At a luxury resort in Cancún, a storm is brewing—and the lives of two women from different worlds are about to collide. Adriana, a Mexican floor manager at the hotel, reels from the news of her father’s death. Sarah, a Canadian guest attending her sister’s wedding, is haunted by a long-kept secret. Brought together by torrential rain, they’re forced to examine the past, envision the future and face the present. A gripping bilingual drama of female solidarity and survival, Clean is performed in English and Spanish with subtitles in both languages throughout.

Durante una tormenta en una zona hotelera de lujo en Cancún, las vidas de dos mujeres de mundos diferentes están a punto de chocar. Adriana, una gerente ama de llaves del hotel, se abruma con la noticia de la muerte de su padre. A Sarah, una huésped canadiense que asiste a la boda de su hermana, le persigue un secreto del pasado. Una lluvia torrencial las une, obligándolas a examinar su pasado, visualizar el futuro y enfrentar su presente. Un drama palpitante bilingüe sobre la solidaridad y supervivencia femenina, Espejos se presenta en inglés y español con subtítulos en ambos idiomas a lo largo de la obra.

Previews: March 20-24, 2022/Preestrenos: 20-24 de marzo de 2022
First Night: Friday, March 25, 2022/Estreno: viernes 25 de marzo de 2022
Regular Performances: March 26 – April 10, 2022/Presentaciones regulares: 26 de marzo - 10 de abril de 2022

Recommendation: High school and up. The characters are survivors of sexual abuse and domestic violence./Recomendación: Edad de high school para arriba. Los personajes son sobrevivientes de abuso sexual y violencia doméstica.

Christine Quintana was born in Los Angeles to a Mexican-American father and a Dutch-British-Canadian mother. Quintana is now a grateful visitor to the Unceded Coast Salish Territories, commonly known as Vancouver, B.C. A playwright, actor and producer, Quintana received the Siminovitch Protégé Prize for Playwriting (2017) from Marcus Youssef and was the Urjo Kareda Emerging Artist Resident at Tarragon Theatre. Her creation and performing highlights include Never The Last (co-created with Molly MacKinnon, produced by Delinquent Theatre, recipient of five Jessie Richardson Theatre Award nominations including Outstanding Production and Outstanding New Script and winner of Significant Artistic Achievement); Selfie (commissioned by Théâtre la Seizième in French and Young People’s Theatre in English, winner of the Dora Mavor Moore Award for Outstanding Theatre for Young Audiences Play, the Sydney Risk Prize for Outstanding Script by an Emerging Playwright and the Tom Hendry Award for TYA); and the immersive digital production, Good Things To Do (Rumble Theatre, rEvolver Festival and FoldA). Quintana is a proud founding member of the Canadian Latinx Theatre Artist Coalition. She holds a BFA in acting from the University of British Columbia.

Paula Zelaya Cervantes (Translation and Adaptation) is a Mexican playwright, screenwriter, director and translator who graduated from the University of British Columbia with a double major in theatre and honours English literature (2014). She wrote and directed The Orbweaver (Centro Cultural Helénico, 2018; Vancouver Fringe Festival, International Mainstage Selection, 2016); Sasha & Spot; 245 Acts of Unspeakable Evil, co-written with Ana González Bello, which premiered off-Broadway in 2017 and will open in Mexico City in mid-May 2021. With Diego del Río, she co-wrote Memoria, commissioned by Mexico’s National Theatre Company. She has directed, translated and adapted numerous plays including Hannah Moscovitch’s Little One, Nia Vardalos’ Tiny Beautiful Things and Sam Steiner´s Lemons Lemons Lemons Lemons. Her upcoming projects include directing El Hámster del presidente by Saúl Enríquez, and directing and translating Sarah De Lappe’s The Wolves. Her play 245 Acts of Unspeakable Evil won the 2018 Latino National Playwright Award (Arizona Theatre Company) and the 2019 Sharon Enkin Play for Young People Award (Playwright’s Guild of Canada). In 2020, she was awarded a Young Creators grant from Mexico’s National Fund for Arts and Culture (FONCA).

Christine Quintana (dramaturga) nació en Los Ángeles de padre mexicano-estadounidense y madre holandesa-británica-canadiense. Ahora Quintana es una visitante agradecida de las tierras no cedidas de los pueblos Musqueam, Squamish y Tsleil-Waututh (Vancouver, BC). Sus creaciones más destacadas incluyen Never The Last (co-creada con Molly MacKinnon), ganadora de cinco nominaciones al Premio Jessie Richardson Theatre y ganadora de Logro Artístico Significativo; Selfie (encargada por Théâtre la Seizième en francés y Young People’s Theatre en inglés, nominada al Premio del Gobernador General, ganadora del Premio Dora Mavor Moore a la Obra Destacada de Teatro para Audiencias Juveniles, el Premio Sydney Risk al Guión Destacado de un Dramaturgo Emergente y el Premio Tom Hendry al Teatro para Audiencias Juveniles); y Good Things To Do (rEvolver Festival y FoldA). Como actriz, ha actuado recientemente en Made In Canada (rice & beans theatre), Anywhere But Here (Electric Company Theatre), The Coyotes (Caravan Farm Theatre), Marine Life (Ruby Slippers Theatre), Yoga Play (Gateway Theatre) y en East Van Panto: The Wizard of Oz (Theatre Replacement y The Cultch). Recibió el Premio Siminovitch Protege de Dramaturgia de 2017 de Marcus Youssef y es una orgullosa miembro cofundadora de la Coalición de Artistas de Teatro Latinx de Canadá. Tiene una licenciatura en bellas artes en actuación de University of British Columbia. christinequintana.ca

Paula Zelaya Cervantes (traducción y adaptación) es una dramaturga, guionista, directora y traductora mexicana que se graduó de la Universidad de British Columbia con una doble especialización en teatro y literatura inglesa con honores (2014). Escribió y dirigió The Orbweaver (Centro Cultural Helénico, 2018; Vancouver Fringe Festival, Selección internacional para el escenario principal, 2016); Sasha & Spot; 245 Actos de Maldad Extraordinaria, coescrita con Ana González Bello, que se estrenó en el circuito de teatro off-Broadway en 2017 y en la Ciudad de México a mediados de mayo de 2021. Junto a Diego del Río, coescribió Memoria, comisionada por la Compañía Nacional de Teatro de México. Ha dirigido, traducido y adaptado numerosas obras de teatro, entre ellas Little One por Hannah Moscovitch, Tiny Beautiful Things por Nia Vardalos y Lemons Lemons Lemons Lemons por Sam Steiner. Sus próximos proyectos incluyen la dirección de El Hámster del presidente por Saúl Enríquez y la dirección y traducción de The Wolves por Sarah De Lappe. Su obra Actos de Maldad Extraordinaria ganó el Premio Latino National Playwright 2018 (Arizona Theatre Company) y el Premio Sharon Enkin Play for Young People 2019 (Playwright’s Guild of Canada). En 2020 recibió una beca para Jóvenes Creadores del Fondo Nacional para la Cultura y las Artes (FONCA) de México. 

Learn more about the production, cast & creative team with a peek into the program. Read full artist bios, in-depth articles and more.

Nell Geisslinger (Sarah) is honored to return to SCR with Clean/Espejos, having appeared in 2021’s PPF reading of the same. Previously at SCR she played the Delivery Person in Allison Gregory’s Red Riding Hood. Her regional appearances include Tribes (Berkeley Repertory Theatre), Twelfth Night and Boeing Boeing (Utah Shakespeare Festival), The Foreigner (Cincinnati Playhouse in the Park), Mary’s Wedding (Actors Theatre of Louisville) and Othello (Los Angeles Women’s Shakespeare Company). For more than a decade, she was a company member at the Oregon Shakespeare Festival, where her favorite roles include Kate in The Taming of the Shrew, Stella in A Streetcar Named Desire, Nina in The Seagull, Elma in Bus Stop, and Louison in The Imaginary Invalid. A founding member of The Meriwethers band, she’s performed her original music in countless classrooms, coffee shops and gymnasiums across the West. She lives in Los Angeles with her beloved sister, four ancient canines and a brilliant archaeologist.

Lorena Martinez (Adriana) appeared at SCR previously in Vanya and Sonia and Masha and Spike and Yoga Play. She was last seen in “The Good Doctor” (ABC) and Kemp Powers’ Crista McAuliffe’s Eyes Were Blue at Center Theatre Group. Her regional theatre credits include Up Here and Mr. Burns at La Jolla Playhouse; Olive Ostrovsky in The 25th Annual Putnam County Spelling Bee (Mexico); Into the Woods (Mexico); and Anchor Babies for her New York University thesis. Other television and film credits include Hotel Pennsylvania, How to Get Out of a Speeding Ticket, How to Change a Tire (“Funny or Die”), W.A.L.L.D. and Landing in Mumbai. She holds a BFA from New York University and an MFA from UC San Diego. IG: loremtz

Creative Team

Lisa Portes (Director) is an award-winning director of new and contemporary American plays and musicals. Her work has been seen regionally at Cal Shakes, Denver Center for the Performing Arts, Cincinnati Playhouse in the Park, Guthrie Theater, Olney Theatre Center, Round House Theatre, and in Chicago at the Goodman Theatre, Northlight Theatre, Steppenwolf Theatre and Victory Gardens Theater. In New York she has directed projects for Soho Rep, Playwrights Horizons, The Public Theater, New York Theatre Workshop and The Flea Theater. She is a co-founder of the Latinx Theatre Commons, member of the Drama League Directors Circle and serves on the boards of the Theatre Communications Group and the Society of Stage Directors and Choreographers. In 2016, she was honored with the Zelda Fichandler Award for Directors. She heads the MFA directing program at The Theatre School at DePaul University and lives in Chicago with her husband, playwright Carlos Murillo, and their two teenagers, Eva Rose and Carlos Alejandro.

​Brian Sidney Bembridge (Scenic Design) extensive design credits include works off-Broadway at The Public Theater, Second Stage Theatre, Jean Cocteau Repertory, Kids with Guns, and Theatre at St. Clements. Internationally, he designed at Theatre Royal Stratford East, London; Town Hall Theatre in Galway, Ireland; and Illawarra Performing Arts Centre and Platform Hip Hop Festival, Sydney, Australia, among others. Regionally, his work has been seen at Guthrie Theater, Goodman Theatre, Steppenwolf Theatre Company, Chicago Shakespeare Theater, The Second City, Lookingglass Theatre Company, ACT Theatre, Arden Theatre Company, Actors Theatre of Louisville, Alliance Theatre, Geffen Playhouse, ACT, Court Theatre, Writers Theatre, Victory Gardens Theater, Northlight Theatre, Drury Lane Theaters, Ravinia Festival, Children’s Theatre Company, Pittsburgh Public Theater, City Theatre, Circle X Theatre, TimeLine Theatre Company, Opera Omaha, Virginia Opera, Juneau Opera and Asolo, St. Louis, Milwaukee and Madison repertory theatres. He is the recipient of seven Jeff Awards, two Los Angeles Drama Critics Circle Awards, LA Weekly Theater Awards, three Garland Awards, two Gregory Awards and an Ovation Award. Bembridge represented the United States at the Prague Quadrennial in 2011. Film design credits include Marie and Bruce, Holding Out, Stray Dogs, Late for Church and Muppets from Space. For more information, visit briansidneybembridge.com.

Dan​ielle Nieves (Costume Design) (she/her) is honored to be making her South Coast Repertory debut. Her regional credits for costume design include Beauty and the Beast at The 5th Avenue Theatre; Public Works The Winter’s Tale at Seattle Repertory; American Mariachi at Dallas Theater Center and Goodman Theatre; Real Women Have Curves at Dallas Theater Center; and Behold the Dreamers at Book-It Repertory Theatre. Off-Broadway, she designed Pity in History, No End of Blame, Gertrude–The Cry, and Lovesong of the Electric Bear. Nieves holds an MFA in Costume Design from the University of California Irvine and a curatorial certification for Japanese and Western costumes from the Kyoto Costume Institute. daniellenieves.com

Karyn D. Lawrence (Lighting Design) is an award-winning theatrical and entertainment lighting designer based in Los Angeles. She is thrilled to return to SCR after having recently designed Red Riding Hood, Vanya Sonia Masha and Spike, and more Theatre for Young Audiences productions over the years than she can count! Selected theater credits include Center Theatre Group, La Mirada Theater, Boston Court Pasadena, Ebony Repertory Theatre, The Wallis Annenberg Center for the Performing Arts, East West Players, International City Theatre, and Arizona Broadway Theatre. She is the resident lighting designer for the nearby New Swan Shakespeare Festival held in Orange County. In addition to theatre, she is Radiance Lightworks’ lead lighting designer for Universal Studios’ Halloween Horror Nights and is a professor of lighting design at Loyola Marymount University. KDLightingDesign.com

Vincent Olivieri (Sound Design and Composer) is pleased to return to SCR for Clean. His previous projects include Outside Mullingar, Sheepdog, Five Mile Lake, Jitney, Emilie—La Marquíse Du Chatelet Defends Her Life at the Petit Theatre at Cirey Tonight, Feminine Ending and Noises Off. His Broadway credits include the design and score for High and his off-Broadway design credits include The Water’s Edge, Omnium-Gatherum, The God Botherers and Fatal Attraction: A Greek Tragedy. His New York City and regional credits include productions with The Geffen Playhouse (Ovation Award nominations), Woolly Mammoth Theatre, Cincinnati Playhouse in the Park (LCT Award), Portland Center Stage, Center Stage (Baltimore), Barrington Stage Company, The Juilliard School, Syracuse Stage, Ensemble Theatre of Cincinnati (Cincinnati Entertainment Award), Virginia Stage Company and Berkshire Theatre Festival. He has created designs for world-premiere productions by Roberto Aguirre-Sacasa, Kirsten Greenidge, Lauren Gunderson, Charles L. Mee, Adam Rapp, Theresa Rebeck and August Wilson. For three years, Olivieri was the resident sound designer at Actors Theatre of Louisville and the Humana Festival of New American Plays. He is a graduate of the Yale School of Drama and serves on the faculty at University of California, Irvine. soundandstage.net/sound.

Yee Eun Nam (Projection Design) is a visual artist and a media designer for live performances who returns to SCR after designing The Canadians. Recent collaborations include Audible Theatre, Opera Saint Louis, Geffen Playhouse, San Francisco Symphony, Boston Lyric Opera, LA Opera On Now, Los Angeles Chamber Orchestra, BayStreet Theater, Ma-Yi Theater Company, SohoRep, Goodman Theatre, The Movement Theatre Company, LA Opera Connects, Kansas City Repertory Theatre, South Coast Repertory, Center Theatre Group, Pasadena Playhouse, Wallis Annenberg Center for the Performing Arts, New World Center, The Soraya, Perseverance Theatre, Fountain Theatre, Getty Villa, Latino Theater Company and many more. Nam has multiple nominations for LA Stage Alliance Ovation Award, Stage Raw and is a winner of LADCC Theatrical Excellence for CGI/Video in 2020. She is a member of United Scenic Artists, Local 829. She earned her MFA in Theater Design at UCLA and her BFA in Design and Metal Craft at SNU in Seoul, Korea. Portfolio: yeeeunnam.com

Lydia Garcia (Dramaturg) is a dramaturg, educator, and facilitator, and the current Executive Director of Equity and Organization Culture at the Denver Center for the Performing Arts. She was a founding member of artEquity under Program Director Carmen Morgan, where she served as a core facilitator and the collective’s Resident Dramaturg until 2019. She has served as the Literary Manager and Resident Dramaturg at Marin Theatre Company as well as the Resident Dramaturg at the Oregon Shakespeare Festival. Over ten years at OSF, she co-adapted and translated the bilingual La Comedia of Errors with then-Artistic Director Bill Rauch and dramaturged more than 25 productions, 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. Her dramaturgy and teaching work has appeared at Center Theatre Group, Native Voices at the Autry, the LTC Carnaval of New Latinx Work, Play On Shakespeare, CalArts, Carnegie Mellon, and USC, among many others. She studied dramaturgy and dramatic criticism at the Yale School of Drama and English and American literature at Harvard University. Gender pronouns: she/her/hers/ella.

Deena Tovar (Stage Manager) was born and raised in Los Angeles and has spent many years stage-managing a wide variety of productions in the area, working with companies that include Circle X (2016), Open Fist (2017), The Fountain Theatre (2018, 2021), as well as at The Wallis Annenberg (2019). She earned her BA in Theatre Arts at UC Santa Cruz. She is thrilled to return to South Coast Repertory and to be part of the team that brings Clean/Espejos to the stage!

Andrea Felix-Cervantes (Assistant Stage Manager) is a Mexican-American artist and stage manager who born and raised in the Central Coast area. She graduated from California State University, Long Beach with her BA in Technical Theatre Arts and minor in Film (2021). For the past seven years, she has worked as a stage manager with many companies, including Warner Brothers/Rail Events (2021), The Western Stage (2015-22), and Lime Arts Productions (2021-22). This is her first production at South Coast Repertory. 

The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Conozca más sobre la producción, el reparto y el equipo creativo con un vistazo al programa. Lea las biografías completas de los artistas, artículos en profundidad y mucho más.

Nell Geisslinger (Sarah)

se siente honrada de regresar a SCR con Clean/Espejos, tras haber aparecido en la lectura dramatizada de la misma obra en el Pacific Playwrights Festival de 2021. Anteriormente, interpretó la mensajera en la obra Red Riding Hood por Allison Gregory. Sus apariciones regionales incluyen Tribes (Berkeley Repertory Theatre), Twelfth Night y Boeing Boeing (Utah Shakespeare Festival), The Foreigner (Cincinnati Playhouse in the Park), Mary’s Wedding (Actors Theatre of Louisville) y Othello (Los Angeles Women’s Shakespeare Company). Durante más de una década, fue miembro de la compañía en el Oregon Shakespeare Festival, donde sus papeles favoritos incluyen Kate en The Taming of the Shrew, Stella en A Streetcar Named Desire, Nina en The Seagull, Elma en Bus Stop y Louison en The Imaginary Invalid. Como miembro fundadora de la banda The Meriwethers, ha interpretado su música original en innumerables aulas, cafeterías y gimnasios por todo el oeste. Vive en Los Ángeles con su hermana, cuatro caninos ancianos y un brillante arqueólogo.

Lorena Martinez (Adriana)

apareció anteriormente en las producciones de SCR de Vanya and Sonia and Masha and Spike y Yoga Play. Apareció recientemente en “The Good Doctor” (ABC) y Crista McAuliffe’s Eyes Were Blue por Kemp Powers en Center Theatre Group. Sus créditos teatrales regionales incluyen Up Here y Mr. Burns en La Jolla Playhouse; Olive Ostrovsky en El 25to concurso de spelling bee (México); Dentro del bosque (México); y Anchor Babies para su tesis en la Universidad de Nueva York. Otros créditos televisivos y cinematográficos incluyen Hotel Pennsylvania, How to Get Out of a Speeding Ticket, How to Change a Tire (“Funny or Die”), W.A.L.L.D. y Landing in Mumbai. Recibió una licenciatura en bellas artes de New York University y una maestría en bellas artes de UC San Diego. IG: loremtz

Creative Team

Lisa Portes (directora) es una galardonada directora de obras de teatro y musicales estadounidenses nuevos y contemporáneos. Su trabajo se ha visto a nivel regional en Cal Shakes, Denver Center for the Performing Arts, Cincinnati Playhouse in the Park, Guthrie Theatre, Olney Theatre Center, Round House Theatre y en Chicago en Goodman Theatre, Northlight Theatre, Steppenwolf Theatre y Victory Gardens Theater. En Nueva York ha dirigido proyectos para Soho Rep, Playwrights Horizons, The Public Theater, New York Theatre Workshop y The Flea Theatre. Es cofundadora de Latinx Theatre Commons, miembro de Drama League Directors Circle y es miembro de las juntas directivas de Theatre Communications Group y Society of Stage Directors and Choreographers. En 2016, fue honrada con el Premio Zelda Fichandler para Directores. Dirige el programa de maestría en bellas artes en dirección de teatro en The Theatre School de DePaul University y vive en Chicago con su esposo, el dramaturgo Carlos Murillo, y su hija e hijo adolescentes, Eva Rose y Carlos Alejandro. 

​Brian Sidney Bembridge (diseño escénico) Sus extensos créditos de diseño incluyen obras en los teatros del circuito Off-Broadway en The Public Theatre, Second Stage Theatre, Jean Cocteau Repertory, Kids with Guns y Theatre at St. Clements. A nivel internacional, diseñó en Theatre Royal Stratford East, Londres; Town Hall Theatre en Galway, Irlanda; y Illawarra Performing Arts Centre y Platform Hip Hop Festival en Sydney, Australia, entre otros. A nivel regional, su trabajo se ha visto en Guthrie Theater, Goodman Theatre, Steppenwolf Theatre Company, Chicago Shakespeare Theater, The Second City, Lookingglass Theatre Company, ACT Theatre, Arden Theatre Company, Actors Theatre of Louisville, Alliance Theatre, Geffen Playhouse, ACT, Court Theatre, Writers Theatre, Victory Gardens Theater, Northlight Theatre, Drury Lane Theaters, Ravinia Festival, Children’s Theatre Company, Pittsburgh Public Theater, City Theatre, Circle X Theatre, TimeLine Theatre Company, Opera Omaha, Virginia Opera, Juneau Opera, Asolo Repertory Theatre, Repertory Theatre of St. Louis, Milwaukee Repertory Theater y Madison Repertory Theatre. Ha recibido siete Premios Jeff, dos Premios del Círculo de Críticos de Drama de Los Ángeles, Premios de Teatro de LA Weekly, tres Premios Garland, dos Premios Gregory y un Premio Ovation. Bembridge representó a los Estados Unidos en la Cuadrienal de Praga en 2011. Sus créditos de diseño de películas incluyen Marie and Bruce, Holding Out, Stray Dogs, Late for Church y Muppets from Space. Para mayores informes, visite briansidneybembridge.com.

Dan​ielle Nieves ((diseño de vestuario) (ella) se siente honrada de hacer su debut en South Coast Repertory. Sus créditos regionales en diseño de vestuario incluyen Beauty and the Beast en The 5th Avenue Theatre; The Winter’s Tale del Public Works en Seattle Repertory; American Mariachi en Dallas Theater Center y Goodman Theatre; Real Women Have Curves en Dallas Theater Center; y Behold the Dreamers en Book-It Repertory Theatre. En el circuito teatral del Off-Broadway, diseñó Pity in History, No End of Blame, Gertrude–The Cry, y Lovesong of the Electric Bear. Nieves recibió una maestría en bellas artes en diseño de vestuario de University of California Irvine y una certificación curatorial en vestuario japonés y occidental del Kyoto Costume Institute. daniellenieves.com

Karyn D. Lawrence (diseño de iluminación) es una diseñadora premiada de iluminación teatral y de entretenimiento con sede en Los Ángeles. ¡Está encantada de regresar a SCR después de haber recientemente diseñado Red Riding Hood, Vanya Sonia Masha and Spike y más producciones de Teatro para Audiencias Juveniles a lo largo de los años de las que puede contar! Sus créditos teatrales seleccionados incluyen Center Theatre Group, La Mirada Theatre, Boston Court Pasadena, Ebony Repertory Theatre, The Wallis Annenberg Center for the Performing Arts, East West Players, International City Theatre y Arizona Broadway Theatre. Ella es la diseñadora de iluminación residente para el cercano Swan Shakespeare Festival que se lleva a cabo en el Condado de Orange. Además del teatro, es la diseñadora principal de iluminación de Radiance Lightworks para Halloween Horror Nights de Universal Studios y es profesora de diseño de iluminación en Loyola Marymount University. KDLightingDesign.com

Vincent Olivieri (diseño de sonido) se complace en regresar a SCR para Clean/Espejos. Sus proyectos anteriores incluyen Outside Mullingar, Sheepdog, Five Mile Lake, Jitney, Emilie—La Marquíse Du Chatelet Defends Her Life at the Petit Theatre at Cirey Tonight, Feminine Ending y Noises Off. Sus créditos en Broadway incluyen el diseño y la banda sonora de High y sus créditos de diseño del off-Broadway incluyen The Water’s Edge, Omnium-Gatherum, The God Botherers y Fatal Attraction: A Greek Tragedy. Sus créditos regionales y en la ciudad de Nueva York incluyen producciones con The Geffen Playhouse (nominaciones al Premio Ovation), Woolly Mammoth Theatre, Cincinnati Playhouse in the Park (Premio LCT), Portland Center Stage, Center Stage (Baltimore), Barrington Stage Company, The Juilliard School, Syracuse Stage, Ensemble Theatre of Cincinnati (Premio Cincinnati Entertainment), Virginia Stage Company y Berkshire Theatre Festival. Ha creado diseños para producciones de estreno mundial de Roberto Aguirre-Sacasa, Kirsten Greenidge, Lauren Gunderson, Charles L. Mee, Adam Rapp, Theresa Rebeck y August Wilson. Durante tres años, Olivieri fue el diseñador de sonido residente en Actors Theatre of Louisville y Humana Festival of New American Plays. Se graduó de Yale School of Drama y es miembro de la facultad de University of California, Irvine. soundandstage.net/sound.

Yee Eun Nam (diseño de proyección) es una artista visual y diseñadora de medios para presentaciones en vivo. Sus colaboradores recientes incluyen Audible Theatre, Opera Saint Louis, Geffen Playhouse, San Francisco Symphony, Boston Lyric Opera, LA Opera On Now, Los Angeles Chamber Orchestra, BayStreet Theatre, Ma-Yi Theatre Company, SohoRep, Goodman Theatre, The Movement Theatre Company, LA Opera Connects, Kansas City Repertory Theatre, South Coast Repertory, Center Theatre Group, Pasadena Playhouse, Wallis Annenberg Center for the Performing Arts, New World Center, The Soraya, Perseverance Theatre, Fountain Theatre, Getty Villa, Latino Theatre Company y muchos más. Nam tiene múltiples nominaciones para los Premios LA Stage Alliance Ovation y Stage Raw y recibió el Premio LADCC de Excelencia Teatral al CGI/Video de 2020. Es miembro de United Scenic Artists, Local 829. Obtuvo su maestría en bellas artes en diseño teatral en UCLA y su licenciatura en bellas artes en diseño y artesanía de metal en SNU en Seúl, Corea. Portafolio: yeeunnam.com

Lydia Garcia (dramaturgista) es una dramaturgista, educadora y facilitadora, y la actual directora ejecutiva de Equidad y Cultura Organizacional en Denver Center for the Performing Arts. Fue miembro fundadora de artEquity bajo la directora del programa Carmen Morgan, donde se desempeñó como facilitadora central y dramaturgista residente del colectivo hasta 2019. Se ha desempeñado como gerente literaria y dramaturgista residente en Marin Theatre Company, así como dramaturgista residente en Oregon Shakespeare Festival. Durante diez años en OSF, co-adaptó y tradujo La Comedia of Errors bilingüe con el entonces director artístico Bill Rauch y dramatizó más de 25 producciones, incluyendo los estrenos mundiales de The Yeomen of the Guard por Sean Graney, Fingersmith por Alexa Junge, The Imaginary Invalid y The Servant of Two Masters por Tracy Young y Oded Gross y Quixote por Octavio Solís. Su trabajo de dramaturgista y enseñanza ha aparecido en Center Theatre Group, Native Voices at the Autry, LTC Carnaval of New Latinx Work, Play On Shakespeare, CalArts, Carnegie Mellon y USC, entre muchos otros. Estudió la carrera de dramatrugista y crítica teatral en Yale School of Drama y literatura inglesa y estadounidense en Harvard University. Pronombre de género: ella.

Deena Tovar (directora de escena) nació y se crió en Los Ángeles y ha pasado muchos años dirigiendo una amplia variedad de producciones en el área, trabajando con compañías que incluyen Circle X (2016), Open Fist (2017), The Fountain Theatre (2018, 2021), así como en The Wallis Annenberg (2019). Obtuvo su licenciatura en artes teatrales en UC Santa Cruz. ¡Está emocionada de regresar a South Coast Repertory y de ser parte del equipo que trae Clean/Espejos al escenario!

Andrea Felix-Cervantes (directora de escena asistente) es una artista y directora de escena mexicoamericana que nació y se crió en el área de la costa central. Se graduó de California State University, Long Beach con una licenciatura en artes teatrales técnicas y una especialización en cine (2021). Durante los últimos siete años, ha trabajado como directora de escena con muchas compañías, incluyendo Warner Brothers/Rail Events (2021), The Western Stage (2015-22) y Lime Arts Productions (2021-22). Ésta es su primera producción en South Coast Repertory.

Los actores y directores de escena empleados en esta producción son miembros de Actors’ Equity Association, el Sindicato de Actores y Directores de Escena Profesionales de los Estados Unidos.