Will Le Vasseur (Artistic Director) received his BFA in Theatre from Cornish College of the Arts in Seattle. While there he performed with The Seattle Opera, Theater Schmeater, and Woodinville Repertory Theatre as well as started and became Artistic Director of Redd Tale Theatre Company. After moving to New York, he worked with Creative Mechanics in Edward II, and slung a sword with Stolen Chair Theatre Company in The Accidental Patriot. As Artistic Director, Will directed Closer, played Carl in Lonely Planet, wrote & directed the critically acclaimed (since published) Maddy: A Modern Day Medea, appeared in The Swan Song, directed the NYIT Award nominated Macbeth, directed/wrote a new adaptation of Triumph of Love by Marivaux, wrote & appeared in Gabriel, and directed the award winning Modern Prometheus: Frankenstein With Mary Shelley.
Will is also a licensed massage therapist/practitioner and runs his private practice Willful Massage in both New York and Washington states.
Written about Le Vasseur:
"...triple threat Le Vasseur is a talent to keep an eye on as well."
-Martin Denton, NYTheatre.com re: Swan Song
"The play is wonderfully acted by both Strothmann and Le Vasseur. Le Vasseur in particular excels playing a character who is easily more than double his age, no small feat from an actor still in his 20s."
-Byrne Harrison, StageBuzz.com re: Swan Song
"To revive a Greek classic is a challenge, but to reinvent the enigmatic myth with new plotlines, characters, and dialogue that consistently retains thematic homage to the original is masterful."
-Jennifer Rathbone, TheaterOnline.com re: Maddy: A Modern Day Medea
"Playwright Le Vasseur does an amazing job of capturing all the intrinsic elements of the classic play while still making this a completely believable trailer park story, adding all the typical white trash touches like neighbors who gossip behind the beer cans."
-Karen Tortora, The Happiest Medium re: Maddy: A Modern Day Medea
"Le Vasseur is so touchingly real that I found myself holding my breath at times; there were moments which were so fragile that it was impossible to move. Seeing Le Vasseur embody an old actor, once great, now reduced to buffoonish clowning, is heartbreakingly poignant. When he begins to play some of the greats (Hamlet, Lear) to the empty theatre he does so with terrific ease, an actor playing an actor, playing his long-ago best. Truly a stunning feat. Chekov is always good, but this is probably one of the best I’ve seen and I almost can understand why it’s not done more often; it is to an actor what Queen of the Night’s Rage Aria ‘Der Hölle Rache’ from W Mozart’s Die Zauberflöte (If you’ve seen Amadeus, you’ve heard it) is to a Soprano – stunningly complex and multifaceted and can only be attempted by the most accomplished of talents. I was lucky enough to watch it not just performed but almost created around me. A piece of theatre this touching is very rare."
-Karen Tortora, The Happiest Medium re: Swan Song