Rush Rehm: translator, adapter (with Courtney Walsh), and director, Euripides' Hecuba/Helen.
Rush is the Founder and Artistic Director of Stanford Repertory Theater (SRT). He has directed many productions for the company, including Clytemnestra: Tangled Justice, Words and Images to End All Wars, Moby Dick – Rehearsed (with Courtney Walsh), Copenhagen, Under Milk Wood, The Exception and the Rule, Lysistrata (adapted by Amy Freed), An Inspector Calls, Betrayed, Electra, Libation Bearers, Curse of the Starving Class, The Wanderings of Odysseus, Happy Days/ Oh les beaux jours, Life of Galileo, Faith Healer, Omeros, War of the Worlds, Deianeira, The Collection (with Ed Iskandar), and The Bear (with Aleksandra Wolska).
He has appeared in Hay Fever (Richard Greatham), Waiting for Godot (Pozzo), The Chairs (Lecturer), Biedermann and the Firebugs (Biedermann), The Lover (Richard/Max), Old Times (Deeley), Les Blancs (Charles Morris), Uncle Vanya (Astrov), and Reykjavik (Ronald Reagan). Rush has worked as an actor or director at various regional theaters, including Magic Theater, TheaterWorks, Cutting Ball, Arena Stage, Guthrie Theater, Alliance Theater, Seven Stages, McCarter Theater, the Pram Factory, and La Mama (Melbourne).
Michael Keck - Composer/Sound Designer, Euripides' Hecuba/Helen
Stanford Repertory Theater: Suppliant Women, Deianeira, Electra, and Moby Dick - Rehearsed (Theater Bay Area Award, Outstanding Sound Design)
Regional: The Piano Lesson, Top Dog, Under Dog, Gem Of The Ocean, Fences, Death and the Kings Horseman, Measure For Measure, Henry IV, Pt. 1, Ma Rainey’s Black Bottom, Intimate Apparel(Oregon Shakespeare Festival); The Bacchae(Portland Center Stage); Intimate Apparel(Guthrie Theatre); Death Of A Salesman, A View From The Bridge,The Great White Hope, Derek Walcott's The Odyssey, Community Carol, I AM A MAN (Arena Stage); Jitney, Escape From Happiness, Criminal Genius, The Norman Conquest, Copenhagen, Intimate Apparel, The Glass Menagerie (Milwaukee Rep); Othello, An Ideal Husband(Idaho Shakespeare Festival and Great Lakes Theatre Festival); It Ain’t Nothing But The Blues (Barrymore nomination, Prince Music Theater); Doubt and Young Lady From Rwanda (both Barrymore nominations, Peoples Light and Theatre Company); As You Like It, Looking Over The President's Shoulder, Gem of the Ocean, Searching for Eden, Dr. Jekyll and Mr. Hyde, Rabbit Hole (Indiana Repertory Theater); A Village Fable (AATE Distinguished Play Award, Mark Taper Forum),Fences, Ma Rainey’s Black Bottom,The Brothers Size, Gem of The Ocean (Syracuse Stage); Miss Evers' Boys (Cincinnati Playhouse); A Doll's House, Wit, Dinner with Friends (Alliance Theater); Holidays for Children Video Series (Writer/Host/Composer, Fabian-Baber Productions)
International: The Brothers Size(Market Theatre – Johannesburg, and Baxter Theatre Center -Cape Town, South Africa); A Streetcar Named Desire, Death of a Salesman (The National Theater of Croatia); Miss Evers' Boys(Barbican Theatre Center and Bristol Old Vic)
AEA, SAG-AFTRA, ASCAP, NTC, PEN, and The Dramatists Guild.
Courtney Walsh: Co-adapter, Associate Director, and title roles in Euripides’ Hecuba/Helen
Courtney has worked with Stanford Repertory Theater since 2006, where she has appeared in twenty-nine productions. Among those, she co-directed and acted in Moby Dick – Rehearsed (winning Theatre Bay Area Awards for Outstanding Production, Direction, and Ensemble), appeared in Hay Fever (nominated for Best Production by the Bay Area Theater Critics Circle), and played Jocasta in Oedipus (hailed by the San Francisco Examiner critic as "the finest piece of classical drama I have ever seen"). Other SRT appearances include Happy Days (Oh, les Beaux Jours) in the U.S. and France (in both English and French); The Wanderings of Odysseus at the Cacoyannis Theater in Athens, Greece; and a multi-continent tour as the title character in Clytemnestra: Tangled Justice.
Recently, Courtney appeared in the title role of Mother Lear with We Players, which she co-wrote and co-directed, and will be touring nationally. She was nominated as Outstanding Actress by Theatre Bay Area for Phèdre at Cutting Ball Theater, appeared in the West Coast premiere of Native Son at Marin Theatre Company, created the role of Anna in the world premiere of Seared by Theresa Rebeck at San Francisco Playhouse, and played a six-month run as Mercutio in Romeo and Juliet with We Players.Courtney is also an Associate Artist with 3Girls Theatre.
Courtney studied acting at Yale University and then continued her work on stage and screen in Los Angeles. During a hiatus from acting she earned a law degree, representing children in child abuse cases. Since returning to the stage in 2006, she has played nationally (Los Angeles, San Francisco, San Antonio, Jackson, Salt Lake City, and others) and internationally (Paris, Athens, Berlin, Amsterdam, Cardiff, Corfu, Sydney, Wellington, Auckland, and others). Courtney periodically co-teaches a CSP Drama course at Stanford and workshops on acting in the U.S. and Europe. She is also a mother of four, a competitive equestrienne, and a member of SAG-AFTRA and AEA. Find her at courtneywalsh.net.
Alex Johnson: Associate Artistic Director of Stanford Repertory Theater.
Alex Johnson he has acted the title role in Brecht’s Galileo and in the WW1 tribute, Words to End All Wars. He directed directed Naomi Wallace’s Slaughter City, Chekhov’s The Bear, The Proposal, and The Anniversary and the devised version of Meyerhold’s 33 Swoons for the company.
As a playwright, Alex’s work has been seen locally at the Cutting Ball Theater's RISK is This Festival, and at the Irondale Center in Brooklyn. Alex serves as the Director of Outreach and Programing for the Massachusetts Educational Theater Guild in Boston, producing and developing theater programs for underserved schools throughout the state. He holds a BFA with Honors in Drama from New York University’s Tisch School of the Arts, and an MA in Theater and Performance Studies from Stanford University.
Aleta Hayes: Choreographer, Hecuba/Helen
Aleta Hayes is a choreographer, performer, and lecturer in Stanford’s Department of Theater and Performance Studies. She has performed leading roles in Robert Wilson and Bernice Johnson – Reagon’s Temptation of St. Anthony, Martha Clarke’s Orfeo ed Euridice (Gluck), choreographer Jane Comfort’s Asphalt, and director Ping Chong’s Chinoiserie. For Stanford Repertory Theater she choreographed Hansberry’s Les Blancs and Sophocles’ Electra, and performed the title role in Deianeira, a solo piece adapted from Sophocles’ The Women of Trachis.
In 2009, Hayes founded the Chocolate Heads on the Stanford campus, a troupe that creates original site-specific dance and performance installations, including the opening of the Bing Concert Hall, the Anderson Collection (Scene in Action), the Mc Murtry Art and Art History Building (Building Scene), the Windover Contemplative Center (Flower, A Moving Meditation), and Roble Gym (Ghost Architecture). Other notable performances of the Chocolate Heads include the first Stanford TedX (Red Shift), the Pace Gallery in Palo Alto (David Hockney), the Djerassi Artist Residency (Artful Harvest), and the Yerba Buena Center for the Arts in San Francisco.
Connie Strayer, Set and Costume Designer, Hecuba/Helen
Connie has designed for theatre, dance, opera and fashion. Some of her recent costume design credits include: Wanderings of Odysseus, Importance of Being Earnest, Moby Dick – Rehearsed, and Hay Fever (TBA and SFBATCC nominations) for Stanford Repertory Theatre; Cosi fan Tutte and The Flying Dutchman for Opera San Jose; Radio Golf for TheatreWorks; Silence! The Musical for Cloud 9 Productions; two new world premiere operas by Giancarlo Acquilanti, Oxford Companions, and Jonathan Bergers’ Visitations (co-design) directed by Rinde Eckert, and Love Sick for Jewish Circle Theatre and Zorro Productions, which won the 2017 Glickman Award for best world premiere play in the Bay Area. Dance credits include Amy Seiwart’s Les Biches, Robert Moses’ Bloom for Oakland Ballet, Nuage for Mark Foeringer Dance Project, and It’s a Wonderful Nutcracker for Menlowe Ballet. Connie contributes regularly as a textile artist and painter for companies including Alonzo King Lines Ballet and San Francisco Ballet. She teaches theatrical design in the TAPS Department at Stanford and is a member of United Scenic Artists.
Hecuba/Helen marks Jennie’s Stanford Rep debut. Recently she played Agatha in Jeeves Intervenes (Sonoma Arts Live), Sharon in Pussy Hat (TheatreFIRST), Adlean in Barbeque (SF Playhouse), the Nurse in Romeo and Juliet (WePlayers) Mrs. Potts in Beauty and the Beast and Yente in Fiddler on the Roof (Berkeley Playhouse), Eugenie and Judge in Ondine at Sutro (We Players), Mattie Fae in August: Osage County (Contra Costa Civic), and Liz in The Book of Liz and Luella in Why Torture is Wrong (Custom Made Theatre), Silda in Other Desert Cities, and Thelma in ‘night Mother (Stray Dog Productions). Jennie was nominated for Theatre Bay Area Awards for her portrayals of Eugenie/Judge in Ondine and Mattie Fae in August: Osage County. She also has performed with Shotgun Players, DivaFest, Playwrights’ Center of San Francisco, Three Girls Squared, and Town Hall Theatre.
Michael Ramsaur, Lighting Designer, Hecuba/Helen
Michael has had a 40-year career in theater as lighting designer for over 200 productions in the San Francisco Bay Area, working with Berkeley Rep, San Jose Civic Light Opera, West Bay Opera, Grace Cathedral, Foothill Summer Theatre, Lamplighters, TheatreWorks, and Broadway by the Bay. For Stanford Repertory Theatre he has designed the lighting for Hay Fever, Moby Dick - Rehearsed, The Importance of Being Earnest, Oedipus, Old Times, Under Milkwood, The Wanderings of Odysseus, and Electra.
Michael also has designed for Exile Santa Fe, Aspen Theater Company, California Center for the Arts, the Chicago Art Institute, Baltimore’s Center Stage, and the Samuel Becket Center in Dublin, Ireland. He has received Outstanding Lighting Design awards from the San Francisco Bay Area Critics Association, Dean Goodman Award, and the Drama Logue Award.
Professor Emeritus of Lighting Design and Director of Production at Stanford’s department of Theater and Performance Studies, Michael is a Fellow of the United States Institute for Theatre Technology and serves as Honorary Professor at the Central Academy of Drama, Beijing He is past President of OISTAT (The International Association of Scenographers, Theater Architects and Technicians) and a member of the USAA United Scenic Artists Local #829, IATSE International Alliance of Theatrical Stage Employees Local # 16, IESNA (Illumination Engineering Society), IALD (International Association of Lighting Designers), ALD (Association of Lighting Designers UK), DTHG (German Technical Theatre Association), and TATT (Taiwanese Association of Theatre Technicians).
Doug Nolan: Agamemnon, Theoclymenus in Euripides’ Hecuba/Helen
Doug is making his Stanford Repertory Theater debut. Credits include: American Conservatory Theater (Enrico IV, Threepenny Opera), Cutting Ball Theater (Timon of Athens), Shakespeare Santa Cruz (Kean, Love's Labour's Lost), Marin Shakespeare Company (Romeo and Juliet, A Midsummer Night's Dream), Magic Theater (Balm in Gilead, Scattering Poems All Through the Night- directed by Jeffrey Bihr), Shotgun Players (Arrivals/Departures), Half Moon Bay Shakespeare Company (Macbeth- title role, A Midsummer Night’s Dream, Romeo and Juliet), Coastal Repertory Theatre (August: Osage County, Every Christmas Story Ever Told, Coney Island Christmas).