Patricia Delorey is a Certified Associate Fitzmaurice Voicework Teacher with an M.F.A. in Voice and Speech from the Moscow Art Theatre/American Repertory Theatre Institute for Advanced Theatre Training at Harvard University. She has taught voice at the Moscow Art Theatre School in Russia, the University of Bologna in Italy, Texas State University, and was an instructor of Voice and Teaching Skills at Harvard's Bok Center for Teaching and Learning. Recently, Patricia published in VASTA’s Voice and Speech Review, with co-author Dr. Debra Charlton: “Negotiating the Corpus Callosum: A Whole-Brain Approach to Teaching Shakespeare”. Patricia has worked extensively as a voice and dialect coach including Bonnie & Clyde directed by Jeff Calhoun, 12 Angry Men directed by Frank Galati, Phaedra 4.48 directed by Robert Woodruff, Studio Six’s production of Plasticine directed by Dmitry Troyanovsky at the Baryshnikov Center, Saturday Night Fever for Royal Caribbean International Cruises, and the world premieres of Steven Drukman’s The Innocents, and Adam Rapp’s Nocturne directed by Marcus Stern.
Has performed on and Off-Broadway, in London’s West End, and at dozens of regional theatres across the country, but is best known for his 25-year association as actor, director and teacher with Shakespeare & Company in Lenox, Massachusetts. His roles with that company have included everything from kings to clowns – Lear, Macbeth, Richard III, Feste, Touchstone, Dogberry, Puck, Benedick, Bottom and scores of others. He was text and sonnet teacher in more than 30 of the company’s month-long workshops for professional actors. Directing credits there include Henry V, Coriolanus, Women of Will, The Hollow Crown, The Pretext and The Verdict among others. He has served as visiting professor in Theatre at MIT and in Rhetoric at Boston University School of Law and has led master classes in Shakespeare performance at such companies as Berkshire Theater Festival, Orlando Shakespeare Festival, The Intiman, Seattle Shakespeare Theatre, Boston Theaterworks as well as at colleges and universities including Harvard , Cornell, Amherst, Dartmouth, Smith, Western Michigan and Wake Forest. His other performance credits include: Broadway/National Tour: (A Meeting by the River, Man of la Mancha, Dirty Dancing) American Repertory Theatre (Merchant of Venice, Paradise Lost, Phaedra, Picasso at the Lapin Agile), Berkshire Theatre Festival (Amadeus, Cuckoo’s Nest, Caretaker, Via Dolorosa, Rat in the Skull), The Shakespeare Theatre (Taming of the Shrew), Intiman (Cymbeline), Theatre for a New Audience (Merchant of Venice), Orlando Shakespeare Theater (King Lear, Titus Andronicus), The Young Vic (Faust), He is a two-time recipient of Boston’s Elliot Norton award. He holds an AB from Harvard University, where he studied Elizabethan and Jacobean drama under Gwynn Blakemore Evans, William Alfred, and Harry Levin.
As Associate Director at Asolo Repertory Theatre, he has directed his own translation/adaptation of Pierre Hennekin and Maurice Veber’s Anything to Declare? as well as God of Carnage, Boeing, Boeing, Hearts, The Imaginary Invalid, The Play’s The Thing and the world premiere of Jason Wells’ Men of Tortuga. For the FSU/Asolo Conservatory he has directed Cloud 9, Pericles, Blue Window, Murder by Poe, The Mystery Plays and Two Gentlemen of Verona. He is the Curator of Asolo Rep’s UNPLUGGED new play series. He was the Director of Artistic Programming for Long Wharf Theatre in New Haven, CT (1996-2001) and Acting Artistic Director (2001-2002). There he directed Arms and the Man, and the world premieres of Going Native by Steven Drukman, Abstract Expression by Theresa Rebeck, The Third Army by Joe Sutton, Syncopation by Alan Knee (also for George Street Theatre and Florida Stage Company), and An Infinite Ache by David Schulner (also for Stamford Theatre Center, Cincinnati Playhouse in the Park and Merrimack Repertory Theatre). While Artistic Director of Portland Stage Company (1992-1996), he directed, among many other plays, the world premieres of Losing Father’s Body and Church of the Sole Survivor (both W. Alton Jones New Play Award winners), and the world premiere of Jeffrey Hatcher’s The Turn of the Screw. He was the Producing Director of Hartford Stage Company for the 1996-97 season, and was Associate Artistic Director for the same theatre from 1984 to1992. Others credits include Contemporary American Theatre Festival, Banyan Theatre Company, Shakespeare Sedona, Southwest Shakespeare, Stage West, Philadelphia Drama Guild and American Stage Festival. Mr. Leaming has devoted much time developing new plays with organizations including New Dramatists, New York Theatre Workshop, New York Stage and Film, Eugene O'neill Theater Center, Cape Cod Theatre Project, The Gathering at Bigfork and Theatre of the First Amendment. He served as a panelist/observer for the Maine Arts Commission, Massachusetts Council for the Arts, Connecticut Arts Commission and the National Endowment for the Arts.
Andrei Malaev-Babel holds an M.F.A. from the renowned Vakhtangov Theater Institute in Moscow, Russia. He trained and worked under Alexandra Remizova, the actress-director and co-founder of the Vakhtangov Theater, Stanislavsky's student and Vakhtangov's protege. In 1985 Mr. Malaev-Babel co-founded the Moscow Chamber Forms Theater, one of the first private professional theater companies in Russia. He taught on the faculty of The Catholic University of America in Washington, DC, and he currently serves on the board and as a member of the international faculty for MICHA, Michael Chekhov Association in New York City. Since 1997, Mr. Malaev-Babel served as the Producing Artistic Director for the Stanislavsky Theater Studio (STS), an award winning, internationally acclaimed company and conservatory in Washington, DC. For STS, he co-adapted, directed and/or played leading roles in productions based on such works as Goethe's Faust, Cervantes' Don Quixote, Chekhov's The Seagull, Neil Simon's The Good Doctor, Brian Friel's Fathers and Sons, Moliere's Le Malade Imaginaire, Gogol's Dead Souls and Dostoyevsky's Crime and Punishment and The Brothers Karamazov. In 2000 he was nominated for a Helen Hayes Award as an Outstanding Director for the STS production of Dostoyevsky's The Idiot. Mr. Malaev-Babel's reputation as one of the leading experts on the Stanislavsky/Vakhtangov/Chekhov theater techniques brought him special engagements and commissions from such prestigious national institutions as The Kennan Institute of The Woodrow Wilson International Center for Scholars, the Smithsonian Institution and The World Bank. He is in demand nationally and internationally, conducting workshops, presenting and performing for conferences, festivals and theater programs. Mr. Malaev-Babel's one-man show Babel: How it was Done in Odessa was named among ten best productions in Baltimore in 2004. His Guide to the Psychological Gesture Technique was published in the 2003 Routledge edition of Michael Chekhov's seminal book, To the Actor. Mr. Malaev-Babel is a member of the Society of Stage Directors and Choreographers.
Mr. Wheatley is an English writer who was brought up in and around London. He took his first degree and M.A. from Cambridge University and began his professional career making documentaries for the BBC. There followed a two-year spell writing for series and serials at the BBC (EastEnders) and some short plays for BBC Education before he began writing for the theatre. From 1990 to 1997, he was the principal writer/adaptor for Complicité and their Literary Manager. He has divided his time between playwriting and screenwriting ever since. He is also a teacher and has taught for many universities in both the UK and the US. He is currently working on a drama for BBC Films and a new play for the theatre.