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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.
November 21, 2016
Quiara’s writing is full of imagery that gets trapped inside your brain and lingers long past the moment you first encountered it. I saw her play, Elliot, A Soldier’s Fugue well over a decade ago, and I can still feel the pain and possibility of a mother talking about what it means to plant seeds in the ground. Those scenes remain with me, still unfolding, still cropping up when I least expect them to accompany me.
Quiara’s ability to coax stories out her characters makes me think of the most gifted of gardeners: that rare human that can seem to make anything grow anywhere. She plants her plays, these remarkable seeds, and then nurtures the vines and fruit that sprout from them with enormous skill and care.
Quiara’s characters are constantly in dialogue with the past and the future, and they remind us that we are all connected on a subterranean level to each other. Her plays all have roots that go deep into the ground and co-mingle with other roots from seeds she planted in seasons before. This interconnectedness is what make it incredibly exciting to know that the Profile Theater Company will be shedding light on so much of her work, allowing it to be seen and felt over the course of a year.
Quiara and her collaborators in Oregon are the sun and rain, urging the seeds to take root, and giving them the sustenance to reach to the sky. I applaud the Profile for being the soil that will allow these seeds to emerge and be felt and experienced – and remembered – by all those who come to see them.
-Thomas Kail, Tony Award-winning Director of Hamilton, In the Heights, Daphne’s Dive
November 14, 2016
What must have it been like to be August Wilson’s neighbor?
I think about that sometimes when I’m having morning coffee with Quiara. We live in the same building–a lucky circumstance that allows us to pop into each other’s homes for writing sessions or breaks or just catching up. She is funny and wise and brilliant–everything her plays reflect and more–she’s also a goofball. We laugh a lot.
And then I see or read her plays–these heartbreaking, stunning, alive works that tell Latino family stories with more unflinching honesty and beauty than anything we’ve ever seen–and I realize, she’s really doing it. Line by line, play by play, she is chronicling the interior life of our people. She reaches for all of our humanity, and gets it. Just as August Wilson went into his home and channeled the voices of his family, ancestors and community, Quiara finds the jazz and music in her people and gives us a brilliant, honest expression that could only have come from her.
And then sometimes she takes a break and we have coffee.
I am so lucky. I’m Quiara Alegría Hudes’ neighbor.”
– Lin-Manuel Miranda
Season subscriptions to the 2017 Quiara Alegría Hudes Season now on sale
Click here or call the box office 503.242.0080
Photo by Anita & Steve Shevett
October 12, 2016
Throughout the run of Bright Half Life, Profile is excited to partner with SMYRC (Sexual Minority Resource Center). SMYRC provides a safe, supervised, harassment-free space for sexual and gender minority youth ages 13-23 who participate in positive activities like art, music, community organizing, open mic nights, drag shows, and support groups and receive services including case management, counseling, education, and more. With the goals of increasing academic success and access to jobs, reducing poverty and school drop-out, SMYRC honors, empowers, and supports LGBTQ youth to be their best selves and become leaders in their communities.
When you come to the theatre to see Bright Half Life bring in a donation for SMYRC! The following is a list of needs for the young people visiting the center. We will have a donation box in the lobby!
October 5, 2016
Rehearsals are underway for the final play of the 2016 Tanya Barfield Season! Look at the team artists bringing Bright Half Life to the stage.
Get tickets to Bright Half Life HERE.
Chantal is honored to perform again in this Profile season. Working with this team of women has been transformative. Chantal performed a reading of Bright Half Life this summer with The Hansberry Project (Seattle). Training: Shakespeare & Co., Emerson College. She is a Third Rail Repertory company member. Credits: Seattle Rep (2017), Intiman, Third Rail Rep, Portland Center Stage, Artists Rep, Badass Theatre, Portland Playhouse, Clackamas Rep, NWCTC, Jewish Theatre Co. Educator/Actress: August Wilson Red Door Project, Portland Center Stage, & Exeter University (England). She is Artistic Director & activist of The Color of NOW. Representation: Arthouse Talent. www.chantaldegroat.com
Maureen is a Company Member of Third Rail Repertory Theatre where roles include Arphra Behn in Or, Maureen in The Beauty Queen of Leenane, Belinda in Noises Off, Marian in Sweet &; Sad and That Hopey Changey Thing, Lisa in The Wonderful World of Dissocia, Pam in The Gray Sisters, Eleanor in Dead Funny, and Mom in Number Three. Other local credits include Dark Ahab in Or, The Whale with Portland Experimental Theatre Ensemble, The Taming of the Shrew at Portland Shakespeare Project, Crooked at CoHo Theatre, No Exit and Betrayal at Imago. This is Maureen’s debut at Profile.
Rebecca is a local director, performer and educator. Directing credits include Peter and the Starcatcher (Portland Playhouse), Procedures for Saying No (PETE) Realistic Joneses (Third Rail), Tongues (Profile), Elective Affinities (Boom Arts), 448 Psychosis and As You Like it (Lewis & Clark). She is a company member at Third Rail Repertory Theatre and co-artistic director of Portland Experimental Theatre Ensemble (PETE). Upcoming projects include co-directing The Angry Brigade (Third Rail Rep). Rebecca is an Assistant Professor of Theatre at Lewis & Clark College. Columbia University, MFA.
Peter is a scenographer and media artist whose stage design work has been presented both nationally and internationally. In 2008 he won an Obie award for the scenic design of Untitled Mars (this title may change), and in 2014 he won a Bessie award for the design of This Was the End. He holds a MFA from the California Institute of the Arts, is an Associate Professor at Reed College and is an associate company member with the Portland Experimental Theatre Ensemble. This his first show with Profile.
Miranda K. Hardy
Miranda is a Lighting Designer based in Portland. Previously with Profile she lit Master Harold and the Boys. She is an associate company member with PETE (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 with Laura Heit on her shadow/animation spectacular The Letting Go and Alicia Jo Rabin’s Kaddish For Bernie Madoff. Miranda has worked extensively 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). Miranda holds an MFA from the California Institute of the Arts.
Jenny is a designer based in Portland OR. She is an associate artist with PETE (Portland Experimental Theatre Ensemble), Liminal, and The Late Now. With PETE, she just completed The Journey Play Constellation. 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.
Mark is a sound designer who has made work in New York City, Seattle, Portland, San Francisco and Budapest. He is a proud member of Third Rail Repertory Theater and an associate artist with Portland Experimental Theatre Ensemble (PETE). Third Rail credits include: Midsummer; A Play with Songs, The Mystery of Irma Vep, Belleville, Or, The Realistic Joneses, Mr. Kolpert, The New Electric Ballroom, Annapurna, and The Nether; with PETE: R3, The Song of the Dodo, The Three Sisters, Enter the Night, Drowned Horse Tavern, All Well, [or, the whale], and Procedures for Saying No.
With Profile Theatre: Blue Door, The Call; 2014 Sam Shepard Season; 2015 Sarah Ruhl Season, The Road to Mecca. Other Portland stage management credits: Trevor, The Skin of Our Teeth (ASM), The Price (Artists 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.
Charlie graduated high-school from Arts and Communication Magnet Academy in 2015. He has taken part in the Summer Musical Intensive program for the past two years, designing scenery and stage managing for Once Upon A Mattress (2015) and Into The Woods (2016.) Since graduating, he took an internship at Artists Repertory Theatre as a stage management and scene shop intern where he worked on productions such as Mothers and Sons, We are Proud To Present…, and Grand Concourse. He was a member of the PATA Spotlight Award winning crew for The Skin Of Our Teeth. Most recently he was production manager on The Gun Show at CoHo Productions.
August 22, 2016
Profile Theatre is pleased to announce Josh Hecht as its new Artistic Director after a seven month national search. Josh will be relocating to Portland and take up leadership of theatre in February 2017. “I’ve spent my career guided by the belief that it is our writers who help us dream our culture forward,” says Josh. “I’m thrilled to join Profile Theatre, whose distinctive mission uses one playwright’s vision as a lens to help us better understand ourselves and our world. And I am inspired by Profile’s commitment to artistic excellence, robust community engagement and to presenting artists who reflect the diversity of our shared culture.”
“Profile Theatre was honored to have over 80 qualified applicants from around the world express interest in becoming our Artistic Director,” says Richard Bradspies, Profile Board member and head of the Artistic Director search committee. “We are especially excited to have Josh Hecht join us because he brings outstanding experience coupled with a shared vision and passion for the unique place Profile fills in the Portland arts scene.”
Josh comes to Profile after having previously served in senior staff positions at two important theaters in New York, MCC Theater and WET. While at MCC, he commissioned new work by Terrence McNally and John Guare, dramaturged Tony-nominated plays by Bryony Lavery and Neil LaBute, and created and ran the Playwrights Coalition, developing new plays by some of the most honored young playwrights of the last decade including Stephen Adly Guirgis, Lucy Thurber, David Adjmi, Adam Bock, Itamar Moses and many others. At WET he developed new work by some of our most prominent female playwrights including Anna Ziegler, Melissa James Gibson, and Kate Robin. He has consulted with the Lake George Theatre Lab and the Great Plains Theatre Conference, helping them expand their programming and community engagement initiatives.
As a freelance director, Josh’s work has received the Drama Desk Award for Unique Theatrical Experience, Festival First awards at the Edinburgh Festival Fringe and Dublin Arts Festival, and has been nominated for the IRNE Award (Boston) and the GLAAD Award (New York). Productions have been seen at theaters around the country including the Guthrie Theater, the Humana Festival of New American Plays at Actors Theater of Louisville, the Berkshire Theater Festival, the Kennedy Center, No Rules at Signature Theater Company in DC, and in New York at MCC Theater, the Cherry Lane, the Duke on 42nd Street, The Culture Project and the Obie-winning collective 13Playwrights, among others. He has continued to develop dozens of new plays at theaters and play development centers across the country.
As an educator, Josh has been on the faculty of the New School for Drama’s MFA Directing program, Fordham University’s MFA Playwriting program and Purchase College, SUNY’s esteemed BFA Dramatic Writing program, in addition to guest stints at The Juilliard School, NYU, Carnegie Mellon, the University of Minnesota and others.
His writing has been seen at the Kennedy Center in a collaborative piece created with National Medal of Honor winner Ping Chong, at the Duke on 42nd Street, the Flynn Center in Burlington, VT and the Round House Theater, and has received the support of the Jerome Foundation.
Profile Board Chair Steve Young adds, “Along with other members of Profile’s Search committee, I was impressed by Josh’s credentials as an educator and award-winning director with broad and deep experience in American theatre—in NYC and across the US. I am also impressed by his communication, collaboration, and leadership skills and by his passionate belief in theatre’s responsibility to contribute to the civic life of our community.”
Josh will arrive at Profile Theatre to launch Profile’s 2017 Quiara Alegría Hudes Season. “I’ve been a fan of Quiara Alegría Hudes since seeing Elliot nearly a decade ago,” says Josh. “I find her plays profoundly optimistic in world-view, without ignoring the complicated, often painful realities of our lives. They seem to suggest that human connection is the salve that can begin to heal even the biggest traumas.” He will direct the rotating repertory productions of Water by the Spoonful and The Happiest Song Plays Last running November 1-19, 2017.
August 11, 2016
Adriana Baer first reached out to us at String House last year about collaborating on Antigone Project, and we (Alex Leigh Ramirez, Kaye Blankenship, and myself) were instantly hooked on the prospect of a project so crammed with amazing female artists working on such potent and timely stories. When she pitched us the script for Antigone Arkhe, however, the third piece in the festival written by Caridad Svich, I was admittedly daunted. Arkhe is arguably the most structurally experimental of these one-acts; the text alone is tricky to grasp in its poetic and fragmentary nature, but the added elements of tightly integrated projection, video, and sound also make it a logistically ambitious piece to implement on its own, let alone as part of a larger suite of work. A collaborative co-production made immediate sense as the best way to deliver it to an audience, and despite the obvious challenges I couldn’t help but get more hooked on the script the longer I sat with it. The ideas this piece contains about narrative ownership, female empowerment, and the politics of storytelling itself are just too interesting for a director like myself to pass up exploring. In the end we simply couldn’t say no.
To me, Arkhe is a story about a woman who has had her story stolen. Here she has been relegated in death to pieces of what she once was– shards of memory, artifacts of experience, and bits and pieces of hearsay. In her absence these pieces have been collected and commodified without her consent in order to reshape the story of what happened to her. The Archivist represents this act of appropriation. She has taken ownership of everything that once belonged to Antigone, primary of which is the trauma of her experience, and neatly packaged it all so that it can be delivered to us, the audience, in a palatable form. The journey of Antigone Arkhe, therefore, is that of Antigone’s attempt to reclaim what is rightfully hers.
String House is keenly interested in the practice of storytelling, and it is something we have focused on tightly in our previous theatrical work. However, examining this particular subject through the lens of race yields an even greater depth of field than what we’ve worked with before. As a mixed race artist working in the world today, I am avidly interested in how we as an artistic community tell the stories of people of color; as such, this piece raises fascinating questions for me. For instance, when are depictions of racial trauma on stage empowering, and when are they disempowering? At what point as art-makers do we cross the line from giving voice to a community’s experience into co-opting it for titillation, edification, or dramatic affect? In the terms of this particular story, whether or not the Archivist’s intentions are good or bad, right or wrong, what right does she have, at the end of the day, to Antigone’s story? All loaded questions. Difficult questions. Questions I am excited to drop into a room filled with other amazing female artists of color for some deep exploration.
– Emily Gregory, Co-founder of String House Theatre and Director of Antigone Arkhe
August 11, 2016
Meet the amazing team of artists that are bringing Antigone Project: A Play in 5 Parts to the stage.
In addition to the artists listed below, String House Theatre is creating one of pieces in this show. Read all about that collaboration, HERE.
Lauren Modica is thrilled to perform with Profile Theatre. A Portland native, she has performed with Portland Center Stage (Twist Your Dickens, Our Town, JAW), Artists Repertory Theater (The Skin of Our Teeth), Defunkt (In the Forest She Grew Fangs, Undiscovered Country), PHAME, Action/Adventure, Willamette Shakespeare, PAE, and many others.
Chris is an actor and producer in Portland who was last seen at Profile Theatre was The Sam Shepard Festival of One Acts. Previous shows at Profile include The Sisters Rosensweig, A Few Stout Individuals and Six Degrees of Separation.Locally, he has been seen at Portland Center Stage in Great Expectations, Our Town, Futura, Sometimes a Great Notion, and 10 years at the JAW festival. Artists Repertory Theatre (The Liar, Playboy of the Western World, Xmas Unplugged, I am Still (The Duchess of Malfi), Mr. Marmalade, Take Me Out), Third Rail Repertory Theatre (A Bright New Boise, Penelope, The Aliens, A Skull in Connemara) and several shows at CoHo Productions, Portland Playhouse and more. Chris has been in many feature films you’ve probably never heard of. A few TV shows you probably have, and was called a pinhead by Bill O’Reilly on The O’Reilly Factor for his portrayal of Jesus in Everclear’s music video, Hater.
Cecily Overman has been active in Portland theatre for over ten years, both teaching and performing. Some of her favorite roles recently include: Lady Macbeth in Macbeth, White Witch in The Lion, The Witch, and the Wardrobe, and Mother in The Giver. She has taught in the community for Artist Repertory Theatre, Portland Center Stage, Oregon Children’s Theatre, and Northwest Children’s Theater. Cecily is also committed to her work with PlayWrite Inc. where, as a coach, she helps youth on the edge find their voice through theater. She holds Bachelor’s degrees in both Psychology and Theatre from Whitman College.
Seth is super excited to be working with Profile again, and especially on Antigone Project! He’s just returned from the Folger Theatre in DC for the world premiere of Aaron Posner’s District Merchants and you may have seen him in Blue Door last spring in a Drammy-nominated performance. Seth believes that illustrating rejection of oppressive and repressive patriarchy and defending the voiceless will always be one of the most urgent functions of art and he is grateful that these playwrights have done that so beautifully and accessibly. Check out their other works – you will be glad you did.
Andrea White is a Portland native. She moved to Los Angeles for a decade pursuing film and television. She had guest roles on Family Matters, NYPD Blue, and Living Single. She also played Jeannie in the 30th year revival of Hair. Since returning to Portland 10 years ago she has been seen in the following: Ma Rainey’s Black Bottom, Radio Golf, Gem of the Ocean (Portland Playhouse); Lesson Before Dying, American Daughter (Profile Theatre); The Udmurts (Defunkt Theater) and Love and Information (Theatre Vertigo) She is a two time Best Supporting Actress Drammy Award winner for her work in Two Sister’s and a Piano (Artists Rep) and Hell Cab (Theatre Vertigo). Andrea is also a former faculty member and Acting Instructor at the Portland Actors Conservatory.
Dawn Monique Williams
Dawn Monique Williams, drawn to heightened language and magic realism, is a resident artist at the Oregon Shakespeare Festival where she’ll direct Merry Wives of Windsor in 2017. She’s directed a range of plays including the English language premiere of Gracia Morales’ NN12, Othello, Twelfth Night, In the Blood, Steel Magnolias, Children of Eden, The 25th Annual Spelling Bee, Little Shop of Horrors, Burial at Thebes, Medea, and La Ronde; international directing credits include Scapin the Cheat, Anna Bella Eema, and The Tempest. Most recently Dawn directed August Wilson’s The Piano Lesson and Lynn Nottage’s By the Way, Meet Stark. She was the 2013 Killian Directing Fellow at OSF, a TCG Leadership U awardee, and a 2011 Directing Fellow of the Drama League. She holds an MA in Dramatic Literature and an MFA in Directing.
Antigone Arkhe Director
Emily Gregory is a director, playwright, and the proud co-founder of String House, a new works laboratory and producing title for experimental, home-grown works of theatre. Past work with String House includes Waxwing (playwright; 2012), …And the Great Refraction! (playwright/director; 2013), and Rosencrantz Are Guildenstern Are Dead (director, in collaboration with Anon It Moves; 2014). Emily was born and raised in the San Francisco Bay Area, but is now proud to call Portland, Oregon her home. She is thrilled to begin a masters in Writing For Performance at Goldsmiths University of London this fall.
Scenic and Props Design
Kaye is a props, scenic, and lighting designer originally hailing from Sammamish, Washington. She earned her BA in theatre from Lewis & Clark College, and after a year working in New York, she is back in Portland and excited to work with Profile once again. Favorite past shows include: Annapurna (Third Rail), Daniel Tiger’s Neighborhood LIVE (Mills Entertainment), A Winter’s Tale (Anon It Moves), Static (Third Rail Repertory Theatre), Ramona Quimby (Oregon Children’s Theatre), Snowstorm (CoHo), In The Next Room (Profile Theatre), and Waxwing with String House Theatre, where she is a founding member.
Jennifer Lin is a freelance lighting designer and stage technician who has been working in Portland theatre, dance and opera since 2008. She attended Portland State University from 2006-2008, and received The Kennedy Center American College Theatre Festival’s Achievement Award for her lighting design for PSU’s production of Electra. Jennifer is a company member of Third Rail Repertory Theatre, and upcoming projects include Third Rail’s production of The Nether.
Sara is a local costume designer. Born and raised in Portland, she graduated from PSU with her BA in History. In addition to her production work, she also assists with Profile’s Hand’s On Theatre program in the Portland Public Schools. Her credits include: Into the Beautiful North and American Night (Milagro Theatre), The Call and Passion Play (Profile Theatre), Peter and the Starcatcher (Portland Playhouse) and High School Musical (Enlightened Theatrics).
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), 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. He has a B.F.A. and M.A. from Ohio University. For updates, Downloads and links to show soundtracks please visit PhilJohnsondesignstheworld.com
Miranda Swineford 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 New York Musical Theatre Festival; and more. Having recently moved back to the West Coast, Miranda is absolutely thrilled to be working on her first production with Profile Theatre.
Karen is thrilled to be working with Profile and such wonderful fellow artists. Continuing to be a part of this theater community is joyful gift. Karen also works with Artists Repertory Theater, Portland Shakespeare Project, and has previously worked at Oregon Children’s Theater, Third Rail, Portland Center Stage, and the Oregon Shakespeare Festival. One million thanks to Mike for supporting this crazy lifestyle.
Melissa is thrilled to be working with Profile Theater again, after working on Dead Man’s Cell Phone last season. She is a recent graduate of Warner Pacific College, with a degree in Music Education and Theater. She is currently working as a teacher at Mayer Christian Academy. Past productions include Encounter, As You Like It and The Spitfire Grill at WPC, Hello Dolly at Manestage Theater Company and Eurydice at Portland State.
Karen Hartman held the Playwright Center’s 2014-15 McKnight Residency and Commission for a nationally recognized playwright. Current: Roz and Ray (Alley Theatre), The Book of Joseph (Chicago Shakespeare Theater), Project Dawn (People’s Light & Theater Company), and a Yale Repertory Theater commission about the landmark Supreme Court case Ricci vs DeStefano. Her new dialogue for Mozart’s The Magic Flute appeared at Meany Center in Seattle, 2015. Goldie, Max, and Milk premiered at Florida Stage and the Phoenix Theater. Other works: Goliath, Gum, Leah’s Train, Going Gone; Girl Under Grain; Wild Kate, ALICE: Tales of a Curious Girl Troy Women; and MotherBone, score by Graham Reynolds. New York: Women’s Project, National Asian American Theatre Company, P73, the New York Fringe, and Summer Play Festival. Regional: Center Stage, Cincinnati Playhouse, Dallas Theater Center, the Magic, and elsewhere. Publications: TCG, DPS, Playscripts, Backstage Books, and NoPassport Press. Awards: Sustainable Arts Foundation, Rockefeller Foundation at Bellagio, the N.E.A., the Helen Merrill Foundation, Daryl Roth “Creative Spirit” Award, Hodder Fellowship, Jerome Fellowship, Fulbright Scholarship. Prose: New York Times and The Washington Post. An alumna of New Dramatists and longtime Brooklynite, Karen is now Senior Artist in Residence at the University of Washington School of Drama.
Tanya Barfield’s plays include: Bright Half Life (Women’s Project Theatre), The Call (Playwrights Horizons/Primary Stages), Blue Door (South Coast Rep, Playwrights Horizons), Feast (co-writer, Young Vic/Royal Court), Of Equal Measure (Center Theatre Group), Chat (New Dramatists’ Playtime Festival), The Quick (New York Stage & Film). A recipient of a Lilly Award, the inaugural Lilly Award Commission and a Helen Merrill Award, Tanya is an alumna of Dramatists and a member of The Dramatist Guild Council. In 2016, Profile Theatre is devoting their entire season to her work. TV credits include: The One Percent and The Americans.
Caridad Svich received a 2012 OBIE Award for Lifetime Achievement in the theatre, a 2012 Edgerton Foundation New Play Award and NNPN rolling world premiere for Guapa, and the 2011 American Theatre Critics Association Primus Prize for her play The House of the Spirits, based on the Isabel Allende novel. She has won the National Latino Playwriting Award (sponsored by Arizona Theatre Company) twice, including in the year 2013 for her play Spark. She has been short-listed for the PEN Award in Drama four times, including in the year 2012 for her play Magnificent Waste. Seven of her plays are published in Instructions for Breathing and Other Plays (Seagull Books and University of Chicago Press, 2014). Five of her plays radically re-imagining ancient Greek tragedies are published in Blasted Heavens (Eyecorner Press, University of Denmark, 2012). She has edited several book on theatre including Innovation in Five Acts (TCG, 2015), and Trans-Global Readings (Manchester University Press, 2004). She sustains a parallel career as a theatrical translator, chiefly of the dramatic work of Federico Garcia Lorca. She is alumna playwright of New Dramatists, associate editor of Contemporary Theatre Review (Routledge,UK), and founder of NoPassport theatre alliance and press.
A Stone’s Throw
Lynn Nottage is a Pulitzer Prize winning playwright and a screenwriter. Her plays include Sweat, By The Way, Meet Vera Stark (Lily Award, Drama Desk Nomination), Ruined (Pulitzer Prize, OBIE, Lucille Lortel, New York Drama Critics’ Circle, Audelco, Drama Desk, and Outer Critics Circle Award), Intimate Apparel (American Theatre Critics and New York Drama Critics’ Circle Awards for Best Play), Fabulation, or The Re-Education of Undine (OBIE Award), Crumbs from the Table of Joy, Las Meninas, Mud, River, Stone, Por’knockers and POOF!.
Nottage is the recipient of a MacArthur “Genius Grant” Fellowship, Steinberg “Mimi” Distinguished Playwright Award, the Dramatists Guild Hull-Warriner Award, the inaugural Horton Foote Prize, Lilly Award, Helen Hayes Award, the Lee Reynolds Award, and the Jewish World Watch iWitness Award. Her other honors include the National Black Theatre Fest’s August Wilson Playwriting Award, a Guggenheim Grant, PEN/Laura Pels Award, Lucille Lortel Fellowship and Visiting Research Fellowship at Princeton University. She is a graduate of Brown University and the Yale School of Drama, where she has been a faculty member since 2001. She is also an Associate Professor at Columbia School of the Arts.
Chiori Miyagawa is a playwright based in New York City. She conceived Antigone Project in 2004—during Bush’s second presidential campaign—to pull together women’s political voices and share them with audiences. Chiori’s plays have been produced off-Broadway (Vineyard Theatre, New York Theatre Workshop, Women’s Project, Culture Project), at renowned performance houses in NYC (HERE Arts Center, Performance Space 122, Ohio Theater, La Mama) and regionally. This Lingering Life premiered in San Francisco in June 2014 at Z Space and was a finalist for Theater Bay Area Best Premiere of Play Award. A collection of seven of her plays, Thousand Years Waiting and Other Plays, is published by Seagull Books; and another collection of five plays, America Dreaming and Other Plays is published by NoPassport Press. She is a recipient of many fellowships including a New York Foundation for the Arts Playwriting Fellowship, a McKnight Playwriting Fellowship, an Asian Cultural Council Fellowship, a Rockefeller Bellagio Residency Fellowship, and a Radcliffe Institute Fellowship at Harvard University. She is an alumna of New Dramatists, a Usual Suspect of New York Theatre Workshop and Playwright in Residence at Bard College.