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Curriculum Vitae 
Dawson Moore PO Box 3505 Mobile:
907.255.5325 Home: 907.835.5325 Email: dawsonguy@juno.com Website: www.dawsonmoore.com Date
of Birth: July 26, 1970
Personal
Statement
Live performance remains a vital force in society
through the existence of strong local arts communities. Wherever I live, I work
to create a nurturing, creative environment that empowers artists. This is my
past, my present, and my future. Office and
Management Skills
Touch Typing, approximately 75 WPM Handling Confidential Material Strong writing skills Telephone Communication Skills Organizational Skills Staff
Management Basic Cash Handling and
Budget Oversight Website Management Licensed Alaska Driver’s
License Interpersonal
Communication Skills Grant Writing and
Management Robert’s Rules of Order Computer
Experience
Extensive use of current Microsoft Office Suite,
including extensive work with 2007 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 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 for the past seven years in Anchorage. ·
The Last Frontier Theatre Conference, and my long association
with it. ·
Articles and essays. ·
A biography, past press, and a photo gallery . Current
Employment
Coordinator of Theatre Programs 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. Highlights included overseeing the
transition that followed the departure of the Conference’s founders and the
creation of the only AFA program in the UA system (in Playwriting). Employee of
the month four times (6/2005, 6/2006, 6/2008, 6/2009) ·
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 30-40 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 Douglas Desorcie, President 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 and Aaron Wiseman whose primary function is
to co-produce the Alaska Overnighters and Don’t Blink One-Page Play Festival
with TBA Theatre. 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
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. Teacher,
Discovering Shakespeare San Francisco
Shakespeare Summer, 2002 www.sfshakes.org 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
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 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) TOAST Theatre Domestic Companion (“Crust” Festival) 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) 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
Bile in the Afterlife June 2008 Performed
at the Last Frontier Theatre Conference by TBA Theatre March 2005 2-week
run at Prince William Sound Community College April 2004 1-week
run at Bradley University (Peoria, Illinois) June 2003 Part
of NVTC One-Act Festival; prod. by Reston Community Players May 2003 1-week
run at Las Positas College April 2003 3
1-week runs produced by Teatro del Naville’s Festival in Italy January 2002 1-week
run in Three Wise Monkeys’ Bay One-Acts Festival September
2000 Staged reading by Theatre
Artists’ Conspiracy (San Francisco) August 2000 3-week premiere run by Kokopelli Productions
(Anchorage, AK) August 1998 Staged
reading at Last Frontier Theatre Conference Play Lab Domestic Companion April 2006 Part
of the Bellingham Theatre Guild’s One-Act Festival (Nearly Stellar Entertainment) December 2003 Selected as part of Theatre-Studio,
Inc’s Festival (NYC) July 2000 Festival
performance by the Reston Community Players December 1997 One-week run at University of Puget
Sound March 1997 Equity
showcase performance by Love Creek Productions April 1995 One-week
run on University of Anchorage Alaska 2nd Stage LibidOFF April 2003 6-week
run co-produced by 3WM & UTC (San Francisco) May 2002 4-week
Off-Broadway run at 78th St. Studios March 2001 Staged
Reading at Eureka Theatre (San Francisco) November 2000 2-week Off-Broadway premiere at the
Expanded Arts Theatre June 2000 Staged
reading at the Playwrights’ Center of San Francisco August 1999 Workshop
production with Professional Actors’ Council (Los Angeles) June 1999 Staged
reading at Last Frontier Theatre Conference Play Lab Living with the Savage May 2005 1-week
run produced by Teatro del Naville’s Festival in Italy March 2005 2-week
run at Prince William Sound Community College July 2003 6-week
run in Isis Arts Collective’s Summer Shorts (SF) March 2003 1-week
run in 3WM’s BOA Festival @ Eureka Theatre, (SF) The Making of Eye Contact April 1999 Staged
reading at Venue 9 December 1996 Two-week run at Cyrano’s Off-Center
Playhouse April 1994 One
show as part of the Toast “Crust” Festival October 1993 One-week
run on University of Anchorage Alaska Second Stage The Tie January 2001 Read
in Sheherazade 2001, Playwrights’ Center of San Francisco September
2000 Produced as part of the “Full
Circle Celebration” by Circle East, NYC September
1999 Workshop production at the
John Drew Theatre, East Hampton, NYC Skid Marks (co-written with Schatzie Schaefers) December 2008 Produced at Western Connecticut State
University’s WOW 10-Minute Play Festival August 2006 Staged
reading in 3WM’s Short Leaps Marathon September
2004 Two-week run at Eccentric
Theatre Company as part of Fourplay Sand & Granite On Liberty August 2000 Staged
reading at the Stark Raving Theatre (Portland, OR) October 1994 One-week
run on University of Anchorage Alaska Second Stage Happy Loving Couples are a Thing of
the Past August 2007 Staged
reading in 3WM’s Short Leaps Marathon April 2004 1-week
run with Fairbanks Drama Association as part of 8x10 Festival July 2001 Staged
reading at the NYSSA program in New York June 2001 Staged
Reading at the Last Frontier Ten-Minute Play Lab Burning December 2007 Presented in the Northwest Playwrights
Alliance Salon. June 2005 Presented
as a part of Theatre Limina’s Summer Shorts Festival (St. Paul MN) April 2004 4-week
run as part of Alleyway Theatre’s Buffalo Quickies (Buffalo NY) August 2003 6-week
run as part of Impact Theatre’s Impact Briefs V: Shock & Awe July 2003 Staged
reading in 3WM’s Short Leaps Marathon Secret Stuffing March 2002 4-week
run in Unidentified Theatre Company One-Act Marathon May 2000 Commissioned
performance with Rough Theatre’s Daytrippers (San Francisco) In a Red Sea August 2006 Performed
as a part of Barestage Theatre’s Six @ Eight Festival (Red Bluff) June 2006 Performed
at the Last Frontier Theatre Conference by TBA Theatre Co. April 2004 Finalist
in the Turnip Theatre 15-Minute Play Festival (NYC) June 2002 Staged
Reading at Last Frontier Theatre Conference September
2001 Commissioned for SF Fringe
Festival for Rough Theatre’s Daytrippers Laundry Day September
2001 Commissioned for Best of
Fringe Festival for Rough Theatre Love’s Lumberings Remembered January 2002 Read
in Sheherazade 2002, Playwrights’ Center of San Francisco Oh, Nancy! March 2007 1-week
run in Two Spoons Theatre Company’s Teaspoon Festival 2007 Sept 2001 3-week
run with Theatre Artists’ Conspiracy’s Café Project Diarrhea April 2005 Readings
in Rhode Island & Maryland with Java Theatre March 2005 1-week
run as a part of the 3rd Annual DNA Festival of Very Very Very Short Plays and Film The Fears of Harold Shivvers February 2007 One-weekend
run in NYC in the Impact Theatre Winter One-Act Festival May 2005 One-weekend
run at Prince William Sound Community College January 2005 Performed
as a part of Alaska Overnighters The War of Virginia and Alabama March 2005 Staged
reading as part of Mid-America Theatre Conference Playwriting Symposium’s Ten-Minute
Play Showcase. August 2004 Staged
reading in 3WM’s Short Leaps Marathon December 2003 Performed as a part of Alaska
Overnighters Alyson & the Great Bagel Mistake February 2010 Developmental Reading with Circle
East (NYC) August 2007 Performed as a part of Alaska
Overnighters The You’ll-Never-Have-a-Second-Wife
Club August 2008 Performed
as a part of Alaska Overnighters Self-Inflicted August 2005 Staged
reading in 3WM’s Short Leaps Marathon are you bored? September
2005 Performed as part of the
Don’t Blink One-Page Play Marathon To Dine or Not To Dine April 2006 1-week
run with Fairbanks Drama Association as part of 8x10 Festival This Really is the End August 2006 Performed
as a part of Alaska Overnighters The Note Left by the Man December 2006 Performed as part of the Second Don’t
Blink One-Page Marathon The Final Caveat of Phineas
Bartholomew January 2008 Performed
as part of Alaska Overnighters The You’ll-Never-Have-a-Second-Wife
Club August 2006 Performed
as part of Alaska Overnighters Welcome to the Future March 2005 Read
as a part of Playwrights Center of San Francisco’s Sheherazade Welcome to the Future, Part II March 2006 Read
as a part of the Playwrights Center of San Francisco’s Sheherazade Cacophony Amore February 2010 1-week run with PWSCC Drama
Department February 2010 Developmental reading with Circle
East (NYC) January 2009 Performed as a part of Alaska
Overnighters Six Dead Bodies Duct-Taped to a
Merry-Go-Round March 2010 Developmental reading with
Circle East (NYC) 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). Publication History 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). Acting History
(highlights, full resume available on request)
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 Much Ado
About Nothing Borachio Kokopelli Theatre (1995) Two Gentlemen
of Verona Proteus Magic If Ensemble (1993) Twelfth Night Duke
Orsino Magic If Ensemble
(1992) Domestic
Companion Cato Toast Theatre
(1995) The Public Eye Julian We Call It A.R.T.
(1994) 3000 Red Ants Fat UAA Second Stage
(1996) 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) The Crucible John Proctor PWSCC Drama Department (2005) The Master
Builder Halvard
Solness PWSCC Drama Department
(2007) 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). |