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MARCH 2016 MAR 15–APR 10, 2016 By George Bernard Shaw Directed by Victor Pappas 2016 SPRING STATEWIDE TOUR The Tempest Romeo and Juliet 2015–2016 INDOOR SEASON The Comedy of Errors Mother Courage and Her Children Titus Andronicus Mrs. Warren’s Profession Romeo and Juliet 2016 SUMMER WOODEN O Hamlet Love’s Labour’s Lost FEB 11 THROUGH MAY 8 1300 FIRST AVENUE SEATTLE WA 98101 visitsam.org GET TICKETS AT VISITSAM.ORG/WILEY The exhibition is organized by the Brooklyn Museum. Special exhibitions at SAM are made possible by donors to Lead Sponsor Corporate Sponsor Phillips Supporting Sponsors Josef Vascovitz and Lisa Goodman U.S. Bank Foundation Generous Support Max and Helen Gurvich Exhibition Endowment Media Sponsor The Stranger Randerson Romualdo Cordeiro (detail), 2008, Kehinde Wiley, American, b. 1977, oil on canvas, 48 x 36 in., Private collection, Golden Beach, Florida, courtesy of Roberts & Tilton, Culver City, California. © Kehinde Wiley. Photo: Robert Wedemeyer, courtesy of Roberts & Tilton. March 2016 Volume 12, No. 5 Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Robin Kessler, Shaun Swick, Stevie VanBronkhorst Production Artists and Graphic Design Mike Hathaway Sales Director Brieanna Bright, Joey Chapman, Ann Manning Seattle Area Account Executives Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Brett Hamil Online Editor Jonathan Shipley Associate Online Editor Ad Services Coordinator Carol Yip Sales Coordinator Leah Baltus Editor-in-Chief Paul Heppner Publisher Marty Griswold Associate Publisher Dan Paulus Art Director Jonathan Zwickel Senior Editor Gemma Wilson Associate Editor Amanda Manitach Visual Arts Editor Paul Heppner President Mike Hathaway Vice President Marty Griswold Director of Business & Community Development Genay Genereux Accounting Sara Keats Marketing Coordinator Ryan Devlin Events / Admin Coordinator Corporate Office 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 [email protected] 800.308.2898 x105 www.encoremediagroup.com Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2016 Encore Media Group. Reproduction without written permission is prohibited. Gluck Orphée UW MUSIC & PACIFIC MUSICWORKS PRESENT Directed by Gilbert Blin Choreographed by Anna Mansbridge Conducted by Grammy Award winner Stephen Stubbs Aaron Sheehan, Orphee Amanda Forsythe, Eurydice Valerie Vinzant, Amour MAY 20 & 21 - 7:30 PM MAY 22 - 2 PM MEANY THEATER ArtsUW TICKET OFFICE 206.543.4880 WWW.MUSIC.WASHINGTON.EDU encore art sseattle.com 3 CONTENTS MARCH 2016 MAR 15–APR 10, 2016 Mrs. Warren’s Profession A2 By George Bernard Shaw Directed by Victor Pappas By George Bernard Shaw Directed by Victor Pappas 2016 SPRING STATEWIDE TOUR The Tempest Romeo and Juliet 2015–2016 INDOOR SEASON The Comedy of Errors Mother Courage and Her Children Titus Andronicus Mrs. Warren’s Profession Romeo and Juliet ES056 covers.indd 1 2016 SUMMER WOODEN O Hamlet Love’s Labour’s Lost 1/19/16 2:12 PM ENCORE ARTS NEWS Visit EncoreArtsSeattle.com A White MLK? Q & A with Valerie Curtis-Newton The director on a nontraditional casting controversy. BY BRETT HAMIL I recently read an article in the Washington Post about an amateur staging of The Mountaintop, a play about the inner life of Martin Luther King, Jr. on the eve of his assassination. This Kent State University production made the papers because its director cast a white man to play Dr. King. Controversy ensued. Playwright Katori Hall wasn’t having it; she called the choice “a disservice to not just Dr. King but the entire community” and added a new clause to her licensing agreement that stipulated that both characters be played by actors who are African American or Black. Reading the article, I knew exactly whom I needed to talk with about this latest controversy in the annals of race and theatre: Valerie Curtis-Newton. I’d interviewed her back in 2014 when she directed an ArtsWest production of The Mountaintop 4 ENCORE STAGES and she schooled me on matters of race in theatre, even specifically answering what I assumed at the time was a dumb question: could The Mountaintop be cast non-traditionally, with a white actor? (Short answer: no.) Curtis-Newton is no stranger to the complexities of race and identity in casting; her staging of Arthur Miller’s All My Sons with an all-black cast at the Intiman was praised for bringing a new depth to the play, and she’s the director of the Hansberry Project, a theatre lab that gives primacy to the black voice and perspective. This year she directed The Motherf***er with the Hat for Washington Ensemble Theatre, a show that’s also seen productions criticized by its playwright for casting choices. ENCORE ARTS NEWS VISIT EncoreArtsSeattle.com Women Painters of Washington WPW Gallery at the Columbia Center Curtis-Newton speaks with clarity and a wealth of professional experience on these matters, so it’s a no-brainer that I’d come to her with questions about this white MLK. In our previous interview I promised CurtisNewton that the next time I talked to her it wouldn’t be about some problematized racial situation in theatre. “You lied,” she teased. Nevertheless, she helped me navigate the prospect of a white MLK. The problem, fundamentally, is that many times in plays that are typically cast with white people, white isn’t explicitly what’s required to execute the role. The neighbor, the friend—the world of the play can be more diverse when the themes aren’t explicitly about race or when we can play it in a color conscious way, utilizing race to our advantage. When I came across the article in the Washington Post I had to get your take on it because it’s something we talked about very specifically when I interviewed you last time. What was your first reaction? Can you characterize the director’s relationship to the author? Obviously Katori Hall opposed this and had the actual play amended. That’s probably a note she never thought she’d have to make, to stipulate the role of MLK was intended for a black actor. I was surprised that the director was a director of color, but I wasn’t surprised that someone made the attempt to nontraditionally cast The Mountaintop. When I nontraditionally cast All My Sons for the Intiman, we got the permission of the Miller estate. I didn’t just pull off and say, “Let’s do it” and not check. It complicates it that it’s a director of color, yes? Do you always respect the playwright’s wishes? It complicates it on several counts, not the least of which is that it’s a historical play and the playwright’s intention was to climb inside the heart of that historical character. It wasn’t about testing out any other themes; it was about what goes on in the mind of an MLK. So that was problematic for me, and I didn’t understand the director proceeding without the playwright’s consent for such a largely experimental concept. I think it’s my job to try to interpret what the playwright has written and to envision a production that lands the thing the playwright was interested in landing. I might find new ways to do that or ways that are different than you might do, but I’m still going for what the playwright’s intention was. In the case of The Mountaintop, there really wasn’t any concern for what Katori was interested in. It’s not like [the director] did something experimental to try and get more at the same things, he wanted to get at something completely different. My first thought was “Why?” What’s the point? I can’t tell you how many productions I’ve made of plays by black playwrights that were written with black actors in mind where, once the show ran, people came up to me and asked, “Could this have been done with white people?” It’s a common occurrence. We’ve conflated universal themes with universal experience, with universal specificity. That you and I can both understand loss doesn’t mean that we’ve experienced the same loss. It seems like the director [of The Mountaintop] was trolling everyone. It’s almost like that reaction you get from anti-Black Lives Matter people who say, “Why do you even have to see color?” Yeah, I think that it is this sense that there should be a kind of quid pro quo. “If you, actor of color, want to be nontraditionally cast in roles that belong to me as a white person, then I should be able to get roles that are written for you. If I’m giving up something I should get something back.” Showcasing art by women since 1930 Rumbling:Totten Inlet by Sandra Kahler 701 5th Ave #310, M-F 11-4 It feels exploitative. I think so. There are directors who are interpretive and directors who are auteurs. When you are operating as an interpretive director then you really have to be concerned with the playwright’s intention: what they hope to accomplish, what questions they hope to raise for the audience. When you’re an auteur director you can pretty much do whatever the hell you want, but it has to be your material or it has to be in the public domain. And so knowing what kind of director you are and what kind of work you’re performing gives you the guidelines by which to create a concept for elucidating the things in the play. Having just directed this play, you seem fairly placid about it. Was there a huge eyeroll when you heard about this production? Were you agitated? No. I am old enough now to recognize that people are gonna do what they’re gonna Puget Sound Improv Invitational Saturdays, Feb. 20 - Mar. 26 8:05 p.m. BLACK BOX THEATRE at Edmonds Community College w w w. B l a c k B ox E d CC . o r g encore art sseattle.com 5 ENCORE ARTS NEWS do. If I was the playwright I’d have been pissed as hell. As another artist, people make what they make and then they take the consequences for having made it. For me, that’s what being an artist means. So this director made a choice. I think it was a sucky choice, a bad directing choice, but getting mad about it, that’s not what its about. I wouldn’t get any more mad about it than I’d get about The Mikado’s yellowface. They can make that play if they want to. And the audience, the community, has a right to its response. I don’t believe in censorship in that way, so I can have feelings but ultimately the deal is that it awakened Katori to what is really on the page and a community had a response to it that the director and the producers felt. They won’t do that again. That’s the right way to solve these things, for everybody to stay in their lane. In this case the director got out of his lane and started to be a playwright. But this also gets at the broader issues of inclusion and the Black Lives Matter movement. It feels counter to that broader movement. Does it hurt, sending these mixed signals? To me it felt like “All Lives Matter” in theatre form. If I’m really honest, ultimately this was just same shit different day. I can’t open a vein every time someone gets it wrong, because we don’t live in a place where most of the time people get it right. So doing what you do is your affirmation of what you believe. HENRY ART GALLERY H E N R YA R T.O R G I do what I do and I have an opinion. I share my opinion—I’m sharing it with you. I work with people who want to not go down that path. I try to help educate people who don’t understand why that path could be problematic. But I wouldn’t say absolutely “you can’t do that” because that’s not the forum for artists. The sacrifice or the censorship of artists and the right to make, quite frankly, offensive shit is still important. I want to hold onto that because at some point someone will want to use it against me. Paul McCarthy Wood Sculptures Paul McCarthy. White Snow Dopey Dopey Head, 2013-2014. Black Walnut. Image courtesy of the artist and Hauser & Wirth. Photo: Farzad Owrang. 6 ENCORE STAGES Mar 05 – Sept 11 Which gets at the heart of this bigger discussion: “The ‘PC Police’ are silencing us! I’m not allowed to talk about race because I’m white!” Sometimes I do feel like the ACLU defending the Klansmen in Skokie. But without that defense, Black Lives Matter wouldn’t be able to happen. ENCORE ARTS NEWS VISIT EncoreArtsSeattle.com What is your favorite aspect of stage blood? The reaction when it works, on stage and off. When an actor gets blood on their hands it’s visceral. It’s real. Even though you know it’s fake, it feels real. It’s awesome to watch actors react to it in a very real way, and the audience, too. What is the most challenging aspect of stage blood? It’s how to hide the apparatuses. An actor needs to know how to hold it, how to use it at the right time, how to pop the blood pack. It can be pretty tricky and when an actor is already nervous on stage. It’s challenging for them, sometimes, to make sure the audience doesn’t see a tube or something. To keep it hidden is key. Also, it’s a bummer when the blood goes off before it’s supposed to. Blood Consultant: Talking Stage Gore with Julia Griffin BY JONATHAN SHIPLEY Julia Griffin is all over the Seattle theater scene. She’s the casting director and artistic associate for Theater Schmeater, she’s directed for the likes of Annex and Seattle Public Theater and she’s acted in productions for GreenStage, Driftwood Theater and more. She’s also a blood consultant. That is to say: she’s someone who concocts stage blood and makes it flow on stage using all sorts of tools, gadgets and theater magic. Most recently she consulted for Seattle Shakespeare’s gore-drenched Titus Andronicus and GreenStage’s “Hard Bard” production of The Duchess of Malfi. We sat down with her to talk stage violence, catheter bags and how much blood flows when someone gets shot in the stomach. How does one become a blood consultant? It’s pretty random, I know. I took makeup classes in college. I liked gross, bloody stuff for a long time. I would watch surgery shows in high school. Like, documentaries of surgeries. In college I took those classes and started doing zombie makeup—that was fun. When I started working at Theater Schmeater I did a lot more zombies. I was involved in a lot of GreenStage’s “Hard Bard” productions. Those are ridiculously bloody. What is a blood consultant? We make the blood flow on stage. I never thought at my age I’d buy so many catheter bags. PHOTO: DAVID WULZEN Do you have any sort of medical background? I watched horror movies and watched a lot of YouTube videos. So...no. What is stage blood? Blood powder. It’s just stage makeup. Combine powder with corn syrup and water and you have blood. It works better than, say, Kool-Aid or food coloring. For one, those things stain. I go up to the Display & Costume store and buy them out of stock. What other supplies do you need? Blood packs are just Saran wrap. I also use a lot of syringes. Catheter bags. Those nose bulb sucker things you use on babies. My favorite kill I’ve ever done on stage was in a production of Reservoir Dolls [an adaptation of Quentin Tarantino’s Reservoir Dogs]. It involved Black Cats [a type of firework]—I don’t think they’re even legal—and when it happened, blood went everywhere. Smoke curled off her chest. It was so cool looking. Are you ever concerned of there being TOO much blood? I’m never concerned about over-bleeding. The more blood the better! I do know how much blood a body spills when they get shot in the stomach; I’ve looked it up. I know when an artery splits how long it spurts. You want enough blood for the audience to react to it. Obviously, if you have a paper cut on stage, you’re going to bleed more than in real life. The audience has to see it. How easy is stage blood to clean up? OxiClean™. Soak costumes in it and we’re good as new. Or just wash them if they’re not too bloody and they’re fine. The blood on stage takes a little more effort to clean. It’s usually just a combination of bleach and water. Is OxiClean™ what we should use, then, to clean up real blood? Fortunately, I’ve never had to clean up large pools of [actual] blood, but probably that’d do the trick. For more previews, stories, video and a look behind the scenes, visit EncoreArtsSeattle.com PROGRAM ARCHIVE CALENDAR PREVIEWS ARTIST SPOTLIGHT encore art sseattle.com 7 ENCORE ARTS PREVIEWS Fine Hospitality for Your Next Celebration MAY 11TH RATE the PLATE TICKETS AVAILABLE NOW The theatre season roars into spring with rockin’ musicals, powerful new plays and the return of a beloved children’s book icon. A Night with Janis Joplin (206) 285-7846 theruins.net EMERGENCY FEEDING PROGRAM emergencyfeeding.org March 25–April 17 The 5th Avenue Theatre presents the Northwest premiere of the Broadway bio-musical about the life, music and influences of the whiskeyvoiced queen of 1960s blues rock. The show, written by Randy Johnson, also highlights some of the towering blues icons who inspired Joplin including Etta James, Aretha Franklin, Nina Simone and Bessie Smith. The 5th Avenue Theatre COLLECTABLE COURSES Located at Chihuly Garden and Glass, Collections Café offers artistically inspired dishes amid Dale Chihuly’s personal collections. The perfect setting for lunch, dinner or weekend brunch. COLLECTIONSCAFE.COM 305 HARRISON ST / SEATTLE WA 206.753.4935 WORLD PREMIERE A SPIRITED AND INSPIRING MUSICAL OF STRENGTH AND COURAGE SPONSORED IN PART BY brownsville song (b-side for tray) March 25–April 24 This new play by Kimber Lee explores resiliency and pain in the face of tragedy. The show’s non-linear storyline revolves around the tragic shooting of Tray, a high school senior in Brooklyn preparing for his future. Family members struggle with their loss and eulogize the boy whose death the rest of the world sees as just another sad statistic. Seattle Repertory Theatre Dr. Seuss’ The Cat in the Hat April 14–May 22 The epitome of Dr. Seuss’ mischievous and madcap legacy, the cat returns to transform a rainy day into non-stop adventure along with his acrobatic sidekicks, Thing One and Thing Two. He leads Sally and her brother—and their skeptical pet, Fish—through zany schemes, messy misadventures and Seussian rhymes to dispel the boredom. But what’ll happen when mum gets home? Seattle Children’s Theatre The Flying Dutchman May 7–May 21 The Seattle Opera presents Richard Wagner’s haunting fable of a sea captain forced to sail the seas forever in a ghostly ship and the young woman who can end his curse. Directed by Christopher Alden with sets and costumes by Allen Moyer; Greer Grimsley alternates with Alfred Walker as the Dutchman. Seattle Opera For more previews, stories, video and a look behind the scenes, visit EncoreArtsSeattle.com MARCH 17 – APRIL 24 APRIL 29 – MAY 22 ISSAQUAH (425) 392-2202 8 ENCORE STAGES EVERETT (425) 257-8600 VillageTheatre.org PROGRAM ARCHIVE CALENDAR PREVIEWS ARTIST SPOTLIGHT Sharing Shakespeare It’s no accident that education and outreach programming have been a core part of Seattle Shakespeare Company for most of our 25 year history. Co-founder Cornelia Moore can still recall her own introduction to Shakespeare when a touring production performed at her elementary school, “It began a lifelong fascination with the power of words, and how they have the ability to affect the humans that listen to them.” Classroom workshops and performances serving Seattle area schools started in our third season, followed by student matinee performances of mainstage productions, then summer and after-school camps. Today education and outreach is Seattle Shakespeare Company’s biggest program, serving more individuals than our free outdoor summer shows or mainstage productions. For many students across Washington State, our in-school workshops and performances are, like for Cornelia years ago, their first experience with classic theatre. Elizabethan Dance workshop Performance Showcase residency Touring performance Post-show Q&A with touring cast Scene Study workshop encore art sprograms.com A-1 By George Bernard Shaw CAST Vivie Warren Emily Chisholm* Mrs. Kitty Warren Bobbi Kotula* Sir George Crofts Richard Ziman* Reverend Samuel Gardner Todd Jefferson Moore* Mr. Praed Robert Shampain* Frank Gardner Trevor Young Marston PRODUCTION TEAM Director Victor Pappas** Stage Manager Brenda K. Walker* Set Designer Martin Christoffel Costume Designer Jocelyne Fowler Lighting Designer Jessica Trundy Sound Designer Robertson Witmer Properties Designer Marleigh Driscoll Dialect Coach Alyssa Keene Technical Director Seattle Scenic Studios Properties Artisan Robin Macartney Assistant Stage Manager Shane Unger RUNNING CREW Wardrobe Supervisor Cat Menkel-Lawrence Master Electrician / Light Board Operator Angelo Domitri Sound Board Operator Jessica Jones * Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. ** Member of the Stage Directors and Choreographers Society, Inc. SPECIAL THANKS American Life Inc PRODUCTION SPONSORS PLOT SYNOPSIS Vivie Warren, a modern young woman, has just graduated from the University of Cambridge with Honours in Mathematics. Her mother, Kitty Warren, arranges for Vivie to meet her friend, Mr. Praed, a middle-aged, handsome architect, at the home where Vivie is staying. Mrs. Warren arrives with her business partner, Sir George Crofts, who is attracted to Vivie despite their 25-year age difference. Vivie is romantically involved with the young Frank Gardner, who sees Vivie as his meal ticket. Frank’s father, Reverend Samuel Gardner, shares past history with Mrs. Warren. Mrs. Warren explains to Vivie why she chose prostitution to raise herself out of poverty and give Vivie opportunities she never had. She saved enough money to buy into a chain of brothels across Europe, which she now owns with Crofts. Vivie is, at first, horrified by the revelation, but then lauds her mother as a champion. The reconciliation ends when Vivie finds out that her mother continues to run the business even though she no longer financially needs to. Vivie takes an office job in the city and dumps Frank, vowing she will never marry. She disowns her mother, and Mrs. Warren is left heartbroken, having looked forward to growing old with her daughter. Adapted from Wikipedia The taking of pictures or the making of recordings of any kind during the performance is strictly prohibited. A-2 SEATTLE SHAKESPEARE COMPANY Emily Chisholm Bobbi Kotula CAST BIOS For enhanced actor profiles and photos from past productions, check out the Mrs. Warren’s Profession page at seattleshakespeare.org Emily Chisholm Vivie Warren Previous Seattle Shakespeare Company appearances include The Servant of Two Masters and Twelfth Night (Wooden O). Emily is a Company Member at New Century Theatre Company where she performed and co-produced the west coast premiere of Annie Baker’s The Flick and David Eldridge’s Festen. Recently in Seattle, Emily performed in Outside Mullingar directed by Wilson Milam; Bethany, directed by John Langs; and the American premiere of Sugar Daddies, directed by Sir Alan Ayckbourn. Other credits include productions with Seattle Repertory Theatre, ACT Theatre, Seattle Public Theater, Washington Ensemble Theatre, Seattle Children’s Theatre, and Arena Stage, among others. This year Emily joined the acting ensemble of The Seagull Project, where she will perform in Uncle Vanya. Emily is a graduate of Cornish College of the Arts. Bobbi Kotula Mrs. Kitty Warren Bobbi hails from Pennsylvania where her first role was starring in the local Girl Scout Troop’s retirement-home-tour of The Little Lost Girl. Since then she graduated with her BA in Theatre from Penn State, studied for her masters in directing from Villanova University, and earned her teacher certification. She is grateful to her Mom and the generations of women before her who fought for Ms. Kotula’s education and life of independence. Appearing at Off-Broadway, Village Theatre, The 5th Avenue Theatre, ACT Theatre, Seattle Repertory Theatre, and Intiman Theatre, her favorite roles include: Molly Brown, Peter Pan, Dolly Levi, Miss Hannigan (Annie), Kate (The Taming of the Shrew), Paulina (The Winter’s Tale), Hildret Heinz (Iron Curtain), Golde (Fiddler on the Roof), Vic (Stu for Silverton), and Mrs. Trevor Young Marston Todd Jefferson Moore Potts (Beauty and the Beast). Her film, radio, and television work can be seen anytime. Thanks for being here right now. Trevor Young Marston Frank Gardner Trevor most recently appeared in Titus Andronicus and previously performed two years with Seattle Shakespeare Company’s statewide touring productions. A Seattle-based actor and producer, he has performed locally with Book-It Repertory Theatre, Seattle Public Theater, Playing in Progress, Island Stage Left, SOAPfest, ReAct Theatre, and the 14/48 Projects. As a producer, Trevor has helped bring to the stage the world premieres of For Christmas by Nick Edwards, A Cure for Pain by Stephanie Timm, Boots by Libby Matthews, and Barbarians — a devised piece with SITI Company associate Jeffrey Fracé. He earned his MFA from the University of Washington’s Professional Actor Training Program. Trevor is an Artistic Associate with Akropolis Performance Lab. You can next see him in Romeo and Juliet later this spring. Todd Jefferson Moore Reverend Samuel Gardner Todd is elated to return to Seattle Shakespeare Company — and to work with Victor Pappas and George Bernard Shaw for the first time, both of whom he has admired for years. Todd has had the chance to do a number of iconic roles at Seattle Shakespeare Company, including Vladimir (Waiting for Godot), Fool (King Lear), Bottom (A Midsummer Night’s Dream), Harpagon (The Miser), Dogberry (Much Ado About Nothing), Richard (Richard III), Jacques (As You Like It), and, most recently, Egeon and Dr. Pinch in Jane Nichols’ most marvelous production of The Comedy of Errors. Other recent projects include Slaughterhouse Five and The Financial Lives of Poets (BookIt Repertory Theatre); The Wizard of Oz, Edge of Peace, and Crash! (Seattle Childrens Theatre); Ramayana (ACT Theatre); and Hamlet (New City Theatre). Todd teaches playwriting in area public schools for ACT Theatre, attempting to keep the arts alive in the hearts of our young. Robert Shampain Robert Shampain Mr. Praed Robert is proud to be back in Seattle (and at Seattle Shakespeare Company!) after 11 years in Los Angeles, where he worked at Geffen Playhouse, LA Opera, Tim Robbin’s The Actor’s Gang (company member), and Pacific Resident Theatre (company member). New York, regional, and UK stage credits include: Roy Johnson in A Light in the Piazza (directed by Bart Sher); Traps by Caryl Churchill (NY premiere); Inman (directed by Sir Jonathan Miller), The Odyssey (directed by Mary Zimmerman), and Temple (directed by Gabriel Barre) at Seattle Repertory Theatre; ACT; Seattle Children’s Theatre; California Shakespeare Festival; Portland Center Stage; You’re A Good Man, Charlie Brown (UK revival); and many others. Film/TV includes: Z Nation, CSI: Miami, Ghost Whisperer, Final Justice, The Onion Movie, The Unit, Without a Trace, Law and Order. Robert is founder and director of BAYFEST International Youth Theatre, which runs summer professional-level intensives for young actors 14–21, and K–12 teachertraining programs focused on bringing “active arts” into all classrooms. Richard Ziman Sir George Crofts Richard is delighted to return to Seattle Shakespeare Company, having played Claudius in Hamlet, Falstaff in Henry IV Parts 1 and 2, and Buckinham/Clarence in Richard III. Locally he has appeared at ACT Theatre, Seattle Repertory Theatre, The 5th Avenue Theatre, Village Theatre, and Intiman Theatre. In a career spanning thirty years, he has appeared on and off Broadway, with TV and film credits including The Sopranos, Law and Order, and 100 Center Street. Richard is a founding member of the Endangered Species Project and, along with his wife Leslie Law, creator and producer of Sandbox Radio Live. encore art sprograms.com A-3 Jocelyne Fowler Costume Designer Richard Ziman PRODUCTION BIOS Martin Christoffel Set Designer This is Martin’s first production for Seattle Shakespeare Company. His designs for ACT Theatre include: An Evening of One Acts, The Woman in Black, Assisted Living, The Lady with All the Answers, Little Shop of Horrors (co-production with The 5th Avenue Theatre). Designs for The 5th Avenue Theatre: Carousel, Joseph and the Amazing Technicolor Dreamcoat, The Music Man, West Side Story. At Village Theatre: You Can’t Take It with You, Room Service, Blithe Spirit, Noises Off, Sleuth. He has designed the Christmas Revels for 20 years with Tacoma’s Puget Sound Revels. Additionally, Martin designs industrials for Microsoft, Citrix, PayPal, GitHub via his company Scenografique and creative agencies. He also collaborates in museum exhibit design with the design firm Curious Beast: Indie Game Revolution and Can’t Look Away—The Lure of Horror Film are currently on display at EMP. Marleigh Driscoll Properties Designer Marleigh is delighted to return to Seattle Shakespeare Company to play with props for her 16th season with the company. Her work with Seattle Shakespeare Company/Wooden O includes various productions of Titus Andronicus, Othello, The Taming of the Shrew, The Tempest, As You Like It, Henry V, Much Ado About Nothing, Love’s Labour’s Lost, Julius Caesar, Macbeth, Twelfth Night, Hamlet, The Merchant of Venice, The Merry Wives of Windsor, A Midsummer Night’s Dream, Romeo and Juliet, Richard III, The Comedy of Errors, Pygmalion, A Doll’s House, Measure for Measure, and Waiting for Godot. Marleigh has a Master’s degree in Architecture and has been a stage manager and assistant director for Book-It Repertory Theatre. She has worked with Civic Light Opera, Seattle Opera, the Flying Karamazovs at ACT Theatre, and Shakespeare Walla Walla for Swansong. Jocelyne has designed for Seattle Shakespeare Company (Titus Andronicus, Richard II), Wooden O (Henry IV Part I, The Two Gentlemen of Verona, Henry V, and The Tempest), Book-It Repertory Theatre (Emma, Pride and Prejudice, Frankenstein; or, the Modern Prometheus, Anna Karenina, Hotel on the Corner of Bitter and Sweet), SecondStory Repertory (The Lion in Winter, Legally Blonde, Chess: The Musical, Moon Over Buffalo, and more), Seattle Musical Theatre (Young Frankenstein and Legally Blonde), Harlequin Productions (Clybourne Park, Jesus Christ Superstar, and more), Vashon Opera (Elixir, Albert Herring, Werther, and Eugene Onegin), and other local theatres. Her design for Evita can currently be seen at SecondStory Repertory. Alyssa Keene Dialect Coach Alyssa is a dialect coach, actor, musician, and teaching artist in Seattle and is thrilled to be a collaborator on this show. Recent dialect coaching credits: Assassins, A Christmas Carol, Bloomsday, Cat on a Hot Tin Roof (ACT Theatre). Recent acting credits: Penelope in The Penelopiad (Mirror Stage), Yvette in Mother Courage and Her Children (Seattle Shakespeare Company), 14/48 Thunderdome (The 14/48 Projects and Cafe Nordo), Helen in Wizzer-Pizzer: Getting Over the Rainbow (Theatre22), Rosie in Humble Boy (Seattle Public Theater). Up next: coaching dialects for To Savor Tomorrow (Café Nordo). In addition to teaching at Cornish College of the Arts, Freehold Theatre Lab, Seattle Film Institute, and Jack Straw Studios, Alyssa also works as a food tour guide with Savor Seattle. Robin Macartney Properties Artisan Robin loves working with Seattle Shakespeare Company. This is her eighth time around, having recently done props for Mother Courage and Her Children and The Comedy of Errors. Professional credits include design work with Café Nordo, Freehold Theatre, Pork Filled Productions, Theatre22, Youth Theatre Northwest, Live Girls!, Annex Theatre, Macha Monkey, Printer’s Devil Theatre, Tongue and Chic Productions, and Ese Teatro. She is the Theatre Department’s Scene Shop Supervisor at the University of Puget Sound as well as Front of House manager at the Theatre Off Jackson. Catherine Menkel-Lawrence Wardrobe Supervisor Last unseen during Book-It Repertory Theatre’s production of Emma, Cat is very excited to be backstage for her first show with A-4 SEATTLE SHAKESPEARE COMPANY Seattle Shakespeare Company. This will be her fourth show in the Center Theatre (along with . . . and Jesus Moonwalked the Mississippi and Indian Ink with Sound Theatre Company). Following graduation from Lewis and Clark College, Cat bounced around the US and is happy to now be living and working in the Pacific Northwest. When not assisting with changing or sewing costumes, Cat is an A.V.I.D. Tutor for the Shoreline School District, helping disadvantaged youth achieve their dreams of college. She is also working to get back into competitive swimming shape. Other selected credits include: Intiman Theatre Festival 2015, WA; Miracle on 34th St, State Fair, and Driving Miss Daisy at Round Barn Theater, IN; and La Cage Aux Folles, Music Man, and Race at Weathervane Theater, NH. Victor Pappas Director Victor previously directed The Importance of Being Earnest for Seattle Shakespeare Company. Other Seattle productions have included The Price, Other Desert Cities, Old Times, Mary Stuart, The Trip to Bountiful, Stuff Happens (all at ACT Theatre); Skylight, The Glass Menagerie, Betrayal, Smash, Playland, Gross Indecency, The Turn of the Screw, A Question of Mercy (all at Intiman Theatre); the world premiere of Mark Jenkins’ All Powers Necessary and Convenient; workshops of Jenkins’ Red Earth, Gold Gate, Shadow Sky; three concerts for Showtunes (Anyone Can Whistle, Follies, Falsettos); and various others. His shows have received eight Seattle Times Footlight Awards and three Gregory Award nominations, and he received the Los Angeles Drama Critics Association Award for his direction of Jamie Baker’s South Central Rain. He was a founding member of Theatre Puget Sound and is a proud member of SDC, the Stage Directors and Choreographers Society. Seattle Scenic Studios Technical Director Seattle Scenic Studios is the only non-profit, scenic fabrication organization in the United States. They provide technical support to nonprofit theatres and museums throughout the state, including Seattle Shakespeare Company. Seattle Scenic has supported productions from Washington to New York, from Lincoln, NB, to Spoleto, Italy. They also train the next generation of technical theatre artists, supporting programs including Roosevelt High School, Kamiak High School, the Bush School, Evergreen Middle School, Billings Middle School, Seattle Prep, and Islander Middle School. Jessica Trundy Lighting Designer Jessica is excited to be a part of the creative team for Mrs. Warren’s Profession after previously designing King Lear and The Taming of the Shrew with Seattle Shakespeare Company. Her work has also been seen in Seattle at On the Boards, Seattle Children’s Theatre, ACT Theatre, Book-it Repertory Theatre, Washington Ensemble Theatre, and Seattle Repertory Theatre, among others. Upcoming designs include Stick Fly for the Intiman Theatre Festival. She holds an MFA from the University of Washington, was a founder of Washington Ensemble Theatre, and works in Seattle as a theatrical and architectural lighting designer. Shane Unger Assistant Stage Manager Mrs. Warren’s Profession marks Shane’s first production with Seattle Shakespeare Company. He is a freelance stage manager and recently worked on Book-It Repertory Theatre’s Emma and Seattle Public Theater’s Bad Jews. Other credits include shows with Taproot Theatre, Civic Rep, and Seattle Children’s Theatre. Shane also works as part of the Front of House staff at ACT Theatre. He previously lived in Chicago and worked with Lookingglass Theatre, Goodman Theatre, Albany Park Theatre Project, and Victory Gardens Theatre. Shane received his BFA in Stage Management from Syracuse University. Brenda K. Walker Stage Manager Brenda was last seen at Seattle Shakespeare Company assistant stage managing Measure for Measure. Previous stage management credits include Village Theatre’s In the Heights, No Way to Treat a Lady, and Funny Girl; Arizona Theatre Company’s Xanadu and Snapshots. She recently stage managed for Ballet Tucson. Brenda is married to Adam Michard, and they have a lovely dog named Cordelia. Roberston Witmer Sound Designer Rob’s recent work for Seattle Shakespeare Company includes Mother Courage and Her Children, The Comedy of Errors, and Othello. Other recent shows include Emma (Book-It Repertory); Three Sisters, Seven Ways to Get There (ACT Lab) and The Flick (New Century Theatre). Recent performance credits include Mr. Burns, a Post Electric Play (ACT Theatre) and A Doctor In Spite of Himself (Yale Rep, Berkeley Rep, Intiman Theatre). In 2013, Rob received the 2013 Gregory Award for Outstanding Sound Design. Actors’ Equity Association (AEA), founded in 1913, represents more than 45-thousand actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence. www.actorsequity.org LEADERSHIP BIOS John Bradshaw DONATE TODAY AFTER THE SHOW Seattle Shakespeare Company connects audiences, artists, and communities all across Washington State to the universal human experience found in classical plays. Managing Director Now in his thirteenth season with Seattle Shakespeare Company, John is a graduate of the University of Washington and has spent nearly his entire career as part of the Seattle theatre community. Prior to joining Seattle Shakespeare Company, he was Managing Director at The Empty Space Theatre and Director of Endowment and Planned Giving for Seattle Repertory Theatre. John served as General Manager and Development Director during construction and initial operations at Kirkland Performance Center. At Seattle Children’s Theatre, he was part of the development staff during the capital campaign to build the Charlotte Martin Theatre. Prior to going into administration, John served as an AEA stage manager at several professional theatres in Seattle. John is on the Honorary Advisory Board for the School of Drama at the University of Washington and the Board of Directors for TeenTix. George Mount Artistic Director For Seattle Shakespeare Company, George has appeared in Titus Andronicus, Twelfth Night, Richard II, Love’s Labour’s Lost, A Doll’s House, The Comedy of Errors, The Taming of the Shrew, King Lear, Richard III, and Macbeth and directed Henry IV Part I (Wooden O), Waiting for Godot, Much Ado About Nothing, As You Like It, and The Tempest as well as statewide touring productions of Hamlet, Macbeth, A Midsummer Night’s Dream, and Othello. George is the founding Artistic Director of Wooden O, where he has played Malvolio, Iago, Richard III, Shylock, Hamlet, Cassius, Benedick, Caliban, Romeo, and Feste and directed Henry IV Part 1, Henry V, The Comedy of Errors, Romeo and Juliet, Julius Caesar, The Tempest, A Midsummer Night’s Dream, and Much Ado About Nothing. Other credits include work at ACT Theatre, Book-It Repertory Theatre, Seattle Public Theater, SecondStory Repertory Theatre, and Village Theatre. You can help us celebrate our 25th Anniversary by supporting our future with a donation. On stage, in the parks, and in schools, our plays and programming delight and inspire people of all ages and backgrounds. No gift is too large or too small. Your gift will benefit communities and schools, and help foster the next generation of compassionate, creative individuals. THANK YOU encore art sprograms.com A-5 See the show touring across Washington State! GEORGE BERNARD SHAW George Bernard Shaw was an Irish playwright, novelist, journalist, and co-founder of the London School of Economics. His early career focused on journalism and political activism, but he gained enduring fame as a playwright. Many consider Shaw the second-greatest playwright in the English language after William Shakespeare. Shaw was born in Dublin in 1856 to a lower-middle class family of Scottish-Protestant ancestry. His father, George Carr Shaw, was an unsuccessful grain merchant and his mother, Lucinda Elizabeth Shaw, was a professional singer and vocal teacher who moved to London when George was a teenager. Shaw remained in Dublin to complete his schooling, which he hated, and worked as a clerk in an estate office, which he hated just as much as school. At twenty, Shaw moved to London and lived with his mother while pursuing work as a journalist and novelist. He read voraciously, spending afternoons at the British Museum and evenings attending lectures and debates. He became involved in progressive politics and distinguished himself as a public speaker, developing an aggressive and energetic style in both his speaking and writing. Shaw co-founded the Fabian Society, a political organization dedicated to transforming Britain into a socialist state through progressive legislation and mass education. The Fabian Society would later be instrumental in founding the London School of Economics and the Labour Party. A TALE REVEALING THE MAGIC AND POWER OF THE HUMAN HEART. Shaw wrote as a music, art, and drama critic for London’s Saturday Review but grew weary of the intellectually barren melodramas fashionable at the time. His passion was for progressive art, and he admired the Norwegian playwright Henrik Ibsen and German composer Richard Wagner. Ibsen encouraged Shaw to reshape the English stage with sophisticated plays that tackled important social issues. Shaw’s first play, Widowers’ Houses, was produced in 1882. In the next few years he wrote close to a dozen plays, including Mrs. Warren’s Profession. Shaw’s plays had enough success abroad that he could quit his job as a critic and work solely as a playwright. Photo: Island in the Sky by Shane M. Kalyn Center Theatre Public Performances Friday, April 15 at 7:30 pm Saturday, April 16 at 2:00 pm Saturday, April 16 at 7:30 pm seattleshakespeare.org A-6 SEATTLE SHAKESPEARE COMPANY In 1898, Shaw married Charlotte Payne-Townshend, an Irish heiress he had met through the Fabian Society. Their marriage lasted until Charlotte’s death in 1943. The outbreak of World War I changed Shaw’s life. His anti-war speeches and controversial writings made him an unpopular figure in London. His single wartime play, Heartbreak House, exposed a dwindling faith in humanity. After the war, he wrote two more plays about “creative evolution,” Back to Methuselah and Saint Joan, expressing despair that mankind needed a much longer life to achieve the wisdom necessary for self-government. In 1925, Shaw was awarded the Nobel Prize for Literature and in the late 1920s a Shaw Festival was established in England. He adapted his play Pygmalion into a film which won an Oscar in 1938. He is the only person to be awarded both a Nobel Prize for Literature and an Academy Award (Oscar) for film. Shaw continued to write plays and essays until his death in 1950 at the age of 94. NEXT ON STAGE MAY 4–MAY 22 WHAT IT’S ABOUT It’s a story that’s practically part of our DNA, and yet it still enchants us. A boy, a girl, and a love so deep that they believe they can beat the odds. Families so caught up in the past that they can’t see what’s in front of them. Time racing past. This time he’ll know. This time she’ll see. This time the lark will sing for them tomorrow. Live the romance in an up-close and intimate staging where the dancers swirl past, the sword fighters clash, and the heartbeat of the play mixes with your own. WHERE IT’S PERFORMING Cornish Playhouse at Seattle Center 201 Mercer St WHO YOU’VE SEEN Mike Dooly Twelfth Night, Richard II, The Tempest (Wooden O), Love’s Labour’s Lost Chris Ensweiler Waiting for Godot, A Midsummer Night’s Dream, Much Ado About Nothing (Wooden O), The Two Gentlemen of Verona Anastasia Higham The Tempest (Wooden O) Justin Huertas Twelfth Night (Wooden O), Much Ado About Nothing George Mount Titus Andronicus, Twelfth Night, Richard II, Love’s Labour’s Lost Trevor Young Marston Mrs. Warren’s Profession, Titus Andronicus Carolyn Marie Monroe The Two Gentlemen of Verona (Wooden O), Henry V (Wooden O), The Tempest seattleshakespeare.org By William Shakespeare | Directed by Vanessa Miller “WHOLLY EVIL” By providing a frank and unashamed perspective on taboo topics, Shaw so angered critics and censors that Mrs. Warren’s Profession was banned from performance in England for many years. The cast and crew were even arrested during the first performance in New York. Private performances and productions abroad were what kept the play alive, but it took 27 years before a public performance in England was permitted. “A superabundance of foulness.” — New York Herald, 1905 “The play is an insult to decency” — The Herald, 1905 “The play is wholly evil” — St. James Gazette, 1902 “It defends immorality, it glorifies prostitution, it besmirches the sacredness of a clergyman’s calling.” — The Herald, 1905 “Immoral and otherwise improper for the stage” — Lord Chamberlain’s Examiner of Plays, 1894 “The play is morally rotten” — The Herald, 1905 N “The boldest and most specious defenses of an immoral life for poor women that has ever been written.” — St. James Gazette, 1902 THE NEW WOMAN “ Although individual women from pre-historic times have accomplished much, as a class they have been set aside to minister to men’s comfort.” — Winnifred Harper Cooley, The New Womanhood Vivie’s character exemplifies the “New Woman,” a heroine that emerged in popular culture toward the end of the Victorian era and navigated the radical expansion of rights and opportunities available to women. Prior to 1870, when an English woman married, her property, inheritance, and future earned wages transferred to her husband. Under “coverture” law the married couple became one person and that person was the husband — the wife legally ceased to exist. Married women could not sign legal documents or enter contracts, and they could not pursue education without their husband’s permission. Unmarried women were legally classified as “feme sole” and retained their legal identity and rights, but had few career opportunities outside working-class positions. This lack of rights for half the adult population was justified by a convenient portrait of women’s “nature.” The ideal Victorian woman was sympathetic to the needs of others, fulfilled completely and only by the duties of a wife and mother, obedient, and chaste to the point of asexuality. Female biology was considered unsuited for intellectual pursuits, and physicians discouraged women from engaging in academic study as it could put their health in peril. The fragile nature of women dictated that they be sheltered from the harsh reality of the newly industrialized world and sequestered to their natural realm — the home. While this “angel in the house” was a prescriptive ideal which many in the middle and upper classes aspired to emulate, organized feminism was simultaneously gathering momentum in England. Mary Wollstonecraft and other feminist writers in the late 1700s had articulated the exploitative function of traditional gender roles, and their influence extended into the Victorian era. By the 1850s, England’s first women’s rights organizations were established and went on to impact property laws and access to higher education for women, as well as to criticize gendered double standards in sexual morality. A flurry of new laws passed toward the end of the 1800s granting women rights to retain their inheritance and earned wages (1870), earn degrees in higher education (1878), own and control property (1882), and legally refuse sex with their husbands (1891). It was in the wake of these monumental changes that the “New Woman” arrived. A pendulum swing from the popular Victorian feminine ideal, the New Woman was educated, career-focused, civically active, and determined not to be trapped in domestic servitude as a wife and mother. The reception of the New Woman was mixed and extreme. Iconically depicted in trousers, bicycling, and smoking, for some she represented a brave progression in human civilization and for others an unnatural perversion of womanhood that threatened to erode society’s foundations. Pictured: Victorian “New Women” with their iconic bicycles. A-8 SEATTLE SHAKESPEARE COMPANY IMMORAL ACTS “There is no comparison to be made between prostitutes and the men who consort with them.” — Royal Commission, 1871 The Contagious Disease Acts (CD Acts) were a series of controversial laws passed between 1864 and 1869, and ultimately repealed in 1886. They originally sought to address an epidemic of venereal diseases within England’s military. At the time, gonorrhea or syphilis accounted for 29 percent of all visits to military hospitals. Rather than screening servicemen, which was deemed too degrading to consider, the CD Acts gave police authority to arrest any woman suspected of prostitution near ports or army bases and subject her to a forced genital exam. In 1869, the reach of the Acts was expanded to all of England. Women diagnosed with a venereal disease were imprisoned in Lock Hospitals or Magdalene Asylums where they were forced to work without pay during their convalescence, much like in today’s private prisons. Many women during the Victorian era chose prostitution not because other employment was unavailable, but because the compensation for “respectable” work was too little to survive on and required degradingly submissive conduct. The At the time Mrs. Warren’s Profession majority of Victorian prostitutes were was written, the status of “oldest either orphaned or had lost one parent, profession” was being applied to and most entered prostitution at age a slew of industries. Medicine, eighteen and left prostitution by their agriculture, engineering, religious early twenties. 88% of surveyed prostitutes office, military service, tailoring, cited self employment and potential for and law were each lauded as the wealth as their primary reasons for entering original vocation by Victorian prostitution. It is not surprising that many writers. It was Rudyard Kipling, objected to involuntary confinement and the author of The Jungle Book and uncompensated menial labor. Inmate riots Just So Stories, who first referred to and disciplinary solitary confinement in prostitution as “the most ancient Lock Hospitals were not uncommon. profession” in his 1899 short story On the City Wall. Opposition to the CD Acts inspired the formation of several women’s rights Kipling’s take on the “oldest organizations which rallied public support profession” quickly gained to repeal the acts, led by influential figures popularity for its usefulness like Florence Nightingale and Josephine as a discrete way to reference Butler. The blatant sexual double standard prostitution. Over a century later, that denied women personal liberty in this line from a fictional story is order to spare servicemen the shame of commonly parroted as historic fact, exams was exposed by repealers, and even though there is absolutely women from every economic class were no evidence to chronologically galvanized to advocate for the dignity and place sex work before the slew of rights of their marginalized sisters. specialized skills which emerged at the dawn of civilization. Pictured: Josephine Butler campaigning for the THE OLDEST PROFESSION? WANT MORE? Seattle Shakespeare Company provides several opportunities with each production for audience members to learn more about the play and interact with our artists. The best part? They’re all free! MOBILE APP Available on Apple and Google Play’s app stores, our free mobile app features special enrichment resources for each production. Have plot summaries, cast bios, and our original “Bluff Your Way Through the Play” all at your fingerstips. JUMPSTART LECTURES Get to know the play before you see it! A member of our artistic team will bring you up to speed on the plot, characters, and history of the play, as well as artistic concepts for the production. POST-SHOW TALKBACKS Join the cast after the performance as they answer your questions and share some insights into the production. seattleshakespeare.org/ enrichment repeal of the Contagious Disease Acts. encore art sprograms.com A-9 First Folio in Seattle MARCH 17–APRIL 17 Four hundred years after Shakespeare’s death in 1616, his characters are timeless and familiar, from wide-eyed Miranda to grim Macbeth. But how do we know about Shakespeare’s plays in the first place? For many of the plays, the answer is a single book: the 1623 First Folio of Shakespeare. Assembled seven years after Shakespeare’s death, the First Folio includes 36 of his plays — 18 of which had never been previously published. The others had been published in small one-play booklets called “quartos.” Without the First Folio we would not have: All’s Well That Ends Well, Antony and Cleopatra, As You Like It, The Comedy of Errors, Coriolanus, Cymbeline, Henry VI, Henry VIII, Julius Caesar, King John, Macbeth, Measure for Measure, The Taming of the Shrew, The Tempest, Timon of Athens, Twelfth Night, A “folio” is a large book in which The Two Gentlemen of Verona, or The printed sheets are folded in half Winter’s Tale. only once, creating two doublesided leaves, or four pages. Folios This spring First Folio! The Book that Gave Us were more expensive and far more Shakespeare by Folger Shakespeare Library prestigious than “quartos.” Seven will bring original editions of the First years after Shakespeare’s death, Folio to all 50 states, Washington, DC, and John Heminge and Henry Condell, Puerto Rico. It will be displayed at Seattle his friends and colleagues in Public Library’s downtown location March the King’s Men acting company, 21 through April 17. curated almost all of Shakespeare’s plays to publish as a folio edition. Visitors will come face to face with the ABOUT THE FOLIOS Donate to Seattle Shakespeare Company during GiveBIG on May 3, and your gift will have a big impact! A-10 SEATTLE SHAKESPEARE COMPANY original 1623 book, displayed open to Hamlet’s speech in which he debates whether “to be or not to be.” Seattle Shakespeare Company and other local organizations have partnered with Seattle Public Library to offer an array of public events and activities in joyful celebration of the book that saved so many of Shakespeare’s dramas. For the full calendar of First Folio! events in Seattle, visit the Seattle Public Library website at spl.org Adapted from Folger Shakespeare Library The First Folio groups the plays for the first time into comedies, histories, and tragedies, and it includes the Droeshout portrait of Shakespeare, generally considered an authentic image because it was approved by those who knew him. Researchers believe that 750 or fewer copies of the First Folio were printed; 233 survive today, of which 82 are in the Folger Shakespeare Library collection. Each copy is slightly different, partly because proofing took place at the same time as printing. Being able to compare different copies side-by-side has greatly increased our understanding of Shakespeare’s work. Summer Stage Fun Each spring, a unique group of young people in the Seattle area wonder which plays they will delve into once they are released from school and into summer. This year, they got glorious news: that Hamlet is in their near future! Our Camp Bill summer programs offer the region’s young people an opportunity to actively engage in Shakespeare’s works — not just as words on the page — but through action, combat, singing, dancing, and performing. If kids like circus art, there is a camp for that! If they want to learn combat, there are multiple camps for that! And if young people want to produce an entire play in three weeks, beginning with a script and a concept, and concluding with multiple performances, the flagship Production Intensive is the camp for them. Students craft costumes, assemble props and build set pieces, and they learn to work together as scene partners to realize the fullest telling of their story. It’s an intensive process, 8-hour days over the course of three weeks, but the hours spent together mean that while they are creating art, they are also creating friendships. And beyond developing their individual acting skills, campers develop a group ethos. They play improv and warm up games like Bippity Bippity Bop — the kind adults would recognize from team development events. By collaborating in the artistic discovery of theatre, they learn to give encouragement and foster trust so that an entire group can shine. For some campers, the unique team built from students and the teachers and interns is their favorite aspect of Camp Bill. For others it’s the intensive immersion in all parts of the theatre experience. Whether with an introduction to acting, circus skills, stage combat, or the intensive creation of a complete production, Camp Bill begins with great plays and ultimately delivers discovery, experience, and friendship. (ages 8–18) Campers get hands-on experience with voice and text work, scene study, Elizabethan dance, comedy techniques, and stage combat — guided by professional actors and teaching artists. SHAKESPEARE’S CIRCUS: HAMLET June 27–July 1 EDMONDS COMBAT AND IMPROV July 11–15 HAMLET STAGE COMBAT CAMP July 18–22 HAMLET INTRO TO ACTING CAMP July 18–22 PRODUCTION INTENSIVE: HAMLET July 25–Aug 12 HALF-DAY COMBAT INTENSIVE August 15–19 ENROLL TODAY! seattleshakespeare.org encore art sprograms.com A-11 SUNDAY / APRIL 24, 2016 / 5:30 PM Cornish Playhouse at Seattle Center YOU’RE INVITED! Join us for a glimmering evening as we celebrate our 25th Anniversary! This fun party will be filled with amazing auction items, delicious food and beverages, and many of your favorite Seattle Shakespeare Company artists. Celebrate in style as you support our education and artistic programs and help make great classic stories accessible to all . . . come Bash with us! GENERAL ADMISSION $125 VIP ADMISSTION $250 billsbash.org INSTITUTIONAL SUPPORTERS $25,000 and More ArtsFund The Boeing Company Microsoft Matching Gifts Program Shakespeare for a New Generation, a national program of the National Endowment for the Arts in cooperation with Arts Midwest Treeline Foundation $10,000–$24,999 4Culture Colymbus Foundation John Brooks Williams and John H. Bauer Endowment for Theatre The Morgan Fund The Norcliffe Foundation Seattle Office of Arts & Cultural Affairs Tuxedos and Tennis Shoes Catering Washington State Arts Commission Wells Fargo Foundation Williams Trading, LLC $5,000–$9,999 Adobe Matching Gifts Program American Life, Inc. The Boeing Gift Matching Program Costco Arts Education and Access Issaquah Arts Commission KUOW 94.9 FM Nesholm Family Foundation U.S. Bankcorp Foundation $2,500–$4,999 Anne & Mary Arts & Environmental Ed Fund at the Greater Everett Community Foundation The Bungie Foundation Matching Gifts Program Carillon Points Matching Gift Program CliftonLarsonAllen LLP Daqopa Brands LLC Fales Foundation Trust THE ARDEN CIRCLE Arden Circle members are pillars of support who ensure Seattle Shakespeare Company’s growth and development through a multi-year, sustaining pledge of $1,500 or more. David Allais Bob and Sarah Alsdorf Stella and Steve Bass Mary and Scott Berg Jeannie Buckley Blank and Tom Blank John Bodoia Pierre DeVries and Susan Tonkin Dan Drais and Jane Mills Sue Drais Lauren Dudley Rick and Terry Edwards Emily Evans and Kevin Wilson Ann and Donald Frothingham Lynne Graybeal and Scott Harron Bert and Bob Greenwood Maria Mackey Gunn John and Ellen Hill Ken and Karen Jones Gustavo and Kristina Mehas Sarah Merner and Craig McKibben Phil and Carol Miller Nancy Miller Juhos and Fred Juhos Susan and Steven Petitpas Mary Pigott Erik Pontius Anne Repass TheHappyMD.com Nicole Dacquisto Rothrock and Tim Rothrock Chuck Schafer and Marianna Clark Laura Stusser-McNeil and K.C. McNeil Doug and Maggie Walker Pat Walker Steve Wells Janet Westin and Michael McCaw Susan and Bill Wilder Jim and Jeanne Wintz Jolene Zimmerman and Darrell Sanders For more information about joining the Arden Circle, please contact Tracy Hyland, Individual Giving Manager: [email protected] or 206-733-8228 x 268 seattleshakespeare.org/arden Gartner Matching Gift Program Hazel Miller Foundation Horizons Foundation IBM International Foundation Mercer Island Community Fund Perkins Coie LLP The Seattle Foundation Teatro ZinZanni $1,000–$2,499 Actors’ Equity Foundation, Inc. Ascent Private Capital Management F5 Connects Matching Program Mercer Island Rotary Club Moccasin Lake Foundation U. M. R. Foundation, Inc. $500–$999 Bill and Melinda Gates Foundation Matching Gifts Program Elysian Brewing Company Expedia Gives Matching Gift Program Mangetout Catering Mercer Island Lions Club U.S. Bank Foundation Employee Matching Gift Program Savage Color $100–$499 Bridge Partners LLC The Coca-Cola Foundation Eastside Acupuncture & Chinese Medicine Center Goldman, Sachs and Co. Matching Gift Program Hildegard Protection Society Kiwanis Club of Mercer Island Oriental Royal Arch Masons #19 Starbucks Foundation Symetra Matching Gift Program T-Mobile Matching Gift Program Workplace Campaign Donors Thank you to the following companies and organizations for encouraging giving through workplace campaigns: Boeing Employee Individual Giving Program City of Seattle Employee Giving IBM Employee Charitable Contribution Campaign King County Employee Charitable Campaign Microsoft Workplace Campaign Washington State Employee Combined Fund Drive INDIVIDUAL SUPPORTERS $10,000 and More David Allais Warren and Anne Anderson Jane and Robert Doggett Emily Evans and Kevin Wilson John and Ellen Hill Stellman Keehnel and Patricia Britton Mary Pigott Doug and Maggie Walker $5,000–$9,999 In Memory of Sid and Rae Buckley — Sarah and Bob Alsdorf Jeannie Buckley Blank and Tom Blank John Bodoia Dan Drais and Jane Mills Bert and Bob Greenwood Maria Mackey Gunn Mark Hamburg Ken and Karen Jones Douglas and Kimberly McKenna Phil and Carol Miller Nancy Miller-Juhos and Fred Juhos Sue and Steve Petitpas Shirley and David Urdal Pat and Charlie Walker Susan and Bill Wilder $2,500–$4,999 Anonymous (2) — Steve and Stella Bass Terry Barenz Bayless Scott and Mary Berg Marisa Bocci Paula and Paul Butzi John Chenault and Wendy Cohen Sharon Coleman Sandra K. Farewell Barbara and Tim Fielden Donald and Ann Frothingham Lynne Graybeal and Scott Harron Lawrence and Hylton Hard Randi Jean Hedin and Andy Gardner Jeff Kadet and Helen Goh Steve and Carole Kelley Susan Leavitt and Bill Block Angelique Leone and Ronald Fronheiser Peter and Kelly Maunsell Sarah Merner and Craig McKibben Richard Monroe Bill Neukom Patrick O’Kelley and Laura McCorkle Rosemarie and H. Pike Oliver Dave Oskamp Kyle and Michele Peltonen David and Valerie Robinson Mavis and Stephen Roe Jim and Kasey Russell Chuck Schafer and Marianna Clark Suzanne Skinner and Jeff Brown Laura Stusser-McNeil and K.C. McNeil Nancy Talley Jim and Kathy Tune Richard and Catherine Wakefield Jay Weinland and Heather Hawkins Weinland Steve Wells Elisabeth S. Yaroschuk and Miles A. Yanick Jolene Zimmerman and Darrell Sanders $1,000–$2,499 Anonymous (8) — Rhoda Altom and Cory Carlson Philip and Harriett Beach Julie Beckman and Paul Lippert Lenore and Dick Bensinger Pirkko and Brad Borland Bobbie and Jon Bridge Janet Brown Frank Buxton and Cynthia Sears Barney and Denise Balthrop Cassidy Steven and Judith Clifford Mary Dickinson Eric and Tracy Dobmeier Lauren Dudley Rick and Terry Edwards Jean and David Farkas Stan and Jane Fields Brad and Linda Fowler Natalie Gendler encore art sprograms.com A-13 Susan George Slade Gorton Lisa Hager David and Meg Haggerty James Halliday and Tyson Greer John and Wendy Hardman Brad and Zoe Haverstein Edwin and Noriyo Hawxhurst Barbara and David Heiner Lucy Helm Susan Herring and Norman Wolf Harold and Mary Frances Hill Mark Houtchens and Pat Hackett Jane and Randall Hummer Dean W. Koonts Frida Kumar Susan Lantz-Dey and Mike Dey Marianne and Jim LoGerfo Teresa Mathis Elizabeth Riggs McCarthy and Clement Andrew McCarthy Gustavo and Kristina Mehas Meg and David Mourning Richard and Susan Nelson Nick and Joan Nicholson Anne Otten and James Adcock Sandra Perkins and Jeffrey Ochsner Kevin Phaup Lori Lynn Phillips and David C. Lundsgaard Steve Pline and Tony Paul Judy G. Poll Ben and Margit Rankin Kim and Ken Reneris Joanne Repass and JJ Ewing Kerry and Jan Richards Paula Riggert Joanne Roberts Nicole Dacquisto Rothrock and Tim Rothrock Renee Roub and Michael Slass Harry Schneider and Gail Runnfeldt Ann Schuh Kris and Rob Shanafelt Goldie and Don Silverman Laurie Smiley Helen Stusser and Ed Almquist Tom Sunderland and Emily Riesser Sheila Taft TheHappyMD.com Dan Tierney and Sarah Harlett Annette Toutonghi and Bruce Oberg Leslie M. Vogl Stacey Watson and Duncan Moore Helen Wattley-Ames and Bill Ames Peggy Weisbly Janet Westin and Michael McCaw Sally and Tom Wilder Jeanne and Jim Wintz $500–$999 In Memory of Carlo and Helen Romeo — Anonymous (4) — Eric and Lynette Allais Kathleen and Mike Ambielli Christine Atkins Bradley and Sally Bagshaw Nancy and Sam Bent David and Debra Boyle John Bradshaw Anne Brindle Roberta Browne and Paul Vosper David C. Brunelle Julia Buck Rita Calabro and James Kelly Cathy and Michael Casteel Hugh and Nicole Chang Laurie Corrin Manuela and Terry Crowley William Cummings Ronald G. Dechene and Robert J. Hovden Martin and Gillian Dey Helen and David Dichek Bassim and Kara Dowidar Christopher G. Dowsing of Morrow & Dowsing, Inc. Sharon Durfy John Ellis and Ann Wilkinson Ellis Joyce Erickson and Kenneth Brown Karin Fosberg and Kevin Majeau Nan and Bill Garrison Rich and Kathy Gary Christine and David Gedye Genevra Gerhart Michele and Gaston Godvin Marjorie and Rick Goldfarb Robert H. Green Hallidie G. Haid Chris and David Hansen Madeline and Peri Hartman Sandi and Shawn Heffernan Ross and Kelsey Henry Randy and Barbara Hieronymus Bill Higham Marion Hogan Lynn Hubbard and David Zapulsky Cynthia Huffman and Ray Heacox Fritz and Nancy Huntsinger Brien and Catharine Jacobsen Karen Jones and Erik Rasmussen Cynthia B. Jones and Paul J. Lawrence Maryann Jordan and Joseph McDonnell Tessa Keating and Stephen Rothrock Kim Kemp Andrew and Polly Kenefick A-14 SEATTLE SHAKESPEARE COMPANY Jill Kirkpatrick and Marcus Wheeler Agastya Kohli Karl and Anne Korsmo Brian and Peggy Kreger Kathleen Learned and Gerald Anderson Roger Levesque Charlotte Lin and Robert Porter Mary Anne and Chuck Martin Ellen Maxson Beth McCaw and Yahn Bernier Ann McCurdy and Frank Lawler Neil McDevitt Marcie and John McHale Vicki McMullin Brian and Launi Mead Sue and Bob Mecklenburg Michael and Jeanne Milligan Timothy L. and Heidi A. Nelson Scott and Pam Nolte Charles G. 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Marks $100–$249 In Memory of Haig Bosmajian In Memory of Clayton Corzatte — Anonymous (19) — Diane Aboulafia Blaise Aguera y Arcas Peter Aiau Dina Alhadeff Kathy Alm and Bill Goe Georgia Angus Bridget Ardissono Scott Bailey Monique Barbeau and Rodney Snyder Sybil Barney Deena and Bill Baron Janet Bartlett Shari Basom Shawn Baz Arthur and Beverly Becher Tom and Cari Beck Sheryl Beirne Ann Beller Michael Berlin Steven Billeau Rebecca Bloom Diane Bode Jim and Caroline Boren Hamida Bosmajian Rev. M. Christopher Boyer Sonja Brisson and Mick Van Fossen Jim Bromley and Joan Hsiao Darby and Cara Brown Mary and Tom Brucker Darlene and Harlan Bruner Scott and Cindy Buchanan The Bullfrog Kurt and Miriam Bulmer Blake Bundesmann Charlotte and Michael Buschmohle Margaret Bustion Brian and Rebecca Butler Karlyn and Richard Byham J.L. Byrne and C.M. 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If you wish to change your acknowledgement listing, please contact Kaeline Kine, Development Associate and Events Manager, at (206) 733-8228 x270 or kaelinek@ seattleshakespeare.org. encore art sprograms.com A-15 STAFF Leadership John Bradshaw, Managing Director George Mount, Artistic Director Artistic Sheila Daniels, Associate Artist John Langs, Associate Artist Hannah Mootz, Casting Associate Amy Thone, Casting Director Box Office STAY CONNECTED seattleshakespeare.org [email protected] Seattle Shakespeare Company @seattleshakes Lorri McGinnis, Box Office Manager Courtney Bennett, Box Office Associate Jordan Lusink, Box Office Associate Hannah Mootz, Box Office Associate Thea Roe, Box Office Associate Lucinda Stroud, Box Office Associate Clay Thompson, Box Office Associate Communications Jeff Fickes, Communications Director Thea Roe, Graphic Designer Development Kaeline Kine, Events Manager and Development Associate Tracy Hyland, Individual Giving Manager Annie Lareau, Institutional Grants Manager Education seattleshakespeare Michelle Burce, Education Director Casey Brown, Education Associate Front of House Seattle Shakespeare Company Dana Masters, House Manager Courtney Bennett, Assistant House Manager Operations seattleshakespeare Victoria Watt Warshaw, Bookkeeper / Office Manager Production CONTACT US Ticket office: (206) 733-8222 Administrative offices: (206) 733-8228 Fax: (206) 733-8202 Seattle Shakespeare PO Box 19595 Seattle, WA 98109 Ticket Office Hours Tuesday–Friday: 1–6 pm seattleshakespeare.org A-16 SEATTLE SHAKESPEARE COMPANY Louise Butler, Production Manager Jocelyne Fowler, Costume Shop Manager Marleigh Driscoll, Properties Shop Manager Courtney Bennett, Production Management Intern BOARD OF DIRECTORS Board Officers Sarah Alsdorf, President Susan Petitpas, Vice President / President Elect Marisa Bocci, Vice President David C. Allais, Treasurer Phillip S. Miller, Secretary Emily H. Evans, Immediate Past President Board Members Steve Bass Jeannie Buckley Blank Lynne Graybeal Robert H. Green Roberta Greenwood David Haggerty Chris Hansen Brad Haverstein Steve Kelley Nancy Miller Juhos Patrick O’Kelley Rosemarie Oliver Michele Peltonen Madhu T. Rao Renee Roub Chuck Schafer Suzanne Skinner Laura Stusser-McNeil Tom Sunderland Jay Weinland Jeanne C. Wintz, Ph.D. Jolene Zimmerman Advisory Board Kenneth Alhadeff John Bodoia Paula Butzi Mary E. Dickinson, CPA Dan Drais Donald Frothingham Slade Gorton Maria Mackey Gunn Ellen Hill John Hill Stellman Keehnel Sarah Merner Jane Mills Meg Pageler Mourning Laurie Smiley James F. Tune Pat Walker Steven Wells FACILITIES PARTNERS ENCORE ARTS NEWS EVERYBODY RISE Umbrella Project Boosts Local Playwrights Good plays should be seen. Not just once, or for a few weekends, but over and over, by different audiences who will bring varied perspectives to the work. That’s a best-case scenario, but too often promising plays die on the vine. Maybe they get stuck in workshops, or never get the feedback necessary to become production-ready. Maybe they just never find the right theatrical home. It’s a pattern that Norah Elges finds incredibly frustrating. “We’re losing artists all the time— playwrights, actors, directors, companies— because people feel like they hit a ceiling,” she says. “Everyone holds a different piece of this new play process but there’s no organization built to pick up any slack that’s happening. There’s no real path that’s ever been forged from Seattle to connect to the national conversation.” So Elges came up with the idea for Umbrella Project, an artistic support system for new plays and burgeoning playwrights, and enlisted fellow dramaturgs and theatre professionals Erin Bednarz (Live Girls!) and Gavin Reub (The Seagull Project) as co-founders. The concept is still being honed, but Umbrella aims to work closely with playwrights to polish nascent plays to production quality and connect them with organizations that might want to produce or co-produce the plays, both locally and, ideally, nationally. “Our investment is in the play itself,” Reub says. “We aren’t looking to put up a commercial venture as much as we’re looking to create a piece that lasts for the playwright.” Last fall, Umbrella raised more than $20,000 via Kickstarter and opened their first co-production, Emily Conbere’s psychological thriller Knocking Bird. Conbere is now one of three playwrights officially working with Umbrella, in addition to Brendan Healy and Benjamin Benne, whose play At the Very Bottom of a Body of Water is currently in development. Umbrella currently has 13 project liaisons, theatre company representatives open to working with Umbrella plays and playwrights, including Seattle Rep managing director Jeffrey Herrmann and Satori Group artistic director Caitlin Sullivan. The next big project, Elges says, is getting more liaisons from outside Seattle and expanding local audiences, and thus, revenue. “We’re looking to change not only the way new work is produced but also the way new work is funded.” GEMMA WILSON Only at Mirabella Seattle Living here means being surrounded by the best the city has to offer. Dine at a nearby restaurant, cruise Pike Place Market, catch a show at one of the city’s many arts venues, or simply take part in Mirabella’s busy activities calendar. No matter what you choose, you’ll experience vibrant urban living at its finest. Call today for a tour and find out how you can retire in the middle of it all. (206) 254-1441 retirement.org/mirabellaseattle 116 Fairview Avenue North Seattle, WA 98109 Mirabella Seattle is a Pacific Retirement Services Community. Equal Housing Opportunity. Read the full Q&A with the founders of Umbrella Project online at cityartsonline.com/umbrella encore art sseattle.com 9 KEYCHANGE How organizations like Seattle Youth Symphony Orchestras are moving the needle on music education in Seattle schools, and what that means for our city’s future. byGEMMAWILSONnphotobySTEVEKORN High school classrooms have a distinct din, an aural miasma of voices chattering, papers shuffling, school bells ringing. In a large, fluorescent-lit room in Chief Sealth International High School, that ubiquitous, low-grade racket is joined by the astringent whine of student violinists and the tentative rumble of someone noodling on a double bass. At Sealth, in West Seattle’s Delridge neighborhood, this musical sound is relatively new. Six years ago Denny Middle School, with which Sealth shares a campus, partnered with Seattle Youth Symphony Orchestras and seven area elementary schools to provide professional coaching to students learning string instruments. When SYSO started there, Denny had 39 kids in the orchestra. Now they have three orchestras and a total of some 160 participating kids. As Denny’s orchestra grew, more graduating eighth graders wanted to continue their musical education, increasing demand for an orchestra class at Sealth. So Sealth added an orchestra class, the Denny orchestra teacher became the Denny/Sealth orchestra teacher, and string orchestra joined the school’s official music classes. (A dedicated teacher had been leading and fundraising for the schools’ bands for more than a decade.) While Sealth’s band and orchestra are growing, they still pale in comparison to the leading examples of music education in Seattle Public Schools: Garfield and Roosevelt High, whose jazz bands and orchestras have placed among the top in the country for decades. Those awardwinning programs are outliers in the city’s complicated, imbalanced arts education ecosystem. That imbalance has deep systemic and societal roots, and they’re not unique to Seattle. But questions of equity and arts education on the rise nationally—in 2012, U.S. Secretary of Education Arne Duncan declared our country’s arts opportunity gap a civil rights issue. Denying children music as part of their education puts them at a quantifiable disadvantage, and now the district’s offerings are being reevaluated and reinvigorated by forces within the district and without. The benefits of music education aren’t up for debate. Hundreds of studies show that music education has a positive benefit on school performance and in life. Kids who get music education have higher grades, then higher salaries. They even vote more as adults. Mastering 10 ENCORE STAGES an instrument requires a particular discipline that is also an excellent teacher of perseverance. “There are a lot of kids that don’t believe in themselves, if they’ve often hit failure,” says Kathleen Allen, who was the school district’s Community Arts Liaison before becoming SYSO’s Director of Education, Communications and Partnerships. “Research has shown that this, even more than doing well in school, is a critical component of success: the opportunity to know that if you work hard things will change.” As Sealth’s orchestra class warms up, orchestra teacher Jorge Morales helps 20-some kids tune their strings and hands out music before stepping up to his podium to conduct. Daniel Mullikin, a professional cellist and music coach with Seattle Youth Symphony Orchestras, aids in tuning. He moves around the room working with individual students, making corrections and giving tips on technique. He’s a longtime SYSO coach and has worked with some of these kids since they were in elementary school. As the kids move through different scales, with Morales announcing note corrections and Mullikin adjusting fingers, the improvement in tuning is audible—and the kids can clearly hear it too, playing louder and more confidently by the minute. “Having coaches there helps make more meaningful time of the class,” Morales says. “When I didn’t have that, it was 10 or 20 minutes of tuning some days, to then play for 10 minutes and spend half the time talking. It was a rough, rough learning process for me.” Coaches also help with time-consuming instrument repairs, which Morales previously dealt with himself. (They also help Morales, who’s primarily a pianist and composer, improve his own string skills.) When it comes to something as specialized as playing a string instrument, nothing beats one-on-one instruction. Finally, these once-struggling school orchestras are beginning to thrive. S EATTLE YOUTH SYMPHONY ORCHESTRAS, COLLOQUIALLY KNOWN as SYSO, was founded in 1942, and is now one of the largest youth orchestra programs in the country. Today the group is comprised of four different orchestras: Symphonette, Debut Symphony, Junior Symphony and the prestigious flagship group, Seattle Youth Symphony. That top group performs annually at Benaroya Hall and is coached by professionals from Seattle Symphony musicians and local university staff. In Seattle Public Schools, students can choose to start playing an instrument in fourth and fifth grade, says Allen. It’s a pull-out program, which means that kids leave their regular classroom for music lessons encore art sseattle.com 11 ENCORE ARTS NEWS during the school day, and it’s taught by instrumental-music specialists sent from school to school by the district. These teachers, Allen explains, are on part-time contracts that allow each kid to get about a half-hour of music instruction a week—not nearly enough to make progress. “Schools are allowed to buy more time,” Allen says, “and so certain schools can get more music, either through fundraisers or passing the cost back to the parents.” From the get-go, schools with wealthier students, whose families can already afford things like quality instruments and private lessons, get more arts education. Those at a lower socioeconomic level go without. SYSO is addressing this systemic imbalance with the newest iteration of its SYSO in the Schools program, which works in partnership with public schools to amplify music education. The first iteration, which launched 25 years ago, was the Endangered Instruments Program, which still sends professional musicians to middle schools and encourages kids to try out less-common instruments—to switch from violin to viola, for example, or from flute to French horn. Not only can kids can find instruments they love, and thus will stick with, they may ultimately have more opportunity to play in an orchestra because, as SYSO’s Director of Advancement and Sustainability Josef Krebs point out, “You cannot play Beethoven 9 without the bassoon.” Six years ago, a grant from the Wallace Foundation helped SYSO launch its Southwest Seattle Strings Project, bringing string coaches into eight schools, including Denny and Sealth. Teachers get much-needed help in the classroom and kids get specialized, sometimes one-on-one coaching, from a consistent roster of professionals, for free. But funding’s the trick: Donations made to the Endangered Instruments Program augment schools in the Southwest Strings program that can’t otherwise afford extra instruction. “Systemic inequity is a big deal, and it’s an issue that in our time we have to confront,” Krebs says. “This is a purposeful strategy, because everything else in the broader societal system is designed to help rich families preserve their own assets around arts education.” SYSO, a private nonprofit, staffed by specialists and unfettered by the funding woes, broad focus and red tape of the school district, can send professional teaching artists and necessary supplies, like shoulder rests and rosin, directly to the kids that need them most. S YSO IS JUST ONE PARTNER IN AN ARTS education system that is dizzyingly collaborative. Seattle Repertory Jazz Orchestra, which provides band coaches where SYSO provides string coaches, is another major Seattle Public Schools partner, along with Arts Corps, Seattle Symphony, Seattle Art Museum, Seattle Opera and Seattle Repertory Theatre. These organizations and many others are working with the Creative Advantage Initiative, 12 ENCORE STAGES from city arts magazine a public/private partnership begun in fall 2013 (also seeded by a Wallace Foundation grant) between the school district, the city and countless outside partners, from community arts organizations to individual teaching artists. “There’s no ego in this,” says Gail Sehlhorst, the visual and performing arts manager at Seattle Public Schools. “What leads the work is equitable access to the arts.” In an Oct. 2015 study by the University of Washington’s Center for Reinventing Public Education, Seattle’s public school system was revealed to be one of the least equitable in the country. An example: Over 34 percent of white Denyingchildren musicaspartof theireducation puts them at aquantifiable disadvantage. students in Seattle attend an elementary or middle school with reading tests scores that rank in the top 20 percent of schools citywide, compared to 3.4 percent of black students. The barriers to achieving basic educational equity are myriad, and when it comes to the arts they become even more complex, ranging from funding issues to rigid graduation requirements for high schoolers. Schools with robust PTAs can fundraise to fill that funding gap. Sehlhorst explains that schools without fundraising PTAs can instead pay for arts classes using federal funds (called Title 1 funds) that go to high-need schools based on the percentage of their student body receiving free or reduced lunches, among other criteria. But there’s a problem: These funds can be used for arts, but they don’t have to be, and schools with tight budgets may need them for other education basics. Plus, some large schools fall in the middle—they might have 40 or 50 percent of their students getting free and reduced lunch, but still don’t qualify for Title 1. If you discuss public school music education on any systemic level, you’ll hear the word “pathway” used a lot—meaning the route a child takes from elementary to middle to high school, and the resulting linear growth in skill-building. These problems of funding, equity and access are certainly not unique to music education, but music, particularly instrumental music, has an undeniable technical progression. You can begin learning fundamentals of drawing at any time in your life, but if you don’t start learning instrumental technique in elementary school, you won’t be able to play music at a middle school level, which puts you behind on the path to play at the high school level and beyond. Pamela Ivezic, the school district’s K-12 music coach (it’s worth noting that music is the only discipline with a specialist on staff at the district level), remembers that when she started her job eight years ago, 23 of 52 elementary schools offered music education. That number is now 41. “A really important component of this work is creating a cultural shift,” says Lara Davis, education manager for the Office of Arts & Culture. “There’s been a de-investment in arts education for the last 30 years, so as we make these decisions around increased certificated arts instruction, materials and partnerships, it’s really about engaging school leadership.” Pathways aren’t just about developing skills; they’re about changing the makeup of the city’s decision makers. “If a person hasn’t had an art experience in their life, then they don’t have anything to connect to in terms of the relevance of art in a student’s education,” Sehlhorst says. “Right there you’re also looking at the gaps in who has historically had access to the arts in their public education and in their outside life. We need to help people see the connective tissue between what happens when a student is engaged in art-making and their initiative.” Another huge part of fighting inequity is challenging assumptions about music in certain communities: that kids at schools with stellar music programs are somehow more passionate or more talented rather than wildly more advantaged. When it comes to growing arts education, no one can do it alone. While Creative Advantage chips away at the holistic, systemic level, partner organizations and teachers can address immediate classroom needs and communities can rally to show political and financial support. The common goal is access and growing the capacity of each school to provide quality arts education to all kids. It’s important to be strategic, but it’s also important to act fast. “Every year we don’t invest,” says SYSO’s Krebs, “it’s another couple hundred kids who don’t get music, who don’t think they can make change.” In the Sealth orchestra room, scales have given way to a sight-reading exercise, from which emerges the halting strains of a simple concerto, punctuated by muffled giggles whenever someone biffs a note. Morales stops the kids for a quick conversation about key signatures and relative majors and minors, and they catch on fast. These students are learning and improving in real time—because they’ve been given the chance. n ENCORE ARTS NEWS Tod Marshall PHOTO: AMY SINISTERRA Washington’s New Poet Laureate Ladies and gentlemen, the new Poet Laureate of Washington State, Tod Marshall: “I think of it as a service position as well as an honor,” Marshall says, on the phone from his office at Gonzaga University in Spokane, where he’s a professor of English. “The previous laureates have been amazing in their outreach and I hope to continue that dynamic and take poetry to as many places in the state as I can.” This proselytizing, Marshall says, is the prime directive of the state poet laureate. His specific focus will be on parts of Washington where poetry—its study, its practice, its benefits—doesn’t have a strong foothold. Marshall will safari to the far corners of the state and lead readings, workshops and other forms of engagement with the twofold goal of connecting people to existing poetry and poets and instilling enthusiasm within the public to create their own works. From those far-flung generative exercises, Marshall plans to produce an anthology comprising new work from budding and established poets for placement in libraries across the state. “We’re gonna have a poem for every year of statehood,” he says. “You can give yourself a civics lesson and ask how many that will be: 129 poems by the end of my term.” (Washington became a state in 1889.) He’s leaving room for themes to emerge as he culls the poems, though he also expects the state’s vast and varied geography to influence language and imagery. Washington’s poet laureate program began in 2007, with poet Sam Green, followed by Kathleen Flenniken and Elizabeth Austen. Prospective laureates are not only talented writers but enthusiastic advocates of literacy and literature, willing to travel far and wide to convey the value of poetry throughout the state. The program is jointly sponsored by the Washington State Arts Commission and Humanities Washington. As the outgoing laureate, Austen officially passed the torch— or rather, the laurels—at a ceremony at Hugo House on Feb. 9. “People will turn out for poetry in places that might surprise you—Republic, Manson, Dayton, Cathlamet,” Austen says, “and they really appreciate it when a poet makes the effort to come to their town for a genuine conversation about poetry and its place in our lives.” from city arts magazine Among the laureates, Marshall is the first to be based in Eastern Washington, where he settled to teach at Gonzaga. “I felt like I won a lotto ticket in getting a job at Gonzaga,” he says. He was born in Buffalo and raised in Kansas, where he also received his doctorate. An avid outdoorsman, Marshall says the scenery of the Northwest paired with Spokane’s emerging arts scene have kept him rooted. “Spokane is a great city. I know people complain about our cultural offerings compared to larger cites, but I consider myself a culturally active person and it’s more often that I don’t go to events than find myself wanting more.” Marshall’s most recent book of poetry, Bugle, was published in 2014 and last year won a Washington State Book Award. His work is rough-edged and dark-humored, injected with a wry fatalism that projects the urgency and Marshall’s work is roughedged and dark-humored, injected with a wry fatalism that projects the urgency and folly of man’s short time in the world against the cold beauty of nature. folly of man’s short time in the world against the cold beauty of nature. He mixes classical form with emojis; references to classical mythology with nods to consumer culture. Or as he puts it, “From Lucretius to the Starland Vocal Band. It’s all part of that stuff that we mine out of ourselves and the world to make a poem.” “I called the book Bugle because I thought it had a pretty harsh music,” Marshall says. “There’s a kind of splat-blat raucous note that the book sounds. I know it’s full of violence and misdeeds but the challenge of making music out of those things is very real for many writing today. There’s nothing in that book that one doesn’t encounter tenfold when you pick up a paper.” It’s poetry’s ability to convey voice—distilled, direct—that Marshall is most eager to share. “I think of poetry as representative of the arts writ large,” he says. “Whether poetry, dance, sculpture or music, people need those things in their lives. And the arts and poetry can provide for a space where we challenge ourselves and where we think about things in a different way. Because we’re being told by many different forces how to think about things. “To bring poems to people that challenge how they see the world and understand themselves and navigate their daily joys and pains seems important work to me. And it seems equally important to find the language equal to their own unique understanding and to get them to put that language on paper.” JONATHAN ZWICKEL LOUDON WAINWRIGHT III Friday, April 1 | 7:30 pm $39, $34 & $29 | Youth/Student $15 The 2010 GRAMMY® Award-winner for Best Traditional Folk Album is by far the most candid diarist of the singer-song-writers, wringing more human truth out of his contradiction than any other songwriter of his generation. PATTI LuPONE Thursday, April 21 | 7:30 pm $79, $74 & $69 An American actress and singer best known for her work in stage musicals, Patti LuPone is a twotime GRAMMY® Award winner and a two-time Tony Award winner. She is also a 2006 American Theater Hall of Fame inductee. ANA MOURA Saturday, April 23 | 7:30 pm $39, $34 & $29 | Youth/Student $15 Ana Moura is a Portuguese fado singer, and the youngest fadista to be nominated for a Dutch Edison Award. An international star who has performed with The Rolling Stones and Prince, she brings the requisite soul and a contemporary sensibility to the longing-filled Portuguese music called fado. ec4arts.org 425.275.9595 410FOURTHAVE.N. EDMONDSWA98020 encore art sseattle.com 13 get with it Visit EncoreArtsSeattle for an inside look at Seattle’s performing arts. EncoreArtsSeattle.com PROGRAM ARCHIVE FEATURES ARTIST SPOTLIGHT WIN IT PREVIEWS ENCORE ARTS NEWS Seattle Design Finds a Home Design is everywhere; design is ineffable. The chair in which you’re sitting, the device on which you’re reading this story, the building you’re inside of—they’re all results of design, a creative discipline so seamlessly enmeshed in our everyday existence that it’s hard to understand from an objective, layman’s perspective. Organizations like the Seattle Architecture Foundation, Design in Public, AIA Seattle and AIA Washington Council exist to educate the public on the role design and architecture play in our lives and to advocate for better urban living through good design. In March, with the opening of the new Center for Architecture & Design, all four organizations come together under one roof for the first time. The multipurpose Center occupies 4,500 square feet on the ground floor of the National Building downtown, two blocks from the waterfront. With tall plate glass windows, a grand entryway and an adaptable floor plan, its front half is a showroom for rotating design and architecture exhibits that’s open to the public. The back half is office space for staff of the four resident nonprofits. (Briefly: SAF serves the general public with walking tours of Seattle and other educational programs; DIP produces the fall’s weeklong Seattle Design Festival as well as other events; AIA is a national professional organization for architects that advocates for progressive design citywide; AIA Washington does the same statewide.) Flanked up and down Western Avenue by design stores and art galleries and a stone’s throw from the offices of some of Seattle’s premier architecture firms, the Center anchors a burgeoning design district. Taken together, it’s all part of Seattle’s rising profile as a design-centric city of global consequence. “When you look across the spectrum of design, it’s incredible the impact Seattle is having,” says Lisa Richmond, executive director of AIA Seattle, during a recent walkthrough of the space. “Teague does all of the aircraft that fly everywhere the world, and Microsoft designs systems that inform what people are doing around the world. We have many examples, but people don’t think about that as a design identity for the city yet. One opportunity for the Center is to elevate Seattle as a leading world design city.” Richmond says that the AIA and its cohort had been looking for a space since 2007 but the economic downturn hobbled their efforts. The National Building—a historic landmark built in the early 1900s as a railroad warehouse—became available in March of last year and fit their criteria: It was the right size in a building with design integrity, in a walkable part of the city. Once they found the space, the organizations went to work fundraising, generating some $2 million in a few short months. Most of the funding came from members of the AIA as well as grants from 4Culture and other foundations. The architecture industry, it seems, not only has deep pockets but a strong desire to give itself a public face. “The space is a great opportunity for architects to explain the relevance of their profession to the from city arts magazine layperson, as a way to engage the public with some of the things architecture means besides buildings as such,” says Stacy Segal, executive director of SAF. Opened in mid-January, the first exhibit at the Center displays 50 or so architectural models, 3-D, 2-D and digital, from firms across the city as well as from students of various architecture programs. Present in the front window, under butcher-paper, was a model of the new Denny Substation by firm NBBJ. “The public can come in and see how design happens and what goes on before things are built,” Richmond says. Later in the year, Fit Nation will focus on health, fitness and active design and Living Small will delve into the downsizing of the urban architectural footprint. Each exhibit will feature ongoing informational presentations as well as scheduled workshops and lectures. Future programming will address urban growth, homelessness and architecture for the blind. “They’re topical themes relevant to the city, with multiple angles for the general public, families, design professionals and city officials,” says Richmond. JONATHAN ZWICKEL 125 YEARS Experience Shakespeare March 21 to April 17 Central Library,1000 Fourth Ave. spl.org/shakespeare #SHX400_SPL and by the support of Google.org, Vinton and Sigrid Cerf, and other generous donors Media Sponsors: Local Sponsors: Gary Kunis encore art sseattle.com 15 HAMMERANDHAND.COM PORTLAND 503.232.2447 CCB#105118 SEATTLE 206.397.0558 WACL#HAMMEH1930M7 Karuna House, designed by Holst Architecture and built by Hammer & Hand 2013 AIA Portland Design Award, 2014 National Institute of Building Sciences Beyond Green Award
