Ms. Bouchard was last seen at Seattle Rep as Bev and Kathy in Clybourne Park. Other Rep credits include “B” in Three Tall Women, Amanda in Private Lives, Catherine in By the Waters of Babylon, and Lina Szczepanowska in Misalliance. Other favorite roles: Helen Lawson/Miriam in Valley of the Dolls (Empty Space), Karen Knightly in The Revengers’ Comedies (ACT), Deborah in A Kind of Alaska (Shadow and Light) and Queen Elizabeth I in Mary Stuart (ACT).
Ben couldn’t be happier to be back in Seattle. He still counts his turn as Oswald in Seattle Shakespeare Co.’s production of King Lear, despite its relatively small size, as one of his favorite roles to date. His New York credits include Daniel Sullivan’s Midsummer Night’s Dream in Central Park for the New York Shakespeare Festival/Public Theater, Perfect Harmony at the Clurman Theater, Sextet at New York Theater Workshop, among others. Regionally he’s been seen in Zoe Kazan’s Absalom at Actor’s Theater of Louisville/Humana Festival, The Importance of Being Earnest at Baltimore Centerstage, Eurydice at The Wilma in Philadelphia, Or, at The Magic Theater in San Francisco, and most recently, Between Us Chickens at South Coast Repertory. He also develops and performs his own original work, most notably Scratch, and Live and Smokin’ for Studio Tisch in NYC, and Don’t Knock It which recently premiered at the Beverley Hills Playhouse in Los Angeles. He holds an MFA from the Graduate Acting Program at NYU’s Tisch School of the Arts. Please check out his YouTube channel at: www.youtube.com/benhubris. This performance is dedicated to his late grandmother Shirley, who wouldn’t have missed it for the world.
This is Brenda’s first production with Seattle Repertory Theatre. She was recently seen as Lavinia in upstart crow collective’s all-female production of Titus Andronicus. Locally she has had the pleasure of working with Seattle Shakespeare Company (Hamlet, Twelfth Night), Wooden O (The Winter’s Tale, Much Ado About Nothing, A Midsummer Night’s Dream), Strawberry Theatre Workshop (The Bells), Seattle Public Theater (Arms and the Man), and New Century Theatre Company (On The Nature of Dust). Originally from Alaska, Brenda made Seattle her home after graduating from Western Washington University.
The Gentleman Caller
Eric is absolutely thrilled to be making his SRT debut! Recent stage credits include: The Art of Racing in the Rain at Book-It Rep, A Single Shard at Seattle Children’s Theatre, Collektor’s production of A Lie of the Mind at ACT, The Violet Hour at Seattle Public Theatre, Sherlock Holmes... at Taproot Theatre, The Last Night of Ballyhoo at Second Story Rep, and more. National film and television credits include: NBC’s “Grimm,” TNT’s “Leverage,” and Disney’s “10 Things I Hate About You.” Eric sends love to Jesse & Scout.
Tennessee Williams (1911-1983) was one of America’s most prolific and important playwrights. His prodigious output included The Glass Menagerie (NY Drama Critics Award 1944), A Streetcar Named Desire (New York Drama Critics Award, Pulitzer Prize 1947), Summer and Smoke (1948), The Rose Tattoo (1951), Camino Real (1953), Cat On a Hot Tin Roof (New York Drama Critics Award, Pulitzer Prize 1955), Orpheus Descending (1957), Sweet Bird of Youth (1959), Night of the Iguana (1961), The Milk Train Doesn’t Stop Here Anymore (1963), Out Cry (1973), Vieux Carre (1977), A Lovely Sunday For Creve Coeur (1979), and Something Cloudy, Something Clear (1981). Not About Nightingales, which he wrote in 1947, was produced at the Royal National Theatre, London, and at the Alley Theatre, Houston, in 1998 with great success.
Seattle Rep: Associate Artistic Director; Clybourne Park by Bruce Norris, This by Melissa James Gibson, The K of D, an urban legend by Laura Schellhardt (also with Pistol Cat, Illusion Theatre, FringeNYC Encore Series), Opus by Michael Hollinger, Breakin’ Hearts & Takin’ Names by Kevin Kling and Simone Perrin (premiere), Betrayal by Harold Pinter, and My Name is Rachel Corrie by Alan Rickman and Katherine Viner (U.S. regional premiere). Other theaters: Riddled by Marya Sea Kaminski (Richard Hugo House); White Hot by Tommy Smith (Marxiano / West of Lenin); The Ten Thousand Things by Paul Mullin (premiere, Washington Ensemble Theatre); Kuwait by Vincent Delaney (premiere, Theatre Schmeater); True West, The Underpants (Spokane Interplayers); Prometheus Bound (The Lincoln Center Directors Lab). New work: Seattle Rep, Empty Space, On the Boards, Portland Center Stage, New Century Theatre Company. 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 Northwest New Works Festival (On the Boards) and at Bumbershoot. Guest artist: UW, WWU, Gonzaga, University of Idaho, and Seattle University. Member: SDC, Lincoln Center Directors Lab.
Mikiko Suzuki MacAdams
Mikiko Suzuki MacAdams is a graduate of Cornish College of the Arts. Recent credits include: The Brothers Size and The Cook (Seattle Repertory Theatre); Abe Lincoln in Illinois and The Year of Magical Thinking (Intiman Theatre); The Mikado (Opera Theatre of St. Louis); TopDog/UnderDog and 9 Parts of Desire (Actors Theatre of Louisville). Off Broadway credits include: Macbeth, Hold These Truths, and Dispatches From (A)mended America (Epic Theater Ensemble); Points of Departure, Tight Embrace, and Kissing Fidel (INTAR Theatre); Lenin’s Embalmers (The Ensemble Studio Theatre). International credits include The Three Musketeers (new musical, Nissay Theatre in Tokyo) and Cavalleria Rusticana / Pagliacci (Nikikai Opera in Tokyo). Her work has been seen at Cornerstone Theater Company, Cincinnati Playhouse, Yale Repertory Theatre, Brevard Music Center, New Jersey Opera, National Asian-American Theatre Company, Yale Opera, New York Chamber Opera and Northwest Asian American Theatre, The New Ohio Theatre, The Public Theater’s Under the Radar Festival, among others. As an Associate Scenic Designer, Broadway credits include: Golden Boy, That Championship Season, Women on The Verge of a Nervous Breakdown, Next Fall, and Joe Turner’s Come and Gone, and for the US, UK and Australian national tour of Lincoln Center Theatre’s production of South Pacific. Upcoming productions include: Richard III (Epic Theater Ensemble, Off Broadway); Promises Promises (Fuji Musical in Tokyo); and Madame Butterfly (Aichi Triennale). Mikiko holds a MFA from Yale School of Drama. mikikosuzukimacadams.com
Frances is delighted to return to the Rep this season for The Glass Menagerie. Previous designs include Opus, Betrayal, You Can’t Take It With You, Twelfe Night, By the Waters of Babylon, Birdie Blue, Doubt, Living Out, New Patagonia and When Grace Comes In. In Seattle, her costumes have been seen at ACT Theatre, The Fifth Avenue Theatre, Intiman, Seattle Children’s Theatre, and the Pat Graney Dance Company. Regionally, she has designed for The Long Wharf Theatre, La Jolla Playhouse, South Coast Rep, Oregon Shakespeare Festival, Denver Center Theatre Company, Actor’s Theatre of Louisville, the Geffen Playhouse, Arizona Theatre Company, Honolulu Theatre for Youth, the Mark Taper Forum, and Broadway. Ms. Kenny spends her free time working as stylist for commercials, still shoots, and related media.
L.B. Morse is a lighting, scenic, and multimedia designer for theatre and dance. Previous designs at Seattle Rep include: Clybourne Park (lighting), Or, (lighting), Sylvia (lighting), This (scenery and lighting), The K of D, an urban legend (co-scenic design), Dancing at Lughnasa (lighting), Opus (lighting), Breakin’ Hearts & Takin’ Names (scenery and lighting), Betrayal (lighting and multimedia), My Name is Rachel Corrie (lighting), Tom Pain (based on nothing) (lighting), and Twelfe Night (multimedia). He has also designed for ACT, Seattle Children’s Theatre, Strawberry Theatre Workshop, Intiman, Seattle Shakespeare Company, On the Boards, Lingo dancetheater, Maureen Whiting Dace Co., and Empty Space, among others. L.B. is a company member of Assemblage, a 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. 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
Sound Designer and Composer
Obadiah’s music and sound have appeared at Seattle Rep in Betrayal, The Night Watcher, My Name is Rachel Corrie, and Nine Parts of Desire, which played at theaters across the country and garnered the Lortel Award for Outstanding Sound Design. On Broadway, he created music and sound for The Lieutenant of Inishmore, Shining City, Come Back, Little Sheba, Collected Stories, Accent On Youth, A Life In The Theatre, and Harvey, and he has designed and composed music for dozens of Off-Broadway and regional productions at other venues. He won an Audelco Viv Award for his work on Fucking A (Public/New York Shakespeare Festival) and the Bay Area Critics Circle Award for Heartbreak House (Berkeley Rep). His music can also be heard on HBO, Nickelodeon, Discovery, TLC, and in Fisher-Price toys.
Cristine Anne Reynolds
Select work at Seattle Rep includes: Clybourne Park, The Great Gatsby, and Jitney. Locally, she stage manages at Seattle Children’s Theatre, Seattle Opera, and Icicle Creek Theatre Festival, among others. National credits include South Coast Repertory, Barter Theatre, Pacific Northwest Ballet, Long Beach Opera, and Music Theatre of Wichita. International touring credits include Edinburgh International Festival, Sadler’s Wells-London, and Singapore Arts Festival.