Event Personnel & Session Leaders - BREAK/through 2022


Executive DirectorAlisha Tonsic
Finance & Operations ManagerNicole Shero


Technical Director
Adam Cooper-Terán is a native of Tucson, Arizona, born from a mixed heritage of Mexican, Yaqui, and Jewish roots. Known for their collaborations among various performance troupes, theater companies, musicians, and dancers, Adam serves as Technical Director for Borderlands Theater (a NET ensemble member) and StoryWorks Theater, and is an individual member of NET. Their work has featured across the globe as large-scale media projections, musical interventions, and installations of digital storytelling. As a solo performer, Adam’s interests in live audio and video mixing have led to improvisations that are ritualistic, political, and highly personal.

Adam’s work as a DIY performer, producer, and designer has led to residencies at Project Row Houses in Houston, Latino/Chicanx arts organization MACLA in San Jose, Teatro Tespys in El Carmen de Viboral, Colombia, Universidad Cd. Juárez, and the University of Rostock, Germany. Adam has garnered praise and support from academic and cultural institutions such as the MAP Fund, National Endowment for the Arts, National Performance Network, Network of Ensemble Theaters, Arizona State University, Belle Foundation, Foundation for Contemporary Arts, National Hispanic Cultural Center, and the International Sonoran Desert Alliance. Current projects involve the disruption of mainstream media, however possible, while continuing to support and augment underrepresented voices across the spectrum.
Livestream Operator
ASL Interpreters
Livestream Broadcast Partner

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Meeting the Moment: A Workshop on Regenerativity and Freedom Dreaming

Rad Pereira and Jan Cohen-Cruz are co-authors of Meeting the Moment: Socially Engaged Performance 1965-2020 By Those Who Lived It, which New Village Press released in June 2022.

Rad Pereira is a queer (im)migrant artist and cultural worker building consciousness between healing justice, system change, reindigenization and queer futures based in Lenapehoking (Brooklyn) and Haudenosaunee territory (northern Hudson Valley). Their work in performance, education, and social practice has been experienced on stages, screens, stoops, and sidewalks all over Turtle Island through the support of many communities, institutions, and groups. They co-founded You Are Here, an ever-evolving organism of art, performance, and healing, created with and for QT2SGNCI+ AND BIPOC communities. They are building a Native-led food sovereignty project called Iron Path Farms.

Jan Cohen-Cruz’s previous publications include Local Acts, Engaging Performance, and Remapping Performance. She edited Radical Street Performance and co-edited Playing Boal and A Boal Companion with Mady Schutzman. Jan worked with A Blade of Grass, supporting socially engaged artists as director of field research and co-founder of its magazine. She directed Imagining America: Artists and Scholars in Public Life and cofounded its journal, Public. In 2023, she will collaborate with Mark Valdez and ashley sparks on a new iteration of The Most Beautiful Home…Maybe in Bethlehem, PA.

Take a BREAK: #NETdates & Connector Orientation

OPTION C - What's Connector? Orientation Session
Carrie J. Cole is Associate Professor, Producing Director, and Assistant Chair, in the Department of Theatre, Dance, and Performance at Indiana University of Pennsylvania (a NET ensemble member). Dr. Cole joined the Board of NET with an amazing cohort in 2020, and is honored to serve as Board Secretary. As a scholar, her work concentrates on current and future trends in US theatre, performance, and popular culture, specifically staging science fiction and the fantastic. Dr. Cole’s recent theatre credits include creating a new adaptation of Wedekind’s The Awakening of Spring, directing Sarah Delappe’s The Wolves, Lauren Gunderson’s I and You and Ray Bradbury’s adaptation of his own Fahrenheit 451. She also devised and directed Electriad, which explored the repercussions of war from the perspective of the warrior, the home front, and the displaced. In addition, her reimagining of H. G. Wells’ War of the Worlds, which reflected the events of the second Mars Rover exploration, was staged as part of the Tucson Festival of Books by Arizona Theatre Company. She also has served as Company Manager and Festival Dramaturg for KO Festival of Performance, where she also appeared as part of the ensemble of Katie Pearl’s OK OK. As an advocate for new plays, Dr. Cole regularly produces and directs “Flash Play Festivals”—readings of ten-minute plays written by award-winning authors at both the International Conference of the Fantastic in the Arts and the Other Words Conference. 

Godfrey L. Simmons, Jr. in Conversation with Rhodessa Jones

Godfrey L. Simmons, Jr. is a NET Board Member, and is Artistic Director of HartBeat Ensemble, Hartford’s Public Theatre (and a NET ensemble member company). He is also co-founder of Civic Ensemble, a community-based theatre company in Ithaca, NY. For Civic, he directed Eugene O’Neill’s All God’s Chillun Got Wings and The Next Storm, and appeared in My Children! My Africa!, Fast Blood, and his adaptation of Mike Daisey’s The Trump Card. Godfrey was Producing Artist in charge of New Artist Development for Off-Broadway’s Epic Theatre Ensemble, appearing in A More Perfect Union, Widowers' Houses (which Godfrey co-adapted with Ron Russell), and Measure for Measure, among other plays. At Epic, he also co-wrote and starred in a documentary play about the election of President Barack Obama, Dispatches From (A)mended America. Additional New York theatre credits include The Old Settler (Primary Stages), Betty’s Summer Vacation (Playwrights Horizons), Free Market (Working Theater), Leader of the People (New Georges), and microcrisis (Ensemble Studio Theater). Godfrey is a 2012 TCG/Fox Fellow, a participant in the TCG SPARK Leadership Program, a lifetime member of Ensemble Studio Theatre.

Rhodessa Jones is Co-Artistic Director of the San Francisco performance company Cultural Odyssey. She is an actress, teacher, director, and writer. Ms. Jones is also the Director of THE MEDEA PROJECT: Theater for Incarcerated Women and HIV Circle, which is a performance workshop designed to achieve personal and social transformation with incarcerated women and women living with HIV. Rhodessa currently is the Frank H.T. Rhodes Class of 1956 Visiting Professor at CORNELL UNIVERSITY, and is a Pew Fellow-in-Residence in Philadelphia during 2022-23.

Ms. Jones was also appointed by the prestigious DARTMOUTH COLLEGE to be the MONTGOMERY FELLOW conducting lectures and workshops in early Fall 2017. During 2018 many Colleges and Universities engaged Rhodessa as one of the preeminent artists working in the field of "art as social activism” including extended residencies at University of Southern California, University of Michigan, University of Pittsburgh, and many others. In December 2016, Rhodessa received a THEATRE BAY AREA LEGACY AWARD presented to individuals that have made “extraordinary contributions to the Bay Area theatre community.” During 2017 Rhodessa performed her acclaimed production, “FULLY AWAKE, FACING SEVENTY: HEAVEN BETTA BEA HONKY TONK!" at DANCE PLACE in Washington DC, CARPETBAG THEATER in Knoxville, TN, and THE NATIONAL BLACK THEATER FESTIVAL in Winston-Salem, NC.

During Spring 2016 Rhodessa was the Visiting Artist in Residence at University of California, Berkeley teaching Theater C183A Black Theater workshop. Rhodessa received the Theatre Practitioner Award in July 2015, presented by Theatre Communications Group to recognize “a living individual whose work in the American theatre has evidenced exemplary achievement over time and who has contributed significantly to the development of the larger field.” Also in 2015, Rhodessa was a Visiting Professor at St. Maryʼs College in Moraga, California, and directed the African American Shakespeare Company production of Xtigone. In May 2014, Rhodessa was the Keynote Speaker for Graduation Commencement, Department of Theater, Dance, and Performance Studies University of California, Berkeley. Ms. Jones was Spring 2014 Interdisciplinary Artist in Residence at the University of Wisconsin-Madison. During January 2014 Rhodessa traveled to New York City to the PUBLIC THEATER to direct Blessing the Boats: The Remix, the late Sekou Sundiataʼs acclaimed solo theater work. Other directing credits include the upcoming new play Lost in Language by the renowned late Ntozake Shange; the 2007 production of Lysistrata, produced by the African American Shakespeare Company; Eve Enslerʼs Any One of Us, for VDAY: Until the Violence Stops Festival, Alice Tully Hall, Lincoln Center, New York; and Will Power's The Gathering.

In 2013 The Office of Mayor Edwin M. Lee and the San Francisco Art Commission presented the 2013 Mayor's Art Award to Rhodessa Jones, for her “lifetime of artistic achievement and enduring commitment to the role of the arts in civic life.” The SF Weekly Magazine recently proclaimed Rhodessa as San Francisco’s Best Artist-Activist Working with Prisoners. In June 2012 the U.S. Department of State, Educational and Cultural Affairs Bureau selected Rhodessa as an ARTS ENVOY! As one of San Francisco’s most revered artists she received grant support to journey to South Africa to continue her work inside the Naturena Women's Prison in Johannesburg, South Africa. In 2007 Rhodessa conducted her first U.S. Department of State Speakers Tour of Russia where she conducted performances and workshops at University of Moscow, the American Center, and University of Rayzen. In December of 2007 Ms. Jones received a United States Artist Fellowship to support her work. Ms. Jones was honored with an Honorary Doctorate from California College of the Arts in 2004. Rhodessa has received other awards for her work including a Sui Generis Foundation Award in 2014, GOLDIE Lifetime Achievement Award presented by the San Francisco Bay Guardian in 2003, an Otto Rene Castillo Award for Political Theater in 2002, and a San Francisco Foundation Community Leadership Award commending her for developing the Medea Project as "an intersection of art, politics and social rehabilitation."  In June 2001, her film collaboration We Just Telling Stories, a film profiling Ms. Jones and her work with the Medea Project in the San Francisco County jails, won Best Documentary at the San Francisco Black Film Festival.

Rhodessa’s work has been published in Solo/Black/Woman: Performing Global Traditions and Local Intervention featuring a chapter devoted to Rhodessa’s landmark play, Big Butt Girls, Hard-Headed Women. Other publications include A Beginner’s Guide to Community-Based Arts, New Village Press; Colored Contradictions An Anthology of Contemporary African American Plays (“Big Butt Girls, Hard-Headed Women”), Penguin Group; and Let’s Get It On: The Politics of Black Performance. Her work with incarcerated women is the subject of a book by Rena Fraden titled Imagining Medea: Rhodessa Jones and Theater for Incarcerated Women, The University of North Carolina Press. The Journal of the Association of Nurses in AIDS Care have published Rhodessa’s work with the Medea Project’s HIV Circle titled An expressive therapy group disclosure intervention for HIV-positive women: a qualitative analysis. Other scholarly works include Deep in the Night in the Journal of Medical Humanities; Staging Migrations Toward an American West: From Ida B. Wells to Rhodessa Jones by Marta Effinger; and Rhodessa Jones, Teacher in Women’s Jails, in Conversations with Great Teachers by Bill Smoot. Rhodessa's groundbreaking method for working with disenfranchised populations is published in the book Black Acting Methods: Critical Approaches, © 2017 – Routledge,"Black Acting Methods seeks to offer alternatives to the Euro-American performance styles that many actors find themselves working with.”   [Photo credit: Emily Fitzgerald]

BREAK Down - BREAK Out - BREAK Free: a Community Experiment

Siobhán O'Loughlin is a Los Angeles–based performance artist and activist, and is an individual member of NET. Her site-specific, immersive piece, Broken Bone Bathtub, toured globally for five consecutive years with over 600 performances in 40 different cities. In 2020, it was featured in the PBS Emmy-Award-winning documentary series Immersive.World, and throughout its run, clocked top ten lists for theatre experiences from the Baltimore Sun, The San Francisco Examiner, and The Houston Chronicle. Broken Bone Bathtub is the recipient of the 2019 Immersion Award for Most Transformative Experience. Siobhán is the Director of the feature-length documentary about her experience with Broken Bone Bathtub on the road.

As a performance artist, she has pivoted to live-streaming regularly online with her interactive episodic series, Please Don't Touch the Artist, and in-person for her E-Girl performance in a voiceover booth for an audience of four, Every Day I'll Hope. As an educator, Siobhán provides private consultations, group coaching, and group classes for creatives seeking guidance in actualizing their projects. 

Siobhán is Captain of the Misfits for Democracy, a team of radical phone bankers who make calls for political candidates in some of our nation's most crucial elections. Utilizing Theatre of the Oppressed and non-violent communication tactics, the Misfits will be supporting Mandela Barnes and Jon Fetterman in the midterm elections, seeking to gain two very important seats in the US Senate. 

3:00pm-3:10pm Welcome to the BREAK Down: Intros & Overview
Siobhán O'Loughlin (see above)

3:10pm-5:00pm BREAK Out: Participatory Small-Group Experiences
Elizabeth Colón Nelson (she/they) is the daughter of Carmen Gloria Colón who is the daughter of Ana Rosa Martinez Gonzales Colón. Elizabeth learned to become her ancestors' understanding of a mother because of her son, Silas Raphael. Raised in Atlanta, Georgia by her mother, who’s family moved to South Carolina from Puerto Rico in 1955 and who experienced the racism of the Jim Crow South. Elizabeth’s mother defied that tyranny and instilled in her that art can be infused in every aspect of life. Valuing her lived experience as an artistic expression led her to receive an MFA from Dell’Arte International, perform as a lead clown in Spiegelworld shows including ABSINTHE at Caesar’s Palace Las Vegas, to co-found the Womxn of Color Arts Festival in Las Vegas, to co-found the Leadership Collective at Dell’Arte International, explore anti-racist teaching and movement practices, and most recently to join Actors Theatre of Louisville as their Radical Hospitality Coordinator. Elizabeth envisions an arts world that weaves into the fabric of communities in order to share stories that acknowledge the past, take responsibility for the present and connect to a sustainable future.

Rose Kim (she/they) is the founder and producing artistic director of Art Rat Theatre. Rose’s performance practice likes to nurture sustainable structures, genuinely consensual collaborations, working in mutual drive, restorative production, intercultural approaches to performance and process. Rose has been independently producing, directing, performing and independently training for almost a decade. The “independent” has been crucial to their development -- as much away as possible from harmful white and anti-Black institutions designed to continue racist ecological terrorism on turtle island. 

Daniel Park is a queer, bi-racial, theatre and performance artist, movement facilitator, and organizer for racial and labor justice in the cultural sector. Through all of the above, his work brings people together to understand and experiment with their individual and mutual roles in bringing about the liberation of all people. Since moving to Philadelphia in 2014, Daniel has become a leader for radical thought in the local creative ecosystem and a trusted national source for guidance on the intersection between cooperatives and the arts. Daniel has self-produced multiple major works, co-founded the worker cooperative Obvious Agency (a NET ensemble member), created commissions for institutions such as the Barnes Foundation and Moore College of Art and Design, taught liberatory creation and production practices with Assets4Artists and the University of the Arts, and collaborated with local companies including The Bearded Ladies, Orbiter 3, and Applied Mechanics. Daniel has provided his services as a facilitator and consultant nationally with organizations such as Creatives Rebuild New York, The PA Governor’s Commission on Asian American Affairs, ArtPlace America, and many others.

5:00pm-6:00pm BREAK Free: Community Forum & Closing

Siobhán O'Loughlin (see above)

Daniel Park (see above) 

Todd London is an artistic director, educator, gatherer, chronicler of the American theater, a NET individual member, and NET Board Member. He’s the author of two novels, the most recent, If You See Him, Let Me Know, published just as the pandemic began. This Is Not My Memoir, his collaboration with theater director André Gregory, came out in fall 2020. Other books include An Ideal Theater, The Importance of Staying Earnest and Outrageous Fortune: The Life and Times of the New American Play (with Ben Pesner). He spent eighteen years as artistic director of New York’s New Dramatists and was the first recipient of Theatre Communications Group’s Visionary Leadership Award for his contributions to the American theater. A founder of the DEIA research coalition, Counting Together, his series “A Lover’s Guide to American Playwrights” can be found on Howlround.com. He is the founding director of The Third Bohemia, an interdisciplinary retreat for artists.

Leslie Tamaribuchi has championed arts and cultural equity as a strategist, teacher, producer and administrative leader in Los Angeles for over 25 years. She is Co-President of the NET Board (and a NET individual member), and serves as Strategy and Operations Director for LA Commons. As Managing Director and ensemble member at Cornerstone Theater Company she produced participatory theater projects with partners in Boyle Heights, Pacoima, Watts and Chinatown, and led a $1.5-million capital campaign for sustainability. At California Institute of the Arts she served on the faculty of the School of Theater, teaching cultural policy and fundraising for the expanded field, and serving as Associate Dean and faculty Co-Director for Equity and Diversity. A founding member of the Boards of Watts Village Theater Company and Los Angeles Performance Practice, she serves as an advisor to the New England Foundation for the Arts' National Theater Project. She holds an MPA from the Kennedy School and studied as a Mombusho Fellow at Kyoto University.