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Casey Stangl (Director) returns to SCR after just directing Flora & Ulysses. Her other SCR work includes David Ives’ Venus in Fur, Sarah Ruhl’s In the Next Room, or the vibrator play, Sofia Alvarez’s Between Us Chickens and many Theatre for Young Audiences productions. Her recent projects include Cloud 9 for Antaeus Theatre Company, where she also directed the award-winning productions of Peace In Our Time, The Curse of Oedipus and The Liar; Nambi E. Kelley’s adaptation of Native Son for La Jolla Playhouse/UCSD; Stage Kiss for Guthrie Theater; Ah, Wilderness, Love and Information and Venus in Fur for American Conservatory Theater; and development work on The Bottomless Bowl, a new Josh Kornbluth piece, at Berkeley Repertory’s Ground Floor. Stangl was the founding artistic director of Eye of the Storm Theatre in Minneapolis—a company devoted to new work—for which she was named Minnesota Artist of the Year. She is a member of the Ovation Rules Committee at Los Angeles Stage Alliance and proudly serves on the executive board of the Stage Directors and Choreographers Society, the national labor union for stage directors and choreographers.
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Michael B. Raiford (Scenic Design) is a scenic and costume designer based in Austin, Texas. He previously designed Orange, Going to a Place where you Already Are, Peter and the Starcatcher and Death of a Salesman at SCR. His national and regional theatre and opera credits include Geva Theatre (Rochester, NY), The Cleveland Play House, Opera Boston, Kansas City Repertory Theatre, Central City Opera, Aurora Theatre Company, PlayMakers Repertory Company, Maltz Jupiter Theatre, Ford’s Theatre (Washington, D.C.), The New Victory Theater (New York) and Actors Theatre of Louisville. At Actors Theatre, Raiford designed more than 20 shows including a dozen world-premiere productions at The Humana Festival of New American Plays. In Austin, he has designed at Ballet Austin, Austin Lyric Opera, Rude Mechanicals, ZACH Theatre and Hyde Park Theatre. In addition, he recently directed Blast, The Music of Disney for a national tour of Japan. Raiford received his MFA from University of Texas at Austin, where he also taught design for 10 years. He is a member of United Scenic Artists, Local 829. To see more of his work, visit flickr.com/photos/michaelraiford/sets.
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David Kay Mickelsen (Costume Design) has designed more than 300 productions at the nation’s leading theatres including SCR; Guthrie Theater; Denver Center Theatre Company (59 productions); Arizona Theatre Company (47 productions); The Cleveland Play House (21 productions); Cincinnati Playhouse in the Park (14 productions); Ford’s Theatre (Washington, D.C.); Williamstown Theatre Festival; Berkeley Repertory Theatre; Geffen Playhouse; Pasadena Playhouse; Laguna Playhouse; The Old Globe; San Diego Repertory Theatre; A Contemporary Theatre; the Oregon, Utah, Colorado and Illinois Shakespeare festivals; Studio Arena Theatre; Portland Center Stage; Northlight Theatre; Pioneer Theatre Company; Geva Theatre; The Repertory Theatre of St. Louis; Children’s Theatre Company of Minneapolis; Tennessee Repertory Theatre; Missouri Repertory Theatre; Sundance Theatre Festival; New Mexico Repertory Theatre; Pennsylvania Center Stage; Florida Stage; The Maltz-Jupiter Theatre; Ensemble Studio Theatre; Irish Repertory Theatre; Theatre of the Open Eye; Jean Cocteau Repertory Theatre; The Hampton Playhouse; and Timberlake Playhouse. Originally from Canby, Ore., he graduated with an MFA from California Institute of the Arts and is a member of the United Scenic Artists. davidkaymickelsen.com.
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Elizabeth Harper (Lighting Design) returns to SCR, where she previously designed District Merchants, Office Hour, Venus in Fur, tokyo fish story and Reunion. Her design credits include Ma Rainey’s Black Bottom and Immediate Family (Mark Taper Forum); A Raisin in the Sun, Woman Laughing Alone with Salad and Throw Me on the Burnpile and Light Me Up (Kirk Douglas Theatre); Play Dead, Wait Until Dark, Bad Jews and Good People (Geffen Playhouse); The Twentieth-Century Way and The Golden Dragon (Ovation Award winner, The Theatre @ Boston Court); and Crescent City (The Industry). She served as a technical consultant for installations at Los Angeles County Museum of Art and Greene Naftali. Her industrial lighting projects include events for Microsoft, On-Live, Ubisoft and Universal Studios. Harper holds an MFA in design for stage and film from Tisch School of the Arts at New York University. She is a guest lighting design instructor and lecturer at CalArts.
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Cricket S. Myers (Sound Design) is thrilled to return to SCR after designing Red, Mr. Wolf, Zealot, Trudy and Max in Love, 4000 Miles, The Fantasticks, The Parisian Woman, Sight Unseen, Elemeno Pea, The Trip to Bountiful and Three Days of Rain. On Broadway, she earned a Tony Award nomination and a Drama Desk Award for her design of Rajiv Joseph’s Bengal Tiger at the Baghdad Zoo. She has designed regionally at the Ahmanson Theatre (Sunshine Boys), Mark Taper Forum (Bent, Steward of Christendom, Joe Turner’s Come and Gone, Vigil, Bengal Tiger at the Baghdad Zoo, The Lieutenant of Inishmore), La Jolla Playhouse (Guards at the Taj, Sideways, The Nightingale), Berkeley Repertory Theatre (In the Wake), Arena Stage (Book Club Play), Kirk Douglas Theatre (Endgame, Twist Your Dickens, The Little Dog Laughed), Pasadena Playhouse (Stoneface, Above the Fold), The Los Angeles Theatre (Carrie) and Geffen Playhouse (Play Dead, Wrecks, Some Girls, Emergency). Myers also designed Tangled, The Musical aboard the Disney Magic cruise ship. She has earned 20 Ovation Award nominations and won the Los Angeles Drama Critics Circle Kinetic Award for Outstanding Achievement in Theatrical Design and Los Angeles Drama Critics Circle and Garland Awards. cricketsmyers.com
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Jerry Patch (Dramaturg) was affiliated with SCR from 1967-2005 and returned in 2014 as literary consultant. He served as dramaturg on nearly 150 new plays developed and seen at SCR including the world premieres of Abundance, Freedomland, Golden Child, Intimate Apparel, Search and Destroy, Three Days of Rain and Wit. He was project director of SCR’s Pacific Playwrights Festival from its 1998 inception through 2005 and, for seven years, served as artistic director of the theatre program of Sundance Institute. As a professor of theatre and film, he taught at Long Beach City College, UC Irvine, UC San Diego, CSU Long Beach and other institutions. He was consulting dramaturg for New York’s Roundabout Theatre Company for nearly a decade and left SCR to become resident artistic director for The Old Globe in San Diego. He is an artistic consultant, following seven seasons as director of artistic development, for Manhattan Theatre Club in New York.
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Roxana Khan* (Stage Manager) is returning to SCR after working on All the Way and Mr. Popper’s Penguins earlier this season. She recently spent five seasons at Tony Award-winning Oregon Shakespeare Festival on Guys and Dolls, Head Over Heels, The Count of Monte Cristo, The Cocoanuts, Into the Woods, King Lear, The Tenth Muse, Romeo and Juliet, Animal Crackers, WillFul and Henry IV, Part II. Her Los Angeles credits include A Cinderella Christmas (Lythgoe Family Panto/Pasadena Playhouse), The Golden Dragon (The Theatre @ Boston Court), Guys and Dolls and Into the Woods (The Wallis Annenberg Center for the Performing Arts), Godspell, The Boxcar Children and Charlotte’s Web (Laguna Playhouse) and Kirk Douglas Theatre. She has stage-managed play festivals, readings and workshops along the west coast. She earned her degree from Biola University and is a proud member of Actors’ Equity Association.
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Sue Karutz* (Assistant Stage Manager) has been part of the stage management team at SCR for 20 productions, her favorites being the recent Moby Dick from Lookingglass Theatre and 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 and Belgium). She earned her Equity card off-Broadway 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, and is a staff stage manager at Disneyland.
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