John Hadden, Project Director, Writer and Lear in King Fool, was born in Berlin and spent his childhood overseas. He was a founding member of Shakespeare & Company (Lenox, MA), where he directed, acted and taught for twenty years, cofounder/artistic director of Counterpoint Theater (Boston), artistic director of the Hubbard Hall Theater Co (Cambridge, NY) and associate artist with We Players (San Francisco). He has directed or performed in roughly 100 projects in Berlin, Cologne, Leningrad, New York, at US regional theaters, acted in TV pilots, radio and independent films, and taught and directed in universities and schools of every stripe. His own plays have won awards and have been seen at PS 122, LaMama, EST Octoberfest, the Wharton Salon and the Boston International Film Festival. His writing has appeared in literary journals, he is a New England States Touring artist, a member of Authors Guild, and he is on the Vermont juried roster of teaching artists. BFA: SUNY Purchase; MFA: Goddard College. His book Travels with a Masked Man, from dialogues with his father, who was CIA station chief in Israel during the Six-Day War, is due out this year (Arcade Publishing); his solo show by the same name is an ongoing project. More at


Jeannine Haas, Director of King Fool


Aleda Bliss, Cordelia in King Fool, is a recent graduate of the Royal Welsh College of Music and Drama, where she received the Sarah Siddons Award for outstanding classical work by an actress. She lives in Brooklyn and has worked with the Adirondack Shakespeare Company and Manhattan Rep. “King Fool” is her fourth collaboration with the remarkable John Hadden; previous work under his direction including “The Mad Woman of Chaillot” (Irma), “As You Like It” (Rosalind) and, most recently, Elmire in “Tartuffe” with the Theatre Company at Hubbard Hall.


Mary-Ann Greanier, Dramaturg, Community Catalyst, Mary-Ann Greanier is a poet, playwright, dramaturg, and community activist. She was an early member of Cornerstone Theater Company when it worked in collaboration with diverse communities across America to create site-specific, musical theater adaptations of classic plays. Mary-Ann collaborated with the Cornerstone ensemble and town residents to create community-specific interpretations of Romeo and Juliet  in Port Gibson, Mississippi, The House on Walker River, an adaptation of The Oresteia on a Pauite Reservation in Schurz, Nevada, Three Sisters from West Virginia in Montgomery, West Virginia, and others across the country.

Mary-Ann has provided dramaturgy for projects and plays by John Hadden, Deborah Henson-Conant, David Reiffel, Keith Antar Mason, and Bruce Odland, among others. Her plays and adaptations have appeared at the Edward Albee Play Lab, Boston Instant Fringe Festival, Boston Playwright’s Theater, The Theater Company at Hubbard Hall, and in site-specific venues around the country. Recent writing projects include collaborating with composer Bruce Odland ( on SAGA, an oratorio about the 19th century mass emigration from Norway to the US; an opera libretto about Diego Rivera’s mural at Rockefeller Center (also with Odland); and the screenplay “Raising the Turf,” co-written with Mike Croghan, about living in Ireland after the death of The Celtic Tiger. She looks forward to developing a gender-bending “Dueling Strindberg”  — her adaptation of two Strindberg one-acts — with composer and sound designer David Reiffel (

Mary-Ann lives and works in Littleton, Massachusetts.

Kate Johnson, Project Mgr


Maizy Broderick Scarpa, Outreach Liaison, first met John Hadden when she was just a whippersnapper. His gentle and visionary approach to theatre, people and life has inspired her ever since. Her performance credits include Hubbard Hall (including playing Oswald to John Hadden’s Lear!), Barrington Stage Company, Berkshire Theatre Festival, La Mama ETC. She has worked as a director and teaching artist at Shakespeare & Company and Hamptons Shakespeare Festival. As a teacher, she piloted an English program for government employees in Erbil, Kurdistan. She is co-founder of Emergent Ensemble Theatre. Maizy is a contributing writer to the textbook African American Heritage in the Upper Housatonic Valley, and an editor of affiliated local history audio guides. Her poetry is published by Seven Circle Press and Belleville Park Pages. In 2013, NYU/Tisch’s Experimental Theatre Wing produced her play Strange New Planet; a live book-on-tape. She is currently developing Wayward Home; a musical folktale, in collaboration with actor/musician Clara Strauch (

NH Headshot

Calvin Anderson, Lighting Designer, is a New York based Lighting and Projection Designer. Calvin tours with various musicians, dance and theater companies around the world. Some favorites have been BODYTRAFFIC, Strings & Serpents, and Opera To Go. From 2012-2014, Calvin was the Lighting and Technical Director for Ailey II. Select New York City credits: Salvatore LaRussa Dance Theatre (Lighting), Gold No Trade’s The Pinks (Lighting); and YBW’s Yellow Brick Wall: Angry White Men played by Two Happy Asian Girls (Lighting/ Projections). He is as an Assistant Lighting Designer with Arc3Designs. Calvin is also a proud member of United Scenic Artists Local 829.

Dalen Cole, grant writer


Bill Ballou, Technical Advisor, has worked in a range of trades in and around the entertainment industry for over forty years.  He’s designed sets, lighting, sound and props for theatrical productions all over the US, from outdoor historical dramas to Broadway.  He has worked as construction coordinator or art director for over a dozen feature films in the US, and worked in theaters, workshops and film studios in Europe and Asia.  He is currently the technical director at REDCAT in Los Angeles.


Bruce Odland, Composer, Sound Artist, is an artist who thinks with his ears.  A pioneer in sound installations, his first public sound installation, SUN SONG, broadcast a four channel cloud of reverberant sound over an outdoor festival in Denver from the Clock tower of East High back in 1977.  Since then he has discovered resonance and beauty in both the fractal music of nature and transforming vast industrial soundscapes of the cities into harmonic music.  In 1987 he founded O+A with Austrian sound pioneer Sam Auinger and together they have developed a HEARING PERSPECTIVE of the culture we live in and have responded with installations that change the perception of public space.  (BLUE MOON, 2004, re-tuned the post 9-11 soundspace of the World Financial Center plaza by turning noise into harmony mixed by the tides and moon, REQUIEM FOR FOSSIL FUELS, 2007-2010 brought together 4 virtuoso voices, the Latin requiem mass, and an 8 channel orchestra of tuned city resonances, SONIC VISTA, 2010, a permanent piece, united the north and south Greenbelts of Frankfurt Germany at a new focal point of listening – a “tuned” railroad bridge crossing the Main river, TONIC 2005, for West Hollywood, and HARMONIC BRIDGE,1998 for MASSMoCA, are permanent pieces reclaiming underutilized city spaces with harmonic resonances.)  Their latest collaboration is a permanent installation, HEARING VIEW, 2013, containing library of healing sounds for the Rheinau Psychiatric Clinic, the oldest psychiatric institution in Switzerland.

Over the years, Odland has lent his ears to many collaborative projects in film, dance, museum installation and theatre with artists such as Laurie Anderson, JoAnne Akalaitis, Wallace Shawn, Andre Gregory, Peter Erskine, The Wooster Group, Tony Oursler, Dan Graham, Robert Woodruff, Dave Davidson, Bill Morrison, Stacey Steers, and Ron Miles.  He recently co-directed a major outdoor sound installation with Laurie Anderson for Novartis in Basel, Switzerland. He has received artist grants from NYSCA, Foundation for Performing Arts, Bermont Foundation, the DAAD Fellowship, Rensaleer Polytechnic Institute residency, Golden Muse, Helen Hayes, Golden Reel, and Focus awards, and a Prix Ars Electronica.   Currently he is founding the TANK, a center for sonic arts and experimentation in a giant abandoned water tank in the high desert of Western Colorado.

Future partners include set, light and costume designers, community organizers, speakers, artists and supporters of all kinds. We invite you to join us in building the project. Please contact us with questions, ideas, introductions, links to organizations and/or funding opportunities.