Brown/Trinity Rep Instructors
CURT COLUMBUS (The Richard L. Bready Artistic Director; Directing) became Trinity Repertory Company’s fifth artistic director in January 2006. He is also the artistic director of the Brown/Trinity Rep M.F.A. programs in Acting and Directing. His directing credits for Trinity Rep include Middletown, Vanya and Sonia and Masha and Spike, The Merchant of Venice, His Girl Friday, Camelot, Cabaret, The Odd Couple, The Secret Rapture, The Receptionist, Memory House, Blithe Spirit, A Christmas Carol, Cherry Orchard and the world premieres of The Completely Fictional— Utterly True—Final Strange Tale of Edgar Allen Poe and Social Creatures. Trinity Rep has been home to the world premieres of three of his plays, Paris by Night, The Dreams of Antigone, and Sparrow Grass. Trinity Rep has also produced his translations of Chekhov’s Cherry Orchard and Ivanov, as well as Feydeau’s A Flea in Her Ear. Prior to coming to Trinity Rep, Curt lived and worked in the Chicago theater scene for almost 20 years. He was artistic associate of Victory Gardens Theater from 1989- 1994, the director of the University of Chicago’s University Theater from 1994-2000, and the associate artistic director of Chicago’s Steppenwolf Theater Company from 2000-2005, where he premiered his translations of Chekhov’s Uncle Vanya and Cherry Orchard, and Elsa Bernstein’s Maria Arndt. Curt’s adaptation of Dostoevsky’s Crime and Punishment (with Marilyn Campbell) has won awards and accolades at theaters around the United States, the United Kingdom and Australia. His translation of Chekhov’s Three Sisters, developed at the Arden Theatre in Philadelphia, is now published by Dramatists Play Service, as is his play, Sparrow Grass, and his translations of Chekhov’s other major plays, Cherry Orchard, Uncle Vanya, and Ivanov. Curt lives in Pawtucket, Rhode Island with his husband, Nate Watson.
STEPHEN BERENSON (Director of Brown/Trinity Rep; Acting) has been director since the program’s inception in 2002. A member of Trinity Rep’s resident acting company for 29 seasons, recent roles have included Harry in the world premiere of Paris by Night; Fagin, Oliver!; Shylock, The Merchant of Venice; Feste, Twelfth Night; The Fool, King Lear; Herr Schultz, Cabaret; Sydney, Absurd Person Singular; and Scrooge, A Christmas Carol. He has performed at The Kennedy Center, BAM, New York’s Town Hall, Dallas Theater Center, Bread Loaf, on tour in the US and Canada, and for three presidents at the White House. New York credits include William Gibson’s The Butterfingers Angel, Joe Keenan’s Close Enough for Jazz, revivals of Dead End and Men in White by Sidney Kingsley, and Bunthorne in Gilbert and Sullivan’s Patience. He taught acting at Roundabout Theatre Conservatory, Rosetta LeNoire’s AMAS Repertory Theatre, and The Professional Children’s School, all in New York, and has directed numerous productions, including his own adaptations of Canterbury Tales and The Hunchback of Notre Dame. He is a recipient of awards from The New England Theatre Conference, The National Endowment for the Arts, and Ten Chimneys’ Lunt-Fontanne Fellowship.
BRIAN McELENEY (Head of the M.F.A. Acting Program) is a longtime member of Trinity Rep’s resident acting company, where his roles have included King Lear; Richard II; Richard III; Cassius; Malvolio; Prior Walter, Angels in America; Dr. Larch, The Cider House Rules; George, Who’s Afraid of Virginia Woolf?; Jamie Tyrone, Long Day’s Journey Into Night; and Mozart, Amadeus. A Trinity Rep associate director, he has directed over 20 Trinity Rep productions, including To Kill a Mockingbird, Blues for Mister Charlie, The Grapes of Wrath, House and Garden, Absurd Person Singular, The Crucible, Twelfth Night, A Raisin in the Sun, All the King’s Men, Measure for Measure, Mrs. Warren’s Profession, Our Town, and Hamlet (2006 Elliot Norton Award for Outstanding Director). A graduate of Trinity College and the Yale School of Drama, he was a member of the faculty at Princeton University from 1982–1990. In addition to his work at Trinity Rep he has acted in productions in various New York theatres such as Theatre for the New City and St. Clement’s Theatre. He has been a member of the Robert Lewis Acting Company and the Bread Loaf Acting Ensemble, where he is now Director of the Theatre Program.
Brian McEleney on BEING AN ACTOR
BRIAN MERTES (Head of the M.F.A. Directing Program) is a director whose body of work spans theater, televison and film. Mertes has directed the world premiere of many new plays, most recently new work by Lynn Nottage and Will Eno for Theater for One, and including David Greenspan’s The Myopia for the Foundry, and Jose Rivera’s Massacre for Rattlestick in NYC. He has developed new work at Ensemble Studio Theater, Manhattan Class Company, Naked Angels, Manhattan Theater Club, The Public, PS 122, Actors Theater of Louisville, Playwrights Center Minneapolis, Chautauqua, New Dramatists, Ars Nova, PlayPenn, and BACA. At The Juilliard School, Mertes directed plays for over twenty years, most recently a multimedia theater work based on Sam Shepard’s Paris, Texas with alt-country rocker, Jim White. He has taught directing for the Columbia and NYU film programs and has been a guest director for NYU, Yale, NCSA, SUNY Purchase and others. Mertes has directed television for ABC, CBS, NBC and Fox garnering an Emmy and DGA Award for directing and several nominations. With director Melissa Kievman, he helms an annual retreat with their company in upstate New York, presenting epic, environmental stagings of all of Chekhov’s plays. At Trinity Rep he has directed Clybourne Park, Crime and Punishment, A Lie of the Mind and The Glass Menagerie. Co-directing with Julian Crouch, he will remount their production of Jedermann for the Salzburg Festival through 2019 and is creating an original adaptation of Oscar Wilde’s De Profundis for Playmaker’s Rep in North Carolina.
THOM JONES (Head of Voice/Speech) is in his 15th season as Voice/ Speech Director at the Trinity Repertory Company. He was formerly Head of Voice and Speech at Purchase College. He has worked extensively as a voice and speech consultant in theatre, film, and television. Theatre: The Public Theater, The New York Shakespeare Festival (Amy Adams), New York Shakespeare Festival in the Park, Yale Repertory Company (Mandy Patinkin), Dallas Theater Center, The Huntington Theatre, The Actor’s Theatre of Louisville, The Cleveland Play House, Syracuse Stage, The McCarter Theatre, The Long Wharf Theatre, The Alabama Shakespeare Festival, The Hangar Theatre. Film/Television: (various productions) Nicole Kidman (Academy Award and Golden Globe Nomination—Best Actress; Golden Globe, SAG Nomination—Best Supporting Actress), Miles Teller, Aaron Eckhart, Katey Segal, Ciaran Hinds, Sandra Bullock, Kaitlin Olson, Alan Rickman, Vanessa Redgrave, Robin Williams, Minka Kelly, James Marsden, Alex Pettyfer, Dianna Agron, Emma Watson, Sienna Miller, Ben Mendelsohn, Mel Gibson, Ray Winstone, Brendan Gleeson, Melissa Leo, Michael Angarano, Emily Van Camp, Brian O’Byrne, Sarah Bolger, Blythe Danner, George Wendt, Theo Rossi, Sarah Gadon, Logan Lerman, Linda Emond, and Ryan Reynolds.
SHURA BARYSHNIKOV (Contact Improvisation, Contemporary Dance, Physical Theatre). As an interdisciplinary artist, Shura believes in breaking down the binary of dance and theatre. Shura has designed movement for Trinity Repertory Company, The Wilbury Theatre Group, Bridge Repertory Company, Elemental Theatre Collective, and for many Brown/Trinity Rep M.F.A. productions. As a freelance dancer, Shura has performed with Lorraine Chapman the Company, Betsy Miller Dance Projects, ali kenner brodsky & co., Lostwax Multimedia Dance, and Festival Ballet Providence, among others. Most recently, she has performed theatrical roles with Trinity Rep and Bridge Repertory Company, where she took on the titular role in Oscar Wilde’s Salomé in fall of 2015. Shura co-directs Doppelgänger Dance Collective, a Rhode Island-based dance company dedicated to the commission and performance of original contemporary works, and her solo and improvised performance projects have been presented across the region. Shura has instructed at MIT, Dean College, Rhode Island College, Salve Regina University and at Earthdance in Plainfield, MA. In the classroom, Shura’s investigations incorporate a wide range of somatic modalities and methods of improvisation. She is an active practitioner of Contact Improvisation and B.J. Sullivan’s Safety Release Technique and has studied Viewpoints and Suzuki with Anne Bogart and SITI Company since 2009.
ANGELA BRAZIL (Speech) has been a member of the resident acting company at Trinity Rep since 2000. Favorite roles include Scout Finch, Heidi Holland, Elizabeth Proctor; Mathilde, The Clean House; Edward/ Victoria, Cloud Nine; Hildy Johnson, His Girl Friday; Julia, A Delicate Balance; and the title role in Stephen Thorne’s Veronica Meadows. She has been a member of the Bread Loaf Acting Ensemble since 2006, where roles have included Blanche in A Streetcar Named Desire and Olivia in Twelfth Night. Other theaters include Dallas Theater Center, Berkeley Rep, and The Long Wharf Theatre. She has also narrated numerous audiobooks. She has an M.F.A. from the University of Iowa, and has taught at Clark University, URI, The ArtsLiteracy Project, and is a member of the faculty at The Bread Loaf School of English.
BARBARA CASEY (Alexander Technique) trained and qualified as an Alexander Technique teacher at the Carrington School in London in 2010. Both her major teachers, Walter and Dilys Carrington, were students of F. M. Alexander, founder of the technique. While there she completed an internship at LAMDA, the London Academy for Dramatic Arts. Upon completion of her training she was certified by STAT-UK and AmSAT, the American Society for the Alexander Technique. She served on the Board of Directors of this society from 2010-2013. Since returning to the United States, she has regularly presented at Salve Regina University in the Holistic Counseling Program, taught the Alexander Technique, Computer Science Department, Stonehill College and completed a post-graduate Alexander Technique program with John Nicholls in New York. She also studies with Missy Vineyard, a founding member of the American Society in Amherst, MA and maintains a private practice teaching the Alexander Technique in Rhode Island. In June of 2016, Barbara completed a year- long series of workshops with Betsy Polatin, who pioneered a four year Alexander Technique curriculum for acting conservatory students at Boston University’s College of Fine Arts, where she continues to teach. Prior to her Alexander Technique work, she enjoyed a 30-year teaching career as a Special Education Early Childhood Educator. She holds an Ed. B. and Ed. M. in Education.
TYLER DOBROWSKY(Professional Development) is the associate artistic director at Trinity Rep, where he oversees the literary, education and community engagement programs. He has been a member of the theater’s education and artistic team since 2003. Recent directing credits include a mobile, bilingual production of Romeo and Juliet produced in partnership with Rhode Island Latino Arts, Julius Caesar at Trinity Rep and The Rant at the Gamm Theater. Tyler received his M.A. in Education Policy from Brown University, and studied history, theater, and Russian at Holy Cross.
JOHN EMIGH (Theatre History) is Professor Emeritus in the Department of Theatre Arts and Performance Studies at Brown University, where he taught and directed from 1967 to 2009. He received his B.A. from Amherst College and M.F.A. and Ph.D. degrees from Tulane University. He was founding Chairperson of the Association for Asian Performance, is the author of Masked Performance: The Play of Self and Other in Ritual and Theatre (U Penn, 1996), serves on the governing board of Performance Studies international, and in 2005 was artistic director of PSi’s conference and festival at Brown: Becoming Uncomfortable. He has directed over 75 plays in university and professional theatres and has performed one-person shows based on Balinese topeng (masked dance and theatre) throughout the US and Asia. In 2009, he received the Association for Theatre in Higher Education’s Career Achievement Award for Educational Theatre.
CAROL GILL (Voice/Alexander Technique) graduated from the New College of Speech and Drama, London as a voice, speech, and drama teacher in 1973. She became a teacher of the Alexander Technique in 1984. The Alexander Technique serves as foundation and support to her voice work. She was formerly Head of the Voice Department at the Royal Scottish Academy of Music and Drama, and has taught in various theatre schools, including the New College of Speech and Drama in London, Dartington College of Arts in Devon, England, the Drama Studio of London in Berkeley, California, and the theatre departments at Stanford University and Oberlin College. She maintains an active private practice in voice and the Alexander Technique.
Carol Gill on FINDING FREEDOM
KATHRYNE JENNINGS (Singing), an award-winning soprano, has performed in opera, oratorio, recital, and musical theatre throughout the United States. She has sung major opera roles with companies that include San Francisco Opera’s Western Opera Theatre, Opera Boston, Pittsburgh Opera Theatre, Opera Carolina, Piedmont Opera Theatre, and Greensboro Opera. As a concert soloist, Ms. Jennings has performed with the Savannah Symphony, Masterworks Chorale, RI Philharmonic, Manchester Choral Society, National Chamber Orchestra, Pioneer Valley Symphony, Prince William Symphony Orchestra, Eastern Philharmonic Orchestra at Eastern Music Festival, and the Norfolk Chamber Music Festival. From 1998–2004, Ms. Jennings served as artistic director for Opera Providence, Rhode Island’s professional opera company, for which she produced major operatic productions and concerts. Ms. Jennings is a teaching associate in the Music Department at Brown University, a position she has held since 1990. Many of her award-winning students have performed in musical theatre productions on Broadway, in regional theatre companies, and touring productions throughout the United States, while others have been accepted into prestigious graduate programs at some of the top music conservatories, summer programs and festivals throughout the world.
Kathryn Jennings on THE SINGING PROGRAM
MELISSA KIEVMAN (Directing) has directed and developed new plays at theaters including The La Jolla Playhouse, Syracuse Stage, Soho Rep, Atlantic Theater Company, Trinity Rep, TheaterworksUSA at the Lucille Lortel, Children’s Theater Company in Minneapolis, Hangar Theatre, O’Neill Theater Center, The Guthrie Lab, ACT Seattle, Roadworks in Chicago, Asolo Rep, Great Lakes Theater Festival/Cleveland Public, Ars Nova, The Divadelni Ostrov Festival in Prague and the Gate Theater, London. She is a member of Ensemble Studio Theater, an affiliated artist of New Georges, a Lincoln Center Lab alumna, a Drama League fellow, and recipient of the NEA/TCG Program for Directors. Kievman formerly served as Associate Artistic Director of New Dramatists, facilitating the development of hundreds of new plays and new music-theater pieces. She is currently Creative Producer for Brown University Writing Is Live and co-artistic director of Chekhov at Lake Lucille, an annual retreat and performance project in Rockland County, New York.
EUGENE LEE (Scene Design) originally made Providence his home because of his commitment to Trinity Repertory Company, where he has been designing since 1967. He designs frequently at Long Wharf Theatre, Arena Stage, Seattle Repertory Theatre, Goodman Theatre and The Public Theater. He holds BFA degrees from the Art Institute of Chicago and Carnegie Mellon, an M.F.A. from Yale Drama School, and three honorary doctorates. He has been the production designer for NBC’s Saturday Night Live since 1974. He has won many awards including three Tony Awards, the Drama Desk Award, the Outer Critics’ Circle Award, the American Theatre Wing’s Design Award, the Lucille Lortel Award, the Pell Award, the Elliot Norton Prize for Sustained Excellence, and the NCTF’s Theatre Artist Award. He has been inducted into the New York Theatre Hall of Fame. He is currently represented not only on Broadway, but also nationally and internationally, by the musical Wicked. He is a Visiting Professor at Brown University’s Oenslager Studios, which he founded. He lives with his wife Brooke in Providence, where they raised their two sons.
JUDE SANDY (Movement and Embodiment Practice), a proud alumnus of the Brown/Trinity Rep M.F.A. Program in Acting, is a member of Trinity Rep’s resident acting company, where he has choreographed for numerous productions and appeared in Oklahoma!, To Kill a Mockingbird, Blues for Mister Charlie, A Christmas Carol, A Raisin in the Sun, and Paris by Night. As a dance and movement artist, he has created and directed performance works for college and high school students, and collaborated on physically-driven productions off-broadway and in New York City’s independent theater scene. He has taught master repertory for the American Dance Legacy Initiative and been a faculty member at New York State Summer Schools for the Arts (School of Dance). Jude was a member of the original Broadway company of War Horse at Lincoln Center Theater, has toured North America, performed regionally at Guthrie Theater and Shakespeare Theatre Company, and served as movement and assistant director for productions at Cleveland Play House.
ANNE SCURRIA (Acting) has been a member of Trinity Rep’s resident acting company since 1979. Her roles have included: Amanda, The Glass Menagerie; Ma Joad, The Grapes of Wrath; The Homebody, Homebody/ Kabul; Vivian Bearing, Wit; Martha, Who’s Afraid of Virginia Woolf?; Mrs. Warren, Mrs. Warren’s Profession; Lady Macbeth; Titania, A Midsummer Night’s Dream; and Ebenezer Scrooge, A Christmas Carol. She has also appeared at New York’s Public Theater, Circle Rep, Arena Stage, Intiman Theater, Long Wharf Theater, American Repertory Theater, Williamstown Theater Festival, Actor’s Theater of Louisville ‘s Humana Festival, Speakeasy Theater, Lyric Stage and Perseverance Theater. Her television work includes Olive Kitteridge and The Brotherhood. Anne is a graduate of the Trinity Rep Conservatory and has been a faculty member since 1992.
KIMBERLY SENIOR (Directing) is a freelance director and the director of the 2013 Pulitzer Prize winning play Disgraced by Ayad Akhtar. She is also a 2013 Finalist for the SDCF Joe A. Callaway Award. Her New York credits include: Disgraced (Broadway); The Who and The What, Disgraced (LCT 3). Chicago credits include: Disgraced; Rapture, Blister, Burn (Goodman); Marjorie Prime, Diary of Anne Frank, Hedda Gabler, The Letters (Writers); Discord, 4000 Miles, The Whipping Man (Northlight); Want, The North Plan (Steppenwolf); My Name Is Asher Lev, All My Sons, Dolly West’s Kitchen (TimeLine); The Great God Pan, After the Revolution, Madagascar, The Overwhelming, The Busy World Is Hushed (Next); Waiting for Lefty (American Blues); Old Times, Uncle Vanya, Cherry Orchard, Three Sisters, Fuddy Meers, Knives in Hens (Strawdog); Cripple of Inishmaan, Bug, The Pillowman (Redtwist); Thieves Like Us (House Theatre); among others. Regionally she has directed Sex with Strangers (Geffen Playhouse); Disgraced (Berkeley Rep, Seattle Rep); The Who and The What (La Jolla Playhouse); Little Gem (City Theatre); Games Afoot, Murder on the Nile, A Few Good Men (Peninsula Players); Mauritius (Theatre Squared). Upcoming assignments: Disgraced (Mark Taper Forum); Engagements (Second Stage Uptown); Other Than Honorable (Geva Theatre).
DEBORAH SALEM SMITH(Playwriting) is the author of Anna K., Faithful Cheaters, Love Alone, Some Things Are Private, and Boots on the Ground. She is a Huntington Theatre Playwriting Fellow and the playwright-in-residence at Trinity Repertory Company. Her play Love Alone received an Edgerton Foundation New American Play Award; an Honorable Mention by the Jane Chambers Playwriting Award; and was a finalist for the National Lambda Literary Award in Drama, as well as the Independent Reviewers of New England (IRNE) Award for Best New Play. She has received multiple commissions, and her work has been developed at Trinity Rep, Huntington Theatre Company, Women’s Project Theater, and Playmakers Repertory Company. Her honors include an Emerging American Artist Fulbright for playwriting in Dublin, Ireland, where she worked with the Abbey Theatre, Ireland’s national theater, and served as a Visiting Academic at the Trinity College School of Drama. She has received awards and fellowships from Princeton University, the Mellon Foundation (National Mellon Fellowship in the Humanities), the MacDowell Colony, Alpert Medical School at Brown University (Bray Visiting Scholar/Creative Artists Fellowship), a Major Hopwood Award, and a Colby Fellowship. Her work has been published by Dramatists Play Service.
Deborah Salem Smith on ARTISTS AND TEACHERS
JEFF SMITHSON (Physical Theatre and Play) has worked and played on a variety of traditional and non-traditional stages with a diverse range of partners including: Circus Minimus, Alvin Ailey American Dance Theater junior division, The NY Goofs, Performance of a Lifetime, and Tape Art. For 16 years he has worked with kids with chronic and life-threatening illnesses as part of The Big Apple Circus Clown Care Program, and was a founding member of The Hole in the Wall Gang Camp’s Hospital Outreach Program. Jeff trained at Ringling Brothers and Barnum & Bailey Clown College and The Dell’Arte International School of Physical Theater. He also has a B.A. in Religion from Bates College. His consulting company, Proponent of Play, shares the tools and techniques of improvisation and theater with professionals in medical, business and educational communities.
BROWN UNIVERSITY DEPARTMENT OF THEATRE ARTS AND PERFORMANCE STUDIES
PATRICIA YBARRA (Chair of Theatre Arts and Performance Studies; Theatre History) is the author of Performing Conquest: Five Centuries of Theater, History and Identity in Tlaxcala Mexico (University of Michigan Press, 2009) and co-editor of Theater and Neoliberalism: Performance Permutations (Palgrave, 2012). She has also published articles and reviews in Modern Language Quarterly, Theatre Journal, Contemporary Theater Review, Gestos TDR, The Journal of Dramatic Theory and Criticism, Latin American Theatre Review, and numerous anthologies. She is also a director, dramaturg and the former administrator of Richard Foreman’s Ontological-Hysteric Theatre. She directed Quiara Hudes’ Water by the Spoonful in the fall of 2013. She is the president of the Association for Theatre in Higher Education and was the winner of the 2015 Graduate Mentoring and Advising Prize at Brown University.
SPENCER GOLUB (Director of Graduate Studies; Professor of Theatre Arts and Performance Studies; of Comparative Literature and of Slavic Languages at Brown University; Russian Theatre, Revolutionary Culture, Modernism and Postmodernism, Mise en Scene (Theatre and Film), Performance Philosophy, European Theatre History, Advanced Performance (Conceptual Performance)) is the author of the books Evreinov; The Theatre of Paradox and Transformation (1984), the Callaway Award- winning The Recurrence of Fate: Theatre and Memory in Twentieth-Century Russia (1994), Infinity (Stage) (1999), and Incapacity: Wittgenstein, Anxiety and Performance Behavior (2014). He has also contributed 150 entries to The Cambridge Guide to Theatre and to The Cambridge Guide to American Theatre, published essays in 14 books and in many professional journals, serving on the editorial board of four journals. He has been a Fulbright, IREX and two-time National Endowment for the Humanities fellow and has worked as a professional stage director, journalist, script consultant, and associate artistic director in New York City and as a guest scholar at professional regional theatres. He is a stage director and has also published fiction.
ELMO TERRY-MORGAN (Artistic Director of Rites & Reason Theatre; Associate Professor, Department of Africana Studies, and Department of Theatre Arts and Performance Studies) holds an M.F.A. from the University of California San Diego, 1978. Terry-Morgan’s areas of specialization are African-American Theatre, Black LGBTQ Theatre, and Playwriting. He has served as managing editor for the Black Theatre Network News, associate director and playwright at the National Black Theatre of Harlem, and as writer/director of the AUDELCO Awards ceremony in New York City. His plays have been produced in venues across the USA and in Japan. His major works include: Miss Morning; the adaptation of The Legacy: Memories of the Gospel Song; The Washingtons: A Freedom Unknown; Profiles and Shadows; Heart-to-Heart; the musicals Song of Sheba, Ophelia’s Cotillion, and Hot Comb; and adaptations of Ama Ata Aidoo’s play, Anowa, and the Civil Rights era novel, Freshwater Road, with author Denise Nicholas. Terry-Morgan is currently working on a new commission to adapt the Land of Vision essays of NBT’s founder, the late Barbara Ann Teer, into a performance work. He also conceived of and curates The Original Black Lavender Experience, an annual showcase of works by Queer Artists of Color.
MICHELLE BACH-COULIBALY (Dance) is a teacher, performance artist, choreographer, and researcher of Mande dance, music and culture. She has been teaching, mentoring and training young performers in the Department of Theatre Arts and Performance Studies at Brown University since 1987, and as a core faculty member at The Eugene O’Neill Theater Center’s National Theater Institute since 1982. As artistic director of New Works/World Traditions, Ms. Bach-Coulibaly has developed over 35 new works for the stage, including Night Run, House of Ghosts (in collaboration with Beijing Modern Dance director Goa Yanjinzi and ABT choreographer Brian Reeder), Luna Rise, Road Home Zydeco, Crude, and The Bloodline Project. The Bloodline Project was part of a transnational art and global health initiative that toured to Mali, West Africa to bring artist- activists, policy makers, medical researchers and community leaders together to look at the role of performance in securing better healthcare practices for Malians. As founding director of the Yeredon Centre for Cultural Preservation in Mali, West Africa, hundreds of American and European students have traveled to Mali to engage in social justice and creative art projects. Trained in Contact Improvisation, Movement Theater, Modern Dance and the Body Therapies, Ms. Bach-Coulibaly teaches a humanistic approach to movement training, with an emphasis on Contemplative practice and creative collaborations.
ERIK EHN (Head of Playwriting) Work includes The Saint Plays, No Time Like the Present, Wolf at the Door, Tailings, Beginner, an adaptation of Faulkner’s Sound and the Fury, and Ideas of Good and Evil. Soulographie (La MaMa, NY, November 2012) is a series of 17 plays written over 20 years, on the history of the U.S. in the 20th century from the point of view of its genocides (scripts include Maria Kizito, Heavenly Shades of Night are Falling, Yermedea, Drunk Still Drinking). A graduate of New Dramatists.
MARCUS GARDLEY (Playwriting) is a poet-playwright who is the recent 2012 James Baldwin Fellow. He is also the 2011 PEN Laura Pels award winner for Mid-Career Playwright and a Mellon Foundation Playwright in Residence Grantee with Victory Gardens in Chicago. His most recent production Every Tongue Confess premiered at Arena Stage starring Phylicia Rashad and directed by Kenny Leon. It was nominated for the Steinberg New Play Award, the Charles MacArthur Award for Best Play and was the recipient of the Edgerton New Play Award. His musical On the Levee premiered at Lincoln Center and was nominated for 11 AUDELCO Awards including outstanding playwright. His critically acclaimed epic And Jesus Moonwalks the Mississippi was produced at the Cutting Ball Theater, received the SF Bay Area Theater Critics Circle Award and had two sold-out extensions. His plays include: dance of the holy ghosts at Yale Repertory Theatre (now under a Broadway option), (L)imitations of Life at the Empty Space in Seattle, WA, and like sun fallin’ in the mouth at the National Black Theatre Festival. He holds an M.F.A. in Playwriting from the Yale Drama School and is a member of The Dramatists Guild and the Lark Play Development Center.
KYM MOORE (Acting, Directing) is Associate Professor of Acting and Directing in the undergraduate Theatre program at Brown University, as well as artistic director of the AntiGravity Theatre Project in Providence. Most recently she directed The Road Weeps, The Well Runs Dry by Marcus Gardley for the TAPS/S&B season at Brown. This fall Kym will direct By the Way, Meet Vera Stark by Brown University alum Lynn Nottage in Leeds Theater at Brown. Professional directing credits include The Gospel of Lovingkindness by Marcus Gardley (BTPR); Yermedea Raw by Erik Ehn at La MaMa E.T.C. where the production was hailed in The New York Times for its “haunting images” with “energizing and frightening” performances. Daniel Alexander Jones’ Jomama Jones Radiate at SoHo Rep was a New York Times and Backstage Critics’ Pick. Her most cherished Brown University/TAPS directing credits include: Passing Strange, Gross Indecency: The Three Trials of Oscar Wilde, and Pippin, which was recognized by Broadway World.com as one of the most “whacky and innovative” interpretations of that musical worldwide. Kym is an associate member of the Society of Stage Directors and Choreographers, the Lincoln Center Theater Director’s Lab, and the National Theatre Conference.
REBECCA SCHNEIDER (Performance Studies) is Professor in the Departments of Theatre Arts and Performance Studies and History of Art and Architecture at Brown as well as Affiliate in Modern Culture and Media. She is the author of Theatre and History (2014), Performing Remains: Art and War in Times of Theatrical Reenactment (2011) and The Explicit Body in Performance (1997). The author of many essays on theatre, dance, and intermedial arts, she also recently edited two special issues of TDR: The Drama Review on Precarity and Performance (2012) and on New Materialism and Performance (2015). She coedited Re: Direction: A Theoretical and Practical Guide on 20th-Century Directing Theory and Practice. She is a consortium editor for TDR: A Journal of Performance Studies and coeditor of a book series on theatre with University of Michigan Press. She lectures internationally on performance, time-based art, and theatre.
JULIE ADAMS STRANDBERG (Dance Legacy and Preservation, Dance Performance and Repertory, Choreography, Twentieth-Century Dance History, Modern Dance Styles) is Executive Director of the American Dance Legacy Institute, and is Artist-In-Residence and Director of Dance at Brown University. From 1971–1978 she was Artistic Director of the Rhode Island Dance Repertory Company. In 1999, the dancers reunited and created the Arabella Project to explore what “mature” dancers have to offer. In 1973 she co-founded the Harlem Dance Foundation with parents Julius J. and Olive A. Adams and sister Carolyn Adams. She is Associate Artistic Director of the New York State Summer School of the Arts School of Dance and was on the faculty of the Jacob’s Pillow Dance Festival from 1992 to 1995. In 1985 she took a sabbatical for a world tour, studying dance and theatre traditions in other countries. She has choreographed and directed extensively for college, community, and professional theatre. She designs curricular materials and programs on dance, has written several books and articles on dance education, serves on national boards and panels, and is a recipient of numerous awards. She was honored by the city of Providence as one of its 350 most distinguished citizens during the celebration of the city’s 350th birthday.
BARBARA TANNENBAUM (Communications) teaches courses in public speaking, voice for public performance, and persuasive communication in the Department of Theatre Arts and Performance Studies at Brown University. She has directed at Leeds Theatre and has been vocal coach on a number of productions. Her skills as a teacher and lecturer have been recognized at Brown with 11 senior class awards (the Barrett Hazeltine Citation), the John Rowe Workman Award for Excellence in Teaching in the Humanities, and the Undergraduate Council of Students Award for Excellence in Teaching. In addition to her courses at Brown, she leads persuasive communications workshops for students, faculty, staff, and administrators. Outside of Brown, she consults on powerful communications techniques to Fortune 500 companies, AMLAW100 law firms, political candidates, media personalities, individual executives, and non-profit organizations.