Henry Godinez (Director) performed in nine productions at Chicago Shakespeare Theater before the company’s move to Navy Pier. He is resident artistic associate at Goodman Theatre and director of the Latino Theatre Festival (August 8-24). His Chicago credits include: Mariela in the Desert by Karen Zacarías, Electricidad, Zoot Suit, Straight as a Line, Millennium Mambo, The Cook, Cloud Tectonics, A Christmas Carol (Goodman Theatre); Esperanza Rising, A Year with Frog and Toad (Chicago Children’s Theatre); Two Sisters and a Piano (Apple Tree Theatre/Teatro Vista); Anna in the Tropics (Victory Gardens) and Macbeth (Oak Park Festival Theatre). As co-founder/artistic director of Teatro Vista, his credits include: Broken Eggs, El Paso Blue, Journey of the Sparrows, Santos & Santos and The Crossing. National credits include Boleros for the Disenchanted (Yale Repertory Theatre); work at Portland Center Stage; Signature Theatre in New York City; Missouri Repertory Theatre and Colorado Shakespeare Festival. He co-directed Romeo and Juliet in Grant Park with Chicago Shakespeare Theater Artistic Director Barbara Gaines. Born in Havana, Cuba, he is an Associate Professor at Northwestern University.

Henry Godinez (Director) actuó en nueve producciones como actor con CST antes de que el teatro se trasladó a Navy Pier. Es asociado artístico y director del Festival Teatro Latino con Goodman Theatre. Sus créditos de Chicago incluyen: Mariela in the Desert by Karen Zacarías, Electricidad, Zoot Suit, Straight as a Line, Millennium Mambo, The Cook, Cloud Tectonics, A Christmas Carol (Goodman Theatre); Esperanza Rising, A Year with Frog and Toad (Chicago Children’s Theatre); Two Sisters and a Piano (Apple Tree Theatre/Teatro Vista); Anna in the Tropics (Victory Gardens) y Macbeth (Oak Park Festival Theatre). Como director artístico y co-fundador de Teatro Vista, sus créditos incluyen: Broken Eggs; El Paso Blue; Journey of the Sparrows; Santos y Santos y The Crossing. Créditos nacionales incluyen: Boleros for the Disenchanted (Yale Repertory Theatre); trabajo en Portland Center Stage; Signature Theatre en New York City; Missouri Repertory Theatre y Colorado Shakespeare Festival. Con Barbara Gaines, directora artística de Chicago Shakespeare Theater, dirigió Romeo y Julieta en Grant Park. él nació en la Habana, Cuba y es profesor asociado en la Universidad Northwestern.

Karen Zacarías (Bilingual Adaptation) is founding artistic director of Young Playwrights’ Theater in Washington, D.C. This season, her plays will receive five world premieres: The Book Club Play (Round House Theatre, Berkshire Summer Festival); Chasing George Washington (Kennedy Center); Looking for Roberto Clemente (Imagination Stage); the adaptation of How the Garcia Girls Lost Their Accents (Round House Theatre) and her play about Voltaire and Emilie Du Châtelet, Legacy of Light (Arena Stage). She last worked in Chicago with Henry Godinez in Mariela in the Desert, who directed its world premiere (Goodman Theatre—winner of the Francesca Primus Award, The AT&T First Stages, and the National Latino Playwrights Competion). Other Chicago productions include The Sins of Sor Juana (Teatro Vista); Ferdinand the Bull (Goodman Theatre); Einstein Is a Dummy and Cinderella Eats Rice and Beans (DePaul University). Karen is the proud recipient of a Helen Hayes Award for Outstanding New Play.

Karen Zacarías (Adaptación Bilingüe) es fundadora y directora artística de Young Playwrights Theater en Washington D.C. Este año, sus obras tendrán cinco estrenos mundiales: The Book Club Play (Round House Theatre, Berkshire Summer Festival); Chasing George Washington (Kennedy Center); Looking for Roberto Clemente (Imagination Stage); la adaptación de How the Garcia Girls Lost Their Accents (Round House Theatre) y su obra que se trata de Voltaire y Emilie Du Châtelet, Legacy of Light (Arena Stage). Trabajó con Henry Godinez la última vez que estuvo en Chicago, cuando el Sr. Godinez dirigió su estreno mundial de Mariela in the Desert (Goodman Theatre—ganador del Premio Francesca Primus, el AT&T First Stages, y la Competición Nacional de Dramaturgos Latinos). Otras producciones en Chicago incluyen The Sins of Sor Juana (Teatro Vista); Ferdinand the Bull (Goodman Theatre); Einstein Is a Dummy y Cinderella Eats Rice and Beans (DePaul University). Karen recibió el Premio Helen Hayes para Nueva Obra Sobresaliente.

Mac Vaughey (Lighting Designer) makes his Chicago Shakespeare Theater debut. As a Chicago-based lighting designer, his credits include work with 16th Street Theatre, Silk Road Theatre Project, Walkabout Theater Company, Oracle Theatre, Infamous Commonwealth Theatre and Premiere Theatre & Performance. He is also master electrician for The House Theatre, American Theater Company, Pegasus Players and Next Theatre Company. You can see his work on Saturday nights at Climax Lounge, where he serves as the house lighting director.

Mac Vaughey (Diseño de Luces) hace su debut con Chicago Shakespeare Theater. Como un diseñador de iluminación que trabaja en Chicago, sus créditos incluye trabajo con 16th Street Theatre, Silk Road Theatre Project, Walkabout Theater Company, Oracle Theatre, Infamous Commonwealth Theatre y Premiere Theatre & Performance. él es también electrista maestro para The House Theatre, American Theater Company, Pegasus Players y Next Theatre Company. Se puede ver su trabajo en los sabados por la noche en el Climax Lounge, donde sirve como director de iluminación.

Ray Nardelli (Sound Designer) returns to Chicago Shakespeare Theater, where his credits include King Lear. Chicago and regional credits include: Goodman Theatre, Steppenwolf Theatre Company, McCarter Theatre, Long Wharf Theatre, Milwaukee Repertory Theatre, The Court Theatre, Hartford Stage, Congo Square, Buffalo Arena Stage, The Alley Theatre, American Theater Company, Northlight Theatre, Drury Lane Theatre, Apple Tree Theatre, Lookingglass Theatre, Victory Gardens and Skylight Opera. He has recorded, mixed and produced CDs for the musicals The Sound Of One, La Luna Muda and Hillbilly Antigone, and has over 400 film, TV, DVD and computer game credits worldwide. He has been nominated five times for a Jeff Award and won for Electricidad (Goodman Theatre).

Mike Tutaj (Projection Design) makes his Chicago Shakespeare Theater debut. He has been designing multimedia in Chicago since 2002. His recent credits include: Martin Furey’s Shot (Jeff Award), Tesla’s Letters (Jeff Nomination), Fiorello! (Timeline Theatre Company); Columbinus (Jeff Nomination for Projections and Sound, Raven Theatre); I Sailed with Magellan (Jeff Nomination, Victory Gardens); Hana’s Suitcase, The Red Kite Project (Chicago Children’s Theatre); Greensboro: A Requiem (Steep Theatre Company) and Our Enemies (Silk Road Theatre Project). He is a company member with Barrel of Monkeys, with whom he performs and designs.

Mike Tutaj (Diseñador de Proyecciones) hace su debut con Chicago Shakespeare Theater. Ha trabajado como diseñador de proyecciones en Chicago desde 2002. Sus créditos recientes incluyen: Martin Furey’s Shot (Premio Jeff), Tesla’s Letters (Nominación Jeff), Fiorello! (Timeline Theatre Company); Columbinus (Nominaciónes Jeff para Proyecciones y Sonido, Raven Theatre); I Sailed with Magellan (Nominación Jeff, Victory Gardens); Hana’s Suitcase, The Red Kite Project (Chicago Children’s Theatre); Greensboro: A Requiem (Steep Theatre Company) y Our Enemies (Silk Road Theatre Project). Actúa y diseña con Barrel of Monkeys, donde es un miembro de la compañía.

Kristin Demanett (Costume Coordinator) is completing her second year as the costume apprentice at Chicago Shakespeare Theater, where her recent credits include The Two Noble Kinsmen (Design Assistant), The Three Musketeers (Wig Knotter), and The Comedy of Errors (Stitcher/Crafts). She will be co-costume designer, with Alison Siple, on CST’s upcoming fall production of CPS! Macbeth. She is a graduate of Saint Olaf College.

Kristin Demanett (Coordinador de Vestuario) está terminando su segundo año como aprendiz del vestuario en Chicago Shakespeare Theater, donde sus créditos recientes incluye: The Two Noble Kinsmen (Assistente del Diseño), The Three Musketeers (Ayudante de Pelucas), y The Comedy of Errors (Coser/Artesanías). Ella será co-diseñador de vestuario, con Alison Siple, en la producción de CPS! Macbeth este otoño. Ella se graduó de Saint Olaf College.

Martin Miller (Producer) is completing his first year in the Arts Leadership Program at Chicago Shakespeare Theater, where he also co-produced several Sharing the World’s Stage events and the 2008 Team Shakespeare Corporate Night. This August, he will serve as co-tour manager for Chicago Shakespeare’s Funk It Up About Nothin’ at the Edinburgh Fringe Festival. Prior to joining CST, he most recently assistant-directed Measure for Measure at the Shakespeare Theatre of New Jersey. He holds a BA from Carleton College and will complete his MFA in Arts Leadership from DePaul University/Chicago Shakespeare Theater in 2009.

Martin Miller (Productor) está terminando su primer año en el Programa de Liderazgo en las Artes en Chicago Shakespeare Theater, donde también co-produció unos eventos para la programa “Sharing the World’s Stage” y el 2008 Team Shakespeare Corporate Night. Este agosto, va a servir como co-gerente para la gira de Funk It Up About Nothin’ en el Edinburgh Fringe Festival. Antes de unirse a CST, sirvió como director asistente para Measure for Measure en el Shakespeare Theatre of New Jersey. Tiene un BA de Carleton College y va a cumplir su MFA en Liderazgo en las Artes de la Universidad DePaul y Chicago Shakespeare Theater en 2009.

Bob Mason (Casting Director) is in his ninth season as Casting Director at Chicago Shakespeare Theater, where his classical credits cover over half of the canon, including 13 productions with Artistic Director Barbara Gaines. Other CST productions of note include a quartet of Stephen Sondheim musicals (Pacific Overtures, Sunday in the Park with George, A Little Night Music and Passion) directed by Gary Griffin, as well as Rose Rage: Henry VI Parts 1, 2 & 3 (director Edward Hall) and The Moliere Comedies (director Brian Bedford). Additional Chicago casting credits include: the Sondheim/Hal Prince premiere of Bounce (Goodman Theatre and the Kennedy Center); The Good War, The Immigrant (Northlight Theater); The Boys Are Comin’ Home, Asphalt Beach (Northwestern University’s American Music Theatre Project) and I Love You, You’re Perfect, Now Change (Royal George Cabaret). Prior to casting, Bob enjoyed a 15-year career as a Jeff Award-winning Chicago actor and singer and has been a visiting educator for the School at Steppenwolf and Northwestern University.

Bob Mason (Director de Casting) está en su noveno año trabajando como director de casting en Chicago Shakespeare Theater, donde ha hecho mas que la mitad del canon Shakesperiano, incluyendo 13 producciones con la Directora Artística Barbara Gaines. Otras producciones con Chicago Shakespeare incluyen un cuarteto de obras musicales por Stephen Sondheim (Pacific Overtures, Sunday in the Park with George, A Little Night Music y Passion) dirigido por Gary Griffin; también el Rose Rage: Henry VI Parts 1, 2 & 3 (dirigido por Edward Hall) y The Moliere Comedies (dirigido por Brian Bedford). Otros créditos en Chicago incluyen: el estreno del Sondheim/Hal Prince Bounce (Goodman Theatre y el Kennedy Center); The Good War; The Immigrant (Northlight Theater); The Boys are Comin’ Home, Asphalt Beach (El Programa del Teatro Musical en la Universidad de Northwestern) y I Love You, You’re Perfect, Now Change (Royal George Cabaret). Antes de su trabajo como director de casting, Bob ha disfrutado una carrera como actor y cantante y ha ganado unos premios Jeff. También ha sido un educador en la Escuela de Steppenwolf en la Universidad de Northwestern.