Renata Friedman first performed The K of D in a reading at ACT Theatre five years ago. She produced and starred in the play’s 2008 Seattle premiere, and in 2009 she toured to Port Townsend, the New York International Fringe Festival, and the FringeNYC Encores Series. Seattle: Eurydice, The Female of the Species, and Vincent in Brixton (ACT); A Doctor in Spite of Himself, The Scarlet Letter (Intiman); Hamlet, Pharaoh Serket and Jason and the Golden Fleece (Seattle Children’s Theatre); the Icicle Creek Theatre Festival. New York: A Midsummer Night’s Dream (New Victory Theater), The Importance of Being Earnest (Baruch Performing Arts Center), and the Orchard Project. Regional: The Cherry Sisters Revisited (Actors Theatre of Louisville and Humana) and a national repertory tour with the Aquila Theatre Company. Renata is an NYU grad and former student of the Seattle Children’s Theatre Drama School.
Enormous thanks to everyone who’s supported this production from the start.
Seattle Rep: Associate Artistic Director; Opus by Michael Hollinger, Breakin’ Hearts & Takin’ Names by Kevin Kling and Simone Perrin (world premiere), Betrayal by Harold Pinter, and My Name is Rachel Corrie by Alan Rickman and Katherine Viner (U.S. regional premiere). Additional directing credits include The K of D, an urban legend by Laura Schellhardt (west coast premiere, Pistol Cat Productions, FringeNYC Encore Series); The Ten Thousand Things by Paul Mullin (world premiere, Washington Ensemble Theatre); Kuwait by Vincent Delaney (world premiere, Theatre Schmeater); True West, The Underpants (Spokane Interplayers); Prometheus Bound (The Lincoln Center Directors Lab); and Vacation by Ki Gottberg as part of Postcard Plays (The Empty Space). Co-artistic director of Assemblage, a unique collective dedicated to new experiments incorporating media and performance. Assemblage’s ongoing project Way Stations, a series of interactive walking tours in urban landscapes, was featured at the ’08 Northwest New Works Festival (On the Boards) and at Bumbershoot ’09. Guest artist at UW, Gonzaga, the University of Idaho, and Seattle University.
L.B. Morse is a lighting, scenic, and multimedia designer for theatre and dance. Previous designs at Seattle Rep include Dancing at Lughnasa (lighting), Opus (lighting), Breakin’ Hearts & Takin’ Names (scenery and lighting), Betrayal (lighting and multimedia), My Name is Rachel Corrie (lighting), Thom Pain (based on nothing) (lighting) and Twelfe Night (multimedia). Recent design work includes Breaking the Code (lighting), and The Laramie Project (scenery, lighting and multimedia) for Strawberry Theatre Workshop, and WEST (lighting and multimedia) for “Awesome” at On the Boards. Locally he has designed for Intiman, Seattle Children’s Theatre, ACT, Seattle Shakespeare Company, Lingo dancetheater, Maureen Whiting Dance Co., and Empty Space, among others. L.B. is a company member of Assemblage, a unique collective dedicated to new experiments incorporating media and performance. Assemblage’s ongoing project Way Stations, a series of interactive walking tours in urban landscapes, debuted at the 2008 Northwest New Works Festival and completed a recent tour at the 2009 Bumbershoot festival. L.B. holds a BA in Theatre Arts and a Graduate Certificate in Scenic Design from University of California, Santa Cruz, and is the associate designer here at Seattle Rep.
Denise has worked in theatre, film and television for more than 25 years as an actor, fringe theatre founder, and designer. Here at the Rep she has designed costumes for Kevin Kling’s productions of Breakin’ Hearts & Takin’ Names and How, How, Why, Why, Why? She also designed costumes for the Oregon Shakespeare Festival’s premiere of Robert Schenkkan’s play By The Waters of Babylon, directed by Bill Rauch. Working on new plays is a favorite. Some other premieres have been Like I Say by Len Jenkin (directed by Robert Egan), and A Quiet Love for San Diego Rep and the Mark Taper Forum’s New Works Festival. Other Seattle theatre community designs include Village Theatre’s production of Bye, Bye Birdie. Formal education includes two AA degrees (one from The American Academy of Dramatic Arts), a B.A. from Portland State, and an M.F.A. from University of California, San Diego.
Forthcoming designs: Of Mice and Men for Seattle Repertory Theatre, [Title of Show] with Contemporary Classics, and Anon (ymous) for Working Classroom. Recent designs include The Yellow Wood, The 25th Annual Putnam County Spelling Bee and Zanna Don’t! for Contemporary Classics; Speech & Debate and boom for Seattle Repertory Theatre; On The Nature of Dust for New Century Theatre Company; If You Give a Mouse a Cookie for Seattle Children’s Theatre; 4 Short Plays 4 Big Ideas with KJ Sanchez; Rhoda: A Life in Stories with Sheila Daniels; Crumbs are Also Bread with John Langs; A New Brain with Brandon Ivie; The Bridge of San Louis Rey with Sheila Daniels; The Museum Play with Marya Sea Kaminski; Stones in His Pockets with Jerry Manning; and Cloud Tectonics with Aimée Bruneau.
Robert is the managing director and resident lighting designer of Contemporary Classics. He is also the lighting associate for Seattle Repertory Theatre.
Matt Starritt is a freelance sound designer for both theatre and dance and a writer from Seattle. A founder of the Washington Ensemble Theatre, he was the resident sound designer for the company’s first four seasons. He is returning to the Rep where he has designed the sound for God of Carnage, Glengarry Glen Ross, Speech & Debate, Opus, Breakin’ Hearts & Takin’ Names, The Seafarer, boom and The Imaginary Invalid. Other designs: The Thin Place for Intiman Theatre; Washington Ensemble Theatre’s BlahBlahBlah:BANG! at On the Boards; The K of D, an urban legend for Pistol Cat Productions; Confederacy of Dunces, Even Cowgirls Get the Blues and Persuasion for Book-It; Iphigenia in Aulis, Crumbs Are Also Bread, Museum Play, CRAVE and Finer Noble Gases at the Washington Ensemble Theatre; and Henry V and Swansong for Seattle Shakespeare Company.