Debra Booth has designed sets at The Studio Theatre for Bachelorette, The Golden Dragon, reasons to be pretty, Adding Machine: A Musical, Moonlight, Blackbird, The Road to Mecca, The Internationalist, and My Children! My Africa!. Other Studio Theatre productions include The Pillowman, Red Light Winter, Caroline, or Change, Fat Pig, A Number, Afterplay, The Russian National Postal Service, Far Away, The Shape of Things, and Privates on Parade. International work includes premiere operas, Marco Polo (Tan Dun/Martha Clarke) and The Hindenburg (Steve Reich/Roman Paska). Regionally, credits include The Lost Boys of the Sudan for the Minneapolis Children’s Theatre; Rough Crossing and Famous Orpheus for Geva Theatre Center; Marisol for Hartford Stage and the New York Shakespeare Festival; Trying, The Illusion, The Baltimore Waltz, Happy Days, and My Children! My Africa! for Portland Stage; Pelléas and Mélisande for Skylight Opera; the NY premiere of Angels in America for Juilliard; The Game of Love and Chance for the Berkshire Theatre Festival; Broken Glass for the Philadelphia Theatre Company (Barrymore Award nomination); and Moon for the Misbegotten at Yale Repertory Theatre. She has also collaborated with Estelle Parsons, Al Pacino, Dianne Wiest, and Marisa Tomei on Salome for the Actors Studio. Ms. Booth was the recipient of the National Endowment for the Arts Design Grant and is a graduate of the Yale School of Drama.
Luciana Stecconi’s previous designs for The Studio Theatre include Lungs, The History of Kisses, Tynan, In the Red and Brown Water, The Year of Magical Thinking, Stoop Stories, Amnesia Curiosa, and Souvenir: A Fantasia on the Life of Florence Foster Jenkins. For The Studio 2ndStage, she has designed Mojo, Songs of the Dragons Flying to Heaven, 60 Miles to Silver Lake, That Face, All That I Will Ever Be, and Crestfall. Regionally, she has designed Something You Did and Zero Hour at Theater J, and Scenes from an Execution and The Two Orphans at Brandeis Theatre Company. Ms. Stecconi received the 2010 Mayor’s Art Award for Outstanding Emerging Artist and the 2006 Ira Gershwin Prize. She holds an MFA in Design from Brandeis University.
Michael Giannitti has designed 40 productions at The Studio Theatre including The Golden Dragon, The New Electric Ballroom, The Walworth Farce, Tynan, Marcus; or the Secret of Sweet, American Buffalo, Reasons to Be Pretty, Rock ‘n’ Roll, The Seafarer, The Road To Mecca, The Pillowman, Fat Pig, Afterplay, The Russian National Postal Service, and Seven Guitars, which earned him a Helen Hayes Award nomination. He designed lighting for the original Broadway production of August Wilson’s Joe Turner’s Come and Gone. He has designed extensively for the Shakespeare Theatre of New Jersey, Trinity Repertory Theatre, Capital Repertory Theatre, Shakespeare & Company, Weston Playhouse, and the Dorset Theatre Festival, where he is Producing Director. Mr. Giannitti has also designed for Chautauqua Theatre Company, Virginia Stage, Indiana Repertory Theatre, Portland Stage Company, George Street Playhouse, Jomandi Productions, Yale Repertory Theatre, Olney Theatre Center, and the Spoleto Festival. New York dance lighting credits include Dance Theatre Workshop, Dancespace, The Joyce, The Kitchen, and P.S. 122. He has been on the faculty at Bennington College since 1992. As a Fulbright Senior Specialist, he taught in Romania and New Zealand.
Helen Huang has designed costumes for more than 30 productions at The Studio Theatre including The Golden Dragon, The Seafarer, The Pillowman, Far Away, The Life of Galileo (Set and Costume), Waiting for Godot, and Indian Ink, for which she received the Helen Hayes Award for Outstanding Costume Design. Her costume designs have been seen at The Guthrie Theater, The Children’s Theatre Company, Oregon Shakespeare Festival, Syracuse Stage, Milwaukee Repertory Theatre, Philadelphia Theatre Company, The Arden Theatre Company, Disney Creative Entertainment, Arizona Theatre Company, the Utah Shakespearean Festival, and Boston Lyric Opera. Ms. Huang has also designed for several DC-area theatres including Arena Stage, The Shakespeare Theatre Company, Olney Theatre Center, The Kennedy Center, Theater of the First Amendment, and Woolly Mammoth Theatre, where her costume design for Stunning was nominated for the 2009 Helen Hayes Award. Her design work for Monkey King (Ivey Award, Minneapolis) was included in the United States National Exhibit to the Prague Quadrennial 2007. Her renderings were featured in “Curtain Call: Celebrating a Century of Women Designing for Live Performance,” a 2009 exhibition at The New York Public Library for the Performing Arts. Ms. Huang is also a professor in the MFA Costume Design Program at the Department of Theatre at the University of Maryland, College Park.
Jeremy Tressler began his career as a composer and audio-montage artist for the modern dance world. He helped to bring the San francisco based company, CAPACITOR to the spotlight with his exotic, electro-acoustic compositions in their ground-breaking 'Future Species' production. In 1998, an introduction to composer Meyer Kupferman led Jeremy to concentrate on the refinement of acoustic recording techniques. He has since produced recordings to critical acclaim by composers and artists such as; George Crumb, Milton Babbitt, Dary John Mizelle, Richard Cameron-Wolfe, Alexandros Kapelis, and many more. Continuing his path as a non-conformist and champion of the arts, Jeremy felt discouraged with the economic inaccessibility of the state-of-the-art by those outside the commercial eye. Subsequently he established DREAMFLOWER STUDIO and the FURIOUS ARTISANS record label as a means to serve the most innovative of recent & living composers. Jeremy lives and works in the NYC metro-area where he continues his exploration & growth in the art of sound.