"Matchbook of a Heart" - CAST BIOGRAPHIES
Akiko Aizawa (Actor) - Chinatsu
As an actor with SITI CO: Hotel Cassiopeia, A Midsummer Nights Dream, bobrauschenbergamerica, Intimations for Saxophone, La Dispute, War of the Worlds, War of the Worlds (Radio Play), Culture of Desire, Nicholas and Alexandra, Marina A Captive Spirit (all directed by Anne Bogart) and systems/layers (music by Rachels / directed by Barney O'Hanlon). Other productions include: The Trojan Women, Three Sisters and Dionysus (all directed by Tadashi Suzuki). Theaters / Festivals include: Alabama Shakespeare Festival, American Repertory Theatre, Arena Stage, Kennedy Center, Los Angeles Opera, New York Theatre Work Shop, The Walker Art Center, BAM Next Wave Festival, Humana Festival, Australian Bicentennial EXPO, Biennale Bonn, Colombia International Theatre Festival, Edinburgh International Theatre Festival, MC93 Bobigny and Toga International Theatre Festival.
Stephen Webber (Actor) - Jamie
Stephen Webber has performed with Anne Bogart and the SITI Company in theaters all over the U.S. and around the world for the last 12 years. SITI Credits: Hotel Cassiopeia, Death and the Ploughman, War of the Worlds (Orson Welles), bobrauschenbergamerica, systems/layers (with Rachels), La Dispute, A Midsummer Nights Dream, Cabin Pressure, Going Going Gone, Culture of Desire, The Medium, Private Lives, Hay Fever, War of the Worlds / Radio Play (Orson Welles), Short Stories. Off Broadway: Death and the Ploughman (CSC), War of the Worlds (BAM), Culture of Desire (NYTW), Trojan Women / A Love Story (En Garde Arts). Regional Theater: American Repertory Theater, Actors Theatre of Louisville, Milwaukee Repertory Theater, San Jose Repertory Theater, Magic Theater, Portland Stage Company, Alabama Shakespeare Festival.
Leon Ingulsrud (Actor) - Interviewer
Leon Ingulsrud helped to found SITI Company and has appeared in Orestes, Seven Deadly Sins (New York City Opera), Nicholas & Alexandra (LA Opera), bobrauschenbergamerica and Hotel Cassiopeia. Previous to SITI, Mr. Ingulsrud was a member of the Suzuki Company of Toga for seven years during which time he appeared in Homage to Homo Ludins, King Lear, Dionysus, Macbeth, Ivanov and Greetings from the Edge of the Earth. During this time, Mr. Ingulsrud also served as a resident director at the ATM Arts Center in Mito, Japan. Mr. Ingulsrud served two years as the associate artistic director of Swine Palace in Baton Rouge, LA. Directorial credits include Endgame, The Hairy Ape, Macbeth, Martini Ceremony, Medea, Angel/Babel, Short Stories, The Sea, The Grapes of Wrath, The Tempest, Death of a Salesman, Saint Joan, Our Town, Laramie Project, Eurydice, Psyche, Callies Tally, Big Love and three different, original adaptations of Moby Dick. Mr. Ingulsrud has taught in workshops and universities around the world, and holds an MFA in directing from Columbia University. In addition to directing, acting and teaching, Mr. Ingulsrud has translated for English publication or production, nine Japanese contemporary plays.
Jason Skaggs (Actor) - Martin Green
Jason Skaggs is a musician living in Louisville, KY. He has performed and toured with the bands Eleven Eleven, Elliott and the experimental band Gold Jacket Club (1998 - Present). Jason appears for the first time as an actor in the independent horror project Matchbook of a Heart. Gold Jacket Club created the original score for the 12 minute film and recorded their first album in November of 2007.
SITI CO. HISTORY
SITI Company is an ensemble-based theater company whose three ongoing components are the creation of new work, the training of young theater artists, and a commitment to international collaboration.
SITI was founded in 1992 by Anne Bogart and Tadashi Suzuki to redefine and revitalize contemporary theater in the United States through an emphasis on international cultural exchange and collaboration. Originally envisioned as a summer institute in Saratoga Springs, New York, SITI has expanded to encompass a year-round program based in New York City with a summer season in Saratoga. SITI believes that contemporary American theater must necessarily incorporate artists from around the world and learn from the resulting cross-cultural exchange of dance, music, art, and performance experiences.
|
|
|