Randall Stuart’s work as a theatre artist spans four decades and includes productions at regional theatre companies, summer festivals, opera companies, university & professional training programs, producing large-scale community events, and the development of new plays and stage adaptations. His time as a director has focused on large-scale acting ensembles in productions that shine a light on epic worlds, introduce us to the denizens of bustling poetic towns, and drop us into places of magical realism that easily support mighty choruses and otherworldly beings. These include, among others:
Zimmerman's Metamorphoses and Ruhl's Eurydice at Artists Rep, a touring chamber version of Rossini's La Cenerentola at Portland Opera, Under Milk Wood at Porchlight Theatre Company, Wedekind's Spring Awakening at San Francisco Actors Ensemble, The Colour of Justice at TheatreFirst in Oakland, Three Blooms at Word for Word in San Francisco, The Wind in the Willows at Shakespeare Santa Cruz, The Women of Troy at California Shakespeare Festival, Bury The Dead at The Great Hall of Cooper Union, Urinetown and Johnny Johnson at Southern Oregon University, Timon of Athens at Mills University, and A Lovely Day at Pacific University. During his years working with the Advanced Training Program of the American Conservatory Theater he staged The Beggars Opera, The Threepenny Opera, Cymbeline, All's Well That Ends Well, The Two Noble Kinsmen, and Cloud 9.
As the artistic staging director for four years of Macy's Passport - one of the nation's largest benefits for research at UCSF's AIDS Research Center in the 1990's - Randall commissioned and co-created original performances works with Cirque du Soliel's Deborah Brown (Apogee), Aero/Betty, Stomp, Imago Mask Theatre, and Pink Martini. His adaptation and production of Lysistrata played at Berkeley Rep in 2003 for two sold out performances, featured a cast of 100 actors and musicians, and was awarded a Bay Area Critics Circle Award.
Zimmerman's Metamorphoses and Ruhl's Eurydice at Artists Rep, a touring chamber version of Rossini's La Cenerentola at Portland Opera, Under Milk Wood at Porchlight Theatre Company, Wedekind's Spring Awakening at San Francisco Actors Ensemble, The Colour of Justice at TheatreFirst in Oakland, Three Blooms at Word for Word in San Francisco, The Wind in the Willows at Shakespeare Santa Cruz, The Women of Troy at California Shakespeare Festival, Bury The Dead at The Great Hall of Cooper Union, Urinetown and Johnny Johnson at Southern Oregon University, Timon of Athens at Mills University, and A Lovely Day at Pacific University. During his years working with the Advanced Training Program of the American Conservatory Theater he staged The Beggars Opera, The Threepenny Opera, Cymbeline, All's Well That Ends Well, The Two Noble Kinsmen, and Cloud 9.
As the artistic staging director for four years of Macy's Passport - one of the nation's largest benefits for research at UCSF's AIDS Research Center in the 1990's - Randall commissioned and co-created original performances works with Cirque du Soliel's Deborah Brown (Apogee), Aero/Betty, Stomp, Imago Mask Theatre, and Pink Martini. His adaptation and production of Lysistrata played at Berkeley Rep in 2003 for two sold out performances, featured a cast of 100 actors and musicians, and was awarded a Bay Area Critics Circle Award.
A Sampling of Productions Directed by Randall Stuart:
Sarah Ruhl's
EURYDICE
Artists Rep (Portland)
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THE COLOUR OF JUSTICE
TheatreFirst (Oakland)
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UNDER MILK WOOD
Porchlight Theatre Company (Marin)
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Zimmerman's METAMORPHOSES
Artists Rep (Portland)
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THREE BLOOMS
Word for Word
Performing Arts Co.
(San Francisco)
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THE WIND IN THE WILLOWS
Shakespeare Santa Cruz
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Green & Weill's
JOHNNY JOHNSON
Southern Oregon University (Ashland)
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Churchill's CLOUD NINE
A.C.T.'s 3rd Year Professional Interns
(SF & NYC)
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ART IS PEACE - Community Outreach, Berkeley Rep & Upon These Boards
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OUR VESSEL IS OF TYRE - Immersive promenade event @ Haas Lilienthal House
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CYMBELINE - A.C.T.'s
Advanced Training Program
(San Francisco)
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Shakespeare's PERICLES - various educational institutions
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Randall believes in the power of theatrical ensemble, and proposes that the time of large casts must return to stages everywhere if we are to truly nurture our artistic communities for the essential and creative work ahead. And so, with a tip-of-the-hat to all of our mentors: let us raise a toast to the theatrical stories and productions that rattle our imaginations, amaze those who are gathered, and are remembered with delight and awe.