Thom Vegh Bio fresnels@gmail.com 858 . 228 .

0873
Projects for special audiences (sic) began with acting in theatre for the deaf. I learned to sign my role for Fairmount Theatre of the eaf!s wild west "ersion of The #iser and its P$% production. &'$T theatre (special audiences() followed with independent productions of the musical Fourtune) %F!s Theatre *hinoceros!s +rtists In"ol"ed with eath and %ur"i"al a,a The +I % %how) -./01pre23ormal 4eart. The death threat letter I recei"ed was in the scrawl of ten year2old. +nother +I % themed play I produced was #iles to &o) -./5. #iles To &o performances included pre2 and post2testing of audience members as a graduate thesis project under the auspices of % %6 %chool of Public 4ealth!s r. eborah *ugg. In -./5 I founded i"ersionary Theatre on the dance2floor at T47 popular %an iego disco) 8est 9oast Production 9ompany. 4a"ing successfully produced a fundraiser for 3o on 50 campaign in the space) I decided the sun,en arena dance floor wor,ed as a playing space and there was an audience to ser"e. +fter producing new wor, I began play writing in earnest. Friday 3ight *efugees (writer2director) words and music by *omano"s,y : Phillips played at the *6%7;#ar<uee Theatre. The show was created in wor,shop using residents from %tepping %tone *eco"ery 4ome. =bsessed with the burgeoning cafe culture of the -./>s and its "ibrant con"ersations) gossip) table hopping and ea"esdropping led to my first major wor,. I saw the cafe as group away from group therapy. 9afe epresso? 8here Pro@ac 9affeine and $lac, 'eather 9on"erge emerged. First presented at %6%4I Performance +rt &allery) the production at %FAs 7Bit theatre played a sold2out run. +dditional information here.

8riting for corporate theatre) again for a special audience) hold special meaning for me. I was brought in to sol"e a clinical research impasse amongst clinical study coordinators during the onepe@il (+*I97PTC) human subject phase. The 7+%I;Pfi@er project played in %F) 9hicago and 3D. +*I97PTC was the first F + treatment for +l@heimer!s isease. =ther wor,s were produced at the Frit@ Theatre!s Frit@ $lit@ of Plays. I participated in %F!s The #arsh and %tudio +9TAs writers wor,shop with Een Prestinin@i. #ost recently) *espond w;Pics (playwright2director) played as a staged reading at I=3 Theatre. &raduate studies in %peech2'anguage Pathology led to re2e"aluating my aesthetic. The concept of content and form is cross2dicipline in the +rts. The 9homs,yan theory (see below) of deep structure and surface structure inform content (deep structure) and form (surface structure) pro"ides another application to artistic process. I also am contemplating on writing comedy) its transference to the actor and the effect it has on an audience. 'aughter is a muscle spasm in response to humor) laughter. 9ontent (thought) and form (physical;physiology) combine. Instigating laughter is an act of F"iolence.F These recapitulations came about after dropping out of graduate studies in %peech2'anguage Pathology and G> years of wor, in the Theatre. #ore at thom"eghintoto.weebly.com

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