Director and actor Andrew Barnicle joined The Laguna Playhouse as Artistic Director in July 1991, helping to solidify and advance the company’s position as one of the region’s most successful professional non-profit theatres.
Barnicle has produced more than 100 Playhouse productions (many of which have been world, U.S., West Coast or regional premieres), and directed 38 of them. Recent directing projects include the West Coast Premieres of An Empty Plate in the Cafe du Grand Boeuf and Red Herring (both by Michael Hollinger), Yasmina Reza’s Art, and the World Premieres of Bernard Farrell’s The Verdi Girls and Richard Dresser’s The Pursuit of Happiness. Other directing credits at The Laguna Playhouse include Rob Ackerman’s Tabletop, Alan Ayckbourn’s Communicating Doors, Catherine Butterfield’s The Sleeper, Marc Camoletti’s Don’t Dress for Dinner, Richard Dresser’s Rounding Third and Wonderful World, Bernard Farrell’s Lovers at Versailles, Stella by Starlight, Kevin’s Bed and Many Happy Returns, A.R. Gurney’s Sylvia, Sherwood Kiraly’s Who’s Hot, Who’s Not, Stephen Mallatratt’s adaptation of Susan Hill’s best-selling novel The Woman in Black, David Mamet’s American Buffalo, Steve Martin’s Picasso at the Lapin Agile and The Underpants, W. Somerset Maugham’s The Constant Wife, Joe Orton’s What The Butler Saw, William Shakespeare’s Othello, Neil Simon’s Laughter On The 23rd Floor and Rumors, Daniel Sullivan’s Inspecting Carol and John Twomey’s Teacher’s Lounge. Barnicle also memorably directed the world premiere of his adaptation of Carlo Goldoni’s The Liar in a new translation by his wife Sara.
Andrew served previously as Head of Theater at United States International University’s School of Performing Arts in San Diego. There he directed acclaimed productions of West Side Story and Goldoni’s The Venetian Twins at the Theater At Old Town. Barnicle also served as Associate Artistic Director at North Coast Repertory Theater, where his numerous directing credits included the San Diego premiere of Torch Song Trilogy.
He recently directed The Foreigner at San Jose Rep, Rounding Third and Gunmetal Blues at the Colony Theatre in Burbank, and the female version of Neil Simon’s The Odd Couple at Michigan’s LORT Meadow Brook Theatre.
Andrew has appeared in many television and film roles, and has played major roles on stage with San Diego Rep, Alaska Repertory Theatre, Alabama Shakespeare Festival and Detroit ’s Meadow Brook and Hilberry Theatres. He has also appeared in several Off-Broadway productions, including three at SoHo Rep and True West at the Cherry Lane Theater. Andrew has appeared in six roles at The Laguna Playhouse, most reecently as Lawrence in The Ice-Breaker. He also played The Actor/Guardsman in Enter the Guardsman, gumshoe Sam Galahad in the musical Gunmetal Blues (he can also be heard on the cast recording), David in To Gillian on Her 37th Birthday, Austin in True West, and David in Strange Snow.
Andrew Barnicle holds a B.A. in Humanities from George Williams College and an M.A. from the University of Illinois, Chicago. He completed three years of postgraduate studies at Wayne State University, where he was a member of the renowned Hilberry Classic Repertory Company, and taught on the adjunct faculty. He has also taught as a member of the adjunct theater faculty at the University of California at Irvine.
Born in Washington DC in 1938, Robert Cohen took his undergraduate studies at Dartmouth College and UC Berkeley, and received his Doctor of Fine Arts at the Yale School of Drama in 1965, whereupon he joined the charter faculty of the newly-founded Irvine campus of the University of California. He has served there ever since, first as the founding departmental chair of Drama (for 25 years) and now as a Bren Fellow and Claire Trevor Professor of drama.
At Irvine, Cohen has directed more than seventy stage productions, including new plays, classics (often in his own translations), musicals, experimental works and operas. Off campus, he directs professionally, with works including a dozen productions at the Utah and Colorado Shakespeare Festivals plus many other works at Stages Theatre Center in Hollywood, the Summer Repertory Theatre in Santa Rosa, the Image Theatre in Boston, Theatre 40 in Beverly Hills, and the Focused Program in Medieval Drama at Irvine.
Cohen is also the author of many important theatre books, including leading texts in acting, a study of French playwright Jean Giraudoux, an introduction to theatre, a collection of theatre essays, and both original plays and translations. He has also published more than two dozen journal articles and two hundred-plus play reviews, the latter appearing mainly in the London-published Plays International, for which he is the regular southern California drama critic.
As a teacher, Cohen specializes in acting – particularly his own, closely-wrought integration of realism’s authentic underpinnings in human behavior with the classical, musical, and experimental dramatic styles commonly performed today. Cohen’s investigation of acting extends to scientific theory and world theatre practice. In the late 1980s, Cohen paired with Polish director Jerzy Grotowski in the creation of the Objective Drama Program on the UCI campus, a three-year, full-time round examination of the origins of ritual performance and their theoretical and practical applications to modern acting and dramatic art. In addition to his regular teaching at UCI, Cohen speaks and conducts workshops around the country and abroad, including residencies in Canada, Korea, China, Hungary, Finland, Estonia, Sweden, Costa Rica, Hong Kong, Romania, Poland, Australia.
UCI awarded Cohen its highest honor, the UCI Medal, in 1993, and conferred on him a Claire Trevor Professorship in 2001. In 1999 he received the Career Achievement Award in Academic Theatre from the Association for Theatre in Higher Education, and in 2009 he received the honorary degree of Honoris Causa at Babes-Bolyai University in Cluj-Napoca, Romania.
Cohen lives in Laguna Beach, California with his wife, Lorna Cohen. He has two children, Michael and Whitney.
For over twenty-five years, Peter has worked extensively in professional theatre, film and television as a director, producer, stage manager and actor. For seven years he was Producing Director of the Los Angeles Repertory Company, where he directed the acclaimed Los Angeles Premiere of Sondheim and Weidman’s Assassins. Peter’s has worked in theatre across the country from Los Angeles to New York, San Diego to Minnesota and Florida to Alaska, Broadway and Off-Broadway. His productions have received numerous awards and nominations. He has taught acting, directing, voice, Shakespeare and musical theatre at the professional level and has additional teaching experience at the collegiate and high school level. He sat on the Governing Council of the Association of Theatre for Higher Education. He served two terms on the Board of Governors of Theatre LA, an organization of over 150 theatres in Southern California. He was a founding member of the Southern California Arts Coalition, a cooperative fundraising venture for inter-disciplinary non-profit arts groups, and served as a panelist for the National Endowment for the Arts (NEA), the Kansas Arts Commission, the Mid-Atlantic Arts Foundation, and as a Site Visitor for the NEA and the California Arts Council. He comes from a theatrical family. His father is actor/director Robert Ellenstein and his brother, David, is Artistic Director of North Coast Repertory Theatre in Southern California. Locally, Peter has been pleased to serve on the Booth Theatre Foundation Board, the Memorial Hall Task Force, a sub-committee of the Cultural Affairs task force, and as a mock judge and talent judge for Independence’s famed Neewollah Festival. Peter attended American Conservatory Theatre and received his Masters of Fine Arts Degree from Minnesota State University, Mankato. During the recent presidential campaign, Peter was pleased to serve on President-elect Barack Obama’s national arts policy committee. He is a member of Actors Equity Association, the Screen Actors Guild and the Society of Stage Directors and Choreographers. He is currently the Artistic Director of The William Inge Center for the Arts.
Barbara has produced and/or directed over 50 musicals, plays, stunt shows and industrials. She is best known to Los Angeles theatre audiences for her award-winning, long running musical revue, A5678. Barbara brought to television audiences the musical segments and the rock videos on The Disney Channel’s Mickey Mouse Club and to video audiences, two full length animated musicals for Nickelodeon. Her innovative reputation in the resort theme park industry worldwide came to be “the person who brought theatre to theme parks” with such shows as Disney’s Broadway at the Top, Universal’s Wild West Stunt Show, The Flintstone’s Show – an Original Musical Comedy, and Beetlejuice’s Rockin’ Graveyard Revue… to name just a few. In 1987, Barbara Epstein & Associates was created and became one of the premiere production houses in Los Angeles. Her greatest reward is knowing she has helped and inspired many prominent entertaintment careers and takes great pride in their accomplishments.
A native San Franciscan, he was active in local theaters through the 1950s playing roles from Gerald Tetley in The Ox-Bow Incident to Owen Webster in Saroyan’s The Beautiful People. He took small parts in films (Pal Joey and The Deep Six) shooting in Bay Area locations. After his first professional role (Lorenzo in The Merchant of Venice) at the Oregon Shakespeare Festival in 1958, he received his B.A. magna cum laude from San Francisco State, where he directed his first production, Hamlet, in 1960.
In 1961, as a Fulbright Scholar at The Shakespeare Institute in England, Fowler staged the Midlands premiere of Bertolt Brecht’s Mother Courage after observing Brecht’s original production in (formerly East) Berlin. As a Woodrow Wilson Fellow and Shubert Scholar at Yale, 1961-64, he earned a Doctor of Fine Arts degree in Directing, and he later studied with Lee Strasberg in the director’s unit of the Actors Studio, New York. He has taught at Williams College, the University of Virginia, the College of William and Mary, and was Chief of Directing at the Yale School of Drama before joining the Irvine drama faculty.
Fowler was a leader in the American resident professional theater movement in the 1960s and 70s. He directed his first Equity season in 1963 at Casino-in-the-Park Playhouse in Holyoke, Massachusetts, including productions of Shakespeare’s Romeo and Juliet and Archibald MacLeish’s JB. As producer and artistic director of two Equity (League of Resident Theater) companies—the Repertory Company of the Virginia Museum Theater (VMT Rep) and the American Revels Company in Richmond, Virginia—he staged a controversial and widely-praised production of Peter Weiss’ Marat/Sade and over forty major shows including U.S. and world premieres of plays by Maxim Gorky, A.R. Gurney, and Romulus Linney.
Gurney’s Children (1974) received its American premiere in Richmond under Fowler’s direction. His production of Our Father in 1976 was the English language premiere of Gorky’s Poslednje, translated by William Stancil. Presented first as part of the VMT Rep season, it was subsequently produced by Fowler in its New York debut at the Manhattan Theatre Club where it received high acclaim. Fowler produced several Romulus Linney works, including The Sorrows of Frederick, Holy Ghosts, and the playwright’s revision of Democracy. In 1977, he commissioned and directed the world premiere of Linney’s Childe Byron, the intimate fantasy of Ada Lovelace and her father, Lord Byron.
From the mid-1960s to the present, Fowler has produced and directed over a hundred productions and acted more than eighty roles. His twenty-five Shakespearean productions include three Hamlets and two Macbeths (one, starring E.G. Marshall,hailed by The New York Times as “the ‘Fowler Macbeth’ . . . forcefully immediate, a splendidly vigorous production”). In addition to directing in New York and England, his productions have been seen at the Yale Repertory Theater, Williamstown Theater Festival, Asolo Theater, El Paso Festival Theater, the Virginia and Texas Shakespeare Festivals, Theater Forty of Beverly Hills, the Victory Theater, and at numerous universities. He acted at many of these theaters and with other companies throughout the country including the Odyssey Theater Ensemble, the New York Ensemble Studio, Pittsburgh Public Theater, and South Coast Repertory. Among his favorite Shakespearean roles are Mark Antony (Oregon Shakespeare, 1960), Hamlet (VMT Rep, 1976), Macduff (Pittsburgh Public Theater, 1980), King Lear, and Prospero (UCI, 2003 and 2007).
Fowler has been honored with numerous “Best Direction” awards, including the “Phoebe” (1977) from Richmond Newspapers for the world premiere of Childe Byron, and several “Critics Choice” and “Best of the Year” designations, including those from the Los Angeles Times, Orange County Register, and Drama-Logue for The Real Thing, by Tom Stoppard, and T Bone N Weasel, by Jon Klein. He received Drama-Logue’s “Outstanding Achievement in Directing” (1991) for Bloody Poetry, by Howard Brenton, and the Orange County Weekly “OCIE” (1997) for Woyzeck, by Georg Büchner.
His production of Woyzeck at UCI featured Fowler’s own translation and adaptation. Among his other acclaimed Irvine productions are Chekhov’s Three Sisters (1986), Müller’s Hamletmachine(1992), Friel’s Dancing at Lughnasa (1998), Stoppard’s The Real Thing (1991) and Arcadia (2000), Gilbert and Sullivan’s The Pirates of Penzance (2001), and McDonagh’s The Cripple of Inishmaan (2006). The Threepenny Opera (2009).
Ms. Iizuka received her BA from Yale University and her MFA from UC San Diego. Ms. Iizuka’s plays include 36 Views, Strike-Slip, Anon(ymous), At The Vanishing Point, Polaroid Stories, Language Of Angels, War Of The Worlds (in collaboration with Anne Bogart and SITI Company), Tattoo Girl and Skin. Her plays have been produced by Actors’ Theatre of Louisville, the Huntington Theater, Berkeley Repertory Theater, the Joseph Papp Public Theatre/New York Shakespeare Festival, the Children’s Theater Company, the Goodman Theatre, the Guthrie Theatre, the Kennedy Center for Performing Arts, GeVa Theater, Portland Center Stage, Campo Santo + Intersection for the Arts, the Dallas Theatre Center, the Brooklyn Academy of Music’s Next Wave Festival, and Soho Rep. Her plays have been workshopped at Sundance Theatre Lab, Manhattan Theater Club, the Mark Taper Forum, San Jose Rep, Bread Loaf, the McCarter Theatre, the Bay Area Playwrights’ Festival, and Midwest PlayLabs. Her plays have been published by Overlook Press, Playscripts, Smith and Kraus, Dramatic Publishing, Sun and Moon Press, and TCG. lizuka is a member of New Dramatists and the recipient of a PEN/Laura Pels Award, an Alpert Award, a Joyce Foundation Award, a Whiting Writers’ Award, a Stavis Award from the National Theatre Conference, a Rockefeller Foundation MAP grant, an NEA/TCG Artist-in-Residence grant, a McKnight Fellowship, a PEN Center USA West Award for Drama, Princeton University’s Hodder Fellowship, and a Jerome Fellowship. She has taught playwriting at the University of Iowa, the University of Texas, Austin, and UC Santa Barbara. She is currently head of the M.F.A Playwriting program at UC San Diego.
Nathan is a playwright whose works include: When I come to Die at Lincoln Center, Broke-ology at Lincoln Center, Lyric Stage Company, KC Repertory, Pilsbury House Theatre and Williamstown Theatre Festival, The Mancherios, The Last Black Play. Participated in The Kennedy Center Summer Playwriting Intensive, William Inge 24 Hour Play Festival, Ebony Theater’s The Word (monthly poetry slam), Kansas State Speech Team.
Directing: The Colored Museum, The Island (Ebony Theatre).
Awards: Two-time AFA Prose Interpretation Champion, two-time Lorraine Hansberry Playwriting Award Winner, Mark Twain Comedy Playwriting Award, ACTF Region V Best Acting Partner, President of Ebony Theatre, Recipient of the Kennedy Center’s Gold Medallion. Television: Shameless (ShowTime), Lights Out (FX), Southland (NBC).
Education: Bachelor of Science, Kansas State University; Playwriting, The Juilliard School.
Most recently, Jack was the showrunner of Warehouse 13 on the Syfy channel. He also created the controversial NBC seriesThe Book of Daniel and FOX’s Titus, and has written for In Case of Emergency, Wanda At Large, Caroline in the City, Holding the Baby, Maggie and Dave’s World, among others. He has directed episodes of Titus, Reba, Roommates, Warehouse 13 and Norman Rockwell is Bleeding, a comedy special for Showtime.
Jack was also an actor for 15 years, and has performed on Broadway (Fiddler on the Roof, Café Crown), off-Broadway (NYSF/Public Theatre, Manhattan Theatre Club, Manhattan Punch Line, etc), and in regional theatres across the country. He’s a graduate of the Juilliard Theatre School and a member of The Acting Company. He shares his life with Michael Goodell, his partner of 31 years.
E. M. Lewis won the 2009 Steinberg/ATCA New Play Award from the American Theater Critics Association for Song of Extinction, which premiered in Los Angeles. The play was a finalist for HotCity’s Greenhouse Festival in 2008, won University of Oregon’s EcoDrama Festival, the Ashland New Plays Festival, the Ted Schmitt Award from the Los Angeles Drama Critics Circle, and Production of the Year from the LA Weekly Awards. It was published in Dramatics magazine and by Samuel French, leading to productions in the Edinburgh Fringe Festival, at Ion Theater in San Diego, and at the Guthrie. Lewis also wrote the Primus Prize–winning Iraq War hostage drama Heads, and Infinite Black Suitcase, (now available from Samuel French). Lewis is a member of the Dramatists Guild, and the recipient of a 2010–2011 Hodder Fellowship at Princeton University. She will be hosting the Ashland New Plays Festival, workshopping her new play Magellanica: A New and Accurate Map of the World at the William Inge Center for the Arts, and working on her play Goodbye, Ruby Tuesday in HotCity Theater’s Greenhouse Festival this fall. www.emlewisplaywright.com
Marni Nixon’s career includes Opera, (Seattle, San Francisco, Ford Foundation TV Opera Cameos), Chamber and Symphony, Oratorio soloist and Grammy Nominated recordings both Popular and Classical (Boulez, Villa-Lobos, Ives, Schoenberg, Stravinsky, Copland) including conductors Von Beinum, Wallenstein, Previn, Mehta, Stravinsky, Stokowski, Mauceri, Slatkin and Bernstein.
Awards include Four Emmys for Best Actress on her children’s TV show called Boomerang and two Gold records for Songs for Mary Poppins and Mulan (voice of Grandma Fa), 2 Classical Grammy Nominations. Broadway includes Heidi Schiller in Sondheim’s Follies, and originating the roles of Sadie McKibben in Opal, and Edna in Taking My Turn, and Aunt Kate in James Joyce’s the Dead also on tour in LA and the Kennedy Center in Washington, DC. In Regional and Off-Broadway her roles have included Nurse in Shakespeare’s Romeo & Juliet, Fraulien Schneider in Cabaret, and recently Eunice Miller in Kander and Ebb’s “70, Girls, 70”. In the recent Premiere of Richard Wagner’s Opera Ballymore at Skylight Opera in Milwaukee, Wisconsin (taped for PBS) she originated the role of Mrs. Wilson.
TV includes Boomerang (Children’s show in rerun for 25 years, awarded 26 Emmy Awards and 4 personal Emmy’s for Best Actress); The Mothers in-Law; Law & Order: Special Victims Unit; I’ve Got a Secret; To Tell the Truth; frequent American Variety shows such as the Merv Griffin Show, Hollywood Palace, Today show, Tonight show and The Harry Secombe Show in the British Isles, The Best of Both Worlds (herwon Special) on BBC and ITV. Formerly a frequent guest and sidekick for Liberace and Victor Borge, her national tours include her show Marni Nixon: The Voice of Hollywood. Recently she has been seen in many “the-making-of” documentaries. Film roles include Aunt Alice in I Think I Do; Sister Sophia in The Sound of Music.
A much sought after judge of Metropolitan Opera Auditions, National Association of Teachers and Singing, etc. Miss Nixon presents Master Classes in Colleges and Universities and teaches privately throughout the USA. Miss Nixon is the singing voice of Deborah Kerr, Natalie Wood and Audrey Hepburn in the Motion Pictures and on the Soundtracks of The King and I, An Affair to Remember, West Side Story, and My Fair Lady.
Recipient of the George Peabody Award 2012 for “Outstanding Contributions to American Music”. In Preparation, an album with Victory Mori, Guitarist, Composer to be released in 2012, exact title to be announced… Marni Nixon Victory Mori, Guitarist Songs by Victory Mori with the vocal group “The Gold Groove”.
Jerry was affiliated with South Coast Repertory from 1967-2005 and served as dramaturg on nearly 150 new plays seen and developed at SCR, including the world premieres of Abundance, Freedomland, Golden Child, Intimate Apparel, Search and Destroy, Sight Unseen, Three Days of Rain and Wit. His dramatic writing has been produced at SCR and other theatres, and on television. He was project director of SCR’s Pacific Playwrights Festival from its inception in 1998 through 2005, and for seven years was Artistic Director of the theatre program of Sundance Institute. He was Professor of Theatre and Film at Long Beach City College and taught at UCI, UCSD, CSULB and other institutions. He was consulting dramaturg for Roundabout Theatre Company of New York for nearly a decade, and left SCR to become Resident Artistic Director for The Old Globe in San Diego. He is now Director of Artistic Development at Manhattan Theatre Club in New York.
Laura Annawyn Shamas’ plays have been produced in the U.S., the U.K., Canada, and Australia. Her work has been performed and/or developed at many theaters, including: The Public Theater, Native Voices at the Autry, Native Earth Performing Arts (Toronto), The Lark Development Center, Williamstown Theatre Festival, Golden Thread Productions, Walnut Street Theater, Utah Shakespearean Theater Festival, West Coast Ensemble, The Glines, Philadelphia Theater Company, Soho Theatre (London), The Old Globe, The Geva Theater, & the Denver Center Theater Company. Among her playwriting honors are: the 2008 Garrard Best Play Award from the Five Civilized Tribes Museum (for Talking Leaves), a 2006-2007 Aurand Harris Fellowship from the Children’s Theater Foundation of America, a Fringe First Award for Outstanding New Drama (Edinburgh), and a Drama-Logue Award. Her published plays include Lincoln Vacation, Moliere in Love, Re-Sourcing, Up To Date, Lady-Like, Portrait of a Nude, Picnic at Hanging Rock (adaptation), Amelia Lives, and The Other Shakespeare. Her play Pistachio Stories is analyzed by Dalia Basciony in the 2012 book Political and Protest Theatre After 9/11: Patriotic Dissent (Ed. Jenny Spencer, Routledge). Laura is a member of the Chickasaw Nation. Her playwriting is archived at NAWPA (Native American Women Playwrights Archive), Miami University, Oxford, Ohio. She is the co-founder of the Los Angeles Female Playwrights Initiative (lafpi.com). In 2012, Venus In Orange, co-authored by Paula Cizmar and Laura Shamas will be part of the Women Playwrights International Conference 2012 at Riksteatern, Stockholm, Sweden. Current project: redrosegirlsthemusical.com. Website: laurashamas.com.
Jon made his film-making debut as director and co-writer of the Lions Gate release Urbania. Nominated for the Grand Jury Prize at the Sundance Film Festival, Urbania made its international debut at the Toronto Film Festival and won Best Film &/or Best Actor at nine other film festivals. Urbania was named “Best Film of the Year” by Movieline, Box Office Magazine, and the Baltimore City Paper and “One of the Year’s Best Films” in the Los Angeles Times, the Chicago Tribune, Time Out New York, and the San Francisco Chronicle, among many others. It currently airs on HBO and the Independent Film Channel. Urbania also earned accolades for its technical innovations. As described by Entertainment Weekly, “O Brother Where Art Thou, Traffic, and Lord of the Rings may have received more attention, but the micro-budgeted Urbania deserves the honor” for being first to use a digital intermediate, converting completely from film to digital for color manipulation and effects, before transferring back to film. In addition, Shear invented the process whereby a film would not need to cut its negative before undergoing the process.
A native of Brooklyn and the son of a bookie and FBI operative, Shear is a graduate of Harvard University, where he won the Harvard Prize for writing and the McDonnell Award for directing. After graduation, he moved to Los Angeles, where he worked primarily as an actor under the pseudonym Jon Matthews. (He follows a family tradition of using different names for each profession.) His acting credits include, on film and TV, Independence Day, And the Band Played On, and Heathers. His extensive stage credits include, on Broadway: Runaways, Shimada, and Six Degrees of Separation and, in Los Angeles, the premiere of the Pulitzer-Prize winning Angels in America: Millennium Approaches. His acting roles have earned him three LA Dramalogue Awards and the San Diego Drama Critics Circle Award. Shear segued into directing by working for three years as a creative consultant and dialogue director on Nickelodeon’s Secret World of Alex Mack and The Journey of Allen Strange.
On stage he recently directed Jeremy Sisto in the premiere of Sanguine, produced by Noah Wyle, and co-wrote Young King Arthur, which had its acclaimed off-Broadway premiere at the Vital Theater Company and won the Children’s Theater Festival Award as best new musical. His current film projects include Pursuit of Pleasure, to be executive produced by Akiva Goldsman (the Academy Award winning A Beautiful Mind), and Brian Wilson, to be produced by Lawrence Inglee (the Academy Award nominated The Messenger).
Judi is the Founder & President of A Busy Woman Consulting helping business and non-profit organizations create events, fundraising strategies and business development.
Judi’s overall knowledge and connections to the social and political communities in Santa Barbara Community is vast and deep. As as thirty year resident, her work has encompassed the arts, education, business, nonprofit and faith communities.
She has experience and skills in business training, organization and program development, fund raising, facilitation, moderating, personnel and volunteer management and excels in the areas interpersonal communication and inspirational speaking.
Judi has helped to organize many large community events including the Beachside Festival 1989, Summer Solstice Celebration 1992 – 93, Anne Frank in the World Exhibition 1994, Henrietta Marie Slave Ship Exhibit and International Women’s Day 2003, Women’s Festivals 2008 – 2010 Martin Luther King Day Celebration in Santa Barbara 2008 -2010 and political fundraisers for Susan Jordan 2009, Sen. Barbara Boxer 2010 and Rep. Lois Capps 2011
She served as the Program and Development Director for Women’s Economic Ventures, Development Director for the Anti Defamation League, CEO of the Patricia Henley Foundation, president of We Mean Business, and a senior consultant for Adizes Institute .
Judi is always striving to create a stronger community with joy, collaboration and passion. That is why she says “Music is one of the languages that can weave us together.”
Sam co-founded San Diego REPertory Theatre with D.W. Jacobs in 1976, and has since served as its producing and artistic director. He has worked as a director, producer and actor on more than 180 REP productions. Mr. Woodhouse has performed as an actor on the REP stages in The Seafarer, in the title role of King Lear, Proof, Hamlet, and with the San Diego Symphony Orchestra in the title role of Stravinsky’s L’Histoire du Soldat. His most recent directorial work with the REP includes: In the Next Room or the vibrator play, Superior Donuts, Hairspray, boom, The Threepenny Opera, Water & Power, and The Clean House. In 2003, he was awarded the Patté Shiley Award for Lifetime Achievement by KPBS and the prestigious Alonzo Award by the Downtown San Diego Partnership. Mr. Woodhouse is the founder of the REP’s Calafia Initiative, a multi-disciplinary artistic initiative that brings together unlikely partners to create new works that speak to the future of our bi-national region. In January 2006, he and Jacobs were honored with the Craig Noel Award by the San Diego Theatre Critics Circle for 30 years of artistic dedication to downtown and diversity.