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May 17, 2017
What is it about a road trip that is so enticing? The adventure that each new place offers, the freedom to sing at the top of your lungs, the feeling of the wind in your hair as you see the country passing by, the intimacy that comes between people sharing a small space, the hours and hours of freedom to contemplate.
For me, 26 Miles provides that contemplative space. In that space, a marathon of questions arises: What happens when we are faced with adversity? With prejudice? With misunderstanding? How do we react when faced with life challenges that threaten to sink us? What are the coping mechanisms that we put into place so we can survive? How do we confront those moments of choice? What does it take to reach across canyons and gulfs and expanse to connect with those who have become distant to us?
This play is about the journey, the discovery that each new mile brings, the rigor with which connection between people is achieved. This is a play about revealing the cracks, about letting go, about a family wrestling to piece together their broken parts. This is a play about a mother and daughter on a journey; about reaching a place where you can allow yourself to fly free.
Rebecca Martinez, Director of 26 Miles.
26 Miles runs June 15-25, 2017.
May 17, 2017
Alex Ramirez de Cruz
Alex is a Portland area actor, deviser and theatre-maker. Some of her favorite credits include: Tomás and the Library Lady (Oregon Children’s Theatre), DB (COHO Theatre), The Oregon Trail (Portland Center Stage), TeatroSOLO: Deseo (Boom Arts Theatre), Passion Play (Shaking The Tree & Profile Theatre), Dance For a Dollar, (Miracle Theatre) and Bloody Bloody Andrew Jackson (Portland Playhouse). She is dedicated to creating original devised theatre and is a proud member of String House, an independent producing title and new works laboratory, nominated for two Drammy Awards for “Best Devised Production.”
Julana is a Portland local with an extensive career in music, dance, and theatre. She is ecstatic to be performing for the first time with Profile Theatre. Most recently Julana originated the role of Doña Teresa in Óye Oyá at Milagro Theatre and Grandma in Artists Repertory’s world premiere musical Cuba Libre. Other musical theater credits include Fame (Carmen), West Side Story (Carmelita), Peter Pan (Tiger Lily 2), and South Pacific (Ensemble). Julana also established the full time dance program for Franklin High School, and was the creator of successful arts showcase for youth Arts Alive. She can also be seen performing as the lead singer for popular latin jazz orchestra The Bobby Torres Ensemble.
After studying at Southern Oregon University and performing at the Oregon Shakespeare Festival, Jimmy is happy to be back in Portland where he began his acting career years ago on the stages of Milagro Theater, Stark Raving Theater and Portland Center Stage. In Southern Oregon, he performed a variety of roles working with such esteemed directors as Bill Rauch, Libby Appel and Pat Patton to name a few. He has most recently performed in Milagro’s world premiere Òye Oya, ART’s A Civil War Christmas, Profile Theater’s Elliot: A Soldier’s Fugue, and can next be seen in Profile’s The Happiest Song Plays Last.
Chris is honored to work with Profile Theatre. Credits include: Marjorie Prime, The Skin of Our Teeth, We Are Proud…, Intimate Apparel, Ten Chimneys, The History Boys, Chasing Empires Soul (Artists Rep), Cyrano, Othello, The Receptionist, Antigone, JAW (PCS), Head. Hands. Feet. (Shaking The Tree), Mother Teresa is Dead, Angels in America, Twelfth Night (Portland Playhouse), The Turn of the Screw (Portland Shakespeare Project), The Snowstorm (Many Hats/CoHo), The Yellow Wallpaper, Fool For Love (CoHo), Shining City (Third Rail.) Chris was a member of Sowelu Theatre Ensemble for seven seasons, he teaches acting at Portland Actors Conservatory and at Artists Rep.
Rebecca is a Brooklyn-based director and choreographer with deep roots in Portland. Rebecca is an ensemble member of Sojourn Theatre, a Co-Curator of Working Theater’s Directors Salon, a member of the Lincoln Center Theater Directors Lab, INTAR’s Unit52, the 2015-16 SDCF Observership Class, the Latinx Theatre Commons Steering Committee, and an Associate Member of SDC. Awards include four Portland Theater Drammy Awards (7 Great Loves and The War Project: 9 Acts of Determination – Sojourn Theatre; The Brother/Sister Plays – Portland Playhouse) and the Lilla Jewel Award for Women Artists. Rebecca is an artist with the Center for Performance and Civic Practice and a 2017 Drama League Directing Fellow.
Sarah is a costume and set designer for theatre, dance, festivals and stop-motion animation film as well as being adjunct theatre instructor and resident costume designer at Portland Community College. She has done theatre design and collaboration work with many of Oregon’s beloved arts organizations including: Artist Repertory Theatre, Oregon Children’s Theatre, Profile Theatre, Miracle Theatre Group, Oregon Contemporary Theatre, Oregon Ballet Theatre, and Michal Curry Design. Sarah has received Drammy Awards for her costume design work on Eurydice, James and The Giant Peach, Trojan Women, El Quijote, and A Year With Frog and Toad.
Kristeen is excited to be working with Profile again. Some of her favorite Profile credits include lighting design for Buried Child and Thief River and scenic design for My Children My Africa and Master Harold and the Boys. She received her BA from Centre College in Danville, KY and received her MFA in lighting design from Wayne State University, Hilberry Company in Detroit, MI. She has designed lighting and/or scenery for several area and regional theatres including Artists Rep’s Eurydice, Foxfinder and The Understudy, Miracle Theatre’s Mariela in the Desert and Oedipus El Rey. Oregon Children’s Theatre’s Goosebumps the Musical and Bad Kitty. Third Rail Repertory Theatre’s The New Electric Ballroom and Northwest Children’s Theatre’s Snow White.
Sharath was raised between Appalachia and India while spending the following years studying across Europe and New England. He spent nearly a decade as a lead sound designer in New York City. Recent design highlights include As You Like It (CalShakes Oakland); The Royale (ACTheatre Seattle); Free Outgoing (East West Players Los Angeles); Grand Concourse (Artists Rep). Regional/International credits include designs in New York City, D.C., Boston, Norfolk, Raleigh, Aspen, India, France, England, Germany, Romania, Yale, Reed, Harvard, Fordham, Columbia, Willamette, Ohio, Portland State, and Butler University. Sharath holds a MFA in Sound Design from the Yale School of Drama and currently is a Resident Artist at Artists Repertory Theatre. www.sharathpatel.com
Sarah earned her BFA in Acting in 2014, since this she has worked and lived in Portland. She has worked with many theatre companies including Tears of Joy, Staged!, Post 5 Theatre, Milagro, Lakewood, Oregon Children’s Theatre and defunkt theatre. She also works in community-based projects such as Buskers In The Burg in Ellensburg, WA and the Summer Solstice in Seattle. She also volunteers with theatre projects in Oregon prisons. She wrote, produced and directed an original adaptation of “Life is a Dream” and the children’s show “Pearl and the Five-Headed Dragon.” She has also taught workshops on puppetry at the Kennedy Center Theatre Festival. Currently, she is producing Thom Pain (based on nothing) by Will Eno.
Miranda has a BA in Drama, with Honors in Stage Management, from University of California, Irvine and an MFA in Stage Management from Columbia University in the City of New York. Her professional credits include: Gigi on Broadway; Othello at Classic Stage Company; Birds of Paradise at New York International Fringe Festival; Summer Valley Fair at the New York Musical Theatre Festival; and more. Having recently relocated back to the West Coast, Miranda is enjoying working with the amazing Portland theatre community, with companies such as Profile Theatre, Artists Repertory Theatre, and Third Rail Repertory Theatre.
Madilynn is a native Texan and thrilled to be working at Profile this season. Some of her past production management work includes Elliot, A Soldier’s Fugue at Profile Theatre, The Nether at Third Rail, as well as work at The Oregon Shakespeare Festival, The ZACH, and UT Austin. Madilynn also serves on the Diversity and Inclusion Committee for The United States Institute for Theatre Technology (USITT) where she coordinates the Gateway Program, which seeks to promote underrepresented, emerging artists in the area of production
Esther is glad to be back with Profile after opening the season with Elliot, A Soldier’s Fugue (PA). Recent credits include The Talented Ones (PA), Trevor (PA), and The Skin of Our Teeth (PA) with Artists Repertory Theatre, The Angry Brigade (SM) with Third Rail Repertory Theatre, Upside Down: A Musical Tale After the Christ (SM) with The Upside Down Theater Company, and A Christmas Carol (PA), Julius Caesar, The Heidi Chronicles,To Kill A Mockingbird, and Blues for Mister Charlie (SM Intern) with Trinity Repertory Company. She is a graduate of Emerson College with a BFA in Stage and Production Management and BA in Writing, Literature, and Publishing.
May 17, 2017
26 Miles is, in my opinion, one of Quiara Alegria Hudes’ most intimate plays. Far from the psychic landscape of war that Elliot, A Soldier’s Fugue presents, 26 Miles is a story about mothers and daughters, about the mistakes we make as parents and as children, about the unique ways that, in the words of Doug Wright, family “both wounds us and applies the salve.”
A couple of months ago, we did a private table read of the play – just director Rebecca Martinez, this cast, a couple board members members and stakeholders, and me. Under fluorescent lights, on thinly-padded folding chairs, the actors read the script cold. We spent the next 80 minutes alternately laughing and crying together. Afterwards we found ourselves sharing our own stories of having – or being – single parents, of navigating more than one culture in a family, of addiction and recovery, of cultural pride and the pressure to conform or assimilate, of the courage it takes to forge one’s own identity and the challenge to claim one’s cultural history.
It never ceases to amaze me the power of actors to make themselves vulnerable, or of good writing to lead us into a more compassionate, more empathic space. We listened to each other’s stories, and to the story Quiara had written, and in so doing, we came to know ourselves better. That’s the power of the theater. For 80 minutes, if we listen and allow ourselves to be moved, we might recognize ourselves in each other and make a less lonesome world.
26 Miles runs June 15-25, 2017.
Get tickets HERE.
May 11, 2017
Get a sneak peek of Quiara Alegría Hudes’ 26 Miles with this brief podcast with an introduction by Artistic Director Josh Hecht and listen to a scene from the play with actors Julana Torres and Alex Ramirez de Cruz.
Buy tickets to 26 Miles here.
Pictured: Director Rebecca Martinez with actors Julana Torres and Alex Ramirez de Cruz. Photo by Sharath Patel.
February 9, 2017
I’m honored to be the military advisor for Elliot: A Soldier’s Fugue at Profile Theatre, and I’ll tell you why. We’ve all seen dozens if not hundreds of works of military fiction written, directed, and produced by creatives who mean well, their heart is in the right place, but they don’t ask veterans for their advice on their work and they focus on the veterans PTSD and/or their injuries.
As far as the details go, I am very grateful that people believe the military experience is worth writing about, but some of that gratitude disappears, whether I like it or not, when I see small things done wrong. For example, the salute is a simple action that is done wrong so many times and could be so easily corrected. Only the tip of your ring finger touches the end of your right eyebrow. Easy! But it is almost always overlooked and when that happens the whole work loses credibility, at least to the population of the audience the work is trying to honor. It sounds nitpicky to many, but that is what the military is: attention to detail.
Not only did Josh, the artistic director, and Lauren, the Director of Education and Community Engagement, ask me to come in and speak to the actors, they believed in my idea to bring veterans in before a showing of the play so the audience could get a better understanding of the diversity of our veteran population.
I would like to speak on both of these happenings:
First, when I came in to speak to the cast of this amazing play (Pulitzer Prize finalist!), they were so welcoming and eager to hear about my story as a Purple Heart recipient with multiple tours. We all sat in a small room, with more people than chairs, and I told my story. I described the depression, rage, and guilt that comes with surviving a coordinated ambush in combat and then being sent home to attempt a transition back into the civilian life. They created an atmosphere safe enough for me to tell them some of my most vulnerable stories including past thoughts of suicide and acts of self destruction. Afterwards, they asked questions for a while. Some about their characters, other about my life, but also some questions about veterans in general. These last questions, I noticed, were changing their views on how they pictured veterans. At the end I must have hugged each one of them before leaving.
Last Sunday, before the show we had a panel of veterans meet some audience members and take questions. On the panel was a Vietnam Veteran who is also a Native American, a former Marine with five (3 to Iraq and 2 to Afghanistan) combat tours, a female veteran who was deployed to protect the Eastern Seaboard on a Destroyer on 9/11, and an Army infantryman who lost both legs in Iraq, and me. After I introduced them all and asked a few questions we opened it up to the audience and the questions were amazing, respectful, and intelligent. By the end of our little session we had changed many of their views on what, exactly, a veteran is. I know this because they told us… in those words. There is a stereotype of “the veteran” in our society. We are supposedly all white, male, gun ho, non-creatives with our souls and hearts torn apart by war. That stereotype was completely blown away after the meeting. I saw it happen in real time, and that is why I’m proud to be a part of Elliot: A Soldier’s Fugue. This play helps people see the humanity in the warrior.
I’m honored to be a part of this production because it’s been my mission to not only help other veterans for the past 10 years, but it’s also been my mission to change how those who haven’t served see our military members. Yes, we have lived through very traumatic events and many of us suffer from those memories or even physical injuries, but we, as a society, should focus on our abilities and not our disabilities. We need to know that our veteran population (10% of this country) are just as diverse as the population as a whole.
Military Advisor for Elliot, A Soldier’s Fugue and Profile Community Council
Profile’s Community Council are people from the Portland area of varying ages, ethnicities and backgrounds who are invited to view the backstage process from beginning to end and share their perspectives with our communities.
February 6, 2017
I attended the last dress rehearsal of Elliot, A Soldier’s Fugue, which was a full run-through without pause. In sitting in a theatre in which you are the only person not connected to the production, you notice so many things you might not normally think of, such as the difference the absence of an audience makes, especially when, for example, a funny line is spoken. Getting to look behind the scenes makes crystal clear how much theatre is a collaborative endeavor with hundreds of small parts coming together to make an amazing whole.
-Pancho Savery, Profile Community Council
Profile’s Community Council are people from the Portland area of varying ages, ethnicities and backgrounds who are invited to view the backstage process from beginning to end and share their perspectives with our communities.
January 26, 2017
From Artistic Director Josh Hecht
One of the things that most attracted me to Profile Theatre when I applied for the job of Artistic Director last year is the company’s long-standing commitment to real community engagement. My desire to lead a theater company stems from my belief that, at its best, theater can help us have conversations we might not otherwise have. A theater that was already putting significant human capital and programming resources into community dialogue felt like the right home for me.
One of my biggest priorities as I start my new tenure at the helm of Profile is continuing to broaden the communities we reach and serve, and continuing to deepen the two-way engagement with our city.
At the center of our 2017 Quiara Alegria Hudes season we will present all three plays in Hudes’ “Elliot” Trilogy: Elliot, A Soldier’s Fugue, Pulitzer Prize-winner Water By The Spoonful, and The Happiest Song Plays Last. The first follows three generations of a Puerto Rican-American family, all of whom have served in the US Armed Forces – the grandfather in Korea, the Father and mother in Vietnam, and Elliot who serves two tours in Iraq. The two subsequent plays follow Elliot’s re-introduction into civilian life and his struggle to find his place in the world.
What better an opportunity to engage with our own veterans community. There are currently nearly 22 million American combat vets, 2.5 million from the current engagements in the Middle East alone. Profile has created a one-of-a-kind collaboration with the Writers Guild Initiative, the professional trade organization of screenwriters and playwrights, to bring award-winning writers from across the country to Portland. Here they will work with local veterans and their families, mentoring them in a writing practice designed to help them reflect upon and share their experiences through the written word. We’ve also partnered with the American Legion Post 134 in NE Portland, various Veterans Resource Centers at colleges in the area, and the Wounded Warrior Project’s regional base in Seattle to identify local participants in these workshops.
The group will gather in February for two days of intensive writing workshops. They’ll also see our production of Elliot, A Soldier’s Fugue. Throughout the year, we’ll continue to meet one Saturday afternoon a month to create community, share work and continue our practice. Finally, in November, selections of their writing will be presented with professional actors and director on Profile’s stage alongside our repertory productions of Water By The Spoonful and The Happiest Song Plays Last.
Our goal is manifold: To use the theater as a site of community-formation. To think of the theater, not just as an institution that can start conversations, but as a place the community goes to have those conversations. But also, to provide a place where various communities can see their own lives reflected back to them on the stage, so that we might know ourselves and each other as necessary parts of this great American tapestry.
If you are interested in learning more about our veterans’ collaborations this year, please don’t hesitate to drop me a line. I hope to see you at the theater.
January 19, 2017
Throughout the run of Elliot, A Soldier’s Fugue, Profile is pleased to partner with Do Good Multnomah. Do Good Multnomah is a non-profit organization that provides low-barrier emergency shelter to houseless Veterans in Portland, Oregon. By partnering with the community, we are establishing a model for sheltering and serving houseless Veterans that emphasizes relationship-building, one-on-one engagement, and direct community participation.
When you come to the theatre to see Elliot, consider bringing a donation to help local houseless veterans.
Needed items include:
- Hats & Gloves
- Hand Warmers
Leave items in the donation bin by the box office.
Buy tickets to Elliot, A Soldier’s Fugue here.
Learn more about Do Good Multnomah here.
January 19, 2017
From Quiara Alegría Hudes, January 2017
It’s over ten years since Elliot, A Soldier’s Fugue premiered in New York. It’s almost fourteen years since my real-life cousin Elliot crossed the border north into Iraq from Kuwait. He was among the first marines to enter the conflict, and they were learning as they went. They were the real-life guinea pigs in a very real war. The medical response teams were unsure what the nature of the injuries would be, and therefore had to improvise treatment–there was much trial and error in those early years. One of the surprises was the amount of severe trauma that would be survived. My cousin described the scene in an evac hospital where there was row after row of guys in such extreme pain that the nurses practically threw pain meds at them. My cousin was one of those patients–and a fortunate one. He didn’t have to lose his leg after his severe injury, though many surgeries followed and his physical health remains compromised.
At that time–when he enlisted–it seemed to me that was the beginning. But there’s always a beginning before the beginning. I’ve been reflecting a lot since then on the war before the war. As a child of the 80s I came of age when AIDS was ravaging our Latino community in Philadelphia. Add to that the extreme toll the War on Drugs took on the same community. It left us decimated. Fathers, sons, brothers in jail–sentenced to decades for low-level possession, for the “crime” of addiction. Daughters, mothers, sisters left behind to the scrape up the pieces, to raise sons in this toxic environment where being a Latino was increasingly criminalized.
It seems to me our community’s youngsters fled this domestic war–the War on Drugs–determined not to be a victim of its fallout, determined to “escape” the vicious cycle of addiction, dealing, and criminalization. For many of them, higher education was not financially viable. So they enlisted–the military offered prestigious, respected, paying jobs.
It seems to me a complicated web. Young men of color escaping a domestic war, determined to rise above, and thereby enlisting in a foreign war to go fight abroad. And some of them, when they got hurt, became a new kind of addict–opioids to cure the war wounds.
These generational echoes continue to resonate for me. These echoes are why I wrote Elliot.
Elliot, A Soldier’s Fugue
February 2-19, 2017
January 9, 2017
After studying at Southern Oregon University and performing at the Oregon Shakespeare Festival, Jimmy is happy to be back in Portland where he began his acting career years ago on the stages of Miracle Theater, Stark Raving Theater and Portland Center Stage companies. In Southern Oregon, he performed a variety of roles working with such esteemed directors as Bill Rauch, Libby Appel, and Pat Patton to name a few. He has most recently performed in ART’s A Civil War Christmas and can next be found at Miracle Theater’s world premiere Oye Oya.
Tony holds a BFA in Acting and a Master of Theatre Studies in Production and Design from Southern Oregon University. Most recently Tony was seen in Defunkt Theatre’s critically acclaimed production of Hir, Jewish Theatre Collaborative’s production of Davita’s Harp and Into the Beautiful North at Milagro Theatre. Other Portland credits include American Night, O! Romeo!, How The Garcia Girls Lost Their Accent, BoomCrackleFly and the Drammy Award winning Oedipus El Rey at Milagro, Equus at Post5, Cymbeline with Anon It Moves, Antony and Cleopatra with Portland Actors Ensemble, King Lear, King John and Mary Stuart at NWCTC.
Anthony is excited to be performing at Profile Theatre for the first time. He was last seen as Atómiko in Into the Beautiful North at Milagro Theater. He graduated from the University of California, Santa Barbara with a B.F.A. in Theater Arts. He has done commercial work throughout the Northwest and recently played the tactical cop in the season premiere of Grimm. When he is not acting, he spends his time with his wife, chasing his three children all over the place.
Cristi is a performer, director and teacher based in Portland, OR. Portland credits include: The Journey Play is the Whole thing, Enter THE NIGHT, The Three Sisters, Song of the Dodo and R3 with PETE; Midsummer (a play with songs) with Third Rail Rep, Mr. Burns: A Post Electric Play, Bloody Bloody Andrew Jackson and Dying City with Portland Playhouse. She is co-artistic director of PETE, an Assistant Professor of the Theatre at George Fox University and trained at The Oregon Center for Alexander Technique (AmSAT certified teacher). Brandeis University, MFA.
Alice is a New York-based freelance director. Credits include Jackie by Elfriede Jelinek at Boom Arts, Or, by Liz Duffy Adams at Shakespeare & Company, Phaeton (a diggle of a fragment) by Mac Wellman at Classic Stage Company, Enter THE NIGHT by Maria Irene Fornes with Portland Experimental Theatre Ensemble, The Miser by Molière with Brave New World Rep, Nomads by Julia Jarcho at Incubator Arts Project, I Came to Look for You on Tuesday by Chiori Miyagawa at La MaMa. She is the recipient of two Foundation of Contemporary Arts Grants, the Princess Grace Award (Fabergé Theater Award) and Princess Grace Special Project Grant, and was a Drama League Directing Fellow. Alice is Assistant Professor of Professional Practice in Directing at Barnard College. MFA: Columbia. alicereagan.com.
Kaye is a scenic, lighting, and props designer originally hailing from Sammamish, Washington. She earned her BA in theatre from Lewis & Clark College in 2012, and after a year working in New York, she is back in Portland and excited to work with Profile Theatre once again. Favorite past shows include: The Antigone Project (Profile), Annapurna (Third Rail), Daniel Tiger’s Neighborhood LIVE (Mills Entertainment), A Winter’s Tale (Anon It Moves), Static (Third Rail), Ramona Quimby (OCT), Snowstorm (CoHo), In The Next Room (Profile Theatre), and Waxwing with String House Theatre, where she is also a founding company member.
Miranda K. Hardy
Miranda is a Lighting Designer based in Portland. Previously with Profile she lit Bright Half Life and Master Harold and the Boys. She is an associate company member with Portland Experimental Theater Ensemble designing lights for R3 [Drammy Award], The Three Sisters, All Well, or, the whale, and Procedures For Saying No, designing scenery and lights for Song of the Dodo and Drowned Horse Tavern. She has worked on shadow/animation spectacular The Letting Go and Kaddish For Bernie Madoff. Miranda has worked in New York City, as well as nationally and internationally including four seasons as the resident Lighting Designer at Festival Di Due Mondi (Spoleto, IT). M.F.A. from the California Institute of the Arts.
Jenny is a designer based in Portland OR. Her costume work was last seen at Profile for Bright Half Life. She is an associate artist with PETE (Portland Experimental Theatre Ensemble), Liminal, and The Late Now. Other local credits include, costumes for Third Rail’s The Realistic Joneses, Oregon Children’s Theatre’s Miraculous Journey of Edward Tulane, Liminal’s 7deadly Sins (Drammy Award), scenery for PETE’s Enter THE NIGHT, Shaking the Tree’s A Doll’s House, Phame’s Up the Fall, and puppets for Strawberry Theatre Workshop’s This Land-Woody Guthrie. She received her BFA in Scenic and Costume Design from Cornish College of the Arts.
Phillip is a theatrical artist based in Portland Oregon and the Technical Director of Ridgefield High School’s drama program. His recent productions include Hands Up (Red Door Project), Worse Than Tigers (ACT Theater/Red Stage), Contigo Pan y Cebolla (Milagro Theater), The Antigone Project, A Lady Onstage (Profile Theater), and The Importance of Being Earnest (Valley Repertory Theater). When he isn’t designing or teaching Phil is traveling the world spreading art education to impoverished areas. He most recently taught theater in the slums of Nairobi, Kenya. Phil Has a B.F.A. and M.A. from Ohio University. For updates, downloads and links to show soundtracks please visit PhilJohnsondesignstheworld.com.
Profile Theatre: 2014 Tanya Barfield Season, 2013 Sam Shepard Season, 2014 Sarah Ruhl Season, The Road to Mecca. Other Portland stage management credits: Trevor, The Skin of Our Teeth (ASM), The Price (Artist’s Repertory Theatre); The Light in the Piazza (Portland Playhouse). Oregon Shakespeare Festival, Production Assistant: The Unfortunates (2013), A Midsummer Night’s Dream (2013), Troilus and Cressida (2012), The Very Merry Wives of Windsor, Iowa (2012), Julius Caesar (2011), The African Company Presents Richard III (2011). BA in Theatre Management from Western Washington University, MFA in Stage Management from Columbia University. Active member of Actor’s Equity Association.
Esther is making her Profile Theatre debut with Elliot, A Soldier’s Fugue. Recent credits include A Christmas Carol (PA), To Kill a Mockingbird, Blues for Mister Charlie, The Heidi Chronicles, and Julius Caesar (SM Intern) at Trinity Repertory Company, and Trevor (PA) and The Skin of Our Teeth (PA) at Artists Repertory Theater. Other favorites include Upside Down, A Musical Tale After the Christ (SM) with the Upside Down Theatre Company, Godspell (SM) with YA4Ever, and Chicago (SM) with the Young Artists Ensemble. She is a graduate of Emerson College.
*Member Actors Equity Association, the professional union of actors and stage manager.