With experience that spans hundreds of productions worldwide, set designer Michael Yeargan, costume designer Gabriel Berry, lighting designer James F. Ingalls, and composer/sound designer Bruce Odland are combining their talents with director Ron Daniels for Antony and Cleopatra .
Michael Yeargan's past work in Washington includes the set design for Michael Kahn's 1987-88 production of Macbeth for The Shakespeare Theatre.An Associate Professor of Stage Design at the Yale School of Drama, Yeargan is the principal designer for the Yale Repertory Theatre. His work on Broadway includes Terrence McNally's Bad Habits and The Ritz , and his design work in London's West End includes productions of Beckett and Cyrano de Bergerac. He has worked extensively in American regional theatre, primarily at Hartford Stage Company, Long Wharf Theatre, American Repertory Theatre, Goodman Theatre, and Batimore's Center Stage. Yeargan's design credits extend into opera, including Vanessa directed by Michael Kahn at the Dallas Opera and Washington Opera, and projects for Covent Garden in London, the Metropolitan Opera in New York, Lyric Opera of Chicago, San Francisco Opera, Houston Grand Opera, and Dallas Opera. In addition to his design for Antony and Cleopatra , Yeargan's projects this season include Romeo and Juliet for Center Stage, All's Well That Ends Well for the Dallas Theater Center, Carmen for San Francisco Opera, and La Finta Giardiniera for Washington Opera.
Making her Shakespeare Theatre debut, Gabriel Berry has recently worked on La Calisto for Glimmerglass Opera, The Consul at the Chicago Lyric Opera, Harvey Milk at the San Francisco Opera, The Dance of Death at Arena Stage, and the touring production of The Harlem Nutcracker . Known for her innovative hands-on design technique, Berry began her career working with experimental theatres, such as La MaMa Galleria in New York's East Village. At the Design Quadrenniel in Prague in 1995, Ms. Berry became the first American to win an individual award when she received the silver medal for Costume Design. She is also the recipient of an Obie award, and a 1992 Bessie Award for Donald Byrd's Minstrel Show and Molissa Fenley's Place . She has collaborated with such directors as Anne Bogart, JoAnne Akalaitis, Robert Falls, and Ron Daniels.
Fresh from the Glyndebourne Opera, where he worked on Theodora , lighting designer James F. Ingalls returns to Washington to join the Antony and Cleopatra design team. His previous work in the area includes designs for The Count of Monte Cristo, A Seagull , Idiot's Delight , and Ajax for Peter Sellars at the former American National Theatre Company at the Kennedy Center where he also designed Nixon in China and Citizen Tom Paine . He has also worked extensively at Baltimore's Center Stage.
His recent projects include The Rake's Progress at the Theatre du Chatelet in Paris, and work in Chicago at the Goodman Theatre and Steppenwolf Theatre Company, where he designed lighting for The House of Martin Guerre and Molly Sweeney, respectively. Ingalls is the recipient of two Helen Hayes Awards, as well as an Obie for Sustained Excellence in Lighting.
No stranger to Shakespeare, sound designer Bruce Odland has previously worked with Ron Daniels at American Repertory Theatre on productions of The Tempest, Henry IV , Parts 1 and 2, and Henry V . Since the late 1970s Odland has been creating sound scapes for theatre, and has become known for creating large-scale sound installations in historic places. In the last two years, Odland has created sound installations for festivals in Berlin, Philadelphia, Hannover, Munich, Nice, Aurich, Linz, and Graz. Odland's work in Washington includes several Kennedy Center productions, and for many years he has worked to develop a sound language with director Peter Sellars. With JoAnne Akalaitis he has composed scores for The Rover , Suddenly Last Summer , The Dance of Death , and Dream Play . Additionally, Odland has scored a great deal for dance, film, animation, radio, and television.