Sue Rees has exhibited her installations, animations and video works worldwide, and has worked collaboratively with choreographers, directors, and musicians in the United States, Europe, and India. In particular theater productions in New York City of 13P, NAATCO, The Flea Theatre, Dixon Place, HEAR (Border Towns with Nick Brooke), Talking Band and Clubbed Thumb, and regionally at the Hudson Valley Shakespeare Festival, Cold Spring, NY, and kinDeRdEuTsCh, San Francisco. She has been documenting the Kattaikkuttu Theatre, Kanchipuram, India since 2001, touring with them with Kattaikkuttu-Karnatic. In 1989 she received a “BESSIE” for her Creach/Company scenic design, nominated for Hewes Design Award for Jabu by Elizabeth Swados in 2005, worked with musicians Jonathan Bepler on interactive installations, Michael Wimberly a music video, Allen Shawn animations. She has received grants and commissions from a number of sources, including a Senior Fulbright Research Grant in 2001-2002, and 2016-2018, an Irish Museum of Modern Art residency; Yaddo residencies; Orchard Project residency with The Talking Band, Eugenio Barba’s Odin Teatret Denmark with kInDeRdEuTsCh projects, and others.

Member of USA-829

She teaches Animation, Projection Design at Bennington College.

Devin Greenwood is an American audio/visual artist and composer of contemporary classical music based in New York City. His music centers around a compositional practice called antenati—a name which means “the ancestors” in Italian and refers to the emergence of musical structures from a canon of tension-resolution patterns performed by the composer. His visual work often focuses on obsolete tech such as oscilloscopes, video synthesizers and 1980s game consoles, and together with his music, challenges audiences’ bodily engagement with their perceptions of sound and light. He is the co-founder of the DUMBO recording studio The Honey Jar and has worked with artists such as Sufjan Stevens, Steve Reich, Priit Parn and Pauline Oliveros creating audio recordings, works on film, public installations and performances worldwide. In 2019, Devin was profiled on the cover of Tape Op Magazine (issue #133) for his mixing and production work on David Lang's Symphony for Broken Instruments and his work has most recently been presented at BlackHole (Los Angeles) and Video Art Festival Turku (Turku, Finland).

Lighting designs include: Broadway: August Wilson’s Joe Turner’s Come and Gone (original production); Off-Broadway: Theresa Rebeck’s Downstairs (Primary Stages/Cherry Lane), Cross that River (59E59), Border Towns (Here Arts Center), and Sounding Beckett. Regional: 28 productions at Dorset Theater Festival (also producing director 2010-2015); 36 productions at The Studio Theatre in Washington; 32 productions at Shakespeare Theatre of NJ; multiple productions at Trinity Rep, Capital Rep, Weston Playhouse, Portland Stage, Shakespeare and Company. He’s also designed for Barrington Stage, Arkansas Rep, Chautauqua, Mosaic, Virginia Stage, Indiana Rep, George Street, Arena Stage, Old Globe, Seattle Rep, Huntington, Yale Rep, Olney, and others. He’s been teaching at Bennington College since 1992 and has been a guest teacher in China, New Zealand, and Romania.

Richard MacPike (Costume Designer) is the Costume Shop Manager and Technical Instructor of Costume Production at Bennington College where he designed The Chechens, Dancing at Lughnasa, and Great Expectations. Recently he has designed several shows for Hubbard Hall in Cabridge NY including Fun Home, Stupid F#@*ing Bird, A Walk in the Woods, and The Book Club Play. From 2001-2011 he managed the costume shop at Cornell University where he designed, Antigone, Biloxi Blues, God’s Ear, Good, Good Person of Szechwan, Little Women, Metamorphoses, The Pillowman, Waiting for Godot, and numerous Dance pieces during his tenure there. Prior to 2001 he was a project manager at Parson-Meares, Ltd. in NYC producing costumes for Broadway, Feld Entertainment, and Walt Disney World. Regional production credits: Huntington Theatre Co., Alliance Theatre, Santa Fe Opera, and Glimmerglass Opera. MFA: Boston University.

Kerry Ryer-Parke is a singer and teacher of many musical styles, from oratorio, opera, early music and new work to folk, jazz and rock. Trained in classical technique and certified in LoVetri SomaticVoicework and the McClosky method for non-classical, Ryer-Parke helps all levels of students discover increased joy and ease in vocal performance. She has been the Director of the Bennington Children’s Chorus since 1994 and the Bennington Voice Workshop since 2002. She joined the Music Faculty at Bennington College in 2013 and was an Artist Associate in Voice at Williams College from 2000-2022. As soprano soloist she has appeared with many orchestras and choirs in the Vermont/New York/Massachusetts area. She is the lead singer and bass player of the rock band The Prescription. She is currently in training to be a certified Alexander Technique teacher at the Balance Arts Center in New York. Previously, she has music directed Nick Brooke’s Psychic Driving and Decameron.

Theo Armstrong (he/they) is a movement artist, arts administrator, and writer based in Brooklyn. He has contributed stage management, production, marketing, and admin support to zavé martohardjono, Sarah Chien, Adrienne Westwood, Marion Spencer, NDA/Performance Mix, and Pepper Fajans/Brooklyn Studios for Dance. He currently dances with/for micca and Rebecca Pappas and have co-created in various capacities with Portia Wells, Heather Dutton, Narcissister, Thea Little, ChristinaNoel and the Creature, BodyCartography Project, Milka Djordevich, and Andrea Haenggi/the Environmental Performance Agency. His written work has appeared in Isele Magazine, Brooklyn Rail, and Culturebot, among other places. He received a BA in English Literature and a BFA in Dance Performance from the University of Iowa