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  • Contributors

James Bundy is dean of the Yale School of Drama and artistic director of the Yale Repertory Theatre. He has served as managing director of Cornerstone Theater Company, associate producing director of the Acting Company, and artistic director of Great Lakes Theater Festival. His most recent article, “On the Training Ground,” appeared in the May–June 2003 issue of American Theatre.

Rick Davis is artistic director of Theater of the First Amendment, the professional company-in-residence at George Mason University in Fairfax, Virginia, where he also serves as associate dean of the College of Visual and Performing Arts. He has translated four plays by Calderón de la Barca and is coauthor of several Ibsen translations with Brian Johnston. His book (with Christopher Thaiss) Writing about Theatre was published by Allyn and Bacon.

David Herskovits is artistic director of Target Margin Theater, where he has directed plays, opera, and music-theater, including the OBIE Award–winning Mamba’s Daughters and The Sandman, which he created with Douglas Langworthy and composer Thomas Cabaniss. His other work with Langworthy on Heinrich von Kleist includes productions of Prince Friedrich of Homburg, Amphitryon, and a new opera based on Penthesilea with music composed by Cabaniss.

Douglas Langworthy is director of literary development and dramaturgy at the Oregon Shakespeare Festival. He is currently translating Goethe’s Faust for Target Margin Theatre in New York. In addition to his Kleist translations, he has also translated works by Frank Wedekind, Hans Henny Jahnn, Bertolt Brecht, and Moritz Rinke.

James Magruder is a dramaturg and playwright who has translated plays by Dancourt, Labiche, Lesage, Marivaux, and Molière. His Three French Comedies (Yale University Press) was named an “Outstanding Literary Translation of 1997” by the American Literary Translators Association. The Catalyst Theatre in Washington, D.C., will premiere his Turcaret in September 2003, and Baltimore’s Center Stage has commissioned his new version of The Miser, opening in 2004.

Mark Rucker is a graduate of UCLA and the Yale School of Drama. He is an associate artist at South Coast Repertory Theatre, where he has staged over fifteen productions since 1994. He has directed productions at many regional theaters, including Yale Repertory Theatre, American Conservatory Theater in San Francisco, Intiman Theatre, La Jolla Playhouse, Arena Stage, Berkeley Repertory Theatre, Shakespeare Santa Cruz, California Shakespeare Festival, and the Acting Company. [End Page iii]

Tom Sellar is a contributing editor of Theater and a regular contributor to the Village Voice and American Theatre. He assumes the editorship of Theater with its next issue.

Catherine Sheehy is chair of the Dramaturgy and Dramatic Criticism Department at the Yale School of Drama and resident dramaturg of the Yale Repertory Theatre. She is a former associate editor of American Theatre and former managing editor of Theater. [End Page iv]



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pp. iii-iv
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Archived 2005
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