I Witness

an evening of dance (and spoken-word)
with choreography by Amanda Oakley,
Shawn Nasralla, and Jennifer Micallef


ARTISTIC STAFF


Amanda Leigh Oakley (Performer, Choreographer) is not only a performer, but a creator, constructor, and dance educator. She received her B.F.A. in Dance Performance from The University of Texas at Austin. She has extensive training in Ballet, Contemporary, Improvisation, and Contact Improvisation. She has performed with many different dance companies/projects in Arizona, Hawaii, and Texas, including various independent artists from the Austin dance community, Instinct DanceCorps, TILT Dance Company, and Ariel Dance Theatre. She is currently the Co-Artistic Director for ReleaseMotion Dance Project, a multi-disciplinary dance company based in Austin, Texas. Her dance career includes working with LA-based Holly Johnston, founder of Ledges and Bones Dance Project, Kathleen Hermesdorf of Motion Lab from San Francisco and Nancy Stark-Smith to name a few. She strives to produce and execute stimulating and dynamic movement that stays authentic in both physicality and emotion.

Shawn Nasralla (Performer, Choreographer) has a B.F.A. in Dance from The University of Montana. She has performed in faculty, student and guest artist works at The University of Montana, Dance Theater of Iowa, and Maharishi University of Management, as well as studied with and performed works by Amy Ragsdale of Headwaters Dance Company, Doug Varone and Company, Malashok Dance Company, Llory Wilson, Emma Lammereaux of Dance Theater of Iowa, Jennifer Micallef, and Ellen Bartel of Spank Dance. Shawn’s choreography has been performed at The University of Montana, Maharishi University of Management, Dance Theater of Iowa, Austin Big Range Dance Festival 2009 and 2010, An Evening of Dance at The Dougherty Arts Center and in Katherine Hodge’s production “Human/Animal” in Austin. She has been producer, guest artist, teacher, and summer faculty member at Dance Theater of Iowa. Shawn currently lives in Austin where she dances, choreographs, and teaches Pilates in her studio at Austin Holistic Health. She is thrilled to be a part of this project and to be working with such an amazing group of talented, inspired individuals.

Jennifer Micallef (Performer, Choreographer), originally from Cleveland, Ohio, studied dance at Eastern Michigan University and has been performing and creating dance since 1996. She has worked with dance companies, independent choreographers, theater projects, and in improv comedy groups since moving to Austin in 2001. She is currently a member of GNAP! Theater Projects and also performs with Mongoose, an improvised musical group. Jennifer is passionate about collaborating with musicians and dancers in live, improvised formats as well as in modern dance works.

Natalie George (Lighting Designer, Set Designer) is a designer, producer, and artist currently living in Austin, Texas. While working at St. Edward’s University she designed lights for Parade, Mid Summer, Cyrano De Bergerac, and Peer Gynt. Some of her favorite designs around town include: The Assumption, HYEBA, Magic Flute, Flush, and Hamilton Township. She is also the resident lighting designer for the National Puppetry Conference at the Eugene O’Neill Theater Center. Last year she produced a short film entitled The Runner and Spacestation 1985, a new play at The Tank in NYC. She will soon be hard at work as the Associate Producer for the 7th Annual Fusebox Festival.

K. Eliot Haynes (Video/Sound Designer) has been a sound and video designer in Austin for many years. He is the Technical Director for Austin’s Fusebox Festival and works for a large variety of arts organizations. Recent designs for dance include video design for Spank Dance for Dance Carousel, Mari Akita for Project Forklift, and Shawn Nasralla for Big Range Dance Festival. Eliot has also done sound design for Ariel Dance Theater’s Flush and Big Range Dance Festival. He has won Austin Critics’ Table Awards for both sound design (The Kindermann Depiction, Physical Plant) and video design (The Assumption, Refraction Arts). Eliot is happy to be making his debut working with Tutto Theatre Company.


TECHNICAL CREW


Denise Saenz (Stage manager) is a graduate of The University of Texas at Austin with a degree in Technical Theatre and Performance. She is very happy to be working on this project. She would like to thank everyone involved for helping her remember why art is such an integral part of her life, as well as her family for always supporting her.

Daniel L. Brock (Photographer, Lead Producer) is a third-generation photographer: his paternal grandfather documented the Second World War with the U.S. Navy in the Pacific Theater and both of his parents pursued black and white photography in their youth. His own first experience with photography was on the other side of the lens, as a poster child for the March of Dimes, and it was the Shriners who gave him his first camera—a Christmas gift—at the age of 9. As someone with Cerebral Palsy, Daniel has acquired a unique perspective on the essentials of life and art. His unrivalled clarity of vision and attention to detail enable him to produce striking image that are bold yet subtle. His work explores new ways to communicate the nuances of form, color, texture, and expression while championing a cleaner, more stripped-down approach to the craft of image-making. www.DanielBrock.com

Matthew F. Ervin (Producer) is a Central Texas native. Attending Southern Methodist University, he pursued undergraduate and graduate coursework in Anthropology (Archaeology), English, Medieval Studies, and Creative Writing—yes, he was there for more than the standard four. He also studied Performance Studies with Gretchen Smith, non-Shakespearean Elizabethan drama with the late Twinkie Lawhon, Chaucer and Malory with the inimitable Bonnie Wheeler, and everything in between with the brilliant Jeremy duQuesnay Adams and John Lewis. While at SMU, he was employed variously. He worked for the aforementioned Wheeler: editing copy, page designing, and typesetting for a journal on King Arthur (Arthuriana)—four years worth—and eleven volumes of a book series (published by St. Martin’s Press). He served as editorial advisor to Susan Sentler of the Martha Graham Dance Ensemble and, currently, Technique Coordinator at the Laban Centre London on a wide-range of projects from dance reviews to program and rehearsal notes. He has also worked for columnist, Lee Cullum and Matilda Louree, past Commissioner of the Texas Commission on the Arts. In the Austin theatre scene, he has been Lead Producer on Tutto Theatre Company’s productions of Ophelia*/† by Dustin Wills, Black Snow*/† by Mikhail Bulgakov, Murder Ballad, Murder Mystery*/†/° by Elizabeth Doss, and I Witness. Altogether these productions have collected forty-eight nominations, garnered fourteen awards, and appeared on nine annual ‘Top’ listings from local media. During the day he is Graduate Program Coordinator in the Physics Department at UT. In addition to fulfilling the role of Dramaturg and President of the Board of Directors for Tutto Theatre Company in his spare time, Matthew is a fiction writer who suffers from an advanced stage of bibliomania.

David G. Robinson, Ph.D. (Producer) or ‘Dr. Dave’ has a graduate education in anthropology and has pursued a primary career in that field. For more than fifteen years he has also pursued a parallel career in theater and dance, centered in Austin, Texas. He studied the art and craft of dance performance at the feet of Darla Johnson, Deborah Hay, Nina Martin, Andrea Ariel and Kathy Dunn Hamrick. He trained in acting under C.K. McFarland, Margery Segal, Aaron Johnson and Kate Meehan. He has performed professionally with Johnson-Long Dance Company, Ariel Dance Theatre, Wicked Cricket Dance Theatre, Wild Basin Preserve, Austin Commedia Society and Tutto Theatre Company. He has performed with independent artists Amparo Garcia-Crow, C.K. McFarland, Margery Segal, Sally Jacques, Pina Bausch (Tanztheater Wuppertal), Carol Lewis, Peggy Lamb, Renee Morris Larson, and others. Dr. Robinson has worked in major aspects of technical theater (lighting, sound, special effects, set construction, stage management, house management) on numerous productions. In acting, Dr. Robinson has recently portrayed Pa McAllister in Bull Tiger Productions’ Kung Fu Hillbillies, Old Man in Eugène Ionesco’s The Chairs for The Coda Project, and Father in Alan Bennett’s Kafka’s Dick, also for The Coda Project. But forever in his mind Dr. Robinson will inhabit Pantalone, as he did externally for the Austin Commedia Society.


 

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