2024 Digital Binder – Tech/Design

I'm someone who's worked in this business for over 6 years with various organizations. As such, I have a wealth of operating experience, as well as a little design experience as well. I'm someone who always wants to get deadlines accomplished promptly, and who will use my car to go as far as necessary to get what is needed. I've worked with individual small theatre groups, and larger community theatre groups, and overall have a growing experience with all aspects of backstage operations. Whether with lights, sound or Stage Management. In short, I'm a great candidate to join your team to make it all run smoothly.

I am a multimedia artist who is very flexible and enjoys working on new works and musicals. I have experience in being a props master, costumer, set designer, and spotlight operation. I enjoy working with second hand items and reusing or recycling old items into new ones. Puppets are my favorite thing to construct, I have made many for myself personally and have had the pleasure of constructing a large puppet for a show at Theatre Off Jackson this past November. Wigs, makeup, and costuming is something that I have dabbled in for about 7 years now and consider myself quite proficient in. I am also a playwright and am looking to learn more about writing for shows. A goal I have for 2024 is to create art with more collectives and teams, as I have done most construction of props as a solo artist.

www.JeffreyDesigns.net
Since the late 1980’s, Jeffrey Cook/JeffreyDesigns has created memorable environments both on stage and off throughout the Pacific Northwest, with scenic designs in greater Seattle, Tacoma, Olympia, Portland, and Eugene. He is currently represented by United Scenic Artists 829 and IATSE 488. His experience covers multi-scene musicals, classic dramas, interiors, and large-scale installations. He is known for his excellent painting skills, detailed illustration art, and quality 3-D Models. He provides attention and support to his director and creative team which instills each project with fresh insight while holding to traditional scenic design standards. Jeffrey’s artistic goal is to give every design its own unique expression, not an extension of his own personal style.

My name is Kathryn Louise (Katt) and I am a Theatre Magic Maker, focusing on stage management and lighting. I was on staff at Taproot Theatre as the Production Associate for 3.5 years. I love caring for actors and helping do whatever needs to be done to get a show up. In 2023 I was the co-recipient of the Melissa Hines Backstage Gregory Award with Michelle Rodriguez for our COVID protocols, of which I was the primary author. I love stage managing any type of theatre and focus on designing lights for dance and musicals.

My name is Teia O'Malley. I'm a scenic designer from Honolulu, Hawaiʻi, currently based in Seattle, Washington. I am studying Drama Design and Linguistics at the University of Washington.

I’ve worked to cultivate my foundation in script analysis, which I believe to be a fundamental tenet of my work. I design with an in-depth analytical approach to the script/source material. Being a linguistics student has given me an appreciation for words and structure that has let me see the shape of language in a way that I will always be trying to convey as an artist and designer. I love having the privilege of taking words and making them tangible and alive onstage.

I work with a strong sense of spacial awareness and attention to detail. Finding the small but significant details in a script brings me a definitive joy. Even if these details are never recognized or even seen by the audience, they make a world real.

In my recent work, I have been interested in exploring agency through art. This concept has inspired a curiosity towards the extent to which characters can have an agency within the telling of their own stories. I have found myself experimenting with the possibilities of giving characters the power to bring their own worlds to life.

I have served as Fight Director for numerous projects within professional, and pre-professional, companies across the U.S. Such organizations and projects like Oconaluftee Little Symphony Society, Portsmouth Area Arts Council, Shawnee State University, Middle Tennessee State University, and many more. I began studying with instructors and directors through the Society of American Fight Directors (SAFD) and soon gained certification in the eight disciplines that they offer. Along with that came the title of Advanced Actor Combatant (AAC).
Along with fight direction, I have been employed as a Dialect Coach for several productions and even as a private instructor. From historical dramas to modern farces, my coaching spans many dialects and accents that have provided a rich addition to productions.

I have my own scene shop in spanaway and specialize in theatrical design and builds. I have designed and built for Bainbridge Performing Arts Center, Tacoma, Musical Playhouse, Renton Civic, Auburn Community Players, Reboot, Red Rover, WWCA, and many others up and down the West Coast. I am open for business and am taking on new clients.

I make movie magic for the stage. My goal is cinematic impact.

The projector has to have a perspective on the story to justify its presence. What is its function? What is its point of view? How do those things influence the camera - its movement, the composition, the edit, the color grading? What kind of visual language do we want to create?

I have a motion graphics, video editing, live camera operation, and video technical direction background. Companies I have designed for include Washington Ensemble Theater, Seattle Modern Orchestra, and On the Boards. Upcoming is ENGLISH at ArtsWest. For reels and in-depth project summaries, visit nabilahahmedworks.com/work.

Stage Manager for various types of productions including youth productions, musical theater, variety acts. Also an experienced director of musicals, vocal director, and youth production director.

My name is Ethan Swim I use He/Him Pronouns and I am a non-union stage manager in the Seattle area. I graduated from Western Washington University and I have theatre experience in Seattle, Bellingham, and New York City. I am frequently praised as being a detail oriented team player and bringing a good sense of humor to any project I am part of. I am looking forward to working on any variety of productions in stage management, assistant stage management, and production assistant roles.

Jonathan M. Rizzardi (they/them) is a Seattle-area performing artist and theatre historian. As a theatrical director & performance conductor, Rizzardi has angled from many vantage points—from choreography to intimacy/combat design, composition to dramaturgy—to mount productions with regional and equity theatres. Rizzardi served as Founding Artistic Director of The Bell Tower Theatre—a company that housed a performance company fusing classical texts and devised modernist movement—which cooperated summer residencies at St. Mary's College of Maryland. Jonathan frequently works in the modes of devised theatre/collaborative creation, movement-based storytelling, and transadaptation to create original performance works or breathe life into classic plays. Rizzardi aims to amplify the voices of the artists around them—structurally imagining performance as a mode for social change, and a mechanism for giving voice to the varied perspectives of the ensembles and communities surrounding them.

After moving from Washington, D.C. to complete their PhD in Theatre History and Performance Studies at the University of Washington School of Drama where they were a nominee for the 2019 Excellence in Teaching Award, Jonathan has continued to direct, teach youth theatre, act, facilitate educator training programs, and develop social activist-focused curriculum in the Pacific Northwest. A Visiting Assistant Professor of Education at Pacific Lutheran University where they teach instructional methodologies for trauma-informed, equity-centered education to future teachers, Jonathan earned their BA and Master of Arts in Teaching at St. Mary’s College of Maryland where they were winner of the Margaret Eagle Dixon Award in Literature and Maryland’s Teachers of Promise distinction.

Rizzardi’s practitioner work extends across fields of youth creative drama, arts integration for mental health and wellness, stewardship for student populations in juvenile detention centers and drug rehabilitation facilities, and creating alongside youth in the foster care system. Their scholarship unpacks how acts of education, maturation, and coming-of-age intersect with theatre and public performance in the early twentieth century United States, and unravels queer readings of teaching and learning as mechanisms of citizen-making in the theatrical past. Rizzardi hopes to use theatre scholarship to champion the artistic and educational aspirations of students of all ages, and to create collaborative art that promotes conversation.

Coming from a children’s theatre background, I fell in love with choreography and teaching at a young age when I took on the role of a choreographer at age 14. I did this for 3 years and decided to study education with a specialization in dance teaching at Central Washington University. There, I danced on their dance team and dance company while working with local studios. I graduated in 2023 and moved back to the Seattle area where I have been participating in community theaters as both an actor and choreographer. My skills are focused on musical theatre, but I have training in most styles, primarily jazz, contemporary, and modern. I am looking to find my next spot in the arts. I want to continue using my choreography and teaching skills to bring light the joy of dancing and performing through experimentation, collaboration, and excitement as I feel the energy brought to rehearsals largely affects the energy on stage.

Growing up on a family farm in rural Washington at the heart of the Yakama Nation Reservation, Riel was exposed to creative storytelling through theatrical and deeply steeped cultural communication. He has worked with Seattle Opera, Village Theatre, ArtsWest, ReAct Theatre, 12th Avenue Arts, The Williams Project, The Jones Playhouse, Taproot Theatre Company, Forward Flux Productions, and more. Riel holds his MFA in Scenic Design with a secondary concentration in Costume Design from The University of Washington School of Drama and a BA in Theatre Performance from Seattle Pacific University.

Hi, I'm Justin!

I'm including a link to my website, as Sound Design work is a bit hard to show via pictures.
https://www.jjohnson.art/sound-design

I'm a Sound Designer and natural tinkerer, currently based in Seattle and originally from New York City. I've got a love for interdisciplinary collaboration, and thrive in projects where I get to play within the intersection of technology and art. I got my BA in Technical Theatre from Hampshire College and have professionally designed or mixed 20+ shows across the country since graduating in 2015.

My recent work include Pony World Theatre's "Hotdish" (2023), Seattle Public Theatre's "Riverwood" (2022), Book-It Theatre's "Behold The Dreamers" (2019), and a fully-virtual production of "The Revolutionists" by Lauren Gunderson, produced by the University of Maryland (2021). I frequently collaborate with Dacha Theatre as well, where I've been part of creating many zany, immersive theatrical experiences over the last few years. I'm also one of the technicians on staff with the Fremont Abbey Arts Center, and frequently run live sound for shows there, and at their other venues around the city.

I started theater in the 90's as an actor. I transferred my skills into online media television & film in the 00's. While I was in creating my own content I picked up camera, lighting, writing, editing and audio recording skills, that I brought when I returned to theater in 2018. I joined the TTSJ program last year. I've helped create sets and wardrobes for plays, concerts, business events, etc. My contributions led me to being hired as a department head within months of signing up at IATSE.

* Being a Gen-X kid, I was schooled in the television era of the late 1960s - early 1980s. My theatrical senses of drama and comedy are rooted in this period and I bring that sense of visual production to my theatrical work.
* I spent 10 years in local radio production as a Production Assistant and Board Operator in the 1990s.
* I have been writing for the stage, film and television for 12 years and have been able to consistently finish as a Finalist or Category Winner since 2018.
* I was Director and Casting for 3 stage plays: First Of No More (2019 - Damn Theater), Page Nine (2020 - Damn Theater) and Monday Morning Still In The Park With George (2023 - 1st Place Jury Winner in Edmonds Driftwood Players' 12th Festival of Shorts).
* I have consistently volunteered with Edmonds Driftwood Players at the Wade James Theater for 2 years as one of their primary Light/Sound Board Operators.
* For Edmonds Driftwood Players, I was named Assistant Producer on "Unnecessary Farce" (2023) and Sound Designer on "Roald Dahl’s Willy Wonka".

My name is Amber and I am a sound designer and audio technician based out of Seattle, Washington.

My design aesthetic when creating the aural world of a play, musical, or film is based in diegetic sounds. I love to build soundscapes that truly live in the world of a production by using practical speaker system design and Foley sound props.

I am keen on working on collaborative projects. I personally enjoy designing for straight plays and have a soft spot for classical texts and Shakespeare.

Outside of sound designing for theater, I also have skills in audio editing for music, podcasts, and films. You can view and hear more of my work on my website, ambergrangersound.weebly.com.

I received my BA in Theatre Studies as an actor from Western Washington University, but I have found my footing in the Seattle Theatre scene backstage in various roles. I have worked as a member of the backstage crew, both sound and light board operator, assistant Stage Manager, and the Stage Manager. Spending the last couple of years consistently working with high quality shows have improved my backstage skills and has set me up for success in the future.

I pride myself in my preparation and organization when it comes to complicated backstage tracks. It was my responsibility to track costumes, props, actors, etc. because I was usually the only crew member on many shows I have worked on. Another strong skill I am proud of is my problem solving skills if something were to happen during a performance. Even as an ASM, I familiarized myself with these shows so well that if something went awry during a performance I had a good idea of how to address it before my next task.

My experience on stage as well as off has given me a well rounded perspective on the theatrical experience that I hope to showcase more in the future.

My name is Sophia Tuell and I am a freelance stage manager and theatre artist based in Seattle. I have recently returned to work in the theatre arts after a COVID-driven hiatus. I am open to working in stage management, assistant stage management, assistant production management, and makeup design. I graduated from Western Washington University in Fall 2023 with a BA in theatre (production concentration). My past credits are listed in my attached resume, with my most recent work as stage manager for Tenderness by Nelle Tankus at Annex Theatre (February 2024). I have experience working in repertory theatre through Bellingham Theatreworks, in which I simultaneously stage managed two productions as well as ASMing a third during their 2019 Fairhaven Summer Repertory season. I have experience working with child actors through Bellingham Theatreworks, and paired with my past experience as a preschool teacher and nanny, I have confidence in creating safe, comfortable, and productive theatre environments for child actors. I am currently working on a production of The Savannah Sipping Society with Edmonds Driftwood Players, set to open in May 2024.

I am a Junior at the University of Washington majoring in Anthropology. I transferred there from Seattle Central College where I completed their Technical Theatre for Social Justice program in partnership with Intiman Theatre. At Intiman, I learned how to be a stagehand and theatre electrician. I light designed student shows at SCC and now at UW I have technical directed a musical for the musical theatre club. Last summer, I participated in ACT's 3-Day summer stage management intensive and learned more about the skills of being a stage manager and assistant stage manager. (I also took over ACT's Instagram for one of the days of the intensive, sharing behind the scenes content)
I am particularly interested in the crossover between theatre and anthropology and how telling stories is an intrinsic part of the human experience. I have always loved how light affects the performance happening onstage and fundamentally shapes how audiences experience a show. I love the collaborative aspects of theatre and working with a team to put together a show. I look forward to the opportunity to gain more experience working at theaters around Seattle.

I'm an art student at the University of Oregon minoring in theater. I've been doing theater and dance since I was a little girl, and have years of experience helping make the costumes that go with it. I'm trained in draping, sewing, crochet, knitting, embroidery, and pattern-making off a draped piece. I'm also a great team player, multitasker, and fast learner. I'm up for whatever you throw at me and I'm always open to listening to corrections. Since I'm still in school, I may not be as experienced, but what I lack in ability I make up for in willingness to learn. I appreciate your consideration.

I've done just about every job in a theatre at some point, but I've been working as a sound tech in amateur theatre for two years, and as a sound designer for one.

Hello! Pre-pandemic I was the Lead Stagehand/Busser for Teatro Zinzanni, where I acted as a Stagehand who also supported the restaurant. That meant I helped move large platforms on casters, set par cans and source 4s on spike for aerial acts, and catch mics tossed to the ground for transitions before turning around to clean up broken glass at a moment's notice.

Up until recently, I was the COVID Safety Manager for Seattle Repertory Theatre. I did a variety of things, like organize all the logistics around testing including negotiating price on bulk orders, planning testing cadences around shows rehearsing and playing concurrently, setting testing schedules and communicating them with team leads, and executing simultaneous testing for a large variety of groups. My testing stats include: testing 42 over hires at once, facilitating 500 tests within one week, and organizing testing for Public Works cast of 60+ people daily. I was also responsible for adjusting and executing any changes to that plan if anyone tested positive or was exposed. In my brief tenure at The Rep, the only show I lost to COVID was the closing show of BRUCE.

I am now looking to pivot into Stage Managment. I was an ASM many years ago, and now I'm looking to jump back in and learn current best practices. After handling all of the logistics surrounding COVID Safety, I saw a lot of skills shared with the Stage Managers I worked with and I want to try again. I would be happy to be considered as a PA or ASM.

Please reach out if I can help you implement COVID Safety Practices, assist on deck, or support your Stage Management teams. Thank you for your consideration!

I am a theatre maker who moved to Seattle just a little over a year ago! I graduated from MIT with a double major in Computer Science and Theater Arts, where I acted in, light designed, and directed several plays and musicals.

My lighting experience is the most extensive and that's what I've gotten to do in Seattle so far. Last year, I light designed two shows (Theatre 4 and Theater Off Jackson). Currently, I am the assistant lighting designer for Dacha's "The Master & Margarita", and the Lighting Designer for The Shattered Glass Project's "New Works Festival." I'm excited for opportunities to work with more experienced designers so I can keep learning and improving my craft.

My directing experience is limited to working with college-aged students. In school, I directed "The Drowsy Chaperone" musical, "Small Mouth Sounds" by Bess Wohl, and two student written plays. I absolutely loved directing and want to pursue doing it in Seattle.

More-recent Skills and Some Background for Stephen DeVore:

Multiple Tech & Creative Skills, plus Hundreds of Film, TV, Sound, and Music classes, seminars, and workshops since 2012 (and more before that).

Latest Skills: Film DP, Lead Actor, Gaffer, other Lighting and Camera. And 2024 prep for Original Music Compositions/Songs release.

Award-winning Executive Producer for: Music Video story called "Follow Me": Best in City; and for a Narrative film called "Destination": Best Picture.

More than 70 local projects since 2014, including Narrative, Music Video, Documentary, Television, Webseries, etc.

Degrees in music production and audio engineering. Certificates in sound.

Professional Camera operator for TV 1998-2000. And since ~2016, Camera for Film.

Performed / Stage:
Singing Ensemble: 4 Choirs including Jazz, Classical, Pops, and Holiday genres: UW University Singers; SCC COTS, SCC Concert Choir, and Shoreline Evening Jazz Choir.
Singing Solo: Bud Shank Jazz Workshop / Port Townsend Jazz Festival; PLU Jazz vocal workshop; College/University Voice training & classes.
Dance: Danced on the 5th Avenue Theatre stage in "Hodié", as a boy. Danced a story dance as an adult. Danced in the musical My Fair Lady, as a teen.
Live/Stage Actor: Appendicitis knocked me out of a significant speaking part, and so I played a Butler and Danced, in My Fair Lady, as a teen. As an adult, I played Lead, Supporting, and Starring.

Drama & Acting:
Actor classes, Drama classes, Voice-over classes, and,
Acting as Lead and Supporting, both
Scripted and Ad-Lib.

Tech Positions – From perhaps most experience to least (estimated):
Lighting: Grip and similar.
Production Sound
AC/Camera
Gaffer
DP
Misc: PA: Some Art as a PA. AD. Script Supervisor. Tech. Tech Driver. DIT/Data Wrangler.
Stage-lighting experience: Used stage lighting for the films Assassinators Vendetta and Destination, and for a commercial/ad/promotion project. Used regular film lighting on many films, etc.

Degrees & Certificates:
Degree in Audio Engineering 3.89/4.
Degree in MIDI Music Production 3.9/4 (SC College).
Certificate from the University of Washington in Sound Production (1997, UW).
4 Certificates in recording-studio instruction from The RecW / The Recording Workshop (Late-Summer 1995, TRW).
2 Certificates in recording-studio instruction from Mirror Sound Studio, Shoreline, WA (Advanced PARC 2017, PARC 2016).

Cheers! Stephen DeVore, 206-288-3881 text.
stephendevore.com

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