Design Faculty

Andrew Boyce
Assistant Professor/multi disciplinary designer

Andrew is a multi disciplinary designer working on a variety on projects ranging from theater, opera, and live events, to film and commercial spaces. Andrew received his B.A. from Middlebury College with a degree in architecture, and his M.F.A. from Yale School of Drama. He has participated in the Lincoln Center Directors Lab and is a member of the Wingspace Design Collective. From 2011-15, he taught in the Design Department at the Yale School of Drama and during the 2014-15 academic year, he taught at Ithaca College. Andrew has designed the sets and/or costumes for the world premieres of: Jose Rivera's Another Word For Beauty (Goodman); Sam Hunter's Clarkston (DTC); Craig Lucas’s Ode to Joy (Rattlestick); Sharr White’s Annapurna (Magic Theatre); Jonathan Tolin’s Buyer & Cellar (Rattlestick); Adam Rapp’s Dreams of Flying, Dreams of Falling (Atlantic Theatre Company); Heidi Shrek’s The Consultant (Long Wharf Theatre); Marcus Gardley’s The Royale (Kirk Douglas); Taylor Mac’s The Lily’s Revenge (Magic Theatre); Mike Lew’s Bike America (The Alliance); Luis Alfaro’s This Golden State (Magic Theatre); Nick Jones’s Verite (LCT3); Ethan Lipton’s Red Handed Otter (Playwrights Realm); Andy Bragen’s This is My Office (Play Company); Ken Urban’s The Correspondent (Rattlestick); among many others. Andrew has NYC credits with: Lincoln Center Theater, Roundabout Theater Company, Atlantic Theater Company, Primary Stages, Rattlestick Theater, The Play Company, Playwrights Realm, Cherry Lane, etc. Regional credits with: Actors Theatre of Louisville, The Alliance, American Players, Asolo Rep, Bay Street, Curtis Opera Theatre, Des Moines Metro Opera, The Geffen, George Street Playhouse, The Goodman, Kirk Douglas, Magic Theater, Marin Theater, Mark Taper Forum, Philadelphia Theater Company, Portland Center Stage, Syracuse Stage, Theatreworks (CA), Westport Playhouse, The Wilma, among others. Frequent collaborators include directors Les Waters, Kip Fagan, David Kennedy, Davis McCallum, Steve Cosson, Tea Alagic, Stephen Brackett, Meredith McDonough, Sarah Rasmussen, Loretta Greco, Daniel Aukin, and Moritz Von Stuelpnagel, among others.

Marcus Doshi
Assistant Professor/lighting design

Marcus Doshi is an international theatre maker who designs lighting and sets for theatre, opera, dance and collaborates with artists and architects on a variety of non performance-based work. He is an artistic associate of Sabab Theatre – with whom he participated in the creation of The Speaker’s Progress, In the Eruptive Mode, and The Petrol Station, both written and directed by Artistic Director Sulayman Al Bassam, and has a long standing collaboration with Theatre for a New Audience, in New York City, with whom he has designed Othello, Measure for Measure, Macbeth, The Taming of the Shrew, King Lear (all directed by frequent collaborator Arin Arbus), The Broken Heart, and Hamlet. His work for Opera has been seen in the US with Lyric Opera of Chicago, Seattle Opera, Boston Lyric Opera, Virginia Opera, Sopletto Festival USA, Lincoln Center Festival, and The Greenwich Music Festival where he was principal designer for many years, and internationally with companies such as The Royal Opera House, Canadian Opera, La Monnaie / De Munt, Aldeburgh Music, and the Festival d’Aix-en-Provence. His work has been seen elsewhere internationally in Edinburgh, Amsterdam, Paris (at La Comédie Française), Marseille, Castres, Venice, Vienna, Tunis, Sousse, Cairo, Beirut, Kuwait City, Mumbai, New Delhi, Phnom Penh and Jakarta. Marcus has also worked extensively Off-Broadway and in American regional theatre with such companies as The Signature Theatre, New York Theatre Workshop, The Vineyard Theatre, Huntington Stage Company, Yale Repertory Theatre, Hartford Stage, Geva Theatre, Ford’s Theatre, Pittsburgh Public Theatre, Indiana Repertory Theatre, The Wagon Wheel Theatre, The Goodman Theatre, Court Theatre, Chicago Shakespeare Theatre, Milwaukee Repertory Theatre, Repertory Theatre of St. Louis, Dallas Theatre Center, California Shakespeare Theatre, Berkeley Repertory Theatre, Portland Center Stage, Seattle Repertory Theatre, The Intiman, and Oregon Shakespeare Festival, among many others. Marcus is a graduate of Wabash College and of the Yale School of Drama.

Ana Kuzmanic
Assistant Professor/costume design

Ana Kuzmanic (Costume Designer) designs costumes for theatre and opera. Regionally Ms Kuzmanic designed costumes for performances at: The Lyric Opera of Chicago, Asolo Repertory Theatre, Berkeley Repertory Theatre, The Court, Chicago Shakespeare Theatre, The Geffen Playhouse, The Goodman Theatre, The Lookingglass Theatre Company, The New Group (Off-Broadway), Milwaukee Repertory Theater, McCarter Theatre Center, Oregon Shakespeare Festival, The Shakespeare Theatre Company (Washington DC), Steppenwolf Theatre and Trinity Repertory Company. International venues include: The National Theatre in London, Sydney Theatre Company, Bitef Theatre in Belgrade. Her most recent projects include costume design work on Count of Monte Cristo at Oregon Shakespeare Festival, Treasure Island at the Lookingglass Theatre and 2666 at The Goodman Theatre. As a frequent collaborator of Tony Award-winning director Robert Falls, Ms Kuzmanic designed costumes for Don Giovanni at the Lyric Opera; Measure for Measure, Seagull, A True History of the Johnstown Flood and Desire Under the Elms and King Lear at the Goodman Theatre; Desire Under the Elms on Broadway; The Jacksonian at The Geffen Playhouse in Los Angeles and Off–Broadway. Ms Kuzmanic’s costume design for Broadway performance of August: Osage County was nominated for Drama Desk Award, and she received Joseph Jefferson Award for outstanding costume design for A Comedy of Errors. A native of Former Yugoslavia, Ana Kuzmanic earned her undergraduate degree in Costume and Fashion Design from Faculty of Applied Arts in Belgrade and an MFA in Theatre Design from Northwestern University. She is an associate professor of costume design, focusing on drawing and painting for stage designer, computer graphics character illustration, collaboration and fashion history. Website:

Linda J. Roethke
Director of MFA Design Program, Professor/costume design

National credits include Man and Superman (Shakespeare Theatre Company, Washington); As You Like ItJulius CaesarAll’s Well That Ends Well (Oregon Shakespeare Festival); The Game’s Afoot (Cleveland Playhouse); My Fair Lady, (Cincinnati Playhouse); My Fair LadyProofSpinning into Butter (The Repertory Theatre of St. Louis); Managing MaxineMrs. Warren's ProfessionThe Underpants, (Suzi Bass Nomination); The Fourth Wall, My Fair Lady, Shadowlands, Spinning into Butter, A Beast on the Moon, and How I Learned to Drive(Alliance Theatre); Quake, An Allegory of Whiteness, Wonderful World (Actor's Theatre of Louisville); A Flea in Her Ear, Cymbeline (Utah Shakespearean Festival); A Little Night Music(Connecticut Repertory); The Gin Game, Godspell (Center Stage); Chicago credits include Dead Man's Cell Phone, Intimate Apparel, and I Never Sang for My Father (Steppenwolf);Orlando, Arcadia, The Romance Cycle (Cymbeline and Pericles); The Dead, Hay Fever, Little Foxes, An Ideal Husband (Joseph Jefferson Award); Old Times, On the Verge (Court Theatre); Stage Kiss, The Clean House, A Schoolgirl's Figure, A Pirate's Lullaby (The Goodman Theatre);  Hecuba (Chicago Shakespeare Theatre); and The Red Planet (Adler Planetarium) film.  Professor Roethke has directed national and international workshops in costume design, drawing, and rendering.  She maintains a freelance career as a professional costume designer, a member of U.S.A.A., and as a studio artist.  Gallery exhibits of her studio work include the Louise Grayson Gallery, and Curator's Choice: Around the Coyote. Roethke earned her B.S. from the University of Wisconsin-Platteville, where she was named as Distinctive Alumni.   She has an M.F.A. from The University of Iowa and did post-graduate work in fiber art at Penn State University and the School of the Art Institute (Drawing and Painting).

Todd Rosenthal
Co-Director of MFA Design Program, Professor/scenic design

Todd Rosenthal (Professor/Scenic Design) designs scenery on and Off-Broadway and at theaters nationally and abroad. Broadway credits include: August Osage County (Tony Award), The Motherfucker with the Hat (Tony Award and Outer Critics Circle Award Nominations), Who’s Afraid of Virginia Woolf (Tony Award Best revival), Of Mice and Men, This is Our Youth, and Fish in the Dark. Off Broadway credits include: Red Light Winter (world premiere), Barrow Street Theater; Domesticated (world premiere), Lincoln Center; Qualms (world premiere), Playwrights Horizons; Clean (world premiere), Atlantic Theater Company. Todd has designed scenery and apparatus for New York City’s Big Apple Circus for six years. Internationally Todd has designed for theNational Theatre in London, The Sydney Theater in Sydney, Australia; the Theatre Royal in Ireland; and the Old Vic in London. Select regional theaters: Steppenwolf (33 productions), Goodman (artistic partner), Yale Repertory Theater, The Guthrie Theater, Alliance Theater Company, Mark Taper Forum, American Repertory Theater, La Jolla Playhouse, Arena Stage, Berkeley Repertory Theater, Cincinnati Playhouse in the Park, Alley Theater, Lyric Opera of Chicago, Oregon Shakespeare Festival, Manhattan Theater Club, St. Ann’s Warehouse and many others. Recent projects include: The Ghost Brothers of Darkland County written by Stephen King and John Mellencamp with musical direction by T-Bone Burnett; Nice Fish,written and directed by 3-time Tony Award winning actor Mark Rylance; Treasure Island, written and directed by Mary Zimmerman, and Mary Page Marlowe directed by Anna D. Shapiro. Todd has collaborated on many world premiere plays including numerous collaborations with Pulitzer Prize winning playwrights Tracy Letts and Bruce Norris. He has maintained ongoing collaborations with Tony Award winning directors Anna D. Shapiro, Robert Falls, and Pam Mackinnon. Select Museum Exhibitions (Lead Designer) include: The International Exhibition of Sherlock Holmes; Mythbusters: The Explosive Exhibition; Ice Age Adventure (for 20th Century Fox). Co Designer: Beatles: The Magical History Tour. Other Awards: England’s Laurence Olivier Award (Only American set designer to win the Olivier), Helen Hayes Award, Ovation Award, Back Stage Garland Award, Joseph Jefferson Award, Suzy Bass Award, Michael Merritt Award for Excellence in Design and Collaboration. Todd is a full professor at Northwestern University and a graduate of the Yale School of Drama. Website:

Eric Southern
Assistant Professor

Eric Southern is a lighting designer for theater, opera, and dance. Recent projects include: The Good Swimmer, a pop requiem created by Heidi Rodewald, Donna DiNovelli, and Kevin Newbury (BAM Next Wave); After the Blast, Ghost Light, Bull in a China Shop, and The Harvest (Lincoln Center); Sarah Jones’ Sell/Buy/Date (Manhattan Theater Club, New York Live Arts); Indian Summer and Pocatello (Playwrights Horizons); Kate Hamill’s adaptation of Pride and Prejudice (Primary Stages, HVSF); Buyer and Cellar (Barrow Street Theater, Mark Taper Forum, London and National Tour); The Heidi Chronicles directed by Leigh Silverman (The Guthrie Theater). He is a longtime collaborator with the award-winning theater group 600 HIGHWAYMEN where he has designed The FeverEmployee of the Year, The Record, Empire City, This Great Country, and Everyone is Chanting Your Name. Eric recently collaborated with composer David Lang on the last installment of his year-long residency at Carnegie Hall by providing a lighting score to the John Cage piece “Fontana Mix.” He developed Chromatic, an interdisciplinary performance piece based on the work of Joseph Albers, with Susan Marshall, Jason Treating, and Suzanne Bocanegra which premiered at The Kitchen in the summer of 2016. He previously worked with Marshall and Lang on Play/Pause which was presented at The Kennedy Center and Bam’s Nextr wave Festival. His work in opera includes the world premieres of Paul’s Case by Gregory Spears directed by Kevin Newbury (Urban Arias, Prototype Festival) and The Secret Agent by Michael Dellaira and directed by Sam Helfrich (The Danny Kaye Playhouse, Avignon Opera House, Armel International Opera Festival).Hello  He also collaborated with Helfrich on a fully staged production of Handel’s Messiah as well as a semi-staged production of Bach’s St. John Passion both with the Pittsburgh Symphony Orchestra. Internationally, his designs have been seen in London at the Mernier Chocolate Factory, in Paris at the Pompidou Center and at Park de la Villette, in Avignon at the Avignon Opera House, as well as in Seoul, Greece, Australia, The Netherlands, Hannover, Zurich, and Hungary. In the US, his work has been seen at Lincoln Center, Manhattan Theater Club, Atlantic Theater Company, The Guthrie Theater, Dallas Theater Center, Rattlestick Playwrights Theater, Westport Country Playhouse, Hudson Valley Shakespeare Festival, Baltimore Center Stage, Asolo Rep, Virginia Opera, Portland Center Stage, Baltimore Symphony Orchestra, Pittsburgh Symphony Orchestra, Commonwealth Shakespeare Company, The Arden Theater, The Magic Theater, Kansas City Repertory, and the Oregon Shakespeare Festival.