Production Photos |
|
|
 |
|
|
|
Owiso Odera as Thami in Groundswell, March 12 - April 17, 2010 at The Old Globe. Photo by J. Katarzyna Woronowicz. |
(from left) Owiso Odera as Thami and Antony Hagopian as Johan in Groundswell, March 12 - April 17, 2010 at The Old Globe. Photo by J. Katarzyna Woronowicz. |
(from left) Ned Schmidtke as Smith and Antony Hagopian as Johan in Groundswell, March 12 - April 17, 2010 at The Old Globe. Photo by J. Katarzyna Woronowicz. |
|
|
|
|
|
|
(from left) Owiso Odera as Thami, Antony Hagopian as Johan and Ned Schmidtke as Smith in Groundswell, March 12 - April 17, 2010 at The Old Globe. Photo by J. Katarzyna Woronowicz. |
(from left) Ned Schmidtke as Smith, Owiso Odera as Thami and Antony Hagopian as Johan in Groundswell, March 12 - April 17, 2010 at The Old Globe. Photo by J. Katarzyna Woronowicz. |
|
Publicity Photos |
|
|
 |
|
|
|
Playwright Ian Bruce. Bruce's psychological thriller, Groundswell, runs March 12 - April 17, 2011 in the Sheryl and Harvey White Theatre. Photo courtesy of The Old Globe. |
Kyle Donnelly will direct Ian Bruce's psychological thriller, Groundswell, runs March 12 - April 17, 2011 in the Sheryl and Harvey White Theatre. Photo courtesy of The Old Globe. |
|
Cast and Creative Team
(click on image to download a high-resolution photo) |
 |
Antony Hagopian (Johan) most recently appeared as Henry Higgins in My Fair Lady at the John W. Engeman Theater at Northport in Long Island, New York. He has appeared on Broadway in Frost/Nixon (and also in the National Tour). Off Broadway, he has appeared in Walking Down Broadway (Mint Theater Company) and Stray (Cherry Lane Theatre). His regional credits include Cincinnati Playhouse in the Park, Pittsburgh Public Theater, The Shakespeare Theatre Company, Pioneer Theatre Company, Missouri Repertory Theatre, The Repertory Theatre of St. Louis, The Alabama Shakespeare Festival, Virginia Stage Company, Indiana Repertory Theatre, New Jersey Shakespeare Festival, PlayMakers Repertory Company, Dorset Theatre Festival and others. Television credits include “Law & Order,” “The Sopranos,” “As the World Turns,” “All My Children” and “Guiding Light.”
|
 |
Owiso Odera (Thami) was last seen at the Globe in the 2008 Shakespeare Festival in Romeo and Juliet and The Merry Wives of Windsor. His other Globe credits include A Midsummer Night's Dream and Titus Andronicus. Off Broadway he has appeared in The Overwhelming (Roundabout Theatre Company) and Romeo and Juliet (The Public Theater). His other regional theater credits include the world premiere of Samuel J & K (Williamstown Theatre Festival), Gem of the Ocean (American Conservatory Theater), The Love of Three Oranges (La Jolla Playhouse) and Macbeth (Commonwealth Shakespeare Company). His television and film credits include “FlashForward,” “Three Rivers” (recurring), “Dirt” (recurring), “The Unit,” “Numb3rs,” Acholiland, Relative Obscurity and The Thirst: Blood War. |
 |
Ned Schmidtke (Smith) has previously appeared at the Globe in The Pleasure of His Company, Sea of Tranquility, A Body of Water, Blue/Orange and Pericles. He has appeared on Broadway and in the National Tour of Aren’t We All? His regional credits include Loot (Ensemble Theatre Company of Santa Barbara), Oedipus the King (Clarence Brown Theatre Company), Tonight at 8:30 (The Antaeus Company), The Molière Comedies (Mark Taper Forum), Driving Miss Daisy (Utah Shakespeare Festival), Six Degrees of Separation (National Tour), The Real Thing (Court Theatre), Henry IV, Parts 1 and 2, Much Ado About Nothing, The Three Musketeers, The School for Scandal and Les Blancs (Oregon Shakespeare Festival), Molly Sweeney (Indiana Repertory Theatre), Twelfth Night and Cymbeline (Chicago Shakespeare Theatre), The Three Sisters and The Winter’s Tale (Goodman Theatre), Libra (Steppenwolf Theatre Company), Mrs. Warren’s Profession, Nothing Sacred and Enemy of the People (Northlight Theatre), Richard II, Macbeth and Tartuffe (Stratford Shakespeare Festival), Don Juan and Passion Play (Arena Stage) and Cyrano de Bergerac and Plenty (Huntington Theatre Company). Schmidtke’s film credits include The Change-Up (in post-production), Accepted, Wedding Crashers, xXx: State of the Union, Mercury Rising, My Best Friend’s Wedding, Chain Reaction, The Relic and Music Box. His television credits include “Criminal Minds,” “Medium,” “Point Pleasant,” “24,” “Without a Trace,” “Cold Case,” “Huff,” “NYPD Blue,” “JAG,” “The West Wing,” “The Practice,” “ER” and “Crossing Jordan.” Schmidtke has been a proud member of Actors’ Equity Association for over 35 years and serves on its National Council. |
| |
Ian Bruce (Playwright) was trained as an actor in Johannesburg and appeared briefly in the early 1970s on the South African stage and TV before leaving South Africa to begin a 17-year long political exile in Holland, where he cofounded the Tekhwini Theatre Foundation with Anthony Akerman and Joseph Mosikili. In 1978 his first play, Falls the Shadow, won a Dutch Arts Council Best New Play Award and several works on South African themes followed. The only one of these to evade South Africa’s censorship laws, My Father’s House, was courageously produced by PACT, the most progressive of the four provincial arts councils that existed in South Africa at the time, in 1987. After his return to South Africa in the early 1990s, Bruce focused on the uses of drama for development and spent some years living and working in poverty-stricken rural communities. In 1998 he began working with the New Africa Theatre Association, for which he and his wife, Ina, have created a host of productions, educational plays and industrial theater works. He is the current Executive Director of the New Africa Theatre Association. Since Groundswell, Bruce has written two more major plays: Transit (written and produced in 2009) and Burnt! (written in 2010 and currently in production in Cape Town).
|
| |
Kyle Donnelly (Director) has directed The Old Globe’s Opus, Orson’s Shadow and A Midsummer Night’s Dream. She has had a long association with Arena Stage in Washington, DC, having been Associate Artistic Director from 1992 to 1998 and directed such productions as Well, She Loves Me, Born Yesterday, Tom Walker, The Women, Lovers and Executioners, The Miser, Molly Sweeney, A Small World, Dancing at Lughnasa (winner of Helen Hayes Award for Outstanding Resident Play), Summer and Smoke, A Month in the Country, The School for Wives, Misalliance, Polk County (Helen Hayes Award for Outstanding New Musical), Plough and the Stars, Shakespeare in Hollywood and others. She directed the American premiere of Brian Friel's Give Me Your Answer, Do! Off Broadway for Roundabout Theatre Company and has directed Spoon Lake Blues (The Eugene O’Neill Theatre Center Festival), The Constant Wife and The Three Musketeers (Seattle Repertory Theatre), Philadelphia, Here I Come! (Williamstown Theatre Festival), The Rover and Dancing at Lughnasa (Goodman Theatre), Molly Sweeney (Steppenwolf Theatre Company), Ah, Wilderness!, Hyde Park, Aristocrats and Little Foxes (Huntington Theatre Company), The Constant Wife (American Conservatory Theater), Polk County (McCarter Theatre and Berkeley Repertory Theatre), State of the Union (Ford’s Theatre), Pygmalion and Paradise Hotel (Court Theatre), Zara Spook and Other Lures (Humana Festival), Collected Stories (A Contemporary Theatre), The Rivals (Alabama Shakespeare Festival), Baltimore Waltz (The Studio Theatre), Three Nights in Tehran (Signature Theatre Company), To Kill a Mockingbird (Alliance Theatre) and many other regional theatres around the country. She founded her own acting studio called The Actors Center in Chicago, a leading training center for actors in that city from 1982-1992. She is a member of Stage Directors and Choreographers, winner of an Alan Schneider Award from Theatre Communications Group, AT&T Onstage Award, Helen Hayes Award and Joseph Jefferson Award and holds the Arthur and Molli Wagner Endowed Chair in Acting. She is the head of the professional actor training program at the University of California, San Diego. |
| |
Kate Edmunds (Scenic Design) is pleased to return to The Old Globe where she designed Opus. Her designs have been seen around the country at American Conservatory Theater, Berkeley Repertory Theatre, Seattle Repertory Theatre, Manhattan Theatre Club, Arena Stage and Goodman Theatre, among many others. As well as Kyle Donnelly, Edmunds has worked with many directors including Sharon Ott, Tony Taccone, Giles Havergal, Carey Perloff and Irene Lewis. Edmunds’ designs range from the classics (Hecuba, Twelfth Night and The Misanthrope) to contemporary (Angels in America, Blue Door and Rabbit Hole). She also designed the environment for the Tech Awards exhibit at The Tech Museum in San Jose. She teaches design at UC Santa Cruz.
|
| |
Denitsa Bliznakova (Costume Design) is happy to return to The Old Globe where she has previously designed Jane Austen’s Emma – A Musical Romantic Comedy, The Whipping Man, The Merry Wives of Windsor and Opus. Her design work elsewhere includes productions at Falcon Theatre, A Noise Within, New Repertory Theatre, Long Wharf Theatre, Williamstown Theatre Festival and others. Her previous work also includes touring shows for Kaiser Permanente’s Educational Theater Program and projects for The Santa Fe Opera, San Diego Opera and “Law & Order.” Her design and stylist credits for other media include music videos for Switchfoot, Bigg Steele and John Mayer, the short films Midgetman, Sleep in Heavenly Peace and La Cerca and the feature films Johnny Got His Gun and Undercover Kids. She is currently an Assistant Professor at San Diego State University where she leads the M.F.A. Costume Design program. For more information visit www.denitsa.com. |
| |
Russell H. Champa (Lighting Designer) has current and recent projects that include Dangerous Beauty (Pasadena Playhouse), Timon of Athens (The Public Theater), Completeness (South Coast Repertory) and The Grand Manner (Lincoln Center for the Performing Arts). On Broadway, Champa has designed In the Next Room, or the vibrator play and Julia Sweeney’s God Said, “Ha!” at the Lyceum Theatre. His other New York credits include Manhattan Theater Club, Second Stage Theatre, Classic Stage Company, New York Stage and Film and La MaMa E.T.C. Regionally, Champa has designed for American Conservatory Theater, Berkeley Repertory Theatre, Mark Taper Forum, Wilma Theatre, Seattle Repertory Theatre, Trinity Repertory Company, McCarter Theatre, Campo Santo, Williamstown Theatre Festival, The Actors’ Gang and the Kennedy Center. Thanks J + J. PEACE.
|
| |
Lindsay Jones (Sound Design) has designed the Off Broadway productions of Through the Night (Union Square Theatre and Westside Theatre), The Brother/Sister Plays (The Public Theater), The Burnt Part Boys (Playwrights Horizons), Top Secret (New York Theatre Workshop), The God of Hell (The Actors Studio), In the Continuum (Primary Stages), 1001 (Page 73), The Glass Cage (Mint Theater Company), Beautiful Thing (Cherry Lane Theatre) and many others. He has designed regionally for McCarter Theatre, Arena Stage, Goodman Theatre, Steppenwolf Theatre Company, Hartford Stage, Guthrie Theater, Chicago Shakespeare Theater, South Coast Repertory, CENTERSTAGE, American Conservatory Theater, Seattle Repertory Theatre, Utah Shakespeare Festival, Northlight Theatre, Milwaukee Repertory Theater, Geva Theatre and many others. His international credits include productions in Austria, Zimbabwe, South Africa, Canada, Scotland and with the Royal Shakespeare Company in Stratford-upon-Avon, England. Jones has received five Joseph Jefferson Awards and 15 nominations, two Ovation Awards and three nominations, Los Angeles Drama Critics Circle and San Diego Theatre Critics Circle Awards and nominations for Drama Desk, Henry Hewes Design, AUDELCO, Barrymore, LA Weekly, Connecticut Critics Circle, Austin Critics’ Table and Garland Awards. He was also the first (and only) sound designer to win the Michael Maggio Emerging Designer Award. His recent television and film scoring work includes Mama, I Want to Sing for 20th Century Fox, “Family Practice” for Sony Pictures/Lifetime Television and A Note of Triumph: The Golden Age of Norman Corwin (2006 Academy Award winner, Best Documentary, Short Subjects) for HBO Films. For more, go to www.lindsayjones.com.
|
| |
Gillian Lane-Plescia (Dialect Coach) was born and brought up in England and trained in Theatre at The Royal Academy of Music. She received her M.A. in Theatre from Florida State University. Her dialect coaching credits include the Broadway productions of War Horse, Priscilla Queen of the Desert and The Philanthropist. Her Off Broadway credits include The Milk Train Doesn’t Stop Here Anymore, Kit Marlowe and The Misanthrope. Regionally she has coached for Actors Theatre of Louisville, American Players Theatre, Arena Stage, Alley Theatre, The Banff Centre, CENTERSTAGE, Goodman Theatre, Guthrie Theater, Hartford Stage, Huntington Theatre Company, Long Wharf Theatre, McCarter Theatre, Milwaukee Repertory Theater, New Jersey Shakespeare Festival, PlayMakers Repertory Company, Seattle Repertory Theatre, The Shakespeare Theatre Company, Steppenwolf Theatre Company, Trinity Repertory Company and Yale Repertory Theatre. Lane-Plescia’s opera credits include eight seasons as diction coach with Lyric Opera of Chicago. She has been on the faculty of The Juilliard School since 2000 and was formerly Director of Theatre Voice for the M.F.A. programs of the Universities of North Carolina and Michigan. She has published 20 self-teaching dialect CDs for actors. www.dialectresource.com.
|
| |
Annette Yé (Stage Manager) recently was the Stage Manager for The Old Globe’s 2010 production of Dr. Seuss’ How The Grinch Stole Christmas! Her other Globe credits include Boeing-Boeing, The First Wives Club, Opus, Dancing in the Dark, Hay Fever andthe 2008 and 2010 Summer Shakespeare Festivals. Yé’s regional credits include Peter and the Starcatchers, Tobacco Road and ¡Salsalandia! (La Jolla Playhouse). Her other credits include 9 Parts of Desire (Mo’olelo Performing Arts Company), Honky Tonk Angels, Baby and No Way to Treat a Lady (North Coast Repertory Theatre) and Forbidden Broadway: Special Victims Unit (Theatre in Old Town).
|
|
|
|
|
