R. Michael Miller (head of design and production/scenic
design) has designed for theaters across the country including the
Guthrie Theater, American Conservatory Theater, Milwaukee Repertory
Theater, the Oregon Shakespeare Festival, Philadelphia Drama Guild, the
Berkshire Theater Festival, the George Street Playhouse, Crossroads
Theater Company, Arizona Theater Company, Hartman Theater Company,
Virginia Stage Company, Syracuse Stage, Williamstown Theater Festival,
Intiman Theater, A Contemporary Theater (Seattle), and others. For
Circle in the Square on Broadway, he designed Eminent Domain and The Boys in Autumn. For Shochiku Company in Tokyo, Japan, he designed The Miracle Worker, directed by Terry Schreiber. Mr. Miller was the scenic supervisor for the American Ballet Theater's production of The Sleeping Beauty,
choreographed by Sir Kenneth MacMillan and designed by Nicholas
Georgiadis. He was the American associate designer for Andrew Lloyd
Webber's Broadway musical Aspects of Love, designed by Maria Bjornson. He has worked as an assistant art director for the feature films Falling in Love, Shadows and Fog, and Bullets over Broadway. Mr.
Miller has an M.F.A. degree from the University of Washington and is a
member of United Scenic Artists, Local 829.
Evan Alexander
(photo shop) is a set designer and multimedia developer working in New
York City. Through evanalexander.com, he runs a digital design shop,
specializing in digital media for theater designers including composite
imaging, animation, and web site development. He has also worked as a
scenic assistant for numerous Broadway productions, including Baz
Lurhmann's La Bohème, The Producers, The Green Bird, The Music Man, and Contact,
among others. He has also produced his own regional theater and opera
design work. Recently, he completed work on the new Broadway shows The Boy from Oz, and Never Gonna Dance and worked for MTV Special Events. His design for Romeo and Juliet will open at the Skylight Opera in February of 2004.
Christine Barnes
(properties supervisor) has been a properties master for over 15
years. She has worked for the Florida Grand Opera, several off-Broadway
tours, Rutgers Opera, and Wayside Theatre. She has done work as an
artisan for George Street Playhouse, Florida Shakespeare Theatre,
NJPAC, and the Coconut Grove Playhouse. She continues to do prop work
for short films and has worked with various puppet, clown, and magic
shows.
F. Mitchell Dana (lighting design) has lit
over 550 professional productions in his career. He has worked as a
technical director, head electrician on industrials and in television,
head prop man on Broadway and on tour, stage manager on and
off-Broadway, and production manager. He received his M.F.A. degree
from the Yale School of Drama. His lighting experience includes Dance,
LORT, industrials, tours, television, off-Broadway, and Broadway. His
many Broadway credits include The Suicide, Freedom of the City,
Mass Appeal, Monday after the Miracle, Once in a Lifetime, Man and
Superman, The Inspector General, and Oh Coward. His opera credits include La Rondine for the NYC Opera; Turandot for the Royal Opera/Covent Garden and Wembley Arena, London; The Magic Flute and The Merry Widow for the Cleveland Symphony; La Traviata for Barcelona's Gran Liceu; Carmen
conducted by Placido Domingo with Jose Carraras and Teresa Berganza to
open Expo '92 in Seville; and close to 75 others in the United States
and Canada. He has lit over 200 productions in the LORT system at
theaters including the San Francisco's ACT, Mark Taper Forum, Seattle
Repertory Theatre, Goodman Theatre, McCarter Theatre, BAM, MTC, and the
Roundabout. He is the national vice president of United Scenic Artists,
Local 829, and is listed in Who's Who in America, Who's Who in the Theatre, Who's Who in the East, Who's Who in Entertainment, and other biographical listings.
Vickie Esposito's (head of costume design/associate head of design) Philadelphia credits include King Lear, Romeo and Juliet, Twelfth Night, The Taming of the Shrew, Hamlet, Much Ado about Nothing, and The Merchant of Venice for the Philadelphia Shakespeare Festival. Other credits include Tin Pan Alley, Indiscretions, and The Ruling Class for the Wilma Theater, Major Barbara and Henry V for the Arden Theater and Inspecting Carol
for the Philadelphia Drama Guild. She was the primary costume designer
for the Philadelphia Festival Theater for 13 seasons and premiered over
50 productions including seven of Bruce Grahm's plays. Regional work
includes Charley's Aunt at the Olny Theater; Belmont Avenue Social Club for Capitol Repertory, Albany; Petticoat Lane, Candida, Streetcar Named Desire, and Slow Dance on the Killing Grounds for George Street Playhouse, New Brunswick; and the touring production of Banjo Reb and the Blue Ghost. She has designed costumes in New York for People Who Could Fly, Town Hall; Are You Now or Have You Ever Been a Member of the Communist Party? for Century and Promenade Theaters; Deer Season, St. Clement's Theater; Mo Tea Miss Ann, Amas Theater; Charlie Pops, Cubiculo Theater; and Rosmersholm, Spectrum Theater Company.
Louise Grafton (properties) has been making props for many years. She
has worked for regional theaters, the New York Shakespeare Festival,
the Old Vic in London, the Oxford Playhouse, a number of Broadway
shows, and the Big Apple and the Hanneford Circuses. She has built
historical reconstructions for the New York Public Library, the
Princeton history department, and PBS. She also lent her talents to the
Academy Award-winning film A Beautiful Mind. She has been the prop
artisan for the Philadelphia Shakespeare Festival for four years and
the Westminster Opera Company for eight. She taught prop construction
for Mason Gross School of the Arts in the 1980s and returned to teach
again in 1998.
Catherine Homa-Rocchio (costume shop
supervisor) has worked with costumes for 20 years. Before joining
Rutgers she was costume shop supervisor and draper at the McCarter
Theater. While at McCarter, she designed Emily Mann's Greensboro: A
Requiem and several new play festivals. She was a draper at The
Juilliard School and has worked at other regional theaters across the
country.
Virginia Johnson (costume technology) spent eight
years at The Juilliard School, with three years as costume shop
supervisor. She has assisted costume designers on many productions on
and off-Broadway, including Tintypes, Mass Appeal, The 1940's Radio
Hour, and Driving Miss Daisy. Her many freelance costume construction
credits include Nine, Other People's Money, A Day in the Death of Joe
Egg, Funny Girl, and Mixed Emotions. Ms. Johnson has constructed
costumes for the Roundabout Theater, Lincoln Center, the Acting
Company, Playwright`s Horizons, Manhattan Theater Club, Philadelphia
Drama Guild, and Second Stage. She previously has taught at Simpson
College in Iowa and Baldwin-Wallace College in Ohio. She holds a B.S.
degree from Moorhead State University and an M.A. degree from Bowling
Green State University.
Jerilyn Jurinek (drawing) is a
painter of figurative art built on an architectural use of color.
Eschewing commercial exhibitions in favor of human development and
meaning in artistic language, Ms. Jurinek is represented in private and
public collections. She studied at the Art Institute of Chicago
(B.F.A.), the University of Chicago, and Columbia University (M.F.A.).
She has worked extensively using Hans Hofmann School drawing methods,
Albers, and other color theories. She has also worked directly with
Esteban Vicente, Meyer Shapiro, and Margaret Mead.
Joseph
Miklojcik, Jr. (set design) designed the sets for Are You Now or Have
You Ever Been at the Promenade Theater in New York. Off-Broadway, he
designed A Most Secret War and What's a Nice Country Like You Doing in
a State Like This. He created sets for the original productions of
Extremities and the Woolgatherer. As director of production for opera
at Rutgers, he designed the American premiere of Donizetti's Bellasario
and received first prize from the National Opera Association for Best
Production for Cosi Fan Tutti and La Bohème. Most recently, he
designed the settings for the Lyric Theater Summer Season in Boulder,
Colorado.
Peter Miller (scene painting) was the resident
scenic artist of the Wolftrap Opera Company and The Juilliard School
for many seasons. Since joining Local 829 of United Scenic Artists, he
has worked on the paint crews of numerous Broadway shows, including
Ragtime, The Lion King, The Seagull, St. Joan, Footloose, Grease, The
Diary of Anne Frank, The Goodbye Girl, and many productions of Beauty
and the Beast. Recent jobs include The Crucible, Mornings at Seven, The
Boys from Syracuse, Amore, and Dance of the Vampires. Films include
Unfaithful, Changing Lanes, and the upcoming remake of The Stepford
Wives. Mr. Miller graduated from Harvard in 1984 with a
concentration in visual and environmental studies.
David Murin
(costume design) is serving his 13th consecutive year on the Mason
Gross School of the Arts design faculty. He has over 250 costume design
credits for Broadway, off-Broadway, regional theater, and television.
Broadway credits include Ned and Jack, A Talent for Murder, Mixed
Emotions, Devour the Snow, and Gorey Stories. Regional theaters include
Seattle Repertory Theatre, George Street Playhouse, Pittsburgh Public
Theater, Long Wharf Theatre, Philadelphia Drama Guild, Actor's Theater
of Louisville, Cincinnati Playhouse, Cleveland Playhouse, Arizona
Theatre Company, the Oregon Shakespeare Festival, Papermill Playhouse,
Huntington Theatre Company, Missouri Repertory, Williamstown Theater
Festival, Berkshire Theater Festival, Westport Playhouse, Pacific
Northwest Ballet, and Virginia Opera. While working for Ryan's Hope,
the long-running ABC soap opera, he was garnered with an Emmy Award.
Made for television movies include Sherlock Holmes, Maid in America,
and Dreamhouse. Mr. Murin has served on the faculties of both Temple
and Boston University. In fall 2003, he will work simultaneously on a
new play, Wilderness of Mirrors by Charles Evered at George Street
Playhouse, directed by David Saint, and Misalliance for Seattle
Repertory Theatre, directed by Sharon Ott.
Tim Pickens
(technical director) has been associated with the theater arts
department for the past 18 years. He spent his professional career in
regional theater, including stints as technical director at GEVA
Theater and the Portland Stage Company. He also served as assistant
technical director at The Juilliard School, Hartford Stage Company, and
Minnesota Opera Company. He received his M.F.A. from Temple University.
James L. Sargent (lighting supervisor) served as the master
electrician for the national tour of Grease and assistant
carpenter/automation operator for the national tour of Joseph and the
Amazing Technicolor Dreamcoat. He has worked as electrician and
technician for the McCarter Theater and the Opera Festival of New
Jersey. In addition, he has served as assistant production manager for
the Opera Festival of New Jersey.
C. Rudy Veltre (sound
supervisor) began his career in the nation`s roadhouses working
with national and international music acts such as Cheap Trick, Count
Basie, and The Kinks. In addition to his credits in theatrical design,
he also serves as designer and consultant for corporate clients and
special events, such as political appearances for senators and
congressmen, vice presidents, and the last three governors of New
Jersey.
