Creative Team |
May Adrales (Director)
is thrilled to be back at SCR, having directed Vietgone and the PPF reading of Little Black Shadows. Her work has been seen at Lincoln Center Theater, Signature Theatre, Manhattan Theatre Club, Second Stage Theatre, Milwaukee Repertory Theater, Goodman Theatre, Actors Theatre of Louisville, Portland Center Stage, Seattle Repertory Theatre, Syracuse Stage, Cleveland Play House, Oregon Shakespeare Festival, Pioneer Theatre and Two River Theater. She serves as associate artistic director at Milwaukee Repertory Theatre. She is a former director of on-site programs at the Lark Play Development Center and artistic associate at The Public Theater. She holds an MFA from the Yale School of Drama, is an adjunct faculty member at Yale and Brown universities, and holds fellowships with The Drama League, New York Theatre Workshop and Second Stage for Directing. She has directed at NYU, Bard College, The Juilliard School and Fordham University. Yale School of Drama. www.mayadrales.net
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David M. Barber (Scenic Design)
is making his SCR design debut. His New York credits include The Most Deserving (Women’s Project Theater, world premiere), The Orphans’ Home Cycle (Signature Theatre, world premiere), ’Tis Pity She’s a Whore and Women Beware Women (Red Bull Theater) and The Vandal (The Flea Theater, world premiere). Regionally, he has worked at Denver Center for the Performing Arts, Hartford Stage, Center Stage Baltimore, Pittsburgh Public Theater, American Repertory Theater, Two River Theater, Great Lakes Theater, Idaho Shakespeare Festival, Contemporary American Theater Festival, Jacob’s Pillow Festival, Alabama Shakespeare Festival, Barrington Stage and others. His television work includes art direction for E! Entertainment, “The Today Show,” “Football Night in America,” production design for the pilot “Fashion Mega Warriors” (produced by Tyra Banks) and the live simulcast of “Woodstock ’99.” His film work includes production and costume design for the films All Relative, Day 39 and Double Header. He has received the Drama Desk, Henry Hewes, Connecticut Critics Circle, Denver Ovation, Denver Critics Circle and Westword’s Best of Denver awards, and his work was selected to represent the U.S. at the Prague Quadrennial (1999). davidmbarber.com
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Sara Ryung Clement (Costume Design)
returns to SCR where her past projects include costumes for Cambodian Rock Band, A Doll’s House, Part 2, 4000 Miles, Completeness and Becky Shaw; sets and costumes for How the World Began; and the set design for Absurd Person Singular. Her upcoming projects include Human Error at the Denver Center Theatre Company and the world premiere of Idris Goodwin’s The Way the Mountain Moved at the Oregon Shakespeare Festival. Her work has been seen off-Broadway at Second Stage Uptown and regionally at Oregon Shakespeare Festival, Geffen Playhouse, Seattle Repertory, La Jolla Playhouse POP Tour, Mixed Blood, TheatreWorks, Center Stage Baltimore, The Theatre @ Boston Court, Perseverance Theatre, East West Players, Cornerstone Theater Company, A Noise Within, Yale Repertory Theatre, Native Voices at the Autry and others. She is on the set design faculty at UCLA School of Theater, Film and Television and is a recipient of the Donald and Zorca Oenslager Fellowship in Design. She earned a MFA at Yale School of Drama and an AB from Princeton University. sararyungclement.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 other 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, 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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Charles Coes (Sound Design and Original Music)
is happy to return to SCR, where he previously co-designed The Tempest and All the Way. He has designed shows at Oregon Shakespeare Festival, Playwrights Horizons, Baltimore Center Stage, Yale Repertory Theatre, Seattle Repertory Theatre, Berkeley Repertory Theatre, The Old Globe, Guthrie Theater, Shakespeare Theatre Company, ArtsEmerson, Wilma Theatre, Two River Theater, North Shore Music Theatre, Williamstown Theatre Festival, HERE Arts Center, Ford’s Theatre, Dallas Theater Center, Roundabout Theater Company and Huntington Theatre Company. He designed tours for Phoenix Entertainment and The Acting Company and has designed aerial, robotic and aquatic spectaculars for Royal Caribbean, Puppet UP! (The Venetian, Las Vegas) and collaborated on installations with artists Anne Hamilton, Abelardo Morel and Luis Roldan. He has worked as an associate on 20 Broadway shows including Peter and the Starcatcher (Tony Award, Sound Design), Lobby Hero and Junk. He has a very sweet dog named Max, whose bark may appear in the show. He teaches at the Yale School of Drama.
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Nathan A. Roberts (Sound Design and Original Music)
is a multi-instrumentalist, composer, instrument-maker and sound designer who specializes in creating original music and soundscapes for plays, often live onstage. His previous work at SCR includes All the Way; his upcoming work includes The Way the Mountain Moved (Oregon Shakespeare Festival). His other regional credits include Animal Farm (Baltimore Center Stage/Milwaukee Repertory Theater), Sense and Sensibility (Oregon Shakespeare Festival, Guthrie Theater, Dallas Theater Center), The Christians and Les Liaisons Dangereuses (Baltimore Center Stage), Assassins (Yale Repertory Theatre), tokyo fish story (The Old Globe, Craig Noel Award), In the Next Room, or the vibrator play (Syracuse Stage), Accidental Death of an Anarchist (Yale Repertory Theatre/Berkeley Repertory Theatre), Our Town and The Widow Lincoln (Ford’s Theatre, Helen Hayes Award nomination), Twelfth Night and The Tempest (Hartford Stage), The Servant of Two Masters (Seattle Repertory Theatre, Guthrie Theater, Shakespeare Theatre, Yale Repertory Theatre), Julius Caesar and Macbeth (The Acting Company) and It’s a Wonderful Life (Long Wharf Theatre). Roberts earned his MFA from the Yale School of Drama, and teaches in the theater studies program of Yale University.
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Hana S. Kim (Projection and Puppet Design) is a Los Angeles-based projection designer for live performances. Her recent design credits includes Steal a Pencil for Me directed by Omer Ben Seadia (Opera Colorado), Weightless directed by Becca Wolff (Z Space), Eva Trilogy directed by Loretta Greco (Magic Theatre) and The Christians directed by Hana Sharif (Baltimore Center Stage). She is a 2018 Richard E. Sherwood Award recipient from Center Theatre Group, a member of United Scenic Artists, Local 829, and recipient of Princess Grace Award in theatre design. Her designs have won a Helen Hayes Award, Stage Raw Awards, StageSceneLA Awards and Bay Area Theater Critics Circle Awards. For her portfolio, please visit hananow.com
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Kimberly Colburn (Dramaturg)
is SCR’s literary director, co-director of PPF and leads the theatre’s CrossRoads Initiative. Her recent dramaturgical work includes the world premiere productions of Going to a Place where you Already Are by Bekah Brunstetter, Orange by Aditi Brennan Kapil, Future Thinking by Eliza Clark and Zoey’s Perfect Wedding by Matthew Lopez at Denver Center Theatre. Formerly, she was literary manager at Actors Theatre of Louisville, where she was dramaturg for the world premieres of Partners by Dorothy Fortenberry, The Roommate by Jen Silverman and Dot by Colman Domingo, among others. Prior to that, she was associate literary director at SCR and served as dramaturg for the world premieres of José Cruz González’s The Long Road Today, Zoe Kazan’s Trudy and Max in Love and A Wrinkle in Time adapted by John Glore, among dozens of other productions, workshops and readings. She has worked with companies including Los Angeles Opera, Mixed Blood Theatre, Oregon Contemporary Theatre, Critical Mass Ensemble, Artists at Play and Native Voices at the Autry.
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Nikki Hyde (Stage Manager)
is a theatre and opera stage manager. Her recent credits include Andrew Norman’s A Trip to the Moon (Los Angeles Philharmonic), The Pirates of Penzance (Pasadena Playhouse), magic fruit (Cornerstone Theater Company), The Pearl Fishers (LA Opera), The Pride (Wallis Annenberg Center for the Performing Arts), Party People (The Public Theater), Fidelio (Cincinnati Opera), Madama Butterfly (San Diego Opera) and Lost Girls (MCC Theatre). She has also worked for Center Theatre Group, Houston Grand Opera, New York Musical Festival, Merola Opera Program, New Dramatists, Oregon Shakespeare Festival, Shakespeare Center of Los Angeles, Opera Grand Rapids, and Opera San Antonio. She is a graduate of the University of Southern California and an ensemble member of Cornerstone Theater Company.
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