The upstairs rehearsal room at the Fountain last night was transported back to 1964 and Andy Warhol’s Factory with the first reading of the new play, Freddie, written by Fountain Co-Artistic Director Deborah Lawlor. Freddie tells the unforgettable true story of Frederick Herko, the young avant garde dancer who galvanized audiences and those who knew him in New York’s East Village during the turbulent 1960’s.
Frederick Herko 1964
Continuing its commitment to developing new plays, the reading last night offered Lawlor and the Fountain team the opportunity to hear the script read aloud by actors for the very first time. Reading the new play last night were actors Kristin Carey, Faith D’Amato, John Dyer, Harry Farmer, Dennis Gersten, Matthew Hancock, Rob Nagle, Natalie Ochoa, Erin Reed, and Donna Simone Johnson. The reading was directed by Frances Loy.
A dazzling storm of charisma, beauty and artistic passion, Herko was a brilliant 28 year-old dancer of extraordinary talent haunted by dark self-destructive demons. A fiery denizen of Andy Warhol’s Factory and the experimental scene in Greenwich Village, Herko became more eccentric, unpredictable and self-destructive. In 1964, while dancing in his apartment to Mozart’s Coronation Mass, Herko leapt out the window and fell to his death five stories down. Created by Deborah Lawlor, who was a close friend of Herko in the final year of his life, the project chronicles the blazing comet of the Icarus-like Freddie and the explosive creative energy of the 1960’s. By fusing theatre, music, and dance the project will capture the explosive spirit of a passionate artist and a turbulent era.
The development of Freddie is supported, in part, by a grant from the national Endowment for the Arts. A workshop presentation of the new work will be presented this fall.
Are you curious about the people who create those lifelike reborn dolls? Why they do it? How they’re made? We hosted a fascinating Q&A discussion with reborn doll artists Amy Karich and LaJuana Hawkins following last Sunday’s matinee of Reborningby Zayd Dohrn.
Amy Karich is a professional Reborn artist based in Southern California. Her online nursery, Amy’s Dollhouse, can be found at www.amysdollhouse.com. LaJuana Hawkins is a sculptor of African American figurines who has recently turned her talents to reborning.
In Zayd Dohrn’s play, currently receiving rave reviews in its Los Angeles premiere at the Fountain, a young reborn artist who crafts custom-made dolls tries to unravel the mystery surrounding a new client and, in the process, discovers the path to her own “reborning.” Starring Kristin Carey, Ryan Doucette and Joanna Strapp, and directed by Simon Levy, the Fountain Theatre’s production has been named a “Critic’s Choice” by the Los Angeles Times, which calls it an “exquisitely well-realized production … All the actors are rock-solid — a real heart-stopper.”
Amy Karich and LaJuana Hawkins to Q&A at Fountain Theatre
“Reborn” doll artists Amy Karich and LaJuana Hawkins will lead a discussion at the Fountain Theatre on Sunday, March 8 at 3:30 p.m., following the 2 p.m. matinee performance of Reborningby Zayd Dohrn.
A Reborn doll is a manufactured vinyl doll that has been transformed to resemble a human baby with as much realism as possible. Although many consumers collect Reborns as they would regular dolls, others use them to replace a child they once lost or a child that has grown up. The dolls often come with birth or adoption certificates, and their “parents” care for them as they would an infant. Because of their realistic appearance, Reborn dolls have occasionally been mistaken for real babies and rescued from parked cars after being reported to the police by passers-by.
Kristin Carey in “Reborning”.
The doll design process — called Reborning — is elaborate and time-consuming. Creators hand-root each strand of hair onto a doll’s scalp. They replicate dewy newborn skin by adding up to 80 layers of paint to the vinyl molded baby, which then must be baked to be sealed. Some are then perfumed with new-baby smell. Manicured nails and opening of the nose holes, so that the baby can “breathe,” are other details that are added during the process. Reborn heads are often weighted, so that owners have to support the head like one would a real newborn. Electronic devices that mimic a heart beat, or make the chest rise and fall to simulate breathing are common. Reborns might come with an umbilical cord, baby fat, heat packs to make the reborn warm to the touch, or voice boxes that mimic infant sounds. Reborn dolls can be purchased on EBay and on artist websites, often called “nurseries.” Purchases are not called sales, but “adoptions.” There are trade shows for collectors nationwide. Depending on craftsmanship, dolls range in price from hundreds to thousands of dollars.
Amy Karich is a professional Reborn artist based in Southern California. Her online nursery, Amy’s Dollhouse, can be found at www.amysdollhouse.com.
LaJuana Hawkins is a sculptor of African American figurines who has recently turned her talents to Reborning.
In Zayd Dohrn’s play, currently receiving its Los Angeles premiere at the Fountain. a young artist who crafts custom-made dolls begins to suspect that a demanding client may be the mother who abandoned her at birth. As she tries to unravel the mystery, she discovers the path to her own “Reborning.” Starring Kristin Carey, Ryan Doucette and Joanna Strapp, and directed bySimon Levy, the Fountain Theatre’s production has been named a “Critic’s Choice” by the Los Angeles Times, which calls it an “exquisitely well-realized production… All the actors are rock-solid — a real heart-stopper.”
[WARNING: This post contains adult content and images]
One of the characters in Zayd Dohrn’s play Reborning has a unique profession. And we don’t mean Kelly (Joanna Strapp), the gal who makes lifelike dolls. We’re talking about her boyfriend, Daizy (Ryan Doucette). He makes … well … how does Kelly politely describe them? “Adult rubber and latex items.” Dildos. Which Daizy waves about their NY loft in the play. So, when it came time to produce the LA Premiere of this funny and powerful comedy/drama, the Fountain was put in the unique and unusual position of needing to hire someone to paint the dildos so they looked as realistic as the dolls Kelly creates.
And where does one go to find a dildo painter? The Fountain turned to Gabriella Guzman, a student at Art Center College of Design in Pasadena.
Where are you from? Where did you get your art training?
Well my Cuban self was born in Virginia (random, right?), but my parents raised me in Miami, which is basically second Cuba. No lie. I pretty much get empanadas pelted at my face as soon as I step off the plane. I’ve been in public art schools my whole life, but I’m currently studying Illustration & Fine Art at Art Center College of Design in Pasadena.
How did you get this unique job on this production?
Apparently [Artistic Director/Producer] Stephen Sachs sat down at the dinner table one night and asked his son, Daniel [who also attends Art Center], if he had any friends who would be good at a penis paint job. Immediately, my name came to his mind. And to this day, I have no idea how to feel about that.
What was your reaction when you were offered this job?
My immediate reaction was to ask Daniel why in the heck he thought of me as the ideal penis painter. But after a while, I realized that this job makes for the greatest story because it’s my first job! After all, how many people can say their first job title was “Dildo Painter”?
Gabriella Guzman hard at work.
Have you ever painted anything like this before?
You know, as twisted as my mind is, I’ve actually never painted penises before. I should do it more often, though, cuz they definitely make great reference for trees or mushrooms or horrific worm demons. Seriously, just add teeth to one of those things and it’s a pelvic nightmare Dali wishes he would’ve painted.
How are the dildos used in the play?
One of the main characters, Daizy, makes photo-realistic penis sculptures for a living. At one point, he walks out on stage with one of the penises hanging out of his pants! I’m happy to say that the audience thinks it’s a real penis most of the time until they notice how big it is (HA! See what I did there?)
Kristin Carey, Joanna Strapp, Ryan Doucette
What’s it like painting a dildo? Did it make you uncomfortable at first?
Working with the rubber material was challenging at first because any paint I’d put on the surface would immediately crack once the rubber was bent or stretched, but luckily I got a lesson in material methods by a real Special FX Makeup Artist and I was able to use his supplies to produce better results. All in all, painting dildos made me feel like an incredibly unique human being at first, but after a while, I started wishing I was a lesbian just so I’d never have to see another dick again!
Did you tell your friends what you were dong? How did they react?
As soon as I got the job, my immediate thought was “Omg FACEBOOOOK STATUUUS”, which just shows you where our culture is today. My male friends reacted by offering themselves up as reference, but golly gosh, as much as I loved those offers, I respectfully declined. I remember getting tagged in a lot of posts about phallic sculptures and there were quite a few enlarged stills of pornos messaged to me. Isn’t it great to have supportive friends?
Have you told your parents? What was their reaction?
My mom, being an old fashioned Cuban woman who is too sweet and pure to have heard of such things, reacted pleasantly when I told her I was a dildo painter simply because she had absolutely no idea what a dildo was. I remember her saying “Oh sweetie, how nice. Is that a type of plant?”
Do you enjoy painting them?
Gabby takes her work home.
I feel like there’s no way for me to answer these questions without sounding like I really like penises.
And painting them ain’t so bad either.
What is involved in painting a dildo? Can you briefly take us through the process?
You need to paint rubber using a special paint called Skin Illustrator, and the paint has to go on in very thin layers otherwise it’ll rub off or get clunky. It’s kind of like painting with watercolor, only instead of water, you use alcohol. Once the dildos are dry, you spray them with “Green Marble”, a makeup sealer that keeps everything from rubbing off for a good week or so. You drop off your finished dildos, go home, and once you’ve finally forgotten about penises, you get called to come back for a retouch. Rinse and repeat!
Have you ever been involved in a theater or play before?
I’ve never been involved in a play before or been part of any theater work. It was so exciting to see everyone scramble, to discover what it’s like to put a play together. It requires a lot of teamwork, I’ll tell you that much.
How did you feel on Opening Night, seeing your dildos up there on stage?
When Daizy ran out on stage with my dick hanging out of his pants, I punched my friend in the arm out of excitement.
What’s it like being part of the production team at the Fountain? Has it been a good experience?
I absolutely LOVED being a part of the production team at the Fountain! It was so amazing to feel like a functioning adult for a few weeks, with a job and a title! Everyone at the Fountain has been so accepting, kind, and professional. I’m proud to be a member of this family.
You can see Gabriella’s handiwork in the LA Premiere of Reborning at the Fountain Theatre, now playing to March 15th.Get Tickets/More Info
Sometimes art imitates life and sometimes life imitates art. And somewhere in between, sometimes things get curious.
Hollywood’s Fountain Theatrerecently opened a play dealing with parenthood, the mystery of creation and the scars of loss. What it’s literally about is reborning, a thriving subculture in which artists spend hundreds of hours creating and collectors spend thousands of dollars buying vinyl dolls meticulously fashioned to resemble real babies.
Reborning began in the United States in the 1990s, when a few enthusiasts started painting over and otherwise altering (or “reborning”) store-bought dolls to make them appear more realistic. Now, however, it has become an international phenomenon. One unassembled, limited-edition kit for making the dolls recently released online sold out in less than three minutes.
The play, Reborning, centers on an artist and the increasingly unnerving relationship she develops with a client. Zayd Dohrn wrote it after the birth of his first child. In stumbling upon the curious art form, Dohrn found a perfect vehicle for exploring the terrifying vulnerability of new life. He also made something of a mess. “I tried my hand at making a couple dolls,” Dohrn says. “It didn’t turn out well.”
The show has previously been produced in New York, San Francisco and Anaheim (at the Chance Theater in 2012), with local reborners employed to create dolls.
The Fountain called Amy Karich, an Orange County stay-at-home mom who sells her reborn creations online. Karich, who also designed dolls for the Chance production, works out of a studio tucked into the tidy rolling hills on the outskirts of Laguna Beach. A slant-roofed add-on to the back of the family home, Karich’s workshop sits on one of those quiet, planned streets with an abundance of two-car garages, stacked rows of matching terracotta-hued roofs and artfully spaced palm trees.
Amy Karich in her studio.
Inside, her studio testifies to a flurry of activity. A paint-drenched sponge lies on her desk amidst jars of paints, brushes and beads. Against the walls sit boxes of eyeballs and a small table of disembodied doll parts. Teething toys, bassinets and pastel blankets dominate the decor.
“I’m not even a baby person,” announces the petite, blond mother of four, with the hint of an ironic smile.
That she’s going on the record at all is a pleasant surprise. The fact that some buyers have suffered miscarriages or found themselves unable to conceive prompted several articles casting them as mildly deranged. “People feel like they’ve been burned in the press,” says Dohrn, to explain why lately the subculture has taken on a slight air of secrecy.
Some clients ask for dolls with particular characteristics, occasionally including a picture. Other clients are more vague. One asked for 13 moles, though Karich could place them where she chose. The dolls aren’t usually used as toys — they’re mainly for display.
Artists become known for certain trademarks, such as color palates, and Karich says her skin tones are a signature of her work. She plucks the head from a nearly completed newborn to illustrate. “I put stork bites on them,” she says, pointing to the pinkish birthmark on the back of its head, which can appear during birth.
“All kinds of traumatic things happen at birth,” she adds. “Newborns … can have pressure marks anywhere. Because sometimes the baby will be resting against the bottom of the tailbone [for instance],” she says, absentmindedly rubbing her lower back.
Playwright Zayd Dohrn at the Fountain Theatre
“I love that she said that,” Dohrn says. “When you hear Amy talk, you understand what humans go through [during birth], the adventure they’ve been on and how it shows up on their bodies.”
Karich, whose dolls routinely go for $1,500 apiece, might spend 150 hours creating one. The details she adds reinforce that these aren’t toys but objects meant for display, intended for serious collectors. Artists favor Genesis paints, and stuff glass or zinc beads inside the dolls to give them an authentic heft. (“Some people have been known to use kitty litter,” Karich says, turning up her nose at the idea.)
Karich fishes out handful of handcrafted eyes from beneath a crib. “These are made of mouth-blown glass, produced in Germany. They go for $30 to $40 a pair,” she says. Her newborns also come with detachable magnetic umbilical cords, made by snipping off the finger of a vinyl glove and stuffing it with cloth painted to resemble bloody tissue, before tying it off with a real medical clamp.
“It’s very relaxing to me to be able to create,” she says.
In translating her dolls to the stage, a few adjustments were necessary, such as designing a deeper mottling for the skin to render it more visible to an audience.
There is one aspect of Dohrn’s play that Karich finds not terribly realistic: The reborner allows her client far too much access. Karich doesn’t even give out her phone number, in order to set boundaries on her time. But her clients are nearly all repeat customers. Relationships inevitably form, and personal details are shared — some tragic, but mostly clients just send news about their children.
“Most collectors are mothers and perfectly normal people,” Karich stresses. “Some people could be filling some sort of void with the dolls … but it’s not a void that causes them to treat the dolls like real babies. They are just another group of people, interested in something.”
Mindy Farabee is a writer and critic living in Los Angeles. A former LA Times staff writer, her work has also appeared in publications such as Bookforum, Los Angeles Review of Books, San Francisco Chronicle, The Millions, the Boston Globe, and LA Weekly. This post originally appeared in the LA Weekly.
The Fountain Theatre’s Los Angeles Premiere of Reborning by Zayd Dohrn opened last weekend to powerful reactions from audiences and critics. Reviews are starting to trickle in and already the production has been hailed by LA Splash as “another hit for the Fountain Theatre” with “fabulous acting.”
Reborning is a funny and riveting comedy/drama about creating family and the power of healing. Directed by Simon Levy, it stars Kristin Carey, Ryan Doucette and Joanna Strapp and runs to March 15th.
Chicago playwright Zayd Dohrn was at the Fountain Theatre last night to catch a performance of our LA Premiere of his riveting play, Reborning. He enjoyed the production very much and met with the cast and production team upstairs in our cafe after the performance.
Born and raised in New York City, Zayd lives in Chicago with his wife and their two children, and currently teaches playwriting and screenwriting at Northwestern University. He happened to be Los Angeles for a few days on a TV job and seized the opportunity to come to the Fountain where the Los Angeles Premiere of his play opens this Saturday night, Jan 24th.
It was a delight for actors Kristin Carey, Ryan Doucette, and Joanna Strapp to meet the playwright and chat about the play with him over beers in the cafe. Director Simon Levy and producer/co-artistic director Stephen Sachs were both very pleased to have the writer at the Fountain.
In our upcoming Los Angeles premiere of the edgy comedy/drama Reborning by Zayd Dohrn, a young woman makes lifelike baby dolls for a living. This is actually a true occupation and a real phenomenon. In the play, a customer seeks a doll to represent the child she lost years ago. In real life, customers buy reborn dolls from reborn artists for a variety of reasons. When the Fountain needed to learn more about this fascinating art form and the artists who create it, who did we turn to?
We asked Amy Karich. Amy is a professional reborn artist in Southern California. Her online nursery, Amy’s Dollhouse, can be foundhere.
Where are you from?
I grew up in Texas in the Dallas Ft. Worth area. I have a BA in English Literature from San Diego State University. My art training is mostly self taught. I have been married for almost 22 years and I have four children.
How did you get interested in making reborn dolls?
Reborn doll by Amy Karich
I made one for my daughter in 2009 to see if I could. When other people saw her doll, they began asking me to make one for them, too. I then started selling them at doll shows and eventually eBay and Etsy. I’ve been selling them under the name Amy’s Dollhouse for about 5 years now.
How long does it take to make one doll?
I finish and sell about 1 doll per month.
How much do they sell for?
They range in price from $500 for micro preemies to $2500 for larger babies. The average selling price for my dolls is $1100.
Reborn doll made by Amy Karich.
How are the dolls made?
It takes me a full month to make one doll. The painting process takes about two weeks and the hair rooting takes another two weeks. Each doll has between 25 to 35 layers of paint (baked after each layer is applied) in order to achieve their realistic skin tones, undertones, mottling, capillaries and veins. I then work on details such as fingernails and toenails, shading wrinkles, painting eyebrows, stork bites, and birthmarks if any are desired. After the final layer of varnish is baked, I begin the hair rooting process. After the hair and eyelashes are rooted, I seal it on the inside of the head. If it is an open-eyed doll, I insert the eyes and then weight the limbs and body. Finally, I assemble the doll.
Amy’s work table in her studio.
What are the reasons why customers buy your dolls?
Most of my customers are collectors who appreciate the artistry and realism of reborn dolls.
Has a customer ever asked you to make a replica of a child they’ve lost? Like in the play ‘Reborning’?
I have done one custom order for a client who had a miscarriage but none to my knowledge that have had a child pass away after birth. Most of my clients are not trying to replace a baby or pretend to care for a baby. As with most collectors of any type of art, there is an emotional element that compels them to buy a certain piece for their collection or gallery.
How often do you actually meet your customers face-to-face?
I rarely get to meet my clients as 99% of my business is online. I am looking forward though to exhibiting at the Rose International Doll Show in Denver this July where I do hope to meet with some of my clients. I’m really looking forward to it as I rarely have enough inventory to participate in doll shows. With an entire year to prepare however, I’ve been managing to create some dolls to sell at the show and still be able to handle all of my custom orders.
What gives you joy and satisfaction in your work?
For me, the joy and satisfaction is in the process of creating them and even photographing them. Once I have completed a doll, I am very happy to send it to a buyer who will appreciate and enjoy it. Many of my clients stay in touch with me and send photos. I am always so delighted to hear from them.
Is it ever hard to part with a doll you’ve made?
I will admit, that I have not been able to part with any of the small baby elves or fairies that I’ve done. I fully intended to sell them when I started them. When I finished them, I just couldn’t part with them. I have a difficult time parting with the miniature babies that I finish as well.
How would you describe the reborning community?
Reborn doll by Amy Karich
I think the artists who create lifelike dolls are a relatively small and close knit community. We have forums online where we talk to each other and share our work with each other. We share news about articles and events related to our field. We warn each other about difficult clients or non-paying bidders. This type of work can be very isolating so it’s refreshing to communicate with with other doll artists.
People are fascinated with the folks who buy reborn dolls and why they buy them.
In general, the media tends to focus on an extremely small percentage of collectors who may treat their dolls like actual babies. In my experience, however, most doll collectors are just like any other collector … they simply display (most often in locked glass cases) and appreciate their collection. For some reason the media targets doll collectors to portray them as crazy. They don’t target men who collect and spend insane amounts of money on cars, guns or even action figures. They say that the doll collectors are caught up in a fantasy or are role playing but one could say the same about people who attend renaissance fairs or participate in civil war reenactments dressed in period attire. I don’t think the media should make any group of collectors or hobbyists feel uncomfortable about what they choose to collect. I believe that, as long as the media continues its bias stories interviewing only the few collectors that do treat their dolls like real babies, most doll collectors will shy away from speaking about their collection with people who are not doll artists or fellow collectors.
When you first read ‘Reborning’, what did you think?
I thought the play was very entertaining and very much enjoyed it. I was intrigued that there was a play even written about what I do. So many people have never even heard of the art form.
The Los Angeles Premiere of Reborning by Zayd Dohrn, directed by Simon Levy, stars Kristin Carey, Ryan Doucette and Joanna Strapp. It opens Jan 24th and runs to March 15th. Don’t miss this funny and compelling comedy/drama about creating family and the power of healing. More Info/Get Tickets
Launching the Fountain Theatre’s 25th Anniversary Season, Simon Levy directs Kristin Carey, Ryan Doucette, Joanna Strapp — and some very unusual, one-of-a-kind dolls — in the Los Angelespremiere of Reborning by Zayd Dohrn. How far would you go to create a family?. A darkly funny psychological thriller that takes an unsettling look at work, motherhood and the power of healing, Reborning opens at the Fountain Theatre on Jan. 24.
In Reborning, a young artist who crafts custom-made dolls begins to suspect that a demanding client may be the mother who abandoned her at birth. As she tries to unravel the mystery, she discovers the path to her own “reborning.”
“The play is funny and twisted, but also deeply emotional and very moving,” says Levy.
Ryan Doucette and Joanna Strapp
A reborn doll is a manufactured vinyl doll that has been transformed to resemble a human baby with as much realism as possible. Although many consumers collect reborns as they would regular dolls, others use them to replace a child they once lost or a child that has grown up. The dolls often come with fake birth or adoption certificates, and their “parents” care for them as they would an infant. Because of their realistic appearance, reborn dolls have occasionally been mistaken for real babies and rescued from parked cars after being reported to the police by passers-by.
“It’s a pretty dark play, but kind of a comedy too,” explains Dohrn, who first became aware of reborn dolls when his wife was pregnant and they were searching for baby clothes online.
“We stumbled across numerous sites and forums for reborn dolls,” he says. “Buyers would testify how the dolls comforted them. I was trying to balance my own fears and hopes about becoming a father with my work as a writer and an artist, and I became fascinated. These dolls are realistic enough to be upsetting — beautiful and grotesque and odd all at once.”
Reborning received a workshop production at The Public Theater in New York City, followed by a world premiere production at The SF Playhouse in San Francisco. San Francisco’s Eagle News called it “A major triumph… a taut thriller that will keep audiences on the edge of their seats. You don’t want to miss it,” while the Chronicle praised the play’s ability to balance “humor, suspense, and trauma.” The SF Weekly wrote, “Reborning proves that grim topics and taboos can also be damn funny.”
Zayd Dohrn’s other plays include Outside People (The Vineyard Theatre/Naked Angels), Want (Steppenwolf First Look) and Sick (Berkshire Theatre Festival. His work has also been produced and developed at Playwrights Horizons, the Atlantic Theater Co., Manhattan Theatre Club, Goodman Theatre, South Coast Rep, Ars Nova, Kitchen Dog, Theatre for One, Boston Playwrights’, New York Theatre Workshop and the Royal Court Theatre in London, among others. He has written screenplays for the American Film Company, Bedlam Productions, and Vox3 Films, as well as a pilot for HBO. He earned his MFA from NYU and was a Lila Acheson Wallace Fellow at Juilliard, where he twice received Lincoln Center’s Lecomte du Nouy Prize. He teaches playwriting and screenwriting at Northwestern University.
Simon Levy was honored with the 2011 Milton Katselas Award for Lifetime Achievement in Directing by the Los Angeles Drama Critics Circle. Directing credits at the Fountain include The Normal Heart (LADCC Award for Best Revival), Cyrano (LADCC Awards for Direction and Production), A House Not Meantto Stand; Opus (LA Weekly Awards, Best Director); Photograph 51;The Milk Train Doesn’t Stop Here Anymore (Backstage Garland Award, Best Direction); The Gimmick (Ovation Award-Solo Performance); Master Class (Ovation Award-Best Production); Daisy in theDreamtime (Backstage Garland Awards, Best Production and Direction); Going to St. Ives; The Night of theIguana; Summer & Smoke (Ovation Award-Best Production); The LastTycoon, which he wrote and directed, (5 Back Stage awards, including Best Adaptation and Direction); and Orpheus Descending (6 Drama-Logue awards, including Best Production and Direction). What I Heard About Iraq, which he wrote and directed, was produced worldwide including the Edinburgh Fringe Festival (Fringe First Award) and the Adelaide Fringe Festival (Fringe Award), was produced by BBC Radio, and received a 30-city UK tour culminating in London. He has written the official stage adaptations of The Great Gatsby, Tender is the Night, and The Last Tycoon for the Fitzgerald Estate, all published by Dramatists Play Service.
Set design for Reborning is by Jeff McLaughlin; lighting design is by Jennifer Edwards; sound design is by Peter Bayne; costume design is by Naila Aladdin Sanders; prop design and set dressing are by Misty Carlisle; consulting doll artist is Amy Karich; associate producer is James Bennett; assistant stage manager is Shawna Voragen; and the production stage manager is Terri Roberts.