Bios. First and Third Person
Two.Hour...@gmail.com
last year at the Hangar Theatre in Ithaca, NY. There, she assistant
stage managed Lily's Purple Plastic Purse, Sammy & Me, Bloodline:
The Children of Argos, and Hello, Dolly. Brenda also was able to take
the children's show Hansel and Gretl to elementary schools around New
York State last winter. Before Ithaca, Brenda attended and graduated
from New Mexico State University majoring in Theatre Arts. During her
time she received a well-rounded education focusing mainly on stage
management and directing, receiving the best stage management award
2002-2003 and 2003-2004. She was honored with the Hershel Zohn
Outstanding Senior award in 2005. Other stage management credits
include The Laramie Project (New Mexico State), Carmen (Dona Ana Lyric
Opera), Ballerina (No Strings Theatre Company), and The Princess and
the Pea (Pennsylvania Shakespeare Festival). Brenda's directing
credits include Machinal (New Mexico State), Stop Kiss (No Strings
Theatre Company), Britney and Christina (Montage my Shoes Art
Movement), and Tape and David Sedaris' Season's Greetings with
Lo-fi Productions. She is excited to begin this adventure and making
theatre a "cool" thing to do again
Two.Hour...@gmail.com
Mr. Patton will contribute to the company in any way possible. As an
actor, he has trained in various disciplines including Clown, Puppetry,
Suzuki Method, Meisner, and Margolis Method . After spending several
years in Jackson Wyoming studying with theatrical clown Bob Berky and
Contemporary Dance Wyoming, he moved to New York where he performed
professionally for LaMama Experimental Theatre Company and served as a
technician on their production crew. Through LaMama, he toured in 5
different countries including eastern Europe and Japan while performing
mostly Greek drama. Upon returning to the United States, Mr. Patton
returned to the world of Academic Masochism and earned degrees in
Theatre and Anthropology from the University of New Orleans. UNO gave
him firm footing performing Shakespeare, Brecht and Samuel Beckett.
Performing with Dog and Pony Theatre in The Tempest for Shakespeare in
the Park and The Great Gatsby in the Faulkner Words and Music Festival
are favorite highlights of working in New Orleans. He also acted in
several short films including the principal role in the "Best Student
Film" winner, Personal Touch, directed by Joe Berk and as
choreographer shares a "Best Experimental Film" award with
Sherng-Lee Huang from the Alameda Film Festival. In the summer of 2004,
he performed with the Oklahoma Shakespearean Festival. After the
hurricane, Mr. Patton moved to Austin, Texas where he wrote one and
directed two original short plays at the Frontera Theatre Festival and
played the principal role in the short film Battered, Directed by Galen
Carter-Jefferies, that won second place as well as "Best Acting"
awards among over 40 entries in the Bloodshots 48 Hour Film Festival.
After realizing that running a Non - Profit theater company is what
he wants to do, much research ensued. The final analysis showed Seattle
Washington to be the most fertile ground in which to plant this kind of
company. Mr. Patton spends his days earning bread as Development
Coordinator for Seattle Opera. He spends his nights selecting a season,
guest artists and dynamic out-reach programs as Co-Artistic Director of
what will become, with your help, Two Hours' Traffic Theater Company.
Two.Hour...@gmail.com
Felisa Smithson- (actor/ director/ producer/ dialect coach)
Most of Felisa's theatre credits are for her work as an
actor. Her most noteworthy roles are as follows:
Tessa- Road Map
Lady Capulet- Romeo and Juliet
Rebecca- Euonym
Helen- Machinal
Ofelia- ESL
Cameron- The End of the Meal
Christina- Britney and Christina
Ophelia/ Gertrude- 14 Minute and 32 Second
Hamlet
Although her main focus has been acting, she is also a director,
producer, dialect coach, fight choreographer, dancer, dramaturg, and
has some education in set design.
Before graduating from New Mexico State University in 2005
with a BA in Theater, Felisa took on several artistic challenges. She
helped to re-establish the student organization Opportunities for
Creative Theater Students (OCTS) after a four year period in which it
was inactive. Once it was re-established, she and a peer wrote a
manual that was committed to the upkeeping of the organization upon her
graduation.
Once OCTS was re-established, Felisa had the pleasure of
producing it's first three productions as well as simultaneously
making her directing debut with Weighing In, OCTS's second show.
She also helped to found Montage My Shoes Arts Movement
(MMSAM), in which many of the students on campus involved in the arts
were given the opportunity to showcase themselves and their talents in
the forum of a series of one-acts. Its mission was to give artists the
chance they weren't getting from the existing venues on campus.
Upon graduating, Felisa was immediately cast in Creede
Repertory Theatre's Outrach Tour. (Creede Rep was noted by USA Today
as one of the top repertory companies in the nation.) The tour itself
traveled throughout New Mexico, Colorado, and Arizona. Amada's
Diary, the young children's show, featured Felisa as a number of
roles that highlighted her diversity as an actor. ESL, the show that
was performed for the high school students in which Felisa played the
lead, was a look at racism within the Hispanic and Anglo community.
She's avidly passionate about children's outreach programs within
the artistic community and considers her work with Creede to be the
most rewarding experience of her life to date.
Two.Hour...@gmail.com
Two Hours' traffic. Michael was born and raised in New Mexico, he
attending New Mexico State University where he studied Music
performance and Theater arts. Performance credits include Pinellino in
Gianni Schicci (Dona Ana Lyric Opera), Mendel in Fiddler on the Roof
(DALO), Alfred/Clem in The Little Sweep (DALO), The Barber in Man of La
Mancha (DALO), Storyteller in the staged premiere of The Animals
Christmas (4Arts Productions), Prince Wilbur in the premiere of
Beautiful Princess Available for Rescue (DALO), and the title role in
You're a Good Man, Charlie Brown (Las Cruces Community Theater).
Michael Was also a soloist in many Choral works with New Mexico State
University Choirs. Michael also has many technical credits including
make-up/hair and wig design for H.M.S. Pinafore (DALO), The Skriker
(OCTS), and Beautiful Princess Available for Rescue (DALO). He served
as the makeup assistant for Dona Ana Lyric Opera for their 2005/06
season and did freelance make-up and hair for weddings, recitals,
concerts, and everyday friend upkeep. Costume design credits include
Tape (LoFi Productions), and Britney and Christina (MMSAM) and Set
Design for Weighing In (OCTS). Michael wants to break down walls
marring all genres and facets of theater to make art beautiful again.
morgan Aldrich
get sent with the others. I tried to have him send it from mine, but
something went wrong. I will send it tonight. Sorry for the delay, I know
you all are eagerly awaiting my illustrious bio like the next Harry Potter
book.
XO
m
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morgan Aldrich
I swear I tried sending it last night. It didn't work for some reason. I
suck. Sorry.
m
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morgan Aldrich
long.:
I emerged from college at New Mexico State University in 2004 with a B.A. in
Theater Arts and the desire to make my living acting. That desire was
quickly snuffed out when I realized I was dooming myself to a life of
poverty and children’s shows. (The children’s shows scared me more than the
poverty.) I decided to forego New York, and moved back to my hometown of New
Orleans, Louisiana. I procured a merry-go-round of jobs in the theater
community there: working week days at the Contemporary Arts Center,
weekends teaching acting at a talent agency, nights were spent in the box
office of Southern Rep, and in spare moments I did dramaturgical work for
Mondo Bizarro. I had just finished directing for the What Girls Know summer
program, and my original piece ‘EUONYM’ was slated to be performed in an
upcoming arts festival, when Hurricane Katrina ripped all that from my
grasp, and knocked me into Austin, Texas. There, I found work as Executive
Assistant of VORTEX Repertory Company, and house managed at Zach Scott
Theatre Center. Once a week I taught a class for KidsActing. I found a place
for ‘EUONYM’ in Austin’s fringe festival, FronteraFest. Austin was not to my
taste though, and 9 months later, fueled by the desire to create the art I
believed in, I suggested to some fellow artists we move to Seattle (a city I
had visited for 3 days) to start a theater company. To my utter surprise,
they agreed to give it a shot. And here we are: lost in Seattle, fumbling
towards our first production; drunk on art, in the name of Two Hour’s
Traffic.
----Original Message Follows----
From: "morgan Aldrich" <roseisn...@hotmail.com>
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Subject: Re: Bios. First and Third Person
Date: Tue, 17 Oct 2006 09:46:42 -0500
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Two.Hour...@gmail.com
by in large, I find it personable and appealing.
I do take issue with "Lost in seattle" and "Fumbling toward our first
production."
Please, please, please, do not make me publish that.
This type of language is poetic. Something to use in a retrospective or
the memoirs/biography of the great Morgan Aldrich, but not, in my
opinion, language that we want to sell ourselves with.
We are measured. We are calculating. We are TALENTED. Not lost. Not
fumbling.
Professional.
Two.Hour...@gmail.com
the "personal" direction on this one.
thoughts?
I'm settling in. This is my place. I have wandered - much to my
personal profit.
I attended the University of Georgia for a year and a half, majoring in
International Business because that course of study wasn't offered in
Louisiana (my home state) and therefore made me eligible for
"in-state tuition." When I had to start taking those classes I
realized that I was wasting my time because International Business was
not my passion.
What was my passion? I didn't know. So I hit the road. I lived out of
a truck for four months, reading books, learning to juggle and playing
music while touring Mexico, much of the continental U.S. and Canada. I
landed in Jackson, Wyoming. I wanted quiet. I worked as a bulk goods
buyer and Cafe manager for a small health food store while hiking and
back country skiing. I was too comfortable. I decided to do something
that would mortify me, shake me out of complacency. I took an acting
class. Acting infected me and I started to get involved in every aspect
of performing arts that was available to me. Dance, mime, clowning and
puppetry were all somehow magically available in a small Wyoming town.
I went to New York to perform in a show with the Czech-American
Marionette Company and Contemporary Dance Wyoming. While in New York, I
fell in with some crazy and inspired individuals at LaMama Experimental
Theatre Company and ended up staying there for more than a year. I
toured with them to Italy, Austria, Yugoslavia and Croatia. We came
back to New York to mount a few more performances, then we were off to
Japan to perform in an epic Greek Opera - The Trojan Women.
Once back in the United States, I returned to college in my home state
at the University of New Orleans and earned degrees in Theatre and
Cultural Anthropology to satisfy my interests in performing arts and my
desire to have a global perspective, which I found in Anthropology. I
worked with a number of individuals both in school and in professional,
extra-curricular projects that continue to inspire me. I was ready to
stay in New Orleans. The film scene was promising and I had met many
artists within whom I had much confidence and new that I could work
with them for years. Now those artists, those people, are scattered and
the cultural and economic realities in New Orleans are grim. I realized
that what I wanted to do is difficult enough without the additional
hurdles of living in a region of the country that will be overwhelmed
with simply meeting the basic needs of survival for many years. With a
little research and a little city shopping, we decided that Seattle was
ready for what we have to offer: Intelligent, accessible, mind-bending
theater. I can finally dig in. I am home. I am resonating with the
truest chord of what life is for me, and that is a good feeling.
morgan Aldrich
Morgan Aldrich received a bachelor's degree in Theater Arts from New Mexico
State University where she was awarded the Hershel Zohn award for
Outstanding Senior 2004. She has worked in many facets of the theater world
including: stage managing for Dog and Pony (New Orleans) and American
Southwest Theater Company (New Mexico), producing and directing for Montage
My Shoes Art Movement (New Mexico), teaching for the What Girls Know summer
program (New Orleans), house managing at Zachary Scott Theatre (Austin) and
The Contemporary Arts Center (New Orleans), dramaturgy for Mondo Bizarro
(New Orleans), box office at Southern Rep. (New Orleans), and executive
assistant of VORTEX Repertory Company (Austin). Favorite acting gigs include
Emma in Pterodactyls, Dr. Fritz in Time Flies and Other Plays, and various
roles in The Laramie Project. She is a certified actor/combatant. Her
original piece "EUONYM" was recently produced at Frontera Fest in Austin,
Texas. She relocated to Seattle in July of this year and is currently
working as the Technical Production Purchaser at Seattle Repertory Theatre.
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morgan Aldrich
out to friends and family, worrying about those words is unnecessary. They
were used with poetic liciense, and I think anyone reading them will know
that. Obviously, we are professional. I think 90% of the bio explaining my
previous expirience in theater demonstrates that. Those last phrases were
meant to imply an artistic leap towards our first production in which we may
not know exactly what we are doing, but we are doing it anyway, and our
collective talants (as shown in our fucking kick ass bios) will ensure that
whatever we put together will be amazing. However, if you really take issue
with it, we can delete it.
I too like the 1st person bios better. I think it will be hard to keep them
short. I spent a good 45 minutes cutting mine down and it's still a little
more than our 1/4 a page limit. We'd have to do some serious cutting on
yours too I think although I do like it in its entirety, but simply to keep
the funding letter down in size (who wants to read a 5 page letter begging
for money?). The vibe the 1st person sends is just nice, though, especially
for people we know.
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Subject: Re: Bios. First and Third Person
Date: Wed, 18 Oct 2006 02:34:02 -0000
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morgan Aldrich
I think we should delete those last few sentences in my bio. But I disagree
on why and I think this is very important. I say cut it, it's overly poetic
and silly and my bio is too long anyway so that will help make it the
required length. I was trying to figure out why you wanting to cut it
bothered me so much and I think I have. These are just thoughts flying
around in my head, but I feel very strongly about them so I wanted to say
something. However, if I'm totally off base here everyone please tell me,
because they ARE just thoughts.:
I don't think we should be scared of being unprofessional. Before you
bristle up to that statement let me explain what I mean. I think there is
nothing worse than a company trying terribly hard to be professional and
then producing crap, professional crap, but still crap. It's annoying.
However, that has nothing to do with us. That won't be us. What I think
should be us is a company not overly concerned with giving off the
appearance of being professional but just doing everything (and I mean
EVERYTHING right down to fundraising letters and programs) they do really
well. It's endearing and it makes them human. I do not want to be a
corporation. I want to be a group of artists. Or atleast that's the feel I
want our company to have. You know what I mean? Who cares if we are artists
struggling in an area we are a little unsure of. That's how truley
groundbreaking art is made. And if the fundraising letter looks really
sleek, people will respect us for being human. We talk about being
accessible, and I think admitting where we are unsure of our footing is the
way to do it. I have complete faith in our ability to produce really good
shows. So I'm not worried about emerging triumphant. I just think the public
will connect with people with real problems and real flaws more so that a
company that just says "We are so good we are so good we are so good." We
should BE good and talk honestly about the journey getting there. I think
the rude mechs did that very well. Self-deprecation is a good quality in my
opinion. There was a photo of the Rude Mechs (a REALLY good and really small
austin theater company) from their early days where they are holding a sign
that says "WE put the 'Art' back in Fart." THAT makes me want to see their
shows. I'm not saying we announce every problem we have to the world and
make a public list of our shortcomings. I'm just saying I don't think it
will hurt us to say "Here we are, struggling artists, we don't quite know
exactly what we're doing, or where we're going, but whereever it is it's
gonna be worth it." I think that's something I could connect with. And I
think that's something the public could connect with. I don't want to be
Seattle Rep. I don't want to wrap us up in shiny boring inpersonal
professionalism. I want us to be professional. I do. I just don't want us to
be scared to be human as well. This is not to say we shouldn't run things
super business like and clean and tight. I just don't want to give that
corporate image out to the public. We want this to look fun. And real. Does
this make any sense? Please let me know.
xo,
m
----Original Message Follows----
From: "morgan Aldrich" <roseisn...@hotmail.com>
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Subject: Re: Bios. First and Third Person
Date: Wed, 18 Oct 2006 02:15:31 -0500
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_________________________________________________________________
morgan Aldrich
usual. So forgive my messages every ten minutes to the group. Here's an
updated personal bio though. Yes, it's still too long. I'll cut it. I
swear.:
I emerged from college at New Mexico State University in 2004 with a B.A. in
Theater Arts and the desire to make my living acting. That desire was
quickly snuffed out when I realized I was dooming myself to a life of
poverty and children’s shows. (The children’s shows scared me more than the
poverty.) I decided to forego New York, and moved back to my hometown of New
Orleans, Louisiana. I procured a merry-go-round of jobs in the theater
community there: working week days at the Contemporary Arts Center,
weekends teaching acting at a talent agency, nights were spent in the box
office of Southern Rep, and in spare moments I did dramaturgical work for
Mondo Bizarro. I had just finished directing for the What Girls Know summer
program, and my original piece ‘EUONYM’ was slated to be performed in an
upcoming arts festival, when Hurricane Katrina ripped all that from my
grasp, and knocked me into Austin, Texas. There, I found work as Executive
Assistant of VORTEX Repertory Company, and house managed at Zach Scott
Theatre Center. Once a week I taught a class for KidsActing. I found a place
for ‘EUONYM’ in Austin’s fringe festival, FronteraFest. Austin was not to my
taste though, and 9 months later, fueled by the need to create the art I
believed in, I suggested to some fellow artists we move to Seattle (a city I
had visited for a mere 3 days) to start a theater company. To my utter
surprise, they agreed to give it a shot. I now work days at Seattle Rep
buying nails and glue for the scene shop. Likes: satsumas, red shoes,
punctuation. Dislikes: those bags that are really just a handkerchief
attached to a stick that hobos or children who are running way from home
carry in cutesy drawings. They just don’t make sense.
----Original Message Follows----
From: "morgan Aldrich" <roseisn...@hotmail.com>
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Subject: Re: Bios. First and Third Person
Date: Wed, 18 Oct 2006 10:24:09 -0500
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Two.Hour...@gmail.com
want a "corporate" theater company.
I simply do not think that saying we are "lost" and "fumbling" are
choice words for a FUNDRAISING letter.
I am not suggesting that we pretend to be anything other than we are. I
personally do not feel lost or fumbling. I have goals and I, along with
all of you, am striving to reach them. The rude mechs are great. When
they say "we put the art in fart" they are not saying that they are
lost. They are saying, "don't you love how clever we are?!" I do think
there is a significant difference.
I also don't mean to sound angryhere. People have told me before that
sometimes I sound angry. This is just my response. If you wanted to
include something like the "art in fart" line, by all means go ahead.
I'd love something like that.
morgan Aldrich
doesn't matter. The are gone. Cool. Cool?
xoxo,
m
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