Assistant Professor/multi disciplinary designer
Andrew is a multi disciplinary designer working on a variety on projects ranging from theater, opera, and live events, to film and commercial spaces. Andrew received his B.A. from Middlebury College with a degree in architecture, and his M.F.A. from Yale School of Drama. He has participated in the Lincoln Center Directors Lab and is a member of the Wingspace Design Collective. From 2011-15, he taught in the Design Department at the Yale School of Drama and during the 2014-15 academic year, he taught at Ithaca College. Andrew has designed the sets and/or costumes for the world premieres of: Jose Rivera’s Another Word For Beauty (Goodman); Sam Hunter’s Clarkston (DTC); Craig Lucas’s Ode to Joy (Rattlestick); Sharr White’s Annapurna (Magic Theatre); Jonathan Tolin’s Buyer & Cellar (Rattlestick); Adam Rapp’s Dreams of Flying, Dreams of Falling (Atlantic Theatre Company); Heidi Shrek’s The Consultant (Long Wharf Theatre); Marcus Gardley’s The Royale (Kirk Douglas); Taylor Mac’s The Lily’s Revenge (Magic Theatre); Mike Lew’s Bike America (The Alliance); Luis Alfaro’s This Golden State (Magic Theatre); Nick Jones’s Verite (LCT3); Ethan Lipton’s Red Handed Otter (Playwrights Realm); Andy Bragen’s This is My Office (Play Company); Ken Urban’s The Correspondent (Rattlestick); among many others. Andrew has NYC credits with: Lincoln Center Theater, Roundabout Theater Company, Atlantic Theater Company, Primary Stages, Rattlestick Theater, The Play Company, Playwrights Realm, Cherry Lane, etc. Regional credits with: Actors Theatre of Louisville, The Alliance, American Players, Asolo Rep, Bay Street, Curtis Opera Theatre, Des Moines Metro Opera, The Geffen, George Street Playhouse, The Goodman, Kirk Douglas, Magic Theater, Marin Theater, Mark Taper Forum, Philadelphia Theater Company, Portland Center Stage, Syracuse Stage, Theatreworks (CA), Westport Playhouse, The Wilma, among others. Frequent collaborators include directors Les Waters, Kip Fagan, David Kennedy, Davis McCallum, Steve Cosson, Tea Alagic, Stephen Brackett, Meredith McDonough, Sarah Rasmussen, Loretta Greco, Daniel Aukin, and Moritz Von Stuelpnagel, among others.
Assistant Professor/lighting design
Marcus Doshi is an international theatre maker who designs lighting and sets for theatre, opera, and dance and who collaborates with artists and architects on a variety of non-performance-based work. His work has been seen on and off-Broadway, at most major regional theatre and opera companies, and extensively around the world. Doshi frequently collaborates with Steppenwolf Theatre Company, having designed the lighting for Mary Page Marlowe, Visiting Edna, Linda Vista (also on Broadway) Pass Over (also for Amazon Films), BLKS, You Got Older, Familiar, and Lindiwe. Elsewhere in Chicago, projects with The Goodman, Chicago Shakespeare, Court Theatre, Hubbard Street Dance, The Cambrians, and Lyric Opera of Chicago. In New York, he has a long-standing collaboration with Theatre for a New Audience, with whom he has designed Othello, Measure for Measure, Macbeth, The Taming of the Shrew, King Lear, The Winter’s Tale, The Skin of Our Teeth (all directed by frequent collaborator Arin Arbus), The Broken Heart, and Hamlet. Other theatre in New York includes work with Second Stage, Lincoln Center, The Public Theatre, The Signature Theatre, BAM, New York Theatre Workshop, The Vineyard Theatre, SoHo Rep. Select regional collaborations include work with Huntington Stage Company, Yale Repertory Theatre, Hartford Stage, Geva Theatre, Ford’s Theatre, Pittsburgh Public Theatre, Indiana Repertory Theatre, Milwaukee Repertory Theatre, Repertory Theatre of St. Louis, Dallas Theatre Center, California Shakespeare Theatre, Center Theatre Group, Berkeley Repertory Theatre, Portland Center Stage, Seattle Repertory Theatre, The Intiman, and Oregon Shakespeare Festival. Doshi’s work for Opera has been seen in the US with Houston Grand Opera, Santa Fe Opera, Minnesota Opera, Seattle Opera, Boston Lyric Opera, Virginia Opera, Spoletto Festival USA, Lincoln Center Festival, Julliard Opera, and The Greenwich Music Festival where he was principal designer for many years, and internationally with companies such as The Royal Opera House (London), Canadian Opera Company (Toronto), La Monnaie / De Munt (Brussels), Aldeburgh Music (UK), Festival d’Aix-en-Provence (France), and Palau de les Arts Reina Sofia (Valencia). His work has been seen elsewhere internationally in Edinburgh, Amsterdam, Luxembourg, Paris (at La Comédie Française), Marseille, Castres, Venice, Vienna, Sarajevo, Mostar, Tuzla, Tunis, Sousse, Cairo, Beirut, Kuwait City, Mumbai, New Delhi, Phnom Penh, Jakarta, and Sydney. Doshi is a graduate of Wabash College and the Yale School of Drama.
Ana Kuzmanić is a professor in the Department of Theatre at Northwestern University. She is Yugoslav-born costume designer for theatre and opera. Ana’s design work was seen in opera houses across the US including multiple premieres at the Metropolitan Opera. She exhibited in People’s Republic of China, Russian Federation, Mexico, as well as many other countries across Asia, Europe and North America. She made her Broadway debut with the Pulitzer and Tony award-winning play August: Osage County by Tracy Letts. Her acclaimed costume design was an amalgamation of American realism, absurdism, and the Gothic. Kuzmanić’s other Broadway credits include Desire Under the Elms with Brian Dennehy, Carla Gugino, and Pablo Schreiber; Superior Donuts with Michael McKean; and The Minutes with Tracy Letts. Off Broadway credits include The Jacksonian with Ed Harris, Amy Madigan, and Bill Pullman. Ana designed numerous world-premieres in collaboration with Tony Award-winning directors Mary Zimmerman, Robert Falls, and Anna D. Shapiro. Internationally her design work was produced in Canada, Australia, UK and Serbia. A native of Former Yugoslavia, Ana earned her undergraduate degree in Costume and Fashion Design from Faculty of Applied Arts (Belgrade, Serbia) and an MFA in Theatre Design from Northwestern University (USA). Ana teaches courses in theatrical figuration, analogue/digital drawing, costume design for performance and creative process.
Linda J. Roethke
Director of MFA Design Program, Professor/costume design
National credits include Man and Superman (Shakespeare Theatre Company, Washington); As You Like It, Julius Caesar, All’s Well That Ends Well (Oregon Shakespeare Festival); The Game’s Afoot (Cleveland Playhouse); My Fair Lady, (Cincinnati Playhouse); My Fair Lady, Proof, Spinning into Butter (The Repertory Theatre of St. Louis); Managing Maxine, Mrs. Warren’s Profession, The Underpants, (Suzi Bass Nomination); The Fourth Wall, My Fair Lady, Shadowlands, Spinning into Butter, A Beast on the Moon, and How I Learned to Drive(Alliance Theatre); Quake, An Allegory of Whiteness, Wonderful World (Actor’s Theatre of Louisville); A Flea in Her Ear, Cymbeline (Utah Shakespearean Festival); A Little Night Music(Connecticut Repertory); The Gin Game, Godspell (Center Stage); Chicago credits include Dead Man’s Cell Phone, Intimate Apparel, and I Never Sang for My Father (Steppenwolf);Orlando, Arcadia, The Romance Cycle (Cymbeline and Pericles); The Dead, Hay Fever, Little Foxes, An Ideal Husband (Joseph Jefferson Award); Old Times, On the Verge (Court Theatre); Stage Kiss, The Clean House, A Schoolgirl’s Figure, A Pirate’s Lullaby (The Goodman Theatre); Hecuba (Chicago Shakespeare Theatre); and The Red Planet (Adler Planetarium) film. Professor Roethke has directed national and international workshops in costume design, drawing, and rendering. She maintains a freelance career as a professional costume designer, a member of U.S.A.A., and as a studio artist. Gallery exhibits of her studio work include the Louise Grayson Gallery, and Curator’s Choice: Around the Coyote. Roethke earned her B.S. from the University of Wisconsin-Platteville, where she was named as Distinctive Alumni. She has an M.F.A. from The University of Iowa and did post-graduate work in fiber art at Penn State University and the School of the Art Institute (Drawing and Painting).
Director of MFA Design Program, Professor/ Scenic Design
Todd Rosenthal is Chicago-based set designer and educator. Broadway credits include: August Osage: County (Tony Award), The Motherfu**er with the Hat (Outer Critic’s Circle and Tony nomination), Who’s Afraid of Virginia Woolf? (Tony for Best Revival), Of Mice and Men (filmed by National Theatre Live), This is Our Youth, Fish in the Dark, Straight White Men, and Linda Vista. Select Off-Broadway: Red Light Winter (Barrow Street), Domesticated (Lincoln Center), Close Up Space (Manhattan Theatre Club), and The Qualms (Playwrights Horizons). He was the set designer for The Big Apple Circus for six years. International credits include: August: Osage County (National Theatre of Great Britain, London, and Sydney Theatre Company, Australia), The Beauty Queen of Leenane (Waterford, Ireland), Madama Butterfly (Irish National Opera, Dublin/Cork), Nice Fish (London’s West End), and Downstate (National Theatre of Great Britain, London). Regional work includes Steppenwolf Theatre Company (Over 30 productions), Goodman Theatre (Artistic Partner), Guthrie Theatre, Mark Taper Forum, Yale Repertory Theatre, American Repertory Theatre, Arena Stage, Oregon Shakespeare Festival, Lyric Opera of Chicago, Alliance Theatre, Berkeley Repertory Theater, La Jolla Playhouse and many others. Todd has collaborated on many world-premiere plays including numerous collaborations with Pulitzer Prize-winning playwrights Tracy Letts and Bruce Norris. He has maintained ongoing collaborations with Tony Award-winning directors Anna D. Shapiro, Mary Zimmerman, Robert Falls, and Pam Mackinnon. Todd started the exhibition design firm XL Scenic with designer Kevin Depinet. Museum exhibitions include Mythbusters: The Explosive Exhibition, The International Exhibition of Sherlock Holmes, and Victoria the T-Rex. He has received many other accolades including the Laurence Olivier Award (first American set designer), the Helen Hayes Award, the LA Stage Alliance Ovation Award, the Backstage Garland Award, Suzi Bass Award, the Joseph Jefferson Award, the Bay Area Theater Critics Circle Award, the 2019 USITT Distinguished Achievement Award and the Michael Merritt Award for Excellence in Design and Collaboration. He has been nominated for four American Theater Wing Henry Hewes Design Awards for best set design. He exhibited at the Prague Quadrennial in 2007 and 2019. Todd is a professor at Northwestern University and a graduate of the Yale School of Drama.
Eric Southern is a lighting designer for theater, opera, and dance. Recent projects include: The Good Swimmer, a pop requiem created by Heidi Rodewald, Donna DiNovelli, and Kevin Newbury (BAM Next Wave); After the Blast, Ghost Light, Bull in a China Shop, and The Harvest (Lincoln Center); Sarah Jones’ Sell/Buy/Date (Manhattan Theater Club, New York Live Arts); Indian Summer and Pocatello (Playwrights Horizons); Kate Hamill’s adaptation of Pride and Prejudice (Primary Stages, HVSF); Buyer and Cellar (Barrow Street Theater, Mark Taper Forum, London and National Tour); The Heidi Chronicles directed by Leigh Silverman (The Guthrie Theater). He is a longtime collaborator with the award-winning theater group 600 HIGHWAYMEN where he has designed The Fever, Employee of the Year, The Record, Empire City, This Great Country, and Everyone is Chanting Your Name. Eric recently collaborated with composer David Lang on the last installment of his year-long residency at Carnegie Hall by providing a lighting score to the John Cage piece “Fontana Mix.” He developed Chromatic, an interdisciplinary performance piece based on the work of Joseph Albers, with Susan Marshall, Jason Treating, and Suzanne Bocanegra which premiered at The Kitchen in the summer of 2016. He previously worked with Marshall and Lang on Play/Pause which was presented at The Kennedy Center and Bam’s Nextr wave Festival. His work in opera includes the world premieres of Paul’s Case by Gregory Spears directed by Kevin Newbury (Urban Arias, Prototype Festival) and The Secret Agent by Michael Dellaira and directed by Sam Helfrich (The Danny Kaye Playhouse, Avignon Opera House, Armel International Opera Festival).Hello He also collaborated with Helfrich on a fully staged production of Handel’s Messiah as well as a semi-staged production of Bach’s St. John Passion both with the Pittsburgh Symphony Orchestra. Internationally, his designs have been seen in London at the Mernier Chocolate Factory, in Paris at the Pompidou Center and at Park de la Villette, in Avignon at the Avignon Opera House, as well as in Seoul, Greece, Australia, The Netherlands, Hannover, Zurich, and Hungary. In the US, his work has been seen at Lincoln Center, Manhattan Theater Club, Atlantic Theater Company, The Guthrie Theater, Dallas Theater Center, Rattlestick Playwrights Theater, Westport Country Playhouse, Hudson Valley Shakespeare Festival, Baltimore Center Stage, Asolo Rep, Virginia Opera, Portland Center Stage, Baltimore Symphony Orchestra, Pittsburgh Symphony Orchestra, Commonwealth Shakespeare Company, The Arden Theater, The Magic Theater, Kansas City Repertory, and the Oregon Shakespeare Festival.