Cast & Crew

Dr. Susan Finque’s home base is in Seattle where she is an actor, director, producer and educator. She was the Founding Co-Artistic Director of Seattle's Alice B. Theatre, the LGBTQ Theatre For All People, Artistic Associate of Seattle’s Group Theatre, and Interim Producing Artistic Director at Dixon Place, the notorious workshop space for NYC’s downtown performing artists. Finque comes to us most recently from Coastal Carolina University, Salve Regina University and Hamilton College, and she has taught all over the Americas. Creating courses including Global History of the Fool, Site-Specific Improvisation, and Historical Perspectives on the Development of Lesbian and Gay character in American Theatre, she is committed to opening boundaries between studio and seminar. Her production of Kiss of the Spiderwoman for Chicago's Bailiwick Theatre swept the musical categories of the Jeff Awards, and she staged Comedy of Errors, 2 Henry IV and the all-male-plus-a-stowaway Taming of the Shrew for Milwaukee Shakespeare. She has played over a dozen cross/gendered characters, and her solo performance on transsexuality, T.S./ Crossing, toured the U.S. and Canada to critical acclaim. Finque was the first guest director of the Pomo Afro Homos and her award- winning production of The Baltimore Waltz was the West Coast premiere of Paula Vogel’s play. She has been a featured panelist and workshop teacher at multiple performance conferences, presenting on processional spectacles in Peru, improvisational techniques, free speech, and ensemble directions. Finque created an individual B.A. in Theatre and Communities at UCSC; she holds the M.F.A. in Directing from the newly-named Geffen School of Drama at Yale University, and her Ph.D. is from the University of Washington. She has acted and directed all over Seattle, and taught at many area colleges. Finque’s research and practices focus on the illumination of Peru’s theatre history, sacred clowns, crossing gender onstage, devising new work with culturally specific ensembles, African American performance history, LGBTQIA issues in performance and spectatorship, and wielding performance techniques as universal survival skills for the 21st century.

John Vreeke is a company member at Woolly Mammoth Theatre in Washington DC and has directed primarily in DC area theaters for the past 20 years. His assignments include Tony Kushner’s Homebody/Kabul and The Intelligent Homosexuals Guide to Socialism and Capitalism with a Key to the Scriptures, Rajiv Joseph’s Describe the Night, Guards at the Taj and Gruesome Playground Injuries, Lisa D Amours Detroit, The Elaborate Entrance of Chad Deity by Kris Diaz (which received nine Helen Hayes nominations), Sam Hunter’s A Bright New Boise, Peter Nachtrieb’s Boom. His direction and adaptation of DH Lawrence’s Lady Chatterley’s Lover, developed in Seattle with Mary Machala, ran for six months in La and had two productions in DC. He has six best director nominations with the Helen Hayes Awards society. In a past life, he was an associate producer on the CBS TV series, Northern Exposure.

Tori Dewar moved to Seattle in 2015, where she started painting sets at local stages including Book-It Repertory Theatre, Centerstage, and 5th Ave Theatre. She has also been teaching Scenic Painting at Bishop Blanchet High, and has directed shows in Tacoma and Federal Way. This is Tori’s first time working with Outrage Onstage, but she has been thrilled to work with such an awe-inspiring group. She would also like to thank James for being so supportive!

Jared McKell is happy to be a part of this production! He is a former competitive ballroom dancer having placed as high as 2nd in the nation. Now he spends his time practicing singing, acting, dancing, guitar, piano, and songwriting. He has performed twice with Centerstage Theatre in the last year as Jackie Sparks in A 1940s Radio Christmas Carol and as ensemble in Dirty Rotten Scoundrels and hopes to be in many more shows!

Brad Cerenzia is producer and performer. He is the executive director of Outrage Onstage, which produces work of resistance, resilience, affirmation and solidarity. Brad's commercial theatre production includes two off-Broadway hit shows, Disenchanted! (2014) and Emojiland (2020), which is currently in rehearsals for its national tour, the two respective original cast albums, and other works of mischief and mayhem in Seattle, NYC, Connecticut and online in virtual reality. When not producing, you'll find Brad onstage in his dream role as Max Bialystock in Lakewood Playhouse's The Producers (2019), 1940's Radio Christmas Carol (2021) at Centerstage, and as The Dame in Centerstage's holiday panto musicals Rapunzel (2018), Robin Hood (2019), Puss in Boots (2021). Brad would like to thank Box Office SUPERSTAR and husband Refugio Martinez for his commitment and support.

Read Theatre Without the Fourth Wall by Roberto Athayde.

Brazilian author, director, and producer Roberto Athayde is best known for his play Miss Margarida’s Way, produced in more than thirty countries. He directed the Broadway production starring Estelle Parsons. His twenty-eight plays include Miss Margarida’s Way (published in multiple languages and editions), Crime e Impunidade e Outras Peças, Carlota Rainha, Dom Miguel Rei de Portugal, and As Peças precoces. His novels include Confissões do Comissário de Bordo Vladimir da Braniff, Brasileiros em Manhattan, O Bicho Carpinteiro, and Jonathan’s Friend. He is also the author of Abracadabrante (essays and poetry), the biography O Bandeirante do Ferro, the poetry collection O Homem da Lagoa Santa, and the screenplay O Sonho de Dom Bosco (with Maria Letícia). His films include Sacred Sands; Mrs. Bynther in Brazil; Bali, Paradise Turned Hell; and Jungle of My Desire. He has directed numerous theatrical productions, including Happy New Year by Flavio Marcio; and productions of his own plays Crime Without Punishment, A Godmother’ s Curse, and The Cordial Man. Author photo: Marco Rodrigues.

A Project of AJ Epstein and his production company, The Ethereal Mutt, West of Lenin is an 72 seat black box theatre and studio space located literally a 5 minute walk west of the Lenin statue in Fremont. Founded in 2011, West of Lenin was created to offer a venue for Seattle's most interesting and adventurous artists, as well as the re-establishment of a permanent, live performance venue in Fremont. Since opening its doors, West of Lenin has housed many talents, both locally and from across the country within all genres of performance and visual art.

Learn more about West of Lenin here.