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About Vagabond Alley Productions
Established in 2002
This company works to mount small scale works to allow fellow theatre artists the space+ environment to collaborate together as equals.The ultimate goal is to create artistic and professional level productions that overflow the audience and the shows creators with a unique excitement for the visceral, transformative power of intimate theatre.
All $ raised goes towards expenses (marketing materials, rehearsal space, etc), paying production staff and actors, and a % will go to charity.
D'Arcy moved to Seattle from Rhode Island after receiving her B.F.A. in Acting ('99) from Emerson College in Boston, MA where she studied the Kristin Linklater method of mind/body preparation for acting. Her background includes experience in improv, plays, musical productions, clowning, lighting+set design, directing, sketch writing, childrens theatre tours, producing, marketing and dramaturgy.
She has worked as an actor with Greenstage, To be Continued Productions, Bad Actor Productions, Copious Love, Annex Theatre, Seattle Actor's Collective in addition to Vagabond Alley Productions. Her favorite roles include: Angel/Nurse in Angels in America, Abigail in The Crucible, Heather Locklear in Capitol Hill High Episodes 3+4, and Flake in The Resistible Rise of Arturo Ui by Bertolt Brecht at Emerson's Historic Majestic Theatre. She has also studied the Stella Adler technique privately with Charles Waxberg of Theatre 9/12 and has attended Celebration Barn Theater in Maine in addition to a workshop held at Seattle Rep by clowning artist, Christopher Bayes.
Her recent credits include Cedar and the Redwoods with Copious Love, AV Club late night, and serving on the Artistic Board of Pocket Theater where she also curates and moderates the reading/development series,"Process at Pocket." D'Arcy has also contributed writing to Ian Bell and ACT's "Seattle Confidential," as well as Annex Theatre's,"Secret Lives of My Co-Workers."
As a full time hairstylist, D'Arcy seeks to balance her successful commercial career with her theatrical pursuits as a "theatre maker."
In 2002, D'Arcy received a Seattle Times Footlight Award for her performance and production of Oleanna by David Mamet.
Learn more about D'Arcy on her Theatre Puget Sound profile:
Read a review of our
"Oleanna" by David Mamet in 2002:
Written by John Hartl on Special to the Seattle Times from the NY times
"Almost a decade after it debuted, David Mamet's "Oleanna" remains a Rorschach test of a play. Some see this two-character piece as misogynistic hysteria, others as a feminist tract, still others as a frontal attack on political correctness and the presumptuousness of academia.
Whatever it is, it certainly makes for gripping theater, especially in the hands of two actors who know how to read between Mamet's lines, how to listen to each other (and not listen to each other), and how to turn overlapping dialogue into a language with its own rules and harmonies.
David Glowacki and D'Arcy Harrison know how to do all that and lots more. In Vagabond Alley Productions' debut show, Glowacki plays John, a pedantic professor preoccupied with tenure and buying a new house. Harrison is Carol, a seemingly helpless student who arrives for an unscheduled appointment, asks for advice and proceeds to make him feel utterly powerless.
Just describing their roles in this way is to impose a judgment on both characters that the play continuously questions. Is he being reasonable or condescending, merely indulgent or subtly sexist? Is she playing a role, callously turning herself from wisp to banshee, or does she have a point? In the end, it's really up to you to decide.
While Mamet's 1994 movie version seemed shrill and miscast, this new treatment, modestly staged in Glowacki's fifth-story loft south of Pioneer Square, has an intimate intensity that suggests why the stage version had such impact in the early 1990s.
Harrison's body language is particularly eloquent during John's frequent phone chats with his wife; although she may seem to have the lesser role because she gets to address only John, her reactions speak volumes.
Instead of a single director, the program lists a directors' panel: Peter Burford, David Dodge and Amelia Meckler. The result, however, is anything but direction by committee. This "Oleanna" is all of a piece."
The Fantastic Production Team for, "Love in the Time of Zombies"
Amelia Meckler loves all aspects of theater and has worked as an actor, director, stage manager, props maven, running crew, light board op - you name it she's done it. After graduating with a BFA in Theater Performance from Hofstra University in New York, Amelia moved to Seattle and began working with GreenStage, where she met D'Arcy Harrison, a kindred theater spirit. Since then, she has directed Squish!, Merchant of Venice and Twelfth Night for GreenStage and An Inconvenient Squirrel for Theater Schmeater, as well as served on the directing panel of Oleanna for Vagabond. Amelia is currently the Casting Director for GreenStage. She has also worked with several other Seattle theaters including Stage RIGHT, Balagan, Macha Monkey, Taproot and others. Amelia believes live theater is a vital part of community and the human condition. Go see a play.
Brittany Carpenter- PR/Marketing
Brittany is a Drama major/rollergirl/horror enthusiast turned Marketing professional, and is thrilled to be working with this team to promote Love in the Time of Zombies! By day, Brittany works at an advertising agency and is studying to earn her MBA. She has previous experience working in marketing at The 5th Avenue Theatre where she got to combine her love of musicals with her passion for marketing. Thank you for your interest in this project, and can't wait to see you at the theatre!
Nick Terry- Teaser Videographer
Nick is a freelance videographer and editor, based in and around Seattle, WA. Hoping to one day breaking into the film industry, he is always looking for larger and more ambitious projects to participate in. He has directed two feature films and is currently in production on his third.He has grown up in the theatre community, and has been consistently participating in local theatre both on and off the stage since the tender age of 12.
Jason Sharp has been terrorizing Seattle theater audiences for well over a decade, and he's especially excited to be working with Vagabond Alley Productions and Pocket Theater to bring you this wicked new zom-com. Favorite stage credits occurring prior to the Zombie Apocalypse include The Cap'n in Annex Theatre's Team of Heroes trilogy, The Wolf in Macha Monkey's Sweet Nothing, Danny Zuko in Live! From the Last Night of My Life at Theater Schmeater, and Red in the late night comedy series Capitol Hill High at CHAC. Additionally he's had the pleasure of working with Live Girls Theater!, Bad Actor Productions, EXITheatre, Open Circle Theater and Our American Theater Co. Jason is also a veteran actor of 14/48: The World's Quickest Theater Festival and Ian Bell's Brown Derby Series at Re-Bar.
The Cast of "Love in the Time of Zombies"
Casey Brown/Fight Choreographer
Casey Brown (Fight Choreographer): Casey’s past fight choreography includes Seattle Shakespeare’s 2013 touring productions of Romeo and Juliet and Julius Caesar, The Overcoat (Ghost Light Theatricals), Team of Heroes: Behind Closed Doors (Annex Theatre), The Fantasicks (Bellevue College), and Macbeth (Animal Fire Theatre Group). He is an active member of the Society of American Fight Directors and the International Order of the Sword and has been working as a performer for over twelve years. Casey also works full time at Seattle Shakespeare as Education Associate.
Alexandra Wright/Video Teaser Makeup Supervisor
Alexandra Wright is a current cosmetology student, specializing in special FX makeupt. She is currently the Head of Makeup for Haunted Nightmare haunted house and recently won the American Express Passion Project for her FX makeup.Check out her work as a "Game of Thrones" zombie to the right!
Kate Finn aka "Katie Kate"/ Video Teaser Music from "Zombie"
or request her new album "Nation" that is releasing in August
Robert Hankins is excited to be making his first appearance in a zombie-related play. He studied theatre at Roosevelt University’s Chicago College of the Performing Arts. While living in Chicago he co-founded Red Tape Theatre where he served as Artistic Director for 3 years. Robert was last seen as Xanthias in Greenstage's Bacchae and Tim in Driftwood’s production of Noises Off. His Seattle area credits also include Guildenstern in Rosencrantz and Guildenstern are Dead, Carl in Lonely Planet, Mitch in Macha Monkey’s Thebes, Mortimer in Arsenic and Old Lace, and was recently in Renton Civic’s The Foreigner as David. He spends his days as an administrator for ACT Theatre.
D'Arcy is super stoked to be playing a "romantic-ish" lead in this fun ROM ZOM COM. This new challenge will be different than the divas, lesbian football coach and saucy sarcastic friends she is usually tapped to play. She is a huge horror enthusiast and has an extensive zombie movie collection in addition to many other scary movies, her favorites being "Suspiria," and the original,"The Fog," as well as George Romero's,"Dawn of the Dead." In addition to producing +marketing this venture, D'Arcy will employ a genuine, grounded and organic approach to her acting in collaboration with her costars. She is so happy to be working with the ultra talented Robbie, Jason and Amelia! For a more detailed bio, please see above.
--->>"Drama in the Hood":
"The piece is very comedic, highly entertaining, and will have you rooting for the married couple, in all of their hot mess glory."
--->> "Heed the Hedonist":
"It was so good that it had me wishing it was longer – and is a great fix while we all wait for The Walking Dead to resume its run, dear hedonists."
--->> Read a review by the writer, Damian Trasler:
--->> Interview with Omar Wiley of Seattle Star:
(Scroll down to the bottom of the page for Links to Press and Press Materials)
Q+A with the playwright of our latest production,
"Love in the Time of Zombies"
Where were you born and where did you grow up?
I was born in Sunderland, Tyne and Wear, UK. It's a town in the North East of England, that was primarily dependent on Shipbuilding up to the Seventies when strikes, and politics closed down most of the works. I lived there from 1972 to 1979, because my Dad was the vicar at St Peter's Monkwearmouth, a church that was built in AD 975. We moved South, and I lost my native accent. From then we moved a couple of times more, but I mainly grew up in the more affluent south of England. When I got married, my wife was in the RAF, so we moved every two years. Coming out to Canada wasn't that tricky for people who got used to keeping contact light and belongings sparse.
Do you have a background in theatre?
Not real theatre. My Dad wrote plays for the church which I acted in from a young age, then I joined a youth club that put on an annual Christmas performance. I helped write a couple of those, and then joined local theatre groups wherever we lived.
What inspired you to become a writer and/or playwright?
Remember "St Elmo's Fire"? Well, there was a character in that who wanted to be a writer. He was always bashing away on a typewriter and wearing a fedora. Well, that was me from my early teens. I loved books, especially Science Fiction, and I was sure I could turn the voices in my head into books. When my first daughter was born, it was clear there was no way my wife could give up work, so I became the principal caregiver. As we all know, there's no effort involved in bringing up a small child, so I decided to build a brilliant writing career in all the spare time I had. I got a couple of articles published, a short story, and then got offered the editorship of a magazine. Meanwhile, the theatre group I was a member of wanted a new play for a one-act competition they were entering, so I wrote one. We won the competition, and later I won a medal for the same play. It seemed a lot easier to write plays than to write novels, so I stuck with that.
Do you write in any other mediums?
I have several complete but bad novels that never went anywhere, and I recently collected my old short stories and published them on Amazon - "Coffee Time Tales" and "Coffee Time Tales 2". Then I did the same for some Science Fiction stories I wrote - "Science Fiction Shorts", and then I took the first year of blog posts from my account of moving to Canada and published that too - "The Great Canadian Adventure". I also co-write plays, sketches and commercial scripts with two partners in the UK: TLC Creative.
What inspired you to write,"Love in the Time of Zombies?"
I had an idea of a guy going out to a regular job in the Zombie apocalypse - a really pointless day job, like an advertising executive. He was coming home furious because he didn't get the promotion he'd expected, but the guy who DID get it had been bitten and was a zombie - a zombie got promoted over him! I started writing it with him coming home to his wife, but it didn't work, their situation was too tense, too sad for a sketch. So I broke out the promotion joke into a standalone sketch and started to look at the pair of them at home. The idea that someone would find life in the zombie apocalypse hard is easy to see, but would you stay with someone you didn't love, someone who was driving you crazy, if the alternative is being alone at the end of the world?
Are any characters in the play based on you or other people in your life?
Probably not. I've had one request from my wife to rewrite a play because it was too close to home. It's inevitable that the majority of voices a person hears in their head come from their close friends and family, but the characters tend to spring from their situation. I don't consciously model them on people.
What are the central themes and concepts in the play?
Oops, I kind of covered this. It's the thing about relationships. I've been married for eighteen years, and there have been tough times - we've got three kids, we move around a lot, and I have problems finding regular jobs that fit around the kids. I see the strains on relationships around me, and I wonder what are the things that push people beyond "I'm not happy" to "I have to get out". A friend's mother walked out one day, and there was no real inciting incident - she had just had enough, and ran away with the village butcher. She'd been married for seventeen years, and just got up one day and walked out. Her husband had no clue. His response was to buy a stereo to put in the living room, as that was the only thing he could remember her ever complaining about. SO a zombie apocalypse might make life different, but it wouldn't stop people being people, and it might be the thing that provides the final push for someone.
Whats it like to see your writing on stage, live?
It's a bit weird, to be honest. I haven't been able to see many of my plays performed, especially since moving to Canada. My publisher is internet based so plays get performed around the world. Some groups are kind enough to send me videos, or photos, and that's great. Occasionally I get a bit Woodyt Allen about the whole thing, thinking "Oh, that was the wrong emphasis! Could you pronounce that differently?" But mostly it's a kind of proud surprise - these people have liked what I wrote enough to put the time and effort into making it come alive on stage. I know what hard work a stage show is, so I'm really, really grateful.
Are you working on any writing projects currently, if so what?
Ha! Always writing something. I'm just editing the latest e-book, my first novella. It's called "Tribute", and it's the YA version of a TV script that became a musical, then stage show, then a novel, now this novella, and will someday be a musical again. After that I have to finish the latest one-act which has no title. It's referred to in my head as "The Bullying play" because it's about a man trying to track down what happened to his school bully. My wife has made some shrewd suggestions about content that I need to address. She's very helpful that way.
Do you have additional streams of income to support your life as a writer?
I have a complete lack of additional income from my e-books. I read and review scripts for my publisher, and with him I offer the Lazy Bee Scripts appraisal service, where I'll read, proofread and report on a script for writers, with the report going directly to them. That's been very successful the last couple of years. Recently I got a part time job at the library, which is a dream come true - all those books! It's fun, and leaves me enough time to keep writing, as well as having the inspiration of all those titles going by.
What is the role of art and creativity in your life?
Writing is something I have to do. I don't know that I'd consider it art. I love writing, and I'm usually happy with what I write. I make regular jokes using photos and words that I post to the internet (through G+). Words are what I do, they're how I shape my world and make the one around me make sense. I love pictures, and would love to be a better photographer or painter, but I'm too fumble-fingered. My photography teacher at college called me "Technically competent" which was damning. I like building things, though I'm far from competent there. I think, for me, it's more about expression that art. I read once that a thought isn't fully realised until it is expressed, and so if I get an idea, I have to make it real by writing it down somehow.
Artistic Director and Executive Producer
Corey Feist/ Graphic Designer+Board Operator
Corey is a part-time freelance graphic designer for DrillBit Design with roots in the theater and film community. Writer, Actor, director, and artist, Corey loves to create. Love in the Time of Zombies was a natural landing spot as it's like Shaun of the Dead meets The Odd Couple meets The Blue Lagoon...er something...anyway, just a perfect mix of the worlds he loves to draw in.
In lieu of a physical press kit we offer you public links:
Rob Witmer/ Sound Designer
Rob is a a Seattle Times Footlight Award winning Sound Designer who works regularly with New Century Theatre and many others in Seattle. He also performs regularly with his band the Love Markets.