Warner Miller is excited to be making his return to Seattle Rep having appeared in a workshop production/reading of Cheryl L. West’s new play, Pullman Porter Blues. He recently appeared in the premiere of the play Lost Boy Found in Whole Foods by Tammy Ryan at Premier Stages, as well as in the premiere of Brothers from the Bottom by Jackie Alexander at The Billie Holiday Theatre and Seed by Radha Blank at Classical Theater of Harlem. Other selected credits include Dominique Morisseau’s Follow Me to Nellie’s at the Eugene O’Neill Theater Center; August Wilson’s Fences, directed by Kenny Leon, at Huntington Theatre Company; Ma Rainey’s Black Bottom at Syracuse Stage; The Piano Lesson at Geva Theatre and Indiana Repertory Theatre; Paradox of the Urban Cliché at The LA Byrinth Theater Company; The Old Globe Theater’s premiere production of Since Africa; False Creeds at The Alliance Theatre; and A Raisin in the Sun at Hartford Stage. Film credits include the role of Melvin Lucas in American Gangster, directed by Ridley Scott; Nicky Lolo in HBO Film’s Wyclef Jean in America, and Beadle in HBO Film’s Everyday People. TV credits include “Law & Order” and “CSI: NY”.
Yaegel T. Welch
Yaegel was most recently seen in the Playmakers Rep productions of Fences and Jitney at Kenny Leon’s True Colors Theatre Company, the Studio Theatre production of In the Red and Brown Water, the Alabama Shakespeare Festival’s Bear Country, and Geva Theater’s Clementine in the Lower Nine. Off Broadway, he has been seen in the Lincoln Center’s Fly with The Crossroads Theatre. Other credits include The Revenger’s Tragedy at RedBull Theatre and The Darker Face of the Earth, directed by Trazana Beverly, with TWAS Productions. Regionally, he has appeared in The Piano Lesson at The Arden Theatre (Barrymore Award nomination); My Children! My Africa! At The Studio Theatre and Wilma Theatre; Fences at the Arkansas Repertory Theatre; A Midsummer Night’s Dream with the Bridgeport Free Shakespeare Festival; Fences with Ruben Santiago-Hudson at Boston’s Shubert Theatre; Cobb at the Chautauqua Institution; and Professional Skepticism at the Wellfleet Harbor Actors Theatre. Mr. Welch’s has a BA in Theatre Arts from Morehouse College, an MFA in Acting from Brandeis University, and an MFA from The Shakespeare Theatre’s Academy for Classical Acting. Yaegel feels both thrilled and blessed to be working at Seattle Rep.
Eddie R. Brown III
Eddie R. Brown III is no stranger to The Brother/Sister Plays. He went to high school, undergraduate at De Paul, and grad school at Yale School of Drama with Tarell Alvin McCraney, and he appeared in Marcus; Or the Secret of Sweet as it was being developed at Yale. Most recently, he appeared in Witness Uganda at the Boston Court Theatre in Pasadena. He has done several new plays as workshops, including Fortress of Solitude, The Total Bent, and The Harlem Ladies Knittin’ & Bitchin’ Society. His other regional credits include Passing Strange and After the War at the Sundance Theatre Lab, Bombitty of Errors and Julius Caesar at Chicago Shakespeare, Kiwi Black at Victory Gardens, and Zooman & The Sign at Vinnette Carroll Theatre. At Yale, Eddie appeared in Man is Man, The Robbers, Jelly’s Last Jam, Romeo & Juliet, and A Month in the Country. At DePaul he appeared in Ma Rainey’s Black Bottom, The Colored Museum, Alice in Wonderland and Yerma.
Juliette is thrilled to be returning to Seattle Rep where she directed Eduardo Machado’s The Cook in 2007. Juliette has directed critically acclaimed productions across the country, including Lydia by Octavio Solis (produced at Denver Theater Center, Yale Repertory Theatre and the Mark Taper Forum), the West Coast premiere of Sam Shepard’s Eyes for Consuela (The Magic Theatre), and the world premiere of Jose Rivera’s References to Salvador Dali Make Me Hot (South Coast Repertory). Regionally, she has directed for the Actors Theater of Louisville, Alliance Theatre, Arizona Theater Company, TheatreWorks, and Laguna Playhouse, as well as workshops in NY theatres such as New York TheatreWorkshop, The Public, INTAR, and The Women’s Project. Currently a member of Cornerstone Theatre, Juliette has collaborated with numerous communities in creating work. She has collaborated with the Los Angeles River community on a play with music by Julie Hebert titled Touch The Water, with the Hindu community on Shishir Kurup’s As Vishnu Dreams, and with seniors and their caregivers on Octavio Solis’ Lethe, as well as developing works with and for the geographical communities of Watts and Pacoima. Juliette was also an artistic associate at South Coast Repertory Theatre for seven years where she directed regularly in their season and ran the Hispanic Playwright’s Project, collaborating with successful Latino writers across the country. A graduate of American Film Institute’s Directing Workshop for Women, she has written and directed several award-winning short films, including Spiral and a-litter-ation. She is currently developing a full-length screenplay. She is a recipient of several awards including the prestigious National Endowment of the Arts/Theatre Communications Group directing fellowship and the Princess Grace Award. She is a graduate of the Yale School of Drama.
Mikiko Suzuki MacAdams
Mikiko Suzuki MacAdams is a graduate of Cornish College of the Arts, and she is thrilled to come back to Seattle for this production. Recent credits include The Cook directed by Juliette Carrillo (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); points of departure, Tight Embrace and Kissing Fidel (Intar Theatre, Off-Broadway); Lenin’s Embalmers (The Ensemble Studio Theatre, Off–Broadway); and LOW (The Public Theater’s Under the Radar Festival). 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, among others. As an associate scenic designer, she has worked on the Broadway productions of That Championship Season, Women on the Verge of a Nervous Breakdown, Next Fall and Joe Turner’s Come and Gone. She received her MFA from the Yale School of Drama. mikikosuzukimacadams.com.
Broadway: Fences, Gem of the Ocean (she received a Tony award nomination for each), The Piano Lesson, Seven Guitars. Regional theaters: Seattle Rep’s production of Fences last season, Denver Center Theatre Company, Goodman Theatre, Huntington Theatre Company, Mark Taper Forum (Ovation Award for Best Costume Design, Gem of the Ocean), Oregon Shakespeare Festival, Crossroads Theatre Company, Indiana Repertory Theatre, Yale Repertory Theatre, Milwaukee Repertory Theater, Shakespeare Santa Cruz, and Seattle’s Intiman and ACT theatres. She taught costume design and scenic design at the University of Washington and at University of California at Santa Cruz, designed artwork for Broadway’s The Piano Lesson and Seven Guitars was the associate artist for Signature Theatre’s August Wilson Series. She was the associate producer for last year’s Broadway production of Fences starring Denzel Washington. Ms. Romero holds an MFA in design from the Yale School of Drama and resides in Seattle with her and her late husband August Wilson’s daughter, Azula Carmen Wilson.
Geoff Korf has designed the lighting for more than 250 productions (including 100 world premieres) over the past 25 years. Notable world premieres include Sarah Ruhl’s The Clean House at Yale Repertory Theatre, Disney’s High School Musical at the Children’s Theatre Company of Minneapolis, and August Wilson’s Two Trains Running. His work has been seen on Broadway, at the Oregon Shakespeare Festival, Intiman, ACT, New Century Theatre, the Mark Taper Forum, Cornerstone Theater, La Jolla Playhouse, The Old Globe, South Coast Repertory, The Guthrie Theater, the Goodman, Actors Theatre of Louisville, Trinity Repertory, Long Beach Opera, San Francisco Opera, and Seattle Children’s Theatre. He has been a member of the Ensemble of Cornerstone Theater in Los Angeles since 1996. Mr. Korf also serves as the Head of Design at the University of Washington where he has taught since 2001. He is a graduate of California State University, Chico and the Yale School of Drama.
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 The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.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.
Kathryn Bostic has composed music for numerous plays, films, TV commercials and concerts. She is a recipient of the Sundance Fellowship for Filmscoring and a Project Involve Fellowship from Film Independent. She collaborated with award-winning playwright August Wilson writing the score for productions of his last play, Radio Golf, as well as the music for the Broadway production of Gem of the Ocean. This is her third collaboration with Seattle Rep, as she participated in productions of Radio Golf and Gem of the Ocean. She recently worked with director Moisés Kaufman and playwright Rajiv Joseph on the critically acclaimed Bengal Tiger at the Baghdad Zoo. Other theater credits include Eclipsed (The Kirk Douglas Theater), Harlem (Kennedy Center), Death and the King’s Horseman (Syracuse Stage), Little Women (Cornell University’s Schwartz Theater), The Ballad of Emmett Till (The Goodman Theater), Emergency (The Geffen Playhouse), Of Equal Measure (The Kirk Douglas Theater), Home (The Signature Theater, The Court Theater), and The Beggars’ Strike (The Children’s Theatre). As a vocalist and pianist Kathryn has performed extensively nationally and internationally. She has also toured and/or recorded with a variety of artists including k.d. Lang, Ryuichi Sakamoto, John Hiatt, Rod Stewart, and David Byrne. She is currently working on a recording of her own material
Sonia Dawkins is the founder and artistic director of Sonia Dawkins/ Prism Dance Theatre. She is a graduate of the U of Arts and had received her Master’s from SUNY College. She has been on the faculty of Pacific Northwest Ballet and Duke Ellington School Arts, and she has been Artist-in Residence at Alvin Ailey American Dance Theatre and North Carolina School of the Arts. She has performed extensively with choreographers and companies in the States. She has choreographed nationally and internationally for Seattle Repertory Theatre (The Breach, Three Musketeers), Pacific Northwest Ballet, Nevada Ballet, Alvin Ailey American Dance Theatre School, Seattle Theatre Group (Dance This), Bulgaria Dance Festival, Mexico International Festival, Broadway Bound, and many others. This marks her third time working with Seattle Repertory Theatre.
Judith Shahn has coached The Road to Mecca, The Cook, The Waters of Babylon, Doubt, Private Lives, Nine Parts of Desire, The Constant Wife, and The Chosen (among others) at Seattle Rep, as well as the national tour of Light in the Piazza. At Intiman: Ruined, A Thousand Clowns, All the King’s Men, To Kill a Mockingbird, Native Son, Heartbreak House, The Grapes of Wrath, Our Town, The Singing Forest, Homebody/Kabul, Angels in America, and The Kentucky Cycle; at ACT: A Marvelous Party, The Clean House, A Number, The Night of the Iguana, and A Christmas Carol; one season at the Oregon Shakespeare Festival and two seasons at Utah Shakespearean Festival. Ms. Shahn has taught voice/text/dialects for the graduate acting program at the University of Washington for the last 21 years.