Amara James Aja

(Haemon) is making his Cleveland Play House debut. His New York credits include The White Devil with Red Bull Theater and Tender Napalm at HERE Arts Center. Amara has worked regionally around the country, including at The Old Globe, The Barter Theatre, The Argyle Theatre, and the Oregon Symphony. He more(Haemon) is making his Cleveland Play House debut. His New York credits include The White Devil with Red Bull Theater and Tender Napalm at HERE Arts Center. Amara has worked regionally around the country, including at The Old Globe, The Barter Theatre, The Argyle Theatre, and the Oregon Symphony. He holds an MFA from the University of San Diego/Old Globe, and a Bachelors in Government from Cornell University.

Steve Gladstone

Jessica Ko

(Ismene) has worked at the Oregon Shakespeare Festival for the last 3 seasons: Rosalind in As You Like It, the lead Dou Yi in the US premiere of Snow in Midsummer, Shapeshifter in the world premiere of Hannah and the Dread Gazebo, and Princess Katherine/Boy/Montjoy in Henry V. Other regional more(Ismene) has worked at the Oregon Shakespeare Festival for the last 3 seasons: Rosalind in As You Like It, the lead Dou Yi in the US premiere of Snow in Midsummer, Shapeshifter in the world premiere of Hannah and the Dread Gazebo, and Princess Katherine/Boy/Montjoy in Henry V. Other regional credits include Chautauqua Theatre Company (Our Town, Henry V), Trinity Repertory Company (world premiere of The Hunchback of Seville), Shakespeare Theatre of New Jersey (Love’s Labour’s Lost, Tartuffe), and Bread Loaf Theatre Ensemble (Troilus and Cressida). In New York, she has worked at the Flea Theater, The Hearth, Urban Stages, Gallery Players, and co-founded her own company, Random Access Theatre, which partnered with Brooklyn Bridge Park to bring free Shakespeare to its outdoor programming. Television credits include national commercials for Chase, Yoplait, and Lowes. She is a proud Brown/Trinity Rep MFA graduate.

Vanessa Morosco

(Creon) Hard Cell (Geva Theatre Center); Titus Andronicus, A Midsummer Night’s Dream, What the Butler Saw (The Shakespeare Theatre of New Jersey); Arcadia, House of Blue Leaves (Palm Beach Dramaworks); Disgraced, Frost/Nixon (Maltz Jupiter Theatre); Importance of Being Earnest (Shakespeare Theatre Company, DC); Way of the World (Yale Rep); The more(Creon) Hard Cell (Geva Theatre Center); Titus Andronicus, A Midsummer Night’s Dream, What the Butler Saw (The Shakespeare Theatre of New Jersey); Arcadia, House of Blue Leaves (Palm Beach Dramaworks); Disgraced, Frost/Nixon (Maltz Jupiter Theatre); Importance of Being Earnest (Shakespeare Theatre Company, DC); Way of the World (Yale Rep); The 39 Steps, Midsummer Night’s Dream, Merry Wives of Windsor, Henry VIII (Alabama Shakespeare Festival); The Tempest, Henry IV Parts 1 & 2, Henry VI Part 1, Othello, Merry Wives of Windsor, Much Ado About Nothing (Colorado Shakespeare Festival); Lend Me a Tenor (Fulton Theatre); Around the World in 80 Days (Off-Broadway); One Man, Two Guvnors, Dancing Lessons (Florida Studio Theatre); Love’s Labour’s Lost (Folger Theatre); School for Scandal (PICT Classic Theatre); and 7 seasons with the American Shakespeare Center. Vanessa is also a director and teacher with an expertise in Original Practice Shakespeare, is a member of the League of Professional Theatre Women, and holds an MA from Yale in ethics. vanessamorosco.com

Judy Bowman

(Casting)

CPH: The Invisible Hand. Theatre: Teenage Dick, There’s Always the Hudson (Woolly Mammoth/Moritz Von Stuelpnagel); The Royale, Pru (Arizona Theatre Co); The Corpse Washer (Humana Festival), Thirst (Dorset Theatre Festival), Nothing Gold Can Stay (PCP/Shelley Butler), Molly Sweeney (Keen Company), Tiny Beautiful Things (Merrimack Rep). Film/TV: Separation,

Sara Ryung Clement

(Costume Designer) Off-Broadway: Somebody's Daughter (Second Stage Uptown); Fruiting Bodies (Ma-Yi Theatre). Regional credits include the Guthrie Theater, Oregon Shakespeare Festival, South Coast Repertory, Denver Center Theatre Company, Geffen Playhouse, Actors Theatre of Louisville, Folger Theatre, Pasadena Playhouse, The Repertory Theatre of St. Louis, Seattle Rep, Mixed Blood, TheatreWorks, Center more(Costume Designer) Off-Broadway: Somebody's Daughter (Second Stage Uptown); Fruiting Bodies (Ma-Yi Theatre). Regional credits include the Guthrie Theater, Oregon Shakespeare Festival, South Coast Repertory, Denver Center Theatre Company, Geffen Playhouse, Actors Theatre of Louisville, Folger Theatre, Pasadena Playhouse, The Repertory Theatre of St. Louis, Seattle Rep, Mixed Blood, TheatreWorks, Center Stage Baltimore, Boston Court, Perseverance Theatre, East West Players, Cornerstone Theater Company, A Noise Within, Yale Repertory Theatre, and others. Set design faculty at UCLA School of Theater, Film and Television. MFA, Yale School of Drama; AB Princeton University. sararyungclement.com

Megan Culley

(Sound Designer/Composer) is an NYC-based Sound Designer and Composer. Recent credits include Cullud Wattah and The Loophole (The Public Theater), Nickel Mines (ACT of Connecticut), Terminus (NYTW Next Door), Grounded and Revolt. She Said. Revolt Again (Dobama Theatre), The Last Match (B Street Theatre), Roan @ the Gates (Luna Stage), more(Sound Designer/Composer) is an NYC-based Sound Designer and Composer. Recent credits include Cullud Wattah and The Loophole (The Public Theater), Nickel Mines (ACT of Connecticut), Terminus (NYTW Next Door), Grounded and Revolt. She Said. Revolt Again (Dobama Theatre), The Last Match (B Street Theatre), Roan @ the Gates (Luna Stage), Inanimate and Scraps (the Flea Theater). Megan grew up in Cleveland and is thrilled to be designing at CPH for the first time. meganculley.com

John Godbout

(Stage Manager) was Cleveland Play House's resident stage manager from 2001 to 2008 and returned to CPH in the fall of 2011. This past summer, he worked at Porthouse Theatre where he stage managed Man of La Mancha and The Music Man. John has also stage managed at North more(Stage Manager) was Cleveland Play House's resident stage manager from 2001 to 2008 and returned to CPH in the fall of 2011. This past summer, he worked at Porthouse Theatre where he stage managed Man of La Mancha and The Music Man. John has also stage managed at North Shore Music Theatre, Capital Repertory Theatre, The Weston Playhouse, Berkshire Theatre Festival, Arkansas Repertory Theatre, Northern Stage, and Seaside Music Theatre.

Kevin Inouye

(Fight Choreographer) has assisted CPH on Clue, Pipeline, and Into the Breeches! this season, as well as shows at CPH, CPT, Dobama, Karamu, and elsewhere in the past year. He’s a Certified Teacher and Theatrical Firearms Instructor with the Society of American Fight Director, a SAG-AFTRA stunt performer, and has more(Fight Choreographer) has assisted CPH on Clue, Pipeline, and Into the Breeches! this season, as well as shows at CPH, CPT, Dobama, Karamu, and elsewhere in the past year. He’s a Certified Teacher and Theatrical Firearms Instructor with the Society of American Fight Director, a SAG-AFTRA stunt performer, and has choreographed theatrical violence for over 75 live shows and over 25 screen productions. He joined Case Western Reserve University and the CWRU/CPH MFA Acting program in Fall of 2018 as Assistant Professor of Movement, Acting, & Stage Combat. He is a published author, actor, director, theatrical armorer, and teaches workshops regularly around the country.

Lauren Keating

(Director) is a director of new and classic theatrical work, narrative film, and site-specific events. She is committed to work that centers marginalized voices and seeks to engage audiences in imaginative, personal explorations of complex and urgent questions. Keating made her Off-Broadway debut with Josh Koenigsberg’s Al’s Business Cards. Her more(Director) is a director of new and classic theatrical work, narrative film, and site-specific events. She is committed to work that centers marginalized voices and seeks to engage audiences in imaginative, personal explorations of complex and urgent questions. Keating made her Off-Broadway debut with Josh Koenigsberg’s Al’s Business Cards. Her regional directing work includes the 2017–2019 productions of the Guthrie Theater’s A Christmas Carol; Small Mouth Sounds at Jungle Theater; Rhinoceros with 7th House Theater; Lulu, Learning Russian and Charlotte’s Web at Hangar Theatre; Translations at Yale University Dramatic Association and the development of The Antony and Cleopatra Project with Tarell Alvin McCraney for McCarter Theatre Center’s Youth Conservatory. Workshops include L M Feldman’s Fill Our Mouths with Oregon Shakespeare Festival; Pugilist Specialist and Seagulls with Williamstown Theatre Festival; and Sarah Burgess’ Camdenside with Studio 42. Keating has developed work with many organizations, including The Public Theater, Playwrights’ Center, Ars Nova, 3LD, Woodshed Collective, The Old Vic, Dixon Place, and The Flea Theater. Her adaptations of classic works include Wedekind’s Lulu, Ionesco’s Rhinoceros, Chekhov’s Uncle Vanya, and Shakespeare’s The Comedy of Errors, Hamlet, and Measure for Measure. Keating is a Mellon Foundation/TCG Leadership U Fellow, Time Warner Foundation Fellow, and Drama League Fellow. She is the Associate Producer at the Guthrie Theater, an NYU/Tisch alumnus, and a proud member of the Alliance of Women Directors. Her work for the screen includes “The Feminist Cooking Show” (web series) and Power Out (short film). Learn more at www.Lauren-Keating.com.

Emily Mann

(Adaptor) is entering her 15th season as artistic director of McCarter Theatre, Princeton, N.J. She wrote and directed Having Our Say, adapted from the book by Sarah L. Delany and A. Elizabeth Delany with Amy Hill Hearth, which had its world premiere at McCarter prior to its successful run on more(Adaptor) is entering her 15th season as artistic director of McCarter Theatre, Princeton, N.J. She wrote and directed Having Our Say, adapted from the book by Sarah L. Delany and A. Elizabeth Delany with Amy Hill Hearth, which had its world premiere at McCarter prior to its successful run on Broadway, a national tour and a production at the Market Theatre in Johannesburg, South Africa. The Broadway production was nominated for three Tony awards, an Outer Critics and a Drama Desk award. Mann also wrote the teleplay for Having Our Say, which aired as a Kraft premiere movie on CBS-TV, April 18, 1999, and received a Peabody Award, a Christopher Award and a nomination for Outstanding Achievement in Television and Radio by the Writers Guild of America. Mann wrote and directed Meshugah, adapted from the story by Isaac Bashevis Singer, which had its world premiere at McCarter and was recently produced Off-Broadway. Her play, Greensboro (A Requiem), had its world premiere at McCarter in 1997. Her other McCarter directing credits include: Anna in the Tropics, Uncle Vanya (also adapted), The Tempest, All Over, Romeo and Juliet, BecauseHeCan, The Cherry Orchard (also adapted), Fool for Love, Safe as Houses; The House of Bernarda Alba (also adapted), Betrayal, The Mai, A Doll House, The Perfectionist, Miss Julie (also adapted), Cat on a Hot Tin Roof, Three Sisters, Betsey Brown (co-author), The Glass Menagerie, The Matchmaker and Twilight: Los Angeles, 1992. She received an Obie Award for her direction of the New York run of All Over. Mann made her Broadway debut as a playwright and director with Execution of Justice, for which she received a Bay Area Theatre Critics Award, a Playwriting Award from the Women's Committee of the Dramatists Guild, a Burns Mantle Yearbook Best Play Citation and a Drama Desk nomination. Her play, Still Life, premiered at the Goodman Theatre and opened off-Broadway under her direction in 1981, winning six Obie Awards including Distinguished Playwriting and Distinguished Directing. Her first play, Annulla, An Autobiography, premiered at the GuthrieTheater and was produced at The New Theatre of Brooklyn. A recent recipient of the prestigious Hull-Warriner Award and the Edward Albee Last Frontier Directing Award, Mann is a member of the Dramatists Guild and serves on its council. A collection of her plays, Testimonies: Four Plays, has been published by Theatre Communications Group, Inc.

Kevin Moore

(Managing Director) is in his thirteenth season at Cleveland Play House, recipient of the 2015 Regional Theatre Tony Award. During his tenure, CPH made its historic relocation to the Allen Theatre in partnership with Playhouse Square and Cleveland State University. He serves on the Board of Directors of Theatre Forward, more(Managing Director) is in his thirteenth season at Cleveland Play House, recipient of the 2015 Regional Theatre Tony Award. During his tenure, CPH made its historic relocation to the Allen Theatre in partnership with Playhouse Square and Cleveland State University. He serves on the Board of Directors of Theatre Forward, Arts Cleveland, and the Commission on Economic Inclusion. From 1998 to 2007, Kevin was Managing Director of Woolly Mammoth Theatre Company in Washington, D.C. where he helped lead the funding and construction of an award-winning new theatre facility. Previous positions include Director of Marketing at La Jolla Playhouse in San Diego, California. He is a former president of both the National New Play Network and the League of Washington Theatres. Kevin teaches theatre management at Cleveland State University and is an adjunct professor in the Department of Theater at Case Western Reserve University. He is a graduate of Moorhead (MN) State University, holds a Master of Arts in Arts Administration from Indiana University, and is a member of the Leadership Cleveland Class of 2009.

Nathan Motta

(Music Director) is the Artistic Director at Dobama Theatre where he’s directed An Octoroon, The Flick, How to Be a Respectable Junkie, Peter and the Starcatcher, and Stupid F**king Bird, among many others. At CPH he has acted as Assistant Director for Brecht’s Galileo and Tom Stoppard’s Every Good Boy more(Music Director) is the Artistic Director at Dobama Theatre where he’s directed An Octoroon, The Flick, How to Be a Respectable Junkie, Peter and the Starcatcher, and Stupid F**king Bird, among many others. At CPH he has acted as Assistant Director for Brecht’s Galileo and Tom Stoppard’s Every Good Boy Deserves Favor as well as music director for A Carol for Cleveland, Steel Magnolias, and Shakespeare in Love. Credits include: Great Lakes Theater, Idaho Shakespeare Festival, Oberlin College, Baldwin Wallace, John Carroll, Cleveland State, Ohio Light Opera, Cain Park, Cleveland Orchestra, Pittsburgh Symphony Orchestra, Mercury Opera Rochester, Civic Light Opera (Pittsburgh), and Opera Cleveland. He has composed two original musicals: Little White Gloves and Midsummer, with a third in development. Motta is a member of the Stage Directors and Choreographers Society and holds a B.F.A. from Carnegie Mellon University and an M.M. from the Eastman School of Music.

Courtney O'Neill

Karin Olson

(Lighting Designer) is based in Minneapolis, MN, where she designs at the Guthrie Theater, Ordway Center, Children’s Theatre Company, Penumbra Theater, Mixed Blood, and with many itinerant Twin Cities theater and dance companies. She has also designed regionally for Oregon Shakespeare Festival, Syracuse Stage, and Trinity Repertory Theater. Recent designs more(Lighting Designer) is based in Minneapolis, MN, where she designs at the Guthrie Theater, Ordway Center, Children’s Theatre Company, Penumbra Theater, Mixed Blood, and with many itinerant Twin Cities theater and dance companies. She has also designed regionally for Oregon Shakespeare Festival, Syracuse Stage, and Trinity Repertory Theater. Recent designs include The Wolves, and Small Mouth Sounds at the Jungle Theater, Pride and Prejudice at Park Square Theater, Jason Moran’s Last Jazz Festival at the Walker Arts Center, and Spamtown, USA! at The Children’s Theater Company. This is her Cleveland Play House debut. More info at karinlosonlighting.com

Robert Ramirez

(Dialect Coach) has served as Voice and Text Director at the Guthrie Theatre, the Oregon Shakespeare Festival, Illinois Shakespeare Festival, American Players Theatre, Cleveland Play House, and most recently collaborated on a tri-production with Hartford Stage, the Huntington Theatre Company, and the Alley Theater. He has performed with the New more(Dialect Coach) has served as Voice and Text Director at the Guthrie Theatre, the Oregon Shakespeare Festival, Illinois Shakespeare Festival, American Players Theatre, Cleveland Play House, and most recently collaborated on a tri-production with Hartford Stage, the Huntington Theatre Company, and the Alley Theater. He has performed with the New York, Notre Dame, Utah, Illinois, Alabama, Great River, Baltimore, and Wisconsin Shakespeare Festivals, and Actors Theatre of Louisville. He has directed productions and staged readings for Austin Shakespeare, American Players Theatre and Arkansas Shakespeare Theatre and has been an acclaimed narrator of audiobooks for over 20 years, receiving numerous Golden Earphones Awards from Audiophile magazine. Robert is currently Interim Chair of the Department of Theatre and Dance at the University of Texas at Austin where he also serves as the head of the acting program. He is a graduate of the Los Angeles Theatre Academy and received his MFA from the Professional Theatre Training Program at the University of Delaware. Robert is a proud member of Actors Equity, the Voice and Speech Trainers Association, and is the current Vice President of the University Resident Theater Association.