Carey Perloff
(Playwright / Artistic Director, A.C.T.) is celebrating her 15th season as artistic director of A.C.T. Perloff’s first full-length play, The Colossus of Rhodes, was produced at the White Barn Theater in Westport, Connecticut, and further developed at the 2002 O’Neill Playwrights Conference; it was produced by A.C.T. at Zeum Theater in 2003. Luminescence Dating was workshopped at New York Stage & Film in 2004, premiered in New York last spring as the mainstage offering of the First Light Festival at The Ensemble Studio Theatre, and is published by Dramatists Play Service. Perloff’s new adaptation (with Paul Walsh) of A Christmas Carol, in production at A.C.T. this season, premiered in December 2005. Waiting for the Flood, her newest play, was workshopped in A.C.T.’s First Look Series last January. Perloff has also collaborated as a director with many notable contemporary writers on new plays, including Philip Kan Gotanda’s After the War, to be produced at A.C.T. in March 2007. Before joining A.C.T., Perloff was artistic director of Classic Stage Company in New York. Perloff received a B.A. in classics and comparative literature from Stanford University and was a Fulbright Fellow at Oxford.

Mark Rucker
(Director) previously directed The Beard of Avon for A.C.T. He is an associate artist at South Coast Repertory Theatre, where he has directed more than 20 productions, including world premieres by Richard Greenberg, Christopher Shinn, Annie Weisman, and Culture Clash. Other regional theater credits include work at Yale Repertory Theatre, La Jolla Playhouse, Arena Stage, Intiman Theatre, Berkeley Repertory Theatre, Syracuse Stage, The Old Globe, Ford's Theatre, California Shakespeare Theater, and The Acting Company. Rucker’s first feature film, Die, Mommie, Die! won a Special Jury Prize at the Sundance Film Festival.

René Augesen*
(Angela Hart), an A.C.T. associate artist and core acting company member, has appeared at A.C.T. in, among others, A Doll’s House, A Mother, The Real Thing, The Gamester, The Voysey Inheritance, Cat on a Hot Tin Roof, The Rivals, Happy End, and, most recently, Travesties. New York credits include Spinning into Butter, Macbeth, It’s My Party..., and Overruled. Regional theater credits include productions with Huntington Theatre Company, South Coast Repertory, the Great Lakes Theatre Festival, Baltimore’s Center Stage, the Los Angeles Shakespeare Festival, Yale Repertory Theatre, and Stage West. Augesen is a graduate of the Yale School of Drama.

tephen Barker Turner*
(Nigel Edwards) has appeared with California Shakespeare Theater as Orlando in As You Like It, Nicholas Nickleby in The Life and Adventures of Nicholas Nickleby, and Posthumus in Cymbeline. Off-Broadway credits include productions with the New York Shakespeare Festival, Classic Stage Company, Roundabout Theatre Company, MCC Theater, and Primary Stages. Other theater credits include premieres of Theresa Rebeck’s The Scene and Gina Gionfriddo’s After Ashley, both at the Humana Festival of New American Plays. Film and television credits include Satellite (2005 Tribeca Film Festival), The Warrior Class, Cosmopolitan (PBS), “Sex and the City,” “Law & Order,” and the upcoming Red State Project.

Ching Valdes-Aran*
(Cleaning Woman) is a New York based actor, director, and playwright. She has performed on Broadway in The Wild Party and Shakespeare on Broadway. Other New York credits include work with Delacorte Theatre, The Public Theater, New York Theatre Workshop, Ma-Yi Theater, the NAATCO, Mabou Mines, Pan Asian Repertory, and La MaMa E.T.C., among others. Regional credits include productions with La Jolla Playhouse, Yale Repertory Theatre, Arena Stage, Cincinnati Playhouse, and Actors Theatre of Louisville. She will be seen in Julie Taymor’s upcoming film Across the Universe. Valdes-Aran is an OBIE Award winner, a Fox Fellow, a MAP Rockefeller grantee, an Asian Cultural Fellow, a recipient of the Spencer Cherashore Award, and a Lucille Lortel Award nominee.

Gregory Wallace*
(Victor Reid), an A.C.T. associate artist and core acting company member, has been seen at A.C.T. in, among others, Travesties, The Rivals, Gem of the Ocean, The Gamester, A Doll’s House, Waiting for Godot, The Three Sisters, Blithe Spirit, “Master Harold”…and the boys, Edward II, Tartuffe, Insurrection: Holding History, and Angels in America. Other theater credits include Our Country’s Good (Broadway), and productions with New York Theatre Workshop, The Public Theater, the Alliance Theatre, the Guthrie Theater, the Williamstown Theatre Festival, Whole Theater, Centerstage, and Berkeley Repertory Theatre. Wallace is a graduate of the Yale School of Drama and a Fox Fellow.

Katherine Riemann*
(Stage Manager) has worked on A.C.T. productions of Travesties, A Number, Gem of the Ocean, Hilda, A Christmas Carol, Levee James, The Constant Wife, American Buffalo, Frank Loesser’s Hans Christian Andersen, Shockheaded Peter, The House of Mirth, The Invention of Love, and Wrong Mountain. She has also worked on productions of Our Town, Cloud Nine, Culture Clash in AmeriCCa, and The Oresteia for Berkeley Repertory Theatre and on The Importance of Being Earnest and Much Ado about Nothing for California Shakespeare Theater.

Erik Flatmo
(Set Design) includes among his recent designs The God of Hell and The Hopper Collection at Magic Theatre. He worked with choreographer Joe Goode on the opera Transformations for San Francisco Opera Center and on Stay Together, Goode’s collaboration with composer Michael Tilson Thomas. New York credits include
premieres at Danspace Project, The Kitchen, The Play Company, and the Culture Project. Upcoming projects include Frozen at Marin Theatre Company and Stay, a new play by Lucy Thurber, at the Rattlestick Playwrights Theater in New York. Flatmo is a graduate of the Yale School of Drama and teaches set design at Stanford University.

Russell H. Champa+
(Light Design) designed Julia Sweeney’s God Said “Ha!” at the Lyceum Theatre on Broadway. Other New York credits include productions at the Promenade Theatre, the Union Square Theatre, Classic Stage Company, New York Stage & Film, and La MaMa E.T.C. Regionally, he has designed for A.C.T., the Mark Taper Forum, Primary Stages, Magic Theatre, The Wilma Theater, San Jose Repertory Theatre, Intiman Theatre, Berkeley Repertory Theatre, Seattle Repertory Theatre, Trinity Repertory Company, California Shakespeare Theater, McCarter Theatre, Long Wharf Theatre, the Williamstown Theatre Festival, The Actors’ Gang, and the Kennedy Center for the Performing Arts.

Callie Floor
(Costume Design) earned her B.F.A. degree from the University of Utah and her higher diploma in theater design from the Slade School of Fine Art, University College, London. Since coming to the Bay Area in 1987, she has designed for many Bay Area theaters, including A.C.T., the San Francisco Mime Troupe, Magic Theatre, and Aurora Theatre Company. Her most recent designs include A Number for A.C.T., Twelfth Night for the Lake Tahoe Shakespeare Festival, Salome for Aurora Theatre Company, and Red Scare on Sunset and Baby with the Bathwater for the A.C.T. M.F.A. Program. Floor is the resident designer for the California Revels and is costume rentals supervisor for A.C.T.

Chris Houston
(Sound Design & Composer) is a pianist and composer. He writes and designs for film, video, theater, and dance. A frequent collaborator with Aurora Theatre and SF Playhouse, he includes among his recent designs Ice Glen, Tuesdays with Morrie, The Ride Down Mt. Morgan, The Tempest, Permanent Collection, Small Tragedy, Our Lady of 121st Street, The Master Builder, Marius, The Price, The Crucible, 1000th Night, and Art. His music can be heard on the Emmy-winning PBS news show “Now.” He has been twice nominated for the Bay Area Theatre Critics’ Circle Award.

Laley Lippard
(Assistant Director) is a member of foolsFURY Theater Company, where she recently directed Charles Mee’s Big Love and assistant directed Devil on All Sides. Other Bay Area credits include A Number (A.C.T., assistant director) and The Hopper Collection (Magic Theatre, assistant director). She is an artistic associate at Magic Theatre, where she serves on the Literary Committee and directs for the Launch Pad Program. Outside of the Bay Area, she has worked with the Guthrie Theater, Arena Stage, Woolly Mammoth Theatre Company, and Rorschach Theatre. She was a directing/dramaturgy intern at TheatreWorks and received her B.A. magna cum laude from The Catholic University of America in Washington, D.C.

Greg Hubbard
(Casting) joined the casting department at A.C.T. in 2002, where he has since cast productions of A Christmas Carol and many new play workshops. Additional local casting credits include the world premiere of the musical The Opposite of Sex for Magic Theatre, The Mystery Plays for SF Playhouse, and Holes for Family Stages at the Orpheum Theatre. Hubbard has an M.F.A. degree in directing from the Professional Director Training Program at Ohio University; he also teaches in the A.C.T. Master of Fine Arts Program and Young Conservatory, at Berkeley Repertory Theatre, and at the San Francisco School of Digital Film.

* Member of Actors’ Equity Association
+Member of United Scenic Artists local 829.