KAY COLE – Choreographer

Her credits as both Director/Choreographer include : Rose Bowl Queens, Desperate Writers, The Flunky, American Tales, No Strings, The World Goes ‘Round, Mommy Mommy! BARK! Nuncrackers, Judy’s Scary Little Christmas, A Year with Frog and Toad, A Chorus Line, I’m Getting My Act Together, Robber Bridegroom, Grass Harp, She’s A Handful, Boulevard of Broken Dreams, Sing, Wild Women Blues, Sony Pictures Broadway.

Her choreography and staging credits include Nightmare Alley,Broads, It’s the Housewives, Great Expectations, Assassins, Pirates Of Penzance, Cabaret, Dr. Jekyll and Mr. Hyde, South Pacific, Triumph of Love, I Do I Do, Actor, Lawyer, Indian Chief, Dancing at Lughnasa,  Take Me Along, The Baker’s Wife,  Chang and Eng.  Pasadena Playhouse: Under One Umbrella, 110 in the Shade, Do I Hear A Waltz.  Hollywood Bowl: Sound of Music, Bernsteins’ Mass,  Mame,  My Fair Lady, Music Man, Camelot. Reprise! Broadway: Three Penny Opera,  Fiorello, City of Angels,  Company, On The 20th Century, Follies,  Sweeney Todd,  Most Happy Fella.  Geffen Playhouse:  Atlanta, Paint Your Wagon, Six Dances Lessons in Six Weeks. Hudson Theatre: Grave White Way.  Kirk Douglas Theatre: Gaytino, Dogeaters. Antaeus Theatre: Tonight at 8:30. Playwrights Arena: The Next Step, Songs For A New World.  Shakespeare LA: As You Like It,  Comedy of Errors. Broadway: Six Dance Lessons in Six Weeks (Belasco Theatre). London West End: The Fantasticks , Snoopy, Blockheads.  She recently moved into film and television, directing Professor Crunch and the Daffies, Country Rules, THQ, Waiting in Line, and choreographing  Guidepost Junction, Ella,  Jekyll and Disney’s Santa Clause 3. She also teaches Acting for Film and Television at Emerson College LA Annex and UCLA’s  Summer Musical Theatre Conservatory. She is the proud recipient of the 2006 Playwrights Arena Award for her outstanding contribution to Los Angeles

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JULES AARON – Director of ‘Hunger – In Bed with Roy Cohn’

Jules Aaron has directed over 250 productions, including over seventy-five World premieres.  He has worked at the Public Theatre (New York), South Coast Repertory, Actors Theatre of Louisville (Humana Festival), the Pasadena Playhouse, Philadelphia Theatre Company, Utah Shakespearean Festival, McCoy/Rigby Entertainment at LaMirada Theatre of the Performing Arts, International City Theatre, Colony Theatre, Hudson Theatre, Odyssey Theatre, Victory Theatre among many others.

He has directed Julianne Moore, Don Cheadle, Bruce Davison, Carrie Snodgress, Zelda Rubinstein, Greg Itzin, Sam Anderson, Mercedes Ruehl, Lee Meriwether, Jeff Demun, Ralph Waite, Marian Mercer, Michael Learned among many others.  He has won 20 Drama-Logue awards, three Garland Awards, an LA drama Critics award (with several nominations), Special Chair at UC Davis.  He has a Ph.D in Dramaturgy, Theatre History and Criticism from NYU.  He has Been Artistic Director of the Unit Theatre (in N.Y. and L.A.), as well as Artistic Director at Grove Shakespeare Theatre.  He was Head of the M.A. program at UC Riverside and Head of the MFA Directing Program at California institute of the Arts for seventeen years.  He is now on the Adjunct Faculty at the American Academy of Dramatic Arts.

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HUNGER – In Bed With Roy Cohn

A serio-comedy with cutting-edge music and dance

Featuring Roy Cohn — a brilliant attorney of excessive appetites for men, money and drugs.

Both loathed and adored, he remains a mystery to many. Barbara Walters was his friend until he died of Aids in 1986. Others of prominence were also fiercely loyal to him. Roy’s relationships with his controlling mother, his housekeeper, his lover (David Shine), Barbara Walters, Julius Rosenberg, Ronald Reagan and his own inner child (Young Roy) are explored. We see the infamous attorney as he was and as he might be today. He holds court on his water bed, munching tuna sandwiches as he must have them – on toast with no crusts. We see him among his possessions (his phone and his stuffed animals), wearing a froggie baseball cap. Water pipes burst and drip rhythmically.

Roy personifies sickness in the broadest sense – both timeless and universal. With the internet and instant communication, the disease is debilitating. It consumes our souls.

We identify with Roy’s hunger for love. He connects with our deepest longings and fears as he holds his dying mother.

Ultimately alone and accepting, he talks to us.

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