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MARK ZAPPONE COSTUME DESIGNER Mark Zappone initially served Pacific Northwest Ballet from 1983–1988 as costume designer, shop s upervisor, a nd wa rdrobe master. H e th en m oved to M onte-Carlo, w here h e m anaged costume shops for Les Ballets de Monte-Carlo and Le Cabaret de Monte-Carlo, continuing on to Switzerland and Amsterdam with Holiday on Ice. Zappone has collaborated with renowned choreographers and designers such as Twyla Tharp (Pacific N orthwest Ballet world p remieres Opus111 and Afternoon Ball) Lu cinda C hilds, Maurice Sendak, D ominique Dum ais, K ent Stowell, t he G eorge Balanchine T rust, M olissa Fenley, Kevin O ’Day, James Kudelka, Martin Pakledinez, Christopher Stowell, Nicolo F onte, Paul Gibson, and Nuno Corte-Real. As w ell as his numerous designs for PNB’s repertory, he has designed for San Francisco Ballet, Peter Boal Solos, Pennsylvania Ballet, Pittsburgh Ballet Theatre, Les B allets de Monte-Carlo, Oregon Ballet T heatre, Alberta Ballet, Spectrum Dance Theatre, Teatro Zinzanni, and Wear Moi Dancewear of London. * * * *
MARY LOUISE GEIGER LIGHTING DESIGNER Mary Louise Geiger has worked in New York, Europe, and in the American regional theatre. She is currently Head of Lighting in the Department of Design for Stage and Film at New York University’s Tisch School of the Arts. Her work in New York includes Oslo Elsewhere Festival (59E59); The Busy World is Hushed (Playwrights H orizons); Jump/Cut (Women’s P roject); R ed Beads ( Mabou M ines–Skirball Center for the Performing Arts); The Constant Wife (American Airlines Theatre); Oedipus at Palm Springs (New Y ork T heatre Workshop); Afterbirth: Kathy and Mo’s Greatest Hits (Second S tage); The Triangle Factory Fire Project (TACT); Mabou Mines’ Dollhouse (St. Ann’s); Architecture of Loss (New York Theatre Workshop); Eight Days Backwards (Vineyard Theatre); The Mystery of Attraction (Worth St. Theatre); Julia Sweeney in The Family Way (Ars N ova T heatre); Jodi Oberfelder Dance (Clark T heatre, L incoln C enter); Two Little Indians (Here T heatre); Tongue of a Bird (New Y ork S hakespeare F estival); A Doll House (NYTW workshop), The Bacchae: Torn to Pieces (LaMaMa E tc), Long Island Sound (The Actor’s Company Theatre) Geiger’s work in Europe and <strong>tour</strong>ing <strong>production</strong>s includes Mabou Mines’ Dollhouse (Brisbane Festival, Australia, Chicago, IL, Minneapolis, MN, Columbus, OH, New England, USA, Festival D’Autumne, Paris, France; Stuttgart Festival, Germany; Ibsen Festival, Oslo, Norway). Her work for regional theater includes projects for ACT Theatre, Alley Theatre, Actor’s Theatre of L ouisville, A solo Theatre, B erkeley R epertory T heatre, G eVa T heatre, I ndiana R epertory Theatre, I ntiman T heatre, S eattle R epertory T heatre, P ortland C enter Stage, Portland Stage Company, Virginia Stage Company, Repertory Theatre of St. Louis, Mark Taper Forum, Pioneer Theatre, Playmakers Repertory Company, LA Opera, Philadelphia Orchestra. She trained at the Yale School of Drama and is currently a faculty member of the NYU Tisch School of the Arts. * * * *
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