Saturday, August 17 at 7:30pm and Sunday, August 18 at 3pm

65 minutes, with no intermission.

CONTENT WARNING: This production is recommended for ages 16 and up. It contains mature themes.

“This music is at least the equal of Puccini.”

– Classical Voice North America

“Just about everything you want opera to be.”

– The New York Observer

A tiny elf, who lives within a rose in a large garden, witnesses a violent murder. Forever changed—moved, bewildered, affected—the elf strives to give comfort and closure to the victim’s beloved. The incredibly rich world of Hans Christian Andersen’s fantastical tale is brought to vivid life by the music of David Hertzberg, hailed as “an absolute phenomenon. Such lush, decadent musical passages and ecstatic vocal lines I’ve rarely heard from a young composer. Hertzberg gave us splendid moments when I was sure I was hearing something straight out of the late Romantic period.” – Parterre

The Elf: Lisa Marie Rogali
The Girl/Luna: Madeline Ross
The Beloved/Horus: Brendan Tuohy
The Brother: Zachary Lenox

Conductor: Deanna Tham
Director: Jerry Mouawad
Dramaturge: Drew Pisarra
Set Co-Designers: Jerry Mouawad, Alex Meyer, Sumi Wu
Costume Designer: Sumi Wu
Lighting Designer: Solomon Weisbard

From the Composer, David Hertzberg

My love for opera begins with its incandescent power to illuminate the language of myth, and that language’s uncanny euphony with the shapes and shadows of musical form.

Andersen’s beautiful, antic fantasy is itself a composite expression, drawn in part from a Decameron story in which the nightmarish imagery of putrefaction and plague, the scrim against which those tales unfold, begins to seep into the sinew of its narrative and language. The Rose Elf silhouettes this medieval vivisection of grief and violence, of isolation and decay, against a garden of sprawling abundance, wherein a strange, sensuous being, at once near and distant, witnesses human tragedy unravel with fear and fascination, and is changed by it.

In a time when many of us are living sub rosa, watching unfathomable devastation unfold from a distance, in which the pain of loss and separation can be difficult to bear, it is my hope that this love-woven work of collective imagination can speak to the transformative power of nature and perhaps, in turn, offer a glimmer of hope.

From the Stage Director, Jerry Mouawad

Inspired by Hans Christian Andersen, David Hertzberg’s The Rose Elf offers a wild look at love from two vastly different vantage points: The first is the world of the elf, a surreal setting where fairy-like creatures make mini-homes inside flowers; the second is the emotionally fraught landscape of a trio of star-crossed humans. Hertzberg’s update of the original tale contrasts nature’s intoxicating sensuousness with humanity’s irrational passions. Lust, jealousy, fury, grief, longing, and confusion eventually rock both realms as the subterranean motives driving human actions push the elf from observer to player. In my direction, I hope you find an innovative view of the work and an experience of both botanical beauty and tumultuous emotions, with the intent of a riotous rendition of a dark and wonderful Hans Christian Andersen fairy tale.

From the Conductor, Deanna Tham

Great stories and literature are timeless. They reveal wisdoms that transcend time and offer artistry of craft and language that lend themselves to reinterpretation. Bringing light to the relevance of those messages is a feat that artists will continue to tackle, striving to impress the gravity of these tales in their own times.

In this endeavor, it cannot be understated how much music can help bridge the old and new-world qualities inherent in this task. The soundscape that is created around a story kneads a potentially modern setting into our bones—the vibrations of sound sealing a time and place into our bodies. This is the message that is ever-evident in David Hertzberg’s setting of The Rose Elf. One cannot help but hear the oaken undertones of a classic tale twisted into our modern ears.

What a delightfully eerie work Hertzberg has created. The magic in this score is the creation of wonder amidst such a dark story. The juxtaposition of the innocence of the elf against the spooky tale of betrayal and murder is so carefully crafted in Hertzberg’s dismantling and stripping down of the true psychological effects of orchestrational texture and harmony. It has been such a joy for me to explore how he manages to create dissonance even against an unconventional harmonic backdrop. He invites us to find stability in discomfort and then travels in and out of it…characters and instruments weave in and out of agreement with the darkness of the story. For those who want to explore the beauty, magic, and epiphany in discomfort, this is one for you.

Composer and Librettist

David Hertzberg

David Hertzberg

Composer & Librettist

Described as “utterly original” by The New York Times and named a 2023 Musician to Watch by the Washington Post, David Hertzberg is a composer from Los Angeles.

In the spring of 2020, the debut recording of his opera The Wake World, which premiered at Opera Philadelphia in 2017 and won the Music Critics Association of North America’s Best New Opera Award, was released on Tzadik. Lauded as “a rapturous nirvana” by the Financial Times and “astonishingly imaginative” by the BBC, the recording was included among The New York Times Best Classical Albums of 2020. This was followed shortly by the release of his chamber opera The Rose Elf, which premiered in the catacombs of Green-Wood Cemetery in 2018 and was dubbed WQXR’s Opera Event of the Year. Opera News listed the album as one of the Year’s Best Recordings, calling it “a kaleidoscopic, narcotic vision” that The New Yorker wrote “blooms with warmth and depth”. That same year David was awarded the Andrew Imbrie Award from The American Academy of Arts and Letters and named a Guggenheim Fellow.

David is currently working on his next opera, Grand Hotel, a site-specific operatic fugue in four acts for the Los Angeles-based company The Industry, as well as a one-act symphonic monodrama entitled HQ, to premiere in 2024.

Highlights of recent seasons have included the premiere of his Chamber Symphony with the American Composers Orchestra at Carnegie Hall, the cantata Sunday Morning with New York City Opera at Lincoln Center, the orchestral works for none shall gaze upon the Father and live and Spectre of the Spheres with the Pittsburgh and Kansas City Symphonies, four premieres of chamber works on the Concert Artists Guild series at Carnegie Hall, his orchestral cantata Nympharum and large ensemble work femminina, oscura at Alice Tully Hall, as well as performances at Tanglewood and the Kennedy Center.

David has held residencies at Opera Philadelphia, Dumbarton Oaks, Young Concert Artists, Copland House, Yaddo, and MacDowell, and received distinctions from Juilliard, Harvard, Tanglewood, BMI, ASCAP, and the International Opera Awards, which shortlisted him for Newcomer of the Year in 2018. He studied at Juilliard and Curtis.

Hans Christian Andersen

Hans Christian Andersen

Original story

Hans Christian Andersen (1805-1875) was a Danish author. Although a prolific writer of plays, travelogues, novels, and poems, he is best remembered for his literary fairy tales.

Andersen’s fairy tales, consisting of 156 stories across nine volumes, have been translated into more than 125 languages. They have become embedded in Western collective consciousness, accessible to children as well as presenting lessons of virtue and resilience in the face of adversity for mature readers. His most famous fairy tales include “The Emperor’s New Clothes”, “The Little Mermaid”, “The Nightingale”, “The Steadfast Tin Soldier”, “The Red Shoes”, “The Princess and the Pea”, “The Snow Queen”, “The Ugly Duckling”, “The Little Match Girl”, and “Thumbelina”. His stories have inspired ballets, plays, operas, and animated and live-action films.


Lisa Marie Rogali

Lisa Marie Rogali

The Elf

Award-winning American mezzo-soprano Lisa Marie Rogali has been praised for her “nuanced voice” and “spontaneity” on the stage. Opera News described her début performance with Minnesota Opera as “…a tour de force of diction, precision and pizzazz.” Ms. Rogali is quickly establishing herself as a versatile performer of opera and musical theatre as well as contemporary and concert music.

This season, Ms. Rogali joins Detroit Opera’s Resident Artist Program, singing the roles of Kate Pinkerton in Madama Butterfly, Lapak in The Cunning Little Vixen, and covering Dodo in Breaking the Waves. She will also make her role début as Rosina in Il barbiere di Siviglia with North Carolina Opera.

Last season, Ms. Rogali débuted the roles of Princess/Lucy/Fancy Doll #1 in the world premiere of Edward Tulane with Minnesota Opera. She also performed her first Hansel in Opera Birmingham’s production of Hansel and Gretel this spring. On the concert stage, she was featured as the alto soloist in Handel’s Messiah with the Naples Philharmonic, as well as Mozart’s Requiem with The Masterwork Chorus. Additionally, she performed Mahler’s Lieder eines fahrenden Gesellen with Williamsport Symphony Orchestra as part of their “Love & Romance” concert. Additionally, she returned to The Glimmerglass Festival to sing Stéphano in Roméo et Juliette and Paquette in Candide.

Ms. Rogali has been featured in roles on the stages of companies including Minnesota Opera, The Glimmerglass Festival, Opera Theatre of Saint Louis, Opera Birmingham, and Opera Saratoga. New to mezzo-soprano repertoire, she has already garnered attention for her success in the zwischenfach world. Some of her most notable operatic roles to date include: Mercédès in Carmen, Tina in Flight, Lisette in La rondine, Lauretta in Gianni Schicchi, Musetta in La bohème, Elle in La voix humaine, and Blanche de la Force in Dialogues des Carmélites. Ms. Rogali’s versatility extends to the musical theatre realm as well, where she has performed and covered leading roles such as Eliza Doolittle in My Fair Lady, Louise in Gypsy, and Maria in The Sound of Music.

On the competition circuit, Ms. Rogali has earned top accolades from a variety of prominent organizations. Recently, she was awarded Third Place in the Metropolitan Opera Laffont Competition (Eastern Region), Second Place in the Orpheus Vocal Competition, First Place in the Dorothy Lincoln Smith Classical Voice Competition, Fourth Place in the Giulio Gari International Vocal Competition, and Second Place in the American Traditions Vocal Competition. She has also won awards from the Lotte Lenya Competition, Jensen Foundation, Career Bridges, and Opera at Florham Competition, among others.

Ms. Rogali received her M.M. in Vocal Performance from The University of Cincinnati College-Conservatory of Music and her B.M.E. in Music Education from The Pennsylvania State University.

Madeline Ross

Madeline Ross

The Girl/Luna

“Tiny powerful soprano”, Madeline Ross recently made her Portland Opera debut as the First Woodspite in Dvorak’s Rusalka and role debuts of Tamiri in Il Re Pastore by Mozart and Lucinda in Dark Sisters by Nico Muhly with OrpheusPDX. In 2024 she won the Anne Marie Gertz Prize at the National Artist Awards competition, and premiered Qaqnus (Phoenix) by Sahba Aminikia with Music of Remembrance in Seattle, WA. She made her Carnegie Hall debut in 2019 as a jazz soloist where she “scatt[ed] to beat the band” (NY Concert Review). Ms. Ross has performed with Portland Opera, The Oregon Symphony, Fear No Music, Resonance Ensemble, 45th Parallel, Opera Theater Oregon, Shaking the Tree Theatre, and Music of Remembrance, and was hailed for “effortlessly nailing” her performance as Queen of the Night in Mozart’s Die Zauberflöte (Oregon ArtsWatch). She won first prize at the National Association of Teachers of Singing Classical Voice Competition in 2020 and was honored to take part in a performance at the Kennedy Center in Washington D.C. premiering An African American Requiem with Resonance Ensemble and NEWorks Philharmonic Orchestra. Ms. Ross is a founder and Executive Director of Renegade Opera, Portland’s unconventional and accessible opera company! Upcoming performances with Renegade Opera include Orlofsky’s Party, a new adaptation of Johann Strauss II’s Die Fledermaus. |

Brendan Tuohy

Brendan Tuohy

The Beloved/Horus

American tenor Brendan Tuohy has been praised by The Cincinnati Post for his “big, bold tenor edged with silver” and has moved audiences both in the states and overseas. Brendan most recently performed Dan José (a dream role of his) in Tacoma Opera’s nearly sold out performances of Carmen.

2022/2023 was filled with new opera repertoire that Brendan was excited to get his hands on. He sang Danilo in Vashon Opera’s The Merry Widow, Italian Tenor in Pacific Northwest Opera’s Der Rosenkavalier, Ernesto in Inland Northwest Opera’s Don Pasquale, and the Mayor in Portland Opera’s world premier Beatrice.

2019/20 season has started, and Brendan is getting to sing several of his favorite pieces including Nemorino in L’elisir d’amore, Rodolpho in La Bohème and tenor soloist in several Messiahs. He is also getting great opportunities to expand his repertoire this season by performing the Tenor soloist in David Lang’s The Little Match Girl Passion with Eugene Opera and singing the role of the Rent-a-Cop in Evan Mack’s hilarious world premiere opera, Yeltsin in Texas.

Tuohy’s 2018/19 season was an exciting year with many new experiences and the chance to sing a couple dream roles. He began the year going to Chicago to sing the Tenor Soloist in Haydn’s Theresienmesse with the Grant Park Music Festival. He then flew to China to sing several concerts with the ISING Music festival. When he returned to Seattle, Tuohy sang several roles in the Pacific Northwest including Male Chorus in The Rape of Lucretia, Mitch in Previn’s Streetcar Named Desire, and the Tenor Soloist in Benjamin Britten’s War Requiem.

From 2013/2017 Brendan split his time between singing in the United States and Europe. In the States he performed Nemorino in L’elisir d’amore and Riccardo Alberoni in Alessandro Scarlatti’s The triumph of honor with Opera Memphis. Bénédict in Béatrice et Bénédict and Peter Quint in The Turn of the Screw with Eugene Opera. Alfredo in Die Fledermaus and Alfredo in La Traviata with Tacoma Opera. Tamino in Die Zauberflöte, Albert Herring in Albert Herring, Chevalier in Poulenc’s tragic Dialogues des Carmélites, and Martin in The Tenderland with Vashon Opera. Tuohy has also frequently been seen on the concert stage performing with the Oregon Symphony, the Grant Park Music Festival, the Seattle Symphony, Pacific Music Works, and Symphony Tacoma to name a few.

Most recently in Europe, Tuohy made his German opera debut singing Tamino in Mozart’s Die Zauberflöte with the Berlin Opera Academy. In France he performed his role debuts of Tito in Mozart’s La Clemenza di Tito and as the title role in Mozart’s Idomeneo both with Opéra Orchestre National de Montpellier. He also sang several performances as Diomede in Cavalli’s rediscovered opera Elena with the Royal Opera of Versailles, l’Opéra d’Angers-Nantes, Opéra de Lille and l’Opéra de Rennes after premiering it with the festival in Aix-en-Provence.

Brendan is a former member of the Houston Grand Opera Studio program, Santa Fe Opera Apprentice Program, and the Portland Opera Studio program. Brendan completed his academic training at the University of Cincinnati College Conservatory of Music (CCM) with a Masters Degree in Vocal Performance.

Zachary Lenox

Zachary Lenox

The Brother

Viewed as “a broad, resonant baritone that is exquisitely controlled throughout his entire range,” Zachary Lenox has performed leading roles across North America. Notable roles include Silvio in PAGLIACCI, Marcello in LA BOHEME, Marullo in RIGOLETTO, Count Almaviva in LE NOZZE DI FIGARO, Guglielmo and Don Alfonso in COSI FAN TUTTE, Papageno in DIE ZAUBERFLÖTE, Father in HANSEL AND GRETEL, Sid in ALBERT HERRING, Gianni Schicchi and Betto in GIANNI SCHICCHI, and Dick Deadeye in H.M.S. PINAFORE.

Mr. Lenox has appeared with Portland Opera, Eugene Opera, Tacoma Opera, Opera Parallèle, Opera Bend, Pacific Music Works, Cascadia Chamber Opera, Portland Summerfest, Portland Chamber Orchestra, Portland Concert Opera, Eugene Concert Choir, Bravo Northwest, and the Astoria Music Festival.

Concert appearances include Bass Soloist in Handel’s Messiah, Samson, and Judah Maccabeus, Mozart’s Requiem, Verdi Requiem, Faure Requiem, Beethoven’s Symphony No. 9, Haydn’s Lord Nelson Mass, Schubert’s Mass in G, Orff’s Carmina Burana, Bach’s Coffee Cantata, Christmas Cantatas, as well as BWV 56.

Zachary is a past winner of the Pacific Northwest Sings competition as well as the MONC Idaho/ Montana District Auditions. He received his B.M. and M.M. from the Crane School of Music at SUNY Potsdam.

Production Team

Deanna Tham

Deanna Tham


Powerfully compelling, Deanna Tham is known for her captivating and tenacious spirit on and off the podium. She is currently Associate Conductor of the Oregon Symphony and Music Director of the Union Symphony Orchestra.

Previously, Tham was the Assistant Conductor of the Omaha Symphony, following her tenure as Assistant Conductor of the Jacksonville Symphony and Principal Conductor of the Jacksonville Symphony Youth Orchestras. She has performed at the Proms in Royal Albert Hall, Elbphilharmonie Hamburg, and Seiji Ozawa Hall at the Tanglewood Music Center working with Maestros James Ross, Joseph Young, and Sir Antonio Pappano, as well as renowned artists Isobel Leonard and Joyce DiDonato. Highlights of the 2019-2020 season included leading the Jacksonville Symphony’s first educational Martin Luther King Jr. tribute concert and the Union Symphony’s first city-community Pops on the Plaza collaboration of Latin American pop and classical music. Additional recent engagements include Assistant Conductor of the National Youth Orchestra (NYO-USA and NYO2) and Assistant Conductor of the Chicago Sinfonietta with Maestro Mei-Ann Chen. Tham has also regularly guest conducted with the Boise Philharmonic and Ballet Idaho, is a cover conductor for the San Francisco Symphony, and has worked with world-renown soloists in a variety of genres including Melissa White, Capathia Jenkins, and Cherish the Ladies. Her past positions include those with the Boise Philharmonic Youth Orchestra, Louisville Youth Orchestras, and American Chamber Opera.

Tham is also equally at home with a variety of musical genres. These projects include full-feature blockbuster movie scores, collaborations with Cirque Musica, Broadway artists, pop cover groups like Jeans ’n Classics, and independent artists like Silent Film Score connoisseur and composer, Ben Model.

Tham is a staunch advocate of music education from school education engagement and youth orchestral performing opportunities to lifelong learning. In 2018, Tham and the Jacksonville Symphony Youth Orchestras made their debut at Walt Disney Concert Hall in Los Angeles, California. Previously, she has worked with the Louisville Youth Orchestras and the Boise Philharmonic Youth Orchestra. Tham has also created and presented educational concert series in a variety of formats. She has written original school-curriculum-based programs for numerous symphony orchestras and collaborated with organizations including Really Inventive Stuff, the Louisville Ballet Academy, and the International Culinary Arts and Sciences Institute.

Tham is a second-place winner in the Youth Orchestra Conductor division of the American Prize. She was invited as a scholarship participant to the 2015 Conductors Guild Conductor/Composer Training Workshop at the Cabrillo Festival of Contemporary Music working with renowned conductors Marin Alsop and James Ross. Additionally, she was the recipient of the 2015 Wintergreen Summer Music Academy Conductor’s Guild Scholarship where she worked with Master Teacher Victor Yampolsky. In 2013, Tham’s work with the National Music Festival was featured on National Public Radio as well as American Public Media. She has also made appearances at the Cadaques Orchestra International Conducting Competition.

Tham has been the Music Director of the American Chamber Orchestra. Her work with the company includes a groundbreaking semi-staged version of Mendelssohn’s Elijah, and Mozart’s Don Giovanni, staged in English for the South Chicago community. During her time with the company, she worked with many talented musicians, including those who sing with the Lyric Opera of Chicago. She made great strides making the company a strong presence in the Chicago area and has sold recordings of her work with the company on iTunes.

Tham holds a Professional Studies Certificate from the Cleveland Institute of Music in Orchestral Conducting studying with Maestro Carl Topilow. She received her Master of Music in conducting with conducting program honors from Northwestern University studying with Dr. Mallory Thompson. There, she additionally worked with Dr. Robert Harris, Victor Yampolsky, and Dr. Robert Hasty, making her equally at home in wind, orchestral, and vocal settings. Tham received her Bachelor of Fine Arts degree in horn performance studying with Dennis Abelson, Zachary Smith, Bob Lauver, and Steven Kostyniak at Carnegie Mellon University.

Jerry Mouawad

Jerry Mouawad

Director & Set Co-Designer

Jerry studied the teachings of Jacques Lecoq at the Hayes-Marshall School of Theatre Arts. After co-founding Imago Theatre with Carol Triffle, he staged two works by Richard Foreman: Samuel’s Major Problems and Symphony of Rats.

He has adapted magical realism literature for the stage, incorporating multimedia, puppetry and stage illusion in Verdad (in collaboration with Triffle) and Half Light. His modern adaptations of classics include Blood Wedding, The Imaginary Invalid, Exit the King, and Uncle Vanya. His adaptation of Sartre’s No Exit on a moving stage played at the Tony-award-winning American Repertory Theatre and Hartford Stage Company. Among the arts organizations he has staged work for are BodyVox, The Portland Opera and The Oregon Symphony.

Jerry’s staging of Caryl Churchill’s A Number saw its United States premiere at Imago Theatre in 2003. His canon of original silent works entitled “Opera Beyond Words” erupted onto the Imago stage from 2009 to 2011 with Apis, or the Taste of Honey; The Cuban Missile Crisis; Tick Tack Type; Stage Left Lost and Zugzwang, followed shortly by critically-acclaimed stagings of three Harold Pinter plays: The Lover, The Caretaker, and The Homecoming. Additional productions include Yukio Mishima’s The Black Lizard and The Lady Aoi, Pimento & Pullman, Hughie, Savage/Love, and Medea. He co-created and co-directed with Carol Triffle their award-winning touring shows FROGZ, ZooZoo and La Belle, Lost in the World of the Automaton.

Awards include Oregon Arts Commission Fellowship, Portland Theater Guild Fellowship, Best Director by the Independent Reviewers of New England, the New York Dance Film Award, and Portland Theatre awards for acting, light design, choreography, and best original play.

Recent directing projects include The Seafarer and Port Authority (by Conor McPherson) and original works My Bedroom is an Installation and Voiceover (co-writer with Drew Pisarra). Opera direction with The Portland Opera includes The Difficulty of Crossing a Field, The Little Match Girl Passion, In The Penal Colony (designer and director), and with Eugene Opera, Lucy (director).

Alex Meyer

Alex Meyer

Set Co-Designer

Alex is happy to be working with Orpheus PDX. As a scenic designer, she has worked with Third Rail Repertory, Shaking the Tree Theatre, Oregon Children’s Theatre, The Theatre Company, Bag&Baggage Productions, Portland Shakespeare Project, Broadway Rose, Crave Theatre, Salt and Sage Productions, Passinart, Fuse Theatre Ensemble, CoHo Productions, Imago Theatre. Alex is Shaking the Tree Theatre’s resident scenic artist. She is also an oil painter, with work recently shown at Lunaria Gallery and The Remains Gallery. She holds a bachelor’s degree in art and theatre from Augustana University (SD). More at

Sumi Wu

Sumi Wu

Costume Designer & Set Co-Designer

Sumi is a sculptor and designer whose works include large-scale public commissions in metal and glass. She creates properties and costumes for dance and theatre and has designed original and experimental works with Imago Theatre and world premieres with Milagro Theatre. She designs and builds kinetic sculptural sets for dance and opera, including Skinner|Kirk Dance Ensemble and Portland State University’s opera program. She is resident properties designer for Oregon Ballet Theatre and PSU. Sumi is delighted to collaborate with OrpheusPDX.

Solomon Weisbard

Solomon Weisbard

Lighting Designer

Originally from Portland, Solomon has created original works in drama, opera, dance, and music across the U.S., Canada, Dominican Republic, Germany, Greece, Italy, Russia, and Slovenia. Highlights include Otello (Festspielhaus Baden Baden, Germany); Il Trovatore (Teatro Comunale di Bologna and Teatro Regio di Parma, Italy); Oedipus (Ancient Theatre of Epidaurus, Greece; Ancient Theatre of Pompeii, Teatro Olimpico di Vicenza, and Teatro Mercadante di Napoli, Italy) all with Robert Wilson; Macbeth (directed by John Doyle at Classic Stage Company, NYC); The Shape of Things (created by Carrie Mae Weems at the Park Avenue Armory, NYC); Duat (Soho Rep, NYC); and Men on Boats (World Premiere: Playwrights Horizons/Clubbed Thumb, NYC).

Solomon’s work in dance, dance/theatre and avant-garde music includes original full-length pieces with Alethea Adsitt, Jennifer Archibald, Jonah Bokaer, Christine Bonansea, Joshua Beamish/MOVE, Maria Chavez, Ximena Garnica/Leimay, Lane Gifford, Invisible Anatomy, LoudHound Movement, Martha Graham Dance Company, Ofelia Loret de Mola, Patrick Lovejoy, Belinda McGuire, Stefanie Nelson, Patricia Noworol, The Nerve Tank (as resident designer), Jennifer Harrison Newman, Jen Shyu, Waxfactory, and four major works as associate set designer with Bill T. Jones.

Solomon was the associate lighting designer on the Broadway production of Jitney and its national tour, which earned lighting designer Jane Cox a tony nomination. Other associate credits include two seasons at the Festival dei Due Mondi in Spoleto, Italy (with AJ Weissbard); the Holland Festival in Amsterdam (for Tyler Micoleau); and at Minnesota Opera (with Steve TenEyck) among many others.

With students, Solomon served as a guest artist with Bard, Barnard, Connecticut College, City College, Columbia, DeSales, East Stroudsburg, Fordham, NYU/Tisch, The New School, Princeton, University of the Arts, University of Rochester, Quinnipiac, Willamette, and Yale. He is Assistant Professor of Scenic/Lighting Design at Portland State University.

He holds a BFA from Ithaca College and an MFA from the Yale School of Drama, where he was a Stanley R. McCandless Fellow and a George Harrison Senie Scholar.

Sara Beukers

Sara Beukers

Hair & Makeup Designer

Sara has designed wigs and makeup for theatre, opera and dance companies all over the country including Portland Opera, Oregon Ballet Theater, Opera San Jose, Indianapolis Opera , Orlando Opera , New Orleans Opera , Tulsa Opera, Ft. Worth Opera, Chautauqua Opera, The Wildwood Festival, The Western Opera Theatre Tour, TheatreWorks, Marin Theatre Company, The Willows Theatre Company, San Jose Stage Company, Diablo Light Opera Company, and the Aurora Theatre. She has also worked for the San Francisco Opera, San Francisco Ballet, Mark Morris Dance Group, Spoletto Festival USA and on several films and television shows including Metal Lords, Wild, Grimm, Shrill, and Leverage.

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