Radio Play: The Memory Motel

DAVID GREENSPAN performed in his adaptation of Thornton Wilder’s The Bridge of San Luis Rey at TRT; has worked with many contemporary playwrights; appeared in his own plays, most notably Dead Mother, She Stoops to Comedy, Go Back to Where You Are, I’m Looking for Helen Twelvetrees, The Things That Were There and his solo plays The Argument and The Myopia; performed solo renditions of Eugene O’Neill’s Strange Interlude, Barry Conners’ The Patsy, Gertrude Stein’s lecture Plays, a program of two Stein lectures and a playlet Composition…Masterpieces…Identity; he is a recipient of Guggenheim, Lortel and Fox fellowships, Alpert, Lambda Literary, Helen Merrill Playwriting awards, a RUTHIE and six OBIES.

MORGAN GREEN (She/Her/Hers) is a director of theater, film, radio, and dinner time. She is currently one of four Co-Artistic Directors at the Wilma Theater in Philadelphia and a co-founder of New Saloon Theater Co. Morgan received the 2016 New York Innovative Theatre Award for Outstanding Director for her work on New Saloon’s MINOR CHARACTER: Six Translations of Uncle Vanya at the Same Time, which was most recently seen at the Public Theater’s 2019 Under the Radar festival. A selection of recent work includes: The Danube by María Irene Fornés (Harvard University), The Wolves by Sarah DeLappe (Marin Theatre Company), Cute Activist by Milo Cramer (The Bushwick Starr), and The Music Man by Meredith Wilson (The Sharon Playhouse). Morgan is a New Georges Affiliated Artist, former artist in residence at Bric, Mabou Mines, and Baryshnikov Arts Center, an alumna of the Lincoln Center Director’s Lab, a former Robert Moss Directing Fellow at Playwrights Horizons, and a proud member of SDC. MorganClaireGreen.com

BRIDGETT JACKSON (She/Her/Hers) is a Dialect Coach, Accent Coach, Speech/Diction Coach and a certified Speech-Language Pathologist. She is delighted to join Two River Theater. She is a professor of voice, speech, and dialects at Muhlenberg College and has been a guest lecturer at Gallaudet University and the Stella Adler Studio of Acting. She holds a Master of Science degree from Howard University, with a specialization in dialects and accents. She is a member of the American Speech-Language Hearing Association (ASHA) and was the recipient of the ASHA Ace Award in 2018. Her dialect coaching credits include The Equalizer (Season 1, CBS), Aint No Mo’ and Cullud Wattah with The Public Theater in New York, NY and Cost of Living (2018 Pulitzer Prize Winner) with The Fountain Theatre in Los Angeles, CA. She was the Dialect Coach at The Baker Theater at the Muhlenberg College Department of Theatre and Dance for A Raisin In The Sun in Allentown, PA. In addition, she was the Dialect Coach for The Repertory Theatre of St. Louis for Dreaming Zenzile in St. Louis, MO. Her upcoming projects include The Luck of the Irish with The American Academy of Dramatic Arts in New York, NY, and Master Harold…and the Boys with Syracuse Stage in Syracuse, NY. Some of the regional dialects and accents she has coached include: General American, Southern, Western, Midwestern, Eastern, Irish, British, Australian, Venezuelan, Nigerian, Xhosa, New York, New Jersey, Philadelphia, Washington, D.C., Maryland, Boston, Florida, Georgia, Texas, Kentucky, California, Detroit, Chicago, London, Australia, West Africa, South Africa, Jamaica, Korea, Dominican Republic, and Puerto Rico, just to name a few.

FAN ZHANG (she/her/hers) (Sound Design)  Off-Broadway: Far Country (Atlantic Theater Company); At the Wedding( Lincoln Center Theatre); Snow in Midsummer(Classic Stage); A Kid Like Rishi ( Origin Theatre);  the Golden Age (59E59); Paris (Atlantic Theatre), Our Dear Dead Drug Lord (Second Stage & WP), Pumpgirl (Irish Rep), Suicide Forest (Ma-Yi&A.R.T), Molly Sweeney(Theatre Row), Behind the Sheet (Ensemble Studio), The Trail of the Catonsville Nine (Transport Group), Three Girls Never Learnt the Way Home (Cherry Lane), Tania In the Gateway Van (The Flea).   Regional: Sanctuary City ( Berkeley Rep; Arena Stage); Much Ado About Nothing( Shakespeare Theater Company); The Most Spectacularly Lamentable Trial of Miz Martha Washington( Steppenwolf); The Great Leap (Portland Center Stage), White Noise (Studio Theatre, D.C), Pipeline( Studio Theatre, D.C. ), Seven Guitars(Yale Rep), Redeem (Cincinnati Ballet), Revolutionist (Pittsburgh City Theatre), Red Maple (Capital Rep) Training: MFA, Yale School of Drama. www.fanzhangsound.com

VIOLET ASMARA TAFARI (She/Her/Hers) is a West Indian, Production Manager and Stage Manager, using the lens of African teachings and a griot to inform her management style. Allowing storytelling and creativity to lead the way Violet assists and supports artists of various calibers and mediums as they unfold their work on stage. Blending the gap between technician and artist Violet utilizes her ritual and healing background to create fluid ways to support pushing the boundaries of art and the community that embraces it. Growing up backstage and on stage, Violet learned the inner workings of what it takes to create memories. Witnessing the unity that art creates she found her way backstage managing union and non-union crews, collaborators, and experimentalists. Violet’s work with companies such as AFRIKIN, NYSAF, and many others allowed her to navigate the other worlds of theater, music festivals, and a griot’s way of storytelling. Using love as her medium it has driven Violet to create her company Freequency Connects, a landing space to provide production support and guidance as artists navigate new pathways, goals, and manifestations of their presented works.  Select PM credits include: Whale Fall Opera, It’s Showtime (Abrons Arts Center), AFRIKIN Talks (Art Basel), Circle Jerk Live (Mitu580 Virtual), Disclaimer (The Public), Select SM credits: The Space Between the Lines (Here Arts), IKE, Lucky (NYSAF Virtual Series)