Andrew Weems (Playwright and Performer) previously appeared at Intiman as Andrey in Three Sisters and Sergius in Arms and the Man. On Broadway, he appeared in the recent revival of Inherit the Wind and Julie Taymor’s The Green Bird. Other credits include Bartlett Sher’s productions of Pericles and Cymbeline and Sir Peter Hall’s production of Troilus and Cressida (all Theater for a New Audience); Bach at Leipzig (New York Theatre Workshop); The Heart Is a Lonely Hunter (adapted by Rebecca Gilman, directed by Doug Hughes, The Acting Company); School for Husbands (directed by Doug Hughes, Westport Playhouse); Don Juan (directed by Stephen Wadsworth, Old Globe); Rocket to the Moon (Long Wharf); Misalliance (Center Stage); and John Guare’s Woman at a Threshold, Beckoning (EST). He has appeared in several productions at the Shakespeare Theatre of New Jersey, including The Time of Your Life, Rosencrantz and Guildenstern Are Dead, the title role of King John and Rhinoceros. His work has also been seen at La Jolla Playhouse, Actors Theatre of Louisville, McCarter, Hartford Stage, Arena Stage, Blue Light, Vienna’s English Theater, and in a season at Trinity Rep under artistic director Anne Bogart. Mr. Weems won the Actors’ Equity Bayfield Award for Troilus and Cressida, a Lucille Lortel Award nomination for Cymbeline and the San Diego Critics Award for Don Juan. He is the recipient of a Fox Foundation Resident Actor Fellowship.

Bartlett Sher (Director, Artistic Director), Intiman’s artistic director since 2000, was recently honored with the Julia Hansen Award for Excellence in Directing by the Drama League of New York. His directing credits for Lincoln Center Theater include the currently Broadway revival of Rodgers and Hammerstein’s South Pacific, Awake and Sing! by Clifford Odets (Tony nomination) and The Light in the Piazza by Craig Lucas and Adam Guettel (Tony nomination). In 2006, he directed The Barber of Seville at the Metropolitan Opera. His Intiman credits include the world premieres of Prayer for My Enemy and Singing Forest by Craig Lucas (both also for Long Wharf Theatre) and Nickel and Dimed, Joan Holden’s adaptation of the book by Barbara Ehrenreich, as well as plays by Chekhov, Wilder, Shakespeare, Goldoni and Tony Kushner. His New York credits include Cymbeline (2001 Callaway Award for Best Director; first American Shakespeare at the Royal Shakespeare Company), Waste (2000 Best Play Obie) and Don Juan (all Theatre for a New Audience). He serves on the Board of Theatre Communications Group. His upcoming directing projects include the opera Roméo et Juliette for the Salzburg Festival and the New York premiere of Prayer for My Enemy at Playwrights Horizons.

Elizabeth Caitlin Ward (Scenic and Costume Designer) is a costume designer for film, television, music video, theater, opera and advertising. At Intiman, she designed the costumes for Our Town, Singing Forest (also Long Wharf Theatre), Homebody/Kabul, Scapin, Titus Andronicus and Cymbeline (also Royal Shakespeare Company/Theatre for a New Audience). In addition to their collaborations at Intiman, her projects with Bartlett Sher include Mourning Becomes Electra (Seattle Opera/New York City Opera), Pericles and Don Juan (Theatre for a New Audience). Her film credits include Gracie with director David Guggenheim and Dark Matter with director Chen Shi-Zheng, with whom she has collaborated on projects at the English National Opera (The Monteverdi Cycle: The Coronation of Poppea and Orfeo) and Lincoln Center Festival (My Life As a Fairytale). Other credits include Bill Irwin: Clown Prince for PBS Great Performances and Odd Said the Doe with director Joshua Carlebach (for Nina Nastasia, Fat Cat Records). She is currently working as part of the international design team for Eiko Ishiokia on Zhang Yimou’s One World, One Dream opening ceremonies for the Beijing 2008 Olympic Games. Education: M.F.A. from New York University’s Tisch School of the Arts, University of Edinburgh, Oberlin College and Conservatory of Music. Ms. Ward is the recipient of the 2002 Lucille Lortel Award Recipient for Outstanding Costume Design and the 2004 New York City Opera General Director’s Council Award for Artistic Achievement. www.caitlinward.com.

Greg Sullivan (Lighting Designer) has designed lighting for Intiman productions for more than two decades; his credits here include To Kill a Mockingbird, Heartbreak House, Rounding Third, The Play’s the Thing, 21 Dog Years, Nora, Full Gallop, Peter Pan, Long Day’s Journey Into Night, Who’s Afraid of Virginia Woolf? and The Importance of Being Earnest. Having designed more than 400 productions worldwide, he is the recipient of seven Drama Critics Awards and sixteen Dramalogue Awards. His local work has been seen at Seattle Repertory Theatre (Birdie Blue, A Delicate Balance, Oh, Coward!, Eye of God, Scapin, Cider House Rules), ACT (Woman In Black, Good Boys, Omnium-Gatherum, Dinner with Friends), Village Theatre (On Golden Pond, Annie, Damn Yankees, West Side Story), and Seattle Children’s Theatre (Go Dog Go, Holes, Into the West, Bunnicula, A Wrinkle in Time). 

Peter John Still (Sound Designer) Previously at Intiman: The Skin of Our Teeth, Richard III, Intimate Apparel, Our Town, Homebody/Kabul, Nora, Titus Andronicus, The Servant of Two Masters, Cymbeline (also RSC and Theatre for a New Audience, Drama Desk nomination). Music credits include Breaking the Code (Haymarket, London), Pericles (BAM), Don Juan and Waste (all TFANA), and productions at The Guthrie, Hartford Stage, Long Wharf, Actors Theatre of Louisville, Great Lakes Theater Festival, Portland Stage Company, The Acting Company, Playmakers' Rep, Boise Contemporary Theater. Mr. Still has been resident composer and sound designer at the Idaho Shakespeare Festival since 1992. Sound design credits include several shows in London’s West End, including Sir John Gielgud’s final stage production, The Best of Friends (Apollo Theatre). On Broadway he designed sound for Awake and Sing! for Lincoln Center Theater. 

Mame Hunt (Dramaturg), an affiliate artist at Intiman, has served as dramaturg for many productions here including Cymbeline, Titus Andronicus, The Dying Gaul, Homebody/Kabul and the world premiere of Nickel and Dimed, all directed by Bartlett Sher, and several incarnations of Black Nativity. She has worked extensively in new play development and production for more than 20 years at theatres throughout the country, and is currently the Lead Dramaturg for the Sundance Theatre Lab. She was artistic director of the Magic Theatre in San Francisco from 1993-1998, artistic director of the Bay Area Playwrights Festival from 1992-1995 and has been resident dramaturg or literary manager at the Los Angeles Theatre Center, Berkeley Rep, ACT and House of Dames Productions. Among the many playwrights whose work she has nurtured and developed are Marlane Meyer, Jose Rivera, and Nilo Cruz, winner of the 2003 Pulitzer Prize. Ms. Hunt is the author of Unquestioned Integrity: The Hill/Thomas Hearings. She holds a BA from the University of California, Santa Barbara and an M.F.A. from the University of California at Davis, and is an instructor at Cornish College of the Arts. 

Lisa Ann Chernoff (Stage Manager) most recently stage managed The Diary of Anne Frank at Intiman. Her other credits here include the world premieres of two plays by Craig Lucas, Prayer for My Enemy and Singing Forest, both of which traveled to the Long Wharf Theatre, and productions of The Skin of Our Teeth , Richard III, Intimate Apparel, Three Sisters, Our Town, Homebody/Kabul, The Light in the Piazza, Nora and Arms and the Man. She has worked with The Public Theater (King Lear), ACT (The Pillowman and A Number), Seattle Rep (most recently as the stage manager for Memory House), Shakespeare Santa Cruz and the Hangar Theatre. Earlier this year she worked as an assistant stage manager on the national tour of Monty Python’s Spamalot.