Author Archives: Prof. Mendelowitz

499 Thesis Project

THR 499    3 Credits    Fall, Spring
Thesis Project (1+4) h
Final step in acting/directing/design or playwright training which involves performing a leading role on main stage, or a one-person show, or a directing/designing/writing project for the UAF season. (Prerequisite: Permission of instructor.)

Links to helpful guidelines for those interested in pursuing a Thesis:

Directing Project (including Directing Thesis) Guidelines

Acting Thesis Project Guidelines

190 Audition or Portfolio Review Participation

This page is specifically about the Audition Workshop.  Were you interested in Portfolio Review instead?

THR 190/290 Audition Assessment

(0 Credit Audition Class for Theatre Majors)

Theatre majors are required to participate in auditions and/or portfolio reviews every semester. Theatre majors are also expected to attend all Theatre UAF productions (tickets are provided free) and to attend all theatre department “Town” meetings.

This is separate from Theatre/ Film UAF main-stage and film auditions.

WHEN: Saturday September 7, 2013: 9:30AM-12:00PM. All actors will be there the entire time slot.

WHERE: Theatre/ Film Department Green Room (THEA 101)

WHO: All theatre majors registered for the THR190/290 0 credit Audition Workshop.

WHAT: **FILM Auditioning Workshop** Professor Baker will share some pointers about the difference between Stage and On-Camera Auditions. Students will then go through a mock on-camera audition. Professors Baker, Salganek, and Cook will provide on-the-spot feedback, observable by all students.

  • Students should prepare one SHORT (30-45 second) contemporary monologue (from a play or screenplay) for an on-camera audition. Students will also be asked to cold-read a scene from a film script. Students should bring an acting resume. Actor resume templates are available online here Acting Resume Template  Word format, this document can be used as a template for creating your own resume.
    Once you download the file to your browser, read it online or choose “File”, “Save as” and save to your computer.
  • If you have a headshot, staple your resume to the back of your headshot.

Some pointers:

  • You will be asked to “slate” which is essentially when the actor speaks into the camera and introduces herself and her audition piece or the role for which she is auditioning. Make sure to rehearse this slate. A typical slate would be (looking into the camera…the only time you ever look into the camera!): “Hi my name is ________. My monologue is (name of character) from (name of play/film) by (playwright/ screenwriter)” OR “Hi my name is ____________ and I a reading for the role of ___________.” Then take a moment to gather yourself and begin the piece…don’t ask if we are ready, just begin when you are ready.
  • There will be a “mark” for you to stand on so that you are in frame for the camera.
  • There will be chairs available if you need one for your piece.  Don’t ask if you can use a chair; just get it if you need it and place it where the mark is.
  • What to wear: Wear clothes that you are comfortable in and that are appropriate for your piece, but also honor the formality of an audition (don’t come in sweats!). Avoid crazy-patterned shirts and make sure your hair is not in your face. Women should wear some make-up.
  • Remember that you will be on-camera, so your monologue should not have a lot of big physical movements in it. The camera will be on a mid-shot of you (waist up).
  • Choose a point of focus for your monologue…imagine the person to whom you are speaking to the side of the camera. When you are given a scene to read, the “reader” (actor who is reading the scene with you) will be to the side of the camera. Do not move toward the reader…stay in frame!

Still have questions? Contact Professor Baker (

347 Lighting Design I

Lighting Design I – THR 347               Kade Mendelowitz

Theatre 347, 3 Credits, University of Alaska Fairbanks.

Office Hours; Tuesdays 1:00 – 1:45 or by appointment.  Office: 223 (by KUAC) or in the shop.

Course Description:

The exploration and application of elements of design (color, texture, intensity, line, composition) as they relate to lighting for theatre, dance, and life.  Production work required.  3 Credits.


Comm 131X or 141X

Student must be able to see details from a distance, have good color differentiation skills, and be able to draft (you will be taught how to draft in this course; but student must be physically able to do so).

Suggested, although not required: THR 241 “Basic Stagecraft” and THR 247 “Introduction to Theatrical Design”.

Course Goals:

Students will learn how to successfully light a show so that the actors will be seen by the audience in a way that meets the general mood and style of the production’s design.

Student Learning Outcomes:

  • Learn the differences between the (4) most common types of fixtures used in the Theatre; and why a designer would choose one over the other.
  • Learn how to hang and focus an instrument safely.
  • Learn the basics of power distribution, and how to use electricity safely within the theatrical environment.
  • How to read and draft a lightplot.
  • Analyze a script from a lighting designer’s perspective.
  • Develop a lighting concept; and how to create a color key that supports that idea.

Instructional Method:

Most of the class will be lecture/demonstration.  We will make use of Blackboard (UAF’s officially supported electronic Content Management System) – so students will be required to have access to the course Blackboard site, and a computer to run the CD for reading assignments.

Required Reading:

      Theatrical Lighting Design Interactive CD by Kade Mendelowitz

Other Suggestions:

  •       The Lighting Art Richard Palmer
  •       TCI Magazine
  •       Lighting Dimensions Magazine
  •       Architectural Lighting Magazine

Required Materials:

  •  Drafting pencils or leads and holder in 6H, 2H and H.  Some students may need HB or 4H in addition.  Technical (.05) pencils are NOT ACCEPTABLE!
  •  Architect’s scale rule
  •  Eraser (Plastic-type is recommended)
  •  Erasing Shield
  •  45 or 30/60 degree triangles (at least 8-10″ long)  or one adjustable triangle (expensive).
  •  Drafting tape (or weak masking tape).
  •  Drafting Vellum (24″ or 36″ roll or 18″X24″ & 24″X36″ sheets as needed).
  •  1/2’” Lighting Template
  •  Ames lettering guide
  •  May be needed:  “T” Square (at least 24″ – 36″ recommended).

 Grade Breakdown

Note: If you are taking this course to be applied as a Major requirement, or to satisfy the “Oral Intensive” core requirement (which most of you are) any grade under a “C” will not meet the minimum requirement for the Major…and you will need to retake the course.

Please do the work to achieve better than a “C-“!

Lighting Analysis and Discussion of ideas (Oral presentation)  20%

Additional participation bonus                             5%

Crew Participation (7 Hours Scale)                        5%

Drafting Assignment II                                    10%

First Project (Case 457)                                20%

Second Project (A Night for Conversation)                  25%

Midterm Examination                                     15%

Course Policies:

Class Attendance and Participation is essential to this course.  Much of what you will learn will come from our discussions of classwork as well as the productions and crew time – please let me know if you have any schedule conflicts so we can work them out A.S.A.P. before your final grade is effected.  When we do lighting demonstrations in class, it is hard to get classmates to explain what was covered.  To that end – all absences above 2 will effect your grade one step  (e.g.; B to B-).

Late assignments will be accepted, but will be penalized 3 points per day (not per class session).

Please note that this is an Oral Intensive Course.  For each of the projects, each student will prepare an oral presentation outlining his/her ideas for the production they envision.

  1. Each student must be involved in the preparation and delivery either of 2 or more course related presentations of at least 20 minutes duration each
  2. All presentations will involve question and answer interaction.
  3. All presentations must have a clear introduction-body- conclusion organization as outlined in the “Lighitng Concept” description handout.
  4. Both presentations will involve the development and use of appropriate visual aids (draftings, color keys, etc.)
  5. All presentations will receive evaluation by the instructor on oral communication competency (including responsiveness to audience questions), as well as on subject mastery.

In addition to what is listed, students are encouraged to attend all UAF Theatre Department productions.  (To aid in that endeavor, 1 complimentary ticket will be available to you through the theatre UAF box office off the great hall).  For those students not in the Fairbanks area: I encourage you to see theatre.  Many companies offer reduced ticket prices for students – and you can learn a great deal simply by seeing how other people design their productions.  You likely won’t be able to watch a show without noticing the lighting – this is a good thing!

Important selections from the UAF Student Code of Conduct:
“UAF requires students to conduct themselves honestly and responsibly, and to respect the rights of others. Conduct that unreasonably interferes with the learning environment or that violates the rights of others is prohibited…. Honesty is a primary responsibility of you and every other UAF student. The following are common guidelines regarding academic integrity:

  • Students will not collaborate on any quizzes or exams that will contribute to their grade in a course, unless permission is granted by the instructor of the course. Only those materials permitted by the instructor may be used to assist in quizzes and examinations.
  • Students will not represent the work of others as their own. A student will attribute the source of information not original with himself or herself (direct quotes or paraphrases) in compositions, theses and other reports.
  • No work submitted for one course may be submitted for credit in another course without the explicit approval of both instructors.”

Disabilities Services:
The Office of Disability Services implements the Americans with Disabilities Act (ADA), and insures that UAF students have equal access to the campus and course materials. I will work with the Office of Disabilities Services (208 WHIT, 474-5655) to provide reasonable accommodation to students with disabilities.

Support Services:

  • UAF Student Support Services office is located in 508 Gruening. Phone: 474-6844, Fax: 474-7480. Further information may be obtained at or by email at:
  • The UAF Writing Center is located in 801 Gruening. Phone: 474-5314. Hours are listed on their website:
  • There is also a Speech Center available through the Department of Communication which can help you prepare your Oral Presentation.

458 SFX Up Your Video

FLM 458 SFX Up Your Video        Kade Mendelowitz

Film 458 – Tuesday/Thursday 2:00pm-3:30, 3 credits

Spring Semester 2013 University of Alaska Fairbanks. E-mail:


FLM 290, FLM 271 or 280; or permission of instructor. Cross-listed with JRN F458

Course Reading: (Required Text)

Adobe After Effects CS6 Classroom in a Book by the Adobe Creative Team
ISBN-10: 0321822439

Course Materials: (Required)

External Hard Drive, with at least 250GB available for this course exclusively.  USB 2 or USB 3 recommended.

Course Description:

An exploration into adding Special Effects to your video projects.

Course Goals:

Students will learn how to design and implement the use of Special Effects into their video projects.

Student Learning Outcomes:

  • Shooting and editing “green screen”
  • Adding complex title sequences
  • Creating a personal logo animation
  • Learn the basics of color grading
  • Developing a unique DVD menu design

Instructional Method:

This is primarily a lecture/demonstration course.  We will discuss how to develop an effect plan, design the appropriate effect, and use the tools which will allow us to create the effect.  Sometimes that will include studio (TV studio) production work, but mostly we’ll be editing in the media lab.

Digital component:

You will be expected (aka: requirement) to have a UAF e-mail account with Blackboard access.  Even if you do not use this address as your primary e-mail account, you should set it as a forward to the address of your choosing.

Course Policies:

M Class attendance and participation is expected.  After two unexcused absences, your grade will be affected.  Assignments are due the date assigned during class; late assignments will be accepted up to two weeks late at a reduction of 3 points per day (not per class)…get your assignments done in a timely fashion!

Grading & Evaluation:

This course will be graded including +/- values

Because attendance is expected; only absences affect your grade (in a negative way).  You are not rewarded for ‘just showing up’…be warned.

Note: If you are taking this as a Film Major Requirement (very likely) any final grade less than a “C” (including C-) will be considered unacceptable as a graduation requirement, and you will need to retake the course.

Rough Logo Project                                5%

Logo Project Complete                             20%

Green Screen Project                               15%

Menu Design                                      10%

Project Integration                                 15%

Participation                                      10%

Final Project DVD menu, logo integration, reel demo     25%

101 Theatre Practicum

Theatre Practicum (THR 101, 201, 301 or 401) 3 Credits

Course location and meeting time: There is no formal meeting time for this course. This course is similar to “on the job training”. You get credit for actually working on (or being in) productions.

 Course description : Theatre Practicum is essentially “hands on” training/work to get credit for actually working on a production.   Students may get credit for being in a show (see: Performance), working Front of House (FOH) example: House Manager, Publicity Agent, Ticket Seller, Usher or supporting the production backstage (see: Technical).

Requirements : Although the three main areas available for Practicum Credit have their own specific types of requirements, the overall / general requirements are the same: 39 hours per credit (1 credit=39, 2 credit = 78, 3 credits = 117).   Theatre Practicum is an “open enrollment course” meaning you may register anytime throughout the semester without additional late fees.   Students may also take 1-3 credits per semester per level of practicum.   Because of this, especially if you are unfamiliar with the time commitments of working in the Theatre, it is recommended you register for a small amount of credits and you can add more throughout the semester if you decide you can truly put in the work required to fill more credits.

Timesheets Should be recorded and stored in the appropriate shop/area of production work.   In the case of running crew positions: typically one production running crew position (example: Board Operator) is equal to 1 credit of Theatre Practicum…in this case, time sheets for the running crew position are not necessary.   If the student registers for more than one credit, they should not their running crew position on the bottom of the time sheet they keep in the shop.

Performers should get prior approval from both the Director and Instructor of Record for the size of the role and the appropriate number of credits.   Also, a journal or record may be required.   Performers, Designers and Directors in Lab Productions (Winter Shorts) should always get prior approval from the instructor for credits in production – credits for Lab Productions are not always granted, and are determined on a case-by-case basis.

Advice : Students have often completed 3 credits of practicum in half a semesters’ time.   Other students, however, due to work, poor time management skills, overly active social lives, or personal commitments sometimes come up very short.   For Technical practicum credits it is strongly suggested that you put in most (if not all) of your hours prior to the mainstage show for the current semester opens.   Once the mainstage opens, work in the shop slows down and the job tasks will be less interesting, and the hours the shop(s) are open will become reduced.   Get done early so you will have an easier time with your other finals!

Course Policies : If you are cast in a production (performance) or accept the duties of a running crew (backstage) person, other people will become reliant on you to be there to perform your job.   You will be trained (either through rehearsals as a performer) or during “Tech Weekend” (as a running crew person), making you hard to replace.   Therefore, you will be expected to be on-time (ready to work when the call is set; not in jacket eating, for example).   A separate schedule is available for running crew positions and performances at this meeting…or see the Technical Director for copies.   Rehearsals for performers prior to “Tech Weekend” are set (usually weekly) by the production Stage Manager, and although not all actors are called to each rehearsal: accepting a role is a major time commitment.   A rough schedule will be posted on the bulletin board (“call board”) near the scene shop – check with it daily for rehearsal updates & potential conflicts.

       If you accept a role or running crew position: being late (even once) may adversely affect your grade!

Grading Guidelines : These are general guidelines used when grading is decided:

“A” = Completed all expected hours. Student was on-time, had a positive attitude, worked well with others, would try their best to complete tasks assigned.   Was not lazy.

“B” = Was within 5 hours per credit of expected hours (at least 34, 73, or 112 respectively). May have been late on occasion, was not disruptive, did not abandon projects undone without informing you of its status.   May have had “off days” but was generally reliable.   Missed Production call, but called in with enough time for you to find a replacement for them.

“C” = Was within 7 hours per credit of expected hours (at least 32, 71 or 110 respectively).   Student was late occasionally.   Negative attitude, but completed most work assigned.   Caused a few problems, but was O.K. for most part.   Missed Production call, but called in.

“D” = Was within 10 hours per credit of expected hours (at least 29, 68 or 107 respectively).   Student was late a great deal.   Negative attitude, sometimes disruptive.   Did not usually complete work assigned.

“F” = Was more than 10 hours per credit short of expected hours (less than 29, 68 or 107 hours respectively).   Late often or did not show up.   Negative attitude.   Missed Production call and did not call in.   Disruptive.

Theatre Practicum TechnicalSince no structured teaching takes place within the practicum format, the primary objectives are to develop previously acquired skills through participating in producing theatre and to develop new skills through on-the-job training in the production process.

The student may choose one of the following areas in which to concentrate his/her work or may combine two or more of these areas (as agreed upon in consultation with unit heads);

1. Scenery

a. construction and finishing

b. running crew

2. Properties

a. building and acquisitions

b. running crew

7. Production Staff

a. stage management

3. Lighting

a. hanging and focusing

b. running crew

4. Costumes

a. construction, hair dressing

b. wardrobe mistress & running crew

c. makeup crew

5. Sound

a. creating and recording

b. running crew

6. Publicity, Box Office, House Management

Job description available at box office

The student must keep a time sheet and accurately record the number of hours completed on a regular basis. Each Running Crew position is equal to 1 credit of practicum. Since production work is seasonal, the student is reminded that the approach of production deadlines often demand a more concentrated use of time; a written schedule will be maintained, keeping in mind that the hours cannot be completely equally spaced throughout the semester. If a student does not complete the required number of hours for registered credits, (s)he may receive an unsatisfactory or failing grade for the course. Student commitment and quality of work, as well as the student’s attitude towards learning will be examined upon the assignment of grades.

Theatre Practicum PerformanceCredit is awarded for participation as a performer in UAF mainstage productions. Credit will vary from 1 to 3, depending on: a) size of role; b) length and difficulty of rehearsal process. Student must inform the production director of their intention to receive credit for their role, and to learn if the director requires journals or written documentation supporting the research the student does.   Student should do a similar check with the instructor of record after checking that the director is willing to supervise the student for credit.

Credit may occasionally be granted for “Lab Theatre” productions (Winter Shorts) – but the student must petition a faculty advisor for their role / production before signing up for credit (must be pre-approved). In these cases; credits will rarely exceed 1 or 2.

Again: it is the student’s responsibility to learn exactly what is expected of them to get credit for working on a production.   “Just showing up” is not enough for college credit.

ADA: The Office of Disability Services implements the Americans with Disabilities Act (ADA), and insures that UAF students have equal access to the campus and course materials. We will work with the Office of Disabilities Services (203 WHIT, 474-7043) to provide reasonable accommodation to students with disabilities.

All in the Timing

“All in the Timing” by David Ives, directed by Stephan Golux
March 23-April 1, 2012

Cast (in order of Appearance)
BILL Tyler McClendon
BETTY Stephanie Sandberg
SWIFT Marley Horner
KAFKA Tiana Hanson
MILTON Chris Mertes
DAWN Heather Warren
DON Andrew Cassel
YOUNG MAN Chioke Buckley
WOMAN #1 Stephanie Sandberg
WOMAN #2 Tiana Hanson
BAKER Tyler McClendon
AL Andrew Cassel
WAITRESS Heather Warren
MARK Chioke Buckley
TROTSKY Marley Horner
RAMON Chris Mertes
Scenic Designer: Adam Gillette
Costume & Makeup Designer: Bethany Marx
Costume Designer: Sure Thing & Words, Words, Words Ariadne Wattum
Lighting Designer: Tom Creek
Stage Manager: Nicki Karl
Assistant Stage Managers: Jordan Guinn, Lachlan Gillispie

Fairbanks Daily News-Miner review (342k)
Fairbanks Daily News-Miner publicity article (588k)
UAF Sun Star (student newspaper) review (307k)

The Winter’s Tale

 WTPoster5WebThe Winter’s Tale

by William Shakespeare
Directed by Stephan Golux
April 22 – May 1, 2011

Cast (in order of Appearance)
ARCHIDAMUS (Counselor to Polixenes) Daniel Thoman
CAMILLO (Counselor to Leontes) Chris Mertes
POLIXENES (King of Bohemia) Sambit Misra
LEONTES (King of Sicilia) Andrew Cassel
HERMIONE (Queen to Leontes) Hadassah Nelson
MAMILLIUS (Prince of Sicilia) Jason Chausse
SERVANTS (to Leontes) Melissa Buchta, Tiana Hanson
LADY (Attendant to Hermione) Becca Bieber
EMILIA (Attendant to Hermione) Codi Burk
SICILIAN LORDS Sam McKiernan, Thomas Petrie
ANTIGONUS (Counselor to Leontes) Pedro Lizardi
OFFICER Ryan Flaherty
PAULINA (Wife to Antigonus) Siri Tuttle
CLEOMENES (Sicilian Lord) Daniel Thoman
DION (Sicilian Lord) Dion Torres
MARINER Chris Mertes
CLOWN (Son of Shepherdess) Ryan Flaherty
TIME Becca Bieber
AUTOLYCUS (Bohemian Rogue) Melissa Buchta
FLORIZEL (Prince of Bohemia) Dion Torres
PERDITA (Beloved of Florizel) Grace McCarthy
MOPSA (Young Shepherdess) Becca Bieber
DORCAS (Young Shepherdess) Codi Burk
FESTIVAL GUESTS Thomas Petrie, Daniel Thoman
SERVANT (to the Shepherdess) Sam McKiernan
Director: Stephan Golux
Scenic & Lighting Designer: Rhi Johnson
Technical Director, Master Electrician, Props Master: Adam Gillette
Scene Shop Staff: Carl L. Sage
Carpentry Crew: Tom Creek, Eileen Gitter, Sambit Misra, Hadassah R. Nelson
Electrics Crew: Deirdre Adams, Becca A. Bieber, Rhi Johnson, Chris J. Mertes, Carl L. Sage
Vocal Coach: Carrie Baker
Costume & Makeup Designer, Choreographer: Bethany Marx
Costume Shop Manager: Jerene Mosier
Dresser: Ari Wattum
Costume Construction: Heather Curry, Heidi Konttinen, Lena LeRay, Grace McCarthy, Chris Mertes, Ari
Composers: Melissa Buchta, Ryan Flaherty
Dance Captain: Becca Bieber
Lightboard Operator: Nicki Karl
Stage Running Crew: Jeremy Cannone, Carl L. Sage
Stage Manager: Jason Ginter
Assistant Stage Manager: Sam German
Box Office Manager, Public Relations: Kim Eames
Box Office Staff: Heather Lynch
Poster Design & Production Advisor: Kade Mendelowitz
House Managers: Mallory Bishop, Laura Schlutt


Would you care to read the Publicity piece from the Fairbanks Daily News-Miiner (pdf – 1.2 meg)?
Would you care to read the Review from the Fairbanks Daily News-Miner (pdf – 250k)?

Can Can Plays the Bay at Nice

Can Can Plays the Bay at Nice production poster

Production poster

Can Can Plays the Bay at Nice

a collection of One-Acts
November, 2010

CAN CAN by Romulus Linney
PLAY by Samuel Beckett
THE BAY AT NICE by David Hare

Director: Stephan Golux
Set Design: Kade Mendelowitz
Lighting Design: Rhi Johnson
Costume Design: Bethany Marx
Stage Manager: Becca Bieber

 Cast (in Order of Appearance)
Ex-GI Chioke Buckley
Housewife Bindu Gadamsetty
Young Woman Grace McCarthy
Country Woman Crysta Parks
Can Can production photo

Can Can Left-Right: Bindu Gadamsetty, Crysta Parks, Grace McCarthy & Chioke Buckley

Woman 1 Elizabeth Allen
Woman 2 Jenna Weisz
Man Brian Lyke
Play production photo

Play Left-Right:Jenna Weisz, Brian Lyke, Elizabeth Allen

Valentina Hadassah R. Nelson
Sophia Codi Burk
Assistant Curator Thomas Petrie
Peter Pedro Lizardi
Bay of Nice production photo

The Bay at Nice Clockwise: Thomas Petrie (in doorway), Pedro Lizardi, Codi Burk, Hadassah R. Nelson

Director: Stephan Golux
Scenic Designer, Technical Advisor, Poster Design: Kade Mendelowitz
Scene Shop Supervisor & Master Electrician: Adam Gillette
Scene Shop Staff: Brian Lyke, Carl L. Sage
Lighting Designer: Rhi Johnson
Carpentry Crew: Deirdre Adams, Melissa Buchta, Andrew Cassel, Joclyn Cook, Nicki Karl, Hadassah R. Nelson, Mary Pastro, Daniel Thoman, Jenna Weisz
Electrics Crew: Deirdre Adams, Becca A. Bieber, Kathryn D. Chamberlain, Jason Ginter, Tiana Hanson, Chris J. Mertes, Paul R. Rios, Carl L. Sage
Costume & Makeup Designer: Bethany Marx
Costume Shop Manager: Jerene Mosier
Sound Designer: Stephan Golux
Sound Engineer: Adam Gillette
Vocal Coach: Carrie Baker
Lightboard operators: Andrew Cassel, Jason Ginter
Soundboard operator: Joclyn Cook
Stage Running Crew: Deirdre Adams, Jeremiah Cannone, Nicki Karl
Stage Manager: Becca Bieber
Assistant Stage Managers: Andrew Adlesperger, Jason Ginter, Laura Schlutt
Dresser: Sam German
Costume Construction: Ben Deering, Lena LeRay, Heather Olson, Paul R. Rios, Carl L. Sage, Ariadne Wattum
Box Office Manager: Kim Eames
Box Office staff: Paul Ríos, Sarah Seifert
House Manager: Sambit Misra

Three Penny Opera

Three Penny Opera

By Bertolt Brecht
Music by Kurt Weill
Produced by the UAF Department’s of Theatre & Music
Stage Director Thomas Riccio
Musical Director John Hopkins
April 11-20, 1997
Lee H. Salisbury Theatre

Scenic Designer Kade Mendelowitz
Costume & Makeup Designer Tara Maginnis
Lighting Designer Dale F. Kohlmetz
Sound Designer Dustin Grimes
Technical Director Kade Mendelowitz
Stage Manager Karen Gaborik
Genevieve Elterman (Assistant Stage Manager)

Calvin Alden (Police Constable Smith)
Eve Bird (Polly Peachum)
Sean Brean (Macheath)
Nell Chapman (Molly)
Eric Dickman (Ed)
Steve Dixon ()
Annie Dobbs (Dolly)
Tony Evans (Matt of the Mint)
Rosey Gallagher (Old Whore)
Brett Good (Tiger Brown)
Gus Grindel (Rev. Kim, Policeman)
Lucile Hackett (Betty)
Tami Holland (Lucy Brown)
Karl Kalen (Mr. Peachum, the King of the Beggers)
Joshua Kleinfeld (Walter Dreary)
Kate Koehler-Platten (Beggar, Whore)
Michael Matson (Sawtooth Bob)
Justin Mitchell (Jimmy)
Steve Mitchell (Ballad Singer)
Meridith Rude (Beggar, Whore)
Cris Stone (Jenny Diver)
Parker Thompson (Filch)
Diana Williams (Beggar, Whore)