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MARCH 2019 A DOLL'S HOUSE PART 2 BY DIRECTED BY LUCAS HNATH BRADEN ABRAHAM MARCH 15 - APRIL 28, 2019 2018/19 SEASON A THOUSAND SPLENDID SUNS | A PEOPLE’S HISTORY | IN THE HEIGHTS | LAST OF THE BOYS THE WOMAN IN BLACK | A DOLL’S HOUSE, PART 2 | NINA SIMONE: FOUR WOMEN | TINY BEAUTIFUL THINGS March 2019 Volume 15, No. 5 MARCH 2019 Paul Heppner President Mike Hathaway Contents Senior Vice President Feature Kajsa Puckett 3 Sensory-Friendly Vice President, Sales & Marketing Performances Genay Genereux Accounting & Office Manager 9 Empowerment through Teen Activism Production Susan Peterson 12 A Man of the People: Vice President, Production Edwin Lindo and Jennifer Sugden Estelita’s Library Assistant Production Manager Intermission Brain Transmission Ana Alvira, Stevie VanBronkhorst Production Artists and Graphic Designers 15 Test yourself with our trivia quiz! Sales Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Encore Stages is an Encore Arts Devin Bannon, Brieanna Hansen, Amelia Heppner, Ann Manning Program that features stories about Seattle Area Account Executives our local arts community alongside information about performances. Carol Yip Sales Coordinator Encore Arts Programs are publications of Encore Media Group. We also publish Marketing specialty publications, including the Shaun Swick Official Seattle Pride Guide and the Senior Designer & Digital Lead SIFF Guide and Catalog. Learn more Ciara Caya at encoremediagroup.com Marketing Coordinator Encore Media Group Encore Stages features the 425 North 85th Street following organizations: Seattle, WA 98103 p 800.308.2898 | 206.443.0445 f 206.443.1246 [email protected] www.encoremediagroup.com Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2019 Encore Media Group. Reproduction without written permission is prohibited. 2 ENCORE STAGES Sensory-Friendly Performances in Seattle—and Beyond! (left to right) Christian Roe and Ashley Byam in The Velveteen Rabbit at SCT. Photo by Angela Sterling. More than 3.5 million Americans live with Being an audience member is powerful. Going to the symphony can connect autism spectrum disorder. We spoke with five you with a piece of music that feels like it was made for you. Surrounding performing arts organizations in the Seattle area yourself with opera can feel like communion with the soul. And that who are committed to providing sensory-friendly perfect piece of theatre will make performances that welcome all families, including you forget that you weren’t right on that stage with them. But too often, those whose children have autism and other the performing arts are created for a very specific audience—an audience sensory sensitive disabilities. without sensory sensitive disabilities like autism spectrum disorder. That’s where sensory-friendly performances come in. According to the Autism Society of Washington, more than 3.5 million encoremediagroup.com/programs 3 Spencer Wolfe in The Very Hungry Caterpillar Show at SCT. Photo by Elise Bakketun. Americans live with autism The Lion Kingeven included a sensory- disabilities or specific diagnoses from spectrum disorder. Sensory-friendly friendly performance at The Paramount the rest of society.” performances are spaces created with Theatre earlier this year. autistic audiences—often children— In 2014, Jirikowic attended the Sensory in mind. Adjustments are made to “I think it’s important to be clear that Friendly Summit in Washington, D.C., productions, including sound levels, the goal is not to change the art and along with two Seattle Children’s house lights and any strobe or other the performance,” said Tracy Jirikowic, Theatre staff members. She stated that, lighting elements that might be PhD, OTR/L, associate professor in the “this summit—and the collective group directed toward audience members. Division of Occupational Therapy at of people working on these initiatives Designations are also often made to the University of Washington. Jirikowic nationally and internationally— the seating arrangement inside the has been researching sensory-friendly inspired Seattle Children’s Theatre.” venue. Certain areas of the theatre performances with her colleague are designated as quiet areas, while Caroline Umeda, PhD, OTR/L, an Umeda, who at the time was a PhD others allow talking amongst friends assistant professor at Dominican student at UW, led SCT’s first sensory- and family members. Audiences are University of California. Together, friendly performance during the run of free to walk around the theatre or even they’ve worked with performing arts Goodnight Moon in March 2015. leave the space—all in the service of organizations to implement sensory- creating a performing arts experience friendly performances in their seasons, “For many families who attended it was that addresses each audience member’s with the goal of creating inclusive their first time bringing their child to needs. spaces for audiences with and without a play,” Umeda said. “Several parents disabilities. expressed surprise at how much their Taproot Theatre, Village Theatre, child enjoyed and connected with the Seattle Symphony and Seattle “Research thus far indicates that play and how much they got out of Children’s Theatre (SCT) all include families desire an inclusive experience,” coming.” sensory-friendly performances in their Umeda said, “not a ‘special’ experience programming. The national tour of that isolates individuals with 4 ENCORE STAGES SCT has benefitted greatly from Jirikowic and Umeda’s expertise. Not only does the theatre provide sensory-friendly performances for every production in their season, they also provide a Story Book, introducing autistic children to the building itself with topics such as “The Lobby” and “Entering the Theatre.” The section entitled “My Seat” includes this comforting piece of knowledge: “My seat will always be next to my family. I might have my family on one side of me and a person I don’t know on the other side of me.” “One of the reasons I was drawn to Seattle Children’s Theatre was its commitment to making an inclusive space for all young people in our region,” said Artistic Director Courtney Sale. When she started at SCT in 2016, the theatre offered sensory-friendly bizet performances for three of the season’s six productions. The next year, they were included in all six. CARMEN “Attending a sensory-friendly show is one of the most rewarding aspects of my job,” Sale shared. “After the sensory- friendly performance of Stellaluna, a mother approached me and shared that MAY 4–19 this offering truly allowed her daughter to be herself. They felt welcome to verbalize and process the show in a way Photo © Philip Newton that might not be encouraged with a predominately neurotypical audience.” IMPRESSIVE. ICONIC. IRRESISTIBLE. But even with all the joy that comes Bizet’s thrilling story of deadly obsession New Production from sensory-friendly performances, seduces with an amazing array of instantly In French with English that space presents its own challenges. recognizable melodies and masterful arias subtitles. Umeda flagged marketing as one of the beloved around the globe. An ordinary soldier Evenings 7:30 PM Sundays 2:00 PM key challenges. Visibility is growing, becomes mesmerized by a beguiling factory girl but there are still many audience with a plan. Will either of them manage to Featuring the Seattle members who aren’t aware sensory- foresee the tragic ending of their high-stakes Opera Chorus and friendly performances are an option game? Don’t miss this grand new production members of Seattle Symphony Orchestra. for them. Another key challenge is featuring lavish scenery, traditional costumes, a lack of financial resources at the and Bizet’s perpetually appealing score. MCCAW HALL non-profit level. SEATTLEOPERA.ORG/CARMEN 206.389.7676 “Organizations invested in these inclusion and equity initiatives need 2018/19 SEASON SPONSOR: LENORE M. HANAUER financial support to both get these PRODUCTION SPONSORS: BARBARA STEPHANUS, SEATTLE OFFICE OF ARTS & CULTURE, programs off the ground and make JAY S. WAKEFIELD AND SUSANNE M. WAKEFIELD, Ph. D. encoremediagroup.com/programs 5 them sustainable over time,” Umeda said. “In order to make sensory-friendly programs a reality for non-profit arts organizations, a funding stream is necessary.” Taproot Theatre began offering sensory-friendly performances of A Charlie Brown Christmas in 2015, after actor Sarah Ware shared her own experiences of creating sensory- friendly performances in graduate school with Associate Artistic Director Karen Lund. And they have continued ever since. “After one particular performance, a parent told me what a joy it was for them to be able to enjoy theatre as a family in an atmosphere tailored to their needs,” Ware shared. “It’s really a privilege to be able to serve Emmanuel Elpenord in The Very Hungry Sarah Ware and Brad Walker in Taproot people in this way. Theatre is for Caterpillar Show at SCT. Photo by Elise Theatre’s 2017 production of A Charlie everyone—and everyone should have Bakketun. Brown Christmas. Photo by Erik Stuhaug. the opportunity to enjoy the art form. Sensory-friendly performances afford people the opportunity to be included in a world that often feels exclusive and out of touch with their needs as a family.” In addition to many of the sound and lighting adjustments already mentioned, sensory-friendly performances at Taproot
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