Christina Wenning is an actor, teacher and musician whose current artistic endeavors have lead her to playing the role of Grete in Alpenstock. She currently maintains a private studio of voice and piano students and also accompanies and directs a local church choir. In addition to teaching, she is also an active performer. Her recent credits include Drummond in Inherit the Wind and Hermia in Dead Man’s Cell Phone (Palomar College), and she has also played numerous roles in operas, operettas, and musicals. Christina holds a Master’s of Music in Vocal Performance and Pedagogy from Ohio University and has had the opportunity to perform in masterclasses with Sylvia McNair, Victoria Clark, Gavin Creele and Phil Reno. She has also performed with various music ensembles throughout the United States, Estonia and Mexico.
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MICHAEL A MUFSON is a director, writer and performance artist who specializes in creating collaborative performance works on topical subjects. He is currently Professor of Theatre at Palomar College. Michael has trained with some of the most influential acting teachers and directors of the contemporary theatre. He was a participant in Jerzy Grotowski’s Objective Theatre Laboratory at the University of California, Irvine where he practiced Grotowski’s adaptation of Stanislavki’s method of physical actions as well as other approaches to physical and vocal training, the creation of original performance work and the roots of theatre in ritual. He has trained with Anne Bogart and the SITI company in Viewpoints and Composition. Michael has also trained in the Japaneese approach of Tadashi Suzuki at StageWest and participated in numerous Theatre of the Oppressed workshops with Augusto Boal and other practitioners. Michael has also trained extensively in Lessac Kinesensic Voice and Body Training. Michael has been seen throughout San Diego in the persona of SENATOR CASH, from the great state of Exxon Mobil. Visit http://www.senatorcash.com. He performed an interactive street theatre action at the Occupy San Diego May Day Rally in 2012. Michael sums up his philosophy of theatre, “Theatre is a vital part of community. Nowhere else do you have a group of people coming together to share and experience a form of expression which is uniquely human, where the material is forged directly from the heart and soul of our humanity.”
Marcos Martinez was born in Taos, New Mexico and is currently a Professor of Theatre in the Visual and Performing Arts Program at California State University, San Marcos. He is a graduate of the Juilliard School’s Professional Actor Training Program and holds a Master’s degree in Theatre from UNM. He studied with Tadashi Suzuki in Toga Mura, Japan Mr. Suzuki’s Method of Actor Training which he has taught in the U.S. and in Mexico, Russia, Israel, Ghana, and several countries in Europe. Professor Martinez served as Artistic Director of La Compañía de Teatro de Alburquerque (1988-91) and was a co-founder of the company. He is currently working with the Suzuki Company in Toga Mura, Japan codification of the most recent elaboration of the Suzuki Method.
San Diego credits include: The Mystery Plays, Parasite Drag, and The Pillowman (Ion Theatre); The Tressle at Pope Lick Creek (Moxie Theater); The Car Plays (La Jolla Playhouse/Moving Arts/LA); Edward II and Facing East (Diversionary); Chiang Kai Chek and The Patriot Act. (Sledgehammer); Orestes (The TheatreInc.). San Francisco credits include: Murder of Crows (Crowded Fire); Shoppers (Campo Santo); and The Bacchae (Shotgun Players). John holds a Master’s degree in Theater Research from the University of Wisconsin.