Creative Team |
David Catlin (Director) is a founding ensemble member of Chicago’s Lookingglass Theatre Company. His regional directing and writing credits include Lookingglass Alice at Lookingglass Theatre, McCarter Theatre, New Victory Theater, Arden Theatre Company, Actors Theatre of Louisville, Syracuse Stage (SALT Award, Production), Alliance Theatre (Suzi Bass Award, Best Ensemble), Adrienne Arsht Center and Denver Center, Moby Dick at Lookingglass Theatre (four Jeff Awards including Production, Large, and nominations for direction and adaptation) and Alliance Theatre. Additional Lookingglass credits include T he Little Prince, Icarus, The Idiot (Jeff Award, Adaptation), Black Diamond (co-direction), Kafka’s Metamorphosis, The Master and Margarita (co-direction) and West. Catlin teaches theatre at Northwestern University.
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Sylvia Hernandez-DiStasi (Aerial/Acrobatic Choreography) has been an artistic associate at Lookingglass Theatre Company since 1999, winning three of her four Joseph Jefferson Awards for choreography with the company. Lookingglass credits include Baron in the Trees (Jeff Award), Hard Times (Jeff Award), Lookingglass Alice (Jeff Award), Icarus (Jeff nomination) and Moby Dick (Jeff Award, Best Production). Other theatre credits include All Night Strut (Marriott Theatre, Jeff Award), Steppenwolf Theatre and Chicago Shakespeare Theater, among others. She is a recipient of the 3Arts Award for Design (2014) and the Illinois Theatre Associations 2015 Award of Honor for Outstanding Contributions. She was last seen on stage in Marney and Phil: A Circus Love Letter at The Actors Gymnasium, where she serves as artistic director and the director of The Professional Training Program.
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Courtney O'Neill (Scenic Design) is making her SCR design debut. Her design credits include Moby Dick and The Little Prince (Lookingglass Theatre Company), Julius Caesar (Writers Theatre), The Burials, Life and Limb, The Compass and Of Mice and Men (Steppenwolf Theatre), Waiting for Godot (Court Theatre), The Amish Project and Song Man Dance Man (Milwaukee Repertory), Fetch Clay Make Man (Marin Theatre Company and Round House Theatre), When I Come to Die (Kansas City Repertory), The Mountaintop (Virginia Stage Company), Our Town, Oedipus, The Bald Soprano and Mud (The Hypocrites) and Good for Otto, Bethany and Dirty (The Gift Theatre), among others. She was the associate designer for Fish in the Dark and This is Our Youth on Broadway. O’Neill received a Jeff Award for Mud. She holds an MFA from Northwestern University and a BFA from DePaul University and currently teaches at both institutions. courtneyoneill.com
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Sully Ratke (Costume Design) is grateful to be a part of such an inspiring project. She is a recent graduate from the stage design MFA program at Northwestern University, with a fascination for all peoples and an intuition for connecting them, particularly through their common use of symbols, rituals and spiritual ideas. She has been lucky to work with some fantastic theatre companies in Chicago including Steppenwolf Theatre, Drury Lane Theatre, Lookingglass Theatre Company, Griffin Theatre, Northwestern University, Chicago Fringe Opera, The Gift Theatre and Two Pence Theatre Company. Gratitude to David and the team for including her in this great work. Enjoy the show! sullyratke.com
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William C. Kirkham (Lighting Design) is thrilled to be setting sail with Moby Dick at South Coast Repertory. His recent credits include Little Shop of Horrors (Portland Center Stage), Julius Caesar and Murder for Two (Utah Shakespeare Festival), Moby Dick and The Little Prince (Lookingglass Theatre Company, 2014 Jeff Award, Lighting Design), Life and Limb (Steppenwolf Theatre), United Flight 232 (The House Theatre), Stupid F-king Bird and Antigonick (Sideshow Theatre), Three Sisters and The Tennessee Williams Project (The Hypocrites Theater), Gidion’s Knot and From Prague (Contemporary American Theater Festival), Wonderful Life (ArtsWest Playhouse), Bud, Not Buddy and A Year with Frog and Toad (Chicago Children’s Theatre) and Pete, the Return of Peter Pan and Girls Who Wear Glasses (Childsplay Theatre). Kirkham earned his MFA in stage design at Northwestern University and is a proud member of United Scenic Artists, Local 829. wckirkham.com
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Rick Sims (Sound Design and Original Music) has composed and designed sound for numerous Chicago-area theatres including Steppenwolf Theatre, Lookingglass Theatre Company, Congo Square Theatre, Writers Theatre, Lifeline Theatre, Griffin Theatre, Chicago Children’s Theatre, The Hypocrites Theater, The House Theatre, Court Theatre, ATC, Victory Gardens Theater, Raven Theatre, Steep Theatre, Northlight Theatre and About Face Theatre. His additional credits include Getty Villa, Boston Playwrights’ Theatre, Arden Theatre Company, Playwrights Horizons, Actors Theatre of Louisville and Portland Playhouse. Sims won a Jeff Award for sound design for Moby Dick and Hepheastus (Lookingglass Theatre Company), BTAA award for Brothers In the Dust (Congo Square) and has received several nominations for both awards. He is an artistic associate with Lookingglass Theatre Company, artistic affiliate with American Blues Theatre and associate designer with Aria Music Designs (Ray Nardelli and Josh Horvath). Sims also wrote the book, music and lyrics for Hillbilly Antigone (Lookingglass Theatre Company).
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Kathy Logelin (Dialect Coach) is happy to return to coach Moby Dick, having previously coached the 2015 Lookingglass Theatre Company production. Her other coaching credits include Treasure Island (Lookingglass Theatre Company), Spinning and Little World of Our Own (Irish Theatre of Chicago), The Mutilated (A Red Orchid Theatre), All the Way (TheatreSquared), Pygmalion (Oak Park Festival Theatre) and Persuasion (Chamber Opera Chicago at the Edinburgh Festival Fringe). Logelin holds a BS in acting from Illinois State University and is a company member of Rivendell Theatre Ensemble.
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Isaac Schoepp (Rigging Design) is a rigging designer whose credits include Moby Dick (Lookingglass Theatre Company, Alliance Theatre, Arena Stage) and Marnie and Phil: A Circus Love Letter, Circuscope and Magical Exploding Boy (The Actors Gymnasium). He serves as rigging designer for next spring’s The Year I Didn’t Go to School (Chicago Children’s Theatre). His work as an assistant rigging designer to Lee Brasuell includes Lookingglass Alice, The Little Prince and Peter Pan: A Play (Lookingglass Theatre Company) and Cascabel (Goodman Theatre, Lookingglass Theatre Company). He did performer rigging for The Little Mermaid (Chicago Shakespeare Theatre) and Home of the Brave (Merrimack Repertory Theatre). He is the staff rigging specialist at The Actors Gymnasium, in Evanston, Ill. He received the 2015 Jeff Award for Artistic Specialization for his rigging design for Moby Dick. He also coordinates the Christ College Freshman Drama Workshop at Valparaiso University, where he received his BA in theatre and humanities. Much love to Claire.
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Karyn D. Lawrence (Associate Lighting Design) is proud to be returning to South Coast Repertory after having designed the recent Theatre for Young Audiences productions of The Light Princess, A Year with Frog and Toad and The Miraculous Journey of Edward Tulane. Lawrence has earned two Los Angeles Ovation Nominations for Best Lighting for Colony Collapse at The Theatre @ Boston Court and The Gospel at Colonus with Ebony Repertory Theatre. Her design for Fences with International City Theatre won an NAACP Theatre Award for Best Lighting. She also has designed for various regional theatres including the Wallis Annenberg Center for the Performing Arts, East West Players, New Swan Shakespeare Festival and Great River Shakespeare Festival. In addition to theatre, she is one of Radiance Lightworks’ lead lighting designers for Universal Studios’ Halloween Horror Nights and she teaches lighting design at Occidental College and California State University Los Angeles. KDLightingDesign.com
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Mary Hungerford* (Stage Manager) is honored to return to the Pequod with this amazing group of artists after working on the original production at Lookingglass Theatre Company in 2015. Her other Lookingglass credits include Blood Wedding, Treasure Island, Lookingglass Alice and Ethan Frome. In Chicago, she has worked with Chicago Shakespeare Theater, Steppenwolf Theatre, TimeLine Theatre and Writers Theatre. Most recently, she collaborated with the Globe Theatre’s international touring production of The Merchant of Venice during its run at Chicago Shakespeare Theater. Hungerford is a proud member of Actors’ Equity Association and an alumna of Northwestern University. Endless thanks to Jeff and Kelley.
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Sue Karutz* (Assistant Stage Manager) has been part of the stage management team at SCR for nearly 20 productions, with her favorite being last season’s One Man, Two Guvnors. Elsewhere, she has toured with Robert Wilson’s The Black Rider (London, San Francisco, Sydney, Los Angeles), Wicked (Chicago, L.A., San Francisco), Les Misérables (U.S., Canada, China and Korea), and Cirque du Soleil’s Corteo (Russia Belgium). Off-Broadway, she earned her Equity card on Howard Crabtree’s When Pigs Fly. Karutz has stage-managed for Center Theatre Group, Los Angeles Opera, Pasadena Playhouse, Falcon Theatre, Deaf West Theatre, Laguna Playhouse, American Conservatory Theater, La Jolla Playhouse, Idaho Shakespeare Festival, Utah Shakespeare Festival, Alpine Theatre Project and The National Theatre of the Deaf. When not at SCR, she often runs “Mickey and the Magical Map” at Disneyland.
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Lookingglass Theatre Company in Chicago was founded in 1988 by eight Northwestern University students. Lookingglass is home to a multidisciplined collective of artists who create original, story centered theatre through a physical and improvisational rehearsal process centered on ensemble. Lookingglass has staged 65 world premieres and earned numerous awards in its mission to change, charge and empower audiences and artists alike. Lookingglass Education and Community programs encourage creativity, teamwork and confidence with thousands of students and community members each year. In 2003, Lookingglass Theatre opened in Chicago’s landmark Water Tower Water Works. In 2011, Lookingglass received the American TheatreWing’s Tony Award for outstanding regional theatre. In February 2016, Lookingglass received the MacArthur Award for Creative and Effective Institutions.
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The Actors Gymnasium is one of the nation’s premier circus and performing arts training centers. The Actors Gymnasium was founded in 1995 by a lifelong circus performer from Ringling Bros., a co-founder of the Tony Award-winning Lookingglass Theatre, an arts journalist and a producer in order to bring new physicality to the American theatre. Three primary programs expand creativity, community and courage: teaching circus arts, physical theatre and multidisciplinary performance; producing original and daring circus theatre, often in collaboration; and providing innovative event entertainment. Actors Gymnasium is a co-founder of Enrich Evanston: An Arts Equity Task Force. In addition to its longstanding partnership with Lookingglass, collaborators include the Goodman Theatre, Chicago Children’s Theatre, Lucky Plush Productions and many more. Artist development opportunities include weekly classes, curriculum for five universities, master classes, a summer intensive and a nine-month professional training program. actorsgymnasium.org
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The Alliance Theatre founded in 1968, is the leading producing theatre in the Southeast, reaching more than 165,000 patrons annually. Under the leadership of Susan V. Booth, Jennings Hertz Artistic Director, the Alliance received the Regional Theatre Tony Award for sustained excellence in programming, education and community engagement. The Alliance Theatre Acting Program and Education Department reaches 50,000 students annually through performances, classes, camps, and in-school initiatives including the Palefsky Collision Project and the Kathy & Ken Bernhardt Theatre for the Very Young. The Alliance nurtures the careers of playwrights and artists through programs like the Alliance/Kendeda National Graduate Playwriting Competition and the Reiser Atlanta Artists Lab, and has developed and premiered important American musicals with a strong track record of Broadway, touring and subsequent productions, including The Color Purple; Aida; Bring it On: The Musical; and Tuck Everlasting. alliancetheatre.org
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Arena Stage at the Mead Center for American Theater, under the leadership of Artistic Director Molly Smith and Executive Director Edgar Dobie, is a national center dedicated to American voices and artists. Arena Stage produces plays of all that is passionate, profound, deep and dangerous in the American spirit, and presents diverse and ground-breaking work from some of the best artists around the country. Arena Stage is committed to commissioning and developing new plays through the American Voices New Play Institute. Arena Stage impacts the lives of more than 10,000 students annually through its work in community engagement. Now in its seventh decade, Arena Stage serves a diverse annual audience of more than 300,000. arenastage.org
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