Julie Accuardi is delighted to be a member of the Drammy committee. She was a theatre teacher for thirty three years, most of it at Wilson High School. She holds a BA in Theatre and a Masters in Directing, both from Portland State University where she had the good luck to study with Jack Featheringill. Julie is proud member of the Portland Civic Theatre Guild and chair of the Guild’s New Plays committee for Fertile Ground. Many thanks to all the Portland area theatre artists. It is an honor to see your work.
Lava Alapai is very happy to join the Drammy Committee! She has been creating and directing theatre in Portland for about 10 years. Her favorites include her work with Oregon Children’s Theater – Locomotion, Charlotte’s Web, and most recently Columbinus. She has also worked with Tears of Joy, Portland Playhouse, Many Hats Collaboration, and defunkt. Lava was born in Okinawa, Japan and moved to Hawaii with her family where she was very lucky to have been introduced to story telling and the art of Bunraku puppetry. She received her MFA at California Institute of the Arts.
Adair Chappell doesn’t know life outside of Portland theatre. Performing in numerous productions, she started her training very young, learning and working with the best in town. She majored in theatre at Southern Oregon University. Performing straight roles until 20, she found her voice and starred in her first musical Peter Pan, lasting eight seasons. She feels very privileged in this past couple of years to watch, learn, and grow with all the incredible talent in Portland.
Charmian Creagle is a director/producer of theatre with a focus on the avant garde and experimental disciplines. She received her theatre degree at SOU and interned at OSF before moving to Portland in the late 90s to become a member of The Other Side Theatre. With the Other Side she directed Ubu Roi and Machinal and performed and assisted in other productions. She is a founding member of defunkt theatre where she directed Lisa D’Amour’s 3 Mutants, and before leaving Portland, directed The Trial for Cygnet Productions. In 2000 she moved to NYC with her husband Sean where she worked with members of Elevator Repair Service and Clubbed Thumb among others. She became an associate director and acting/movement teacher for The Looking Glass Theatre (a women focused company) where she directed multiple productions including Spring Awakening, a female led production of Brecht’s Baal and her own devised piece Communicable Dis-ease. In 2012 The Reformers came into existence with a personal and devised production, The Possessions of la boîte ending the season with a site specific horror play The Revenants. She is excited that the Reformers’ most recent production The Turn has received 3 finalist Drammy nods this season. Charmian has also recently served as board chair for the health based theatre non-profit, Well Arts.
Sixth Grader Darr Durham brought down the house (literally) as a messenger girl on a runaway bike in a production of Final Dress Rehearsal, directed by the renowned Florine Weiss. Darr is a proud graduate of the Portland Civic Theatre Junior School. After a year of “I’m done with theatre” at Lewis and Clark College, she spent a term in NYC seeing shows every waking moment (excellent training for the Drammy Committee). The 2.0 theatre credits from the NYC trip led to a double major in Theatre and Communications, and a job as the Box Office Manager of PCT. She was lucky enough to be cast in Jack Featheringill’s PSU production of Equus, and ultimately performed in the American College Theatre Festival at the Kennedy Center in Washington, DC. Darr was one of the first Willie nominees, and although she was robbed, When You Comin’ Back, Red Ryder won the first Willies for Best Direction and Best Production. and really, that rewards everyone for doing a great job! Politics intervened, until Darr joined the Guild around 1992, eventually serving as Chair for five years. While wrapping up service on the Artists Repertory Theatre board, she was lured to the Drammy Committee (1999-2000), where she rose to Chair in 2012-2013
Michael Foster has been a theatre advocate throughout his life. Starting as an actor in grade school, he then worked locally as a stagehand and a performer in high school shows and the Portland Civic Theatre. He continued in college to study acting, directing, writing, set design/construction, and theatre history at Miami of Ohio and Portland State. He feels the production and support of local theatre is of vital importance to the health and well-being of any community, and is grateful that Portland has such a vibrant and involved culture. He, like most of the Drammy committee, sees 70-80 plays a year and views it as a civic pleasure, a labor of love, and a privilege.
Coming from a large arts-inclined family, and as a 6th generation native Oregonian, he can’t imagine living any other place than the Pacific Northwest.
Glenn Gauer is a Professor Emeritus at Portland State University where he served as a Director as well as a Scenery and Lighting Designer. Recent PSU directing credits include: Urinetown:The Musical, The House of Blue Leaves, Crimes of the Heart, The Imaginary Invalid, Hedda Gabler, Death of a Salesman, A Flea in Her Ear and The Hostage. Design work includes; for Pixie Dust Productions; La Cage aux Folles, The Wizard of Oz and The Full Monty; for Artists Repertory Theatre, The Ghosts of Celilo, for Profile Theater, The Sisters Rosenweig and Talley and Son; for Triangle Productions, The Rocky Horror Show. With The Musical Company directing credits include Camelot, Fiddler on the Roof and The Pirates of Penzance; design credits include; Paint Your Wagon, La Cage Aux Folles, Camelot, The King and I and West Side Story.for Lakewood Theatre, scenic design for La Cage aux Folles, The Man of La Mancha and lighting design for Amadeus, The Lion in Winter, and A Tuna Christmas.
Marty Hughley is a freelance arts journalist who writes about theater, dance and popular music.
A Portland native, he spent nearly 25 years on the staff of The Oregonian, joining the newspaper in 1989 as a general assignment reporter. He served as pop music critic from 1990 to 2006, and in 2013 was inducted into the Oregon Music Hall of Fame for his contributions to the industry. From 2006 until leaving the paper in 2013, he covered theater and dance.
His honors have included a National Arts Journalism Program fellowship at the University of Georgia in 1996-97, a fellowship at the NEA Arts Journalism Institute in Theater and Musical Theater at the University of Southern California in 2007, and first-place awards for arts reporting in the 2009 and 2010 Society of Professional Journalists Pacific Northwest Excellence in Journalism Competitions.
Prior to joining The Oregonian, Hughley studied history at Portland State University and worked at the alternative newsweekly Willamette Week as pop music critic and arts editor. He loves watching basketball, and is an avowed cat supremacist.
Anna Johnson is a full-time instructor at Mt Hood Community College, where she teaches web design and business technology courses and serves on the leadership team of the Faculty Association. Anna’s love of theatre goes back to her childhood on Long Island, where her mother was an actress and it was a semi-regular thing in their family to skip school on Wednesdays for a Broadway matinee. Since 2001 Anna has shared her life with the super-talented Matt Pavik, with whom she moved to Portland in 2005. They both feel so blessed to live and work in this amazing community of theatre artists. Anna volunteers with Portland’5 Centers for the Arts as an usher and tour guide (and Starlight Parade marcher) and has volunteered for many (most?) local theater companies. She is also a former librarian and an aspiring playwright.
Since moving to Portland in 2001, Paige Jones has worked as an actor for numerous local theatre companies, directed at Stark Raving Theatre, taught theatre arts to children aged 4-17 at A.R.T., OCT, and NWCTS; she also has performed on-camera (most recently opposite Geena Davis and Rico Colantoni), and as a VO artist on regional and national radio and television advertising campaigns. Pre-2001, she worked in Colorado as a theatre Business Manager, Artistic Director, Director, Theatre Education Director, Teaching Artist, Costumer, Set Dresser, and Actor; she also created a live historical show for Keystone Resorts, a travel/visitor’s television show for Resort Sports Network, worked as a radio copywriter and frequent voice-over artist for radio station KSMT The Mountain. Before that, Paige did the off-off Broadway thing in New York while studying at HB Studio, after graduating with a B.A. in Music from HunterCollege (part of City University of New York). And before all that, Paige worked as an actor in the American military theatre community in Heidelberg, Germany. Yowza. There is almost 30 years in a nutshell!
Richard Wattenberg teaches theater history, literature, and criticism at Portland State University, and has served on the Drammy Committee for 20 years. He has published the book, Early-Twentieth-Century Frontier Drama on Broadway: Situating the Western Experience in Performing Art, and numerous articles in academic journals, as well as directed a number of full productions and staged readings. A freelance theatre reviewer, Richard has contributed some 400 reviews to The Oregonian.