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Life is Living Oakland 2009. Photo by Bethanie Hines.^1 Word Becomes Flesh 2011. Photo by Jati Lindsay/Hip-Hop Theater Festival^1 Life is Living Chicago 2009. Photo by Bethanie Hines.^1 Life is Living Oakland 2009. Photo by Bethanie Hines.^1 Life is Living Chicago 2009. Photo by Bethanie Hines.^1 Life is Living Chicago 2009. Photo by Bethanie Hines.^1 Life is Living Chicago 2009. Photo by Bethanie Hines.^1

Marc Bamuthi Joseph and /peh-LO-tah/

Michael John Garcés (Director) is the Artistic Director of Cornerstone Theater Company (Los Angeles, CA). Directing credits include California: The Tempest, Plumas Negras, Café VidaOedipus El Rey and the 10th Anniversary production of N.E. 2nd Ave. He has directed works at Contemporary Theater, Humana Festival, New York Theatre Workshop, INTAR, and more. He is a company member at Woolly Mammoth Theater (Washington, DC), where projects he has helmed include Lights Rise on GraceThe Convert, and We Are Proud to Present. Past awards include a Princess Grace Statue, an Alan Schneider Director Award, and a TCG/New Generations grant. He serves on the Executive Board of the Society of Stage Directors and Choreographers. As Director of the break/s and red, black & Green: a blues, Garcés rejoins Bamuthi’s team as the Director of the new work /peh-LO-tah/.

 

Stacey Printz (Choreographer) is artistic director of the SF based dance company, Printz Dance Project (PDP). PDP has performed extensively in California and has toured across the U.S., and internationally in Lithuania, Russia, Ireland and Mexico. Printz received sociology and dance degrees from UC Irvine. As a passionate dance educator, she currently teaches at LINES Dance Center, and A.C.T, and has been on faculty at St. Mary's College and Sonoma State University. She has taught master classes and workshops across the United States, as well as internationally in Switzerland, Austria, Italy, Amsterdam, Belgium, Russia, Lithuania and Ireland. Printz has been commissioned to choreograph for many companies in California and has received awards from the Zellerbach Family Foundation, the W&F Hewlett Foundation and Fort Mason Foundation and more. Highly interested in collaborative experiences, Printz has had the pleasure of choreographing for Marc Bamuthi Joseph's Scourge, the break/s, RBGB, and on the forthcoming Pehlotah. printzdance.org crashdancesf.com

 

Tommy Shepherd  (Composer) aka Emcee Soulati, is an actor, playwright, composer, educator, b-boy, rapper, drummer, and beatboxer. Tommy is co-founder of the live hip hop collective, Felonious: onelovehiphop, a resident company at Intersection for the Arts. Shepherd created the original music and performed in their recent project Angry Black White Boy. Shepherd is a Hybrid Resident Artist at Intersection, a long-time member of performance group Campo Santo, educational hip hop group, Alphabet Rocker and a performer with Erika Chong Shuch’s ESP project. He acted in and created the score for Nobody Move and Hamlet: Blood in the Brain by Naomi Iizuka; and created the sound design and score with Howard Wiley for A Place To Stand. He also acted, beatboxed, and composed a live score with Scheherazade Stone for Domino by Campo Santo. In 2007 he created and performed his first one act solo, The MF in ME. Shepherd was a commissioned artist, co-creator and performer of Raw Dios for headrush crew, which toured Berkeley, Denver and to the famed El Teatro Campesino in San Juan Bautista. Shepherd has performed and toured internationally with Marc Bamuthi Joseph, collaborating on Scourge, the break/s and red, black and Green: a blues.

 

David Szlasa (Scenic and Video Designer) is a versatile media, video and public art designer. His work revolves around ideas of remix and re-appropriation, using popular imagery, ideas, and actions in unexpected ways to challenge structures of authority and question social standards.  He is recipient of numerous awards and grants including a Gerbode Award, Kenneth Rainin Foundation NEW Program grant, CCI Investing in Artists grant, Future Aesthetics Artist Award, Zellerbach Grant, Light Artists in Dance Award, CA$H Grant, Siff Grant and commissions from the National Science Foundation / UC Berkeley, to name a few. Szlasa holds a BFA in Theater from NYU Tisch School of the Arts and an MA in Integrations of New Media and Performance from NYU Gallatin School of Interdisciplinary Studies.  His work has been presented worldwide in galleries, theaters, and public spaces and has collaborated with the likes of Marc Bamuthi Joseph, Sara Shelton Mann, Joanna Haigood, Dohee Lee, Yuri Zhukov, Hope Mohr, Bill Shannon, Rennie Harris, Deb Margolin, Myra Melford, and others.  

 

Tom Ontiveros (Lighting Designer) designs with light and projection for theatre, dance, and live music. His design for Completeness was nominated for Best Lighting Design (2014) by the Los Angeles Ticketholders Awards. Other recent work includes Happy Days with Brooke Adams and Tony Shaloub (2014 Ticketholders Awards, Top 10 Revival Productions) and ¡Figaro!:(90210) for the LA Opera. Tom collaborated with Bob Balaban on the New York Premiere of The Exonerated (2003 Lucille Lortel & Drama Desk Award for Unique Theatrical Experience& the Outer Critics Circle Award: Outstanding Off-Broadway Play). He is a three-time recipient of the Dean Goodman Award for Lighting Design and was featured in San Francisco’s Callboard magazine. He designed the lighting for the inaugural Tune In Festival at the Park Avenue Armory curated by the Eighth Blackbird Ensemble and featuring Bora Yoon, Paul Haas, Paul Fowler, Newspeak, Red Fish Blue Fish, John Luther Adams, the Argento Chamber Ensemble and others. Other designs include Schick Machine composed by Paul Dresher and starring Steve Schick at the Hong Kong Cultural Centre. His work has appeared at the Hungarian National Theatre Festival in Cluj, Romania, the International Festival of Arts and Ideas in New Haven, The Ojai Music Festival, Phoenix Symphony, Marin Theatre Co., Intersection for the Arts, The Magic Theatre, San Diego Museum of Art, Chicago Museum of Contemporary Art, Cleveland Playhouse, SUSHI Performing Arts, The Japan America Theatre, Mondavi Center, South Coast Rep, La Jolla Playhouse, The Chocolate Factory in Long Island City, The Joyce SoHo, St. Marks Church, The Ontological-Hysteric, The Culture Project and 3LD in NYC and others. Tom is an Assistant Professor of Lighting Design at the University of Southern California. 

 

Meghan E. Healey (Costume Designer) is a designer based in NYC who specializes in new plays and experimental work. Her most recent work includes costumes for José Rivera's adaptation of The Maids (One-Eighth Theater/INTAR), The Body of an American (Wilma Theater), WE ARE PROUD... (Woolly Mammoth Theater),  costumes for URBAN REZ, Love On San Pedro and scenery for Plumas Negras, all for Cornerstone Theater Company and costumes created from plants native to the Northeast for Enchanted, a dance tribute to the opening of the Native Plants Garden at the Brooklyn Botanical Garden (Delirious Dances). She has designed costumes and scenery for more than 70 world premiere productions, from playwrights such as Larissa Fasthorse, Octavio Solis, Eduardo Machado, Lars Noren, Jose Cruz Gonzalez, Andrea Thome, Clive Barker, Michael John Garcés, Najla Said, Nilaja Sun, Madeline George and Rob Handel among others. Ms. Healey was the recipient of both the 2007 ACE and HOLA awards for Best Costume Design (Zanahorias, Duke Theater, NYC). Other notable work includes world premiere productions of Blues for Grey Sun (INTAR), September Shoes (Geva Theatre), and Kissing Fidel (INTAR). She received her MFA in Design from NYU’s Tisch School, and teaches costume and scenic design at Queens College CUNY where she is chair of the Department of Drama, Theater, and Dance.

 

Robert Kaplowitz (Sound Design) has spent the last 24 years designing sound and composing, and has been honored with an OBIE for Sustained Excellence and a Tony® for Fela! A Philadelphian since 2010, he has designed there for PlayPenn, The Wilma, Interact, The Arden, Lucidity Suitcase, Pig Iron, The Lantern, PTC and others; other regional credits include the Guthrie, the Alley, Sundance, the O’Neill and The National Theatre of England. Previous work with Mr. Garces includes The Body of An American at the Wilma (Philly) and Light, Raise the Roof at NYTW (NYC). In NYC, his work has been heard on Broadway, as well as at Lincoln Center, The Public, NYTW, MCC, 2nd Stage, the Vineyard, MTC, and just about every 99 seat and smaller venue in that city.