Kirsten Potter is pleased to be a Seattle local after appearing in Big Love at ACT, and Over the Moon and A Midsummer Nights Dream at Seattle Rep. Since moving to town a year ago with her kids and firefighter husband, she has appeared as Aphra Behn in Or, and Melanie in One Slight Hitch. Hailing from Los Angeles by way of New York and various regions in between, her credits include roles with South Coast Repertory, Mark Taper Forum, Geffen Playhouse, Matrix Theater, Anteaus, Milwaukee Repertory Theater, Arizona Theater Company, Huntington Theater, Arena Stage, Geva, American Conservatory Theater; and The Utah, California, Nebraska, and Santa Fe Shakespeare Festivals. Ms. Potter voices numerous roles in video games, cartoons, and audio books, and has been honored by the Garland Awards, Audiofile Magazine, the National Foundation for Advancement in the Arts; and most recently received a Gregory Award for Outstanding Actress for Or,. www.kirstenpotter.com
Previously at Seattle Rep: You Can’t Take it With You, The Imaginary Invalid, Twelfe Night, Noises Off, The Great Gatsby. In Seattle: Intiman, ACT, 5th Avenue, Strawshop and Seattle Children’s Theatre. Broadway credits include: Much Ado About Nothing and The Miser. Mr. Farwell was a company member at the Stratford Festival for three years. Regionally in the U.S. he has played the title roles in Hamlet and Pericles and Iago in Othello for Nebraska Shakespeare, Tom in The Glass Menagerie at Madison Repertory, and two seasons at American Player’s Theatre. Television Credits include “Grimm” and “Leverage.” He received his training at The Webber Douglas Academy of Dramatic Arts, London.
Aaron was seen last season at Seattle Repertory Theatre in Clybourne Park as well as How To Write A New Book For The Bible, a world premiere co-production with Berkeley Repertory Theatre. Other regional credits include How To Write A New Book For The Bible at South Coast Repertory, The Lion in Winter at Shakespeare Santa Cruz, Sense and Sensibility at Book-It Repertory Theatre, Much Ado About Nothing at Idaho Rep, Cloning Judson at Southern Rep, and Swansong at Shakespeare Walla Walla. Film credits include: We Need to Talk About Kevin, Frayed, and We Go Way Back. T.V.: “Grimm” and “Leverage.” Aaron holds an MFA in acting from the University of Washington.
Benjamin Harris is an actor, musician, and filmmaker based in Seattle. He has been seen on stage at Seattle Rep, Indiana Rep, New Century Theatre Company, and in many productions at ACT. He sings, plays trumpet and writes original music for his band, Cordaviva, and has also played trumpet for soul singer Allen Stone and the Seattle Rock Orchestra. As a co-founder of the local film company Cro-Magnon Pictures, he writes, directs, and stars in award-winning short films that have screened at various festivals around the world. www.cromagnonpictures.com
Brian is honored to join the cast of Photograph 51 for his SRT debut. A Seattle native, Brian has played nearly fifty leading roles in plays, films, and musicals in the US and abroad, and is a two-time recipient of the 5th Avenue Award for “Best Actor” from the 5th Avenue Theatre. Recent credits include Melchior in Spring Awakening at the Balagan Theatre, Leo Bloom in The Producers at the Village Theatre, and T.S. Eliot in Tom & Viv at the ElevenOne Theatre in Oxford. Brian spends his time outside of the theater conducting and publishing research in psychology, philosophy, and ethics, and holds degrees from Yale and Oxford Universities.
MJ was seen previously at the Rep in Twelfe Night (Antonio) and Glengarry Glen Ross (Williamson). He has also appeared on the stages of Intiman, ACT Theatre, Seattle Shakes, Seattle Children’s Theatre, Strawberry Theatre Workshop and most recently Cafe Nordo, to name a few. He is a founding member of New Century Theatre Company and appeared in The Adding Machine, O Lovely Glowworm and next in Kafka’s The Trial. He just returned from Detroit, MI where he was directing a documentary about ex-convicts entering the workforce for the first time with his film company BHf Films.
Anna Ziegler’s plays Photograph 51, Dov and Ali, Another Way Home, The Minotaur, BFF, Novel, Evening All Afternoon and Life Science have been, or will be, produced at theaters including: The Magic Theatre, Ensemble Studio Theatre, New Georges, Theater J, DR2 (W.E.T.), The Cherry Lane (Playwrights Realm), Brown/Trinity Playwrights Rep, SPF, The Fountain Theater, English Theatre of Berlin, Theatre503 (UK), Synchronicity Theatre, Rorschach Theatre, JET, Vermont Stage, Chester Theatre and Nora Theatre Company. Commissions: Manhattan Theatre Club, Ensemble Studio Theatre, Virginia Stage and New Georges. Awards: STAGE award, Weissberger Award (finalist), Edgerton New Play Prize, Douglas T. Ward Playwriting Prize, NYIT Award Nomination for Best Short Play (2011, 2012). Residencies/Workshops: Sundance Theatre Lab, O’Neill Playwrights Conference, Williamstown Theatre Festival, Cape Cod Theater Project, Arena Stage, PlayLabs (Playwrights Center), Chautauqua Theatre Company, Soho Rep Writer/Director Lab, TheatreWorks New Works Festival, Lark Playwrights Workshop, McCarter Playwrights Retreat, Rattlestick Theatre, Araca Group, Old Vic New Voices, terraNOVA Groundbreakers Playwrights Group, Orchard Project, Ars Nova, Berkshire Playwrights Lab, Primary Stages, Geva Theatre, New Harmony Project, Icicle Creek Theatre Festival and The New Group. Publications include: New Playwrights: The Best Plays of 2007 and DPS editions of BFF, Life Science and Photograph 51. Film: Screenplay adaptation of Photograph 51, with Rachel Weisz attached to star, funded by a Tribeca Film Institute/Sloan Foundation grant. For more: annabziegler.net
Seattle Rep: Associate Artistic Director; The Glass Menagerie by Tennessee Williams; Clybourne Park by Bruce Norris, This by Melissa James Gibson, The K of D, an urban legend by Laura Schellhardt (also with Pistol Cat, Illusion Theatre, FringeNYC Encore Series), Opus by Michael Hollinger, Breakin’ Hearts & Takin’ Names by Kevin Kling and Simone Perrin (premiere), Betrayal by Harold Pinter, and My Name is Rachel Corrie by Alan Rickman and Katherine Viner (U.S. regional premiere). Other theaters: Riddled by Marya Sea Kaminski (Richard Hugo House); White Hot by Tommy Smith (Marxiano / West of Lenin); The Ten Thousand Things by Paul Mullin (premiere, Washington Ensemble Theatre); Kuwait by Vincent Delaney (premiere, Theatre Schmeater); True West, The Underpants (Spokane Interplayers); Prometheus Bound (The Lincoln Center Directors Lab). New work: The Playwright’s Center, Seattle Rep, Empty Space, On the Boards, Portland Center Stage, New Century Theatre Company. Guest artist: University of Washington, Western Washington University, Gonzaga, University of Idaho, and Seattle University. Member: SDC, Lincoln Center Directors Lab.
Scott designed How to Write a New Book for the Bible, Clybourne Park, Ma Rainey’s Black Bottom, Pygmalion, Seven Guitars and Joe Turner’s Come and Gone for Seattle Rep. On Broadway he designed the premieres of Joe Turner’s Come and Gone (Drama Desk Award) and Seven Guitars (Drama Desk Award and Tony nomination). His recent credits in New York include Eurydice for Second Stage, Lidless for SoHo Rep, and Incident at Vichy for the Beckett Theater. Regional credits include: All My Sons and Prelude to a Kiss for the Huntington, The Bluest Eye and Italian American Reconciliation for Long Wharf Theatre, and She Loves Me for OSF. Recently he designed Theresa Rebeck’s world premiere of Dead Accounts for Cincinnati Playhouse in the Park, and Scorched for American Conservatory Theater. He designed sets for Journey to the West (Bay Area Theatre Critics Circle Award), The Notebooks of Leonardo Da Vinci (Lucille Lortel Award), and Silk (Joseph Jefferson Award), all adaptations written and directed by Mary Zimmerman. Scott provided production design for the film Pushing Hands, written and directed by Ang Lee. And he designed the restaurant interior of Fremont’s The BACKDOOR at Roxy’s featuring his own mural work.
Pleased to be working with Braden Abraham for the first time, Ms. Trout’s recent experience at the Rep has been with the Wilson Milam team for American Buffalo, God of Carnage, Glengarry Glen Ross, and The Seafarer. A Northwest designer, Ms. Trout’s other recent works are Portland Center Stage’s The North Plan, Intiman Festival’s Romeo and Juliet and Dirty Story, Seattle Children’s Theatre’s A Year With Frog and Toad, and Seattle Opera’s Young Artists Program’s delightful Don Pasquale. Recent favorites include Seattle Rep’s Of Mice and Men and Seattle Opera’s Lucia di Lammermoor. Ms. Trout’s collaborations include shows at ACT Theatre, Atlanta’s Alliance Theatre, Actors Theatre of Louisville, The Denver Center Theatre, Intiman Theatre, Manhattan School of Music, Minneapolis Children’s Theatre Co., Oregon Shakespeare Festival, Portland Center Stage, Juneau’s Perseverance Theatre, Syracuse Stage, and Shakespeare Santa Cruz, among others. Co-founder of the New York-based millinery company Mackey and Trout, she is a graduate of the Yale School of Drama and a member of the design faculty at the University of Washington’s School of Drama.
L.B. Morse is a lighting, scenic, and multimedia designer for theatre and dance. Previous designs at Seattle Rep include: The Glass Menagerie (lighting), Clybourne Park (lighting), Or, (lighting), Sylvia (lighting), This (scenery and lighting), The K of D, an urban legend (co-scenic design), Dancing at Lughnasa (lighting), Opus (lighting), Breakin’ Hearts & Takin’ Names (scenery and lighting), Betrayal (lighting and multimedia), My Name is Rachel Corrie (lighting), Tom Pain (based on nothing) (lighting), and Twelfe Night (multimedia). He has also designed for ACT, Seattle Children’s Theatre, Strawberry Theatre Workshop, Intiman, Seattle Shakespeare Company, On the Boards, Lingo dancetheater, Maureen Whiting Dace Co., and Empty Space, among others. L.B. holds a BA in Theatre Arts and a Graduate Certificate in Scenic Design from University of California, Santa Cruz, and is the Associate Designer here at Seattle Rep.
Matt is a freelance sound designer for both theatre and dance and a writer from Seattle. He recently designed the sound for A Crack in Everything for the Zoe|Juniper Dance Company, which premiered at Jacob’s Pillow Dance Festival and is touring nationally. He returns to Seattle Rep where he has designed the sound for American Buffalo, boom, Breakin’ Hearts & Takin’ Names, The Brothers Size, Circle Mirror Transformation, Clybourne Park, Glengarry Glen Ross, God of Carnage, How to Write a New Book for the Bible, Imaginary Invalid, Inspecting Carol, The K of D, Opus, The Seafarer, and Speech & Debate. Matt has also designed for the Alley Theatre, Berkeley Repertory Theatre, Cornerstone Theater Company, Illusion Theatre, Intiman, Seattle Shakespeare Company, Strawberry Theatre Workshop, South Coast Repertory, and Washington Ensemble Theatre. Matt is a part-time lecturer at the UW’s School of Drama.
Whitney just finished working with Seattle Rep on Inspecting Carol and is delighted to return for this project. Other credits include First Date, Double Indemnity (ACT); Death of a Salesman (The Old Globe); A Doctor in Spite of Himself, Ruined, Othello, A Streetcar Named Desire (Intiman Theatre); I Am My Own Wife, Three Musketeers, The Cure at Troy, The Breach, Murderers (Seattle Repertory Theatre); Brementown Musicians, Goodnight Moon (Seattle Children’s Theatre); and Il Trovatore (Seattle Opera). Whitney grew up in San Diego and received a BA from California State University, Chico.