“To say the production was visually stunning would be an understatement. Thanks to the talents of Set and Projection Designer Andy Moro the show would have been artistically dazzling even if no words were spoken.” Cassie Smith, REVIEW VANCOUVER
A Toronto-based Euro/Cree with roots in Windsor, Moosefactory, Cochrane & Hearst Ontario, Pordenone, Italy and somewhere in the Netherlands, Andy has toured extensively, implementing and operating his own designs internationally since 1990. He is a core member of the creative team at the Banff Centreʼs Indigenous Dance Residency. He was Co-founder and Director the multi-disciplinary community organization Red Pepper Spectacle Arts and the facilitated Production Mentorship Program at the Centre for Indigenous Theatre.
Andy has worked with Native Earth Performing Arts, New Harlem Productions, Young People’s Theatre, VideoCabaret, Red Sky Dance, Dancemakers, Debajehmujig Theatre, Actor’s Repertory Company, Buddies in Bad Times, Sky Gilbert’s Cabaret Company, Daniel MacIvor’s dada kamera, Kaha:wi Dance Theatre, Western Canada Theatre, Saskatchewan Native Theatre, Halfbreed Productions, Michael Greyeyes’ Signal Theatre and many more. He is a multi-award winner and nominee and has twice been named among Toronto’s NOW magazine top-10 theatre artists. Recent work includes the cross Canada tour of NEPA’s In Spirit, VideoCabaret’s Trudeau and the continuation of the WCT/Gateway/Persephone/SNTC Dreary and Izzy. Upcoming is Cabaret Company’s HACKERLOVE at Buddies in Bad Times Theatre, Third Eye Looming of Workman Arts, and the featured opener for the 2014 Canada Dance Festival A Soldier’s Tale by Signal Theatre/DanceWorks/NAC.
Moro is a multi award winner and has twice been named among Toronto’s Top-10 Theatre Artists by NOW Magazine. “Moro’s lighting design created that world of terrifying puppets floating around as ghosts in a nightmarish world. No light filters into the audience. The characters that appear in that proscenium space never enter, they are apparitions deftly transported by the light, the light that defines not only their movements but the space around them. That use of light in such a precise and creative manner, gave us insights into its function that we never suspected. It was truly marvellous.” Capital Critics Circle, Ottawa