Stage, Michael was the Music Director/Composer for Fences, Ma Rainey’s Black Bottom and The Brothers Size, all directed by Timothy Bond, as well as Gem of the Ocean directed by Timothy Douglas. Michael’s music has been featured at The Kennedy Center, Mark Taper Forum, Arena Stage, Guthrie Theatre, Oregon Shakespeare Festival, Alliance Theatre, Milwaukee Repertory Theatre, Indiana Repertory Theatre, Idaho Shakespeare Festival, Great Lakes Theatres Festival, Cincinnati Playhouse, Portland Center Stage, and internationally at The National Theatre of Croatia, The Barbican Theatre Center, and Bristol Old Vic. As an actor, he has performed at McCarter Theatre Center, Alliance Theatre, Berkeley Repertory Theatre, Portland Center Stage, La MaMa Experimental Theatre and Primary Stages in NYC, and many others. He received three Barrymore Award nominations, the AATE Distinguished Play Award and has served as panelist for the NEA, The NY State Arts Council and Meet the Composer. He is a member of AEA, SAG-AFTRA, ASCAP, PEN and The Dramatists Guild.

 

STAGE MANAGER

Laura Jane Collins (Stage Manager). New York credits include: Most Likely To: The Senior Superlative Musical (Broadway Clubhouse, MITF), Urinetown, The Musical and Much Ado About Nothing (Professional Performing Arts School), Hillary: A Modern Greek Tragedy with a Somewhat Happy Ending (New Georges). Regional: Moby Dick, Red, The Boys Next Door, No Child… and The Mischief Makers (Syracuse Stage); Lend Me A Tenor and Full Gallop (The Hangar Theatre). Dance production credits include: The Who’s TOMMY—A Rock Ballet, Paul Taylor and Other Dances, In Search of a Goddess, Sides (all Adelphi University productions with visiting artists). Laura Jane is a graduate of the Stage Management program in Syracuse University’s Department of Drama, and she is now based in New York City.

 

MISC

Eva D. W. Bond (Student Assistant Director). A student of political theatre, Eva Bond has directed two productions at Bennington College exploring race and class in America. She has also been involved in productions with Puppet Kitchen and The Mint Theatre in New York City, and The Marsh Theatre in San Francisco.

Kyle Bass (Dramaturg) is resident dramaturg for Syracuse Stage where he has served as production dramaturg for Moby Dick, Red, Caroline, or Change, The Boys Next Door, The Turn of the Screw, August Wilson’s Radio Golf, No Child…, August Wilson’s Fences, The Price, Little Women, The Diary of Anne Frank and Picasso at the Lapin Agile. As script dramaturg, Kyle collaborated closely with writers Ping Chong and Sara Zatz in the creation of Tales from the Salt City and also served as script dramaturg on Lauren Unbekant’s plays Woman in the Blue Dress and Annabel Drudge…and the Second Day of School. Among other works, Kyle is the author of Carver at Tuskegee, a one-man play about George Washington Carver which toured as part of Syracuse Stage’s Backstory! program. With Ping Chong, Kyle is co-writer of Cry for Peace: Voices from the Congo, which had its world premiere at Syracuse Stage last September and was produced at La MaMa Experimental Theatre in New York City. Kyle is on the faculty at Goddard College in Vermont, where he teaches in the MFA Creative Writing program. He also teaches playwriting in SU’s Department of Drama, at Colgate University and is Drama Editor for the journal Stone Canoe. Two of Kyle’s essays appear in the anthology Alchemy of the Word: Writers Talk About Writing. Kyle is a two-time recipient of the New York Foundation for the Arts (NYFA) Fellowship including the 2010 fellowship in playwriting. He holds an MFA in Playwriting from Goddard College.

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