Chris Steele: Co-Founder
Chris Steele is a queer trans nonbinary theatre creator, makeup artist, standardized patient, and drag queen. In theatre they have worked as an actor, director, playwright, fight choreographer, intimacy choreographer, makeup artist, dialect coach, dance captain, costume construction aid, and lighting designer. After studying theatre at Pepperdine University and The University of Oklahoma, they relocated to the Bay Area working with companies such as Summer Repertory Theater, Sierra Rep, Cutting Ball, Breadbox Theatre, New Conservatory Theater Center, Playwrights Center SF, Musical Café, San Francisco Shakespeare Festival, and We Players. They are fascinated by visceral physical storytelling; theatre with roots in adaptation, devising, and improvisation; and the history of horror as a media genre. Most recently their writing was produced in Cutting Ball’s Variety Pack (‘Valley of the Dead’), and their fight and intimacy choreography can be seen in the upcoming ‘Galitea, a new rock musical’ at Counterpulse. As a drag queen, their persona Polly Amber Ross focuses on bringing theatrical performance theory to queer common spaces throughout the city. Chris seeks to deepen and uphold the rich history of queer/drag theatre in San Francisco, and to foster the development of an American Horror Theatre cannon.
Britt Lauer: Co-Founder
Britt Lauer is a theatre artist in the bay area. She has a BA with a focus in acting from Willamette University and also studied with the London Academy of Music and Dramatic Arts. She has worn several hats for We Players since 2015 and became Associate Producer there in 2018. Recent productions as an actor include Midsummer of Love, Roman Women, and Caesar Maximus. As a performer, she is focused on experiential participatory experiences, both in theatrical and corporate settings. Her work as a standardized patient with multiple medical universities including Stanford has honed her appreciation for improvisation, devised performance, the important of psychology and ethics in a production context, and a deeper understanding of one-on-one immersive performance. She is particularly focused on queer and feminist narratives, bold examinations of sex and sensuality in storytelling, and pushing the boundaries of the traditional proscenium audience expectations.