Lauren T. Roark received her MFA in Costume Design and Technology from the University of Missouri-Kansas City and a BA in Theatre-Design and Production from Illinois State University. As a freelance costume designer, maker, and teaching artist, she’s been truly honored to work in an industry she is passionate about and that has afforded her the opportunity to work on four continents – including South America, Europe, and Asia. Past credits include productions with the Tony-Award winning Utah Shakespeare Festival and Cincinnati Playhouse in the Park, Repertory Theatre of St. Louis, Milwaukee Repertory Theater, Kansas City Repertory Theatre, and the Illinois Shakespeare Festival. Her work has been featured in the United States Institute for Theatre Technology Young Designers’ Forum Exhibition and she received the Barbizon Award for Theatrical Design Excellence. Lauren is a proud member of United Scenic Artists, Local 829. To view her work, please visit www.laurentroark.com.
Dr. Gina M. Di Salvo teaches and writes about theatre history, dramatic criticism, Shakespeare, saints, and dramaturgy. She is currently writing a book, The Unexpected Saints of Shakespeare’s Stage: Hagiography and Early Modern Theatre, that examines saint plays in England across the Reformation divide, from the Middle Ages through the seventeenth century. She has published a book chapter, “The Framing of the Shrew,” and has an essay, “Saints’ Plays and Shoemakers’ Holidays,” forthcoming in the December 2016 volume of Early Theatre. She has received fellowships from the American Association of University Women, the Huntington Library, and the Chicago Humanities Festival, and has participated in scholarly programs at the Folger Institute. A professional dramaturg, Dr. Di Salvo is an artistic associate of Sideshow Theatre Company in Chicago and has dramaturged for Sideshow as well as for other Chicago-area theatres. She received a Ph.D. from Northwestern University, an M.A. from The Ohio State University, and a B.A. from The Catholic University of America.
Abigail trained as an actor at the Royal Conservatoire of Scotland (BA Acting) and on the Postgraduate Musical Theatre course at the Royal Academy of Music, London (PG Dip RAM). Abigail trained as a Voice/Dialect Coach at the Royal Central School of Speech and Drama, London and holds an MA in Voice Studies, she is also in the final stages of training to become a Certified Master Teacher of Estill Voice Craft™. Additionally she holds an MA in Learning and Teaching in Higher Education (LTHE) from Liverpool John Moores University. Abigail was Head of Voice at the Liverpool Institute for Performing Arts (LIPA) for four years and has taught the fundamentals of voice production, including work on text, at some of the UK’s leading drama schools including the Mountview Academy of Theatre Arts, the Birmingham School of Acting and ALRA. Abigail is also a Voice and Dialect Associate for the Old Vic Theatre, London and the Shaw Festival Theatre in Canada.
From Pearl River, Louisiana, Jillie graduated from Louisiana Tech University. Jillie has served as the Scenic Charge Artist for the Clarence Brown Theatre since 2008 and became an Artist-in-Residence on the Theatre Department’s Faculty in 2011 teaching Scene Painting to both graduate and undergraduate students. Previously the Scenic Charge for Birmingham Children’s Theatre, Jillie has also worked as a freelance scenic artist for such companies as the Alabama Ballet, Arkansas Repertory Theatre, and Riverside Theatre among others. When not painting for theatre, Jillie occasionally works as a decorative artist and pursues her personal art.
Dr. Stan Garner (Ph.D. Princeton University) teaches courses in modern and contemporary drama, introduction to drama, and theories of drama and performance. He is the author of The Absent Voice: Narrative Comprehension in the Theater (Illinois University Press, 1989), Bodied Spaces: Phenomenology and Performance in Contemporary Drama (Cornell University Press, 1994), and Trevor Griffiths: Politics, Drama, History (1999). With J. Ellen Gainor and Martin Puchner, he co-edited the two-volume Norton Anthology of Drama, which was published in 2009 and spans the history of world drama from the Greeks to the present. His articles and reviews have appeared in Modern Drama, Theatre Journal, Theatre Survey, Comparative Drama, New Theatre Quarterly, Theatre Topics, Shakespeare Survey, Contemporary Theatre Review, Essays in Theatre/Études théâtrales, Journal of Dramatic Theory and Criticism, Degrés, Cycnos, The Pinter Review, Modern Language Quarterly, and Studies in Philology. His article “Rewriting Europe: Pentecost and the Crossroads of Migration” (Essays in Theatre) was awarded the 1998 Essay in Criticism Award by the Association for Theatre and Higher Education as the best essay written in theater studies the previous year, and “Post‑Brechtian Anatomies: Weiss, Bond, and the Politics of Embodiment” was translated into Chinese and published by the Central Academy of Drama in Beijing.
Carol trained for three years at the Central School of Speech and Drama in London and was one of the founders of the Drama Centre London, now considered one of the leading theatre schools in England. Returning to America, she joined the American Conservatory Theatre in San Francisco. She made her Broadway debut as Natasha in William Ball’s production of Chekhov’s Three Sisters. Other Broadway appearances include Oedipus Rex with John Cullum, First Monday in October with Jane Alexander and Henry Fonda, and The Suicide with Derek Jacobi. Off-Broadway she appeared in The Lady’s Not for Burning, Little Eyolf, and The Old Ones, among many others. Carol then went to Los Angeles with the award-winning television series, Fame, in which she played English teacher, Elizabeth Sherwood, for five years. She was asked by playwright Edward Albee to play Martha in his production of Who’s Afraid of Virginia Woolf, with which she toured the United States, Lithuania and Russia. Ms. Jenkins has worked extensively in Regional Theatre since her years in television. She played Mary Tyrone at the Denver Center Theatre, Marquise de Merteuil at the Cleveland Playhouse, Circe in Circe And Bravo at Wisdom Bridge Theatre in Chicago, Mrs. Higgins in Pygmalion at Seattle Rep., and various selections in Albee’s Women at the Old Globe Theatre. She has done four plays at San Jose Rep; Amy’s View, By the Bog of Cats (with Holly Hunter), Las Meninas, and Enchanted April. In Northern California she has played Arkadina in The Sea Gull, another Mrs. Graves in Enchanted April, and directed Private Lives.
Neil Friedman is an Artist-in-Residence at the Clarence Brown Theatre. CBT credits: On the Razzle, Kiss Me, Kate, It’s A Wonderful LIfe: A Live Radio Play, Moonlight and Magnolias, The Music Man, The Merry Wives of Windsor, Man of La Mancha, Charley’s Aunt, Born Yesterday, A Christmas Carol, and The Triumph of Love. Chicago area credits include: The Court Theatre, Steppenwolf, Chicago Shakespeare, Goodman Theatre, Marriott Lincolnshire, and The Peninsula Players. Regional credits include: Flat Rock Playhouse, NC; Utah Shakespearean Festival; Capitol Repertory, NY; The New Victory Theatre, NY; Coconut Grove Playhouse, FL; Children’s Theatre Company of Minneapolis; Austria’s Vienna English Theatre. Neil is a proud recipient of Chicago’s Joseph Jefferson Awards.
Ms. Wolfe Zahn has spent the past 15 years as a professional performer fluent in both opera and musical theater. She is the vocal instructor for the MFA acting students for the UT Theatre Department. She holds a Bachelor of Music Education/Vocal Performance from Belmont University and a Master of Music in Opera Performance from the University of Tennessee. Katy has kept an active private voice studio of both performing professionals and developing students while also teaching for area colleges. She has served as musical director, conductor, choreographer and vocal coach for many professional and collegiate productions including Threepenny Opera, Guys and Dolls, High Society and West Side Story. As a professional singer her credits include Sally in Cabaret, Lalume in Kismet, Mercedes in Carmen, the title role in Suor Angelica, Mrs. Walker in The Who’s Tommy and most recently as the Beggar Woman in Sweeney Todd at CBT. She sang the Haydn Lord Nelson Mass throughout England with the Cathedral Music Festival as well as stateside with both Oak Ridge Symphony and Symphony of the Mountains. She is the vocal soloist for the Family Concert Series for Knoxville Symphony and has appeared extensively throughout the region including singing for the 75th Anniversary of the Smoky Mountain National Park, Knoxville 4th of July Celebration and in symphony pops, chamber and master works concert series.
Terry is a member of the UT Theatre faculty and teaches Musical Theatre Performance, Introduction to the Theatre and Acting. Prior to joining the UT faculty Mr. Silver-Alford held the positions of Director of Musical Theatre at The University of Tulsa, and Director of Musical Theatre at The University of Wisconsin at Stevens Point. He has worked professionally as a performer, director, musical director and composer at theaters across the country, including the California Theatre Center, Madison Repertory, Omaha Playhouse, Augusta Barn, Fireside Theatre, Light Opera of Oklahoma, and the Clarence Brown Theatre. Terry has directed or musically directed over 100 productions and has created the scores for four original musicals and a variety of chamber and vocal music pieces. He earned his MFA from The University of Tennessee. Terry regularly directs and or musically directs shows for the CBT. Favorite CBT directing credits include The Twenty Fifth Annual Putnam County Spelling Bee, Assassins, Into the Woods, and Guys and Dolls. Favorite Musical Direction credits include Kiss Me Kate, Tommy, and Man of La Mancha. In addition, Terry regularly composes incidental music for CBT productions and is the director of the CBT Summer Acting Workshop and also serves as co-facilitator of Outreach and Education hosting Theatre Talkbacks and writing preview articles for CBT shows.
Mr. Payne joined the Department of Theatre after ten years as resident sound designer for Pioneer Theatre Company and teaching sound and projection design for The University of Utah and Illinois State University. He has designed sound, projections, and/or composed music for more than 150 productions in theaters throughout the country, including twelve years at the Utah Shakespeare Festival, Round House Theatre, Indiana Repertory Theatre, Alabama Shakespeare Festival, The Repertory Theatre of St. Louis, four years at The Virginia Stage Company, Milwaukee Repertory Theatre, Utah Opera and Symphony, The Fulton Opera House, Utah Musical Theatre, and many others. He has taught master classes for various sections of the United States Institute for Theatre Technology, Southeastern Theatre Conference, Utah Theatre Association, and Illinois High School Theatre Festival. His sound design and composition of Julius Caesar was presented in the Prague Quadrennial design exhibition 2007 and USITT states tour 2008. Joe is a member of United Scenic Artist local 829, and the USITT Sound Commission.