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Meet The Team


David 'dstew' Stewart

Producer, Inclusive Strategy - Disney Live Entertainment, Global. Produced works at Disney include: WDW 50th Anniversary, DJ’s Ready, Set, Party Time! (Hollywood Studios), Wonderful World of Animation (Hollywood Studios) Joyful! (Epcot), National Association of Black Journalists (Miami). Prior to working for Disney, David worked for the Guthrie Theater as Director of Production, University of Texas at Austin, University of Wisconsin – Madison. He had the honor of being the Stage Manager for His Holiness, the Dalai Lama. AEA stage manager for Madison Repertory Theatre, Studio Arena Theatre, St. Louis MUNY, Kansas City Starlight Outdoor Musicals, The Little Theatre on the Square and Vienna Austria’s English Theatre.


In addition, Stewart was awarded the Distinguished Alumni Achievement award from Webster University. He currently serves as the Chair for the People of Color Network at USITT, sits on their board of directors, as well as co-founder of the highly successful Gateway Program. He has two nationally published articles on diversity in theater production, is the technical editor for two theater management books, and holds a 4th degree black belt in Tae Kwon Do.


Sarah Lozoff

Sarah Lozoff (SDC) is an accomplished intimacy director and movement director, and has been named a "2021 Woman to Watch on Broadway" by the Broadway Women's Fund. She was the first intimacy director in residence at a major regional theater (OSF), as well as the first to work with American Ballet Theatre on both their fall season and the groundbreaking, commissioned work, Touché. Sarah is currently working to bridge the gap between intimacy direction and the world of concert dance through working with the artists of ABT, and RudduR Dance, where she is a resident artist.


In addition to an extensive performance background, Sarah has a rich history with both social justice work, and informed consent based birth work. She's a second generation activist who's well versed in current EDI (equity, diversity, and inclusion) practices and currently sits on the EDI committee for USITT (United States Institute for Theatre Technology). 

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Bear Bellinger

Bear Bellinger is an actor, performer, writer, advocate, and facilitator based out of Chicago, Illinois. As a performer, he has had the opportunity to work with Teatro Vista, Court Theatre, The Goodman Theatre, Paramount Theatre, The Inconvenience, Timeline Theatre, and Chicago Children’s Theatre, among others. 


He is currently an elected member of Actors’ Equity Association’s national council. And, his writing has been featured in Vox, Rescripted, Windy City Times, Stage and Candor, and others with a focus on equity, diversity, and inclusion in the arts and in the world at-large. Through his writing, he has worked as an anti-racist facilitator, educator, organizer, panelist, and guest lecturer. #BLM


Kate Coltun
Collaborator/Lead Seeker

Kate Coltun is a curator, theatre maker and creative manager centering equity in all areas of her professional output. Kate spent many years in many roles with Center Theatre Group in Los Angeles, finishing her tenure there as the associate production manager of the Mark Taper Forum. Subsequently she relocated to Denver to join the team at the Denver Center for the Performing Arts as their Production Manager.  Her projects have included collaborations with  El Teatro Campesino, the world premiere of Rajiv Joseph’s ARCHDUKE, David Byrne’s THEATRE OF THE MIND, Sting’s musical THE LAST SHIP, and the virtual reality experience CARNE Y ARENA created by Alejandro Iñárritu.  Her Covid-19 hustles have included anti-racism training and periodic facilitation, curating the literary magazine Big Witch Energy, and volunteering in local animal shelters. In addition to her work with Production on Deck, Kate is currently supporting the economic rebound and reemployment efforts in the state of Colorado with their Department of Labor and Employment. 

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Lindsay Jones

Lindsay Jones is a composer and sound designer for theatre and film. His Broadway productions include Slave Play (Tony nominations for Best Score and Best Sound Design of a Play), The Nap, Bronx Bombers and A Time to Kill. Off-Broadway productions include Privacy (The Public Theater), Bootycandy (Playwrights Horizons), Feeding the Dragon (Primary Stages), Top Secret (New York Theatre Workshop) and many others. Regionally, Lindsay has designed productions at The Guthrie Theater, Center Stage, American Conservatory Theater, Hartford Stage, Alliance Theatre, Goodman Theatre, Arena Stage, Old Globe Theatre, Chicago Shakespeare Theater, Steppenwolf Theatre and many others. His international credits include Stratford Festival (Canada) and Royal Shakespeare Company (England) and many others. Audio drama work includes A Streetcar Named Desire for Audible, and the award-winning weekly podcast for children The Imagination Neighborhood. In addition to his two Tony Award nominations, Lindsay has received seven Joseph Jefferson Awards (24 nominations), two Ovation Awards (three nominations), an L.A. Drama Critics Circle Award and many others. His film and television music credits include HBO Films’ A Note of Triumph (2006 Academy Award for Best Documentary, Short Subject) and over 30 other films. He is the co-chair and a founding member of Theatrical Sound Designers and Composers Association as well as the co-founder of The Collaborator Party, and teaches Composition For Theatre and Music History at the University Of North Carolina School Of The Arts.

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Lawrence Bennett

Lawrence Bennett hails from Houston, TX. Before coming to the Alliance, he served as the Director of Production at the Repertory Theatre of St. Louis, where he worked with Hana Sharif, the first Black woman to be the Artistic Director of a LORT Theatre. Bennett is one of only four Black people to ever be a director of production at a LORT institution. Previous to working at The Rep, Bennett was the Associate Production Manager at Baltimore Center Stage. Prior to working in production management, he spent ten years working as a technical director at various colleges across the country, including the University of Texas, University of South Florida, and others. He has also worked all over the country at various summer stock theatres including Williamstown Theatre Festival, Utah Shakespeare Festival, and Opera Theatre of St. Louis. Bennett serves as Vice Commissioner of Equity, Diversity, and Inclusion (EDI) for the Management Commission for the United States Institute for Theatre Technology (USITT), a national organization that promotes dialogue, research, and learning among practitioners of theatre design and technology and includes members at all levels of their careers. Bennett is also the co-chair of the EDI and membership committees for the Production Managers Forum, which is the network for Production Managers of non-profit theatre, dance, and opera companies and educational theatres in North America. Bennett received his MFA from the University of Wisconsin-Madison and his BFA from the Conservatory of Theatre Arts at Webster University.


Steve Rosenberg

Steve Rosenberg began his career as the Technical Director for The Public Theater in Lewiston, ME. He moved on to various positions with North Shore Music Theater in Beverly MA, Capital Repertory Company, (LORT D) in Albany, NY, and was the Production Manager and TD for the inaugural season of Barrington Stage Company in Great Barrington, MA. It was as the Technical Director at Studio Arena Theater (LORT B) in Buffalo, NY where he first met and worked with Dstew. We were so young then! 


An offer to join Manhattan Theater Company as their TD in 2000 brought him and his family to New York City where they’ve lived and worked ever since. Steve spent time as the Technical Director for The Juilliard School and while there, he started working for Blue Man Group as a side gig, because living in NYC ain’t cheap. This eventually led to an almost 9 year run as the Technical Director for Blue Man Productions. There he managed the shops that designed and built Blue Man props, instruments, and scenery for the Blue Man Group shows and multiple Blue Man Tours as well installing the Blue Man shows in Toronto and Universal Studios, Orlando. Post Blue Man, it was on to Broadway as a production manager with Aurora Productions working on shows including Hamlet with Jude Law, A Steady Rain with Hugh Jackman and Daniel Craig and then the national tour of The 39 Steps. 

Steve transitioned into Educational theatre for a few years at NYU and Queens College. Afterwards he went back to Technical Directing over 20 shows Off Broadway at Second Stage Theater including such shows as Between Riverside and Crazy, and the Pre-Broadway Dear Evan Hansen. In 2017 he accepted his current position as the Production Manager at MCC Theater. In 2019 he helped them move forward into the next phase of their 30+ year history opening their new home Off Broadway, The Robert W Wilson MCC Theater Space with two theaters in New York’s famed Hell’s Kitchen. There they continue to produced plays and new musicals such as The Wrong Man, Alice By Heart By Heart and The world premier of School Girls, or the African Mean Girls Play.

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Calvin Anderson

Calvin Anderson (he/him/they/them) is a lighting designer and production manager. They have a strong pull towards the devised, the radical and the risky, while leaning towards projects with heart and trust. Project highlights include Blythely Ever After (Bearded Ladies Cabaret), The Method Gun (Wesleyan University), Late Night Snacks 2019 (Bearded Ladies Cabaret/ Philadelphia) Oscar at the Crown (The Neon Coven/ NYC), Orchid Receipt Service (Mirror/Fire Productions/ NYC), Old Man and the Sea (Pittsburgh Playhouse, PA) and Flipzoids (Generator Theater/ Alaska). Calvin was the Lighting and Technical Director for Ailey II, and is a current member of United Scenic Artists 829.


As a production manager, Calvin leads projects with care, informed risk and radical consent and transparency. Some favorite projects include Rose: You Are Who You Eat, Do You Want a Cookie? and Bastille Day with The Bearded Ladies Cabaret, and The CrossSound Music Festival, which brought new music to a variety of cities and towns in Alaska and Western Canada. He is the resident designer and production manager for FJK Dance in New York and has had the privilege to tour the world over with various projects.


Calvin is also an educator and mentor. They’ve had the privilege of teaching at Wesleyan University (CT), University of the Arts (Philadelphia) and University of Connecticut. Calvin is a mentor within Wingspace Theatrical Design and the USITT Gateway Mentorship Program. In 2017, inspired by the Diverse Designers and Technicians list, Calvin started the Trans Theater Makers List as a resource for theater makers who are looking to hire trans and non-binary folx in all areas of creation and production.



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