JERRY ROJO DESIGNER  DIRECTOR  PROFESSOR  THEATER ARCHITECTURE 171 Cedar Swamp Road  Storrs, Connecticut, 06268  (860) 429-8944 E-mail< [email protected]> Website: http://web.uconn.edu/rojo UNIVERSITY EXPERIENCE Professor Emeritus of Dramatic Arts University of Connecticut; Storrs, Connecticut, 1990-Present Head of Department of Dramatic Arts University of Connecticut; Storrs, Connecticut, 1978-1985 Professor of Dramatic Arts University of Connecticut; Storrs, Connecticut, 1961-1990 Instructor of Theater University of Omaha; Omaha, Nebraska, 1960-1987

ARTISTIC DIRECTOR UCONN NUTMEG THEATER Producing Director of University of Connecticut Nutmeg Theater, (now Connecticut Repertory Theater, CRT) Winter. As Head of Department, served as producer for subscription series; seven productions each year [49 productions] as part of a larger production program, which includes a guest artist series. Budget $60,000 per year, 1978 to 1985. Artistic Director for University of Connecticut Nutmeg Summer Theater; (CRT) Storrs, Connecticut. Three musical and straight plays each season, company of seventy. Budget $90,000 - $115,000, from 1979 to 1985. HEAD OF DEPARTMENT OF DRAMATIC ARTS, SCHOOL OF FINE ARTS: ART, DRAMATIC ARTS, MUSIC Lead a staff of some 50 Faculty, Adjunct Faculty and Graduate Assistants at 5 branch campuses. The curriculum lead to degrees in B.F.A, M.A. and M.F.A. studies, including acting, directing, design, technical theater, history, management, puppetry and environmental theater. PROFESSIONAL STAGE DESIGNS RUDE MECHS THEATRE, Recreated the original design of The Performance Group's DIONYSUS IN 69 in conjunction with director Richard Schechner and designer Jerry Rojo. RMT Co-directors, Madge Darlington and Shawn Sides. Austin, TX, December, 2009. Designed set for Wintertime, by Charles Mee for the Wilma Theatre, Philadelphia, Pennsylvania, directed by Jiri Zizka, March 2004. Designed set for Big Love by Charles Mee for the Wilma Theater; Philadelphia, Pennsylvania; directed by Jiri Zizka: March 2003 Designed set for Cherry Docks by David Gow for the Wilma Theater; Philadelphia, Pennsylvania; directed by Jiri Zizka; May 2000. Designed set for Orpheus Descending by T. Williams for the Wilma Theater; Philadelphia, Pennsylvania; directed by Blanka Zizka; May 1999. Designed set for Quills by Doug Wright for Wilma Theater, Philadelphia, Pennsylvania; directed by Blanka Zizka; May 1997.

PROFESSIONAL STAGE DESIGNS [Continued] Designed set for Avenue X by John Jiler and Ray Leslee for the Wilma Theater; Philadelphia, Pennsylvania; directed by Blanka Zizka; February 1997. Designed set for Birth and After Birth by Tina Howe for the Wilma Theater; Philadelphia, Pennsylvania; directed by Paul Berman; September 1995. Designed set for Road by Jim Cartwright for the Wilma Theater; Philadelphia, Pennsylvania; directed by Blanka Zizka; March 1995. Designed set for What the Butler Saw by Joe Orton for the Wilma Theater; Philadelphia, Pennsylvania; directed by Blanka Zizka; August 1994. Designed set for Vinegar Tom by Carol Churchill for Harry Hope Theater; Eastern Connecticut State University; directed by Jerry Rojo; April 1994. Designed set for Travesties by Tom Stoppard for the Wilma Theater; Philadelphia, Pennsylvania; directed by Blanka Zizka; March 1994. Designed set for Belmont Avenue Social Club by Bruce Graham for the Stamford Theater Works; Stamford, Connecticut; directed by Steve Karp; February 1994. Designed set for A Piece of My Heart by Shirley Lauro for the Stamford Theater Works; Stamford, Connecticut; directed by Susie Fuller; September 1993. Designed set for Etta Jenks by Marlane Meyer for the Wilma Theater; Philadelphia, Pennsylvania; directed by Jiri Ziska; May 1993. Designed set for Breakfast with Less and Bess by Lee Kalcheim for the Stamford Theater Works; Stamford, Connecticut; directed by Susie Fuller; April 1993. Designed set for Heidi Chronicles by Wendy Wasserstein for the Producing Guild; Hartford, Connecticut; directed by Sal Marchese; March 1993. Designed set for Incommunicado by Tom Dulack for the Odessy Theater Ensemble; Los Angeles, California; produced by Ron Sossi; directed by Tom Dulak; March 1993. Designed set for Cobb by Lee Blessing for the Stamford Theater Works; Stamford, Connecticut; directed by Steve Karp; September 1992. Designed set for Two by Ron Elisha for the Stamford Theater Works; Stamford, Connecticut; directed by Susie Fuller; April 1992. Designed set for Archangels Don’t Play Pinball by Dario Fo, Trinity College; Hartford, Connecticut; directed by Damian Popchristov; April 1992. Designed set for Elaine’s Daughter at the Stamford Theater Works; Stamford, Connecticut; directed by Steve Karp; February 1992. Designed set for The Deal by M. Witten. Director, Steve Karp; Stamford Theater Works; Stamford, Connecticut; November 1991.

PROFESSIONAL STAGE DESIGNS [Continued] Designed set for the Scheherazade. Choreography by Oleg Briansky; Memphis Concert Ballet; Memphis, Tennessee; October 1991. Designed set for Brilliant Traces by C. Johnson. Director, Susie Fuller; Stamford Theater Works; Stamford, Connecticut; April 1991. Designed set for The Warehouse by S. Karp. Director, Steve Karp; Stamford Theater Works; Stamford, Connecticut; February 1991. Designed set for Goddess of the Nile. Choreography by Judy Wombwell; Memphis Concert Ballet; Memphis, Tennessee; February 1991. Designed set for What I did Last Summer by A. R. Gurney. Director, Steve Karp; Stamford Theater Works; Stamford, Connecticut; November 1990. Lighting design for art installation, Garbage Upfront, for Mierle Ukeles at Municipal Art Society, New York City, June 1990. Designed set for Aunt Dan and Lemon by W. Shawn, Trinity College, Garmany Hall; Hartford, Connecticut; Josh Karter, Director; April 1990. Designed set for Maya. Directed, conceived, and performed by Manhong Kang; Arts at St. Ann’s; Brooklyn, New York; February 1990. Designed sets for Strange Snow by S. Metcalfe, and Rumors in the Palace by E. Rudd [premiere production], Stamford Theater Works; Director, Steve Karp; Stamford, Connecticut; November 1989. Designed sets for Fields. Judy Dworin Dance Company; Real Art Ways and Dance Services Network; Hartford, Connecticut; November 1989. Designed set for Temptation by V. Havel, New York Shakespeare Festival, Public Theater; Joe Papp, Producer; Jiri Zizka, Director; April 1989. Production revised for performances at Annenburg Theater; Philadelphia, Pennsylvania; Wilma Theater, Producer, June 1989. Designed environment for Dr. Charcot’s Hysteria Shows [original play] for theater/dance department of Trinity College; Hartford, Connecticut; April 1988. Revised production for presentation at Ohio Space, New York City; June 1989. Designed sets for Class “C” Trial and Private Lives for Stamford Theater Works; Stamford, Connecticut; Steve Karp, Producer/Director; May, 1989. Set for Friar Bacon Friar Bungay by F. Green, Wesleyan University. Directed by R. De Boer, Middletown, Connecticut; April 1989. Set for Three Sisters by A. Chekov, Trinity College, Directed by A. Feinsod, December 1988. Designed set with Michael Dempsey for Misanthrope for Blue Heron Theater, New York City, May 1988. Designed set for Dr. Faustus for Leo Shapiro/Shaliko Company at La Mama, New York City, April 1988.

4 PROFESSIONAL STAGE DESIGNS [Continued] Designed set for Virgin Forest, Judy Dworin Dance Company, Austin Arts Center, Hartford, Connecticut; October 1987. Served as environmental theater consultant to Arthur Kopit on The Bell Witch Variations. Austin Peay State University Center for the Arts, Tennessee, May 1987. Designed setting for The Yellow House [revised]. Shaliko Company, Theater of Nations [international festival by invitation]; USITT; Baltimore, Maryland; June 1986. Architectural Design for Fleet Colonial Faire-Providence 350. Providence, Rhode Island; June 1986. Designed setting for The Yellow House, Van Gogh Project; La Mama E.T.C. and Shaliko Company; New York City; Leo Shapiro, Director; February 1986. Designed environment for Prometheus Project. Performing Garage, New York City; Richard Schechner, Director; December 1985. Designed scenery for Norman, Is That You? for Silhouette Dinner Theater; Hartford, Connecticut; Henry Thomas, Director; September 1983. Designed scenery for Front Street for Silhouette Dinner Theater; Hartford, Connecticut; Bob Dio, Director; July 1983. Designed scenery for A Body of Bricks, directed by Joan Evans at the Art on Park Theater, New York City, September 1980. Environment for The Balcony by J. Genet, Performance Group, New York City. Co-designer with Richard Schechner; November 1979. Set for Scapino by R. Shoemaker, Director; Summerstage, Hartford, Connecticut; 1978. Set for Three Sisters by Chekhov. Rae Allen, Director; Stage West; Springfield, Massachusetts; 1978. Set for A Christmas Carol adapted by Rae Allen and Timothy Near. Timothy Near, Director, Stage West; West Springfield, Massachusetts; 1977. Set for In the Well of the House. C. Marks, author. Davey-Marlin Jones, Director; Joe Papp, Producer; Public Theater, New York City, 1977. Set for When We Dead Awaken by I. Ibsen. Rae Allen, Director; Stage West; West Springfield, Massachusetts; 1977. Set for Sleuth by A. Shaffer. Grover Dale, Director; Stage West; West Springfield, Massachusetts; 1976. Co-Designer, environment for Mother Courage by B. Brecht. For the Performance Group, New York City; Richard Schechner, Director; November 1974. Environment for Ghosts by H. Ibsen. For Shaliko-Public Theater, New York City; Leo Shapiro, Director; January 1975.

PROFESSIONAL STAGE DESIGNS [Continued] Environment for Endgame by S. Beckett. Manhattan Project, Andre Gregory; New York City; Andre Gregory, Director; 1973. Environment for A Great Hoss Pistol. Section 10, Omar Shapli, New York City; Omar Shapli, Director; 1973. Environment for The Tooth of Crime by S. Shepard. For The Performance Group, New York City, Richard Schechner, Director; 1972. Environment for Commune. For The Performance Group, New York City, Richard Schechner, Director; 1971. Environment for Dionysus in ‘69. For The Performance Group, Richard Schechner, Director, 1969. Scenery for Sourball by R. Shure. Provincetown Theater; New York City; James Kerans, Director; 1969. SCENE DESIGNER, PROFESSIONAL SUMMER STOCK AND EDUCATION THEATER [Productions listed on request]

Designed scenery for 62 major productions at the University of Connecticut; Winter and Summer, 1961 to 1985. Designed scenery for 20 productions at Avondale Summer Theater, Equity; Indianapolis, Indiana; Summer 1959 and 1960. ARCHITECTURAL DESIGNS [Completed] Architectural Theater Consultant for Stamford Theater Works at Palace theater complex; Stamford, CT; Steve Karp, Artistic Director. Also for STW, designing a theater complex in an existing space. The Avon Theater, Stamford, Connecticut, 2003 (in progress). Architectural Theater Consultant for design of Tansil Black Box theater complex at Connecticut College; New London, Connecticut; DuBose Associates Architects, March 1999. Designed performing arts facility in an existing space at Eastern Connecticut State University; Willimantic, Connecticut; Robert Wendler, Architect; completed 1990. Designed thrust stage seating for the Clockwork Repertory Theater; Watertown, Connecticut; 1981. Designed fixed unit stage for Stage West, Professional Regional Theater of Springfield, Massachusetts, 1976. Designed Environmental Theater for Sarah Lawrence College, Bronxville, New York. Warner, Burns, Tone, Lunde; New York City, 1970.

Architects:

Designed Environmental Theater for the University of Connecticut; Storrs, Connecticut; Architect Consultant, Richard Sweibold; 1971. Designed Environmental Theater for Section 10; Waverly Street, New York City; 1974.

Designed Environmental Tree House for Department of Child Development, University of Connecticut; Storrs, Connecticut; 1973. Designed Multi-plan Portable Seating for Jorgenson Auditorium, University of Connecticut; Storrs, Connecticut; 1972. Designed Open Space Theater in an existing space for college of White Plains, New York; 1971. Designed Touring Environment Stage for Phoenix Theater, New York City; 1970.

ARCHITECTURAL DESIGNS [Studies] Designed a complete theatre and program for Stamford Theatre Works for the Avon Theatre, an existing space. Stamford, Connecticut. Steve Karp, Artistic Director. May 2003. Designed theater complex for Performing Arts Center of Hartford. Plan to convert the Webster Theater; Hartford, Connecticut; Summer 1988. Designed performing arts facility in an existing space at South Central Community College, Connecticut; June 1984. Developed design concept for performing arts complex for Manchester Community College Foundation; Manchester, Connecticut; 1982. Designed experimental theater in the space for Denver Center Theater Company at the Performing Arts Center; Denver, Colorado; Ed Call, Artistic Director; 1981. Designed and consulted on feasibility study for a proscenium theater complex in an existing space for American University; Washington, DC; June, 1980. Designed Outdoor Touring Environmental Theater for Arthur Kopit and Jack McQuiggan; Bicentennial Production, Wesleyan University; Summer 1976. Designed a combined environmental and thrust theater for American University; Washington, DC; August 1975.

Modular Theater System for Brooklyn Academy of Music; Brooklyn, New York; 1973. Open Space Theater for the Space, New York City, 1972. Convertible Environmental Theater for Murray-Lewis Dance Company, New York City, 1971. DIRECTING EXPERIENCE Directed and designed Vinegar Tom by Caryl Churchill for Eastern Connecticut State University; Harry Hope Theater; Willimantic, Connecticut; April 1994. Directed The Memorandum by V. Havel. A new translation by Marie Winn; Nutmeg Theater; University of Connecticut; Storrs, Connecticut; April 1991. Directed True West by S. Shepard, for the Worcester Forum Theater; Worcester, Massachusetts; October 1987.

DIRECTING EXPERIENCE [Continued] Directed Buried Child for the Nutmeg Theater, University of Connecticut; Storrs, Connecticut; February 1987. Directed Agnes of God for the Nutmeg Theater, University of Connecticut; Storrs, Connecticut; October 1985. Directed premier production of Ah Bright Wings by Tom Dulak at the University of Connecticut, Mobius Theater; Storrs, Connecticut; December 1984. Co-directed Emigres at University of Connecticut; Storrs, Connecticut; September 1979. Storyville Portraits, an original production based on The Balcony, Mobius Ensemble; University of Connecticut; Storrs, Connecticut; 1977. The Big Enchilada, an original production based on Ubu Roi, Mobius Ensemble Theater at Mobius Theater, University of Connecticut; Storrs, Connecticut; April 1975. Our House, a Work in Progress, based on the Oedipus myth, an environmental theater ensemble production at the Mobius Theater, University of Connecticut; Storrs, Connecticut; April 1973.

Baal Games, based on Brecht’s BAAL,an environmental theater ensemble production at the Mobius Theater, University of Connecticut; Storrs, Connecticut; March 1972. THEATER CONSULTANT Served as theatre Outside Reviewer with a University Inside Committee to provide a Seven-Year Review of the Ohio University Theatre School, Athens, Ohio. As result of an invitation to campus and interviews with faculty, staff and students, provided a 10-page report to the four Inside Committee members and Office of the Provost, November 2002. Served by invitation on a panel to evaluate the University of Hartford/Hartt School theater program. The three-day seminar included panelists: David Hawkinson and Mark Lamos, Hartford Stage Company; Don Marinelly, Carnegie Mellon; Malcolm Morrison, University of Wisconsin; and Bronislaw Sammler, Yale University, September 1993. Evaluated performing arts projects for Connecticut Commission on the Arts, March 1991. Developed a fine arts utilization plan for the Higher Education Center Fine Arts Complex with J. Franklin; written report, Waterbury, Connecticut; Summer 1988. Evaluated the Center for the Arts at Austin Peay State University, Tennessee; written report, May 1987. Evaluated theater arts projects, grant proposals for Connecticut Commission on the Arts, May 1987. Evaluated grant proposals for New Works Performing Arts Program, Connecticut Commission on the Arts, September 1985. Evaluated Sharon Playhouse and Westport Playhouse for Connecticut Commission on the Arts, August 1984.

THEATER CONSULTANT [Continued] Evaluated Theater Department at Wesleyan University; Middletown, Connecticut; with Gordon Rogoff and Michael Britwhistle; written report; Fall 1983. Evaluated the Technical Management position at Center for Arts at Wesleyan University; Middletown, Connecticut; written report; Spring 1983. Evaluated the graduate theater program at Villanova University, Pennsylvania; written report; Spring 1983. Served as advisor to develop existing space into theater at Emerson College; Boston, Massachusetts; 1981.

Evaluated Theater Department at Brooklyn College; Brooklyn, New York; written report, 1976. Museum of contemporary Art; architectural planning; Chicago, Illinois; 1976. Cabaret Theater at Westbeth, New York City; DMZ Theater, architectural planning; Iashia Schaffer, Director, 1972. University of Delaware, Department of Theater; architectural planning, 1972. Educational Facilities Laboratories; architectural planning; Allan Green; New York City’ 1970. INVITATIONAL LECTURES AND RESIDENCIES Invited to serve on director’s colloquium by the International Theater Institute of Poland in Warsaw, with Lloyd Richards, Alan Schneider, and Arthur Wagner; Spring 1980. Selected with Richard Schechner to serve in a colloquium on space. IV Session Mundial De Teatro Naciones; Caracas, Venezuela; Summer 1978. Invited by Salzburg Seminar in American Studies to teach environmental theater in Salzburg, Austria; June 1974; U. S. Faculty. Brendon Gill, Criticism, The New Yorker Magazine Tom Moore, Directing, Grease, Broadway Joe Walker, Playwriting, Broadway Jerry Rojo, Design, Off-Broadway Selected as American Scene Designer to speak at the Third International Organization of Scenographers and Theater Technicians at Avignon, France; 1973. With the Performance Group directed a month-long workshop in environmental theater at American University; Washington, DC; July 1975. Delivered lecture series on Environmental Theater at New York University; October 1973. th

Served on Panel to discuss Theater Space at 37 Annual American Theater Association; New York City; August 1973. With the Performance Group in residence at University of British Columbia, Summer 1972.

INVITATIONAL LECTURES AND RESIDENCIES [Continued] With the Performance Group in residence at University of Rhode Island, Summer 1971. With the Performance Group in residence at New York State University at New Paltz, Summer 1970. INVITATIONAL EXHIBITIONS Designs for Big Love and Wintertime presented at the World Stage Design 2005 as part of the WSD Digital Exhibition. Toronto, Canada, March 2005. Designs selected to represent American designers in Prague Quadrennial 1987, Exhibit Tour USA through 1990. “One Man Show – Retrospect IV Environmental Designs of Jerry Rojo, “Jorgensen Gallery, University of Connecticut; Storrs, Connecticut; April 1978. The Hudson River Museum, Theatrical Evolution: 1776-1976, four of my designs selected, Summer 1976. Contemporary Stage Design, USA, Exhibit at Lincoln Center, New York City, and international tour; invited to exhibit my design of environment for Makbeth. Gallery Under Glass, New York City, 1966. Connecticut Watercolor Society; Wadsworth Athenaeum; Hartford, Connecticut, 1966. Norwich Art Show, Norwich Academy; Norwich, Connecticut; 1964

PUBLICATIONS Stage Designs for Big Love and Wintertime published in: "World Stage Design, An International Exhibit of Set, Costume, Lighting and Sound Design," A Catalogue and CD by United States Institute of Theatre Technology, Syracuse, New York, 2005. Rojo, J. An Acting Method Using The Psychophysical Experience of Workshop Games-Exercises. Edwin Mellen Press; Lewiston, New York, 2000. Rojo, J. “Post-Mortem.” Chapter 7., Dianne Hunter, Editor. The Makings of Dr. Charcot’s Hysteria Shows Research Through Performance. The Edwin Mellen Press, 1998. Rojo, J. “Environmental Theater.” Article-interview in Bonnie Marranca and Gautam Dasgupta, Edited, Conversations On Art and Performance. John Hopkins, 1999. Rojo, J. “Some Principles and Concepts of Environmental Design.” Robert Corrigan, Editor, The Making of Theater, Scott/Foresman and Company, 1981. Comments published in Symposium on the Training of Theater Directors. Polish ITI Center, Warsaw; May 1980. Rojo, J.; McNamara; Schechner. Theaters, Spaces, Environments. Drama Book Specialists, New York, 1975.

10 PUBLICATIONS [Continued] Rojo, J. Contemporary Stage Design USA Article. “Environmental Theater.” Publisher, International Theater Institute of the United States, Wesleyan University Press, Middletown, Connecticut, 1974. Four Concepts of Environmental Theater Lighting. Travial Theatril; La Cite, Hiver; 1974. Designs and Commentary represented in many books.

GRANTS Connecticut commission on the Arts and University of Connecticut Research Foundation. Grants to prepare new translation of The Memorandum by V. Haver; December 1990. Connecticut Commission on the Arts Grant to develop performing arts center at South Central Community College, 1984. Connecticut Commission of the Arts Grant to develop seating design for Shetucket Stage Company, 1982. Connecticut Commission on the Arts Grant to develop a design for an arts center in Manchester, Connecticut in association with Manchester Community College, 1982. Graduate Research Foundation, University of Connecticut, grant to make video tape of Storyville Portraits, 1977. Graduate Research Foundation, University of Connecticut, grant to make video tape of The Big Enchilada, June 1975 [completed]. National Endowment for the Arts, grant to create environment for Mother Courage with the Performance Group, New York City, 1975. HONORS AND DISTINCTIONS Received The Barrymore Award for Outstanding Set Design for Big Love. The Theatre Alliance Of Philadelphia, 2003. Received The Barrymore Award nominations for Outstanding Set Design for Orpheus Descending and Quills. The Theatre Alliance of Philadelphia, 1999, 1997 respectively. Received the Drama Desk Award for the design of Endgame, New York City, 1973. Nominated for “Obie” Award for designs of Tooth of Crime and Endgame, New York City, 1973. Received with Performance Group, “Obie” Award for Dionysus ’69, New York City, 1969. Invited member of Phi Kappa Phi, Honorary Fraternity; University of Connecticut Chapter. EDUCATION M.F.A., Tulane University, 1960, B.A. , Lake Forest College, 1957.