Roe

LISA LOOMER

Playwright

plays include Living Out, The Waiting Room, Distracted, Homefree, Café Vida, Expecting Isabel, Two Things You Don’t Talk About at Dinner, Birds, Bocón!, Maria! Maria Maria Maria, and Broken Hearts. Her work has been produced at Roundabout, Vineyard Theatre, Second Stage, INTAR, The Public, Mark Taper Forum, Arena Stage, South Coast Repertory, Kennedy Center, Seattle Repertory, Denver Center, La Jolla, Trinity Repertory, Williamstown Theatre Festival, Missouri Repertory and Cornerstone Theater Company and in Mexico, Israel, Egypt and Germany. Screenwriting credits include Girl, Interrupted and comedies, dramas and pilots for HBO, CBS, FOX and Showtime. Lisa received the American Theatre Critics Award (twice), Kennedy Center Fund for New American Plays Award, Lurie Foundation Award, Edgerton Foundation New American Play Award, Jane Chambers Playwriting Award (twice), Imagen Award, Ovation Award and Susan Smith Blackburn Prize.

BILL RAUCH

Director

returns to Arena Stage after directing Equivocation and A Community Carol. He directed the Tony Award-winning All the Way on Broadway and the world premiere of The Clean House at Yale Repertory, where he is an associate artist, and its Off-Broadway premiere (Lincoln Center). Other world premieres include Fingersmith, The Great Society, Equivocation and By the Waters of Babylon (Oregon Shakespeare Festival); Living Out and For Here or to Go? (Mark Taper Forum); and My Wandering Boy and The Further Adventures of Hedda Gabler (South Coast Repertory). He became the OSF’s artistic director in 2007, having been co-founder and artistic director of Cornerstone Theater (1986-2006). Honors include the Helen Hayes, TCG’s Visionary Leadership, Fichandler, L.A. Weekly and Garland Awards; Margo Jones Medal; and Emmy and Ovation Award nominations.

RACHEL HAUCK

Set Designer

New York design credits include Night Is a Room, Our Lady of Kibeho and And I and Silence (Signature Theatre); An Iliad (New York Theatre Workshop, McCarter, Seattle Repertory); Grand Concourse, The Patron Saint of Sea Monsters, The Call and Go Back to Where You Are (Playwrights Horizons); Slowgirl (LCT3); Bright Half Life (Women’s Project); To the Bone (Cherry Lane Theatre); Harper Regan and Bluebird (Atlantic Theater Company); The Tutors (Second Stage); Orange and Hat & Grace (Soho Rep); This Wide Night (Naked Angels); BAM Next Wave Festival; and The Public. Regional design credits for Arena Stage, Oregon Shakespeare Festival, The Guthrie, Mark Taper Forum, Berkeley Repertory, Seattle Repertory, La Jolla Playhouse and many others. Rachel is also the recipient of the Princess Grace Award, NEA/TCG Fellow and Lilly Award.

RAQUEL BARRETO

Costume Designer

regional design credits include Oregon Shakespeare Festival, Syracuse Stage, Getty Villa, Folger Theatre, The Guthrie, California Shakespeare Theatre, San Jose Repertory, Cornerstone Theater Company, Latino Theater Company, Odyssey Theatre, Magic Theatre, Campo Santo Theatre Company, Chalk Repertory and The Cutting Ball Theater. Opera credits include Lucrezia, Bastianello and The Coronation of Poppea (Opera UCLA) and Un Ballo in Maschera (San Francisco Lyric Opera). She has collaborated with choreographers Barak Marshall (BODYTRAFFIC, Joyce Theater; Los Angeles Philharmonic, Walt Disney Concert Hall; Jacob’s Pillow; The Broad Stage); Yolande Snaith, Allyson Green, Robert Moses and Jeff Slayton. Raquel is on the design faculty at UCLA School of Theater, Film and Television and received her M.F.A. from the University of California, San Diego.

JANE COX

Lighting Designer

Broadway design credits include Machinal, Picnic, All the Way, Come Back, Little Sheba, and Dame Edna’s Back with a Vengeance. Off-Broadway credits with Roundabout, Lincoln Center, Manhattan Theatre Club, Second Stage, The Public, Playwrights Horizons, Signature Theatre and Classic Stage Company. Regional credits with Arena Stage, Oregon Shakespeare Festival, The Guthrie, McCarter and American Repertory. International credits include Hamlet (The Barbican). Opera credits with Sydney Opera House, Houston Grand Opera, New York City Opera, Minnesota Opera and Glimmerglass Opera. Adjunct teaching for Princeton University and New York University, company member at Monica Bill Barnes Dance Company. Jane received a Tony Award nomination for Machinal, the 2013 Henry Hewes Design Award and Drama Desk and Lucille Lortel Award nominations. She received her M.F.A. from New York University.

PAUL JAMES PRENDERGAST

Original Composition / Sound Designer

regional credits include Oregon Shakespeare Festival, The Guthrie, American Conservatory Theater, Seattle Repertory, Mark Taper Forum, Asolo Repertory, South Coast Repertory, Long Wharf, Great Lakes Theater, East West Players, Florida Stage, Atlantic Theater Company, Playmakers Repertory, Idaho Shakespeare Festival, Geffen Playhouse, People’s Light and Theatre Company, The Actors’ Gang, Cornerstone Theater Company, Hartford Stage, California Shakespeare Theater, La Jolla Playhouse, Alley Theatre and Kennedy Center. International credits include the Edinburgh Festival and Moscow Art Theatre. Other credits include Universal Studios, Disney and Knott’s Berry Farm (theme parks); Treasure Island, MGM Grand and Buffalo Bill’s (casinos); J. Paul Getty, Geffen Contemporary and Autry National Center (museums); and Diavolo Dance Theater, Momix and Parsons Dance. His work as a singer/songwriter has appeared in films, on recordings and in music venues nationwide.

WENDALL K. HARRINGTON

Projection Designer

Broadway credits include The Who’s Tommy (Drama Desk, American Theater Wing, Outer Critics Circle Awards), Driving Miss Daisy, Grey Gardens, The Capeman, Ragtime, Company, Putting it Together, The Heidi Chronicles and They’re Playing Our Song. Off-Broadway credits include with Signature Theatre, Lincoln Center and The Public. Opera/ballet credits with Metropolitan Opera, Lyric Opera of Chicago, Metropolitan Opera, Minnesota Opera, Opera Theatre of Saint Louis, American Ballet Theatre Royal Danish Ballet, La Scala and New York City Ballet. Wendall is the recipient of the 1998 Obie Award for Sustained Excellence in Projections, Michael Merritt Award for Design and Collaboration, 2015 Players Club Theatre Person of the Year and 2015 USITT Distinguished Achievement in Education. She lectures widely on projection design as faculty at the Yale School of Drama.

JOY DICKSON

Casting Director

has worked regionally at Oregon Shakespeare Festival, Seattle Repertory, Berkeley Repertory, Mark Taper Forum, Ojai Playwrights Conference, Geffen Playhouse, Huntington, La Jolla, Goodman Theatre, Missouri Repertory, Portland Center Stage, Cleveland Play House, Ahmanson Theatre, Dallas Theater Center, Pasadena Playhouse, Intiman Theatre and A.S.K. Theatre Projects. Film/TV credits include Terri, The Tao of Steve and Lush (Sundance); Stephanie Daley (Sundance, Deauville Film Festival); The Business of Strangers (Sundance, Deauville Film Festival); Easier with Practice (Cinevegas, Edinburgh Film Festivals); Interview with the Assassin (Tribeca Film Festival); The Independent (HBO/U.S Comedy Arts Festival); Perdita Durango (Toronto Film Festival); Quarterlife (Bedford Falls Productions/NBC); The Men’s Room (NBC); Off Centre (The WB); and The Mullets (UPN). She is an adjunct professor at California Institute of the Arts and received her B.A. from Smith College.

REBECCA CLARK CAREY

Voice and Text Director

is head of voice and text at the Oregon Shakespeare Festival where she has been the voice and text director for over 30 productions including the world premiers of The White Snake, All the Way, The Great Society and Equivocation. Other credits include Utah Shakespeare Festival, Guthrie Theater, American Repertory Theater, Royal National Theatre in London, and the Tony Award winning production of All the Way on Broadway. Teaching credits include the Central School of Speech and Drama, the Oxford School of Drama and the Royal Academy of Dramatic Art. She is co-author of three books including The Shakespeare Workbook and Video, published by Bloomsbury Methuen Drama.

TOM BRYANT

Dramaturg

Broadway credits include The Kentucky Cycle and All the Way by Robert Schenkkan. Regional credits include All the Way and The Great Society (Oregon Shakespeare Festival); The Great Society (Seattle Repertory); Lewis and Clark Reach the Euphrates (Mark Taper Forum); The Wind Cries Mary (San Jose Repertory); Discovery of America (Emory University); The Mandrake Root (Long Wharf Theatre); Apollo (Portland Center Stage); and How the World Began (South Coast Repertory, Pacific Playwrights Festival). Film credits include developmental work for HBO, BBC and Disney. He is a professor of theater at Crafton Hills College and received his M.F.A. in directing, Carnegie Mellon University.

JEREMY EISEN

Stage Manager

is thrilled to be able to continue with Roe here at Arena Stage, which marks his first time working at a D.C. theater. Jeremy has been stage managing at various theaters across the country for 25 years, 19+ of them on a myriad of productions at Oregon Shakespeare Festival. Jeremy is very grateful to Bill Rauch, Lisa Loomer and Kimberley Jean Barry for this opportunity, and to Kay, Yoshiko and Mio for “holding down the fort.”

MARNE ANDERSON

Assistant Stage Manager

Arena Stage credits include Moby Dick, All the Way, Erma Bombeck: At Wit’s End, King Hedley II, Five Guys Named Moe, Mother Courage and Her Children, The Arabian Nights and Duke Ellington’s Sophisticated Ladies. Additional D.C. credits include A Midsummer Night’s Dream and Rosencrantz and Guildenstern Are Dead (Folger Theatre); Angels in America: Parts 1 and 2 (Round House); and You for Me for You and Mr. Burns, A Post-Electric Play (Woolly Mammoth). She is a graduate of the University of North Carolina School of the Arts and a proud member of Actors’ Equity Association. She is thankful to her family for all their love and support.

OREGON SHAKESPEARE FESTIVAL

was founded by Angus Bowmer in 1935, and has grown from a three-day festival to one of the largest nonprofit theaters in the United States. OSF presents an eight-month season of 11 plays in rotating repertory, including works by Shakespeare as well as a mix of classics, musicals, and new works. Every year, OSF draws attendance of more than 400,000 to nearly 800 performances and employs approximately 575 theater professionals. OSF’s mission statement: “Inspired by Shakespeare’s work and the cultural richness of the United States, we reveal our collective humanity through illuminating interpretations of new and classic plays, deepened by the kaleidoscope of rotating repertory.” OSF is committed to diversity and inclusion in all areas of its work and in its audiences.

BERKELEY REPERTORY THEATRE

has grown from a storefront stage to a national leader in innovative theatre. Known for its core values of imagination and excellence, as well as its educated and adventurous audience, the nonprofit has provided a welcoming home for emerging and established artists since 1968. With two stages, a school, and a Tony Award for Outstanding Regional Theatre, Berkeley Rep is proud to premiere exhilarating new plays. Nine shows seen at Berkeley Rep have ended up on Broadway. More than 12 arrived off Broadway, two moved to London, two turned into films, and others have toured the nation. Come see tomorrow’s plays today at Berkeley Rep.