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Kassi Dougherty is a writer, actor, singer/songwriter, and visual artist, currently living in New York City. She is the recipient of the Audience Award from the 2018 United Solo Festival (NYC) for her work “Song of Seamus and the Psychedelic Squirrel.”  Her one-woman multi-media extravaganzas “It Happened in the Park” and “Auntie Fionnualla’s Magic Disco” have been recently seen in Emerging Artist Theater’s (NYC) Fall New Works Series, and One Woman Standing, as well as at the Magnet Theater and the PIT (NYC). She has performed as a proud member of many sketch and improv groups: Film Noir and Harsh at the Upright Citizen’s Brigade, The Sound and the Fury musical house team at the Magnet in NYC, and on Harold teams at Improv Olympic, Chicago. She’s performed at the Del Close Marathon, in NYC and at the Toronto, Philadelphia, and Dirty South Improv festivals.  She was recently seen in the Web Series, “the Thing,” as part of the Country music/comedy sensation “the Drelles,” and in “the Pit-alogues.” She is currently belting out songs as part of the improvised musical revue, “The 29th St Revue,” has a B.A. in Music and Theater, and is jazzed beyond all imagining to be returning to the stage after being in exile with the rest of the world’s performers for all this dark long time. She is from somewhere in Kansas. 

Jody Shelton began his career as musical director for the Second City National Touring Company, and performed with renowned musical improv ensemble Baby Wants Candy for fifteen years.  In 2012, he co-wrote the parody 50 Shades! The Musical, which had an extended run at the Elektra Theatre in New York, and has been performed throughout South America, Asia, Europe and North America.  50 Shades! can currently be seen at Bally’s in Las Vegas.  Jody’s latest musical, co-written with Emmy and Peabody winner Peter Gwinn (The Colbert Report) is the Jeff recommended The Story of a Story (The Untold Story), which opened at the Chopin Theatre in Chicago in October, 2015.  Jody has also released three critically acclaimed albums as solo artist, and two more with his band, Daughter & Son.  Jody’s next project is a documentary series for television chronicling the artistic process of writing and rehearsing a new musical.



Brian Barnhart is the Producing Director for Drama Desk-nominated Axis Theatre Company in New York City.  Since 2003 he has produced a variety of performances, plays and musicals for Axis including “Worlds Fair Inn”; “Glance at New York” (Edinburgh, NYC); Marc Palmieri’s “The Groundling”; “Last Man Club” and their original musicals “Solitary Light” and “Evening – 1910” (from Axis Artistic Director Randy Sharp and Paul Carbonara, from Blondie).  In 2017 he produced Edgar Oliver’s “London Paris” at La MaMa.  After producing all three of Edgar Oliver’s previously performed solo shows (“East 10th Street” [winner, Edinburgh Fringe First]; “In the Park” and “Attorney Street”) he collaborated again with Oliver and director Randy Sharp on “Edgar Oliver’s New York Trilogy” (2017), a repertory production of all three critically acclaimed shows.  He previously produced “Song of Seamus” in 2018 at the United Solo Festival in NYC (winner of the Audience Award). As an actor Brian has performed with Debbie Harry in the US Premiere of Sarah Kane’s “Crave”, “Sheer Madness” at the Kennedy Center and “Angels in America, Parts I & 2” (Kansas City Drama Desk Award, Best Supporting Actor). Films include “Henry May Long” (with Christian Camargo); “The Price for Silence” (with Richard Thomas) and “Ladies Revenge Club”.

Marcus Bishop-Wright (Director, 2018 Production) is a graduate of LaGuardia Performing Arts High School, Marcus spent three years directing at Syracuse University before studying improv and sketch comedy with Chicago City Limits, the Upright Citizens Brigade and Magnet Theaters. He has been a member of several UCB house teams, and has co-created numerous improv shows including Film Noir Improv, and The Puppet Regime. Marcus has also appeared on Chappelle's Show, Late Night with Conan O’Brien and Late Night with Jimmy Fallon, and he remains generally uncomfortable referring to himself in the third person.





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