Aditi Brennan Kapil is a playwright, actress, and director, of Bulgarian and Indian descent, raised in Sweden, and residing in Minneapolis, Minnesota. She is a graduate of Macalester College with a B.A. in English and Dramatic Arts.
Her latest work, the Displaced Hindu Gods, consisting of the plays “Brahman/i, A One-Hijra Stand-up Comedy Show,” “The Chronicles of Kaliki” and “Shiv,” premiered in repertory at Mixed Blood Theatre in October 2013, earning several end-of-year honors, including Minneapolis City Pages naming Aditi Artist of the Year for 2013, and an unprecedented double nomination for “Brahman/i…” and “The Chronicles of Kalki” to the Long List for the James Tait Black Prize, Edinburgh, UK.
Aditi is currently working on commissions with Yale Repertory Theatre, La Jolla Playhouse, and South Coast Repertory Theatre. She is the Playwright-in-Residence at Mixed Blood Theatre, an Artistic Associate at Park Square Theatre, a Core Writer at the Playwrights’ Center, and a Resident of New Dramatists.
I don’t know that it’s always purposeful, but themes of displacement, language, communication, identity, mythology, survival, tend to work their way into my plays … I’m also very interested in writing complicated, difficult, women, and working with directors and actresses to put those women unapologetically into the public psyche. I feel like our public images and ideals of womanhood could use some shaking up, bit of an update.
In March/April 2016, Aditi directs her play, Love Person, on our Proscenium Stage
Carson Kreitzer is a resident playwright at New Dramatists, an associated artist with Clubbed Thumb, New Georges, the Fire Department, and a member of The Workhaus Collective, The Playwrights’ Center and the Dramatists Guild. She recently finished a year as the first Playwrights Of New York (PONY) Fellow at the Lark Play Development Center, and a year as a McKnight fellow in Minneapolis. She is a graduate of Yale University (B.A.) and the Michener Center for Writers, Univ. of Texas, Austin, (MFA).
She has received grants and fellowships from NYFA, NYSCA, NEA, TCG, Jerome and McKnight Foundations, Loewe Award in Music-Theatre and commissions from The Guthrie Theater, Cincinnati Playhouse in the Park, Next Theatre.
Her play The Love Song of J. Robert Oppenheimer won the Lois and Richard Rosenthal New Play Prize, the American Theatre Critics’ Steinberg Citation, the Barrie Stavis Award, and is published in Smith and Kraus’ “New Playwrights: Best Plays of 2004” by Dramatic Publishing.
Carson’s play, Behind the Eye, about surrealist muse and WWII combat photographer Lee Miller, was produced by Park Square Theatre in 2014.
Ricardo Vázquez is a Puerto Rican actor/writer who has performed with Park Square Theatre (Elliot, A Soldier’s Fugue; A Midsummer Night’s Dream; Of Mice and Men), Mixed Blood Theatre (An Octoroon, Next to Normal, Crashing the Party, House of the Spirits), Ten Thousand Things (The Seven, The Music Man), History Theatre (Working Boys Band), Pangea World Theater and Teatro del Pueblo (Oedipus El Rey, Lorca in a Green Dress).
His TV work includes ABC’s In an Instant, M@dabout TV! (Season 1), Best Buy, Pizza Ranch Film The Public Domain (Feature) Death to Prom (Feature), Divine Sparks (Animated), Comfort Food (Short), Transfer (Short)
Ricardo is a graduate of the University of Minnesota / Guthrie Theater B.F.A. Actor Training Program. His awards include the 2007 C. Lance Brockman Performance Award, 2012-2013 Jerome Foundation/Playwrights’ Center Many Voices Fellowship and the 2013 Emerging Artist Ivey Award.
I believe in theater as an art form meant to challenge the audience as well as the individual artist … my experiences in performing for non-traditional audiences have pushed me to a new level of commitment and generosity in my work as an actor. A character can be a vehicle of enlightenment and it is my job to present this soul free of judgment or concern. Nothing compares to the moment you risk your deepest vulnerabilities and find a room full of strangers ready to catch you if you fall.
James A. Williams
James A. Williams is a founding member of Penumbra Theatre Company, where he helped create new works with noted playwrights Carlyle Brown and Charles Smith. His work at Penumbra also laid the foundation for life-long relationships with celebrated director Marion McClinton and playwright August Wilson. During his four year stint in the Guthrie Theater’s Acting Company, Williams worked with a renowned group of directors including Doug Hughes, Bill T. Jones, Robert Woodruff and Bart Sher. He has worked Off-Broadway in Jitney, My Children! My Africa! and Wilson’s The Piano Lesson. The highlight of his stage career was having Wilson create a character for him (Roosevelt Hicks) in his final play Radio Golf.
While establishing a national profile Williams has still managed to deepen his commitment to the Minnesota theater community. As an artistic associate with Pillsbury House Theatre, he served as Director of Teen Programming originating Power of Our Voices and Artistic Director of the Hennepin County Home School Theatre Project (a playwriting workshop for incarcerated youth).
His recent performances include Dr. Larabee in Akeelah & The Bee (CTC), Ian Smithton in Sharr White’s The Other Place (Park Square Theatre), Mohammed in Sharif Abu-Hamdeh’s Habibi (Minnesota Fringe), Uncle Tom in Carlyle Brown’s Abe Lincoln & Uncle Tom (Carlyle Brown & Company) Ogun Size in Tarell Alvin MaCraney’s Brother/ Sister Plays (Pillsbury House Theatre), Othello (Park Square Theatre) and Troy Maxon in August Wilson’s Fences for which he received an Ivey Award for performance excellence and named Artist of the Year by the Minneapolis Star Tribune in 2008 and he received the 2012 Distinguished Global Citizen Award from Macalester College. He is a 2015 Fox Resident Acting Fellow and 2015 McKnight Theater Fellow.
So, I’ve learned a lot, and I’ve learned that it’s not as simple as being a black actor or a white actor. I don’t mean that to say there’s an equality of opportunities for everyone. Of course not. But if you work hard, and if you work honest, and you work on yourself as your instrument, as Mr. (August) Wilson says — we are owed the work, not the recognition that comes from it.