The Infinite Energy of Ada Lovelace
Petticoats & Sliderules
Cast and Creative Team
Rena Ahmed
Ada Lovelace (Sept. 18, 24, 26 and Oct. 1, 3)
Rena Ahmed has been featured in numerous productions of opera, operetta, musical theater, theater, cabaret and concert works throughout the Chicago area. She has an affinity for new works, and has been featured in three original works and three regional premieres. Heralded as a “strong, edgy mezzo,” she was last seen with Third Eye Theatre Ensemble as Martha in Patience and Sarah. Favorite roles include Baba in The Medium, Ruth in Dark Sisters , The Principessa in Suor Angelica, The Baker’s Wife in Into the Woods, and Agnes Gooch in Mame. She has also been featured on Jake Burns’s recording of Irish folk rock, "Drinkin’ Again", on the EMI UK label.
Ada Lovelace (Sept. 18, 24, 26 and Oct. 1, 3)
Rena Ahmed has been featured in numerous productions of opera, operetta, musical theater, theater, cabaret and concert works throughout the Chicago area. She has an affinity for new works, and has been featured in three original works and three regional premieres. Heralded as a “strong, edgy mezzo,” she was last seen with Third Eye Theatre Ensemble as Martha in Patience and Sarah. Favorite roles include Baba in The Medium, Ruth in Dark Sisters , The Principessa in Suor Angelica, The Baker’s Wife in Into the Woods, and Agnes Gooch in Mame. She has also been featured on Jake Burns’s recording of Irish folk rock, "Drinkin’ Again", on the EMI UK label.
Molly Burke
Ada Lovelace (Sept. 17, 19, 25 and Oct. 2)
Lois Graham (Petticoats & Sliderules: All Dates)
American mezzo-soprano, Molly Burke, lauded for her “magical mezzo” is known for her versatility in a range of comedic and dramatic roles. Her performance of Meg Page in Verdi’s Falstaff was described as “full, rich caressing mezzo that is expansive and she is a win-win in her acting and singing.” Dramatic roles include Mrs. Grose in Britten’s Turn of the Screw and Elizabeth Proctor in Ward’s The Crucible where she was praised for her “secure mezzo and intense declamation that captured Elizabeth’s strength and heartbreak.”
Ms. Burke joined the Wagner Institute for their inaugural season singing Roßweiße in Wagner’s Die Walküre. While an apprentice at Sarasota Opera she sang una vecchia in Montemezzi’s L’amore dei tre re and covered Mere Jeanne in Poulenc’s Dialouges des Carmelites. She was heard as La Badessa and La Suora Zelatrice in Suor Angelica at Prelude to Performance. Burke performed Queen Leda in Die Liebe der Danae and covered Fricka for The Valkyrie at Pittsburgh Festival Opera. She performed the Mother in Menotti's Amahl and the Night Visitors for Operanauts 2020 live streamed production. She was scheduled to perform Filippyevna in Eugene Onegin at Opera in the Heights in March 2020.
Ada Lovelace (Sept. 17, 19, 25 and Oct. 2)
Lois Graham (Petticoats & Sliderules: All Dates)
American mezzo-soprano, Molly Burke, lauded for her “magical mezzo” is known for her versatility in a range of comedic and dramatic roles. Her performance of Meg Page in Verdi’s Falstaff was described as “full, rich caressing mezzo that is expansive and she is a win-win in her acting and singing.” Dramatic roles include Mrs. Grose in Britten’s Turn of the Screw and Elizabeth Proctor in Ward’s The Crucible where she was praised for her “secure mezzo and intense declamation that captured Elizabeth’s strength and heartbreak.”
Ms. Burke joined the Wagner Institute for their inaugural season singing Roßweiße in Wagner’s Die Walküre. While an apprentice at Sarasota Opera she sang una vecchia in Montemezzi’s L’amore dei tre re and covered Mere Jeanne in Poulenc’s Dialouges des Carmelites. She was heard as La Badessa and La Suora Zelatrice in Suor Angelica at Prelude to Performance. Burke performed Queen Leda in Die Liebe der Danae and covered Fricka for The Valkyrie at Pittsburgh Festival Opera. She performed the Mother in Menotti's Amahl and the Night Visitors for Operanauts 2020 live streamed production. She was scheduled to perform Filippyevna in Eugene Onegin at Opera in the Heights in March 2020.
Max Hosmer
William King-Noel (Sept. 18, 19, 24, 26 and Oct. 3)
Tenor Max Hosmer has been hailed as “scene-stealing” and praised for his “powerful high range” in the Daily Camera. He portrayed George Bailey in the workshop premiere of Jake Heggie and Gene Scheer's "It's a Wonderful Life". Other modern opera premieres include Calvin O’Keefe in Libby Larsen’s "A Wrinkle in Time", Bev Russell in Zach Redler's "A Song for Susan Smith", Lefty Calibrini in Lori Laitman’s "Ludlow", and Henry James in Alberto Caruso’s "The Master" with CU New Opera Works. Chicago area roles include Count Almaviva in "The Barber of Seville", Don Ottavio in "Don Giovanni", the title role in "Le Comte Ory", Inspector Henry Matthews in "Uncle Alex", and Court Councillor Lebysnyanitkov in "Bobok" with companies including Petite Opera, Transgressive Theatre Opera, and Thompson Street Opera. Originally from Modesto, California, Max is a graduate of both the University of California Stanislaus and the University of Colorado Boulder.
William King-Noel (Sept. 18, 19, 24, 26 and Oct. 3)
Tenor Max Hosmer has been hailed as “scene-stealing” and praised for his “powerful high range” in the Daily Camera. He portrayed George Bailey in the workshop premiere of Jake Heggie and Gene Scheer's "It's a Wonderful Life". Other modern opera premieres include Calvin O’Keefe in Libby Larsen’s "A Wrinkle in Time", Bev Russell in Zach Redler's "A Song for Susan Smith", Lefty Calibrini in Lori Laitman’s "Ludlow", and Henry James in Alberto Caruso’s "The Master" with CU New Opera Works. Chicago area roles include Count Almaviva in "The Barber of Seville", Don Ottavio in "Don Giovanni", the title role in "Le Comte Ory", Inspector Henry Matthews in "Uncle Alex", and Court Councillor Lebysnyanitkov in "Bobok" with companies including Petite Opera, Transgressive Theatre Opera, and Thompson Street Opera. Originally from Modesto, California, Max is a graduate of both the University of California Stanislaus and the University of Colorado Boulder.
Vincent McPherson
William King-Noel (Sept. 17, 25 and Oct. 1, 2)
Vincent McPherson is so happy to be making his Third Eye Theatre Ensemble debut as William King-Noel! While studying Music Business at Elmhurst University, Vince performed throughout the country in Opera, Musical Theatre and Jazz. Of the many different styles and roles he’s played, some of his favorites include Rodolfo: La Boheme, (Landmark Opera), Ferrando: Cosi Fan Tutte (Mission Opera), Alfredo Germont: La Traviata (Landmark Opera), Jean Valjean in Chicoland Pops Orchestra’s highlights of Les Miserables and John in Carnegie Arts Center’s Production of Miss Saigon. A special thank you to my family and friends who’s support means the world. Enjoy the show!
William King-Noel (Sept. 17, 25 and Oct. 1, 2)
Vincent McPherson is so happy to be making his Third Eye Theatre Ensemble debut as William King-Noel! While studying Music Business at Elmhurst University, Vince performed throughout the country in Opera, Musical Theatre and Jazz. Of the many different styles and roles he’s played, some of his favorites include Rodolfo: La Boheme, (Landmark Opera), Ferrando: Cosi Fan Tutte (Mission Opera), Alfredo Germont: La Traviata (Landmark Opera), Jean Valjean in Chicoland Pops Orchestra’s highlights of Les Miserables and John in Carnegie Arts Center’s Production of Miss Saigon. A special thank you to my family and friends who’s support means the world. Enjoy the show!
Noah Gartner
Charles Babbage (Sept. 18, 25, 26 and Oct. 1, 3)
Butler (Sept. 17, 19, 24 and Oct. 2)
Originally from New York, lyric baritone Noah Gartner has been performing throughout the Chicago area during the past 10 years; notably with Third Eye Theatre Ensemble (with which he is a company member), Transgressive Theatre Opera, Handel Week Festival in Oak Park, Main Street Opera, Petite Opera, and da Corneto Opera. Favorite performances include Figaro (Barber of Seville), Count Almaviva (Marriage of Figaro), Valentin (Faust), Cesare (Giulio Cesare in Egitto), Solomon (Solomon), Ford (Falstaff), Raimbaud (Comte Ory) Guglielmo (Così fan tutte), Papageno (Magic Flute), Schaunard (La bohème), Parson Peel (Patience and Sarah), Alwan (Sumeida’s Song). Upcoming engagements include a return with Handel Week Festival in Oak Park for the 2022 season.
Charles Babbage (Sept. 18, 25, 26 and Oct. 1, 3)
Butler (Sept. 17, 19, 24 and Oct. 2)
Originally from New York, lyric baritone Noah Gartner has been performing throughout the Chicago area during the past 10 years; notably with Third Eye Theatre Ensemble (with which he is a company member), Transgressive Theatre Opera, Handel Week Festival in Oak Park, Main Street Opera, Petite Opera, and da Corneto Opera. Favorite performances include Figaro (Barber of Seville), Count Almaviva (Marriage of Figaro), Valentin (Faust), Cesare (Giulio Cesare in Egitto), Solomon (Solomon), Ford (Falstaff), Raimbaud (Comte Ory) Guglielmo (Così fan tutte), Papageno (Magic Flute), Schaunard (La bohème), Parson Peel (Patience and Sarah), Alwan (Sumeida’s Song). Upcoming engagements include a return with Handel Week Festival in Oak Park for the 2022 season.
Matthew Peckham
Charles Babbage (Sept. 17, 19, 24 and Oct. 2)
Butler (Sept. 18, 25, 26 and Oct. 1, 3)
Matthew Peckham is a multi-disciplinary Chicago-based artist and arts entrepreneur. His performances in operas, musicals, and choruses have been described by critics across the United States as "facile," "fresh," and "inspired." As an entrepreneur, Matthew has a special interest in fostering new works and in building sustainable arts institutions. Projects in Chicago have included co-founding the Chicago Vocal Arts Consortium, serving on the inaugural board of Thompson Street Opera Company, and founding Peckham Media Productions, where he currently works to provide recording, editing and streaming services to arts organizations and small businesses. Learn more about media services at www.peckhammediaproductions.com, or about Matt’s singing at www.mattewpeckhammusic.com
Charles Babbage (Sept. 17, 19, 24 and Oct. 2)
Butler (Sept. 18, 25, 26 and Oct. 1, 3)
Matthew Peckham is a multi-disciplinary Chicago-based artist and arts entrepreneur. His performances in operas, musicals, and choruses have been described by critics across the United States as "facile," "fresh," and "inspired." As an entrepreneur, Matthew has a special interest in fostering new works and in building sustainable arts institutions. Projects in Chicago have included co-founding the Chicago Vocal Arts Consortium, serving on the inaugural board of Thompson Street Opera Company, and founding Peckham Media Productions, where he currently works to provide recording, editing and streaming services to arts organizations and small businesses. Learn more about media services at www.peckhammediaproductions.com, or about Matt’s singing at www.mattewpeckhammusic.com
Angela Born
Harriet Beecher Stowe (Sept 17, 19, 25 and Oct. 1)
Elizabeth Woodbridge (Petticoats & Sliderules: All Dates)
Commended for her “fire and conviction”, Angela Born is an opera theatre artist committed to artistic integrity and authenticity. A staunch advocate for new music and praised for her “impeccable musicianship” (Chicago Classical Review), Ms. Born is frequently sought as an interpreter of new works. Favorite roles include Patience in Paula Kimper’s Patience and Sarah, Lucinda in Nico Muhly’s Dark Sisters, and Meg Murry in Libby Larsen’s workshopped production of A Wrinkle in Time. Recently, Ms. Born received critical acclaim for her “high-wire act of sustained, metaphorically naked vocal performance” (Chicago Reader) in Juliet Palmer’s Stitch, an a cappella opera written for 3 voices and sewing machines which sheds light on the lives of those who create our clothes. Angela is equally comfortable in traditional classical repertoire; some of her favorite roles include Musetta in La Bohème, Ännchen in Der Freischütz, and Despina in Così fan tutte. www.angelaborn.com
Harriet Beecher Stowe (Sept 17, 19, 25 and Oct. 1)
Elizabeth Woodbridge (Petticoats & Sliderules: All Dates)
Commended for her “fire and conviction”, Angela Born is an opera theatre artist committed to artistic integrity and authenticity. A staunch advocate for new music and praised for her “impeccable musicianship” (Chicago Classical Review), Ms. Born is frequently sought as an interpreter of new works. Favorite roles include Patience in Paula Kimper’s Patience and Sarah, Lucinda in Nico Muhly’s Dark Sisters, and Meg Murry in Libby Larsen’s workshopped production of A Wrinkle in Time. Recently, Ms. Born received critical acclaim for her “high-wire act of sustained, metaphorically naked vocal performance” (Chicago Reader) in Juliet Palmer’s Stitch, an a cappella opera written for 3 voices and sewing machines which sheds light on the lives of those who create our clothes. Angela is equally comfortable in traditional classical repertoire; some of her favorite roles include Musetta in La Bohème, Ännchen in Der Freischütz, and Despina in Così fan tutte. www.angelaborn.com
Katherine Bruton
Harriet Beecher Stowe (Sept. 18, 24, 26 and Oct. 2, 3)
Soprano Katherine Bruton's clear voice and vibrant characterization brings opera and art song to life. Her skill interpreting new music has led to premieres and performances of new music in Chicago, Los Angeles, and throughout the Midwest. She has appeared with Chicago Fringe Opera, Thompson Street Opera Company, Pasadena Opera, and the critically acclaimed Pacific Opera Project. Katherine also enjoys performing Russian repertoire and was contracted to perform in Chicago Opera Theater’s production of Kashchej the Immortal until it was cancelled by Covid-19. Notable recent performances include performing “Paper Fortunes”, a piece for soprano, 8 pianists, and electronics, by Timothy Ernest Johnson and reprising her role as “The Queen of the Night” in Rosśa Crean’s Lost Daughters, both in Chicago. Katherine lives in Chicago with her partner; their cat, Sunny; and their dog, Julep. For more information, visit her website at katherinebrutonsoprano.com.
Harriet Beecher Stowe (Sept. 18, 24, 26 and Oct. 2, 3)
Soprano Katherine Bruton's clear voice and vibrant characterization brings opera and art song to life. Her skill interpreting new music has led to premieres and performances of new music in Chicago, Los Angeles, and throughout the Midwest. She has appeared with Chicago Fringe Opera, Thompson Street Opera Company, Pasadena Opera, and the critically acclaimed Pacific Opera Project. Katherine also enjoys performing Russian repertoire and was contracted to perform in Chicago Opera Theater’s production of Kashchej the Immortal until it was cancelled by Covid-19. Notable recent performances include performing “Paper Fortunes”, a piece for soprano, 8 pianists, and electronics, by Timothy Ernest Johnson and reprising her role as “The Queen of the Night” in Rosśa Crean’s Lost Daughters, both in Chicago. Katherine lives in Chicago with her partner; their cat, Sunny; and their dog, Julep. For more information, visit her website at katherinebrutonsoprano.com.
Tracey Lynne Furling
Nanny (All Dates)
Tracey Lynne Furling will be playing the Nanny in their second production with Third Eye Theatre Ensemble. Tracey is an emerging professional opera singer from Springfield, Illinois; she has studied performance in many forms - voice, percussion, piano and dance - since childhood. Tracey attended Bradley University in Peoria, Illinois (her father’s alma mater) to study Music Business and Vocal Performance. While at Bradley University she thrived under the direction of Dr. Kerry Walters. Tracey was a founding member of Bradley Opera Youth Outreach, president of the university’s Sigma Alpha Iota chapter, and performed with various campus ensembles. Tracey also planned and presented two solo recitals and sang with the Bradley Symphony Orchestra as a winner of the 2015 Concerto/Aria Competition. After graduation, Tracey has studied privately with Allison Meuth, Dr. Kerry Walters, and Dr. Annie Picard. She has performed with Third Eye Theatre Ensemble, Thompson Street Opera, and sings with the Chicago Choral Artists. Tracey is thrilled to sing again with Third Eye Theatre Ensemble in their return to live theater!
Nanny (All Dates)
Tracey Lynne Furling will be playing the Nanny in their second production with Third Eye Theatre Ensemble. Tracey is an emerging professional opera singer from Springfield, Illinois; she has studied performance in many forms - voice, percussion, piano and dance - since childhood. Tracey attended Bradley University in Peoria, Illinois (her father’s alma mater) to study Music Business and Vocal Performance. While at Bradley University she thrived under the direction of Dr. Kerry Walters. Tracey was a founding member of Bradley Opera Youth Outreach, president of the university’s Sigma Alpha Iota chapter, and performed with various campus ensembles. Tracey also planned and presented two solo recitals and sang with the Bradley Symphony Orchestra as a winner of the 2015 Concerto/Aria Competition. After graduation, Tracey has studied privately with Allison Meuth, Dr. Kerry Walters, and Dr. Annie Picard. She has performed with Third Eye Theatre Ensemble, Thompson Street Opera, and sings with the Chicago Choral Artists. Tracey is thrilled to sing again with Third Eye Theatre Ensemble in their return to live theater!
Jason Carlson
(Music Director)
Jason Carlson is a collaborative pianist and vocal coach. He is a frequent recitalist and performer, including recent appearances with New York Philharmonic trombonist Joseph Alessi, legendary flautist Sir James Galway, and a lecture recital on law and opera with Supreme Court Justice Ruth Bader Ginsburg. As a répétiteur, Jason has worked with renowed singers such as Neil Shicoff and Elizabeth Futral, and also served as principal accompanist and auxiliary conductor for performances of Madama Butterfly, La fanciulla del west, and Otello with the late Maestro Lorin Maazel. Jason is currently on faculty in the opera department at his alma mater, Northwestern University. He is also the founding music director for Third Eye Theatre Ensemble and Main Street Opera in Chicago.
(Music Director)
Jason Carlson is a collaborative pianist and vocal coach. He is a frequent recitalist and performer, including recent appearances with New York Philharmonic trombonist Joseph Alessi, legendary flautist Sir James Galway, and a lecture recital on law and opera with Supreme Court Justice Ruth Bader Ginsburg. As a répétiteur, Jason has worked with renowed singers such as Neil Shicoff and Elizabeth Futral, and also served as principal accompanist and auxiliary conductor for performances of Madama Butterfly, La fanciulla del west, and Otello with the late Maestro Lorin Maazel. Jason is currently on faculty in the opera department at his alma mater, Northwestern University. He is also the founding music director for Third Eye Theatre Ensemble and Main Street Opera in Chicago.
Rose Freeman
(Stage Director)
Rose Freeman teaches, stage directs, and produces theatrical performance in multiple performance mediums. Recent and upcoming projects include development for a book on Acting Methods for Opera, writing a musical about an alligator in Chicago, Stage Directing She Kills Monsters at Temple University and Pauline Viardot’s Cendrillon at City Lyric Opera in New York. Freeman recently zir MFA at Temple University as part of the inaugural Music Theatre Collaboration program. Freeman has created national fine art shows for M Gallery of Fine Art, served as managing producing director for Cerqua Rivera Dance Theatre, and production managed a national tour for Feld Entertainment’s Monster Jam Monster Truck Show. Freeman stage directs space generated theater, burlesque, and opera. Previous operatic productions include Juliet Palmer's Stitch, Daniel Crozier's With Blood With Ink, Nico Muhly’s Dark Sisters, Mohammed Fairouz’s Sumeida’s Song, Gian Carlo Menotti’s The Medium (all with Third Eye), Eric McDonnell's Cosmic Ray and the Amazing Chris with Thompson Street and Forest Fantasies with Lingerie Lyrique. Notable non-operatic productions include Caroline Shaul’s The Shaulshank Redemption, Po’Chop’s Black As Eye Wanna Be, Hannah Ii Epstein’s Punk Punk, Pippi’s Lost Stockings: a Burlesque Satire, Michael Wise’s Alice, and Vic Mensa’s 2016 Lollapalooza homecoming concert. Favorite burlesque collaborations include Siren Jinx, Po’Chop, and Mia Divine. Rose is a recovering stage manager with a decade of experience. Freeman has been a teaching artist with the Chicago Vocal Arts Consortium, Columbia College Chicago, and University of the Arts. Zie has recently served as an Associate Director for Amanda Consol, Kimille Howard, Sherri Eden Barber, Sam Pinkleton and Brandon McShaffrey. Zie is an Ensemble Member of Third Eye Theatre Ensemble, Nothing Without a Company, and Member Emeritus for the DirectorsLabChicago Steering Committee. Zie has spoken as a guest artist int he 2021 National Opera Association, on the emerging artists panel during the 2011 Chicago Theatre Symposium, participated in the 2012 DirectorsLabChicago, and 2017 La MaMa Umbria Intl. Symposium for Directors. Zie is a recipient of the National Opera Association's 2020 JoElyn Wakefield-Wright Stage Director Fellowship. Rose Freeman is a Directing Fellow for Wolf Trap Opera's 2020 and 2021 season.
(Stage Director)
Rose Freeman teaches, stage directs, and produces theatrical performance in multiple performance mediums. Recent and upcoming projects include development for a book on Acting Methods for Opera, writing a musical about an alligator in Chicago, Stage Directing She Kills Monsters at Temple University and Pauline Viardot’s Cendrillon at City Lyric Opera in New York. Freeman recently zir MFA at Temple University as part of the inaugural Music Theatre Collaboration program. Freeman has created national fine art shows for M Gallery of Fine Art, served as managing producing director for Cerqua Rivera Dance Theatre, and production managed a national tour for Feld Entertainment’s Monster Jam Monster Truck Show. Freeman stage directs space generated theater, burlesque, and opera. Previous operatic productions include Juliet Palmer's Stitch, Daniel Crozier's With Blood With Ink, Nico Muhly’s Dark Sisters, Mohammed Fairouz’s Sumeida’s Song, Gian Carlo Menotti’s The Medium (all with Third Eye), Eric McDonnell's Cosmic Ray and the Amazing Chris with Thompson Street and Forest Fantasies with Lingerie Lyrique. Notable non-operatic productions include Caroline Shaul’s The Shaulshank Redemption, Po’Chop’s Black As Eye Wanna Be, Hannah Ii Epstein’s Punk Punk, Pippi’s Lost Stockings: a Burlesque Satire, Michael Wise’s Alice, and Vic Mensa’s 2016 Lollapalooza homecoming concert. Favorite burlesque collaborations include Siren Jinx, Po’Chop, and Mia Divine. Rose is a recovering stage manager with a decade of experience. Freeman has been a teaching artist with the Chicago Vocal Arts Consortium, Columbia College Chicago, and University of the Arts. Zie has recently served as an Associate Director for Amanda Consol, Kimille Howard, Sherri Eden Barber, Sam Pinkleton and Brandon McShaffrey. Zie is an Ensemble Member of Third Eye Theatre Ensemble, Nothing Without a Company, and Member Emeritus for the DirectorsLabChicago Steering Committee. Zie has spoken as a guest artist int he 2021 National Opera Association, on the emerging artists panel during the 2011 Chicago Theatre Symposium, participated in the 2012 DirectorsLabChicago, and 2017 La MaMa Umbria Intl. Symposium for Directors. Zie is a recipient of the National Opera Association's 2020 JoElyn Wakefield-Wright Stage Director Fellowship. Rose Freeman is a Directing Fellow for Wolf Trap Opera's 2020 and 2021 season.
Alexandra Enyart
(Conductor)
Alexandra Enyart is "a podium talent to watch" (Chicago Classical Review) having performed with Opera Columbus, Australian Contemporary Opera Company, Opera Orlando, and many others around the country and globe. She has served as a Chicago Sinfonietta Fellow and currently works as a "Turn the Spotlight" fellow with Chicago Opera Theatre music director, Lidiya Yankovskaya. In 2017 Alexandra won the CODA conducting competition and in 2018 she won CCM's Mozart Overture Conducting Competition. Alexandra served as a panelist at the Opera America conference in 2021 and serves currently on the Artistic Advisory Council for American Opera Projects. Alexandra is thrilled to be returning to Third Eye Theatre having performed in previous productions of "Patience and Sarah", "Stitch", and "Witness".
(Conductor)
Alexandra Enyart is "a podium talent to watch" (Chicago Classical Review) having performed with Opera Columbus, Australian Contemporary Opera Company, Opera Orlando, and many others around the country and globe. She has served as a Chicago Sinfonietta Fellow and currently works as a "Turn the Spotlight" fellow with Chicago Opera Theatre music director, Lidiya Yankovskaya. In 2017 Alexandra won the CODA conducting competition and in 2018 she won CCM's Mozart Overture Conducting Competition. Alexandra served as a panelist at the Opera America conference in 2021 and serves currently on the Artistic Advisory Council for American Opera Projects. Alexandra is thrilled to be returning to Third Eye Theatre having performed in previous productions of "Patience and Sarah", "Stitch", and "Witness".
Shelby Krarup
(Stage Manager)
Shelby Krarup has worked extensively as a stage manager for everything from corporate events to regional opera, including an annual Broadway-based music festival in NYC. She is a company member of Third Eye Theatre Ensemble. She splits her time managing with costuming, hair, and special effects make-up endeavors both for theatre and personal enjoyment. Away from the theatre, her time is spent crafting, knitting and occasionally using her dual focus degree in voice and violin performance.
(Stage Manager)
Shelby Krarup has worked extensively as a stage manager for everything from corporate events to regional opera, including an annual Broadway-based music festival in NYC. She is a company member of Third Eye Theatre Ensemble. She splits her time managing with costuming, hair, and special effects make-up endeavors both for theatre and personal enjoyment. Away from the theatre, her time is spent crafting, knitting and occasionally using her dual focus degree in voice and violin performance.
Emma Lipson
(Assistant Stage Manager)
(Assistant Stage Manager)
Delena Bradley
(Costume and Scenic Designer)
Delena is a costume and scenic designer currently based out of Chicago, IL. She recently received her M.F.A. from The University of Texas at Austin in 2020. Recent credits include costume design for Much Ado About Nothing at Asolo Repertory Theatre (Sarasota, FL), costume design for; Alcina, Lucio Silla, and Albert Herring at Chicago Summer Opera, and production/costume design for Addict Named Hal, a feature film by Lane Stanley (Austin, TX). Delena received her bachelor’s degree in Theatre Technology and Design from Ball State University in 2012.
(Costume and Scenic Designer)
Delena is a costume and scenic designer currently based out of Chicago, IL. She recently received her M.F.A. from The University of Texas at Austin in 2020. Recent credits include costume design for Much Ado About Nothing at Asolo Repertory Theatre (Sarasota, FL), costume design for; Alcina, Lucio Silla, and Albert Herring at Chicago Summer Opera, and production/costume design for Addict Named Hal, a feature film by Lane Stanley (Austin, TX). Delena received her bachelor’s degree in Theatre Technology and Design from Ball State University in 2012.
David Goodman-Edberg
(Lighting Designer)
David Goodman-Edberg (he/him) (Lighting Designer) is delighted to be working with Third Eye Ensemble for the first time. Working in the worlds of dance, theatrical, and architectural lighting design, some recent(ish) designs in no particular order include Legacy: Phoenix^5 (Joel Hall Dancers); The Pillowman (The Gift Theater); ARC (Eisenhower Dance Detroit); Centered (Water Street Dance Milwaukee); The Silence in Harrow House (Rough House); American Catracho (Cerqua Rivera Dance Theater); His Shadow (16th Street Theater—search #TalesfromHisShadowat16thStreet); We are Pussy Riot… (Red Tape Theater); The Memo (Organic Theater); The Stranger and the Shadow (Adventure Stage); Tabletop Tragedies (Cabinet of Curiosity); TAKE (Visceral Dance); and work as an assistant designer on theme park rides and shows at various Universal Studios theme parks (Beijing, Japan, Hollywood, Orlando) and Disney Shanghai. dglxdesign.com. | Black lives matter. | From the river to the sea, Palestine will be free.
(Lighting Designer)
David Goodman-Edberg (he/him) (Lighting Designer) is delighted to be working with Third Eye Ensemble for the first time. Working in the worlds of dance, theatrical, and architectural lighting design, some recent(ish) designs in no particular order include Legacy: Phoenix^5 (Joel Hall Dancers); The Pillowman (The Gift Theater); ARC (Eisenhower Dance Detroit); Centered (Water Street Dance Milwaukee); The Silence in Harrow House (Rough House); American Catracho (Cerqua Rivera Dance Theater); His Shadow (16th Street Theater—search #TalesfromHisShadowat16thStreet); We are Pussy Riot… (Red Tape Theater); The Memo (Organic Theater); The Stranger and the Shadow (Adventure Stage); Tabletop Tragedies (Cabinet of Curiosity); TAKE (Visceral Dance); and work as an assistant designer on theme park rides and shows at various Universal Studios theme parks (Beijing, Japan, Hollywood, Orlando) and Disney Shanghai. dglxdesign.com. | Black lives matter. | From the river to the sea, Palestine will be free.
Emily Hartig
(Props Designer)
(Props Designer)
Kelsey Boltz
(Orchestra - Cello)
Kelsey Boltz is a cellist from Shillington, Pennsylvania. She has been playing cello for over 20 years, receiving her Bachelor's degree at Mansfield University of Pennsylvania then going on to earn a Master’s degree in Cello Performance at Northern Illinois University. Since graduating she's played in multiple orchestras and theatres, throughout Chicagoland and the surrounding areas and teaches with several music studios.
(Orchestra - Cello)
Kelsey Boltz is a cellist from Shillington, Pennsylvania. She has been playing cello for over 20 years, receiving her Bachelor's degree at Mansfield University of Pennsylvania then going on to earn a Master’s degree in Cello Performance at Northern Illinois University. Since graduating she's played in multiple orchestras and theatres, throughout Chicagoland and the surrounding areas and teaches with several music studios.
Eugene Smith
(Orchestra - Viola)
(Orchestra - Viola)
Celeste Park
(Orchestra - Violin)
(Orchestra - Violin)
Hillary Bayley
(Orchestra - Violin)
(Orchestra - Violin)