JANUARY 2018

PROFESSIONAL THEATRE IN A NEIGHBORHOOD SETTING

THE 2018 JEWELL CAMPING WITH HENRY AND TOM CROWNS LADY WINDERMERE’S FAN SWEET LAND BASKERVILLE: A SHERLOCK HOLMES MYSTERY MAINSTAGE SEASON: JAN 24 - MAR 3 MAR 21 - APR 28 MAY 16 - JUN 23 JUL 11 - AUG 18 SEP 12 - OCT 20

BY MARK ST. GERMAIN DIRECTED BY SCOTT NOLTE JANUARY 24 - MARCH 3 January 2018 INTERNATIONAL Volume 14, No. 4 GUITAR NIGHT Wednesday, Jan. 24 7:30 pm | $19–$44 IGN brings together the world’s foremost guitarists for a special evening of solos, Paul Heppner duets, and quartets. The tour’s ECA Publisher WINTER 2018 engagement will feature Lulo Reinhardt, Sara Keats Calum Graham, Marek Pasieczny, and Encore Stages Editor Michael Chapdelaine. Susan Peterson HARLEM QUARTET & Design & Production Director Contents ALDO LÓPEZ-GAVILÁN Ana Alvira, Robin Kessler, Feature Thursday, Mar. 8 Stevie VanBronkhorst 7:30 pm | $19–$49 Production Artists and Graphic Design 3 Danielle Mohlman reflects Cuban piano prodigy Aldo Mike Hathaway López-Gavilán joins the on her one-woman Sales Director Harlem Quartet in this dynamic cross-cultural program to bring millennial collaboration. The program will consist of Brieanna Bright, Joey Chapman, audiences to the theater in Latin jazz and classical repertoire, as well as Ann Manning original compositions by Mr. López-Gavilán. Seattle Area Account Executives the age of Netflix. THE MYSTICAL Amelia Heppner, Marilyn Kallins, Terri Reed Dialogue ARTS OF TIBET San Francisco/Bay Area Account Executives Thursday, May 11 Carol Yip 10 SassyBlack on place, 7:30 pm | $15–$44 Sales Coordinator communication, As part of a 5-day ECA and creativity. residency that includes the creation of a Mandala Sand Painting, the Tibetan monks of Drepung Intermission Brain Transmission Loseling Monastery will give a performance combining multi-phonic chanting, music and 11 Test yourself with our dance into an unforgettable experience. Leah Baltus trivia quiz! ec4arts.org Editor-in-Chief 425.275.9595 Andy Fife Encore Stages is an Encore Arts Publisher 410FOURTHAVE.N. Program that features stories about EDMONDSWA98020 Dan Paulus our local arts community side-by-side Art Director with information about performances. Gemma Wilson, Jonathan Zwickel Encore Arts Programs are publications Senior Editors of Encore Media Group. We also publish Amanda Manitach City Arts, a monthly arts & culture Visual Arts Editor magazine, and specialty publications, Business, including the Offical Seattle Pride Guide and the SIFF Guide and Catalog. Learn more at encoremediagroup.com meet box Paul Heppner Encore Stages features the President following organizations: Mike Hathaway office. Vice President Genay Genereux Accounting & Office Manager Sara Keats Encore connects Marketing Manager your business Shaun Swick Senior Designer & Digital Lead to arts patrons Barry Johnson wherever they are. Digital Engagement Specialist Ciara Caya Customer Service Representative & Administrative Assistant

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2 ENCORE STAGES Where There's a Will There's a Way

The Royale packs a punch at ACT in 2016. Photo by Dawn Schaefer.

For playwright Danielle One by one, my friends hugged me as of intermission, and fell silently rapt I handed them their tickets. “I’m so again at the start of the second act. Mohlman, pay-what-you- excited,” they exclaimed, a group of will performances are a giddy Millennials huddled in Seattle For the 20- and 30-somethings I brought to the theatre—a group of great way to convince new- Repertory Theatre’s lobby. It was November 2016, and we were seeing tech product managers, marketing to-theatre friends to take a King Charles III. professionals, auditors, and MBA students—this performance was chance on something new. During the performance, our group an exciting treat. You would never was responsive and engaged. We guess that a year ago, many of them leaned forward, afraid to miss a were completely unaware of Seattle single word, and as soon as the lights Repertory Theatre, or theatre in came up for intermission, we burst Seattle at all. into conversation: the play reminded someone of the regime in Thailand, someone had a question about the ghost, someone else wondered about My partner and I moved to Seattle accents, and we were all thinking about in 2015 because he was starting our own country’s political climate. the MBA program at the University We chattered through every minute of Washington’s Foster School of

encoremediagroup.com/programs 3 chaperone, inviting folks to see shows with the promise I’d be there to guide them through the way to see a play. I knew ticket prices would be a barrier— why pay for something unknown and outside your home when Netflix is familiar and as good as free?—so pay- what-you-can performances would be the way to go.

After marking pay-what-you-can performances in my calendar, I emailed every person who ever said, “You write plays? So how does that work?” and invited them to join me for upcoming performances at Seattle Rep. Two joined me for Come from Everybody wants to see the King. Mohlman and friends at King Charles III. Away, then three joined me for Luna Gale. Enthusiasm about my theatre Business. Most of the people I met students, I felt like the artistic misfit. chaperoning spread and before I knew that first year were affiliated with his When it came to seeing theatre, my new it, I was taking seven people to see program in one way or another, and, friends had no idea where to start. King Charles III, complete with dinner as a playwright surrounded by MBA before and fervent bus ride discussion I decided to enlist myself as theatrical on the way home.

Looking to start a theatre-going group of your own? Here are Each of the people I have brought to the theatre has a different experience. my tips for a smooth transition into group theatre outings. Over the past two years, I’ve learned 1. Choose a pay-what-you-can performance to ease your group into a lot about how to make new theatre- the theatre-going habit. Seattle Repertory Theatre typically schedules goers feel comfortable enough one pay-what-you-can performance ($1 minimum) before the show’s to be adventurous. official opening. ACT has pay-what-you-can ($5 minimum) every Sunday.

2. Start small. Invite two or three friends to go with you on the first Before moving to Seattle for his MBA, outing. As you become more comfortable with organizing group Deepanjan Dey was a theatre actor in outings, add more friends to your circle. Think of this as a theatrical India, so I was surprised to learn that Seattle theatre felt inaccessible to him book club. You don’t want to start too big. There’s always room to grow. before he started seeing plays with 3. Plan for lunch or dinner before the show. Theatre can be a scary our group. new experience for some people. Let your friends ease into the “I think this speaks to a more generic experience over a meal. problem I’ve observed in the United States about younger audiences 4. Be both a friend and an expert. Do some research on the play staying away from the theatre,” he before you go. You don’t want to feel like you’re suddenly a professor explained. “With so many instant of theatre, but folks will want to know what they’re getting themselves and newer forms of entertainment into. Learn the running time and a little about the play and the available, theatre is perceived as more playwright. If you’re attending a preview performance, educate your niche and ‘reserved for the artsy types.’ friends on what that means. It’s different in India. There, young professionals enjoy going to the theatre . You’re not going to love every play you see 5. Lather, rinse, repeat and popular television and movie together. That’s okay! But keep coming back and encourage your actors regularly perform onstage.” friends to do the same. Before you know it, you’ll have a group of friends to process theatre with and isn’t that what we’re all looking for? One of our most memorable times at the theatre was seeing a preview

4 ENCORE STAGES performance of Luna Gale together. “There we were—enjoying quite a riveting show—when a set piece jammed as it came on stage. Having been an actor living in the perennial fear that something will go wrong technically, I was absolutely horrified at this situation,” Deepanjan explained.

“‘It’s different in India. Prokofiev There, young professionals Concerto Festival enjoy going to Featuring incredible young artists performing the the theatre...’” most exciting Russian concertos!

JANUARY 18 JANUARY 19 It turns out that previewxccx Pablo Rus Broseta, conductor Pablo Rus Broseta, conductor performances are a far less common Nathan Lee, piano Sophie Lee, violin practice in India than they are here. Conrad Tao, piano Charlie Albright, piano I remember Deepanjan on my right, William Hagen, violin PROKOFIEV: Classical Symphony worrying on behalf of the cast and PROKOFIEV: Piano Concerto No. 1 PROKOFIEV: Violin Concerto No. 2 crew fixing the technical issue, while PROKOFIEV: Violin Concerto No. 1 PROKOFIEV: Piano Concerto No. 3 our friend Jennifer, bewildered on my PROKOFIEV: Piano Concerto No. 2 left, marveled at the sheer number of people that sprang into action from off-stage to remedy the situation. Both were surprised to learn that bumps in the road are a common and important part of previews.

When you boot up Netflix, you’re expecting a polished product. If you CONRAD TAO didn’t know any better, why would you expect anything less from your CHARLIE ALBRIGHT theatre? In the months since that SOPHIE LEE Luna Gale preview, I’ve thought a lot about preview performances and how little care we theatre artists put into educating audience members about SERGEY PROKOFIEV PABLO RUS BROSETA this essential part of the process, a NATHAN LEE WILLIAM HAGEN part of the process in which we need audiences to take part. How else can we let untrained audiences in on the process of making a play? FOR TICKETS:

I befriended Melissa Herrett when SEATTLESYMPHONY.ORG she first moved to Seattle in 2016,

encoremediagroup.com/programs 5 and I quickly recruited her to join my quickly-growing circle of play-seeing friends. On one of our first excursions, we took a chance on a pay-what-you- can performance of The Royale at ACT.

“It was so nice to pay a small amount to see a play I wasn’t familiar with, and I ended up really enjoying it,” Melissa said, reflecting on that first outing. “And it was great seeing it with you since we were able to talk about it after the fact. It was nice to have someone there to debrief with, especially someone knowledgeable about plays and theatre.”

“...for many people, seeing a play with a group of friends is more MUCH ADO appealing than ABOUT going alone.” SHAKESPEARE beatrice & benedict I wasn’t an expert on The Royale. Though Marco Ramirez’s play about early 20th century boxing has enjoyed DIRECTED BY JOHN LANGS productions all around the country, everything I knew about the show came from ACT’s marketing materials. But simply by having more familiarity with theatergoing generally I was able A ONE-OF-A-KIND THEATRICAL HYBRID FEB. 24−MAR. 10 to offer Melissa a space to reflect on the ACT Theatre Artistic Direct John Langs MCCAW HALL play and digest what we saw together. stages an all-new adaptation of Much Ado About Nothing—The Bard’s classic In English with English subtitles. “It was my first real experience seeing a Evenings 7:30 PM comedy of overheard confessions, tender play that hadn’t gotten a ton of hype or Sunday 2:00 PM reconciliation, and plenty of witty banter. marketing,” said Melissa, “and it Hector Berlioz’s exuberant score is paired ended up being a fun and with sung and spoken English text, including TICKETS FROM $25! informative afternoon.” Shakespeare’s original dialogue. Featuring 206.389.7676 world-class opera singers, local actors, full SEATTLEOPERA.ORG

chorus, and 55-piece orchestra conducted by PRODUCTION SPONSORS: Seattle Symphony’s Music Director Ludovic NESHOLM FAMILY FOUNDATION “I'm probably more likely to go to MARKS FAMILY FOUNDATION Morlot. Not to be missed! OFFICE OF ARTS & CULTURE | SEATTLE the theater when it's cold,” my friend PHOTO © PHILIP NEWTON CONTINUED ON PAGE 7 AFTER THE INSERTED PROGRAM

6 ENCORE STAGES TAPROOT THEATRE COMPANY PRESENTS Camping with Henry Tom

Scott Nolte, Producing Artistic BY MARK ST. GERMAIN Director Karen Lund, Associate Artistic CAST Director (In Order of Appearance) Henry Ford David Pichette* Thomas Alva Edison Rob Burgess* THANK YOU TO Warren G. Harding Frank Lawler OUR 2018 SEASON Colonel Edmund Starling Kevin Pitman SUPPORTERS PRODUCTION

Director Scott Nolte** Scenic & Sound Design Mark Lund Costume Design Melanie Burgess Lighting Design Timothy Wratten Stage Manager Spencer Bertelsen Dramaturg Heidi McElrath Choreographer Beth Orme SETTING Place: The woods outside Licking Creek, Maryland. Time: July 24, 1921

Camping with Henry and Tom is approximately 1 hour and 45 minutes with one 15-minute intermission.

“Camping with Henry and Tom” is presented by special arrangement with SAMUEL FRENCH, INC.

THE VIDEOTAPING OR MAKING OF ELECTRONIC OR OTHER AUDIO AND/OR VISUAL RECORDINGS OF THIS PRODUCTION OR DISTRIBUTING RECORDINGS ON ANY MEDIUM, INCLUDING THE INTERNET, IS STRICTLY PROHIBITED, A VIOLATION OF THE AUTHOR’S RIGHTS AND ACTIONABLE UNDER UNITED STATES COPYRIGHT LAW. FOR MORE INFORMATION, PLEASE VISIT: WWW.SAMUELFRENCH.COM/WHITEPAPER

VERITY This production is made possible through special arrangements with Lucille Lortel, Daryl Roth, Wind Dancer CREDIT UNION Theatre, Inc. And Randall L Wreghitt.

* Member of the Actors’ Equity Association, the Union of Professional Actors and ** Stage Managers in the United States.

encoremediagroup.com/programs A-1 DIRECTOR’S NOTES INNOVATION WELCOME TO TAPROOT THEATRE COMPANY’S 2018 JEWELL MAINSTAGE SEASON! REQUIRES This is a moment we’ve anticipated for months, so we’re thrilled to have you here. BOTH Truth be told, Camping with Henry and Tom has been on my shelf for a decade, maybe longer. The play caught my interest for its portrayal of three historic figures contending the future of the United GREAT States of America. In 1921, the country was rebuilding following the end of WWI, Congress passed the Emergency Quota Act HEARTS to curtail immigration, race riots in Tulsa, OK killed hundreds of Black Americans, and 10,000 coal miners seeking union representation were suppressed by more than 3,000 policemen, strikebreakers and U.S. Troops, and AND scandal undercut President Warren G. Harding’s young administration. In their bargaining to shape the future, differently imagined by Henry Ford and President Harding, I was interested in their understanding of governance and freedom. No one will argue Ford’s brilliance as an GREAT industrialist, whose vision for leading a nation was in stark contrast to the President’s. President Harding was a flawed, imperfect man and a leader weakened by his own administration. Add curmudgeonly MINDS. inventor Thomas Edison to call each man’s bluff and you get a lively campfire chat.

Playwright Mark St. Germain should be known by many of you as the writer of Best of Enemies, Freud’s Last Session and last year’s Relativity. His talent to research historical figures and imagine “what if” conversations, like those in this play, is unique. I’m grateful that these characters and their thoughts have been collected to prompt reflection on contemporary discussions and assess the goals of our leaders and nation.

Thanks again for joining us. I hope you’ll join us all season for five great plays chosen especially for you and this time we share.

Sincerely,

Scott Nolte Producing Artistic Director

A-2 TAPROOT THEATRE COMPANY TAPROOT THEATRE STAFF

2018 SEASON ARTISTIC/PRODUCTION Scott Nolte - Producing Artistic Director NEW SUBSCRIPTIONS ON SALE NOW Karen Lund - Associate Artistic Director 2018 Jewell Mainstage Season brochures are available in the lobby. Mark Lund - Design Director Abigail Pishaw - Production Stage Manager Lauren Karbowski - Costume Shop Manager Kyna Shilling - Production Associate

PATRON SERVICES Jenny Cross - Patron Services Manager Alex Holliday, Lindsey Long, Zeapoe Matalda, Cathie Rohrig, Dave Selvig, Kyna Shilling, Anne Tobin, Danny Walter - House Managers Kristi Matthews - Box Office Manager Tiffany Bailey - Box Office Lead Lori Hunt - Subscription Lead Lori Hunt, Hannah Lund, Charis Tobias, JD Walker - Box Office Representatives Marty Gordon - Custodian

DEVELOPMENT Bonita Hagbom - Director of Development Sonja Lowe - Grant Writer & Resident Dramaturg

ADMINISTRATIVE Pam Nolte - Community Liaison D. Lee Grooms - Finance & Operations Director Nikki Visel - Marketing Director Tanya Barber Dugas - Creative Design Manager Isaiah Custer - Communications & Group Sales Manager Josh Krupke - Marketing & Development Associate

BENEFITS OF SUBSCRIBING: EDUCATION & OUTREACH • Save 40% over Single Tickets Shelby Parsons - Director of Education & • Free Exchanges • Discounts on additional tickets and Outreach select Isaac Studio productions Lindsey Long - Education & Outreach Associate • Discounts at local businesses Jenny Cross - Resident Teaching Artist

3 EASY WAYS TO SUBSCRIBE: 1. Online - Visit taproottheatre.org/subscribe 2. By Mail - Send your form by mail 3. In Person - Drop your form at the Box Office

encoremediagroup.com/programs A-3 THE COMPANY OF CAMPING WITH HENRY AND TOM

ROB BURGESS (Thomas Edison) is happy University. He would like to thank his family and friends to be making his debut on the Taproot for all the support in following his passions. stage alongside this splendid creative team. Most recently he was seen in MELANIE BURGESS (Costume Design) is a Seattle based The Government Inspector (Seattle Costume Designer. She has designed for: Seattle Opera, Shakespeare) and Fire Station 7 (Seattle Seattle Repertory Theatre, 5th Avenue Theatre, ACT, Children’s Theatre - SCT). Rob has also Intiman Theatre, The Village Theatre, Seattle Children’s appeared onstage at Seattle Repertory Theatre, Seattle Shakespeare Company, NCTC, Seattle Theatre, ACT and Strawberry Theatre Workshop. He is co- Theatre Company, Strawberry Theatre Workshop, Taproot creator of Harold and The Purple Crayon and Adventures Theatre and The Empty Space Theatre. Regionally for: with Spot – both for SCT. Rob counts his day spent as The Guthrie, Cincinnati Playhouse, Arizona Theatre Electron Boy’s sidekick, Lightning Lad (Make-A-Wish), as Company, Minneapolis Children’s Theatre, Tantrum one of his fondest roles. theatre-Ohio, Idaho Theatre for Youth, Honolulu Theatre for Youth and Hawaii Opera. She is the recipient of the FRANK LAWLER (Warren G. Harding) was Gregory Award for Outstanding Costume Design 2010. last seen at Taproot as Superintendent Melanie is an assistant Professor of Costume at Cornish Kirk in Busman’s Honeymoon. Recent College of the Arts. credits for other theatres include Much Ado About Nothing (Wooden O), Cat on MARK LUND (Scenic & Sound Design) has designed a Hot Tin Roof (ACT), Holiday of Errors over 100 TTC shows, including A Civil War Christmas, (Sound Theatre Company), Frankenstein Persuasion, Room Service, and many, many others. (Book-It), Arms and the Man (Seattle Other design work includes Seattle Shakes, Book-It and Public Theater) and Henry V (Harlequin). Among his past award-winning short films. Mark is also a voice over actor Taproot roles are King George in Joyful Noise, Tartuffe in for Radio/TV, industrials and gaming clients including Tartuffe and Booth in Beasley’s Christmas Party. Love to Nintendo, The North Face and T-Mobile. Love to Karen, Ann and Rowan. More at franklawler.com. Hannah & Jake.

DAVID PICHETTE (Henry Ford) has been HEIDI MCELRATH (Dramaturg) is a proud graduate of Seattle a Seattle actor since 1982. He has Pacific University and the Shakespeare Institute, and she worked regularly with most of the major spends most of her days as Development Manager at theatres in the region. A few favorite Seattle Shakespeare Company. She is a former president appearances have been as Willy in Death of the Shakespeare Institute Players, a founding member of a Salesman (Arts West), Richard Nixon of The Collective at the Royal Shakespeare Company, in Nixon’s Nixon (Seattle Rep), Fagin in a proud puppeteer with Bootleg Puppets, a 14/48 Oliver! (5th Avenue Theatre) and nine veteran, and recently had her professional playwrighting bouts as Ebenezer Scrooge (ACT). He was most recently debut at the Arcola Theatre in London. This is her third featured in 63 Trillion at West of Lenin. dramaturgy project with Taproot, following Bach at Leipzig and Jeeves Intervenes, and you can find her on KEVIN PITMAN (Colonel Edmund Starling) Twitter @theHeidiMcE. was most recently in Taproot’s production of Busman’s Honeymoon. Past Taproot SCOTT NOLTE (Producing Artistic Director) is a co-founder shows include Joyful Noise, The and the Producing Artistic Director of TTC. Over the Explorers Club, In The Book Of and course of 42 years, he’s directed plays ranging from A Christmas Carol. He has performed The Odyssey to Smoke on the Mountain and more with Seattle Shakespeare Company, recently Relativity, Evidence of Things Unseen, The Trial Village Theatre, Milwaukee Repertory of Ebenezer Scrooge, Joyful Noise, Big Fish, Best of Theater and American Players Theatre. Kevin received his Enemies, Appalachian Christmas Homecoming and The BFA from Cornish College of the Arts. All his love to his Whipping Man for TTC. He has participated in several incomparable wife. new-play development projects, is past president of Theatre Puget Sound and is a member of the Society of SPENCER BERTELSEN (Stage Manager) This is Spencer’s Stage Directors and Choreographers. second season with Taproot. Spencer has had the pleasure of working with ACT Theatre on The Crucible, BETH ORME (Choreographer) is thrilled to work at Taproot Christmas Carol (2017), 5th Avenue Theatre on Romy Theatre again. She currently teaches Math at Roosevelt and Michele’s Highschool Reunion, Island Shakespeare HS. Recent Taproot productions are Big Fish, Godspell, Festival and Seattle Shakespeare Company. Inspired Appalachian Christmas and Jane Eyre. This summer she to continue a career in live theatre after working as a will be choreographing Patience with Seattle Gilbert and photographer for a year and a half in the SF Bay Area, Sullivan Society. Other credits include Quilters, 42nd Spencer is excited to be a part of what Seattle has to offer. Street and Thoroughly Modern Millie. She is blessed with He has a Bachelor of Fine Arts in Technical Theater with her husband, Matt and children, Grace and Henry. an emphasis in Stage Management from Southern Oregon

A-4 TAPROOT THEATRE COMPANY THE COMPANY BOARD OF DIRECTORS TIMOTHY WRATTEN (Lighting Design) worked for twenty years in British Rep Theatre before moving to Seattle COME AWAY WITH US. in 1996. Here he has lit shows for Seattle Children’s Theatre, Seattle Shakespeare Company, Empty Space It’s fitting that Taproot Theatre Company’s 2018 Theatre and the Alliance Theatre, Atlanta. He is glad to Jewell Mainstage Season begins with the story of be returning to Taproot to play again. a curious camping trip. Three busy, important men drive away from their day-to-day worlds to spend time together in the woods. These three, sometimes described as two great minds and one great heart, have an experience that couldn’t have happened if CAMPING WITH HENRY AND TOM STAFF they hadn’t gone camping together. They encounter the profound power of being away from daily life for a moment. PRODUCTION STAFF AidanFinn Poteet - Assistant Stage Manager Similarly, this season calls you to come away with us. When you walk through our doors and settle Kyna Shilling - Props Master into your seat, we invite you to leave the cares and details of your life outside. Pause for a bit and allow COSTUME STAFF the stories created for you to touch your heart. And AidanFinn Poteet - Dresser just like that camping trip deep in the forest, you’ll Rebecca Lenihan - Stitcher leave here changed for the better. We believe you’ll walk out of our doors inspired and refreshed to live - Costume Shop Intern Rachael Smith-Ferri your life more fully.

SCENIC, LIGHTING & SOUND STAFF On behalf of the Board of Directors, thank you for Kyna Shilling - Master Electrician being part of the Taproot family. Matthew Ray - Light Board Operator Tim Samland - Scenic Carpenter Gabe Airth, Michael Chinn, Alex Grennan, OFFICERS MEMBERS Baylie Heims, Mary Heffernan - Electrics Crew Steve Thomas, Chair Larry Bjork Peter Morrill, Vice Chair Mark Bullard Anne Ball, Secretary Amanda Woodward Davis Denise Daniels, Treasurer Jude Hubbell Dr. George Scranton Dan Voetmann winter and Rob Zawoysky spring break Scott Nolte (non-voting) acting studio camps and classes

Visit taproottheatre.org/acting- studio for more information or to register.

encoremediagroup.com/programs A-5 FROM THE DRAMATURG America, Inc. by Heidi McElrath

An inventor, a president, and a businessman drive into the woods. The inventor is Thomas Edison, the president is Warren G. Harding, and the businessman is Henry Ford, who seems to wish he could be all three. As the character of Ford says in Camping with Henry and Tom, politics is just “good business. That’s all it is.”

Henry Ford is one of the most famously successful businessmen in American history. He did not invent the automobile, but he’d probably like you to think that he did. What he did do was perfect the assembly line—a way to manufacture cars so cheaply and efficiently that the automobile became affordable for the masses and forever equated Ford with cars. Ford’s ambitions, however, went far beyond the roadway. This became evident in 1923 with the “Ford for President” movement. Although Ford never officially announced that he was running for president, he also refused to discourage friends and supporters from organizing and publicizing this campaign. Eventually the campaign was halted by Ford’s public announcement of support for President Coolidge, but for months before, the media had swirled with speculation about a potential Ford presidency. The Ford for President movement proclaimed, “It must be clear to the average man in this country that we have reached a crisis in the economic life of the nation.” And who better to fix an economic crisis than the founder of a large and prosperous business?

Business and government. Whether the subject is corporate lobbyists, governmental oversight, trade regulations, or how to balance the budget, a look at the political history of the United States reveals a near-constant struggle regarding just how much influence business should have on government and vice versa. The cases are endless, like the legally-mandated antitrust breakup of Standard Oil in the late 1800s, where the government restrained a corporation to protect consumers, or the 1934 Reciprocal Trade Agreements, which gave President Roosevelt greater power to adjust international tariffs, or the Fair Labor Standards Act of 1938, which established the first national minimum wage.

The uneasy tension between American business and American politics changed significantly on January 21, 2010, when the United States Supreme Court ruled that the First Amendment prohibits the government from restricting corporations, among others, from political speech and “electioneering.” The now-infamous “Citizens United” case challenged the Bipartisan Campaign Reform Act of 2002, which put restrictions on how and when corporations could fund election ads. Those in favor of overturning the Campaign Reform Act argued that the government is not allowed to restrict speech, so they should not be able to restrict spending either. The Supreme Court’s decision in favor of this argument effectively ruled that money, which businesses have in abundance, is just another kind of speech. This opened the floodgates to corporations lobbying the public on behalf of politicians in recent campaigns.

So, the tension between the power of corporations and the power of government continues, and questions about influence and ethics remain, while the conversations in Camping with Henry and Tom feel strangely familiar. Although some of the characters in this play seem to agree that the issues surrounding business and government are complicated, Ford tells the others that he’s “got the money to make it simple”—if only they would let him.

A-6 TAPROOT THEATRE COMPANY UP NEXT AT TAPROOT THEATRE

GIVE WHILE YOU SHOP!

DID YOU KNOW THAT CERTAIN RETAILERS WILL DONATE A PORTION OF THEIR PROFITS TO THE CHARITY OF YOUR CHOICE? The next time you’re on Amazon.com, try using Amazon Smile, and select Taproot Theatre as your preferred charity. Prefer to shop locally? Use your Fred Meyer Rewards by Regina Taylor Card to benefit Taproot. Our adapted from the book by Michael Cunningham non-profit number is 93568. and Craig Marberry

A celebration with … Gospel music and storytelling come together to surprise, delight and remind us all of the unique and diverse ways we express ourselves. When a young woman from Brooklyn struggles to find her place in the world, she is surrounded by a community of women that transcend place and time to infuse her with stories of faith, fortitude and pride. … hattitude!

BUY EARLY, SAVE BIG ON SINGLE TICKETS HOW DO I SAVE?* · $25 tickets can be purchased online or over the phone. · Tickets MUST BE PURCHASED by March 3, 2018 for one of the six performances listed below. · Use discount code MODELT online or over the phone.

THEUPPERCRUSTCATERING.COM · Available for Level B & C seats only (green and blue seats when purchasing online).

206-783-1826 AVAILABLE DATES FOR $25 TICKETS:

Wed, Mar 21 at 7:30 PM Thu, Mar 29 at 7:30 PM Serving the greater Sat, Mar 24 at 2:00 PM Fri, Mar 30 at 8:00 PM Puget Sound area Sat, Mar 24 at 8:00 PM Sat, Mar 31 at 8:00 PM

Full-service catering available for *This offer cannot be combined with any other discount and is not valid on previously corporate functions, weddings, purchased tickets. Only good for seat levels B & C. Limit 4 tickets per order. Third fundraisers, memorials, celebrations, party service fees may apply. All sales are final. Exchanges can be made for $5; and private parties of all sizes. upgrade fees may apply. When purchasing online, select “Adult” priced tickets, apply the discount code in the shopping cart.

encoremediagroup.com/programs A-7 WHAT’S YOUR TAPROOT STORY? We love hearing the stories patrons tell us about their Taproot experience. This month, we asked a long time monthly donor, Lee Fitchett to share his Taproot story:

How did you first become involved with Taproot Theatre? It was back when Taproot was a touring company. I was working as a caregiver at a place called Center Park. Pam and Scott Nolte came there with a touring play. I remember watching this wonderful story and thinking, “I want to be a part of that.” After that I saw Taproot shows whenever I could and just fell in love with what they were doing.

You volunteer at Taproot as well, correct? Yes, I’ve been ushering at Taproot for many years, even before the Greenwood theatre opened. During that time I started working as a home care provider for a gentleman named Norm Rodgers. Norm and I became really good friends. He used a wheelchair and I remember asking Taproot if it was ok for us to volunteer together as ushers. They said, “Of course!” After that we always worked the shows as a team. Norm passed out programs from the wheelchair section and I helped people find seats. My friend Norm passed away in 2010, but you know, it’s good to remember special times like the ones we had at Taproot.

Why does Taproot Theatre mean so much to you? In the years that I’ve ushered and donated to Taproot, I can’t remember a play that I didn’t like. The stories on the Taproot stage are like a beacon of light. They shine out in a way that attracts people. I think that’s part of the reason that Taproot has been around for over 40 years. We have a great theatre in Greenwood that we didn’t have before. I can say “we” because I feel like part of the Taproot family. And I’m so glad to be a part of it!

You’re a part of Taproot’s Monthly Giving Program. Why did you choose that method of giving? I give a small amount every month and I choose to have it taken out of my account automatically. I love the monthly giving option for Taproot donors, because it makes things really easy. I can make my pledge and plan for it in my budget and then I don’t have to think about it. I get a receipt once a year that shows me what I’ve given and that’s that! I would encourage other donors to think about the monthly giving option. Not only is it easy for the donor, but it’s great for the theatre to be able to count on regular support.

Why is it important to volunteer time or give money to non-profit organizations like Taproot? The importance of giving (both time and resources) is something that I really value. My adopted grandson, Daniel, knows that I usher at Taproot Theatre. He’s a great young man and I’m really proud of him. We are growing closer and closer over the years and he told me once that he wanted to visit me one Saturday while I ushered and see what I do. I am really excited that he is interested in this! And I’m glad to be able to pass on the value of giving and volunteering to the next generation.

A-8 TAPROOT THEATRE COMPANY THETHE Taproot Theatre’s JOIN Monthly Giving PLAyMAKERSPLAyMAKERS Program CLuB

The playmakers Club is a convenient and affordable way to express your enthusiasm for Taproot Theatre with a regular monthly gift.

Monthly giving has taken on many names at Taproot Theatre. But no matter what it’s been called, our Playmakers and Associates continue to play a starring role by creating the strong, fundamental core of our donor support. Thanks to the sustained giving of these dedicated partners, Taproot’s artists and audiences can trust that the show will go on! When you join our monthly giving plan, small contributions make a big difference! Putting on plays like Camping with Henry and Tom requires a large investment in time and resources to transform the Jewell Mainstage into a Maryland forest, create period costumes that fit the fashion of the early 1900s and build a replica Model T Ford – it all adds up! When you make a regular monthly gift to Taproot Theatre, you ensure the cost of these items is covered each month. Without your reliable support, we aren’t able to create the magic you’re about to see.

Provides lumber, paint, Lights the stage for 20 and hardware needed full performances. $100 to convert the Jewell $75 per month per month Mainstage into a new $1,200 world for each play. $900 per year per year

Purchases fabric and Buys props needed to $50 materials for one actor’s $25 dress the set and bring per month costume, adding color per month each remarkable story and personality to his to life. $600 unique character. $300 per year per year

Underwrites hair Discover how you can $15 and makeup per month supplies to play a starring role in transform an $180 actress into creating great theatre at per year her character. taproottheatre.org/monthly-giving

CALL | 206.529.3678 EMAIL | [email protected]

encoremediagroup.com/programs A-9 Mailing Address: PO Box 30946 Seattle, Washington 98113-0946

Taproot Theatre Company is a professional, non-profit Administrative Offices: theatre with a multifaceted production program. Founded 206.781.9705 in 1976, TTC serves the Pacific Northwest with touring Fax: 206.297.6882 productions, Jewell Mainstage and Isaac Studio Theatre productions and the Acting Studio. Taproot is a member Box Office: of Theatre Communications Group (TCG), Theatre Puget 206.781.9707 [email protected] Sound (TPS) and the Phinney Neighborhood Association. taproottheatre.org Taproot Theatre Company creates theatre experiences to brighten the spirit, engage the facebook.com/taproottheatre mind and deepen the understanding of the @taproottheatre world around us while inspiring imagination, @taproottheatre conversation and hope.

Left to right, inventors and magnates Henry Ford and Thomas Edison, President of the United States Warren G. Harding, and businessman Harvey S. Camping Firestone, 1921. with Henry Tom 1921 - 1923

Off camping are (seated) Henry Ford, Thomas Edison, President Warren Harding, Harvey Firestone and others. Harding reads a newspaper. 1921 - 1923

A-10 TAPROOT THEATRE COMPANY NEW! Donate your vehicle and designate the proceeds to benefit Taproot Theatre!

Transform your car into a tax-deductible donation at donateforcharity.com/donate-car-to/taproot-theatre-company/

If it’s time to buy a new car or you simply need to get rid of an old one, donate your car, running or not, to Taproot Theatre. Avoid the hassle of selling it and receive a tax deduction.

• Donate For Charity Inc. will arrange to pick up your car free of charge. • It will either be sold at auction or sold for parts. • Proceeds will be contributed to Taproot Theatre Company to support Jewell Mainstage, Isaac Studio, Road Company and Acting Studio programs. • You will receive a receipt entitling you to a tax deduction.

Taproot Theatre’s vehicle donation program is made possible through our partnership with Donate For Charity.

To donate your vehicle call Donate For Charity toll-free at 866.392.4483 or donate online at their website: www.donateforcharity.com.

encoremediagroup.com/programs A-11 THANK YOU Taproot Theatre gratefully acknowledges the following for their generous support of our Annual Fund and Capital HELPFUL INFORMATION Campaign. This list reflects gifts made to both funds between November 1, 2016 and December 12, 2017. While space limitations prevent us from including every donor, we are pleased to present a more extensive list on the front wall of our lower lobby. If you have any questions or would like more information about making a tax-deductible gift to Taproot Theatre Company (a 501c3 organization), please contact Sonja Lowe at FOOD & DRINK 206.529.3672 or [email protected]. Non-Alcoholic Beverages from INSTITUTIONAL DONORS THE STAGE DOOR coffee shop are $10,000 + allowed in the theatre in disposable paper or plastic cups with lids. Faith Fellowship Fredric Sjoholm, Moccasin Lake Trustee, Margery M. Foundation Alcoholic Beverages: Beer and M.J. Murdock Jones Trust Charitable Trust Anonymous (2) wine from THE STAGE DOOR are allowed in the theatre ONLY in $5,000 - $9,999 reusable Taproot acrylic tumblers which can be purchased from the coffee shop. In compliance with state liquor laws only alcoholic University Anonymous beverages may be served in these Lions Club tumblers. Food is not permitted in either theatre. $2,500 - $4,999 $1,000 - $2,499 $500 -$999 DRAMATURG DISPLAY Ballard Industrial, Inc. ∙ Horizons D.V and Ida J McEachern Charitable Trust ∙ Dupar Foundation Foundation ∙ Piper Village ∙ Puyallup Magnolia United Church of Christ ∙ Puget Sound Visit the Jewell Mainstage upper Tribe of Indians ∙ Wyman Youth Trust Energy ∙ St. John`s Lodge # 9 F. & A. M. lobby to view a display with additional information relating INDIVIDUAL DONORS to the current production on the Angels ($10,000 +) Walter & Theresa Bachman ∙ David & Anne Ball ∙ John & Ann Collier ∙ Gary & Deborah Ferguson ∙ Glenna Jewell Mainstage. Kendall ∙ Kraig & Pam Kennedy ∙ George & Alyssa Petrie ∙ Richal & Karen Smith ∙ Hoots & Thomas ∙ Anonymous (2) ASSISTED LISTENING DEVICES Marquee ($5,000 - $9,999) Russell & Janice Ashleman ∙ Larry & Lorann Bjork ∙ Mark Bullard ∙ Amanda & Ben Davis ∙ Alan & Carol Gibson ∙ Mark & Karen Lund ∙ Peter & Megumi Morrill ∙ Patrick & Mary Mulva ∙ Erik & Tamara Nelson ∙ Nicholas & Yvonne Roberts ∙ Kathryn Sand ∙ George A. & Claire E. Scranton ∙ Robert L. Smith ∙ Daniel & Margret Voetmann ∙ Daniel & Joann Wilson Patrons desiring an assisted listening Producers ($2,500 - $4,999) Fil & Holly Alleva ∙ Craig & Denise Daniels Barwell ∙ Mary Anne Braund & Steve Pellegrin ∙ Tom & Linda Burley ∙ Cliff & Char Burns ∙ Fay & Russell Cheetham ∙ James & Kay Coghlan ∙ Christopher & Patricia Craig ∙ Paul & device may request Phyllis Davis ∙ Juan & Kristine Espinoza ∙ Carolyn Hanson ∙ Dorothy Herley ∙ Wayne & Naomi Holmes ∙ Karen Koon ∙ Frank Lawler one from the House & Ann McCurdy ∙ Fred & Carolyn Marcinek ∙ George & Joy Myers ∙ Scott & Pam Nolte ∙ Bruce & Cynthia Parks ∙ Brian & Christa Manager. The Hearing Poel ∙ Ralph & Joan Prins ∙ G.M. & Holly Roe ∙ Dr. Sarah Roskam ∙ Susan Rutherford, MD ∙ Loren & Carol Steinhauer ∙ Daryl & Claudia Vander Pol ∙ James & Joan White Loop is available in the Jewell Mainstage Directors ($1,000 - $2,499) Mr. Daniel Adent ∙ Mike & Shirley Allert ∙ Jeff & Anjie Berryman ∙ Inez Noble Black ∙ Melvin & Cordelia Brady ∙ Cline Jewelers ∙ Alan & Gayle Coburn ∙ Todd & Sylvie Currie ∙ Stephen & Susanne Daley ∙ Paul & Jean DeGroot ∙ Theatre. David & Caroline Dufault ∙ Marion Fisher ∙ Lee Fitchett ∙ Leona Foley ∙ Steven & Jamie Froebe ∙ Sean & Catherine Gaffney ∙ Maren & Braden Goodwin ∙ William Gowen ∙ Mr. William Hall, Jr. ∙ Susan Haugen ∙ Dr. Rick & Susan Hornor ∙ Loren & Isobel Hostek ∙ LOST & FOUND John & Judith Hubbell ∙ Mike & Barb Jewell ∙ Bill Johns ∙ Jeffrey & Sue Anne Johnson ∙ Eric & Julie Johnson ∙ Sandy Johnson ∙ Mark & Mary Kelly ∙ Robert & Lisa Kutter ∙ Susan LaMar ∙ Harry & Linda Macrae ∙ Gary & Nancy Massingill ∙ Robert & Roberta If you have lost an item, check McBride ∙ Tom & Jean Mohrweis ∙ Kim & Dana Moore ∙ Dr. Les & Carol Nelson ∙ Lloyd & Jackie Nolte ∙ Craig & Deanna Norsen ∙ with the Box Office in person or Tom & Sue North ∙ Gordon & Mary Nygard ∙ Mary Pagels ∙ Thom Parham ∙ Jeff & Joann Parrish ∙ Kathryn Pearson ∙ Roy & Janice Petersen ∙ Patricia Putnam ∙ Tom & Claudia Rengstorf ∙ Vic & Kristine Rennie ∙ Lawrence & Nancy Rudolph ∙ Dion & Gregory by phone at 206.781.9707. If you Rurik ∙ Frederick & Caroline Scheetz ∙ Edward & Bonnie Schein ∙ Norman & Eden Sellers ∙ David & Joan Selvig ∙ Todd & Teresa find a lost item, please give it to the Silver ∙ Ronald & Dorita Smith ∙ Charles & Marilyn Snow ∙ Edwin & Kathy Sterner ∙ Katie Hong & Harold Taw ∙ Beverly Taylor & House Manager or Box Office staff. Jack Stevenson ∙ Curtis Urben ∙ Jeff & Margie Van Duzer ∙ Jewely Van Valin ∙ Fred & Judy Volkers ∙ Dale & Brenda Voth ∙ Leora Wheeler ∙ Jean Winfield ∙ Gary Woods ∙ Richard & Keltie Wright ∙ Robert & Maree Zawoysky ∙ Anonymous (8) Unclaimed lost & found items may be donated to a thrift store at the Playwrights ($500 - $999) Thomas & Linda Ackerman ∙ Calvin & Carolyn Agatsuma ∙ Jim & Mary Angerer ∙ Marc Bateman & Judith Gibson ∙ Timothy Bean ∙ Geraldine Beatty ∙ Douglas & Tambra Birkebak ∙ Margaret Blau ∙ James & Melinda Bohrer ∙ Lisa discretion of management. Bontje ∙ Zach & Rebecca Brittle ∙ David R. Bunting ∙ Wayne & Greta Clousing ∙ James & Janis Cobb ∙ Blaine & Susan Coppin ∙ Bob Quick & Judy Cushman ∙ Nick DeSantis ∙ Bruce & Glyn Devereaux ∙ Dennis & Deborah Deyoung ∙ Brendan Dixon ∙ Dale & PROP/SET/COSTUME DONATIONS Vicki Dvorak ∙ Gary & Juelle Edwards ∙ Kristine Engels ∙ A Etter ∙ Rick & Marla Evans ∙ Sandra Farewell ∙ Gary & Aleta Franks ∙ Michael & Karen Frazier ∙ Charles Gardner ∙ Carl & Pat Giurgevich ∙ John & Sally Glancy ∙ Linda Glenicki ∙ Paul & Ruth Goddard Sorry, no prop, set or costume ∙ Rick Gray ∙ Robert Greco ∙ Rawleigh & Dawn Grove ∙ Lewis & Elizabeth Hale ∙ Charles Hartung ∙ Peter & Anne Haverhals ∙ Henry donations are being accepted at & Lauren Heerschap ∙ Joseph & Elizabeth Helms ∙ Jonathan Henke ∙ David & Mary Kay Hilmoe ∙ Mark & Giulia Johnson ∙ Mora Johnson ∙ David & Kristine Jung ∙ Ann Kalas ∙ Beverly Karbowski ∙ Edward & Mary Lou Knappe ∙ Cody & Beth Lillstrom ∙ Ben & this time. Donna Lipsky ∙ Laura & Carl Markley ∙ Scott & Mary Matthews ∙ Charles & Carol Maurer ∙ Bob & Karolyn McDaniel ∙ Lee & Janet McElvaine ∙ Tim & Sharon McKenzie ∙ Christe & Bruce McMenomy ∙ Don & Kim Morris ∙ Linda & Tom Morris ∙ Bryce & Bonnie VIDEO AND/OR AUDIO RECORDING OF Nelson ∙ Penelope Nichols ∙ Craig & Linda Nolte ∙ John & Lucy Nylander ∙ Nolan & Lorena Palmer ∙ Mark & Camille Peterson ∙ THIS PERFORMANCE BY ANY MEANS Tania Posa ∙ William & Jodie Purcell ∙ Greg & Megan Pursell ∙ Mona Quammen ∙ Arnold Rollins ∙ Ron & Virginia Sather ∙ Kitty WHATSOEVER IS STRICTLY PROHIBITED. Slagle ∙ Dick & Nancy Sleight ∙ Angela & Dave Smith ∙ BJ Smyth & Monica Herley ∙ Craig Strausz ∙ Victoria Sutter ∙ Larry & Mary Ruth Thomas ∙ Janet G. West ∙ David & Ann Woodward ∙ Brian Yee ∙ Cpt. Ryan & Leah Yoke ∙ Anonymous (4)

A-12 TAPROOT THEATRE COMPANY Greg Socha, a 30-year-old marketing manager, told me. “There’s too much going on in Seattle in the summer and I like the outdoors too much. But once the sun starts going down earlier and it's raining, spending time inside getting some culture gets more appealing.”

Greg has fond childhood memories of his parents taking him and his brother to see local theatre in Connecticut, but here in Seattle, he’s the latest recruit to new-to-theatre-going group. This September’s Public Works performance of The Odyssey at Seattle Rep was the first time he joined us, but he hasn’t been available to go to another performance with us since. I asked why he doesn’t see theatre on his own. “I would feel super self-conscious seeing a play by myself,” he said. “Most people are there with somebody, and it's not like you can third wheel a conversation with some strangers.”

Of course, for many people, seeing a play with a group of friends is more appealing than going alone. Talking with Greg made me wonder if there EAPOUR 1_3 S BUILDING template.indd 1 IS CLOSED FOR RENOVATION, 2/28/17 11:05 AM are opportunities for theatres to help BUT OUR PROGRAMS ARE MORE OPEN THAN EVER. create those groups, or to encourage groups of friends to buy tickets together. For new theatre-goers especially, seeing a play alone may be uncomfortable simply because they don’t want to go alone.

Over the last two years, I’ve taken folks to see shows at ACT, Forward Flux, SUMMIT IN SEATTLE the Pacific Northwest Ballet, Seattle Vijay Iyer and friends (3/2) DANIEL ELLSBERG join forces for great jazz. The famed whistleblower (1/9) exposes Rep, the Seattle Fringe Festival, and our dangerous nuclear arms buildup. INTIMAN. We’ve expanded our artistic diet, too, taking in the Burke Museum, the Henry Art Gallery, and the Seattle ROOMFUL OF TEETH Art Museum. I’m on a quest to Avant-garde acapella masters (3/9) JOHN GRADE raise their voices. Seattle’s monumental sculptor (2/28) introduce everyone to their favorite art remakes nature. form— it’s The Dating Game featuring DAPPER AF A queer fashion show (2/23) and every arts organization in Seattle. And conversation about style and identity. I’m rooting for everyone to be a winner.

A generation ago, these same young 2017-18 WINTER TICKETS ON SALE NOW! JOIN US IN A NEIGHBORHOOD NEAR YOU. professionals might be well on their TOWNHALLSEATTLE.ORG way to becoming arts board members

encoremediagroup.com/programs 7 and donors. Today, I’m hard pressed to find performing arts organizations that are targeting millennials, grooming them for their board. Pacific Northwest Ballet is the only organization in town that has a dedicated track toward Board of Trustees membership. Young Patrons Circle has its own Board of Directors, giving ballet fans an introduction to non-profit boards.

My group of theatre-goers is just starting to learn about sponsoring artists, non-profit boards, and donations to organizations. But no one is reaching out to these young professionals—many of them recent MBA graduates with lucrative post- grad school jobs—to involve them in the vitality of theatre. They’re learning about it by flipping through the programs they’re handed as they enter the theatre.

My chaperonage isn’t single-handedly changing the demographics of Seattle audiences, but it’s a step towards a younger, more engaged audience. Halfway through my third season organizing these outings, I wonder what audiences would look like if other regular audience members took it upon themselves to invite their theatre-estranged friends to the great performances Seattle offers. Theatre marketing and engagement departments have persued all kinds of programs and initiatives to attract new audiences, especially younger new audiences, with varying degrees of success. Increasingly, I’m thinking that those of us who already love the theatre have a role to play in bringing new faces to the audience, too.<

Danielle Mohlman is a nationally produced feminist playwright based in Seattle. Her play Nexus is among the 2015 Honorable Mentions on The Kilroys list. She is an alumnus of the inaugural class of Playwrights’ Arena at Arena Stage.

8 ENCORE STAGES Seattle Theatre Group and Starbucks are committed to young artists. That’s why we’ve partnered for more than a decade.

For upcoming young musicians, finding Starbucks has been a strong supporter of welcoming venues to hone their skills is often STG since 2003 and the presenting sponsor a daunting task. of its community programs, including More Music @ the Moore. Together, Starbucks In 2015, Starbucks and the Seattle Theatre and STG are building on a long-standing Group (STG) decided to put the spotlight on partnership to connect more of our city’s emerging talent with a series called Up Next: youth to exciting new opportunities. Live Music from Rising Stars. Twice a year, in April and September, musicians from STG’s In addition to championing local youth More Music @ The Moore are invited to select programs through STG, over the past 43 Seattle Starbucks stores to perform live. years Starbucks has helped celebrate and Performing in the Up Next series gives them support many other hometown traditions a chance to showcase their original works to including Starbucks Annual Hot Java Cool a new audience and the community gets to Jazz at the Paramount, Seattle International hear the latest from our areas rising stars Film Festival (SIFF), Little Big Show and Upstream. For more information visit www. Since then, more than 25 young musicians starbucks.com/seattle. have had the opportunity to play their music live in Starbucks stores around the Seattle area.

STG + Starbucks, giving young artists a stage to shine for fourteen years and counting.

STG-STAR 122117 redux fp.indd 1 12/21/17 3:46 PM Dialogue

SassyBlack SassyBlack self-identifies as a psychedelic songstress, and that description couldn’t be more apt. She’s an energetic and hypnotic performer who forms community with her audiences. SassyBlack has called Seattle home for the last twenty years and says that she’s learning more about the city every single day. We had the pleasure of speaking with SassyBlack about her writing process, social media’s impact on her career, and how Seattle permeates her music. SassyBlack. Photo courtesy of the artist.

There’s a deep love for Seattle that capturing the moment rather than living feeling. Sometimes I just want to make pulses through your work. How does in the moment. If you’re concerned with a beat, so I make a move on a beat. Seattle influence you — and how do you sharing with folks that you were doing or Sometimes I just want to sing a song, so influence Seattle? seeing something – which is valid – I see I let it flow free. It’s easy when it comes, Seattle is the only true home I’ve ever an opportunity there. Let’s engage with but can be hard to complete. That’s when known outside of Hawaii. They’re one another through this experience. it gets tough. I find it makes people feel even more similar in many ways, but also extremely Tell me about your favorite song — different. I love to go on long walks and involved in the show, because now I’m interacting with them in their own your own or someone else’s. Why do let myself feel nature – wind, sunshine, you love it? rain, falling leaves. It’s such a healing personal sphere. There are so many ways feeling. That energy moves through me to approach social media and I try to use Favorite questions hard as heck to and motivates my mindset, which in it to my advantage. answer because I am always changing, turn motivates my music. Seattle is a so my favorite anything is also always You’re a performing powerhouse. What changing. Right now, I really like quirky town blossoming into a city that’s has been your favorite concert so far? constantly moving forward. “Blow” by Beyoncé. That song is killer. If we are speaking about my favorite Timberlake, Timbaland, J-Roc, Pharrell It’s hard to put a finger on how I show that I have performed, I would & Bey – what a dream team! The tune influence Seattle. In terms of musical say, at this very moment, it would has bounce, soul, groove, disco vibes, infrastructure, I sit on many boards be when I opened for Bilal at Nectar just everything. I hope I can write and trying to figure out how to support artists Lounge. That’s at least my most recent produce a track like that someday. through work with nonprofits. In terms favorite gig. The audience was so open of live shows, I have attended a large and excited and loving and receptive. Do you have any plugs? How can folks share of shows and venues in Seattle As for shows outside of myself, it’s very find more about you and your work? over my twenty years to get a sense of difficult. I have attended a lot of beautiful My album New Black Swing came out the music scene. In terms of sound, I’ve amazing shows. I’ve seen Erykah Badu June 23rd on Space Theory Records, collaborated with and worked with a lot countless times, Earth, Wind & Fire, which is my label, and it’s available of local artists and have been on the most Herbie Hancock, Beyoncé, and so many online at sassyblack.bandcamp.com. well-known local label, Sub Pop. others. All those shows and my shows Folks can also order physical goods from exist in their special place and time and the website too. < DANIELLE MOHLMAN At your concerts, you encourage your choosing favorites depends on my mood. audience to film and take photos of you, as long as they tag you on Twitter and You write your own beats and lyrics. Instagram. Tell me more about that. How What is your creative process like? What do you market yourself in a social media comes first: music or lyrics? world? Everything seems to come at the same The world we live in today is full of people time, but it does depend on what I’m

10 ENCORE STAGES Intermission Brain Transmission Are you waiting for the curtain to rise? Or, perhaps, you’ve just returned to your seat before the second act and have a few minutes to spare? Treat your brain to this scintillating trivia quiz!

Email us the answer to the last question and have a chance to win tickets to a show!

1) Timon of Athens plays this season at Seattle Shakespeare Company. Match these other Shakespearean T-named characters with the play in which each is featured:

Taurus Merchant of Venice Thersites Taming of the Shrew Tranio Antony and Cleopatra Tubal Troilus and Cressida

2) Itzhak Perlman, a world-famous violinist, is performing at Meany Center. He plays one of the 244 Stradivarius violins. Which one?

a) Soil c) Mercur-Avery b) Ex-Leopold Auer d) Gould

3) Taproot Theatre’s production of Camping with Henry and Tom features an infamously unethical U.S. president, Warren G. Harding. Which corruption scandal tarnished his administration?

a) Operation Plunder Dome c) Oregon Land Fraud b) Marion Zioncheck’s Scandal defenestration d) Teapot Dome Oil Bribery Cartoon featuring Warren G. Harding by Rollin Kirby, c. 1920. Kirby later won the Pulitzer Prize. 4) Seattle Repertory Theatre premieres Ibsen in Chicago, a comedy 6) Appearing at Meany Center is the Danish about a production of a play by 19th century Norwegian playwright String Quartet, a group which premiered in Ibsen. What was Ibsen’s first name? Copenhagen in 2002. Which of the following is a) Henrik c) Sigurd not a Danish city? b) Henning d) Knude a) Aalborg c) Horsens b) Malmö d) Roskilde 5) The Maltese Falcon, playing at Book-It Repertory, is based on the book by Dashiell Hammet. In the book, everyone is after the titular Maltese Falcon, which is what? Bonus Question a) A taxidermied reliquary of Greek origin What was the last arts performance you attended that b) A mysterious mercenary pilot you liked best and why? c) A majestically bejeweled bird statue Email your response to [email protected] with "Trivia

d) The secret last living scion of the Medici line Quiz" in the subject line.

, a work of fiction, they created a fancy bird statue with the gold they plundered or were paid for their efforts. 6) b. – Malmö is the third largest city in Sweden, not Denmark. not Sweden, in city largest third the is Malmö – b. 6) efforts. their for paid were or plundered they gold the with statue bird fancy a created they fiction, of work a , Maltese Falcon Maltese

Ibsen, and the father of Prime Minister Sigurd Ibsen. 5) c. – In the 11th century the Knights of Malta established a hospital in Jerusalem to care for pilgrims of any religious faith or race. In race. or faith religious any of pilgrims for care to Jerusalem in hospital a established Malta of the Knights century 11th the In – c. 5) Ibsen. Sigurd Minister Prime of father the and Ibsen, The The

Fall accepted bribes to lease out at low rates. He became the first Cabinet member to go to prison for crimes committed while in office. 4) a. – Playwright Henrik Ibsen was the son of Knude Knude of son the was Ibsen Henrik Playwright – a. 4) office. in while committed crimes for prison to go to member Cabinet first the became He rates. low at out lease to bribes accepted Fall

Italian luthier Antonio Stradivari of Cremona in 1714. Perlman has owned it since 1986. 3) d.– Teapot Dome in Wyoming held oil reserves for which then-secretary of the interior Albert Bacon Bacon Albert interior the of then-secretary which for reserves oil held Wyoming in Dome Teapot d.– 3) 1986. since it owned has Perlman 1714. in Stradivari of Cremona Italian luthier Antonio

ANSWERS: ANSWERS: . 2) a.– Soil Stradivarius was made by by was made Stradivarius Soil a.– 2) . in is Tubal ; in is Tranio ; in is Thersites ; in is Taurus 1) Merchant of Venice of Merchant Shrew the of Taming Cressida and Troilus Cleopatra and Antony

encoremediagroup.com/programs 11 EAP full-page template.indd 1 9/13/17 1:24 PM