Kimberly, with this role, in this beautiful play, is making her Cincinnati Playhouse in the Park debut — actually, her Cincinnati debut, nay, her OHIO debut — and is very happy and grateful to meet each and every one of you. Regionally, she has performed at Denver Center Theatre, Portland Center Stage, Syracuse Stage and Penumbra Theatre Company, though the bulk of her career has been in Washington D.C., where, most recently, she has been at Shakespeare Theatre Company in a David Ives world premiere, and at Ford’s Theatre as Billie Dawn in Born Yesterday. She will be seen later this season in Oslo at Round House Theatre. She is a company member of Woolly Mammoth Theatre Company and Taffety Punk Theatre Company, and she received her MFA with the inaugural class of The Academy for Classical Acting in 2001 alongside this show’s co-star, Marcus. This show is dedicated, of course, to her niece Elisa who lives here in Cincinnati with her husband Andrew and their new baby Rosalie.
Marcus is delighted to make his Cincinnati Playhouse in the Park debut. Previous credits include Lincoln Center Theater, The Kennedy Center, Folger Theatre, Round House Theatre, Arena Stage, Center Stage Theater, Olney Theatre Center, Alabama Shakespeare Festival, Baltimore Symphony Orchestra, Happenstance Theater, Anti-Social Music, Inc./WPAS, Nebraska Shakespeare Festival, Theater J and Metrostage. Marcus is a founding company member of Taffety Punk Theatre Company and has directed several of their dance-theatre-concerts including suicide.chat.room, Shakespeare's epic poem The Rape of Lucrece, and Enter Ophelia, distracted with fellow company member Kimberly Gilbert.
Audrey is pleased to be making her Cincinnati Playhouse in the Park debut. Her plays include The Gulf (Edgerton Award, Lammy Award, Samuel French Off Off Broadway Festival Winner, Charles MacArthur Award nominee); Alabaster (National New Play Network Showcase; Marin Theatre Company’s David Calicchio Emerging American Playwright Prize); Maytag Virgin (Women's Voices Theater Festival); The Story of Walter; and Love is a Blue Tick Hound (a collection of one-acts). She has developed plays with Signature Theatre, Serenbe Playhouse (New Territories), Aurora Theatre Company, Florida Repertory Theatre, Theater Alliance, Quotidian Theatre Company and Contemporary American Theater Festival. She is published by Samuel French, Smith & Kraus (two volumes of Best American Short Plays) and Applause Books. Please visit www.audreycefaly.com.
Blake is Artistic Director of the Playhouse, where he has directed Misery, Treasure Island, Shakespeare in Love, A Prayer for Owen Meany, the world premiere of Karen Zacarías’ Native Gardens, Mad River Rising, Peter and the Starcatcher, Tenderly: The Rosemary Clooney Musical, Pride and Prejudice, 4000 Miles, The Book Club Play, The Three Musketeers and the world premiere of Abigail/1702. Last season, he staged Native Gardens at the renowned Guthrie Theater in Minneapolis and at Arena Stage in Washington D.C. Previously, he collaborated with John Morris Russell and the Cincinnati Pops as director of their concert staging of The Music Man starring Will Chase and Betsy Wolfe. Blake has directed classics, musicals and new plays at theatres across the country including Baltimore Center Stage, Milwaukee Repertory Theater, Utah Shakespeare Festival, Repertory Theatre of St. Louis, Folger Theatre, Round House Theatre, Clarence Brown Theatre, National Shakespeare Company and Vermont Stage. Internationally, he directed the Tennessee Williams classic Summer and Smoke at English Theatre Berlin and has worked several times at the renowned Avignon Festival in France. As an adapter, he created successful stage versions of Alice McDermott's beloved novel Charming Billy and Jay Parini's The Last Station. He serves on the board of the Theatre Communications Group.
Jo’s off-Broadway credits include The Absolute Brightness of Leonard Pelkey; Love, Loss, and What I Wore; multiple shows with The Pearl Theatre Company; and the The J.A.P. Show, Jewish American Princess of Comedy. New York credits include Abingdon Theatre Company; New Georges; The New Group; Keen Company; and Clubbed Thumb. Regional design credits include The Guthrie Theater; Arizona Theatre Company; Utah Shakespeare Festival (over 35 shows); The Old Globe; Berkeley Repertory Theatre; Oregon Shakespeare Festival; Dallas Theater Center; and Geva Theatre Center. Additional credits include Wishes for Disney Cruise Line. Jo is the art director on Late Night with Seth Meyers and received an Emmy nomination for A Colbert Christmas: The Greatest Gift of All.
As Costume Shop Manager at Cincinnati Playhouse in the Park, Gordon has designed numerous Playhouse productions including Be Here Now (2018), Disgraced (2016), Mothers and Sons (2016), Low Down Dirty Blues (2015), Circle Mirror Transformation (2015), Chapatti (2015), The North Pool (2014), The Book Club Play (2013), Hank Williams: Lost Highway (2012), Always ... Patsy Cline (2011, League of Cincinnati Theatres Award), The Pavilion (2011), The Piano Teacher (2011), The Understudy (2010), Victoria Musica (2009), Marry Me a Little (2009), Love Song (2008), Murderers (2007), Reckless (2007), This Wonderful Life (2006), The Clean House (2006), A Picasso (2004), Sing Hallelujah! (2004), Hiding Behind Comets (2004), Proof (2003), God's Man in Texas (2001), Shakespeare's R&J (2000), Wit (2000), The Woman in Black (1998), Coyote on a Fence (1998), Nixon's Nixon (1997) and The Turn of the Screw (1997). His design for Nixon's Nixon appeared at the Edinburgh Festival Fringe in Toronto and on London's West End. His Playhouse designs for God of Carnage, Sleuth, God's Man in Texas, Doubt, The Woman in Black and Nixon’s Nixon appeared at numerous regional theatres across the country. Recently Gordon designed The 25th Annual Putnam County Spelling Bee, The Laramie Project and The Laramie Project: Ten Years Later for Xavier University.
Michelle is thrilled to return to Cincinnati Playhouse in the Park, where she previously designed Shakespeare in Love and Mothers and Sons. Upcoming projects include Gimme Please; Angry, Raucous and Shamelessly Gorgeous at Alliance Theatre Company; and A Doll’s House, Part 2 at Indiana Repertory Theatre. Michelle’s lighting has been seen at many of the nation’s leading regional theatres, including Center Stage Theater, Steppenwolf Theatre Company, Goodman Theatre, The Guthrie Theater, Seattle Children’s Theatre, Children’s Theatre Company, Arden Theatre Company, Kansas City Repertory Theatre, Arizona Theatre Company, Zach Theatre and others. Opera credits include designs for Austin Opera and associate lighting designer for Julie Taymor’s Grendel. Broadway credits include Thoroughly Modern Millie (as slide artist on Broadway, in London and on tour); The Boy from Oz and King Hedley II (as associate lighting designer); and Movin’ Out, Thoroughly Modern Millie and King Hedley II (as assistant lighting designer). Off-Broadway credits include Fifty Words (with MCC Theatre). Michelle’s exhibit and architectural credits include November 1963 (opening in 2019 in Dallas, Texas) and Farm Wisconsin Discovery Center in Manitowoc, Wisconsin. She was awarded the prestigious NEA/TCG Career Development Program for Designers Grant. Michelle is a Provost Teaching Fellow and a UT Live Design Faculty at The University of Texas at Austin’s Department of Theatre and Dance.
Matthew made his Cincinnati Playhouse in the Park debut in 2012 with The Three Musketeers and has since returned for Abigail/1702, The Book Club Play, 4000 Miles, Sherlock Holmes and the Adventure of the Suicide Club, Peter and the Starcatcher, Sex with Strangers, Mad River Rising, A Prayer for Owen Meany, Summerland, Treasure Island and Misery. Off-Broadway credits include The Public Theater/ NYSF, Lincoln Center Theater and 59E59 Theaters. Regional credits include Denver Center Theatre Company, Portland Center Stage, Milwaukee Repertory Theater, the Repertory Theatre of St. Louis, Actors Theatre of Louisville, Arena Stage, Philadelphia Theatre Company, Delaware Theatre Company, Ford’s Theatre, The Kennedy Center, Signature Theatre, Barrington Stage Company, Round House Theatre, Woolly Mammoth Theatre Company, The Studio Theatre, Theater Alliance, Olney Theatre Center and Contemporary American Theater Festival. Film and television credits include Death in Time, Elbow Grease, Blue, Epix Drive-In, From Hell to Here and Too Like the Lightning. Matthew is the creator of audio drama series Troublesome Gap. He has won several awards for his work in the D.C. area, regionally and in film. He is currently running Sound Lab Studios, a recording studio and production house. Samples can be heard online at CuriousMusic.com.
Andrea is excited to be celebrating her 19th season with Cincinnati Playhouse in the Park, having worked on more than 90 productions. A highlight of every season for her is stage managing A Christmas Carol. Favorite Playhouse credits include The Roommate; Treasure Island; Be Here Now; Mr. Joy; Erma Bombeck: At Wit’s End; Jane Eyre; Disgraced; Bad Dates; The Revolutionists; Peter and the Starcatcher; I Loved, I Lost, I Made Spaghetti; The North Pool; The Trip to Bountiful; Merrily We Roll Along; As You Like It; Behind the Eye; The Understudy; Blackbird; Durango; Around the World in 80 Days; Altar Boyz; Smoke on the Mountain Homecoming; Reckless; Ace; The Clean House; A Picasso; One; Abracadabra (2002-2007); The Bible … (abridged); and Dark Paradise. Regionally, she stage managed The Blonde, the Brunette and the Vengeful Redhead (Dallas Theater Center); Ace (The Old Globe); Lost Prospect (Ingenuity Festival of Cleveland); A Midsummer Night’s Dream and The Nutcracker (Cincinnati Ballet); and Snow White and Beauty and the Beast (Cincinnati Ballet’s Otto M. Budig Academy). She also served as the production stage manager for the Jonesborough Repertory Theatre. Andrea is a proud member of Actors’ Equity Association. She would like to thank her family, friends, Dylan and Scott for their unending support.