Etc...

All the other credits of interest...

Education:

B.A. - Theatre Arts / Directing - St. Edward's University, Austin, TX
M.Ed - Curriculum & Instruction - Lesley University, Cambridge, MA

Plays I've Written:

(Well, okay, so I've written others, but these are the ones that have been produced.)

James Joyce's The Dead - Hunger Artists Ensemble Theatre, 1999 - 2005
Traces of the Western Slopes - The Changing Scene, 1998
The Women's Ward - The Changing Scene, 1992
Dreams That Money Can Buy - Theater On Broadway, 1990
James Terry - University of Denver, 1988

The Dead

"Jeremy Cole's adaption is a skillful one. The actors each take on one or two specific characters; they speak the passages describing or concerning these people in their regular American accents, switching to Irish dialect for lines of direct dialogue. Each characterization is fully realized, but the actors also slip from one character to another with the ease of someone shrugging on a shawl. You get the sense that these performers genuinely venerate the text and that each is willing to subsume him or herself to its demands. And -- in a familiar paradox -- the text gives back fourfold: With Joyce's words in their mouths, these actors transcend themselves.

...Cole's direction here achieves perfect pitch. Though Joyce describes Gabriel touching Gretta and putting his arm around her, the actors don't do these things. They just stand facing each other, and their restraint functions like silence in music or white space in art; there's something extraordinarily moving about it."
- Juliet Wittman, Westword

"As is evident in the Hunger Artists Theater Ensemble's enchanting production of Joyce's short story The Dead, the Irishman's fabled prose packs an impressive theatrical wallop. Now on stage at the LIDA Project Experimental Theatre, the near-two-hour play is smartly directed by Jeremy Cole, who has adapted Joyce's entertaining tale into a seamless, wholly engrossing reader's-theater-style piece for seven voices.

Cole and company's minimalist version enhances and personalizes the suggestive power of Joyce's incomparable imagery -- augmented throughout by several of the director's well-chosen musical selections -- in a splendid style that would be the envy of many a multi-media-minded auteur.

Cole elicits several understated portrayals from his solid cast of actors. Far from being hampered by the constraints of the small stage or hemmed in by the conventions of reader's theater itself (each actor reads from a black-bound script and rarely strays far from his or her chair), most of the performers seem liberated as they employ subtle glances, smallish gestures and slight vocal inflections to convey Joyce's soaring lyricism.

Cole's sensitive approach serves as a fitting tribute to both the author's enjoyable yarn -- Joyce was fond of referring to the sketches in Dubliners as "epiphanies," for their insights into life -- and the ensemble's accomplished interpretation. Indeed, as the play concludes, our souls swoon with Gabriel's as he stares out an imaginary window and observes, with Ibsenesque aplomb, the "snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead."
- Jim Lillie, Westword

Dreams That Money Can Buy

"Cole's Dreams That Money Can Buy is obscured in its initial scenes by some encoded sexual dialogue that doesn't come clear for nearly 90 minutes... Cole's breezy dialogue is handled spiritedly...

In the final heart-wrenching scene, Michael breaks down and weeps in Michelle's arms over the crime committed on him by a monstrous father. It is as though the American family has turned on itself and begun to devour its young. ...As a plea for legislation against pimps and panderers, Dreams is skillfully composed."
- Jackie Campbell, Rocky Mountain News

The Women's Ward - Peter Shaffer Workshop

"A few playwrights were privileged to have their scripts critiqued. After watching a staged reading of The Women's Ward by Jeremy Cole, Shaffer praised the play's wit but complained that too much of the action is set in the past.

"The two most dangerous words in theatre are 'I remember'", he said, "because the audience knows that nothing is going to happen in the present."

Although Cole felt Shaffer went out of his way to be kind, "he was absolutely on the mark in seeing right through to the script's problems," he said. "He gave me several ideas about how to revise it."
- Alan Stern, The Denver Post

The Women's Ward - Full Production

"The Changing Scene has a sparkling jewel with the premiere of Jeremy Cole's The Women's Ward. This insightful glimpse into the world of people pushed over the edge is sprinkled with bittersweet prose and poetry with penetrating humor and wit...

Though this production deals with a weighty subject, through the sheer brilliance of the actors and script, it uplifts and enlightens and has a lasting impact on the viewer."
- Cha Snyder, On Stage