Marina Carr (Playwright) Born in 1964, Marina was brought up in Co. Offaly. She graduated from University College, Dublin in 1987. Plays for the Abbey Theatre, Dublin include: 16 Possible Glimpses, Marble, Ullaloo, The Mai, Portia Coughlan, By the Bog of Cats, Ariel, and Meat and Salt. Other plays include On Raftery's Hill (Druid/Royal Court), Low in the Dark (Project Arts Centre), Woman and Scarecrow (Royal Court), The Cordelia Dream (RSC), and The Giant Blue Hand (The Ark). Awards: The Macaulay Fellowship and the E.M. Forster Prize from the American Academy of Arts and Letters. She was the 1932 fellow at Princeton for 2008. She currently teaches playwriting at Trinity College where she is an honorary professor and lives in Kerry with her husband and four children.
Emily Mann (Artistic Director/Resident Playwright) Multi-award-winning Director and Playwright Emily Mann is in her 22nd season as Artistic Director of McCarter Theatre. Under Ms. Mann’s leadership, McCarter was honored with the 1994 Tony Award for Outstanding Regional Theater. Directing credits include Nilo Cruz’s Pulitzer Prize-winning Anna in the Tropics with Jimmy Smits (also on Broadway); the world premiere of Christopher Durang’s Miss Witherspoon with Kristine Nielsen (also off-Broadway at Playwrights Horizons); Uncle Vanya with Amanda Plummer (also adapted); All Over with Rosemary Harris and Michael Learned (also off-Broadway at The Roundabout; 2003 Obie Award for Directing); The Cherry Orchard with Jane Alexander, John Glover, and Avery Brooks (also adapted); Three Sisters with Frances McDormand, Linda Hunt, and Mary Stuart Masterson; A Doll House with Cynthia Nixon; and The Glass Menagerie with Shirley Knight; A Seagull in the Hamptons (an adaptation of Chekhov’s The Seagull) with Brian Murray and Maria Tucci; and Mrs. Warren’s Profession, with Suzanne Bertish. Her plays include Execution of Justice (supported by a Guggenheim Fellowship; winner of Helen Hayes and Joseph Jefferson awards; nominated for Drama Desk and Outer Circle awards); Still Life (six Obie Awards); Greensboro (A Requiem); and Annulla, An Autobiography. Ms. Mann wrote and directed Having Our Say, adapted from the book by Sarah L. Delany and A. Elizabeth Delany with Amy Hill Hearth (Tony, Drama Desk, Outer Critics Circle nominations; winner of NAACP and Joseph Jefferson awards). For the Having Our Say screenplay, Ms. Mann won Peabody and Christopher Awards. A winner of the Dramatists Guild Hull-Warriner Award and the Edward Albee Last Frontier Directing Award, she 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. Her latest play, Mrs. Packard, was the recipient of the 2007 Kennedy Center Fund for New American Plays Award and was published by TCG in spring 2009. Most recently, Ms. Mann directed the world premiere of Edward Albee’s Me, Myself & I (with Tyne Daly and Brian Murray at McCarter Theatre and with Elizabeth Ashley at Playwrights Horizons in New York) and the world premiere of Sarah Treem’s The How and the Why with Mercedes Ruehl and Bess Rous. Emily is scheduled to direct this season’s world premiere of The Convert by Danai Gurira at McCarter Theatre, The Goodman Theatre in Chicago, and CTG in Los Angeles and A Streetcar Named Desire on Broadway with Blair Underwood and Nicole Ari Parker. Also this season, Emily Mann's adaptation of The House of Bernard Alba, which premiered at McCarter, will be produced at The Almeida Theater in London. She is the recipient of an Honorary Doctorate of Arts from Princeton University.
Anita Yavich (Costume Design) Broadway: Anna in the Tropics. New York: Orlando, Venus in Fur, New Jerusalem, Texts for Nothing (CSC); The Submission, Coraline, The Wooden Breeks (MCC); Henry V (New Vic, Guthrie); Iphigenia 2.0 (Signature); Measure for Pleasure, Kit Marlow, The Winter’s Tale, Civil Sex, Pericles (NYSF); Macbeth, Coriolanus, Svejk (TFANA); Orphan of Zhao, Snow in June, Peach Blossom Fan. Opera: Cyrano De Bergerac (La Scala, The Met, Royal Opera); Les Troyens (The Met); The Gambler (Opera Zuid–Holland); Steve Reich’s Three Tales (international tour); Salome, Fidelio, Die Walkure, Das Rheingold (Washington Opera); Arsace II (SF Opera); Madame Butterfly (HGO, Grand Theatre de Geneve); Der Fliegende Hollander, The Silver River (Spoleto Festival). Puppet and costume designer for Salzburger Marionetten Theater’s The Sound of Music. 2006 Obie Award.
Jeff Croiter (Lighting Design) McCarter: Last of the Boys, Miss Witherspoon, The Birthday Party, Mrs. Packard, Mrs. Warren’s Profession. Broadway: The Pee-wee Herman Show; Next Fall; Kiki and Herb. New York: Peter and the Starcatcher; Silence! The Musical; By the Way, Meet Vera Stark; Side Effects; A Lie of the Mind; Love, Loss, and What I Wore; Ordinary Days; Streamers; Family Guys Sings; Jerry Springer The Opera; Rufus Wainwright’s Judy Garland ConcertatCarnegie Hall; Love Child; Adrift in Macao; The Voysey Inheritance; The Internationalist; Jacques Brel; I Love You Because; Almost, Maine; The Dazzle; andJennifer Muller/The Works.
Mark Bennett (Original Music and Sound Design) has composed scores and designed sound for the American premieres of new plays by Tom Stoppard, Edward Albee, Arthur Miller, Athol Fugard, Tony Kushner, and Caryl Churchill, among many others. McCarter: An Iliad, Candida, Lily Tomlin, Cat on a Hot Tin Roof. Recent Broadway: Driving Miss Daisy, The Coast of Utopia (Drama Desk Award, Outstanding Music in a Play), A Steady Rain, Henry IV, Golda’s Balcony, Who’s Afraid of Virginia Woolf?, and The Goat. Mark is the composer of Sam Mendes' The Bridge Project (BAM; Old Vic, London), receiving Drama Desk nominations for A Winter's Tale and The Cherry Orchard. He is the recipient of a 1998 OBIE for Sustained Excellence in Sound Design; Ovation, Robbie, Criag Noel, and Garland Awards; 12 Drama Desk nominations; and two Lucille Lortel Award nominations.
Peter Nigrini (Projection Design) Recent: Sleeping Beauty Wakes (McCarter Theatre, La Jolla Playhouse), Becoming Helen Keller (PBS American Masters), Autumn Sonata (Yale Rep), and the new off-Broadway production of Rent. Broadway: Fela!, 9 to 5: The Musical, and Say Goodnight Gracie. Other designs include: Grace Jones Hurricane Tour; Der Ferne Klang (Bard Summerscape); Haroun and the Sea of Stories (City Opera); Blind Date (Bill T. Jones/Arnie Zane Dance); The Elaborate Entrance of Chad Deity, Wings (Second Stage); Fetch Clay, Make Man (McCarter Theatre); The Orphan of Zhao (Lincoln Center Festival); Sweet Bird of Youth (Williamstown); Dido and Aeneas (Handel Haydn Society); Biro (Public Theater). With the Nature Theater of Oklahoma: No Dice (SoHo Rep, 2008 Obie Award); Romeo and Juliet (Salzburger Festspiele); and Life and Times, Episode 1&2 (Burgtheater, Vienna).
Peter Pucci (Movement Director) has worked previously at McCarter on Fool for Love, A Midsummer’s Night Dream, Mrs. Packard, Hamlet, The Cherry Orchard, The Learned Ladies, and The Importance of Being Earnest. Other credits include The Milk Train Doesn’t Stop Here Anymore with Olympia Dukakis (Roundabout Theatre Company); Horton Foote’s Orphans Home Cycle, Queen’s Boulevard (Lucille Lortel Award for Best Choreography and SSDC's Joe A. Callaway Award in Choreography, Drama Desk nominee), and Paradise Park, both by Charles Mee, (The Signature Theater); People Be Heard (Playwrights Horizons); Sam Shepard's The Late Henry Moss (The Signature Theater, The Magic Theater). Peter is the choreographer for the current Big Apple Circus show Dance On! and the founder of Peter Pucci Plus Dancers.