Lisa Peterson, Co-Adaptor / Director
Denis O’Hare, Co-Adaptor
Rachel Hauck, Scenic Design
Marina Draghici, Costume Design
Scott Zielinski, Lighting Design
Mark Bennett, Original Compositions / Sound Design
Bradley King, Associate Lighting Design
Chris Luessmann, Associate Sound Design
Shirley Fishman, Dramaturg
Telsey + Company, Casting
Kimberly Mark Webb, Stage Manager
Anthony J. Edwards, PhD, Classical Language Consultant
Co-Adaptor / Director
Lisa previously directed Antony and Cleopatra, The Fall and Mother Courage at Berkeley Rep. She earned an Obie Award for An Iliad. Her other NYTW credits include Bexley OH, Light Shining in Buckinghamshire (Obie Award), Slavs!, Traps and The Waves. Her other New York credits include The Batting Cage and The Fourth Sister at Vineyard Theatre; Birdy and Chemistry of Change at WPP/Playwrights Horizons; Collected Stories at Manhattan Theatre Club; End Days at the Ensemble Studio Theatre; The Model Apartment and Shipwrecked at Primary Stages; The Poor Itch, The Square and Tongue of a Bird at The Public Theatre; The Scarlet Letter at Classic Stage Company; Sueño at MCC; and Tight Embrace at Intar. Her regional work includes productions at ATL, Arena Stage, California Shakespeare Theater, Centerstage, Dallas Theater Center, the Guthrie Theatre, Hartford Stage, the Huntington Theatre Company, Intiman Theatre, LJP, Long Wharf Theatre, the Mark Taper Forum (resident director, 1995 to 2005), McCarter, Midwest Playlabs, New York Stage & Film, O’Neill Playwrights Conference, OSF, Philadelphia Theater Company, Seattle Repertory Theatre, South Coast Repertory Theatre, Sundance Theater Lab and Yale Repertory Theatre. Lisa graduated from Yale and serves on the executive board of SDC.
Denis won the Tony, Outer Critics Circle and Drama Desk Awards for his performance as Mason Marzac in the hit Broadway play Take Me Out. His Broadway productions also include Assassins (Tony nomination), Inherit the Wind and Sweet Charity, among many others. He has appeared off Broadway numerous times, as well as in many regional theatres. An Iliad, for which he won an Obie Award, is his first collaboration and his debut as a writer for theatre. He has written two screenplays, as well as short stories and poetry. While at Northwestern University pursuing an acting degree, he followed the poetry writing program for two years and studied poetry under Reginald Gibbons, Mary Kinzie and Alan Shapiro. He has appeared in many films, including 21 Grams, Charlie Wilson’s War, Duplicity, Eagle, An Englishman in New York, Garden State, Michael Clayton, A Mighty Heart and Milk. His television work includes roles on Brothers and Sisters, CSI: Miami, all of the Law & Order franchises and on the hit series True Blood as Russell Edgington.
Rachel is the original set designer for An Iliad. Her recent New York credits include Bluebird at Atlantic Theater Company, A Boy and His Soul and Picked at the Vineyard, ETHEL’s TruckStop: The Beginning at BAM Next Wave, Go Back to Where You Are at Playwrights Horizons, Orange, Hat & Grace at Soho Rep (Drama Desk nomination), Regrets at MTC, Slowgirl at LCT3 and This Wide Night at Naked Angels (Lortel nomination). Rachel’s regional credits include Cat on a Hot Tin Roof at the Guthrie, Medea/Macbeth/Cinderella at OSF and Phaedra Backwards at McCarter, as well as work for Arena, Hartford Stage, LJP, the Shakespeare Theater and the Taper, among others. She is the recipient of the Lilly Award and the Princess Grace Award for theatre, and was a National Endowment for the Arts/Theatre Communications Group fellow. Rachel has been the resident designer for the O’Neill since 2005.
An award-winning costume designer and celebrity stylist, Marina designs costumes for theatre, opera, film and television companies in the United States and abroad. At Berkeley Rep, she was the scenic and costume designer for Mad Forest in 1992. She earned a Tony Award in costume design for the Broadway production of Fela! Marina’s off-Broadway and regional credits include An Iliad at NYTW and McCarter; Cymbeline and Mother Courage at the Delacorte Theater; Hamlet, The Skriker and Woyzeck at The Public; and Mad Forest at NYTW. Her international credits include 24 Images Secondes at Opéra de Lyon, Les Indes Galantes, L’Italiana in Algeri at Opéra National de Paris and La Traviata at Opéra National de Bordeaux. Marina worked on the films The Grey Zone, Heights, Precious, Rage and Twelve and Holding, TV shows including Blue Bloods, Dexter, Elementary and Homeland. Marina holds an MFA from Yale School of Drama.
Scott’s Berkeley Rep credits include designs for Fall, Ghosts, Oliver Twist and Our Town. His New York credits include Topdog/Underdog on Broadway and work at Atlantic, CSC, Lincoln Center Festival, MTC, NYTW, Playwrights Horizons, The Public, Signature Theatre Company and Theatre for a New Audience, among others. He has designed at most regional theatres throughout the U.S. Internationally, he has designed in Adelaide, Amsterdam, Avignon, Berlin, Bregenz, Edinburgh, Fukuoka, Gennevilliers, Goteborg, Hamburg, Hong Kong, Istanbul, Linz, London, Luang Prabang, Lyon, Melbourne, Orleans, Oslo, Ottawa, Paris, Reykjavik, Rotterdam, Rouen, St. Gallen, Singapore, Stockholm, Stuttgart, Tokyo, Toronto, Vienna, Vilnius and Zurich. Visit scottzielinski.com.
Original Compositions / Sound Design
Mark composed and created sound design for the American premieres of plays by Edward Albee, Caryl Churchill, Athol Fugard, Tony Kushner, Arthur Miller and Tom Stoppard, among others. His recent Broadway projects include The Coast of Utopia (Drama Desk Award), Golda’s Balcony, Henry IV, A Steady Rain and Who’s Afraid of Virginia Woolf? For the past three years Mark has been composer for Sam Mendes’ Bridge Project, scoring As You Like It; The Cherry Orchard; Richard III with Kevin Spacey at BAM, the Old Vic (London) and international tours; The Tempest; and The Winter’s Tale. His off-Broadway credits include Christopher Durang’s Why Torture Is Wrong…, Paul Rudnick’s The New Century, The Seagull directed by Mike Nichols and nine Shakespeare productions at The Public. Mark garnered 12 Drama Desk Awards, Garland Awards, three Lucille Lortel Award nominations, the New York Dance and Performance Award (BESSIE) for composition, the Obie Award for Sustained Excellence in Sound Design, Ovation Award and Robbie Award. The score/sound design for An Iliad was nominated for Drama Desk and Lortel Awards and was honored with a 2012 Obie Award.
Associate Lighting Design
Bradley is a lighting designer based in New York City whose designs have been seen across the United States and United Kingdom. He was the associate designer for An Iliad at LJP. Recently in New York he designed Assassins and Sweet Charity at NYU’s New Studio on Broadway, Children at the Actors Company Theatre, Dead Fish at HERE Arts, Natasha, Pierre & the Great Comet of 1812 at Ars Nova, Ninth and Joanie at LAByrinth Theater Company and Tongue of a Bird and Strindberg-Strindberg with NYU’s graduate acting program, as well as over 100 works with Second Avenue Dance Company. Bradley’s regional credits include A Christmas Carol at Virginia Stage Company, To Kill a Mockingbird at Penobscot Theatre Company and The Marriage of Figaro at Kentucky Opera. He received an MFA from NYU. Visit bradleykingld.com.
Associate Sound Design
Chris is excited to be working at Berkeley Rep for the first time. His favorite sound designs include the off-Broadway production of The Third Story. For North Coast Repertory Theatre, he designed A Christmas Carol and Dracula, for which he won Patte Awards; Henry IV Part I; Heroes; The Tempest; and Voice of the Prairie. He also designed Billy Crystal’s 700 Sundays at LJP; Das Barbecü, Forbidden Broadway SVU and Too Old for the Chorus at Miracle Theatre Productions; Les Misérables, Little Shop of Horrors, Little Women, The Magic Fire, Moon Over Buffalo and Sweeney Todd at Moonlight Stage Productions; and Red Herring at Scripps Ranch Theatre. Chris’ work as an associate sound designer includes Billy Crystal’s 700 Sundays on Broadway and American Night: The Ballad of Juan Jose, The Country, An Iliad, The Nightingale and The Third Story at LJP. Chris holds a BA in theatre from UCLA, and an MFA in theatre from UC San Diego.
Now in her 11th season as resident dramaturg at LJP, Shirley recently served as dramaturg on American Night and Hands on a Hardbody. Other projects include Bonnie & Clyde, Creditors, Herringbone, A Midsummer Night’s Dream, Surf Report, Unusual Acts of Devotion, the Playhouse’s production of Xanadu and UC San Diego’s The Revenger’s Tragedy directed by Christopher Ashley. At The Public she dramaturged such projects as Jessica Hagedorn’s Dogeaters, Tina Landau’s Space and Two Sisters and a Piano by Nilo Cruz, among other projects. She serves as a playwright’s dramaturg for UC San Diego’s Baldwin New Play Festival and was co-curator of the New Work Now! Annual festival. She has been a creative advisor/dramaturg at the Sundance Theatre Lab. She is an MFA graduate of Columbia University’s dramaturgy program.
Telsey + Company cast the Broadway shows and tours of The Addams Family, The Best Man, Bring It On, Evita, Godspell, Memphis, Newsies, The Normal Heart, Porgy and Bess, Priscilla Queen of the Desert, Sister Act, Spider-Man: Turn Off the Dark, Rock of Ages, A Streetcar Named Desire and Wicked. It cast the off-Broadway productions of Million Dollar Quartet (plus the tour and Chicago run) and Rent, and for Atlantic, MCC and Signature. Film credits include Across the Universe, Dan in Real Life, Friends with Kids, I Love You Phillip Morris, Joyful Noise, Margin Call, The Odd Life of Timothy Green, Rachel Getting Married and Sex and the City 1 & 2. TV credits include The Big C, A Gifted Man and Smash. Visit telseyandco.com.
Since joining Berkeley Rep in 1976, Kimberly has stage managed more than 75 productions here in the ensuing decades. His other work includes many productions at ACT (most recently Humor Abuse and Race), as well as projects for Center Theatre Group in Los Angeles, LJP, the Huntington, Kansas City Repertory Theatre and numerous Bay Area theatres.
Henry last appeared at Berkeley Rep in The Playboy of the Western World. On Broadway, he performed in Julius Caesar with Denzel Washington. Henry has acted and directed at numerous regional theatres, including Actors Theatre of Louisville, American Conservatory Theater, American Players Theatre, Arden Theatre Company, Boston Shakespeare Company, Centerstage, Delaware Theatre Company, the Hong Kong Repertory Company, Indiana Repertory Theatre, La Jolla Playhouse, Meadow Brook Theatre, Syracuse Stage, the Shakespeare Theatre Company and the Alabama, Illinois, New Jersey, Pennsylvania and Utah Shakespeare Festivals. His TV credits include Ally McBeal, Cheers, Law & Order, Picket Fences, Seinfeld, Star Trek and Third Rock from the Sun. Henry was a resident actor and director at Oregon Shakespeare Festival from 1984 to 1991 and its artistic director from 1991 to 1995; from 2008 to 2009 he was the executive producer of the Lake Tahoe Shakespeare Festival. Henry was also the head of the MFA acting program at Illinois State University from 2009 to 2012.
Brian is reprising his role as bassist from the LJP, McCarter Theatre Center and New York Theatre Workshop productions of An Iliad. A double bassist, his playing has been hailed as “shocking and evocative” by the Philadelphia Enquirer, and the New York Times has described him as “coaxing an amazing variety of sounds from his instrument.” As a soloist, he has been featured at New Music Hartford and the Spoleto Festival USA. As a chamber musician, he is a standing member of the Heavy Hands bass quartet and Le Train Bleu. As an orchestral musician, Brian has performed as principle of the Lucerne Festival Academy Orchestra under the direction of Pierre Boulez, as well as principle of Gotham Chamber Opera and the Spoleto Festival Orchestra. In 2011, Brian performed with the Lucerne Festival Academy/Ensemble Intercontemporain tour, a six-city European tour showcasing Pli Selon Pli, a masterwork of Pierre Boulez. As an advocate for multimedia and experimental music, Brian has collaborated with visual artists, dancers and actors to bring their work to life through music and his own improvisations. Brian holds a bachelor’s degree from the Hartt School and a master’s from Yale University.
* Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States