Written by Anton Chekhov
Directed by Susannah Martin

Photos by Kate Micawber

Presented by Porchlight Theatre Company
June 18 – July 11, 2009

Press
MARIN INDEPENDENT JOURNAL “Leveraging an extremely clever but simple set design by Steve Decker, director Susannah Martin evokes the Russian countryside by using the hillside around the amphitheater. The duel between Tuzenbach and his former friend Solyony takes place in the distance, for example. We feel the effects of the fire in town, even though we don’t see it…Chekov’s “Three Sisters” is a finely wrought, ambitious and daunting undertaking with great appeal for fans of classic theater.” – Barry Willis

BAY AREA CRITIC’S CIRCLE “Director Susannah Martin seems well versed in Chekhov. She pays strict attention to the specific gestures of each character and demonstrates the importance of the unspoken word. Under her capable direction, all of the performances are like vignettes. Martin has put together a moving, funny and thought provoking production of Three Sisters.” – Annette Lust

Director’s Note
When Porchlight core member Jon Burnett asked me whether I could sum up the action of this play in a nutshell, I flippantly said, “Three sisters wait five years for somebody to take them to Moscow.” As blithe as this statement may seem, it does ring true. This family wants a momentous change – what they think will be a life-saving change – to simply “happen” in their lives. A shift that will not only save them from the boredom and atrophy of the small-town life they’re living but one that will also fulfill their dreams of a glorious future. All of their individual – and very different – hopes and dreams are represented in going to Moscow. But instead of taking the action necessary to make that happen, they wait… and talk about it. They stay fixed in one place. Time marches on, and they stay stuck with this dream that they don’t know how to make into a reality. So they don’t.

How do you build a “vision” around this idea? You build a world that progresses around these characters – an organic world that moves forward, lives, laughs, loves, and then ultimately, decays and dies even as the sisters (and their brother Andrey) revolve around the same fixed point. The house they live in changes, ages, and decays. As Natasha, the sister-in-law who knows how to take definitive action, takes over, the space inside the house gets smaller and smaller until ultimately, the sisters spend their last minutes at home outside – wandering – unable to enter the house. Their clothing progresses from that which belongs to a rarified world that smacks of a previous era where the upper classes could lounge around and talk about work into the practical garments of the worker. The music and sound begins in the previous era and with the trappings and accoutrements of those with money and ends with the music of the peasants – and of the military – of the party to come. Things change. Time marches on. The world moves forward even if the sisters do not.

In Chekhov, much as in life, people live, people die. They love, and laugh and flirt, and marry, and fight, and say and do awful things to one another and spout philosophy and meet their best and brightest self alongside their worst demons, all in one winter’s evening or on a fall afternoon. People aren’t polite – they interrupt each other – they don’t listen – they say and do strange things – they’re idiosyncratic and clueless and yet loving and thoughtful within the same breath. In our approach to the text, we needed to allow the rhythm of this reality to live… to travel along the path Chekhov provides without being afraid of the chaos or silences that ensue.

When I first taught a workshop to the core company members back in December of 2006, I discovered that they were a group of very experienced and professional artists but at the same time, they were people who were living their lives. They were asking the questions I was asking: how do you find the balance between living a life – having a family and being a human being – and also be an artist? How do you do art sanely? How do you express your values – your every day life values – in the work that you do? When I met the artists at Porchlight, I knew that I could ask these questions with them and that I could bring the questions into the work. Much like the environment that Porchlight performs in, it’s organic – it’s an intrinsic part of who they are and how they create theatre. And thus, it is an ideal environment for me to work in – and an exemplary place for Chekhov.

Cast
Solyony / Michael Barr*
Masha / Tara Blau*
Anfisa / Candace Brown
Andrey / Jon Burnett*
Natasha / Rebecca Castelli*
Irina / Thais Harris
Olga / Julia McNeal*
Chebutykin / John Mercer
Tuzenbach / Craig Neibaur
Kulygin / Ryan O’Donnell
Rohde / Jarrod Quon
Verskinin / Nick Sholley*
Fedotik / Lowell Weller
Ferapont / Don Wood

*Member of AEA

Crew
Artistic Director Emeritus / Molly Noble
Assistant Stage Manager / Dave Abrams
Costume Design / Rebecca Redmond
Production Manager / JP Hitesman
Properties + Set Dressing / Mia Baxter + Seren Helday
Set + Lighting Design / Steve Decker
Sound Design / Susannah Martin, Jarrod Quon, + Lowell Weller
Stage Manager / Jennifer Stukey

Written by Harold Pinter
Directed by Susannah Martin

Photos by Greg Crane

Presented by TheatreFIRST
April 1 – 25, 2009

Press
SAN FRANCISCO CHRONICLE “A classic Harold Pinter drama… gets a smartly orchestrated revival from director Susannah Martin and a first-rate cast.” – Robert Hurwitt

BERKELEY DAILY PLANET “Susannah Martin—and the designers—do well by Old Times, balancing movement and stasis, the sally and the pose, finding a stylization that’s not the empty, guilty inactivity too many productions of Pinter bottom out in. She’s done well by TheatreFIRST, as have her actors…” – Ken Bullock

SF APPEAL.COM “TheatreFIRST’s production of Old Times…was the sort of blind date you take home and marry a week later…Susannah Martin’s direction kept the show taught, unflinching, and on the mark. See this show if you can because it’s not often you find a keeper.” – Richard Ciccarone

Director’s Note
During the rehearsal process, the actors and I tried to unlock a puzzle that yielded the following clues:

• Old Times takes place in a converted farmhouse in the English countryside; it is autumn; it is night.
• Deeley and Kate are married and have been for approximately 20 years.
• Kate once lived with a woman named Anna, approximately 20 years ago.
• Anna is coming over for dinner.
• Throughout the evening, certain memories are repeated.
• Each time the memories are repeated, they change – slightly.

Did these memories occur? Did these people really know each other? Who’s telling the truth? What really happened? Whatever happened, one thing is clear: in Old Times, memories are weapons.

The past is subjective. Once a moment passes, our perception of it is immediately distorted by the tricky games our memory plays with it. We use memory all the time: to make ourselves look good, to feel better, to get what we want, and to justify the difficult life choices we must make about who we are versus who we were or who we wanted to be. In any story, the truth always lies somewhere in the middle – what “really happened” can never be fully known. We can only deal, in the present, with the consequences of choices we made long ago that we may no longer remember or understand.

You can try to decipher the puzzle, or you can simply let the memories wash over you as you watch these 3 people battle over ownership of the past and the present. Regardless, enjoy Pinter’s use of repetition of words, phrases, images, and memories. Enjoy discovering the differences in all iterations of the memory and deciphering who’s tactically using the past to more effectively lay claim to the present. Know this: whatever version of “what happened” you come away with, it is valid. As Pinter himself said about this play: “I’ll tell you one thing about Old Times. It happens. It all happens.”

Cast
Anna / Zehra Berkman
Deeley / L. Peter Callender*
Kate / Julia McNeal*

*Member of AEA

Crew
Artistic Director Emeritus / Clive Chafer
Artistic Director / Michael Storm
Costume Design / Rebecca Redmond
Lighting Design / Dale Altvater
Properties Design / Jacqueline Scott
Set Design / Nina Ball
Sound Design / Chris Houston
Stage Managers / Leah McKibbin + Jennifer Stukey

Written by David Lindsay-Abaire
Directed by Susannah Martin

Photos by Wendy Yalom

Presented by Town Hall Theatre Company
February 5 – March 7, 2009

Press
CONTRA COSTA TIMES “Susannah Martin’s direction is wonderfully understated and creates remarkable pictures of a family in pain, and a revealing study of an impossible situation.” – Pat Craig

Director’s Note
Directing Rabbit Hole has been a gift that was handed to me generously by the lovely team at Town Hall. They took very good care of the ensemble and me as we rode the rollercoaster of the play – a rollercoaster that was much like any grieving process: anarchic, giddy with laughter, filled with tears, filled with wonder and humility and silence.

A subtle and delicate play, Rabbit Hole explicitly portrays one family’s experience of loss. It beautifully articulates that there is not one way (and certainly no “right” way) to grieve, just as there is not one way – or “right” way – to watch a play. Thus, I don’t want to say much more about the play itself. I want to leave you to have your own experience. Instead, I will impart to you some words that acted as guides for the designers, the actors, and me as we navigated our way through our rehearsal process:

Absence
Silence
Vortex
Confinement
Spilling
Endless
Ever present
Inevitable
Uncontrollable
Infinite

Cast
Jason / Liam Callister
Nat / Sally Hogarty
Becca / Csilla Horvath-Lewis
Izzy / Emily Morrison
Howie / Ryan O’Donnell

Crew
Artistic Director / Clive Worsley
Managing Director / Vangie Long
Assistant Stage Manager / Abby Faber
Costume Designer / Rebecca Redmond
Lighting Designer / Chris Guptill
Properties Designer / Jacqueline Scott
Run Crew / Katy Adcox
Set Designer / Nina Ball
Sound Designer / Sara Huddleston
Sound Operator / Nico Brenni
Stage Manager / Leah McKibbin

Written by George Bernard Shaw
Directed by Susannah Martin

Photos by Steve Decker + Howard Gerstein

Presented by Shotgun Players
March 19 – April 27, 2008

Press
SAN JOSE MERCURY NEWS “…for all of the play’s feminist bite, the triumph of Susannah Martin’s sensitive revival… lies in its incisive personal psychology. Here the emotional stakes of this early work are as high as its ideological battles are fierce…From start to finish, Martin consistently finds the 21st-century immediacy of Shaw’s brutal observations on power, sex and money. Every elegant turn of phrase leads us back to the stinging accusation at the play’s center.” – Karen D’Souza

THEATRE DOGS “Shotgun Players’ production, directed with a firm hand by Susannah Martin, is polished and full of the right kind of energy, which is to say it has sass, playfulness and satiric edge.” – Chad Jones

Director’s Note
“Do you think you are guiltless in the matter? Take care… The wages of prostitution are stitched into your button-holes and into your blouse, pasted into your matchboxes and your boxes of pins, stuffed into your mattress, mixed with the paint on your walls and stuck between the joints of your water-pipes… you will not cheat the Recording Angel into putting down your debts to the wrong account.” -George Bernard Shaw

This extraordinary play, Shaw’s third, was first written in 1893 and banned from public performance in England until 1925. The reasons given for the ban were the “filthy” subject matter and the underlying theme of incest, although Shaw believed it was because the play eviscerated most aspects of society for their participation in the commodification of women. It is remarkable how much modern psychology, sexuality, feminism, and sociology seem to apply to a play that was written before Freud published, before women had the vote, before the Labor Party had been formed, and before American capitalism had become dominant.

Despite its daunting history, the play is a deeply emotional investigation of one young woman’s struggle to forge her own identity separate from her parent. Vivie Warren takes the age-old journey of emancipation wherein several possible futures are offered to her. She submits to a five-day crucible that tests her beliefs and ideals in order to answer questions we all ultimately ask: Who am I? Who do I want to be?

As a daughter, I know what it is to judge my mother for her perceived crimes – for the actions I believe she should have taken or that I assume I would have taken. As I get older, though, I begin to see how every choice I make as a woman is possible because of every risk my mother took before me. I stand on her shoulders.

But that’s the rational, measured response to this play after time for reflection. Simply put: each of these characters is so profoundly human: perfectly flawed, right and wrong, vulnerable and hard as nails. Contrary to the belief that Shaw’s characters are mere mouthpieces, they open the door to a variety of responses. My hope is that our production allows you to have your own multifaceted reaction.

Cast
Vivie / Emily Jordan
Crofts / John Mercer
Mrs. Warren / Trish Mulholland*
Frank / Joseph O’Malley
Prayed / Nick Sholley*
Reverend Gardner / Rick Williams

*Member of AEA

Crew
Founding Artistic Director / Patrick Dooley
Assistant Director / Libby Vega
Costume Design / Rebecca Redmond
Deck Crew / Peter Lang + Maggie Yates
Dialect Coach / Rebecca Castelli
Dramaturg / Aaron Begg
Lighting Design / Allen Willner
Production Manager / Liz Lisle
Props Master / Jacquelyn Scott
Set Design / Steve Decker
Sound Design / Sara Huddleston
Stage Manager / Kate Sassoon
Technical Director / Daniel Gutierrez

Written by Henrik Ibsen
Directed by Susannah Martin

Photos by Ashley Forrette

Presented by the American Conservatory Theatre’s Professional Training Program
October 24 – 27, 2007

Cast
Lyngstrand / Nick Gabriel
Stranger / Lloyd Roberson
Dr. Wangel / Patrick Russell
Ellida Wangel / Liz Sklar
Arnholm / Chris Tocco
Bolette / Kelsey Venter
Hilde / Erin Washington
Ballasted / Weston Wilson

Crew
Costume Design / Callie Floor
Dramaturge / Michael Paller
Production Manager / Dick Daley
Set Construction + Scenic Painting: Joel Franquist + Larry Krause
Sound Design / Susannah Martin + Jake Rodriguez
Stage Manager / Tanner Agron

Written by Luis Alfaro
Directed by Susannah Martin

Photos by Steve Decker

Presented by Sacramento Theatre Company
March 28 – May 20, 2007

Press
SACRAMENTO BEE “The production maintains a fine balance of tones and honest emotional integrity under Susannah’s Martin’s sure measured direction.” – Marcus Crowder

SACRAMENTO NEWS & REVIEWS “5 Stars, Shockingly Good..Director Susannah Martin, a recent MFA from UC Davis, balances the show’s many diverse elements and changing moods adroitly, and brings tension to a brutal ending that’s foretold.” – Jeff Hudson

Director’s Note
Program note written in collaboration with dramaturge Jon Rossini.

Electricidad, “a Chicano take on the tragedy of Electra,” combines elements from the Aeschylean, Sophoclean and Euripidean dramas of Electra with additions and substitutions that reflect the specific conditions of East Los Angeles Chicano culture. In the story of Electra, Clytemnestra, wife to Agamemnon, has killed her husband after he returns from a 10-year absence while fighting the Trojan War. Electra, who becomes a slave to her mother and her mother’s lover, Aegisthus, waits many years for her brother, Orestes, to return and avenge her father’s death. When this act of matricide finally occurs, Orestes is driven mad. He is only freed from this madness when the gods determine that the father’s divine right outweighs that of the mother—a patriarchal and not a matriarchal culture must dominate.

The political and cultural structure of Alfaro’s setting, an East Los Angeles barrio, is organized around cholo culture, a specific articulation of Chicano urban consciousness. Often associated with gang identification, the word cholo also reflects a larger cultural history of marginalization that harkens back to the Pachuco and the Bandido. The Pachuco, explored in Luis Valdez’s seminal play Zoot Suit and Octavio Paz’s Labyrinth of Solitude, is an identity forged in the spaces between US and Mexican culture. The Bandido, or bandit, is exemplified by the romanticized Joaquin Murrieta or Tiburcio Vásquez.

Their actions, and the stories told about them, contested the incursions of U.S. cultures into previously Mexican spaces. All three of these figures have an ambivalent relationship to the communities from which they come. They served and serve as a form of political resistance that questions corrupt and abusive power; they manifest cultures and identities that provide alternatives to mainstream representation; and they often practice a range of extra-legal and even violently destructive activities. Alfaro’s account of cholo culture ties it into Aztec mythology, giving it a long cultural history that parallels the long mythic history explored in Greek tragedy. The complexity and richness of this history and his characters allows Alfaro to provide the audience a vision of the cholo that does not immediately reduce cholo culture to media stereotypes of violent gang behavior.

Unlike the Clytemnestra of the Greek tragedies, Alfaro’s Clemencia attempts to usher in a new world, a new possibility of living that moves away from the old cycles of violence and from the male dominance that accompanies that violence. Also, unlike the Greek versions, Clemencia has no lover; she is trying to make it on her own, putting into question the morality of a murder that in other versions of the story is clearly an evil act. Two characters new in Alfaro’s version, Abuela and Ifigenia, offset the supposed villainy of Clemencia. Abuela, the grandmother, offers a useful counter to Electricidad’s assumption that life was better in the past, illustrating not only the matrilineal responsibility for child rearing, but also a long history of the social marginalization of Chicanos that results in a “cholo culture.” The sister, Ifigenia, already dead in the Greek versions, is here born again to offer Electricidad an alternative to the path she has chosen for herself. Ifigenia is not presented as a model of reform, but as a complex character groping for another way, exploring the possibilities of spirituality and forgiveness.

Orestes, a young man with a poet’s heart, is forced to harden himself in order to take his father’s place whether he wants to or not. Alfaro’s presentation of his preparation to take over his father’s “kingdom” questions the limits of this violent form of masculinity by demonstrating Orestes’ own concerns about submitting to a male role forged in violence. The chorus, which represents the polis, or society, in Greek theater, here consists of Las Vecinas, three neighborhood women who are constantly attempting to clean up the barrio while they share tales of their place in the city. These chismosas, or gossips, provide a sense of comic relief that reflects the everyday survival strategies of women protecting their neighborhood. At the same time, as caretakers of their community’s history, they clearly articulate a fundamentally ambivalent relationship to cholo culture.

Alfaro’s careful attention to the humanity and complexity of his characters effectively combines the issues of fate in Greek culture with the cycles of violence attached to urban gang culture. It forces the audience to examine the choices made by a community pushed to the edges of society and marginalized by explicit and subtler forms of racism. By setting the play within a Chicano cosmos Alfaro not only captures the humor and innovation that enable Chicano culture to survive, he offers the possibility of an intra-ethnic critique—an internal questioning of the values of that culture. These questions are the same large questions that Athenian audiences were asking in the face of the original tragedy: What choices are possible when fate appears inescapable? What notions of honor and responsibility are worth preserving? What is gained and lost by holding onto values that are themselves potentially problematic? How is it possible to make a good, ethical choice in a world in which cyclical violence becomes a rational answer? What sacrifices can and should be made in order to change the world? And finally, in this urban space charged by the electricity of the protagonist, shaped by the deprivations of discrimination and limited resources, how can one move beyond violence and revenge?

Cast
Electricidad / Saffron Henke*
La Cuca / Therese Llanes
Ifigenia / Katherine C. Miller
Orestes / Gabriel Montoya
Clemencia / Elisabeth Nunziato*
Nino / Roscoe
La Connie / Nancy Silva
Abuela / Janis Stevens*
La Carmen / Irene Velasquez

*Member of AEA

Crew
Artistic Director / Peggy Shannon
Managing Director / Kendra Lewis
Assistant Stage Manager / Susie Evon
Costume Design / Rebecca Redmond
Dramaturge / Jon Rossini
Fight Director / Melanie Julian
Production Manager / Betsy M. Martin
Properties Manager / Jenifer Schlosser
Set Design / Steve Decker
Stage Manager / Drea Konomos*
Technical Director + Lighting Design / EJ Reinagel

Conceived, Written, + Directed by Susannah Martin

Photos by Elise Kane

Presented by UC Davis Department of Theatre + Dance
May 11 – 21, 2006

Director’s Note
The impetus for this project was political, personal, and creative.

After 9/11, I became fascinated with the continuous accusations that all religious extremism existed “over there” – in Afghanistan, in Iraq, in Europe. I kept hearing that America, by contrast, was the birthplace and paragon of religious tolerance. I had a strong urge to get past propaganda and find out what people were really thinking about religion, belief, and faith. Additionally, after a particularly horrible year of personal family tragedy, I began to wonder how, in the face of calamitous loss, people hold on to their faith.

I come from mixed faith parents who didn’t bring me up anything and yet I have often wondered about my religious heritage and what community I missed out on. I longed for an understanding of some special tradition that deemed me a part of some group. Really, the longing was simple: a desire to fit in. But sometimes I was curious if participating in a weekly ceremony with a consistent community would have absolved me from the feeling that I didn’t belong.

Despite this longing – or perhaps, because of it – theatre has been my church for a very long time. It is the place I fit in. It is the place where I am part of some special tradition. It is where I go to for fellowship, ritual, ceremony, spectacle, and to commune with something higher – something greater – than myself.

So I began to ask myself the question: what would it mean to connect the two worlds of theatre and religion? What would it mean to create a theatrical liturgy? When is theatre spiritual? When is a service theatrical?

This production – devised by myself, the choreographer, the music director, and an immensely talented, giving, patient, and imaginative group of performers – is the result of those questions. I realize that I am trying to ask and answer questions that are too big for one full-length piece. And that there are many, many questions we have not asked at all. But it is a start – an experiment with something greater than myself. And, I hope, one that passes off some modicum of both insight and entertainment – spectacle and reverence.

Written, created, + performed by
Jennifer Arnott
Samantha Blanchard
Christopher Maikish
Karen Marek
Ashanti Newton
Michael Ortiz
Karuna Takahashi
Natasha Tavakoli
Carolyn Thomas
Rosa Threlfall

Choir
Francesca Jimenez
Ara Glenn Johanson
Joanna Tripet-Diel
Jossie Tripet-Diel

Dance Chorus
Rebecca Abednour
Jennie Amaral
Mary Anderson
Brennan Figari
Hector Marin-Rodas
Vivian Thorne

Musicians
Jesse Fineman / cello
Parsa Kamali / right bass
Dave Malloy / piano + mbira
Juliet Shih / oboe
Natasha Tavakoli / djembe + percussion

Crew
Choreographer / Kristin Heavey
Composer + Music Director / Dave Malloy
Costume Designer / Victoria Livingston-Hall
Lighting Designer / Daniel Goldin
Set Designer / Javan Cayo Johnson
Sound Designer / Richard Scholwin
Stage Manager / Samantha McBride

Parts of this production were originally presented as a workshop as part of the Shotgun Players Theatre Lab in September of 2004.

Written by William Shakespeare
Directed by Susannah Martin

Presented by Woman’s Will
July 9 – August 14, 2005

Press
OAKLAND TRIBUNE “…director Susannah Martin and a cast of 12 fiery women offer plenty of rewards…a nightmare does indeed inflict Richard toward play’s end, and director Martin stages it beautifully, with all of Richard’s victims covered in black veils and dancing through his foul deeds.” -Chad Jones

Director’s Note
A civil war has raged for 30 years between the House of York and the House of Lancaster. The warring factions are of one family and brother fights against brother: the White Rose against the Red. When peace is declared, the House of York claims the throne of England and makes Edward IV their King. But there is blood on everyone’s hands and vindictiveness in everyone’s hearts.

During the War of the Roses, most involved manipulated their way to a position of power. Peace is declared but several nobles hold a grudge and many seek vengeance. Characters smile with one face and spit daggers with another. Like a bunch of children fighting over a toy, they curse, taunt, jeer, and insult each other. Into this enmity leaps Richard, a man spoiling for a good fight.

When most people think of Shakespeare’s Richard III they have an image of the bard’s “bottled spider” or “bunch-backed toad.” Richard is the great, deformed, Machiavellian villain; the devil incarnate. But what if Richard is not simply a “bad apple” but the worst in a barrel of rotten ones? What if Richard is only the biggest bully amongst a pack of fighting kids?

When Richard takes action, he invites us along for the ride. We love Richard because he tells us the truth even while he lies to others. He expertly charms the snakes while letting us in on his plans. He seduces us with his devilish wit and cunning machinations. While the rest of the aristocracy denies culpability, Richard invites us to revel in his successes.

The women, children, and common citizens of the play entreat with us to listen — to notice his monstrous acts — but the other characters hitch their wagons onto Richard’s and we, the audience, are too entertained by his wiliness to stop the show.

By the time Richard has become King and has moved on to slaughtering the innocent (the two princes locked in the Tower) it is too late to halt the runaway train. We change our minds about our alliance with Richard because he kills children, becomes irrational, paranoid, and hasty in his decisions, and, most importantly, he no longer confides in us. But why didn’t we stop him earlier?

Richard III is an example of what happens when we allow terrible deeds to flourish because they seem to serve our ends. When our own quest for power or safety allows a man to become a tyrant. The acts that Richard commits
are transparently corrupt and immoral, yet the other characters sit by and say nothing. And neither do we.

Cast
Queen Margaret, Ensemble / Karen Aldridge*
Ensemble / J. Rachel Anderson
Duke of Clarence, Ensemble / Diana Boos
Queen Elizabeth, Ensemble / Jenny Debevec
King Edward, Duchess of York, Ensemble / Carolyn Doyle*
Lady Anne, Ensemble / Elissa Dunn
Duke of York, Ensemble / Quinn Haberman
Richard III / Emily Jordan
Sir William Catesby, Murderer / Jessica Kitchens
Prince Edward, Ensemble / Claire Martin
Duke of Buckingham / Leontyne Mbele-Mbong
Lord Hastings, Ensemble / Erin Merritt
Earl of Richmond, Ensemble / Bernadette Quattrone

*Member of AEA

Crew
Artistic Director / Erin Merritt
Assistant Director / J. Rachel Anderson
Assistant Stage Manager / Erin Badillo
Costume Design / Rebecca Redmond
Fight Director / Carla Pantoja
Set Construction / Peleus Uhley
Set Design / Ron Reisner
Sound Design + Music Composition / Eric Roth
Stage Manager / Amanda Melton

Written by August Strindberg
Directed by Susannah Martin

Photos by Luiza Silva

Presented by UC Davis Department of Theatre + Dance
March 3-6, 2005

Cast
Jean / Scott Baird
Christine / Jessica Kitchens
Julie / Rosa Threlfall

Crew
Costume Design / Rebecca Redmond
Dramaturge / Aaron Begg
Lighting Design / Ron Reisner
Music Composition / Phil Daley
Scenic Design / Victoria Livingston-Hall
Sound Design / Kristen Orlando
Stage Manager / Amber Whitney
Assistant Stage Manager + Properties / Jennifer Anson