The Dudleys!: A Family Game
Written by Leegrid Stevens & Directed by Gary Jaffe


ARTISTIC STAFF


Gary Jaffe (Director) is a director, playwright, proud Austin native and the new Artistic Director of Tutto Theatre Company. His professional work includes Spirits to Enforce° with Capital T Theatre, who selected him as their 2011 New Directions Director. He received his B.A. cum laude with Distinction in Theater Studies from Yale University in May 2010. At Yale, he directed the world premieres of Beautiful Little Fools by Tessa Leigh Williams and his own translation of Once Five Years Pass by Federico García Lorca. His work at Yale also included Passion by Stephen Sondheim, The Real Thing by Tom Stoppard, Ghosts by Henrik Ibsen, L’enfant et les sortilèges an opera by Maurice Ravel, and The Baltimore Waltz and The Long Christmas Ride Home both by Paula Vogel. He also served on the Executive Boards of the Yale Dramatic Association, Inc. and the Yale Drama Coalition. He was the 2010 recipient of the Richard B. Sewall Cup for outstanding scholarly achievement and creative promise. www.garyjaffe.net

Melinda Rebman (Choreographer) originally hails from Tulsa, Oklahoma where she first played Mario Bros for hours on end...regretfully she never once saved the princess. She is a founding member of RedWall Dance Theatre in New York City and has also performed with Bardos Ballet and other independent choreographers. Ms. Rebman is currently the Artistic Director of Chrystie Street Ballet Academy in Manhattan, and is also a teaching artist and choreographerfor several Arts in Education programs in New York. She graduated with a B.F.A. in Dance from Southern Methodist University. Melinda is thrilled to continue her collaboration with The Dudley's!

Zenobia Taylor (Choreographer) is Co-Artistic Director of The Getalong Gang Performance Group and mother to Cassius the Basset Hound and Billy the Turtle. During her stint with GGPG she has choreographed and directed several productions including Dolly Would, Post-Oedipus, Arthuriosis‡, Ben Franklin: A Rock Opera, and The Candy Dish. Other Austin credits include works for Ballet East, Capital T, Hot September Flurries, and Austin Shakespeare. While living in New York City, she danced with RedWall Dance Theatre and Offspring Dance Company and presented original works at numerous venues including HERE Arts Center, 42nd St. Repertory Theater, and Chashama on 42nd. In addition, her work has been produced on stages in Dallas, California, and Massachussetts. She received her B.F.A. in Dance from Southern Methodist University.

Chase Staggs (Set Designer) has been designing for stage and screen since the late Reagan era. He has been awarded: Outstanding Set Designer by the Austin Critic’s Table twice and twice received nominations for the B. Iden Payne Awards for Outstanding Set Design. Serving in World War II in the Army’s Quartermaster Corps and working briefly for Georgia Governor Ellis Arnall, Chase ran his family’s furniture business in Atlanta, eventually becoming president of that city’s Chamber of Commerce. He defeated Lester Maddox to become mayor of Atlanta in 1961, and served in that office from 1962 to 1970. During his term, Chase took several steps to desegregate Atlanta, including removing signs designating water fountains and other public facilities as colored and white. He is also widely credited with bringing the Braves baseball team from Milwaukee to Atlanta and encouraging the formation of the NFL’s Atlanta Falcons.

Natalie George (Lighting Designer) is a designer, producer, and artist currently living in Austin, Texas. While working at St. Edward’s University she designed lights for Parade, Midsummer, 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 is also one of the producers of Fusebox Festival.

Benjamin Taylor Ridgway (Costume Designer) collaborated with Palindrome on their productions of At Home At the Zoo and Hedda Gabler. In Austin he has also designed Baal for Paper Chairs, and most recently for the band, The White Ghost Shivers. In New York he is the resident designer for Theatre East and has also worked with: The Acting Company, Shakespeare NYC, Weathervane Playhouse and Orange Hanky. Other design credits include Macbeth, A Midsummer Night’s Dream, Jeffrey, The Full Monty, Annie Get Your Gun, HONK!, Thoroughly Modern Millie, Harvest, Eye of God, and Inherit the Wind.

Leegrid Stevens (The Gamer, Playwright, Director, Sound Designer/Composer, & Artist-in-Residence 2011, 2012). See Author BIO.

Daniel L. Brock (Photographer, 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 (Lead 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.

Pidge Smith (Producer) is a native Austinite. She started acting in second grade and fell in love with the theatre. She decided she had found her life’s career as a thespian, broadening her skills by third grade hosting the school’s annual show. Pidge showed her range by playing in Zachary Scott’s Charlie and the Chocolate Factory as Grampa George. At the age of 10 Pidge helped write an original script called Zek, the Zealous Robot, in which she played Zella, Zek’s love interest. Pidge pursued theater throughout high school and college. She then moved to New York City for eight years, joining companies like New Georges, Company in the House, and Theater of Necessity, learning how to get a show up despite the drama. Eventually finding her way back to the Texas Hill Country in the late 90s, she became a part of the Hill Country Community Theater staff. The first to hold the position of Volunteer Coordinator and Office Manager, she worked there for four and half years. She went on to work for Zachary Scott Theatre Center as Development Assistant for a year. And then moved to Austin and joined Tutto Theatre Company in the fall of 2005, around the same time she got married.

*B. Iden Payne Award.
**B. Iden Payne Award nomination.
†Austin Critics Table Award.
‡Austin Critics Table Award nomination.
°Other Awards/Nominations.


 

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