Staff Bios

Mark is a writer, stage director, producer and founder of Next Stage. His plays and adaptations include: Carlos Bulosan’s AMERICA IS IN THE HEART, STEP SOFTLY, QUE MI SANGRE SEA LA SEMILLA DE LIBERTAD (Let My Blood Be the Seed of Freedom), Rebecca Brown’s THE END OF YOUTH (commissioned by Grantmakers in the Arts) and Henry Darger’s IN REALMS OF THE UNREAL (commissioned by the Frye Art Museum). Recent directorial credits include AMERICA IS IN THE HEART (Philippine Educational Theatre Association, Manila), NO MAYO (ACT Theatre’s Young Playwright’s Festival), BUD, NOT BUDDY (Book-It Repertory Theatre, 2006 Footlight Award), THE TRUMPET OF THE SWAN (Book-It All Over), and BACK OF THE THROAT (Theater Schmeater, 2005 Footlight Award). Mark has worked on new plays at theatres across the country, including: ACT Theatre, The Empty Space, Roundhouse Theatre, Stop Gap Theatre, the Sledgehammer Theatre, the Humana Festival of New American Plays and the Washington Ensemble Theatre. Mark is the recipient of a Theatre Communications Group New Generations/Future Leaders Fellowship, the Allen Lee Hughes Fellowship in Theatre for Social Change (Arena Stage, Washington DC), a Stage Directors and Choreographers Foundation grant, is a member of the Director’s Lab West and an associate member of the Society of Stage Directors and Choreographers. Mark holds an MFA from the University of Washington’s Professional Director Training Program and has served as a guest artist and adjunct faculty member at such local institutions as North Seattle Community College, Seattle University and Cornish College of the Arts. He previously served as Book-It Repertory Theatre’s Artistic Associate and as the Resident Director for Washington DC’s Latin Hope Theatre Project.

Amy is a writer and director based in Seattle, WA. Her directing credits include WONDERFUL LIFE (Washington Ensemble Theatre, where she is an Artistic Associate), ROMEO AND JULIET (EVE Productions), A CHRISTMAS STORY (Everett Historic Theatre), HAVING OUR SAY: THE DELANY SISTERS FIRST 100 YEARS (Public Theatre of Kentucky), SORRY, WRONG NUMBER (The Culture Project, NY), CHRISTINA AND THE APARTMENT OF THE BLIND (Soho Repertory Theatre, NY) , and MACHINAL and STAGE BLOOD(Master’s Thesis) at the University of Washington. Her play, DEAD RECKONING, was produced as part of the Soho Rep Summer Camp Festival of New Plays. THE MYSTERY OF CHUNG LING SOO (created with The Flying Carpet Theatre Company for whom she is a Writer-in-Residence) was performed at Atlanta’s Seven Stages Studio Space as well as the Edinburgh Festival and has been invited to play an international theatre festival in Dubai. A reading of her play RELEVANT, ADULT, UNCENSORED was presented in Seattle in the Fall of 2005 as part of the symposium entitled “American Labors Lost: The Progress of the Works Progress Administration”, which she helped organize. She is a graduate of Vassar College and holds an M.F.A. in Directing from the University of Washington.

Victor has worked extensively as a new play and production dramaturg, and as performer in both theater and dance. He is currently the dramaturg in residence for the Washington Ensemble Theatre’s Writer/Director lab. As an actor, Victor has been seen locally in Prix-Fixe and Mizu No Eki (The Water Station) for the Pacific Performance Project (P3) at On The Boards, where he also conducted production interviews of Richard Maxwell and Mac Wellman prior to performances of their work. Victor is a member of the American Society for Theatre Research and has just recently published a paper on the apocryphal Shakespearean play Mucedorus in the Shakespeare Yearbook. He earned his MA in Theatre from Brown University and his PhD in Theatre History and Criticism from the University of Washington’s School of Drama.

As a dramaturg and teaching artist, Megan has collaborated locally with Strawberry Theatre Workshop, Seattle Repertory Theatre, ACT Theatre, Seattle Shakespeare Company, Book-It Repertory Theatre and Tacoma Actors Guild. Formerly from the other coast, she worked as a teaching artist and company dramaturg with Hampshire Shakespeare Company in western Massachusetts, and served as dramaturg for Hartford Stage Company’s MY HARTFORD: THE ORAL HISTORY PROJECT, a community-based exploration of the diverse communities of Hartford, CT.

In her free time, she teaches dramaturgy and research methods at Cornish College of the Arts, and works for Theatre Puget Sound.

ilvs is continually fascinated by the world of theater and performing arts. She is happy to be working with Next Stage and Richard Hugo House and is looking forward to the not so distant future. When she is not busy subtly denying designers their every hearts desire, ilvs freelances as a stage hand. here and again LINGO dancetheater whisks her away to play TD/LD in various cities across the continental u.s. also, she has worked/still works for/with Book-It Repertory Theatre, On the Boards, Meany Hall, Bumbershoot, Folklife, and the Degenerate Art Ensemble. Her new favorite hobby is playing a little blue harmonica called the 'Flying Eagle'.

tristan miles theopholis dalley (Visual Designer) is a Seattle ex-patriate currently living “in exile” in Southern California. Mr. Dalley has worked in many places—from the Production Office of the Royal National Theatre of England to the (now defunct) SummerARTS festival at University of Washington. Recent credits in Seattle include scenic design for Everyone Know’s What a Dragon Looks Like (Seattle Children’s Theatre), Bud, Not Buddy (Book-It Repertory Theatre), Gum and Marisol (both at Ethnic Cultural Theatre), as well as puppet designs for The Devil and Daniel Webster and Jason and the Golden Fleece (both at Seattle Children’s Theatre); he is currently working as the sculptor and graphic designer for a new show on Nickelodeon called “iCarly.”

Larry hails from the Philippines and has been passionate about theater since 1994. He was Technical Director and Lighting Designer for the Philippines’ Pioneer Theater Company – The Philippine Educational Theater Association (PETA). He also studied Lighting Design and Sound Engineering under the Tutelage of Shigeo Saito, Kunihiko Ichiki and Naomi Matsumoto in Tokyo, Japan. Larry was a Theater Manager for three years with The Far Eastern University, which houses the Philippines’ First Cultural Center where early theater and vaudeville shows started during the 1940’s. He was behind its 1998 ambitious renovation and refurbishing of the entire facility. Larry also ventured out of theater by working as Director of photography for companies that produced television commercials and music videos. Before leaving the Philippines he was involved in over 50 productions from stage, television and film, and represented the country in International theatre festivals and competitions. He moved to Seattle in 2005 and joined Book-It Repertory Theater as their Technical Director. This is his third season and he is continually grateful for having the opportunity to work among great talents.

STAFF BIOS