Patrick Clear (Ensemble) returns to Northlight where he appeared in last season’s The Miser and as Mr. Bennet in Pride and Prejudice.  Most recently he has been seen in First Folio’s Much Ado About Nothing and Remy Bumppo’s Bronte.   Other Chicago credits include: Oedipus Complex, King Lear, The Clean House, The Goat, Arcadia, Hollywood Arms, Dancing at Lughnasa, Miss Evers’ Boys and A Christmas Carol at the Goodman; Measure for Measure, As You Like It, King Lear and All’s Well at Chicago Shakespeare; Tartuffe at Remy Bumppo; Uncle Vanya and Man of No Importance at Apple Tree.   He appeared on Broadway in Hollywood Arms and Noises Off.  His regional credits include Arena Stage, Guthrie Theater, American Shakespeare Theatre, Center Stage, Folger Shakespeare, Huntington Theater and the Cincinnati Playhouse.  Film and television credits include Dark Knight, Prison Break, Losing Isaiah, The Babe, The Untouchables, Early Edition and In the Best Interests of the Children.

Thomas J. Cox (Ensemble) is pleased to return to Northlight, where he appeared in Pride and Prejudice.  A founding ensemble member of Lookingglass, he has appeared in over thirty productions there, including Odyssey, Jungle, West, Arabian Nights, Master and Margarita, Great Fire, They All Fall Down, Summertime, Great Men of Science, 1984, Old Curiosity Shop (Jeff Nomination), Black Diamond, Lookingglass Alice, and most recently as Algren in Nelson Algren: For Keeps and a Single Day.  Other Chicago performing credits: Woman in Black (ITC); Fraulein Else, Raisin (Court); Someone Who’ll Watch Over Me (Victory Gardens); Elephant Man (Steppenwolf Young Audiences); film for Attempters (House).  Directing credits: Lookingglass (original Jeff-nominated adaptation), Eclipse, Piven, Weston Playhouse. Film/Television: Since You’ve Been Gone (Miramax), Chi-Girl (Van Lier Productions), Brotherhood (Showtime).  He is a Master Teacher for Lookingglass, and teaches, through Lookingglass and others, all over Chicagoland, including as adjunct faculty at Northwestern University.

Cindy Gold (Ensemble) Recent work includes Moises Kaufman's 33 Variations with About Face and Tectonic Theatre, Frank Galati and Stephen Flaherty's new musical Loving Repeating (Jeff Award) with About Face/MCA, Northlight's Pride and Prejudice, Next Theatre's The Misanthrope, Victory Gardens' The Glamour House, and Desire Under the Elms co-produced by Court Theatre and Freedom Repertory in Philadelphia, PA.  She has appeared with Madison Rep, Shakespeare Sedona, Alabama Shakespeare Festival, Boston Shakespeare, Peninsula Players, and Mental Floss Improvisation, Miami.  Dialect coaching includes the national tour of Saturday Night Fever; Regina and Robert Altman's A Wedding, both at Lyric Opera of Chicago; and A Skull in Connemara here at Northlight Theatre.  Cindy is an Associate Professor of Theatre and Head of Acting at Northwestern University.  She can be seen in TNT's new pilot, Leverage, this fall.

Jeffrey Hatcher (Playwright) wrote the book for Northlight’s recent production of Ella and co-authored Mitch Albom’s Tuesdays with Morrie (with Mitch Albom) which appeared at Northlight in 2003. He also wrote an adaptation of The Turn of the Screw, which was recently produced at Writers’ Theatre and directed by Jessica Thebus.  He wrote the screenplay for The Duchess, featuring Keira Knightly and Ralph Fiennes, due in theaters this fall. He authored the book for the Broadway musical Never Gonna Dance, and penned the Off-Broadway productions Three Viewings, A Picasso, Scotland Road, The Turn of the Screw, Tuesdays with Morrie, Murder by Poe, Neddy and Fellow Travelers.  His plays – including Compleat Female Stage Beauty, Murderers, Mercy of a Storm, Smash, To Fool the Eye, and Work Song (with Eric Simonson) – have been seen at Yale Rep, The Old Globe, South Coast Rep, Seattle Rep, Denver Center Theatre Company, Actors Theatre of Louisville, and dozens more in the US and abroad.  He wrote the screenplays for Stage Beauty and Casanova, and has authored episodes of the Peter Falk series Columbo.  He is a member and/or alumnus of The Playwrights’ Center, The Dramatists Guild of America, Writers Guild of America and New Dramatists.

Jessica Thebus (Director) is delighted to return to Northlight, where her work on Inherit the Wind and Red Herring has been seen in the past.  Jessica is an Associate Artist of Steppenwolf Theatre Company, and has also worked with the Goodman, About Face, Writers’, Remy Bumppo, Lookingglass, Next, Collaboraction, Piven, Redmoon and others, as well as The Corn Exchange in Dublin, Ireland.  Most recently she directed Welcome Home Jenny Sutter at the Oregon Shakespeare Festival and The Kennedy Center in Washington DC, and Sarah Ruhl's Dead Man's Cell Phone at Steppenwolf.  Favorite projects of the past include The Clean House at the Goodman, Intimate Apparel at Steppenwolf, and They All Fall Down at Lookingglass.  This season, Jessica will collaborate with Sandy Shinner on Eurydice at Victory Gardens and with Anna D. Shapiro on Our Town at Lookingglass.  She holds a doctorate in Performance Studies from Northwestern University and currently teaches in Northwestern's Directing program.  Special thanks to JRL on this one.

Collette Pollard (Set Design) has designed a number of shows at The House Theatre of Chicago: The Sparrow, The Magnificents, Rocket Man, Cave with Man, Curse of the Crying Heart and Dave DaVinci Saves the Universe.   She recently received a master of fine arts degree in scenic design from Northwestern University.  Other local credits include The American Dream Songbook for Next Theatre, Harriet Jacobs for Steppenwolf for Young Adults, and Tesla’s Letters for Timeline Theatre.  She has enjoyed teaching design at Columbia College, as well as assisting the Toy Theatre class at Northwestern.  She has displayed her work at the USITT Young Designer’s Forum in Phoenix and at Ming Cho Lee’s Clambake in New York City.

Tatjana Radisic (Costume Design) is thrilled to return to Northlight Theatre where she previously designed The Lady with All the Answers and Inherit the Wind.  Her costume design credits include Drury Lane Theatre, Steppenwolf Theatre, Goodman Theatre, Writers’ Theatre, Redmoon Theater, Court Theatre, Blair Thomas and Co., 500 Clown, Hedwig Dances, Live Bait Theatre, American Theater Company, Apple Tree Theatre, and Creede Repertory Theatre Company.  Costume Design for Film: Up on the Rope (Opal Pictures) and Gray in White and Black (Life is a Dream Productions).  She is an Artistic Associate at Redmoon Theater.  Tatjana is a member of the Costume Society of America and the Association of Applied Arts in Serbia.  She has exhibited extensively throughout Europe and the U.S. and received numerous professional awards.

John Horan (Lighting Design) is thrilled to be working on his first collaboration with Northlight Theatre.  His work has most recently been seen at Porchlight Music Theatre, Gift Theatre, Circle Theatre, Prop Theatre, The Fulton Opera House, Redmoon Theatre, The James Lumber Center for the Performing Arts, Noble Fool Theatricals and Cortland Rep.  Favorite Chicago credits include: Boneyard Prayer (Redmoon), The Crucible (Speaking Ring), Embedded (Prop), the world premiere All Through the Night (Chicago Jewish Theatre), and the Jeff Award-winning Ragtime (Porchlight).  Recent regional credits include Sherlock Holmes: The Final Adventure (Fulton Opera House, Lancaster PA) and the regional premieres of Almost Maine and The Great American Trailer Park Musical (Cortland Rep Theatre, Cortland NY).  John holds a BFA in Production Design from SUNY Fredonia.  He is the first ever recipient of the Apollo Design Technology Standing O Award for excellence in lighting design, as well as the winner of the 2007 USITT Rising Star Award.  

Victoria DeIorio (Sound Design) is happy to be back at Northlight after designing Blue/Orange in 2004.  Off-Broadway credits: The Bluest Eye with Steppenwolf Theatre at the Duke Theatre, and Ophelia at The Connelly.  Associate Off-Broadway credits:  Primary Stages, Urban Stages, Ensemble Studio Theatre, and the Actor’s Studio Theatre.  Regionally, some of the theatres she has worked with: Goodman, Steppenwolf, LA Theatre Works, Milwaukee Shakespeare, Victory Gardens, Geva Theatre, People’s Light and Theatre, and Milwaukee Rep.  She has been nominated for 5 Jeff Awards, receiving three for The Island of Dr. Moreau, Around the World in 80 Days and The Shadow; and has received two After Dark Awards for The Shadow and Fiddler on the Roof.  Victoria is the head of Sound Design at The Theatre School of DePaul University.

Meghan Beals McCarthy (Production Dramaturg)is the Literary Manager & Resident Dramaturg for Northlight theatre.  Previously she served as Program Assistant for Steppenwolf’s First Look Repertory of New Work, most notably acting as artistic liaison for “First Look 101” (an audience-enrichment series).  Before Chicago, Meghan was the Artistic Associate at The Pearl Theatre Company in New York City; she served as casting director and manager of the resident company's extensive research and development programs.  As a director, she has helmed productions, workshops and readings in New York, Chicago, Los Angeles and Edinburgh, Scotland working with companies such as The Goodman, Steppenwolf, Chicago Dramatists and Collaboraction (Chicago) and the Women’s Project and Productions, Abingdon Theatre and The Pearl (New York).  Meghan is an Associate Artist at Chicago Dramatists and a Trustee of Caffeine Theatre.  She earned her MFA in Directing from The Theatre School at DePaul University and her BA in Theatre from the University of Southern California.

Adam Ganderson (Production Stage Manager) This is Adam’s first show with Northlight Theatre, and he is thriller to join the Northlight family. Other Chicago credits include Cadillac (Chicago Dramatists) and Don Giovanni (Chicago Opera Theater). Regional credits include: Bomb-itty of Errors, Misery (Syracuse Stage), Pride and Prejudice (Dallas Theater Center), and Dance of the Holy Ghosts (Yale Repertory Theatre). He has a B.S. (Mechanical Engineering) from the Massachusetts Institute of Technology, and an M.F.A. (Stage Management) from the Yale school of Drama. Adam is a proud member of the Actors’ Equity Association.