Marc Maislen (Director) began on the East Coast performing original works, being male lead of The American Mime Theatre and an Artist-in-Residence at Massachusetts College of Art. He has designed sets for: A Midsummer Night’s Dream, Speed-the-Plow, Art, Red, Heisenberg and Othello and has designed lights for Pacific Dance Ensemble, Lady Rizo and various productions. He is a published author of The Tale of Jinny Coreen and Shattered: Recovering from a Traumatic Injury, and he has two radio shows on KYAQ, New Realities and Coastal Currents. His main body of work has been directing A Midsummer Night’s Dream, Still Life, True West, Educating Rita, The Boy Who Talked to Whales, Quintessence, The Seafarer,  Art,  Anton in Show Business, Venus in Fur, Heisenberg, Red, Tiny Beautiful Things, Othello, Of Mice and Men and The Tempest.

Livanna Marissa Maislen (Leah) is an immersive dance-theatre performer (Sleep No More; Emursive Productions; Company SBB; Francesca Harper Project, Collective Attention SF, 13th Floor Theater) and yoga-movement instructor with roots in New York and the Northwest. She was Dancer and Rehearsal Assistant for Nick Cave’s Bessie-Award Winning show “The Let Go”, Nona Hendryx & Carrie Mae Weem’s “Refrigerated Dreams” and Austria’s Bregenzer Fruehling’s Tanzfestival. Maislen has performed internationally and has worked with Nicole von Arx, Yin Yue, Karole Armitage, the San Francisco Opera, the Seattle Opera. She is currently a performer with Liss Fain Dance and holds a Master’s Degree in Somatic Psychotherapy at CIIS.

 

Flo Resant (Vera) (she/her) came in on the last big storm from the North. The lightning strike gave her the anthropomorphic essence of grandmother. Gray hair and all! She came to poke your soft spots and tuck you in with a little nagging guilt. She notoriously reminds you of your most embarrassing moments and is the reigning queen of back-handed compliments. The role of Vera has given Flo new light and meaning for all things “whadayacallit.” We hope you enjoy Gramma Vera’s proverbial pinch on the cheek  ; )

Mandy Richman-Carter (Bec) is proud to return to the stage as Bec after a few year break to do behind the scenes work for several productions. “This character is the one that has closest resembled me in my 40 year theatre career…she immediately leapt off the page to me as neurodiveregent, in  the most authentic way.” Other stage credits include The Blue Bad Idea Bear in Avenue Q, Bianca in The Taming of the Shrew, and the Mom in She Loves Me, She Loves Me Not. She is a certified autism support coach, substitute teacher and owner of The Friend Zone Autism Support. She wishes to thank the talented cast and crew for bringing this show to life and her awesome son, Orion, for letting mommy share her time and energy with others.

 

Meghan Cahill (1-Night Stand) comes from Idaho, where she performed on a moving train, a hot air balloon, and a cattle ranch. This is her second time working with New Visions Arts, after The Tempest in 2024.

 

CJ McCarty (Stage Manager) has been a part of Newport’s theater community since 1998 working with all 4 of the theater companies that our Performing Arts Center boasts.  She has joined musical, drama, and comedic productions as an actor, singer, and more recently as a stage manager, and is grateful for all of the amazing and rewarding experience.

 

Aleina L. Turner (Lighting Design) is delighted to have helped this show come to life! She’s grateful to have worked with NVA and excited for opportunities to do so again in the future. Her credits include a variety of concerts and performances at Newport Performing Arts Center, as well as Southern Utah’s Hafen Theater, St. George’s PAC, St. George Musical Theatre, The Electric Theatre, and many others!

 

Geoff Levear (Set Engineer) has been designing and building sets for over twelve years both here in Newport and in Portland Or and Mesa Az. He enjoys the creative and collaborative process and prefers to be a back stage person.

 

Kateri Eastman (they/them) is a chaotic good tinker witch who grew up in the basement of the Naterlin where the stage lights were made out of old tin cans and spit. They absorbed theater through osmosis and brought a goblinesque approach to any creative endeavor (i.e., fixing problems with whatever they’ve got in their pockets).