Computer
Experience
Extensive use of current Microsoft Office Suite,
including extensive work with 2010 Word, Excel, and Outlook; some use of Power Point and Publisher.
Limited use of Access, Adobe PageMaker, and InDesign.
Education
BA in Theatre from
University of Alaska Anchorage, 1997.
Studies included:
·
PERFORMANCE: Acting I, II,
& III; Voice for the Actor; Stage Dialects; Acting Shakespeare; Performance
Practicum.
Included schools of acting theory studied with applied application included
Stanislavski, Michael Chekhov, Meyerhold, Meisner, Linklater, and Suzuki.
Served as teaching pedagog for Acting One.
·
DIRECTING: Directing I,
II, and Independent Study Directing. Directed multiple productions in
college, including Black Comedy, The Ruffian on the Stairs, The Loveliest Afternoon of the Year (winner:
Best Student Director), Seamus Heaney’s The
Cure at Troy (North American premiere), and Domestic Companion. Also served as assistant director on mainstage
productions of Richard 3 and The Death of Von Richthofen....
·
PLAYWRITING: Playwriting
Workshop; Dramaturgy; Dramatic Theory & Criticism. Began writing plays in
1993. Complete list of readings, productions, publications, and awards
provided.
·
ACADEMICS: Intro to
Theatre; History of Theatre I & II; Representative Plays I & II;
Contemporary Theatre; and Women Dramatists. Received a well-rounded look at the
past and of the theatre.
·
TECHNICAL CLASSES:
Technical Theatre Production; Stagecraft I; Scene Design; Costume Design &
Construction; Make-Up for the Theatre; Technical Practicum.
·
ARTS ADMINISTRATION: Semester-long class,
including an internship with Out North where I coordinated a play reading
series.
·
INSTRUCTORS included Frank Bebey,
Leroy Clark, David Edgecombe, Michael Hood, Frances Lautenberger, John Rindo,
and Tom Skore.
·
While attending UAA, there was also extensive involvement
with theatres throughout Anchorage, including Cyrano’s Theatre Company, The
Magic If Ensemble, Pacific Northern Academy, Kokopelli, and TOAST Theatre
Company. Artistic Director for We Call It A.R.T. during this period.
Eight year participant at
the Last Frontier Theatre Conference, 1995-2002
While attending the
Conference, five times I presented my plays to panels of professionals and
received their feedback. Also participated as an actor in the Play Lab and in
evening productions, including working twice opposite film actor John Heard.
Studied theatre with many of leading theatre figures in America, including John
Guare, Tony Kushner, Edward Albee, Arthur Miller, Arnold Wesker, Terrence McNally,
Robert Anderson, Jack Gelber, Lawrence Sacharow, Michael Warren Powell (my
mentor), and Lloyd Richards, among many others. Was one of five winners of the
Yukon Pacific Play Lab competition in 1998, and the Patricia Neal Acting Award
in 2002.
Diploma from East
Anchorage High School, 1988.
Moved to Anchorage in
1984. Became involved in theatre through the high school department and Alaska
Theatre of Youth (John Goldring). In addition to acting and directing in school
productions, also worked with Anchorage Community Theatre (Bob Pond), Anchorage
Theatre Guild, and Chalifore... and Friend
Productions. Also participated for three years in Drama/Debate/Forensics
competitions. Won numerous awards three years running in Reader’s Theatre.
EAST HIGH AWARDS: Best
Supporting Actor, Best Actor, Best Thespian
Participant in Perseverance Theatre’s
Alaska Summer Theatre Intensive, 2012
Week-long training with playwright Dan LeFranc.
Additional Training
FEMA certified: Introduction to
Incident Command System ICS-100; Introduction to the Incident Command System ICS-100
for Higher Education; National Incident Management System (NIMS) An Introduction;
ICS for Single Resources and Initial Action Incident, ICS-200; Emergency Support Function
15 (ESF 15) External Affairs; Public Information Officer Awareness, IS-00029; Basic
Public Information Officer G290;
Other trainings included:
GATEKEEPER Suicide Prevention First Responder
Page 3 of 16
Campus – Community Emergency Response Training (
Homeland Security basic training)
Bloodborne Pathogen Awareness
Personal Website
Since the late 1990s, I have maintained www.dawsonmoore.com as a means of promoting my work.
Links there include:
·
My plays, with synopses, production histories, audition
monologues, and script samples.
·
The production history of the Alaska Overnighters, which I
have produced since 2002 in Anchorage and other Alaskan communities.
·
The Last Frontier Theatre Conference, and my history with the event.
·
Articles and essays.
·
A biography, past press, and a photo gallery .
Current
Employment
Assistant to the President Prince William Sound
Community College
March 2003 – Current. http://www.pwscc.edu/theatre.shtml
I was hired at the college to
coordinate the Last Frontier Theatre Conference, with other duties varying over my time there
(publicity and community outreach, managing a museum, and assisting on almost all aspects of
the institution). Highlights from coordinating the Conference included overseeing the transition
that followed the departure of the Conference’s founders, meeting Arthur Miller, and being given
the privilege of coordinating the most meaningful artistic experience of my life. Employee of the
month six times (6/2005, 6/2006, 6/2008, 6/2009, 5/2010, 12/2011).
·
Last Frontier Theatre
Conference. Duties include scheduling and running a week-long theatre conference focusing
on new work with 250-300 attendees per year. Yearly duties include:
o Coordinating and writing
grants, both to state arts organizations (Alaska State Council on the Arts,
Alaska Humanities Forum) and businesses (BP, Alyeska, ConecoPhillips, Shell
Oil, Wells Fargo, First National Bank Alaska, Era Aviation, local hotels and
other businesses).
o Overseeing the Conference
budget, including reducing it from over $400,000 when I took over to $250,000
(including over $50,000 in in-kind
donations) by 2010.
o Casting and producing
readings of 50-100 plays, with public and private feedback for the authors.
o Designing the curriculum
for 20+ classes and working with instructors on their class outlines.
o Selecting and coordinating
seven evening performances brought from outside both around Alaska and the rest
of the United States.
o Public speaking in panel
discussions, public venues such as groups dinners, and nightly pre-show curtain
speeches.
o Arranging a catered dinner
for 225+.
o
Creating annual 30-50 page
assessment report based on participant feedback. Working with
the college administration to create long-range goals and yearly
improvements.
o Arranging housing for over
100 people, and travel for the artistic staff of 20 to 30.
o Giving public
dramaturgical response to play readings with other panellists and overseeing
audience feedback. In charge of leading the overall panelist team each year in
terms of methodology and philosophy, and in 2007 instituted a highly successful
program of giving playwrights individual response sessions for attending
writers.
·
Theatre Program
Coordinator. Took over the existent AAS degree in Theatre at the college, and oversaw
its transition to an AFA in Playwriting, guiding it through local committees
and the UA Board of Regents. Activities included:
o Producing and promoting
three to five productions per year, including one children’s production per
year.
o Bi-weekly participation in
Instruction Department meetings and college wide assessment.
o Department curriculum
planning.
o Organizing and chaperoning
yearly Anchorage theatre field trip.
o Facilitating TBA Theatre’s
yearly two-week children’s theatre conservatory.
o Teaching guest workshops
at the high school once a year to promote theatre programs at the college.
o Coordinating yearly
meetings with an advisory board.
·
Adjunct Theatre
Instructor. Taught one to three classes per semester. All classes involved syllabus
and curriculum generation, with 40 hours classroom time. Classes included
Directing I; Acting I & II; Introduction to Theatre; Introduction to Playwriting;
Contemporary Theatre; Short Playwriting; Full-Length Playwriting; Advanced
Playwriting; Acting Practicum; Play Lab and Auditions Primer
·
Publicity Coordinator. Ran publicity for the
community college. Duties included overseeing publications; writing and
distributing press releases; writing and recording weekly radio advertisements;
maintaining relations with representatives from advertising venues.
·
Museum Coordinator. In charge of maintaining,
marketing, and running one of the world’s largest private collections of Native
Alaska arts and artifacts.
·
Other duties included serving on
hiring committees and assisting with other college events.
Employer Contact
Ryan Belnap, Institutional Development and Advancement Officer
907-831-0683; ddesorcie@pwscc.edu
Other Relevant
Arts Experience
Co-Producer Three Wise Moose Theatre
Company
July 2002 – Present Alaska off-shoot of
Three Wise Monkeys (below)
Non-incorporated
partnership with Schatzie Schaefers, Aaron Wiseman, and Carrie Yanagawa whose
primary function is to co-produce new plays by Alaskans. Productions include
Ø
The Alaska Overnighters, two to three times per year. As of August of 2011,
this program 197 new short plays by 56 different writers. The show features work
fully created in 24 hours, from writing through final production. Active since
June of 2002; almost always co-produced with TBA Theatre (www.tbatheatre.org).
Ø
Fourplay, once a year. An full evening of one-act plays. Early years featured
Schatzie Schaefers work exclusively; since 2010, it has broadened to include
other writers.
Ø
The Don't Blink One-Page Play Festival, three times since 2005. Co-producing
companies have included Cyrano's Theatre Company (www.cyranos.org),
Anchorage Community Theatre (www.actalaska.org),
and Out North Theatre (www.outnorth.org).
Producing responsibilities include publicity, box office management, talent coordination, catering,
and general oversight.
Co-Artistic Director Three
Wise Monkeys Theatre Company
June 2001 – December 2003 www.threewisemonkeys.org
Co-founded this nomadic
theatre company with a focus on new work by Bay Area playwrights with Richard
Bernier and Aoise Stratford. The company’s first project was the Bay One-Acts
Festival, a three-week event with thirteen plays produced by ten different
companies at the 200-seat Eureka Theatre, which recently completed its ninth
installation. The company also produces one to three full-length plays a year
at various venues around San Francisco, in addition to an annual fundraiser,
Short Leaps, that presents readings of short plays over two nights.
Activities included
literary management, talent recruitment, program creation and execution,
editing and publication of play anthologies, running meetings, set construction
and strike. Also shared in other activities such as publicity, technical
design, and front desk management.
Literary Manager Unidentified Theatre
Company
July 2002 – July 2003 San
Francisco theatre company, no longer active.
Briefly
lived company of friends (Katy Brown, Christopher Jenkins, Donna Trousdale)
that put on two shows before all four members of company moved to other cities.
Assisted in all aspects of production while managing play submissions for a
one-act festival and communicating with playwrights.
Bookseller Limelight Theatre &
Film Bookstore
November 2001 to March 2003 965 Mission Street,
Suite 210
San Francisco CA 94103; 415-864-2265
Provided customer
service and gained an extensive knowledge of modern dramatic literature.
Clientele included people from numerous facets of the
Bay Area theatre community.
Literary
Manager Eureka Theatre
February 2000 – June 2002 www.eurekatheatre.org
Took over a literary
department that had over 700 scripts submissions awaiting response. Cleared
those submissions, managed incoming new scripts, and ran a monthly Equity play
reading series, in addition to assisting with other functions and events of the
company.
Coordinator Venue
9’s From the Page to the Stage Play Reading Series
April 1999 – January 2000 www.ftloose.org
Produced a weekly play
reading series to raise funds for the company and give writers a development
opportunity, including casting, directing, contracting, publications, audience
surveying, publicity, and reporting. Also worked temporarily in the office on
mailings, grant writing, and other duties as assigned.
Story Analyst Skylark Films (Brad
Pollock, Producer)
October 1997 – June 1998 1123
Pacific Street, Suite G; Santa Monica CA 90405-1525
Unpaid intern for independent
film company. Read 152 scripts and wrote 1 – 4 page coverage reports, in
addition to providing oral synopses. Periodic meetings with screenwriters to
discuss their work. Attended Pitch-Mart on behalf of the company, listening to
30+ pitches in a day and reporting back recommendations.
Play Reading Series
Coordinator Eccentric Theatre Company
(now Cyrano’s)
October 1996 – December 1997 (www.cyranos.org)
Short-lived reading series
of readings of Alaska playwrights. Terminated for a lack of material. A program
like this would have a greater opportunity to succeed with the current number
of quality playwrights in the Anchorage and around Alaska.
Teaching Assistant UAA Theatre, Directing I and Acting III
3 semesters from 1993 – 1995 (http://theatre.uaa.alaska.edu/)
Provided general
assistance to Professor David Edgecombe and Tom Skore, including advising other
students.
Artistic Director We Call It A.R.T.
May 1993 – January 1995 No
longer producing.
Took over a dinner theatre
company based in The Garden of Eatin’, along with Frank Delaney and Alex Van
Amburg. You can ask me about it, or it’s chronicled in Catherine Stadem’s The
History of Theatre in Anchorage, Alaska, 1915 – 2005.
Conferences,
Festivals, and other part-time teaching engagements
University of Southern
Mississippi Depart of Theatre & Dance (http://www.usm.edu/theatre/)
January 22 - 25, 2009
Playwright in Residence
William Inge
Theatre Festival (www.ingefestival.org)
April 23 – 26, 2008
Featured Guest/Playwriting Teacher
Playwrights Showcase of the Western Region (www.rrcc.edu/playwrightshowcase/)
June 15 – 21, 2007
Play Respondent and
Teacher of 3-Day Playwriting Boot Camp.
San Francisco Shakespeare
Summer, 2002 www.sfshakes.org
Teacher, Discovering
Shakespeare, a two-week program students aged 8 to 14, including classroom
instruction on Shakespeare and
directing a half-hour version of Romeo and Juliet.
Teacher, The Sweet Workshop Playwrights Center of San Francisco (www.playwrightscentersf.org)
Weekly, September through
December, 2001 & 2002.
Designed a
semester-length curriculum based on Jeffrey Sweet’s The Dramatist’s Toolkit.
Boards
Board of Adjustment,
Copper Valley Electric Association, Inc. (www.cvea.org)
April 2011 - present
Advocates for the
Victims of Violence (www.avvalaska.org)
May 2008 – present.
Valdez Arts
Council
August 2005 – December
2007.
Playwrights Center
of San Francisco
August 2000 – March 2003; Advisory Board, March 2003 –
present.
Directing
Experience
Prince William Sound Community College
David Hirson’s La Bete
(2014)
Eric Coble’s Bright Ideas
(2014)
Kenneth Grahame’s The Wind in the Willows
(2013)
Craig Lucas’ Prelude to a Kiss
(2013)
Georges Feydeau’s A Little Hotel on the Side
(2012)
Beth Henley’s Crimes of the Heart
(2011)
C.S. Lewis' The Lion,
the Witch, and the Wardrobe (2010)
Craig Pospisil’s Somewhere
in Between (2010)
Aoise Stratford’s Population Growth (2010); Love and a Wide Moon (2007); Talk (2006)
E.B. White’s Charlotte’s
Web (2009)
Tara Meddaugh’s Free Space (2009)
P. Shane Mitchell’s The Strange Case of Dr. Jekyll & Mr.
Hyde (2008)
Jaston Williams, Joe
Sears, and Ed Howard’s Greater Tuna (2007)
and Christmas Tuna (2008)
Jonathan Brady’s Heroes (2007)
Mary Chase’ Harvey (2006)
Jon Klein’s Dimly Perceived Threats to the System (2006)
Production of own plays The
Fears of Harold Shivvers (2006); Bile
in the Afterlife (2005); Living with
the Savage (2005).
Arthur Miller’s The Crucible (2005)
Thornton Wilder’s Our Town (2004)
Rand Higbee’s Past Perfect (2004) and Zippo’s Fun House (2007)
Three Wise Monkeys Theatre Company
Steve Lyons’ Cockroach
Infestation (2001)
Donna Trousdale’s Findamate
dot Com (2001)
Readings of multiple short
plays for the annual fundraiser, Short Leaps, 2003 & 2004
Theatre Artists Conspiracy (no longer producing)
Donna Trousdale’s The Garden of Eatin’ (2002)
Ed Brownson’s Caught Sleeping (2002)
TANTA Productions (company that became Three
Wise Monkeys Theatre Company)
Tom Vegh’s Cafe Depresso: Where Caffeine, Prozac, and
Black Leather Converge (2000)
Eureka Theatre
Staged readings of Brenda Krantz’ Lovely; Paul Paditto’s Buk; Christopher Pray’s The Last Temptation of Tony; and Jeffrey
Sweet’s Bluff. (2000 – 2002)
Playwrights Center of San Francisco
Staged readings of Shawn Nacol’s Trophy Wife; Jon Brooks’ Death of Napoleon; Mark Swartz’s Red Light; Jayson Matthews’ Stories Around One Another; Steve Lyons’
Cockroach Infestation; Katy Brown’s Plankwalking; Edward Kunnes’ Sulpher and Smoke; Leonard Gross’ Murder in Paris; and Darryl Gilbert’s Life of a Playwright. (2000 – 2002)
Venue 9
Staged readings of Vonn Scott Bair’s
Yes-Maybe-No, It Was Just a Question, The
Temping Life, Our
Very
First Major Domestic Quarrel, The Ten-Year Reunion
Which Isn’t, Between Two Lovers Who
Never
Were, and The L-Word; Tom Vegh’s Cafe Depresso; Robert Craig Hoover’s Bar None and La
Maison
Blanche;
Robert Vermeulen’s Upbeat Einsteins;
Edward Kunnes’ Black Bat & Gray Fox;
John
Arnold’s Monsieur Felix Fox Fly, Waiting
for El Jefe, The Cut, and Green; Kristin Gosney’s Take It Like
a Man; and own plays The Making of Eye Contact and Bile & Beyond. (1999 – 2000)
First S(c)ene (San Francisco Company, no
longer active)
Katherine Murphy’s Greater America (2002)
Cyrano’s Off-Center Playhouse (www.cyranos.org)
The
Making of Eye Contact (1997)
Iron Hat Productions/Three Barons Renaissance Fair (www.3barons.org)
Medieval Language and Peasant
Director (Summer, 1996 & 1997)
The
Fall of the Roman Empire (adaption of Hrosvitha’s Sapitentia, 1997)
Kokopelli Productions (Producer, Kari Mote, kokopellitheatre@gmail.com)
Much Ado About Nothing (assistant, 1994)
Pacific Northern Academy
Teresa Pond’s adaption of The Hobbit (1996)
The Magic If Ensemble
The
Tempest (1995)
Two
Gentlemen of Verona (co-director)
We Call It A.R.T. (Alaska Rough Theatre)
John Guare’s A Day For Surprises (1994)
Peter Shaffer’s The Public Eye (1994)
Murray Schisgal’s Luv (1994)
Woody Allen’s Play It Again, Sam (1995)
P. Shane Mitchell’s The End of the Road (1995)
UAA Theatre and Dance
Joe Orton’s The Ruffian on the Stairs (1991)
John Guare’s The Loveliest Afternoon of the Year (1992)
Peter Shaffer’s Black Comedy (1993)
Seamus Heaney’s The Cure at Troy (1994)
The
Death of Von Richthofen as Witnessed From Earth (assistant to David Edgecombe, 1993)
Richard
3 (assistant to Michael Hood, 1994)
Domestic
Companion (1995)
TOAST Theatre
Domestic Companion (“Crust” Festival)
Independent Video Direction
Director/producer,
Do-Over Productions’ Myth Begotten Media (1998,
40-minute sketch comedy, available on request)
Directing Awards Received
Ø
Richard 3, UAA Best Assistant
Director (1994).
Ø
The Loveliest Afternoon of
the Year, UAA
Best Second Stage Director (1993).
Playwriting
History (* = published; ^ = award-winning; lists follow productions)
Full-Length Plays
*LibidOFF
Ø
Production, Three Wise Monkeys and Unidentified Theatre Company; San Francisco (April-May 2003)
Ø
Production, 78th Street Studios; Off-Broadway (May 2002)
Ø
Reading, Eureka Theatre Company; San Francisco (May 2002)
Ø
Production, Expanded Arts Theatre; Off-Broadway (November 2000)
Ø
Reading, Playwrights Center of San Francisco (June 2000)
Ø
Workshop Production, Professional Actors Council; Los Angeles (August 1999)
Ø
Reading, Last Frontier Theatre Conference Play Lab; Valdez (June 1999)
Better Living Through Chemistry
Ø
Reading, Playwrights Center of San Francisco (November 2001)
One-Act Plays
*^Bile in the Afterlife
Ø
Production, Last Frontier Theatre Conference, TBA Theatre
Company; Valdez (June 2008). Photo by Ryan Adkins. Luke Bartholomew, Wayne Mitchell, Todd Glidewell. Directed
by Erin Dagon Mitchell.
Ø
Production, PWSCC; Valdez (March 2005)
Ø
Production, Bradley University; Peoria,
Illinois (April 2004)
Ø
Production, Reston Community Players, NVTC One-Act
Festival; Reston, Virginia (June 2003)
Ø
Production, Las Positas College; Livermore, California (May 2003)
Ø
Production, Teatro del Naville, BOA Italia Festival; Bologna,
Italy (April 2003)
Ø
Production, Three Wise Monkeys, BOA Festival;
San Francisco (January 2002)
Ø
Reading, Theatre Artists Conspiracy; San Francisco
(September 2000)
Ø
Production, Kokopelli Productions; Anchorage,
Alaska (August 2000)
Ø
Reading, Last Frontier Theatre Conference Play Lab;
Valdez (August 1998)
*Six Dead Bodies Duct-Taped to a Merry-Go-Round
Co-written with Lindsay Mariana Walker
Ø
Production, Westminster College Arts Department; Salt
Lake City (April 2012)
Ø
Production, Full Circle Theatre; Off-Off-Broadway
(October 2011)
Ø
Production, Last Frontier Theatre Conference
by Three Wise Moose; Valdez, Alaska (June 2011).
Ø
Production, Reader’s Theatre Repertory;
Portland, Oregon (April 2011)
Ø
Production, Anchorage Community Theatre and
Three Wise Moose; Anchorage (October 2010)
Ø
Production, Salt Lake Artists League as a part of
Weekend of New Works (August 2010)
Ø
Reading, Circle East; New York City (March 2010)
*Living with the Savage
Ø
Production, Three Wise Moose and Anchorage
Community Theatre (October 2011)
Ø
Production, Teatro del Naville BOA Italia
Festival II; Bologna, Italy (May 2005)
Ø
Production, PWSCC; Valdez, Alaska (March 2005)
Ø
Production, Isis Arts Collective’s Summer Shorts
at the EXIT Theatre; San Francisco (July 2003)
Ø
Production, Three Wise
Monkeys BOA Festival at the Eureka Theatre; San Francisco (March 2003). Pictured:
Sarah Mitchell, Travis Bedard, Ann Kuchins, and Christopher Symonds. Directed
by the late Mike Ward.
*Domestic Companion
Ø
Production, Bellingham Theatre Guild’s
One-Act Festival, Nearly Stellar Entertainment (April 2006)
Ø
Production, Theatre Studio, Inc;
Off-Off-Broadway (December 2003)
Ø
Production, Reston Community Players;
Reston, Virginia (July 2000)
Ø
Production, University of Puget Sound;
Tacoma, Washington (December 1997)
Ø
Reading, Last Frontier Theatre
Conference Play Lab; Valdez, Alaska (August 1997)
Ø
Production, Love Creek Productions;
Off-Off Broadway
Ø
Production, University of Alaska Anchorage
(April 1995)
Secret Stuffing
Ø
Production, Unidentified Theatre Company
One-Act Marathon, San Francisco (March 2002)
Ø
Workshop Production, Rough Theatre’s
Daytrippers; San Francisco (May 2000)
^In a Red Sea
Ø
Production, Barestage Theatre’s Six @
Eight Festival; Red Bluff, California (August 2006)
Ø
Production, TBA
Theatre Company at Last Frontier Theatre Conference (June 2006). Photo by Gen
Hasagawa. Lindsay Lamar, Shane Mitchell, and Eleanor Janecek Delaney. Directed
by Erin Dagon Mitchell.
Ø
Finalist Performance, Turnip
Theatre 15-Minute Play Festival, Off-Off-Broadway (April 2004)
Ø
Reading, Last Frontier
Theatre Conference Play Lab; Valdez, Alaska (June 2002)
Ø
Workshop Production, Rough
Theatre’s Daytrippers; San Francisco (September 2001)
Oh, Nancy!
Ø
Production, Theatre Daedelus;
Columbus, Ohio (August 2010)
Ø
Production, Last Frontier
Theatre Conference, TBA Theatre Company; Valdez (May 2010)
Ø
Production, Two Spoons
Theatre Company Teaspoon Festival; Off-Off-Broadway (March 2007)
Ø
Production, Theatre Artists’
Conspiracy Cafe Project; San Francisco (September 2001)
^The Fears of Harold Shivvers
Ø
Reading, University of Southern
Mississippi (January 2009)
Ø
Production, Impact Theatre Winter
One-Act Festival; Off-Off Broadway (February 2007)
Ø
Production, PWSCC; Valdez,
Alaska (May 2005)
Ø
Workshop Production, Alaska
Overnighters; Anchorage, Alaska (January 2005)
*The War of Virginia and Alabama
Ø
Reading, Blue Roses Infusion
Series; New York (February 2013)
Ø
Production, Circus Theatricals
Best of the Festival; Los Angeles (October 2010)
Ø
Production, Circus Theatricals
14th Annual Festival of New Plays (May 2009)
Ø
Reading, Mid-America Theatre
Conference Playwriting Symposium’s Ten-Minute Play Showcase; St. Louis (March 2005)
Ø
Reading, Three Wise Monkeys’
Short Leaps Festival; San Francisco (August 2004)
Ø
Workshop Production, Alaska
Overnighters; Anchorage, Alaska (December 2003)
Cacophony Amore
Ø
Production, PWSCC; Valdez,
Alaska (February 2010)
Ø
Reading, Circle East; New
York City (February 2010)
Ø
Workshop Production, Alaska
Overnighters; Anchorage, Alaska (August 2010)
Alyson & the Great Bagel Mistake
Ø
Production, Pier One Theatre; Homer,
Alaska (June 2012)
Ø
Reading, Circle East; New
York City (February 2010)
Ø
Workshop Production, Alaska
Overnighters; Anchorage, Alaska (August 2007)
Dead Middle Aged Whore
Ø
Workshop Production (as a part of “Tom’s
Children,” plays based on Tennessee Williams’ poetry), Blue Roses Theatre; New York City (January 2011)
The Gaping Void of Human Loneliness, a comedy
Ø
Workshop Production, Alaska
Overnighters; Anchorage, Alaska (November 2014)
The You’ll Never Have a Second Wife Club
Ø
Workshop Production, Alaska Overnighters;
Anchorage, Alaska (August 2008)
David’s One Miracle
Ø
Workshop Production, Alaska Overnighters;
Anchorage, Alaska (January 2012)
The Final Caveat of Phineas Bartholomew
Ø
Workshop Production, Alaska
Overnighters; Anchorage, Alaska (January 2008)
The Shed
Ø
Workshop Production, Alaska
Overnighters; Anchorage, Alaska (August 2010). Photo by Jamie Lange.
Kevin Bennett, Henry Weaver, and Bill Cotton. Directed by Dave Block.
The Making of Eye Contact
Ø
Reading, Venue 9’s Page to the Stage;
San Francisco (April 1999)
Ø
Production, Cyrano’s Off-Center
Playhouse; Anchorage (December 1996)
Ø
Production, Toast “Crust Festival;”
Anchorage (April 1994)
Ø
Production, University of Anchorage
Alaska Second Stage (October 1993)
Sand & Granite on Liberty
Ø
Reading, Stark Raving Theatre; Portland,
Oregon (August 2000)
Ø
Production, University of Alaska
Anchorage (October 1994)
Love’s Lumberings Remembered
Ø
Production, TBA Theatre Company at
Last Frontier Theatre Conference (May 2013).
Ø
Reading, Playwrights Center of San Francisco’s Sheherazade; (January 2002)
Almond Joy
Ø
Workshop Production, Alaska Overnighters;
Anchorage, Alaska (January 2014)
Laundry Day
Ø
Workshop Production, Rough Theatre’s
Daytrippers; San Francisco (September 2001)
This Really is the End
Ø
Workshop Production, Alaska Overnighters;
Anchorage, Alaska (August 2006)
Welcome to the Future
Ø
Reading, Playwrights Center of San
Francisco’s Sheherazade (March 2005)
Welcome to the Future, Part II
Ø
Reading, Playwrights Center of San
Francisco’s Sheherazade (March 2006)
Ten-Minute Plays
*Burning
Ø
Reading, Northwest Playwrights Alliance
Salon; Portland (December 2007)
Ø
Production, Alleyway Theatre’s Buffalo
Quickies; Buffalo, New York (April 2004)
Ø
Production, Impact Theatre’s Impact
Briefs V: Shock & Awe (August 2003)
Ø
Reading, Three Wise Monkeys Short Leaps
Festival; San Francisco (July 2003)
What a Drag It Is...
Ø
Production, SUNY Brockport’s Festival
of Ten VIII (March 2013)
Ø
Reading, Fairbanks Drama Association
8x10 Festival; Fairbanks, Alaska (April 2012)
Skid Marks (Co-written with Schatzie Schaefers)
Ø
Production, Western Connecticut State
University’s WOW 10-Minute Play Festival (December 2008)
Ø
Reading, Three Wise Monkeys Short Leaps
Festival; San Francisco (August 2006)
Ø
Production, Fourplay at Cyrano’s Theatre
Company; Anchorage, Alaska (September 2004)
The Tie
Ø
Reading, Sheharazade 2001, Playwrights
Center of San Francisco (January 2001)
Ø
Production, Circle East “Full Circle
Celebration;” Off-Off-Broadway (September 2000)
Ø
Workshop Productions, John Drew
Theatre; East Hampton, New York (September 1999)
Happy Loving Couples are a Thing of the Past
Ø
Reading, Three Wise Monkeys Short
Leaps Festival; San Francisco (August 2007)
Ø
Reading, Fairbanks Drama Association
8x10 Festival; Fairbanks, Alaska (April 2004)
Ø
Reading, Last Frontier Theatre
Conference Play Lab; Valdez, Alaska (June 2001)
Self-Inflicted
Ø
Production, Fairbanks Drama Association’s
Short and Sweet: 8x10 Festival Favorites; Fairbanks, Alaska (October 2012)
Ø
Reading, Three Wise Monkeys’ Short
Leaps Marathon; San Francisco (August 2005)
To Dine or Not to Dine
Ø
Reading, Fairbanks Drama Association 8x10
Festival; Fairbanks, Alaska (April 2006)
One-Page Plays
Boyd Was Waiting
Ø
Performance, Don’t Blink One Page Play
Marathon; Anchorage (October 2010), Pictured.
*^Diarrhea
Ø
Production, Freshwater Theatre’s
Festival of Awkward Moments; Minneapolis (May 2011)
Ø
Readings, Java Theatre; Rhode
Island and Maryland (April 2005)
Ø
Production, University of Idaho’s 3rd
Annual DNA Festival of Very Very Very Short Plays and Film; (March 2005)
The Note Left by the Man
Ø
Performance, Don’t Blink One Page
Play Marathon; Anchorage (December 2006)
are you bored?
Ø
Performance, Don’t Blink One Page
Play Marathon; Anchorage (September 2005)
*The Bus
Ø
Reading; Lamia Ink; New York
City (April 2003)
The Peach
Ø
Reading, Three Wise Monkeys’
Short Leaps Festival; San Francisco (August 2005)
Heart Poor
Ø
Reading, Blue Roses Infusion
Series; New York (February 2013)
Publications
Ø
Article in The Dramatists’
2014 Season in Review issue.
Ø
Monologues from Revenge Fantasy (unfinished script) published in
Monologues from the Last Frontier Theatre Conference, Focus Publishing. (2013)
Ø
The War of Virginia and Alabama published with JAC Publishing. (2013)
Ø
Six Dead Bodies Duct-Taped to a Merry-Go-Round published in The Best American Short Plays
2010 – 2011, Applause Books (2012).
Ø
Diarrhea published in The Festival
of Awkward Moments, Volume 1, Freshwater Theatre Company (2011).
Ø
Burning published in literary
journal Crawdad (2007).
Ø
Monologue from Love’s
Lumberings Remembered published by Smith & Kraus in 60 Seconds to
Shine: 221 One-Minute Monologues for Men (2006).
Ø
Domestic Companion published Pretty Things
Press’ House to Half (2005)
Ø
The Bus published in the Lamia
Ink! (2003).
Ø
LibidOFF published by 3WM Press
(2003).
Ø
Living with the Savage published in Bay
One-Acts Festival Anthology II (2003).
Ø
Bile in the Afterlife published in Bay
One-Acts Festival Anthology (2002).
Ø
“Why New Plays” (essay) published in literary journal In-Tense
(2001).
Writing Awards Received
Ø
Burning selected as the winner of
Write Angle’s Ten-Minute Play Award (www.writeangle.org, 2007).
Ø
The Fears of Harold
Shivvers
named Best New Play in Anchorage (2005) by critic Catherine Stadem on Stage
Talk (2005)
Ø
In a Red Sea Honorable Mention in
Turnip 15-Minute Play Festival (production receives Best Director and Honorable
Mention Best Actor, 2004).
Ø
The Peach Semi-Finalist in Lamia
Ink! One-Page Play Competition (2002).
Ø
The Bus Finalist in the Lamia
Ink! One-Page Play Competition (2002).
Ø
In a Red Sea Audience Choice Award at
Last Frontier Play Lab (2002).
Ø
Bile in the Afterlife finalist in the 1999
Tennessee Williams/New Orleans Literary Festival One-Act Play Competition
(1999).
Ø
Bile in the Afterlife 5th place in the Last
Frontier Theatre Conference Play Lab (1998).
Ø
Domestic Companion finalist in the Love
Creek Playwrights’ Festival (1997).
Ø
Domestic Companion 1st runner-up in the
American College Theatre Festival Playwriting Competition, Pacific Northwest
Region (1996).
Acting History
(highlights)
Bay Area
The Food Chain Otto Unidentified
Theatre Company (2001)
Knock Yourself Out The
Sailor TANTA
Productions (2002)
Speak No Evil Mellie Unidentified Theatre
Company (2002)
Demi Verita Dale/Trucker Theatre Artists Conspiracy (2002)
Lock, Stock, Daytrippers Will Rock Rupert Rough
Theatre Company (2001)
The Lake Derrick/Dave Rough Theatre Company (2001)
Blackouts Various
Roles Rough Theatre Company
(2001)
STAGED
READINGS Various
Roles Playwrights’ Center of
San Francisco
Various
Roles Venue 9
Various
Roles Eureka Theatre
Various
Roles Oakland Public Theatre
Various
Roles St Mary’s College
Alaska Theatre
A Midsummer
Night’s Dream Bottom
PWSCC Drama Department
(2012)
The Master
Builder Halvard
Solness PWSCC Drama Department
(2007)
The Crucible John Proctor PWSCC Drama Department (2005)
3000 Red Ants Fat UAA Second Stage (1996)
Much Ado
About Nothing Borachio Kokopelli Theatre (1995)
Domestic
Companion Cato Toast Theatre
(1995)
Two Gentlemen
of Verona Proteus Magic If Ensemble (1993)
The Public Eye Julian We Call It A.R.T.
(1994)
The Adventures
of Captain Neato-Man (title role) UAA
Second Stage (1993)
The Boys Next
Door Arnold
Wiggins UAA Mainstage (1989)
The Death of
Von Richthofen… Karl Bodenshatz UAA Mainstage (1993)
Twelfth Night Duke
Orsino Magic If Ensemble
(1992)
Acting Award Received
Ø
UAA Best Featured Actor, Inspecting
Carol (1991).
Ø
UAA Best Supporting Actor, The Death of Von Richthofen as Witnessed from Earth (1994).
Ø
Patricia Neal Acting Award, Last Frontier Theatre Conference
(2002).
Ø
Best Supporting Actor, East Anchorage High School (1986).
References
Sandy Harper
Managing Director, Cyrano’s Off-Center Playhouse
(907) 278-5932; 274-2599
cyrano@ak.net
P. Shane Mitchell
Artistic Director, T.B.A. Theatre
(907) 677-7529
shane@tbatheatre.org
