(Artistic Director, Resident Artist)
As a director with The Porters: Henry V, Timon of Athens, The Merry Wives of Windsor, Troilus and Cressida, The Comedy of Errors, Rosencrantz and Guildenstern Are Dead, Richard II, Love’s Labour’s Lost, Much Ado About Nothing, The Two Gentlemen of Verona, Richard III, Twelfth Night and Julius Caesar. He also co-developed and directed Jamey Hecht’s one-man show Limousine, Midnight Blue, produced by The Porters and presented at the Hollywood Fringe Festival. Select roles with the Porters include: Iago (Valley Theatre Award, Best Actor) Henry V (BWW Nomination, Best Actor), Oedipus, Hamlet, Berowne, Titus, Malvolio and Marc Antony. Regional acting credits include: Four seasons with Shakespeare Santa Cruz, roles included Romeo, Prince Hal and Henry V; Two seasons with The Shakespeare Festival of St. Louis, roles included Octavius Caesar, Hotspur and the Dauphin; title role in Macbeth with The Sierra Repertory Theatre; Claudio in Much Ado About Nothing with The Shakespeare Theatre of New Jersey; Valentine in The Two Gentlemen of Verona with Indiana Repertory Theatre; Romeo in Romeo and Juliet and Louis XIII in The Three Musketeers with The Denver Center Theatre Company; The Merchant of Venice and Romeo and Juliet with The Shakespeare Center of Los Angeles; Creditors with Ensemble Theatre, Santa Barbara (Indy Award).
He prays you, remember the Porters…
(Associate Artistic Director, Resident Artist)
Mr. Bigley has been with the company since the beginning, and was delighted to champion The Porters’ productions of Rosencrantz & Guildenstern Are Dead and Hamlet in repertoire by directing Hamlet, playing Rosencrantz, and arranging a fundraiser in the fall of 2009. Other directing credits with the company include Oedipus the Tyrant (where he also played Creon), The Merchant of Venice, Measure for Measure (where he also played The Duke), and King Lear. He has been seen in many roles with the company, including the title role in Richard II, Proteus in The Two Gentlemen of Verona, Rammah in Gus Krieger’s world premiere play, Deity Clutch, Boyet in Love’s Labour’s Lost, and Ulysses in Troilus & Cressida. Regionally, he’s been seen as Student #2 (Juliet) in Joe Calarco’s Shakespeare’s R&J at the Nearly Naked Theatre, Avery in Charlotte’s Web with Childsplay Inc., and Seth in Phoenix Theatre’s Children of Eden. Favorite roles include Joseph in Joseph and the Amazing Technicolor Dreamcoat, The Teen Angel in Grease, King Arthur in Camelot, and Archibald Craven in The Secret Garden. He has also created, produced and starred in the web series Aimless, which you can find at www.aimlessthewebseries.com
He prays you, remember the Porters!
(Associate Artistic Director, Head of New Works, Resident Artist)
Mr. Krieger has been with the Porters since 2006. Roles with the company include Cassius (Julius Caesar), Antonio (Twelfth Night), Richard III (Richard III), Speed (The Two Gentlemen of Verona), Benedick (Much Ado About Nothing), the Porter (Macbeth, also directed), Don Armado (Love’s Labor’s Lost), Bolingbroke (Richard II), Guildenstern (Hamlet, Rosencrantz & Guildenstern are Dead), Dromio of Syracuse (The Comedy of Errors), Shepard (Oedipus the Tyrant), Shylock (The Merchant of Venice), Thersites (Troilus & Cressida), Master Ford (The Merry Wives of Windsor), Lucio (Measure for Measure), and Edgar (King Lear).
Mr. Krieger can also be seen as Prisoner # 1 opposite Nick Cannon in the 2009 Sundance favorite “The Killing Room,” as well as on YouTube in “Bad Inception”, “The Douche Knight”, and “Daniel Day-Lewis Does Porn.”
As playwright/director, Mr. Krieger premiered his play Deity Clutch with the Porters in 2010, and his new play Sherlock Through the Looking-Glass in 2013.
(Managing Director, Sound Designer & Composer)
Nick Neidorf graduated from Bennington College with a Bachelor of the Arts degree in 2007. He’s proud to take on the responsibilities of Managing Director alongside Alex Parker, as well as assuming the role of Resident Stage Manager after a long informal association with the Porters. At the start of 2012, all of his wishes come true: he was properly credited in programs, correctly named by critics, and got to compose an original score for one of the grimmer works in the canon and it was, indeed, awesome. Sound design credits with the Porters include: Hamlet, Rosencrantx & Guildenstern Are Dead, The Comedy of Errors, Oedipus the Tyrant, The Merchant of Venice, Troilus & Cressida, and the Hollywood Fringe Fest ’11 remount of Deity Clutch. Original scores include Troilus & Cressida, and, hopefully, many more to come.
(Managing Director, Resident Artist)
Credits with The Porters include: Edmund (King Lear), Troilus (Troilus & Cressida), Antonio (The Merchant of Venice), Tarleton (Deity Clutch), Chorus (Oedipus the Tyrant), Antipholus of Ephesus (The Comedy of Errors), and Laertes (Hamlet). Los Angeles credits include: Burt/Y. Anton (The Paris Letter, WINNER: Best Supporting Actor, StageSceneLA) and Mark Livingstone (The Poor of New York) at The Group Rep; Lodovico (Othello) at The Actor’s Playpen. Regionally: Malcolm (Macbeth) with WyoShakes; Claudio (Much Ado About Nothing) with Idaho PLAA; a glorified version of himself (The Complete Works of William Shakespeare: Abridged) with The wts Theatre Co. of Wyoming. Parker produced Collected Stories for The Group Rep, fall 2012.
Pray you, remember The Porters…
Max has been honored to be involved with this lovely company, The Porters, since 2008, where he got placed into the mix as Leonato, in Much Ado About Nothing. Post Much Ado, Max went on to play Malcolm in Macbeth, directed by the wonderful Gus Krieger, and pull double duty in Richard II, as Thomas Mowbray and young Harry Percy, also getting the opportunity to be directed by the one and only Mr. Charles Pasternak. In the summer of 2009, Max booked what would prove to be yet another life changing role, as Dave Karofsky in the FOX series “Glee,” where he can still be seen today. Additional film/tv credits include “Ghost Whisperer,” “Cold Case,” “The Defenders,” “What About Brian,” “Viva Laughlin,” and the upcoming horror film “Wolf Town.” When “Glee” goes on its summer hiatus, Max plans on spending his time off diving into another phenomenal production of classical theater, put on by, who else? Yes, the spectacular Porters of Hellsgate.
Jennifer has been a member of The Porters of Hellsgate since the summer of 2008. Previous roles include Beatrice in Much Ado about Nothing, Silvia in the Two Gentleman of Verona, The Queen in Richard II, one of the witches in Macbeth, and Isabella in Measure for Measure. Other LA theater credits include: Shari in Neil Labute’s The Distance from Here and Celimenein Moliere’s The Misanthrope. Jennifer earned her degree in Theater from the Meadows School for the Arts at Southern Methodist University. TV credits include roles on NBC’s Chuck and Fox’s The OC. Jennifer can be seen playing the role of Rachel in Columbia Pictures summer comedy 30 Minutes or Less starring Jesse Eisenberg. She is also a co-founder of the Little Candle Theater Company. She would like to thank The Porters for giving her the chance to play such amazing classical roles and for the introduction to Max Adler (Her Leonato).
Matt was adopted into Love Labours Lost and hasn’t looked back. Since then he’s portrayed a duke (Comedy of Errors), a servant (Richard II), the mighty warrior Achilles (Troilus and Cressida) and the wronged nobleman Claudio (Measure for Measure) with The Porters of Hellsgate. Matt is extremely thrilled to have found his Los Angeles family and will continue to work and support the Porter’s ’til death do us part. Other credits in his acting career include the feature horror film Killer Holiday, and many shorts produced by Will McFadden and Gus Krieger. Matt is a Chicago native that has studied in the Steppenwolf theatre, Improv Olypmic West, and Columbia College Theatre Program. Special thanks to Cody Goulder and Daniel Armas for also being a part of his family, and may the arts live forever.
Dana made her Porters’ debut as Mekkhala in the 2010 premiere of Gus Krieger’s Deity Clutch, reprising the role for the 2011 Hollywood Fringe Festival. She also appeared in King Lear (Regan), Measure for Measure (Mistress Overdone), The Merry Wives of Windsor (Mistress Ford), Troilus & Cressida (Andromache), Oedipus the Tyrant (Chorus) and The Comedy of Errors (Second Merchant). Other LA theatre Credits: Sybil in Forever (Magnum Opus Players), Dorothy Kilgallen (u/s) in The Magic Bullet Theory (Sacred Fools Theatre, Matrix Theatre), Mercutio in Romeo & Juliet (Knightsbridge Theatre), Van’s Sister in Dog Sees God (Urban Theatre Movement), Hero in Much Ado About Nothing (California Shakespeare Company), and sketch comedy with Dynamite Kablammo. Additionally, she can be seen in a smattering of short films, including the comedy/action short Perv: The Cat and parody webseries Harry Potter and the Ten Years Later. Remember the Porters, will ya?
Sean first appeared with The Porters in The Merchant of Venice, and it has been many journeys up and down a rickety staircase ever since. Other Porters’ performances include King Lear, Measure for Measure, The Merry Wives of Windsor, and Troilus & Cressida. Sean is downright delirious to be a member of the company. Other LA theatre credits include Pumpkin Pie/Lance (u/s) in Pulp Shakespeare (Her Majesty’s Secret Players), Garson in Quick & In My Arms (Fresh Baked Theatre), and Count Charisma in The Girl Who Would Be King (Absolut Theatre). Before moving to LA, Sean worked steadily with many theater companies in Philadelphia, his favorite roles being Crumpet in The Santaland Diaries and the Vice President in The Apollo of Bellac. Check out Time Again, newly released on amazon.com, where Sean is a shiftless accountant for the mob.
Pray you, remember the Porters…
Taylor has been involved with The Porters since it’s inception in 2006.She has been in 14 productions, and in most recent months stepped behind the scenes as a designer and choreographer. Some of her previous roles include Cressida in Troilus and Cressida, Ophelia in Hamlet and Rosencrantz and Guildenstern Are Dead, Luciana in The Comedy of Errors, The Duchess of York in Richard II, Rosalind in Love’s Labour’s Lost, Hero in Much Ado About Nothing, and Perkunas in the world premiere of company member Gus Krieger’s Deity Clutch. Since graduating UCLA in 2012 Taylor has been treading the boards outside of Los Angeles at places such as Shakespeare Santa Cruz, The Denver Center, and The Colorado Shakespeare Festival.
Jacques Freydont has performed with the Porters as Sir Nathanial in Loves Labor’s Lost, a York in Richard II, as Pandarus in Troilus and Cressida, as Egeus in Measure for Measure and as the First Senator in Timon of Athens. With the Ethos Theatre Company, he appeared in Hamlet, Macbeth, A Midsummer Night’s Dream, Romeo and Juliet, and Othello. Other productions include Christmas 4 Bukowski with Zombie Joe’s Underground; You Can’t Take It With You with Culver City Public Theatre and, again, Macbeth with The Los Angeles Theatre Ensemble. Most recently, he appeared in the Attic Theatre production of its A Wonderful Life, An Act of Reparation at the Odyssey Theatre and as Henry Kissinger at the Edinburgh Fringe Festival production of Shawn Wallace’s Aunt Dan and Lemon, and in the Los Angeles and New York Harold Clurman Laboratory Theatre production of Waiting for Lefty. He acts frequently in independent features and on the Los Angeles stage. Jacques began acting, quite unexpectedly, at the age of 54 after a long career managing the UCLA bookstores.
Michael Mitchell Hoag made his debut with The Porters in our 2009 production of Richard II. Other Porters credits include: Jamy the Scot and Westmoreland in Henry V, Detective Gregson and Tweedledum in Sherlock Through the Looking Glass, Friar Thomas in Measure for Measure, Fenton in The Merry Wives of Windsor, and Dongo in Deity Clutch. Originally from the pristine shores of Lake Tahoe, Nevada, he is a proud graduate of The University of Oregon Theatre Program, a former student at The Hampstead Theatre and Shakespeare’s Globe in London, and The Upright Citizens Brigade. You can keep up with him @hoagmichael
Eliza first performed with the Porters Hellsgate as Helen in Troilus & Cressida. Other roles with the Porters include Desdemona in Othello, Katherine in Henry V, Mistress Quickly in The Merry Wives of Windsor, and Servilius in the Timon of Athens. In Los Angeles, some of her theatre credits include Portia (Julius Caesar/The Powerhouse Theatre), Iris (The Tempest/A Noise Within Theatre), Hermia (A Midsummer Night’s Dream/Will Geer Theatricum Botanicum), Audrey (As You Like It/Declan Adams Theatre Co.), and Ophelia in the World Premiere of Tragic Women (La Cañada Flintridge Shakespeare Festival). Regional credits include Margaret (Henry VI Part 1, 2 and 3/Orlando Shakespeare Festival), Tiger Lily/Liza (Peter Pan/Dorset Theatre Festival) and Lucy (Dracula/Tallahassee Little Theatre). Recent TV/Film work include: “The Encounter,” “Axeman” (international distribution), “Of Fortune and Gold,” “Dirty Rules” (directed by Mimi Leder), “Night Falls” (Prominence Films), and “Old Country Barter Ladies” (Lale Loki Productions). She is also a singer/musician and writes/performs sketch comedy in LA. Eliza studies at Groundlings School of Improv and holds a BFA in Acting from Florida State University.
She prays you, remember the Porters…
Jamey Hecht is a writer who acts. His four books to date include an elegy for President Kennedy called Limousine, MidnightBlue: Fifty Frames From the Zapruder Film (Red Hen Press, 2009) and a translation of Sophocles’ Three Theban Plays (Wordsworth Classics, 2004). In 2011 (our 5th season), the Porters produced Hecht’s translation of Sophocles’ Oedipus the Tyrant, a world premiere directed by Thomas Bigley and starring Charles Pasternak as Oedipus, Thomas Bigley as Creon, and Kate O’Toole as Jocasta. In the Summer of 2013, the Porters produced Jamey’s 1-man show Limousine, MidnightBlue, directed by Charles Pasternak. Jamey’s acting credits with the Porters include: Kent in King Lear, Polonius in Hamlet, John of Gaunt & Bishop of Carlyle in Richard II, Canterbury & King of France in Henry V, Teiresias & Shepherd in Oedipus the Tyrant, and various roles in Much Ado About Nothing, Love’s Labor’s Lost, The Comedy Of Errors, and Measure For Measure.
Christina first joined the Porters for their production of Hamlet – after which she informed them that they were stuck with her forever, unfortunately. She has since appeared with the company as Cordelia in King Lear, Dromio of Ephesus in The Comedy of Errors, Page/Chorus in the world premiere of Jamie Hecht’s translation of Oedipus the Tyrant, Ukko in Gus Krieger’s Deity Clutch, and as the lovely Taylor Fisher’s understudy in Troilus and Cressida. Other Los Angeles theatre credits include The Winter’s Tale, Beneath Her Feet, Sorry We’re Closed, and others. Film credits include: Friday the 13th: Camp Blood and Smee. However, Christina rarely strays from the Porters – if she’s acting, she’s acting with these hooligans.
There’s no place like home.
Kate first became involved with the Porters when she was cast as Ashie in Gus Krieger’s original play, Deity Clutch. Since then, she has appeared in The Comedy of Errors, Oedipus the Tyrant, The Merchant of Venice, Troilus & Cressida, The Merry Wives of Windsor, Measure for Measure, and King Lear. It was after Oedipus that Kate received the invitation to become a Resident Artist, which she gratefully accepted. In Los Angeles, she has also performed with companies including The Group Rep and California Shakespeare Company. Prior to living in California, she worked at theatres all over the United States, including The Hampstead Players, The Utah Shakespearean Festival, and The Free Associates Improv Group. Favorite roles include Lainie in Two Rooms, Cinderella in Into The Woods, and Rachel in Reckless. She prays you, remember the Porters.
Timothy Portnoy began working with the Porters in their production of Troilus and Cressida in early 2012. He has had the pleasure of working with the rest of these talented people repeatedly since. Credits with the company include Aeneas (Troilus and Cressida), Slender (The Merry Wives of Windsor), Provost (Measure For Measure), The King of France (King Lear), Lucius (Timon of Athens), John Watson (Sherlock Through the Looking Glass) and Nym (Henry V). Other LA Theatre credits include John in A Gaggle of Saints (The Black Box Theatre), Doctor Morrow/Father Laurence in Quick and in My Arms (Fresh Baked Theatre Company), Elvis Presley in Picasso at the Lapin Agile (Young Actors’ Ensemble), and Father Lawrence/Lady Montague in Redneck Romeo and Juliet (Hank’s Cabin Productions). Tim will also be appearing in the upcoming independent feature The Day I Don’t Remember. Tim could not be happier about being a resident artist and getting to do these wonderful plays with these wonderful people.
Ms. Schwartz first debuted with the Porters in 2012 as the Hostess in The Merry Wives of Windsor. She has followed with various roles in King Lear, Timon of Athens, and The Winter’s Tale. She has been an official member of the company since 2013. Hilary graduated with a degree in theatre from the University of California, Irvine in 2011. Before graduating she spent a year studying Shakespeare at the British American Drama Academy in London, England from 2009-2010. Prior to moving to Los Angeles, Hilary worked extensively with the Murphys Creek Theatre Company in Murphys, California, where she truly discovered her love and passion for Shakespeare; she performed in a wide spectrum of Shakespearean productions with the company over the course of seven years. Hilary is also currently a company member of the Road Theatre Company in North Hollywood; favorite credits include understudying and performing the role of Stephanie in the West Coast Premiere of Flower Duet by Maura Campbell, and Brenda in Snowing at Delphi by Catherine Butterfield, part of the Road’s Summer Playwrights festival. Hilary also spent time as a company member with the Open Fist Theatre, where she appeared in Early and Often, and Foote Notes: Two Plays about Harrison, Texas where she understudied and took over the lead role of Wilma. Hilary can also be seen in a smattering of short films and web series, including Dinner for You, Normal Ave., To The Meadow, Hate Me Love Me, and The Art of Lying. For more: www.hilaryjschwartz.com
Liza is thrilled to be a company member, having played Portia in The Merchant of Venice (StageSceneLA: Best Actress) and Adriana in The Comedy of Errors. Liza was most recently seen at the Pasadena Playhouse in Aunt Stossie’s Coming For Five Days (as part of their Hothouse reading series), as well as playing Helen in Ladyhouse Blues with The Andak Stage Company. Other stage work includes Lisa in Collected Stories, Susy in Wait Until Dark, and Thelma in The Trip to Bountiful, at The Group Rep; Yolanda/Jody in the New York and Los Angeles Premieres of Pulp Shakespeare (Cherry Lane, SoHo Playhouse, and Theatre Asylum); Beatrice in Much Ado About Nothing, at Kentucky Shakespeare; Janetta in the World Premiere of The Boomerang Effect, and Barbara Walters in the World Premiere of Hunger: In Bed With Roy Cohn, both at the Odyssey; and Lusia in A Shayna Maidel, at ICT. She has been seen on television in a recurring role on Bucket & Skinner’s Epic Adventures as well as Grey’s Anatomy, Lie to Me, Monk, and Big Love. Her film work includes Night Eyes, Salvation Road, and Paul Verhoeven’s Zwartboek (Black Book). She recently finished playing Lady M this summer with The Colorado Shakespeare Festival. Pray you, remember The Porters…