ATC: King Charles III, Ella, Streetcar Named Desire, Much Ado About Nothing, among others. Off-Broadway: 92nd St Y, Kirk Theatre on Theatre Row. National Tour: Ella. Regional: The Guthrie; Long Wharf; Arena Stage; Pittsburgh Public; Cincinnati Playhouse; Actors Theatre of Louisville; Rep Theatre of St. Louis; Geva Theatre Center; Laguna Playhouse; Gloucester Stage; The Tempest, Hamlet, Measure For Measure, and Richard III at Kingsmen Shakespeare; Southwest Shakespeare; Shakespeare Sedona; King Lear at Arizona Repertory Theatre; Phoenix Theatre; The Goat at Actors Theatre of Phoenix; Phoenix Symphony; and Invisible Theatre. Mr. Dixon has also appeared in film, television, and commercials. He is Distinguished Professor Emeritus and founding artistic director of the Arizona Repertory Theatre at the School of Theatre, Film and Television at the University of Arizona, where the Harold Dixon Directing Studio is named for him. Proud member of Actors Equity since 1973.
Brenda Jean Foley is delighted to be making her Arizona Theatre Company debut. Arizona credits: By the Way, Meet Vera Stark, Love Disorder (iTheatre Collaborative), Now.Here.This (A/C Theatre Company), August: Osage County, The Full Monty, Carousel (MET), The Sound of Music (DBFRT), and readings with Phoenix Theatre & Stray Cat. NYC: Emma (NYMF); Almost, Maine; One Thing I Like to Say Is (Access Theatre); Iolanthe (NYGASP). Regional: As Thousands Cheer (New Harmony), The Secret Garden (Fulton), Grease (Rockwell), The Mousetrap (Forestburgh). National Tour: Big. International: Tokyo Disney, Norwegian Cruise Lines. Films include Tombstone-Rashomon, dir. Alex Cox, Monsoon with Eve Plumb and Scott Lowell. Co-founder: The Bridge Initiative: Women in Theatre (bridgeinit.org). BFA Musical Theatre & BA English, University of Michigan. Proud member of Actors’ Equity.
Mrs. Van Daan
ATC: Debut. New York credits include Vineyard Theatre’s New York premiere of Kander and Pierce’s Kid Victory (Gail); Mary Poppins (Bird Woman), Les Misérables (Mme. Thenardier), Beauty and the Beast and Time and Again at Manhattan Theatre Club. National tours include Les Misérables (1st and 3rd National) and Ragtime. Regionally, Ms. Arvia has appeared as Golde in Fiddler on the Roof and Nettie in Carousel (Helen Hayes Award Nominee) at Arena Stage; Meg in Damn Yankees (Connecticut Critics Circle Award Nominee) and Marie in The Most Happy Fella at Goodspeed Opera House; Carlotta in Phantom of the Opera (Barrymore Nominee) and Mother Abbess in The Sound of Music at Walnut Street Theatre; Rose in Gypsy at Drury Lane Oakbrook; and Mother in Ragtime and Alice Beane in Titanic at Maine State Music Theatre. Ms. Arvia has a thriving vocal studio in NYC. Find out more at www.annarvia.net.
Peter Van Daan
ATC: Debut. He has performed in New York City and regionally. He has also performed in productions at Geva Theatre Center (Rochester, NY), the Cape Playhouse (Dennis, MA), and Fordham University (New York, NY). guscuddy.com
Steve Hendrickson is delighted to return to Arizona Theatre Company, where he was last seen in Ten Chimneys. He has appeared across the country at the Folger, Chicago, and Orlando Shakespeare Theatres; ACT; Geva, Asolo, and Yale Reps; Guthrie; Barrington Theatre Company; the Old Globe; Cincinnati Playhouse; and Arena Stage. He received a 2005 Ivey Award for Cyrano de Bergerac at Ten Thousand Things and shared a 2009 Ivey Award for Tyrone & Ralph at the History Theatre. In 2001, he became the first performer to receive the Dayton-Hudson Distinguished Artist Fellowship at Carleton College. He is the founder of Audio-Visceral Productions (learn more at www.audio-visceral.com). Productions of The Caucasian Chalk Circle and Polk County; Professor Slick in Pullman Porter Blues at the Seattle Rep; Arena Stage; and the Goodman Theater; Slow Drag in Seattle Rep’s Ma Rainey’s Black Bottom; Rev. Gary Davis in the Vineyard Playhouse production of Search: Paul Clayton; and Jelly in Low Down Dirty Blues at Milwaukee Repertory Theatre and Cincinnati Playhouse in the Park. He collaborated and starred in Denver Center for the Performing Arts’ production of It Ain’t Nothin’ But the Blues. Film: Triple Bogey and Hangin’ With the Home Boys.
Anna Lentz is thrilled to be making her Arizona Theatre Company debut! Regional theatre credits include The Many Deaths of Nathan Stubblefield (2017 Humana Festival); Midsummer’s Eve, Fifth Third Bank’s A Christmas Carol, and Gratuitous Nudity and the Undisclosed Costs of Questioning Surveillance Rather than Bad Broccoli (Actors Theatre of Louisville). Ms. Lentz is a former member of the Professional Training Company at Actors Theatre of Louisville and received her B.F.A. from Rutgers University, Mason Gross School of the Arts.
Naama Potok makes her Arizona Theatre Company debut in The Diary of Anne Frank. Theatre credits include Rivkeh Lev, Anna Schaeffer and Rachel in My Name is Asher Lev (Off-Broadway, Penguin Rep, Florida Studio); Scheherazade in Arabian Nights (BAM, Actors Gang, Steppenwolf – Lookingglass Tour); Greek Princess in Mirror of the Invisible World (Goodman Theatre); Katherine in Henry IV and Pia Shim in History of the Devil (Next Theatre); Eileen Rafferty in Slides (Williamstown Theatre Festival, dir. Geraldine Fitzgerald); Manke in God of Vengeance (A Contemporary Theatre, World Premiere Adaptation); Hindle in God of Vengeance (Target Margin), Helen in Helen of Troy and Debbie in The Real Thing (StageWest), Gila Marhouni in Haram! Iran! (TADA Festival of New Plays); Sylvie in Captains and Courage, and Christine in Two Mothers at a Roadside Cafe (Schreiber Studio); Marjory in The Education of Marjory (Strawdog Theatre); and Beatrice in A View from the Bridge (Oxford University Drama Society). Film credits include Christie in Waiting for Marilon Cotillard (Mediane-Art & Communication); The Chosen (20th Century Fox); Carol in Reindeer Games.
Mr. Van Daan
John G Preston makes his Arizona Theatre Company debut in The Diary of Anne Frank. Most recently, he appeared as Scrooge in A Christmas Carol at Actors Theatre of Louisville. Other roles include Capulet in Romeo and Juliet, both Dukes in As You Like It, and Henslowe in Shakespeare In Love at the Utah Shakespeare Festival; Charles Strickland in Race at the Philadelphia Theatre Company; Bart Henely in So Help Me God at the Mint Theater; and Lord Leonard Astor in Peter and the Starcatcher at La Jolla Playhouse. He has also been seen in Rough Crossing at Yale Rep, As You Like It at the New York Shakespeare Festival, Taming of the Shrew at The Denver Center, The Constant Wife at Asolo Rep, Les Liaisons Dangereuses at Syracuse Stage, Pure Confidence at The Cincinnati Playhouse, and Othello at Georgia Shakespeare. He was an Associate Artist and Resident Company Member at the Alabama Shakespeare Festival for many years directing productions of Bill Irwin’s Scapin, and Triumph of Love.
Devon Prokopek is pleased to return to Arizona Theatre Company after her turn as Shprinze in Fiddler on the Roof. She is currently a senior B.F.A. Musical Theatre student at the University of Arizona. Credits include Hands on a Hardbody (Kelli) and Rent (Mimi u/s) for Arizona Repertory Theatre; and The Importance of Being Earnest (Cecily) and Biloxi Blues (Daisy) at Desert Stages Theatre.
Michael Santo is delighted to return to Arizona Theatre Company. Regional credits include Sherlock Holmes in Holmes and Watson at Milwaukee Repertory Theatre; Antonio in The Tempest at American Conservatory Theatre; Welch in God of Hell at Magic Theatre; Andre Said in …said Said at Alliance Theatre; Walter in The Price at the Aurora Theatre; Oliver in Pentecost at the Old Globe; Matt in Talley’s Folly at Pasadena Playhouse; and Cyrano in Cyrano de Bergerac at Marin Shakespeare Festival. Other theatres include San Jose Repertory Theatre, Geva Theatre Center, Seattle Repertory Theatre, Intiman Theatre, Empty Space, Denver Center Theatre Company, Cincinnati Playhouse in the Park, Cleveland Play House, Shakespeare Theatre, Hartford Stage, Portland Stage, and Great Lakes Theatre Festival.
Actor: Bird in The Mermaid Hour and Rick in Building the Wall (Borderlands Theater), Zach in Alive and Well and Claude in An Empty Plate At the Café du Grand Boeuf (Invisible Theatre), Jonathan in The Raintons of Forty Hall (Enfield Playwrights in London), and Virtuoso in The Bus (2011 Edinburgh Fringe). Directing credits include Skinhead! (UK), A Christmas Story, and You’re a Good Man Charlie Brown at Christian Youth Theatre; a Shadow Puppet Of Mice and Men (Bali); Rhinoceros, How to Succeed in Business, The Hypochondriac, Bus Stop, King Lear, She Stoops To Conquer, and A Flea in Her Ear (Eastern Arizona College). Assistant Directing credits include Master and Margarita (Mark Bell), George Is Dead (Elaine May). Education includes a MFA in Theatre Directing from East 15 London and a BFA Theatre History and Dramaturgy from the U of A. He also studied at the GITIS Institute in Moscow and ISI Denpasar in Bali,
Adam Grodman is from Flagstaff, Arizona. He was previously involved with ATC’s production of The River Bride as an understudy, and is happy to be welcomed back. He is a junior BFA Acting major at the University of Arizona, where he has been seen in the Arizona Repertory Theatre productions of The Merchant of Venice, A Streetcar Named Desire, Twelfth Night, and Born Yesterday.
Connor Griffin is very grateful to be making an appearance on Arizona Theatre Company’s stage. He has been a Tucson local for several years and now attends the University of Arizona pursuing a BFA in Musical Theatre. Credits include Arguecheek (Twelfth Night), Don (Hands on a Hardbody), and Frog (Frog and Toad; Live Theatre Workshop).
The husband-and-wife team of Albert Maurice Hackett (born in New York City on February 16, 1900) and Frances Goodrich (born in Belleville, New Jersey, on December 21, 1890) began their joint career as Broadway playwrights in the 1920s. The success of their comedy, Up Pops the Devil, brought them to Hollywood to work on the 1931 screen version. They went on to write some of the most popular films of the 1930s and 1940s, including Easter Parade (for which they won the Writers Guild of America Award); The Thin Man and its sequel, After the Thin Man; Father of the Bride; Seven Brides for Seven Brothers (all of which were nominated for Academy Awards for screenwriting); In the Good Old Summertime; The Long, Long Trailer; and It’s a Wonderful Life (co-written with Frank Capra and Jo Swerling). The Diary of Anne Frank won them the 1956 Pulitzer Prize for Drama, the Tony Award for Best Play, and the New York Drama Critics’ Circle and Writers Guild of America awards. Goodrich died on January 29, 1984, and Hackett on March 16, 1995.
Besides her Tony-nominated adaptation of The Diary of Anne Frank, Wendy Kesselman’s plays include The Executioner’s Daughter; The Notebook; The Foggy Foggy Dew; The Last Bridge; I Love You, I Love You Not; Maggie Magalita; Merry-Go-Round; The Shell Collection; My Sister in This House, A Re-imagined Version (Deaf West Theatre); The Graduation of Grace; and Spit. She also wrote the book, music, and lyrics for The Juniper Tree, A Tragic Household Tale; A Tale of Two Cities; Becca; and The Black Monk: A Chamber Musical, which had its CD release in Fall 2015. Among other honors, she has received the Susan Smith Blackburn Prize; the AT&T Onstage Award; The New England Major Award for Outstanding Creative Achievement in the American Theatre; the first annual Playbill Award; the Roger L. Stevens Award; the Jane Chambers Playwriting Award; the Lecomte du Noüy Annual Award; Meet the Composer Grants; Guggenheim, McKnight and National Endowment for the Arts Fellowships; and a Writers Guild of America Award for her screen adaptation of John Knowles’s A Separate Peace. Her other screenplays include Sister My Sister (adapted from My Sister in This House) and I Love You, I Love You Not.
David Ira Goldstein is Artistic Director Emeritus of ATC. His tenure as Artistic Director spanned 26 seasons from 1992 to 2017, a period that saw unprecedented growth in artistic programming, attendance, and state-wide support. During that period, ATC developed dozens of initiatives in education, the humanities, community outreach, diversity, and new play development, winning scores of awards and honors for its work onstage and in the community, and David himself received the 2003 Governor’s Arts Award for his contributions to the arts. Here at ATC, he produced over 250 mainstage plays, workshops, readings, and presentations, including acclaimed appearances by the Royal National Theatre of Great Britain and the Theatre Royal Bath. Mr. Goldstein has personally directed over 45 mainstage productions for ATC, ranging from classics to new plays to musicals, including Fiddler on the Roof, Disgraced, Next To Normal, How I Learned to Drive, Hair, Much Ado About Nothing, My Fair Lady, Valley Song, The Illusion, Xanadu, The Pajama Game, Side Man, [title of show], The Mystery of Irma Vep, The Two Gentlemen of Verona, The Pirates of Penzance, Willi, The Heidi Chronicles, and A Midsummer Night’s Dream. World premieres originating from ATC (and his deft touch) include The Kite Runner, by Khaled Hosseini; Sherlock Holmes: The Final Adventure (winner of the Edgar Award from the Mystery Writers of America); Inventing van Gogh; Rocket Man; Private Eyes; Over the Moonand Dracula by Steven Dietz; and Holmes and Watson, Ten Chimneys, Dr. Jekyll and Mr. Hyde (Edgar Award nominee), and Sherlock Holmes and the Adventure of The Suicide Club (Edgar Award nominee) by Jeffrey Hatcher. Mr. Goldstein has been a guest director at theatres all across the country including Arizona Opera, Geva Theatre Center, Berkeley Rep, Seattle Rep, Kansas City Rep, Northlight Theatre, Village Theatre, Pasadena Playhouse, Repertory Theatre of St. Louis, Mixed Blood, The Children’s Theatre Company, and Illusion Theatre. His musical A Marvelous Party: The Noël Coward Celebration has played extensively across the U.S., winning many awards including four Jeff Awards in Chicago (including Best Director), the Elliot Norton Award in Boston, several Bay Area Critics Awards, and the Los Angeles Drama Critics Award for Best Production. Before coming to ATC, Mr. Goldstein was Associate Artistic Director of ACT Theatre in Seattle. His many productions there included the world premieres of God’s Country by Steven Dietz and Willi by John Pielmeier, as well as a joint Soviet-American production of The Falcon. He holds an MFA from the University of Minnesota. Mr. Goldstein is a proud member of the Stage Directors and Choreographers Society, and Actors’ Equity Association.
Bill Clarke is pleased to make his debut at Arizona Theatre Company. Broadway: A Walk In The Woods. Off-Broadway: Lemon Sky (Keen Co); So Help Me God (Lortel); Misalliance (Pearl); Secret Order (59E59); Eccentricities of a Nightingale (T.A.C.T.); The Daughter-In-Law and Power Of Darkness (Mint); June Moon (Drama Dep’t); Queens Blvd, Ann Magnuson’s You Could Be Home Now (NYSF); and new plays at Manhattan Theatre Club and WPA. Regional: Geva Theatre Center, Seattle Rep, Old Globe, A.R.T., Huntington, McCarter, Milwaukee Rep, Pioneer Theatre, Denver Center, Indiana Rep, Portland Center Stage, Cincinnati Playhouse, Cleveland Play House, and Asolo Rep. He is a graduate of the Yale School of Drama; an Honorary Board Member at Milwaukee Rep; and the recipient of Merrimack’s Artistic Achievement Award, an IRNE (New England) Award, a San Diego Theater Critics’ Circle Award, and a Hollywood DramaLogue Award.
Mimi Maxmen is excited for her debut at Arizona Theatre Company. New York credits include The Norwegians, Becket, The Frogs, Uncle Vanya (Tom Courtenay, James Fox), Vieux Carré, The Seagull, A Midsummer Night’s Dream, A Shayna Maidel, Inadmissible Evidence, A…My Name Is Alice, Virgil Thomson’s Lord Byron (Alice Tully Hall), and The Mother of Us All. Five years as resident designer for the Roundabout Theatre. Upcoming New York productions include The Stone Witch, with Dan Lauria. Regional: Manhattan Theatre Club; Geva Theatre Center; Second Stag;, Cleveland Play House; Mark Taper Forum; Santa Fe Opera; the New York City, Joffrey, and Metropolitan Opera Ballet companies. Films credits include The Lightkeepers (Richard Dreyfuss, Blythe Danner), Tumbleweeds (Janet McTeer), and The Mesmerist (Neil Patrick Harris, Jessica Capshaw). She currently teaches at Parsons School of Design and serves on the Advisory Board of tdf/The Costume Collection.
Ann G. Wrightson is pleased to be returning to Arizona Theatre Company, where she designed Souvenir in 2007. She just designed The Diary of Anne Frank, The May Queen, and Sylvia at Geva in Rochester. Other recent projects include HIR and The Rembrandt at Chicago’s Steppenwolf Theatre; The Three Musketeers at Indiana Repertory; Georama: A Musical, Constellations, and Caught at St. Louis Rep; and A Streetcar Named Desire at Portland Center Stage. She designed the Broadway production of Souvenir and was a Tony nominee for her work on Tony Award-winning August: Osage County, which she designed for Broadway, London, Sydney, and the National Tour. Past projects include The Unmentionables at Yale Repertory Theatre; Tracy Letts’ The Man from Nebraska at Steppenwolf; and ten seasons at Oregon Shakespeare Festival. Other work has been seen at the Guthrie, the Alliance, Arena Stage, Cleveland Play House, and the Eugene O’Neill Theater Center’s National Playwrights Conference. Awards include a 1997 Backstage Garland Award for Magic Fire at Oregon Shakespeare Festival, a 2009 IRNE Award for Best Lighting for Fences at Huntington Theatre, and a 2014 PAMTA Award for Fiddler on the Roof at Portland Center Stage.
Dan Roach has, since 1988, worked on sound for numerous productions at Geva Theatre Center, NTID’s Theatre for the Deaf, SUNY Brockport, and Keuka College. Most recent productions at Geva include At Wit’s End; Private Lives; To Kill a Mockingbird; Miracle on South Division Street; Red; The Mountaintop; Katherine’s Colored Lieutenant; The Odd Couple; Stranded on Earth; Last Gas; The Agony and the Ecstasy of Steve Jobs; Freud’s Last Session; You Can’t Take It With You; Perfect Wedding; On Golden Pond; Over the Tavern; Almost, Maine; Dracula; The Shape of Evil with PUSH Physical Theatre; Evie’s Waltz; Dial M for Murder; The Underpants; Nine Parts of Desire; Doubt; and A Christmas Story. He studied sound at Berklee College of Music in Boston and has been applying that knowledge to theatre over the past 30 years. He is a resident of Brighton, where he lives with his beautiful wife Jing.
Adriano Gatto’s work as a Fight Director has been seen in over 100 productions across the country, most recently at the Irish Classical Theatre Company and the Kavinoky Theatre, where he is the Resident Fight Director. As an internationally certified Fight Instructor with the Academy of Fight Directors Canada, he has taught stage combat and choreographed for various institutions, including the AFDC National Certification Conference in Calgary, AB, the Eastman School of Music, SUNY Buffalo State, and Niagara University, where he currently serves as the Artist in Residence. As an AEA member, regional acting credits include productions with the Folger Theatre, Indiana Repertory Theatre, Olney Theatre Center, Round House Theatre, and the Shakespeare Theatre Company, DC. Sincerest gratitude to the entire team here at Geva! Love to ROH2.
Becca Poccia is in her sixth season at Geva Theatre Center, where she has served as dramaturg for The Lake Effect, Miracle on South Division Street, The Road to Where, Katherine’s Colored Lieutenant, Tinker to Evers to Chance, and All Your Questions Answered; as stage manager for the Late Nite Catechism plays, the Plays in Progress series and the Festival of New Theatre; and as venue manager for the KeyBank Rochester Fringe Festival. Ms. Poccia holds an M.F.A. in Dramaturgy from Columbia University and also works as a freelance dramaturg; favorite credits include Goliath (Planet Connections Theatre Festivity) and the world premieres of AK-47 Sing Along (New York International Fringe Festival), Lifetime Fairytale (Columbia Stages), Dirt: Part 1 (Enthuse Theater), and Foreign Wars (Random Access Theatre).
Elissa Myers Casting, Paul Fouquet, CSA, has been in operation for over 30 years. Projects include: For PBS Poisoner’s Handbook, Becoming Helen Keller, and the miniseries Mystery of Matter. Other PBS projects include The Abolitionists, Dolly Madison, Alexander Hamilton, John and Abigail Adams, Benjamin Franklin (Emmy Award), Liberty (Peabody Award), God in America, People vs. Leo Frank, Louisa May Alcott, as well as PBS Great Performances (Artios Award in “Outstanding Achievement in Casting”), Murder of a President for American Experience, and Edgar Allan Poe: Buried Alive. Additionally, three “Movies of the Week,” as well as five pilots. Feature films include Hank and Asha (Audience Award at Slamdance 2013 and five other festival awards), and The Union. Theatre includes seven Broadway shows, including the Tony-nominated Having Our Say, as well as twenty-six Off-Broadway shows. Regional theatre casting in the past two years includes Denver Center Theatre, Geva Theatre Center, Cleveland Play House, Alabama Shakespeare Festival, Magic Theatre, Arena Stage, Alley Theatre, George Street Playhouse, Cape Playhouse, Oregon Shakespeare Festival and Arizona Theatre Company. The office has so far received sixteen nominations and has won three Artios Awards for “Outstanding Achievement in Casting.”
Geva Theatre Center (Mark Cuddy, Artistic Director and Christopher Mannelli, Executive Director)
Founded in 1972, Geva Theatre Center is a not-for-profit, professional theatre company dedicated to creating and producing professional theatre productions, programs, and services of a national standard. As Rochester’s leading professional theatre, Geva Theatre Center is the most-attended regional theatre in New York State, and one of the 25 most-subscribed in the country, serving up to 160,000 patrons annually, including more than 16,000 students. The 516-seat Elaine P. Wilson Stage is home to a wide variety of performances, from musicals to American and world classics. The 180-seat Ron & Donna Fielding Stage is home to Geva’s own series of contemporary drama, comedy, and musical theatre; Geva Comedy Improv; Geva’s New Play Reading Series, and the Hornets’ Nest – an innovative play-reading series facilitating community-wide discussion on controversial topics. In addition, the Fielding Stage hosts visiting companies of both local and international renown. Geva Theatre Center offers a wide variety of educational, outreach, and literary programs, nurturing audiences and artists alike. Since 1995, the organization has been under the artistic direction of Mark Cuddy.