SEPTEMBER 2014

I AM OF | PRIDE AND PREJUDICE | THE DOG OF THE SOUTH | LITTLE BEE | SLAUGHTERHOUSE-FIVE

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2 ENCORE STAGES ENCORE ARTS NEWS FROM CITY ARTS MAGAZINE

Splendor in the Grass “Blood Ensemble’s process is really organic. The land is really what drove this produc- tion—someone would bring in an image or a scene and go to a part of the property and show the rest of the ensemble. This tree in particular was very inspiring. It reaches into the sky, protective but silent. The ability to walk toward a lit barn at sunset is an amazing asset. Why should theatre stay in theatres? As long as you have artists and an audience, you have a show.” —Emily Harvey, co-director of Blood Ensemble’s Barn Show, a site- specific theatre piece built around a 100-year-old barn in Marysville, Wash., and the (fictional) family that built it (seen here). The show spans a hundred years and several generations, from first loves to last breaths.

SEE MORE PHOTOS AT cityartsonline.com/barnshow MIGUEL EDWARDS MIGUEL

encoreartsseattle.com 3 CONTENTS

SEPTEMBER 2014

I Am of Ireland: A Collection of Stories, Song, and Dance A1

Adapted and Directed by Stephanie Shine

A-1 Welcome A-3 I Am of Ireland Credits A-8 Meet the Cast and Crew A-13 Thank You to Our Contributors A-16 Company Information

I AM OF IRELAND | PRIDE AND PREJUDICE | THE DOG OF THE SOUTH | LITTLE BEE | SLAUGHTERHOUSE-FIVE

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ENCORE ARTS NEWS FROM CITY ARTS MAGAZINE

THREE YEARS AGO, Phoenix native and Whitman College grad Ben Hunter, now 29, started Community Arts Create, a nonprofit that offers folk-music classes and a mural program and runs the Columbia City Art Walk, among other things. For years CAC operated without a home base, until seven months ago when Hunter and his volunteer cohort opened the Hillman City Collaboratory, a multi-purpose arts and co-working space on the corner of Rainier Ave. S and S Orcas St. Now a new arts hub is taking root there. LEAH BALTUS

How did CAC start? It started with the Columbia City Art Walk, which provided this really good foundation for meeting people, for having the conversations that eventually led to where we are now. For example, Taste International, our culinary arts program, was a vendor for the Art Walk at first.

How did you find your way to community work? I stumbled upon a job at the [arts education] nonprofit Arts in Motion about six years ago as a violin teacher. But not everybody wants to be a musician. For me, the idea isn’t to create an army of performing artists, but Keeping an army of artists generally. People who are imaginative and want to use their creativity for whatever they want to get into.

How did you identify Columbia City as the place where you wanted to Tradition Alive work? When I first came to Columbia City for Arts in Motion, I remember walking around and everything was so different. I see black people—regularly. People of Fiddler, violinist and teacher color. And people say hi on the streets. The rest of Seattle is so different. Not just culturally—economically, development-wise. People in South Ben Hunter forges an arts hub Seattle need to own South Seattle. We need to build up this community the way this community wants to build it up and not at the hands of in South Seattle’s Hillman City. developers who have no intention to keep the cultural traditions alive in

this neighborhood. PERRY SHANNON

4 ENCORE STAGES ENCORE ARTS NEWS

What’s it’s like now that you have the 8000 25th Avenue NE • Seattle Collaboratory? www.universityprep.org This space has been a big step for us. In the Have you discovered your potential? seven months we’ve been open, I’ve developed University Prep is an independent school relationships with people on a whole new level serving grades six through twelve. because people can come in and just talk. It’s Our program takes students on a collaborative journey of learning in a diverse and inclusive been really enlightening. I can ask questions community. Our alumni span the globe, and listen to what people from all backgrounds fulfilling their dreams in professions that range have to say, what they see, what they’re hoping from chef, to professor, engineer, to see. A lot of people have ideas about what physicist, and musician... they want this place to become and a lot of Come visit University Prep and people want to talk about what once was. Discover the Puma in You! One of the first guys I met in this For information, call 206.523.6407 neighborhood, Joe, sweeps the sidewalk pretty much every day. He works at the mortuary down the street. He’s got an interesting perspective because he sees the kids that get shot and killed; he works on them. He’s lived here for a really long time and he’ll come in to get coffee. He’s a beautiful piano player. Northwest Art Alliance presents Fall 2014 Art and Fine Craft Show “A lot of people have ideas about what they want this place to become and a lot of people want to talk about what once was.”

Back Street Bazaar just got started and it kicked ass. We had a 10-piece brass band, we had three chefs here cooking and giving out food. There was a guy who came who a lot of art by Dennis Brady people would probably consider a thug. He just saw this place, walked in and was like, this is A Two Act Show: cool. No one needs to know who I am or what I do. I can just come in here and be. On a Thursday or Friday night, I usually cook October 24 - 26 & November 14 - 16 some food and suggest a donation. It’s bring- your-own-beer, like a living room concert, which goes back to the whole idea of folk in the first place. We’ve done three months of installations Hangar 30 • Magnuson Park • nwartalliance.com in our art gallery. And there’s a community garden out back, too.

How does your love of connect to the Collaboratory? Benaroya Hall, the S. Mark Taper Folk music is a tradition. It’s this idea that you Foundation Auditorium pass down something from one generation to Benefiting Ballard NW the next or one family to the next. From some person to some other person, you’re telling a Senior Center & story. Maybe retelling exactly how it was told Senior Center of West Seattle to you, maybe reinterpreting that story and tickets: changing some of the storylines. America’s music and arts scenes lost that connection online at BenaroyaHall.org, by phone with the people before us and we’ve lost our 206.215.4747 or 1.866.833.4747 (toll free) responsibility to pass that down to the next in person at The Benaroya Hall Ticket Office at generation. There’re a lot of musicians and the corner of Third Avenue & Union Street, open there’s a lot of artists in our culture. Who are Mon-Fri, 10 a.m.-6 p.m.; Sat, 1 p.m.-6 p.m. they learning from and who are they teaching?

Back Street Bazaar takes place the first Sunday of every month at the Collaboratory.

encoreartsseattle.com 5 EAP 1_6 H template.indd 1 8/18/14 11:10 AM ad proofs.indd 1 8/15/14 1:35 PM LAUREN MAX BY AMANDA MANITACH BY AMANDA starrock uniform. the upgrades Eric Howk Summer Never ENCORE ARTS NEWS ENCORE ARTS

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- ENCORE ARTS NEWS

Art Project Funds Environmental a common sense Restoration Art trio SuttonBeresCuller is selling canned dirt in Ann Hamilton its new show at Greg Kucera Gallery, but this isn’t an aesthetic gambit about art-world commodi- Henry Art Gallery fication or an effort to exalt the commonplace. 10/11/14 – 4/26/15 Each of the 1,354 cans they produced for the show contains 19 ounces of contaminated soil collected from the site of their Mini Mart City Park project, an abandoned Georgetown gas station. Sales go

atural History toward restoring the property. n SBC leased the gas station at 6525 Ellis Ave. in 2008 with plans to convert it into a pocket park and a temporary installation. But in the process of getting permits, environmental assessments revealed high levels of pesticides, gas and diesel from the former filling station and noxious chemi- cals from a dry cleaning business that once oper- ated there. (Boeing stored fuel there in the 1940s, too.) After studies by the Department of Ecology produced alarming results, the Environmental Protection Agency got involved, debating whether to expand the Duwamish Superfund site to in-

G clude the property. “We have a stack of reports nine inches tall,” rt.or

A Zac Culler says. “This was all we worked on for a solid eight months. We weren’t making art at that enry

H point, just dealing with bureaucracy.” Nevertheless, last year the trio doubled down, buying the land in order to proceed with the arduous cleanup required to secure a Certificate of

Ann Hamilton. Digital scan of a specimen from University of Washington’s Burke Museum of Museum Burke of Washington’s University of a specimen from Digital scan Hamilton. Ann of the artist. Courtesy Collection. Mammal and Culture Occupancy and enable them to use the site for ex- hibitions, performances and events. The purchase was made with support from numerous organiza- HAG 080414 hamilton 1_3s.pdf tions, including 4Culture, Creative Capital, the Georgetown Community Council and the King County Brownfields Program. Full remediation would mean removing all the soil around the building to a depth of 20 feet and trucking it to a dump in Eastern Oregon. “We deemed that ridiculous and wasteful, using tons of time and even more petroleum just to move it somewhere else,” Ben Beres says. Instead they began canning the dirt to sell as a means of funding the cleanup. After years of work yielding little more than reams of red tape, the By Samuel Beckett project finally entered the sculptural realm. SBC’s smartly packaged tins echo the canned Directed by George Mount feces in Piero Manzoni’s 1961 work Artist’s Shit and Warhol’s deadpan reproductions of supermar- ket packaging. The “Nutrition Facts” list an array of toxins such as arsenic, lead and nitrobenzene, followed by a warning in jaunty retro fonts: Do Not Open! or Not Non Toxic. The “Serving Size”: 5,341,878 ounces. That’s how much polluted dirt they’ll have to sell to rehabilitate the site. Theoretically, the cans are a limited edition. Purchasing a can of the tainted dirt is a symbol- ic and concrete means of collectively shouldering the burden left by past generations. If sales end up fully funding the recovery, this process could be a model for future public art/land reclamation projects. “The parameters dictate the process,” John Sutton says. “That happens a lot in everything we do. This one is just very slow and bureaucratic.” September 3–21, 2014 | www.seattleshakespeare.org BRETT HAMIL You knew it was wrong…but you did it anyway runs from Sept. 5 to Nov. 1 at Greg Kucera Gallery.

8 ENCORE STAGES Twenty-five years ago BOOK-IT’S Book-It received its non-profit status, and from the start, we EARLY YEARS were committed to artistic experimentation. The Book-It Style that you know now was developed through performing short stories verbatim for the public free of charge. By 1994, when I Am of Ireland debuted in the Oddfellows Hall on Capitol Hill, we had an ardent following and a devoted paying audience. I Am of Ireland is particularly memorable for the two of us. It marks when our friendship and partnership as co-artistic directors really took hold. That summer of 1994, Book-It decided to move from the Oddfellows Hall, which we shared with Freehold Theatre, into our own space. We found cheap rent on the third floor of a nearly empty office building across from Lake Union at 1219 Westlake Ave. North. This would be Book-It’s home until February 2001 when the company moved here to Seattle Center. Sometimes 1994 feels like yesterday. That summer, working in our hot office on that third-floor walkup, looking out the Myra Platt and Jane Jones in I Am of Ireland in 1997. window at the cool, shimmering waters of Lake Union, we initiated late afternoon meetings—in our kayaks. We’d paddle out to the middle of the lake, link our boats together, crack a beer and discuss our strategies: How can we get Peter Donnelly, the CEO of Corporate Council of the Arts to have lunch with us? Where can we find new, comfortable chairs for our audience? Who can design our brochure? We have only one computer, how do we share it? What is the internet? Who can we get to help us make lunch for 30 grant makers? Will they all fit in our lobby? Speaking of the lobby, someone donated five gallons of free paint; it’s yellow, will that work in there? And so we went. And here we are now, celebrating our rich canon of Jane Jones and friends in 1994; photo by Myra Platt. adaptations from which we pulled a couple of favorites to kick off this Silver Jubilee Season. What fun it is to have Stephanie Shine return to Seattle to help us revive I Am of Ireland, which she started so long ago. What a privilege it has been to work over the years with this community of artists who continue to inspire the Book-It Style. And what an honor it is to have you, our devoted audience, still supporting the work that is now a quarter of a century old.

With gratitude and fondness, Jane & Myra Founding Co-Artistic Directors Jennifer Sue Johnson, Jane Jones, and Myra Platt backstage before I Am of Ireland.

encoreartsseattle.com A-1 SEPTEMBER 17 - OCTOBER 12, 2014 I AM OF IRELAND

NOVEMBER 25 - DECEMBER 28, 2014 PRIDE AND PREJUDICE by Jane Austen

FEBRUARY 11 - MARCH 8, 2015 THE DOG OF THE SOUTH by Charles Portis

APRIL 22 - MAY 17, 2015 LITTLE BEE by Chris Cleave

JUNE 9 - JULY 3, 2015 SLAUGHTERHOUSE-FIVE by Kurt Vonnegut

TICKETS ON SALE NOW | BOOK-IT.ORG JANE JONES & MYRA PLATT, FOUNDING CO-ARTISTIC DIRECTORS | MYRA PLATT, ACTING MANAGING DIRECTOR

I Am of Ireland: A Celebration in story, song, and dance Featuring works by W. B. Yeats, St. John Ervine, John B. Keane, Frank O’Connor, Paul Vincent Carroll, and Mary Lavin Conceived, adapted, and directed by Stephanie Shine**

ensemble Brian Gunter* Suzy Hunt* Edd Key* David Anthony Lewis* Joey Shaw Allison Standley Kayla Walker

Miranda C. Pratt* Stage Manager Emma Pihl Assistant Stage Manager

Artistic Team Marleigh Driscoll Assistant Director Will Abrahamse Scenic Designer David Baldwin Lighting Designer Doris Black Costume Designer Lindsay Carpenter Dramaturg Edd Key Music Director Gin Hammond Dialect Coach Jane Jones Dance Coach

Originally produced by Book-It in 1994. * Member Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. ** The Director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union.

Season Support Lucky Seven Foundation Media Support

Additional generous support is provided by individuals, and by Arthur N. Rupe Foundation, The Ex Anima Fund, The Williams Miller Family Foundation, and Spark Charitable Foundation. Many thanks to all our supporters! encoreartsseattle.com A-3 I Am of Ireland A Celebration in story, song, and dance Act I Act II

“I Am of Ireland” “I’ll Tell Me Ma” Poem by W. B. Yeats, Music by Myra Platt “Road to Lisdoonvarna” “The Flowers on the Mountainside” “January” “Mouth Music” She Went By Gently “Don’t Forget Your Shovel” by Paul Vincent Carroll by Christie Hennessy Maura ...... Suzy Hunt Frank ...... Allison Standley “The Fisher Boy” Himself / Nanny Goat ...... Edd Key Manahan ...... Brian Gunter The Burial Sadie...... Kayla Walker by St. John Ervine Shamus Dunne ...... David Anthony Lewis John Mawhinney ...... Edd Key James O’Hara ...... Brian Gunter “January (Reprise)” John McClurg...... David Anthony Lewis “Celebration of the Bodhrán” “Whack Fol the Diddle” by Paedar Kearney “Ho Ro Haradala”

“A Soldier’s Song (Amhrán na bhFiann)” “The Rocky Road to Dublin” by “(Eirigh ‘S Cuir Ort Do Chuid Éadaigh) The Pint Arise and Put On Your Clothes” by John B. Keane Publican ...... Joey Shaw “The Little Beggarman”

“The Rights of Man” “Do You Love An Apple”

“The Cobbler” “Boiled Potatoes”

The Drunkard The Living by Frank O’Connor by Mary Lavin Larry ...... Kayla Walker Dougald ...... Brian Gunter Father ...... David Anthony Lewis Mickser / Dougald’s Father ...... Joey Shaw Mother ...... Allison Standley Dougald’s Mother ...... Allison Standley Peter Crowley ...... Edd Key Old Mother ...... Suzy Hunt Mr. Dooley ...... Brian Gunter Boy ...... David Anthony Lewis Publican ...... Joey Shaw Friend ...... Kayla Walker Mrs. Dooley / Mrs. Roche ...... Suzy Hunt Dougald’s Brother ...... Edd Key

“Bridget O’Malley”

“Brown Penny” Poem by W. B. Yeats

“The Flowers on the Mountainside (Reprise)”

There will be a 15-minute intermission. “I Am of Ireland” (Reprise) Poem by W. B. Yeats, Music by Myra Platt

A-4 BOOK-IT REPERTORY THEATRE notes from thedirector Suzy Hunt and Allison Standley in rehearsal. Director Stephanie Shine with Allison Standley.

“Come out of Charity and Dance with me in Ireland.” In 1994 I Am of Ireland was an answer to our desire as a -W. B. Yeats collaborative theatre ensemble to create an entire evening that There is a story behind the sweeping work that Book-It now was thematically linked. For me it was much more. produces. It is the story of It was an opportunity to imagine the childhood of my Book-It’s beginnings. This production invites you to father and the life he and my relatives lived in the 1930s experience it. First performed at Book-It 20 years ago, I Am of and 1940s in South Kerry, Ireland. It was a chance to claim Ireland is a living breathing testimony to how we worked and a culture that was denied to me by my American birth and what we were striving for. It is Book-It at its birth. upbringing, and by my father’s abandonment of me during The early days of Book-It were unbelievably rich with my youth. creativity and possibility. The short story was our training I Am of Ireland provided a dialogue for my father and me. ground. We tried everything. We said yes to everything. The It helped melt the years of not-knowingness and gave us a rooms we rented from Freehold at the OddFellows Hall context that continues to inform our relationship to this day. on Capitol Hill could not contain the artistic daring and discovery that Book-it was exploding with. It was such an There is always a story behind the story, and that is mine. exciting time. As a member of this company, I learned how to direct. Thank you for sharing this piece of Book-It’s history. I learned how to produce. I found courage and a voice. Thank you for sharing this piece of my life. My artistic path completely shifted and the career that has unfolded as a result, continues to surprise and delight me. It is both humbling and a great honor to be beckoned home to Stephanie SHine Book-It Company Member Seattle and to Book-It in celebration of its 25th anniversary. I Am of Ireland “And Time Runs On, cried She” -W. B. Yeats

about the authors Ireland has made abundant contributions to the literary world, with many famous writers originating on the island. The short story genre was prominent in Ireland during the 1930s-1950s —even considered its national art form.

W. B. Yeats St. John Ervine Frank O’Connor John B. Keane Paul Vincent Mary Lavin (“The (“I Am of Ireland” (“The Burial”) (“The Drunkard”) (“The Pint”) was Carroll Living”) was born “Brown Penny”) was a novelist, wrote over 150 born in 1928 (“She Went By in Massachusetts was a driving playwright, and works, including County Kerry, Gently”) was in 1912 to Irish force behind the critic born in 1883 short stories, Ireland. He born in County parents and moved Irish Literary in . Ervine’s poems, and spent his life in Louth, Ireland in to Ireland as a Revival, one of writing was greatly plays. His works Listowel, running 1900. In addition child. Her work is the founders of influenced by the often reflect his a pub for literary to writing short often feminist in the famed Abbey partition between childhood in Cork inspiration, and stories and plays, nature, in contrast Theatre, and in Ireland and and his time spent wrote novels, Carroll wrote for to the policies of 1923 was the first in the Irish War of plays, essays, and television and the then-dominant Irish recipient of a in 1922 and the Independence and short stories. cinema. Roman Catholic Nobel Prize. resulting conflict. Civil War. Church. encoreartsseattle.com A-5 in Ireland and across the Irish diaspora, which includes Australia, Canada, and the U.S. Musicians gather in pubs for the modern “session” (seisiun, in Gaelic), an informal get-together in which Irish folk music is played. The Music The mixing of people from different areas of Ireland contributed to a reduction in regional differences, and has led to a few well-established playing styles. So, despite the name, these are anything but jam sessions; of by IrelandLindsay Carpenter participants are expected to know or learn the tunes and play melody, perfecting and building on the large has played an important role repertoire that is enjoyed today. in Irish history, reflecting the times and politics. The Still, Irish music continues to evolve—contemporary music of the early Irish court—in which the harp figured music worldwide is influenced by songs like those in this prominently—was lost when the British subjugated performance. Think about your favorites, from classic and eliminated the old Irish aristocracy. What survived rock and pop artists like , The Pogues, Thin Lizzy, was the music practiced by the poor; the oldest songs The Undertones, Van Morrison, Bob Geldof, Sinéad originated in rural areas and were sung in the Irish O’Connor to the Irish Tenors and Celtic Women—then language. listen for the influence. The topics of the songs vary from love to food to work to political rebellion. Irish traditional music has long had a reputation for being nationalist, created and sung by those who believed Ireland should be made independent of British rule. The subgenre, Irish rebel songs, is often a call for freedom and an end to British persecution or, alternately, describes battles and victories. These songs are of and for the common people. They articulate and express the strong emotions that were communally felt during the rebellions, uprisings, the War of Independence, and eventually the Civil War. They serve as a record of common memory and to inspire the people’s support and heroism. An Irish seisiun (Photo from livingthetradition.com) The 1930s and ’40s, when I Am of Ireland takes place, experienced a revival in Irish traditional culture. The Irish Free State had just been formed in 1922, and the government was attempting to bring out and highlight the unique qualities that made them Irish. By the end of the 1930s, most rural social dances were made up of Irish line and circle dances, revived from the past. Because of the new government’s association with the Roman Catholic Church, this period also experienced tightly controlled culture. In 1935, the Public Dance Halls Act ordained that all public events required a license, which could only be given by “suitable” persons, usually the parish priest. This brought on a wave of céilí dances, which used the approved dance repertoire and tended to be relatively chaste. The result was the movement of traditional Irish music out of churches and public halls into homes and pubs, where dances and socializing could occur without the supervision of a priest. Irish trad music, as it’s now called, is still prevalent A bodhrán player (Photo by Steve Ford Elliott)

A-6 BOOK-IT REPERTORY THEATRE Traditional Irish Instruments

Alsotin knownwhistle as the Irish whistle, a tin whistle is a simple six-holed MadeBones of animal bones, wood, or similar wind instrument, integral to the iconic sound of Celtic music. material, bones are a percussion instrument played with either a pair of bones in each hand, or just a single pair in one hand.

Mouth music Musicgoes by many names Á including puirt-a-beul, lilting, diddling, TheBodhr bodhránn is a frame drum, dating back to the 17th century. The jigging, chin music, cheek music, drum is struck either with the bare hand or with a lathe-turned piece Canterach, and port a’bhéil. It’s a of wood called a bone, tipper, beater, or cipín. traditional song form originating in Ireland, Scotland, and Nova Scotia in which musicians sing rhythmic nonsense-words, often in imitation of an instrument. Mouth music provides music for dancing and often replaces an instrument. It most likely originated IdenticalFiddle to the violin, fiddles are played differently across different because instruments weren’t available, regions of Ireland. either because they were too expensive or because they were banned.

Examples from the show Daidle deedle dum

Whack fol the diddle fol the di dol day TheUilleann national pipes bagpipe of Ireland, uilleann pipes have a particularly wide range of notes (a full two octaves) and they are usually played With me roo boo, boo roo sitting down. boo, boo ran dee

Sources: Other traditional Irish instruments www.itotd.com/articles/490/mouth-music www.folktrax-archive.org/menus/cassprogs/301mouthmusic.htm www.wikipedia.org/wiki/Puirt_%C3%A0_beul • Flute • Harmonica www..wikipedia.org/wiki/Lilting www.wikipedia.org/wiki/Vocables • Accordion • Banjo www.wikipedia.org/wiki/Irish_rebel_music www.o-em.org/index.php/fieldwork/62-the-foggy-dew-processes-of-change-in-an-irish-rebel-song www.music.ucsb.edu/projects/musicandpolitics/archive/2009-2/oshea.pdf • Guitar • Mandolin www.wikipedia.org/wiki/Irish_folk_music

encoreartsseattle.com A-7 meet the Cast BRIAN GUNTER* DAVID ANTHONY KAYLA WALKER Brian is very happy LEWIS* Kayla is an actress, to be working with David was last seen dialect coach, and Book-It again. Earlier at Book-It as several educator. She is thrilled this year he appeared characters in She’s to be making her Book- in Truth Like the Sun Come Undone. He It debut with I Am of as a waffle vendor was also several dozen Ireland. Her recent stage and a few other fun roles. He has worked characters in The Cider House Rules, and credits include Lucius in Julius Caesar with with many regional theatres over the years played Levin in Anna Karenina. His last job Seattle Shakespeare Company’s Wooden O including Cincinnati Playhouse in the Park, in town was with ACT Theatre and The Theatre, Gemma in Cumulus with Sandbox Stages Repertory in Houston, Florida Studio 5th Avenue Theatre as The Dentist in Little One Act Play Festival, ladies’ understudy Theatre, Berkeley Rep, San Jose Rep, Missouri Shop of Horrors, and his next job will be with in A Christmas Carol with ACT Theatre, Rep and many others. He has also toured in Seattle Shakespeare Company in Measure for and ensemble in This Land with Strawberry Austria, Italy, and the Czech Republic with Measure. He graduated late last millennium Theatre Workshop. Favorite roles include Vienna’s English Theatre. He is very happy to from Cornish College of the Arts with a Hamlet, directed by Paul Budraitis, and Rose be here in Seattle. BFA in acting. Seattle audiences are the best! in The American Clock, directed by Carol Roscoe. Her work as a coach has been seen at Village Theatre, Taproot Theatre, Washington SUZY HUNT* JOEY SHAW Ensemble Theatre, Side Country Theatre, and A proud member of Joey makes his first Theater Schmeater. This fall she will teach Actors’ Equity, Suzy Book-It appearance acting at Village Theatre’s KIDSTAGE and is making her debut with I Am of Ireland. dialect coach Mary Poppins at Village’s main at Book-It in I Am Other Seattle credits stage. of Ireland. She has include Love’s Labour’s performed locally at Lost with GreenStage, ACT Theatre, Seattle Repertory Theatre, Attempts on Her Life with The Horse in The Empty Space, The 5th Avenue Theatre, Motion, and Antony and Cleopatra with and Intiman. Regionally she has performed Seattle Shakespeare Company. Joey is on Broadway, Off-Broadway, at the Guthrie, thrilled to be collaborating with this Denver Center Theatre, the Alley, Arizona ensemble and joining forces again with Theatre Company, and the Spoleto Festival. Stephanie Shine, having worked with her Favorite roles include Fraulein Schneider on Romeo and Juliet at Shakespeare Walla in Cabaret, the title role in John B. Keene’s Walla (honored to be their 2012 Todd Big Maggie, Stella in Light Up the Sky, the Jamieson Journeyman, playing Tybalt) and Countess in The Women, and Carrie in Trip to at Tennessee Shakespeare Co. as Romeo. He Bountiful. will be writing music for–and appearing in– Seattle Shakespeare Company’s upcoming Twelfth Night. EDD KEY* Edd is very pleased to Meet the original 1994 cast have been involved ALLISON STANDLEY of I Am of Ireland with some of Book- Allison is thrilled It’s most memorable to be playing with Back row L to R: Myra Platt, Jane Jones, works, including I Book-It and happy Jim Dean, and David LoVine Am of Ireland (1997), to be working with Front row: Stacia Keogh and Dougald Park The Cider House Rules, Cowboys Are My Stephanie on their Weakness, The Awakening, Broken For You, fifth project together, and Red Ranger Came Calling. His popular the previous of which collaborations with Eddie Levi Lee for The includes The Threepenny Opera with Seattle Empty Space Theatre include The Salvation Shakespeare Company and Romeo and Juliet of Iggy Scrooge, Rodeo Radio, and Wuthering! with Tennessee Shakespeare Company. Most Heights! The! Musical!, in which he appeared recently, Allison played Eliza Doolittle in for Actors Theatre of Louisville’s 2000 season. My Fair Lady at Coeur d’Alene Summer Recent Seattle appearances have included This Theatre. Other credits include Les Miserables Land for Strawberry Theatre Workshop, Big with Village Theatre, Kate in The Wild Party River and the Smoke on the Mountain series with Sound Theatre Company, Clara in 33 at Taproot Theatre, and All the King’s Men Variations with ArtsWest, and Mary in It’s at Intiman. He is a long-time resident artist a Wonderful Life with GESA Powerhouse with Seattle Public Schools and provides Theatre. Allison holds a BA from the all-age musical instruction through his University of Washington. Up next for her teaching facility, The RedBarn Studio. www. is Dick Whittington and his Cat with Seattle theredbarnstudio.com Children’s Theatre.

A-8 BOOK-IT REPERTORY THEATRE Artistic

meet the staff

STEPHANIE SHINE** DAVID BALDWIN EMMA PIHL Adapter / Director Lighting Designer Assistant Stage Manager Stephanie became a Book-It company Dave is pleased to be working on his first Emma is happy to be working with Book- member in 1992. From 1998 until love took show for Book-It Repertory Theatre. He It again on I Am of Ireland. She spent her to Memphis in 2011, Stephanie was the has been designing sets and lights in Seattle last year as Book-It’s stage management happy artistic director of Seattle Shakespeare on and off for the last 25 years. A graduate intern, working on The Amazing Adventures Company. Her many credits there include of Cornish College of the Arts, Dave also of Kavalier & Clay, Truth Like the Sun, The Threepenny Opera, Cyrano de Bergerac, works full-time as a scenic carpenter at Frankenstein; or, the Modern Prometheus, and the lauded all-male The Taming of the Seattle Children’s Theatre and teaches theatre Jesus’ Son, and She’s Come Undone, as well as Shrew. As an actor, she has performed with at the Northwest School. Dave’s recent Pink and Say, one of Book-It’s educational the Oregon Shakespeare Festival, NYC’s credits include Twilight Zone Live at Theater touring shows. Emma’s other stage Theatre for a New Audience, Shakespeare Schmeater, The Who’s Tommy at Burien management credits include The Tempest, Theatre of New Jersey, Seattle Repertory Actors Theatre, and The Clockwork Professor Marry Me a Little, and The Imaginary Invalid Theatre, The Alley Theatre, Arizona Theatre at Pork Filled Productions. with St. Olaf College, and the original Company, ACT Theatre, The Empty Space, production of Waiting… A Song Cycle with and Seattle Children’s Theatre. She is a DORIS BLACK St. Olaf’s Deep End Productions. graduate of the UW’s Professional Actor Costume Designer Training Program under Bob Hobbs. She Doris has been designing costumes for LINDSAY CARPENTER now works alongside her husband, Dan theatre, film, and dance for the last 17 Dramaturg McCleary, growing Tennessee Shakespeare years. Previously for Book-It, she designed Lindsay is pleased to be working on I Am of Company. She is the lucky mother of Conor, A Confederacy of Dunces, Snow Falling on Ireland. She was recently assistant dramaturg Cahilan, Sullivan, and Collins. Cedars, and Rhoda: A Life in Stories. Other for Book-It’s The Amazing Adventures of favorite designs include The Tempest and The Kavalier & Clay and is excited to spend this MARLEIGH DRISCOLL Threepenny Opera with Seattle Shakespeare year as their literary artistic intern. Previous Assistant Director Company, The Seagull with The Seagull Seattle experience includes a week-long Marleigh is thrilled to be returning to Project, Terre Haute with Bridges Stage workshop of her new play Borders with Book-It for one of her favorite shows of all Company, Black Nativity with Intiman, The Theatre Battery, a ten-minute production of time, having had the privilege of working on Monkey King with Youth Theatre Northwest, her piece Black, ou Noir at Eclectic Theater’s the 1997-98 productions of I Am of Ireland. Owl & Pussycat with theater simple, The One Act Festival, and assistant directing Other work with Book-It includes In a Shallow Laramie Project with The Bush School, Taproot Theatre Company’s In the Book Of. Grave and Owen Meany’s Christmas Pageant. Tartuffe with University of Puget Sound, In addition to playwriting and directing, She has been props designer for Seattle and Forbidden Xmas with Tacoma Actors she enjoys lighting design and serves as an Shakespeare Company and their Wooden O Guild. She is currently designing her third electrician around town. Theatre for 15 seasons, including productions season for Spectrum Dance Theater. Doris of A Midsummer Night’s Dream, Coriolanus, is the costume designer for the Seattle Men’s EDD KEY* Pygmalion, As You Like It, The Taming of the and the Seattle Women’s Choruses. Her film Music Director Shrew, A Doll’s House, Love’s Labour’s Lost, work includes The Dark Horse, Cthulhu, See bio on previous page. Much Ado About Nothing , The Importance of Police Beat, Take 38, A Water Tale, and Shut Being Earnest, King Lear, and currently, Waiting Eye. She also works for Period Corsets, GIN HAMMOND for Godot. Marleigh has a master’s degree in which produces period understructures for Dialect Coach architecture, and has worked with Civic Light stage and film. Gin is a Harvard University/Moscow Art Opera, Seattle Opera, the Flying Karamazov Theatre grad, a certified voice geek, and is Brothers at ACT Theatre, and Shakespeare MIRANDA C. PRATT* very happy to be coaching another terrific Walla Walla for Swansong. Stage Manager Book-It show. Gin has performed in Russia, Miranda is very excited to be back at Book- Germany, Ireland, Scotland, and ; WILL ABRAHAMSE It after working on The Amazing Adventures teaches voice, voice-over, and public Scenic Designer of Kavalier & Clay, She’s Come Undone, and speaking; and can be heard on commercials, After stepping away from design for the Hotel on the Corner of Bitter and Sweet. In audiobooks, and a variety of video games past year, Will is thrilled to be back at the addition to being the production manager including Undead Labs: State of Decay, DotA drafting board for the first time since taking at Seattle Shakespeare Company, Miranda 2, Aion, and Halo 3 ODST. the reins as Book-It’s production manager. also spends her time stage managing. She has With more than a decade in theatre and worked with many Seattle theatres including JANE JONES nearly 100 productions under his belt, Will’s Seattle Shakespeare Company and their Dance Coach work as a scenic artist and designer has Wooden O Theatre, Seattle Rep, 14/48, See bio on following page. been seen on the stages of Tacoma Musical Theater Schmeater, Paradise Theatre School, Playhouse, ArtsWest Playhouse and Gallery, and Balagan Theatre. Prior to moving to Coeur d’Alene Summer Theatre, and 14/48: Seattle, she worked at the La Jolla Playhouse on Aaron Sorkin’s The Farnsworth Invention * Member Actors’ Equity Association, the Union The World’s Quickest Theatre Festival, of Professional Actors and Stage Managers in the among others. Throughout the years, he has (workshop production) and at Repertory United States. also worked closely with high school drama Theatre of St. Louis on Bad Dates, and Completely Hollywood Abridged. Miranda has **The Director is a member of the Stage departments in the South Sound helping Directors and Choreographers Society, a to foster the next generation of theatre a BFA in stage management from Webster national theatrical labor union. artists and patrons. Will studied technical University’s Conservatory of Theater Arts in theatre and architecture at Washington State St. Louis, Mo. University and The University of Idaho. encoreartsseattle.com A-9 Artistic production

meet the staff staff MYRA PLATT Cradle, Singles, Homeward Bound, “Twin WILL ABRAHAMSE Founding Co-Artistic Director / Peaks,” and Rose Red. She co-directed with Production Manager Tom Hulce at Seattle Rep, Peter Parnell’s Acting Managing Director The Cider adaptation of John Irving’s † As co-founder, director, adapter, actor, and House Rules, Parts I and II, which enjoyed ELIZABETH STASIO composer, Myra has helped Book-It produce successful runs here in Seattle, at the Mark Stage Management Intern over 100 world premieres. Most recently Taper Forum in Los Angeles (Ovation she directed The Amazing Adventures of Award, best director) and in New York KATHLEEN LE COZE Kavalier & Clay, which has been nominated (Drama Desk Nomination, best director). in five categories in the 2014 Gregory Jane directed Pride and Prejudice and Twelfth Resident Properties Master Awards, including Outstanding Director Night at Portland Center Stage which won and Outstanding Production. Her other the 2008 Drammy award for Best Direction ANDERS BOLANG adapting/directing credits include The and Production. For Book-It, she has Master Carpenter Financial Lives of the Poets, The River Why, directed Adventures of Huckleberry Finn: Night Flight, Red Ranger Came Calling, Uncensored, Truth Like the Sun, The House of The House of the Spirits, Giant, I Know Mirth, The Highest Tide, Travels with Charley, JOCELYNE FOWLER Why the Caged Bird Sings, Cowboys Are My Pride and Prejudice, Howard’s End, In a Costume Shop Manager Weakness, Roman Fever, A Little Cloud, A Shallow Grave, The Awakening, Owen Meany’s Telephone Call, and A Child’s Christmas in Christmas Pageant, A Tale of Two Cities, and Wales. Directing credits include Persuasion, CARMEN RODRIGUEZ The Cider House Rules, Parts I and II, winner Charge Artist Plainsong, Cry, the Beloved Country, and of the 2010 and 2011 Gregory Awards Sweet Thursday. She adapted The Art of for Outstanding Production. In 2008 she, Racing in the Rain, co-adapted Owen Meany’s Myra Platt, and Book-It were honored to DEVON BRIGHT Christmas Pageant with Jane Jones, and be named by the Seattle Times among seven Master Electrician composed music for Prairie Nocturne, Night Unsung Heroes and Uncommon Genius Flight (with Joshua Kohl), Red Ranger Came for their 20-year contribution to life in the ANNA BOWEN Calling (with Edd Key), The Awakening, Puget Sound region. She is a recipient of the Ethan Frome, Owen Meany’s Christmas 2009 Women’s University Club of Seattle Wardrobe Assistant / Dresser Pageant, A Child’s Christmas in Wales, A Brava Award, a 2010 Women of Influence Telephone Call, and I Am of Ireland. Her award from Puget Sound Business Journal, JESSICA JONES acting credits include Prairie Nocturne, and the Paul G. Allen Family Foundation’s Light Board Operator The Beautiful Things That Heaven Bears, 20th Anniversary Founders Grant, and was The Awakening (West Los Angeles Garland a finalist for the American Union for Stage Award), Howards End, and The Cider House Directors and Choreographers Foundation’s Rules, Parts I and II (original production). 2012 Zelda Fichandler Award. † Book-It Intern She has performed at Seattle Repertory Theatre, Intiman, New City Theatre, and the Mark Taper Forum. Myra is the recipient, with Jane Jones, of the Paul G. Allen Family Foundation Founders Award, the 2010 special thanks to affiliations Women of Influence from Puget Sound ACTORS’ EQUITY Business Journal, and was named by Seattle Emer and Patrick Cooke ASSOCIATION Times an Unsung Hero and Uncommon This theatre operates under an Genius for their 20-year contribution to life Jennifer Havlin agreement within AEA, the union of professional actors and stage managers in the Puget Sound region. Dan McCleary in the United States. Actors’ Equity Association (AEA), founded in 1913, represents more than 49,000 actors Bríd Nolan and stage managers in the United States. Equity seeks JANE JONES to advance, promote and foster the art of live theatre Founding Co-Artistic Director The Parkway Tavern as an essential component of our society. Equity negotiates wages and working conditions, providing a Jane is the founder of Book-It and founding Don Tremblay wide range of benefits, including health and pension co-artistic director of Book-It Repertory plans. AEA is a member of the AFL-CIO, and is Mary Weiss affiliated with FIA, an international organization of Theatre, with Myra Platt. In her 27 years performing arts unions. The Equity emblem is our of staging literature, she has performed, Danny Wheetman mark of excellence. www.actorsequity.org adapted, and directed works by such Craig Wollam and Seattle Scenic Studios literary giants as Charles Dickens, Eudora THEATRE PUGET SOUND Welty, Edith Wharton, Kurt Vonnegut Jr., Pam Houston, Raymond Carver, Frank O’Connor, Ernest Hemingway, Colette, THEATRE Amy Bloom, John Irving, John Steinbeck, COMMUNICATIONS GROUP Daphne du Maurier, and Jane Austen. A veteran actress of 30 years, she has played leading roles in many of America’s most prominent regional theatres. Most recently, she played the role of Miss Havisham in Book-It’s Great Expectations. Film and TV credits include The Hand That Rocks the

A-10 BOOK-IT REPERTORY THEATRE BOOK-IT REPERTORY THEATRE’S ARTS & EDUCATION PROGRAM Family Fun Days WILL ABRAHAMSE r a morning o Production Manager in us fo f crafts Jo ance, and wor , perform kshop! ELIZABETH STASIO† Stage Management Intern Sunday, October 12, 2014 Performed bilingually in KATHLEEN LE COZE English and Spanish! Resident Properties Master LA MARIPOSA ANDERS BOLANG Saturday, February 28, 2015 Master Carpenter STAT STANDING TALL AND JOCELYNE FOWLER TALENTED: HOME COURT Costume Shop Manager Saturday, May 2, 2015 CARMEN RODRIGUEZ Charge Artist ALICE’S ADVENTURES DEVON BRIGHT IN WONDERLAND Master Electrician ANNA BOWEN Crafts and performance take place at the Center Theatre. Wardrobe Assistant / Dresser Children: $10 Adults: $12 For specific times and tickets: book-it.org JESSICA JONES Light Board Operator

† Book-It Intern You Are Invited to Our FUNDRAISING BREAKFAST

Thursday, October 23, 2014

7:30 - 8:45 am Bell Harbor International Conference Center

Hear from educators and artists about the impact Book-It makes for more than 60,000 students and adults throughout Washington State. Experience our program in action with a “Page to Stage” performance by local students and a scene from our bilingual children’s touring production of Francisco Jiménez’ book La Mariposa.

For more information To learn more about our Arts & Education breakfast and to RSVP, visit book-it.org.

2013 FUNDRAISING BREAKFAST PHOTOS BY ALAN ALABASTRO ArtsFund strengthens the community by supporting the arts through leadership, advocacy and grant making. Campaign 2014 Donors

Thank you to all our donors for sharing and supporting our vision of a community with a dynamic and world-class arts and cultural sector where the arts are accessible to all and valued as central and critical to a healthy society.

Pledges and donations made between 7/1/13 - 6/30/14 Visit www.artsfund.org for a full list of our donors and to learn more about ArtsFund $350,000 and up $250,000 - $349,999

$50,000 - $249,999

Support from The Boeing Company, Microsoft Corporation, POP, Sellen Construction and Starbucks Coffee Company includes employee workplace giving.

$25,000 - $49,999 $10,000 - $24,999 $5,000 - $9,999 ADP/Cobalt* Amazon.com Alaskan Copper & Brass Company and Jones Lang LaSalle Getty Images* Amgen Foundation Alaskan Copper Works Medical Consultants Network, Inc.* K&L Gates* BNY Mellon Wealth Management APCO Worldwide Nintendo of America Inc. KeyBank Comcast Clise Properties Inc. Raisbeck Engineering KING Broadcasting* The Commerce Bank of Washington* Columbia Bank RealNetworks Foundation King County Employees* Davis Wright Tremaine LLP* Ernst & Young LLP Sparling, Inc. Perkins Coie* Delta Air Lines Federal Home Loan Bank of Seattle* Russell Investment Group Delta Dental of Washington Financial Resources Group Safeco Insurance DLA Piper* Fishing Company of Alaska Stoel Rives LLP* Dorsey & Whitney LLP* Foss Maritime Company Washington State Combined Fund JPMorgan Chase Gaco Western, Inc. Drive* Nordstrom, Inc. Gensler Architects Weyerhaeuser Company* R.D. Merrill Company Goldman, Sachs & Co. Union Bank *Includes employee workplace giving

Arts Benefactor Circle Toby Bright Bob and Clodagh Ash Tim Mauk and Noble Golden Gold Club Jim and Gaylee Duncan Matthew Clapp John H. Bauer Blanche and Stephen Maxwell $200,000 and up Ray Heacox and Cynthia Melanie Curtice Lisa Lawrence Beard Rachel and Doug McCall Raynier Institute & Foundation Huffman Mrs. Jane Davis and Dr. David Annette and Daniel Becker Bruce and Jolene McCaw R. Davis John and Shari Behnke Anthony R. Miles $100,000 - $199,999 Peter and Peggy Horvitz Glenn Kawasaki Kevin and Lynne Fox Sue and Artie Buerk Alison and Glen Milliman Neukom Family Patricia Britton and Stellman Heather Howard C. Kent and Sandra C. Carlson Douglas E. and Nancy P. Mary Pigott Keehnel Ann Ramsay-Jenkins and the Peter and Susan Davis Norberg $50,000 - $99,999 Deborah Killinger William M. Jenkins Fund Karl Ege Mary Ellen Olander Stephen P. and Paula R. Thomas and Gwen Kroon Ed Kim Lea Ennis Glenna Olson and Conrad Reynolds Charlotte Lin and Robert Porter Loeb Family Charitable Michael and Melanie Fink Wouters Foundations Pete and Julie Rose Moccasin Lake Foundation William Franklin Tyler Petri Douglas and Joyce McCallum $25,000 - $49,999 Norman Archibald Charitable Rod Fujita Kathleen Pierce in memory of Rosanne Esposito - Ross and Douglas Beighle William Beeks Foundation Lynn and Brian Grant Louis Ross Ms. Carol Powell Sandy and Chris McDade Herman and Faye Sarkowsky Maria Gunn Douglas and Theiline Scheumann Marlene Price Mr. and Mrs. Lawrence and Sequoia Foundation Darren Hamby Vijay and Sita Vashee Scott Redman Mary Ellen Hughes Jon and Mary Shirley Foundation Aya Hamilton Douglas and Margaret Walker Joanne Salisbury Katharyn Alvord Gerlich Mary Snapp Richard and Marilyn Herzberg Dr. Clyde and Mrs. Kathleen Stanley D. and Ingrid H. Savage Joshua Green Foundation, Inc. James and Katherine Tune Kevin and Eddy Hoffberg Wilson Schoenfeld-Gardner Foundation John Graham Foundation Arlene Wright Mari Horita Ann P. Wyckoff Jane Simpson Conductor’s Circle First Chair Dan and Connie Hungate Lynn Hubbard and David Bonnie and Jim Towne $10,000 - $24,999 $5,000 - $9,999 Zapolsky Randle Inouye Joseph D. Weinstein Nancy Alvord Chap and Eve Alvord Janet Wright Ketcham Encore Gail and Bill Weyerhaeuser Judi Beck and Tom A. Alberg Casey Banack $2,500 - $4,999 Foundation Carl and Renee Behnke Steve Behnen and Mary Hornsby Jon Anderson James Kraft Allan and Nora Davis Michael and Anne Bentley Kim A. Anderson John and Tina Lapham A-12 BOOK-IT REPERTORY THEATRE honoring book-it contributors Book-It would like to thank the following for their generous support!

Literary Legends’ Circle $75,000+ Nobel Prize Circle $1,000+ Pulitzer Prize Circle, cont. The Paul G. Allen Family Foundation Anonymous Laura & Erik Hanson Bill & Melinda Gates Foundation Monica Alquist Phyllis Hatfield Karen Brandvick-Baker & Ross Baker Hughes Media Law Group Literary CHampions’ Circle $25,000+ Salli & Stephen Bauer Humanities Washington 4Culture Janet Boguch & Kelby Fletcher Jane Jones & Kevin McKeon ArtsFund Amanda & Jeff Cain Clare Kapitan & Keith Schreiber The Boeing Company Charitable Trust Carol & Bill Collins Pam Kendrick Matthew N. Clapp, Jr. Carolyn & George Cox Joyce Anne Latino & John O’Connell The Hearst Foundations, Inc. Nora Davis Darcy & Lee MacLaren N. Elizabeth McCaw & Yahn W. Bernier Emily Davis Ellen Maxson Mary Pigott The Ex Anima Fund Karen & James McElroy Ann Ramsay-Jenkins Mary Francis & Harold Hill Richard Monroe Gladys Rubinstein + Heather Howard Eleanor Moseley & Charles Pollnow Judith Jesiolowski & David Thompson Glenna Olson & Conrad Wouters producers’ circle $10,000+ Deborah Killinger Deborah & Jeff Parsons Arts Washington Lea Knight Meta L. Pasternak City of Seattle Office of Arts Susan Leavitt & Bill Block Judy Pigott & Cultural Affairs Ellen & Stephen Lutz Heather Pullen & Frank Schumann John & Ellen Hill Melissa & Don Manning Roberta Reaber & Leo Butzel Stellman Keehnel Anne McDuffie & Tim Wood Anne Repass Lucky Seven Foundation Mary Metastasio Stephen Robinson Nordstrom Microsoft Matching Gifts Program Don & Marty Sands The Shubert Foundation, Inc. Minar Northey LLP Pamela & Nate Searle Shirley & David Urdal Colette Ogle Seattle International Film Festival* Kris & Mike Villiott John Pehrson Charyl Kay & Earl Sedlik Puget Sound Business Journal Gail & John Sehlhorst Partners’ circle $5,000+ Shirley Roberson Jo & Michael Shapiro Arthur N. Rupe Foundation Sage Foundation Meg Silver Boeing Gift Matching Program Steve Schwartzman & Daniel Karches Ten Mercer* Joann Byrd The Seattle Foundation Sara Thompson & Richard Gelinas D.A. Davidson & Co. Martha Sidlo Charlotte Tiencken & Bill West Gretl Galgon Virginia Sly & Richard Wesley Turgeon Raine* Lucy Helm Karen & B. Richal Smith Janet & Stan Vail Margaret Kineke & Dennis West Mary Snapp Ruth & Jerry Verhoff Michell & Larry Pihl Spark Charitable Foundation Virginia Mason Medical Center* Lynne & Nick Reynolds Judith Whetzel Robert & Leora Wheeler Drella & Garth Stein Williams Miller Family Foundation Margaret Winsor & Jay Hereford Mary & Gerald Zyskowski U.S. Bank Pulitzer Prize Circle $500+ Leadership Circle $2,500+ Anonymous (2) National Book Award Circle $250+ Connie Anderson Emily Anthony & David Maymudes Anonymous Inez Noble Black Amy & Matthew Cockburn Rachel Alquist* Judy Brandon & H. Randall Webb Stuart Frank & Marty Hoiness Sarah & Robert Alsdorf Elizabeth Braun HomeStreet Bank Christina Amante Don Brown Holly & Bill Marklyn Kim Anderson Sally Brunette* Cheryl & Tom Oliver Joel Aslanian The Carey Family Foundation Joni Ostergaard & Will Patton Dan Atkinson Nancy Cleveland Christiane Pein & Steven Bull Sylvie Baldwin Pamela Cowan & Steve Miller Deborah Swets Susan Bradley Deborah Cowley & Mark Dexter Kathy & Jim Tune Mary Anne Braund & Steve Pellegrin Julie Edsforth & Jabez Blumenthal Elizabeth Warman Patricia Britton Katie & Brent Enarson Robert Wiley Margaret Bullitt R. Brooks Gekler April J. Williamson Linda & Peter Capell Jean Gorecki & Dick Dobyns Sylvia & Craig Chambers

encoreartsseattle.com A-13 honoring book-it contributors Book-It would like to thank the following for their generous support! National Book Award Circle, cont. National Book Award Circle, cont. Pen/Faulkner Award Circle, cont. Mala Chandra Jill Sylwester Carolyn & Mark Holtzen • Julie Howe & Christina Chang & Paul Stucki Cassandra & Eric Taylor Dennis Shaw • Cynthia Huffman & Ray Lynne & David Chelimer Jennifer Lee Taylor Heacox • Joleen Hughes • Kristina Huss Wendy Cohen & John Chenault Michele & Alan Tesler Campbell • IBM Matching Grants Program David Dong Molly Thompson & Joe Casalini • Wendy Jackson • Lani Johnson • Susan Beth L. Dubey Kerry P. Thompson K. Jones & Christopher R.B. Monck • Kris Lauren Dudley Christina & Matthew Villiott Jorgensen & Margey Rubado • Joan Kalhorn Lori Eickelberg & Arni Litt Jerry Watt & Vreni VonArx Watt • Amie Kidane • Shannon & Richard Knipp Kim & Rob Entrop Sandra Waugh • Larry Knopp • Art Kobayashi • Tami Kowal Mary Fallon Jennifer Weis • Alan Kristal • Fay Krokower • Gerald Jane & Stan Fields Gregory Wetzel Kroon • Sandy Kubishta • Nancy Lawton Liz Fitzhugh & Jim Feldman & Steve Fury • Eleni Ledesma & Dr. Eric Elizabeth & Paul Fleming Pen/Faulkner Award Circle $100+ Rose • Meredith Lehr & William Severson • Fox’s Gem Shop* Anonymous (3) • Carole Aaron • Robin Jan Levine & David Kasik • Nancy Lomneth Jayn & Hugh Foy Dearling & Gary Ackerman • Lynne & & Mark Boyd • Sheila Lukehart & Jim Lisbeth & Alan Fritzberg Shawn Aebi • Alaska Distributors* • Andrea Brinkley • Carol Lumb • Kjristine Lund • Jamie Froebe Albers • Rachel Allen • Chris Alston • Kathleen Maki • Mike Martinez • Elizabeth Norman Garner Amgen Foundation - Matching Gifts • Mathewson • Elaine Mathies • Susan Vicki & Gerrie Goddard Katherine Anderson & Robert Di Pietrae • McCloskey • Kathy McCluskey • Deirdre Katharine Godman & Jerry Collum Marjorie Anderson • Virginia L. Anderson • & Jay McCrary • Nancy McSharry & Andy Terry Graham Cinnimin Avena • Jo Ann & Tom Bardeen Jensen • Marcie & John McHale • Susan Diane Grover • Mary Murfin & Doug Bayley • Susan Mecklenburg • Bonnie & Curry Miller Faith Hanna Bennett • Lenore Bensinger • Kathleen Best • Gary Miller • Shyla & Donald Miller • Pamela Harer & Dr. Benson • Deb & Bill Bigelow • Richard P. Billingham Donna Miller-Parker • Marion & George Kat Hazzard • Lindsay & Tony Blackner • Blue Highway Mohler • Becky Monk • Cornelia & Terry Bruce Herbert Games* • Rebecca Bogard • Bookwalter Moore • Elizabeth Morrison & Geoff Crooks Lloyd Herman & Richard Wilson Winery* • Brad Borst • Gina Breukelman • Christine Mosere • Milly Mullarky • Dawna Barbara Hieronymus • Jonathan Buchter • Barbara Buxbaum • Munson • Pam & Scott Nolte • Deanna & Melissa Huther Carri Campbell • Michela Carpino & Rick Craig Norsen • Northwest Asian Weekly • Edwin Jones* Klingele • Kristine & Gerry Champagne Mikel O’Brien • Martha Oman • Linda & Mary J. Klubben • Joyce Chase • Carl Chew • Deborah Kevin O’Morrison • Timothy O’Sullivan Karen Koon Christensen • Marianna Clark & Charles • Paige & Jeff Packman • Sam Pailca • Larry Lewin Schafer • Cynthia & Jack Clay • Catherine Kelly Pearson • Sherry Perrault • Carol & Cynthia Livak Clemens • Shelly Clift • Susan Connors Ed Perrin • Barbara B. Peterson • Robert Craig Lorch & Eric Helland • Joe Copeland • Kay & Pillitteri • Anne & Lee Pipkin • Felicia Porter Stephen E. Lovell Garry Crane • Nancy Cushwa • Amy & Paul • Susan Porterfield • Joan & William Potter Ma & Mom Curtis • Melinda Deane & Dan Wheetman • Jason Powell • Marissa Price • Gordon Ruth McCormick • Sandra & Paul Dehmer • Dottie Delaney Prouty • Andrea Ptak & Aaron Houseknecht Ann McCurdy & Frank Lawler • DeLille Cellars* • Susan M. Dyer • Lynne • Barbara & Daniel Radin • Roberta & Brian Cecilia Paul & Harry Reinert & Hollie Ellis • Marilyn Endriss • Randy Reed • Connie Reed • Esther Reese • Jane Corliss J. Perdaems Engstrom • Joyce Erickson • Constance Reich • Jane Repensek • Jeannette Reynolds Gloria Pfeif L. Euerle • Expedia Gives Matching Gift • Karen & Eric Richter • Rebecca Ripley • Scott Pinckney Program • Jane Faulkner • Polly Feigl • Laura Roberta Roberts • Beth Rollinger • Kristine Linda Quirk Fischetti • Denise & James Fortier • Jessica Ruppelt • Beth Rutherford • Donna Sand Doris & Charles Ray Foss • Kai Fujita • Jean & Mike Gannon • • Claudia Sanders • Lisa Schafer • Linda Carolyn Rees Julia Geier & Phil Borges • Susan George Schenkel • Andy Schneider • Lavonne & Bradley Renner • Siobhan Ginnane • Suzanne Goren • Pat Josh Searle • Seattle Repertory Theatre* • Paula Riggert Graves & David Nash • Anke Gray • Jake Seattle Theatre Group* • Sumeer Singla • Jo Ann & Jim Roberts Greenberg • Pamela Greenwood • Heather Marilyn Sloan • Susan & George Smith • Debby Rutherford Griffin • Laurie Griffith • Scott Guettinger Warren Smith • Barbara Spear • Diane Stark • Donna Marie & Dr. Robert Saunders • Jim Hamerlinck • Ellen & David Hecht • Janice & Pat Strand • Streamline Consulting, Schilling Cider* Kate Hemer • Rebecca Herzfeld & Gordon LLC • Gail Tanaka • Margaret Taylor • Seattle Shakespeare Company* Crawford • Chris Higashi • Patricia Highet • Terry Tazioli • Anne Terry • Kate Thayer • Something Silver* Stephanie Hilbert • Sandy Hill Cappy Thompson • Richard Thorvilson • LiAnn & Stephen Sundquist Eric Thuau • Jennifer Tice • Caren Toney A-14 BOOK-IT REPERTORY THEATRE Pen/Faulkner Award Circle, cont. O. Henry Award Circle, cont. Marcia Utela • Elizabeth Valentine • Karen Michael Sander • Deanna Saxbe • Heidi & Ron Van Genderen • Verizon Foundation Schor • B. 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Jones • Liz Ann Jones • This list reflects gifts received exclusive evening at home with Gil Joynt • Joan Karkeck • Chang Kawaguchi July 7, 2013 - August 31, 2014 Garth Stein, and Irish-themed gift • Jim Kelly • Vicki & James King • Shirley baskets. Visit book-it.org for a listing Book-It makes every attempt to be accurate with Knight • Barb & Art Lachman • Stewart of auction items and a link to the our acknowledgements. Please email Donor Landefeld • Jo Anne Laz • Teri J. Lazzara • Relations and Development Manager Rachel online auction. All bidders will be Shawn LeValley • Bonnie Lewman • Liberty Alquist at [email protected] with any changes entered to win a special gift. Mutual Insurance • Madalene Lickey • Arlyn that may be required. Losey • Robert Lowe • Morna McEachern & Grant Brockmeyer • Theresa & J. Douglas McLean • Merck Partnership For Giving - Matching Gifts • Jeanne Metzger • Susan & Harold Mozer • Betty Ngan & Tom Mailhot • Judy & Stephen Niver • Marion & Curtis Northrop • Nancy & Stephen Olsen • There are many ways to support Janice & Mike O’Mahony • Pat O’Rourke Book-It, and we hope you will consider these alternatives: • Susan Palmer • Elizabeth Pearson & Jacyn Make a gift online at book-it.org, donate stock, or even leave a bequest in your will Stewart • Nan Peele • Alison Peters • Marion (simply identify Book-It Repertory Theatre, Tax ID#91-1514734). Reed • Mildred Renfrow • Ginger Rich For more information on any of these options, contact • Betty Ann & Louie Richmond • Carla Rickerson • J.D. Royer • Joshua Ryder • Director of Development Sally Brunette, 206-428-6258 or [email protected] Patricia Rytkonen & William Karn • Lena Saba • Rebecca Sadinsky • Clint Sallee •

encoreartsseattle.com A-15 OUR MISSION IS TO TRANSFORM GREAT LITERATURE INTO GREAT THEATRE THROUGH SIMPLE AND SENSITIVE PRODUCTION AND TO INSPIRE OUR AUDIENCES TO READ.

book-it staff board of Jane Jones Myra Platt directors Founder & Founding Founding Co-Artistic Director & Co-Artistic Director Acting Managing Director Stuart Frank, President artistic marketing & Dan Schuy Project Manager, Partner Capability Scenic Carpenter Development, Starbucks Josh Aaseng communications Literary Manager Patricia Britton Jocelyne Fowler Thomas Oliver, Vice-President Costume Shop Manager Gavin Reub Director of Marketing Educator Casting Associate & Communications Elizabeth Stacio Stage Management Intern Lindsay Carpenter Shannon Loys Kristine Villiott, Treasurer Literary & Artistic Intern Publications & Media Manager Ali Rose Schultz CPA, Minar and Northey LLP Costume Shop Intern Anthea Carns Sarah Roza Literary & Artistic Intern Marketing Intern Shirley Roberson, Secretary Senior Associate, Hughes Media Law Group Devin Devine Dana Masters administrative Literary & Artistic Intern Publications Intern Bill Whitham Bookkeeper Monica Alquist Patron Services Director of Events & Special Projects, education Scott Herman Leslie Witkamp Theatre Management Intern Puget Sound Business Journal Gail Sehlhorst Patron Services Manager Director of Education Dana Masters Ross Baker Natasha Ransom House Manager services Public Policy Director, Education Associate Leslie Witkamp Adam Smith Photography Virginia Mason Medical Center House Manager Alan Alabastro Photography Katie McKellar Joann Byrd Tour Manager Chris Bennion Photography Tom Dewey Journalist & Editor, Retired Lead Box Office Associate John Ulman Photography Amelia Reynolds Robert Thornburgh, Custodian Education Intern Tom Wahl, IT Support Jane Jones production Founder & Founding Co-Artistic Director, development Will Abrahamse Book-It Sally Brunette Production Manager Director of Development Victoria Thompson Margaret Kineke Senior V.P., D.A. Davidson & Co. Rachel Alquist Production Stage Manager Donor Relations Kathleen Le Coze & Development Manager Mary Metastasio Resident Properties Master Senior Portfolio Manager, Safeco, Retired Anna Strickland Anders Bolang Development Intern Master Carpenter Joni Ostergaard Attorney, Retired

Will Patton contact us Senior Legislative Aide, Metropolitan King County Councilmember, Rod Dembowski

BOOK-IT REPERTORY THEATRE Myra Platt 2010 Mayor’s Arts Award-winner and recipient of the 2012 Governor’s Arts Award, Book-It Repertory Theatre Founding Co-Artistic Director, Book-It was founded 27 years ago as an artists’ collective, adapting short stories for performance and touring them throughout the Northwest. Today, with over 100 world-premiere adaptations of literature to its credit—many David Quicksall of which have garnered rave reviews and gone on to subsequent productions all over the country—Book-It is Independent Theatre Artist & Teacher widely respected for the consistent artistic excellence of its work. Stephen Robinson center theatre + box office admin offices Writer 305 Harrison Street, Seattle, WA 98109 158 Thomas Street, Seattle, WA 98109 Steven Schwartzman box office contact admin contact Attorney, U.S. Postal Service, 206.216.0833 | [email protected] 206.216.0877 | [email protected] Western Area Law Department Deborah Swets www.book-it.org V.P. for Membership, Washington State Hospital Association FACEBOOK TWITTER INSTAGRAM VINE Elizabeth J. Warman Director Global Corporate Citzenship, NW Region, The Boeing Company /bookitrep @book_it bookitrep Book-It A-16 BOOK-IT REPERTORY THEATRE ENCORE ARTS NEWS FROM CITY ARTS MAGAZINE

Triumph of Unambition Fiddler’s Inn doesn’t have to try. BY JONATHAN ZWICKEL

WHEN IS A TAVERN just a tavern? When it selection. Call it a café because it serves serves only beer and wine, no booze. food—sandwiches and pizzas that are basic That’s how the law once defined the word. and wholesome and affordable and good. And for years, Seattle was a tavern town, The original owner was a guy named Walt proud to pour Rainier and Olympia—the Haines, a professional musician who moved microbrews of the day—and later, Red Hook. to Seattle from the Midwest to play double Decades hence, liquor enforcement has bass—aka bass fiddle—in the 5th Avenue softened alongside linguistic standards, Theatre orchestra. The beginning of the and these days calling your establishment Depression nudged Haines out of the music a tavern is more a shortcut to picaresque business and the end of Prohibition provided rusticity than an indicator of the stuff behind a new direction: Haines often entertained the bar. As the city’s cocktail craze continues, his patrons by playing musical spoons. After the tavern and the pub (short for public selling the bar in the ‘60s, he moved to LA house, the model of beer-focused hospitality and partnered with Lawrence Welk in a launched in England eons ago), traditional business that manufactured and sold musical bastions of come-as-you-are comfort, are spoons with a patented handle. losing ground. You can’t make this stuff up. But you can Which is why you must head to the find further eyebrow-raising anecdotes about hinterlands to find a good one. For instance: Haines and Fiddler’s at the Wedgwood in Fiddler’s Inn in Wedgwood. Wedgewhere? Seattle History website. Author Valarie Bunn Exactly. interviewed Gerry Haines, Walt’s eldest Seriously though. As a Seattle enclave, daughter, who was six when her dad opened Wedgwood is a newcomer, incorporated the bar and today, at 86, lives in Redmond. around 1945. Fiddler’s Inn predates even History this deep and unlikely is part of that; it won one of the first King County liquor what makes Fiddler’s remarkable. Another licenses after prohibition ended in 1933. It sits is living, breathing personality. On my first on the corner of NE 94th St. and 35th Ave. NE, visit in June, I sat at the six-stool bar next to Wedgwood’s languid main drag. The rusted a guy named Mattie who regaled me with a sign out front offers a beaten-up countenance fair amount of lore, some jiving with Bunn’s to oppose the place’s unfailingly chipper research, some suggesting an alternative moniker. You’ve probably never driven narrative, including an “accidental fire” that by because it isn’t on the way to or from led to Fiddler’s being completely rebuilt in anyplace you’d care to go—unless you live in the ’90s, finally adding a foundation and Wedgwood. reusing original materials for the interior. Inside, Fiddler’s radiates an instant Affable, heavy-lidded and unhurried, Mattie familiarity. It doesn’t feel new or old; it reminded me of Northwest natives I knew at doesn’t strive for authenticity or innovation. the University of Oregon. It simply exists/exists simply. Its lack I discovered later that Mattie is a of ambition is a triumph. The walls are bartender and cook at Fiddler’s and that conspicuously absent a bunch of crazy crap, the current owners also run the Latona Pub its ceiling is angled haphazardly, the result in Greenlake and the Hopvine on Capitol of renovations over the decades. It’s bright Hill. The thread between establishments: and airy and cozy and inviting. An outdoor neighborhood-centric, beer-forward, long patio lined with foliage nooks onto the south lived-in. Ideal for a simple Saturday, if you side of the building in sweet seclusion. Call like that sort of stuff. n

Fiddler’s a pub or a tavern because it serves FIDDLER’S INN

MIGUEL EDWARDS MIGUEL just wine and a very good, very local beer 9219 35th Ave. NE

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EAP 1_6 V template.indd 1 8/4/14 3:59 PM I DREAM OF LEENI PROM QUEEN’S MIDNIGHT VEIL IS A CANDY-COLORED, AUDIO-VISUAL ODYSSEY. BY AMANDA MANITACH 1

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1 Ramadan in the film’s opening track, “Black 3 Burlesque dancer and choreographer Lily 5 Jamie Von Stratton made Ramadan’s costume for Magic.” “It’s a bit of a sad song to kick off the Verlaine takes on the Big Bad Wolf at Vito’s in “Mystery.” The film’s final track brims with slowmo album, but to me, beginning a journey with heart- “Daddy’s Got a Big Bad Gun.” waterfalls of gold tinsel curtains, a mesmerizing break is true to life.” 4 Ramadan and her genies in a bottle (members of belly dance by turquoise-coiffed Fuschia Foxx and 2 For “Can’t Seem To Cry” Adé, Ramadan and The the burlesque/cabaret troupe Heavenly Spies) use those eyes. Luminous Pariah get into drag at the Triple XXX their magic to materialize the man of their dreams in 6 Erika Zabelle has a thing for mermaids—and has Rootbeer Drive-In in Issaquah, Wash. “He Loves Me Not.” even taught herself to swim with a fin. For “Out

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he sumptuous, retro swank of Vito’s feels made for Prom Queen. From a dark corner of the First Hill cocktail bar, the petite songstress looks equal parts I Dream of Jeannie and Nefertiti, with a dash of Brigitte Bardot. Her smoldering eyes, rimmed with kohl, and pouty lips curled into a mischief-making smile, T command the room. In May, the 34-year-old musician also known consumption. as Celene Ramadan—Leeni to her friends— “As a musician, sometimes it’s tough to get wrapped production on Midnight Veil, an anything but a passive listen,” she says. “A hour-long concept album of what she describes spin on Spotify while someone’s working on as “dreamy vintage pop.” The 12 songs are their laptop isn’t exactly ideal. I love the ritual packaged with 12 music videos that will be around film: People go inside a darkened room, available to stream, download or purchase on turn off their cellphones and watch something DVD on Oct. 11. (Let it be known that Ramadan that transports them for a couple of hours. I conceived of her video album before Beyoncé wanted to make something more immersive released hers late last year.) than audio-only tends to be.” Midnight Veil is a tour de force of high camp There’s no real storyline in Midnight Veil. and unrepentant glitz, from Middle Eastern Instead, the thread is a slender-necked, kitsch and fire dancing to drag queens, Betty jewel-encrusted magic lamp that weaves its Of My Mind,” Ramadan teamed with David Draper-esque housewives and animated way through each video. The lamp appears in a Peterman to shoot an underwater sequence. cartoons right out of Hanna-Barbera. She was gothic castle surrounded by potions in crystal 7 Susan Hunter gets frisky in “Pretty Little inspired, she says, by Barbarella, the Monkees’ ampoules, then in the arms of a sticky-fingered Thing.” “I really wanted an Adam West Batman- movie Head—and I Dream of Jeannie, of pole dancer, then with a mermaid under the esque video and thought Susan looked so course: “I wanted to capture a fun, ’60s exotica sea. It turns up in dim nightclubs, with greasers much like Julie Newmar that I couldn’t resist a Catwoman pole video!” psychedelic vibe.” She was also determined in muscle cars. It turns up at a ’50s soda shop to create something that defied typical music where Ramadan—flanked by drag queens in

encoreartsseattle.com 11 ENCORE ARTS NEWS FROM CITY ARTS MAGAZINE Midnight Veil is a tour de force of high camp and unrepentant glitz, from Middle Eastern kitsch and AuguSt – NovemBer A city-wide fire dancing to drag queens, Betty Draper-esque celebration of the works of Samuel Beckett housewives and animated cartoons.

pearls intoning melancholy she-bops over root Ramadan started Prom Queen as a solo beer floats—sings:You tell me I’m living a lie / My project in 2012, with her own vocals, electric head is in the sky / And you never felt the same so guitar and backing tracks on a Boss pedal. After this is goodbye / And still I don’t know why I can’t a year performing solo at intimate venues and seem to cry. Then the scene cuts away to three parties around the West Coast, she enlisted slick-haired boys trapped in a black-and-white Jason Goessl and Ben von Wildenhaus to play TV, looking dour, playing castanets. It’s marvel- guitar and Tom Meyers on drums. Over the past ously absurd, just a hair shy of saccharine. year, the Prom Queen foursome has played the “My favorite moments in film usually have Royal Room, the Showbox and is a semi-regular something to do with a song,” Ramadan says. act at Vito’s. “The moment in Life Aquatic when Steve Zissou Ramadan returned to Vito’s and other discovers he has a son and does the slow- Seattle locales to shoot the majority of the i llustration by Kathryn r athke motion walk onto the bow of the ship is all the scenes in Midnight Veil. The Museum of Flight more unforgettable and complete because the appears as a retro-futuristic backdrop, as does chorus of ‘Life on Mars?’ kicks in. What would Seattle Center (the Space Needle blasts off, of David Lynch be without music? Or Tarantino? course), Dick’s Drive-In, Gas Works Park and Sofia Coppola?” the confectionary-colored retro boutique Pretty Ramadan’s father—a singer and drummer Parlor. from Cairo who instilled in her an obsession The project’s supporting cast includes many with the Beatles—taught her to drum, sing and of Ramadan’s closest friends and collaborators, play guitar as a kid. In high school, Ramadan who comprise a glitterati of Seattle’s drag and taught herself keys, rehearsing after school in burlesque scene: Waxie Moon, Inga Ingenue, All that Fall the band room hunched over a piano, playing Randi Rascal, the Luminous Pariah, Paris Tori Amos ballads until they kicked her out. Original, Lily Verlaine, Tory Tiara and Jamie endgame If you ask Ramadan, high-school Leeni was Von Stratton all sing, dance or make cameos more of a shy, goofball funny girl than a sexpot throughout. Like when a bouffanted and Krapp’s Last tape chanteuse. She never was a prom queen. She raygun-toting Kitten N’ Lou beat the dickens out didn’t even go to prom. of a glitter-crusted space cadet in order to get Waiting for godot “I was the weirdo,” she says. “I chose the their mitts on the magical lamp. They dash—a name Prom Queen partially as a joke but then full-on cartoon dash in platform heels—past a partially because it sounds like the music I silvery EMP Museum. and more wanted to make.” So what is in that bottle? Ramadan’s crystalline voice is in one swipe “The lamp can mean whatever you want,” sugary and sultry, her lyrics the lovelorn stuff of Ramadan says. seattlebeckettfest.org classic ’60s girl-group hits. Where Lana Del Rey In the song “He Loves Me Not,” the stop- zigs ultra dark and broody, Prom Queen zags, per comes off and we dive in, headlong. The keeping head and heart above water with a lamp’s interior looks like a frou-frou dressing helping of ham, or stone-cold nonchalance. The room-cum-hair parlor. There’s Ramadan a SponSored program of Prom Queen sound is a mash-up of timeless pop inside, strumming a glittery, cotton candy- tropes: a little Johnny Cash twang along with colored electric guitar. She and an entourage some rockabilly dips, lush surf rock riffs and of belly-dancing genies dressed in billows of tongue-in-cheek orchestral bombast. powder-pink chiffon wrestle a mannequin Flexing her musical muscle in offbeat dummy, trying to put together the perfect man. print and media SponSorS ways—and making a living doing it—is par for The flesh-and-blood specimen they conjure is the course for Ramadan. For the past nine years, nothing less than inspired (played by Jonny Boy she’s worked part-time as a singing telegram of the Can Can Castaways). girl, impersonating celebrities: Cher, Britney, But in the final moments of the song, the Celine Dion, Björk, Katy Perry, Marilyn Monroe. mischievous djinn have their way with him and YOUR GUIDE THROUGH THE PRINTING & MAILING JUNGLE When she isn’t popping out of birthday cakes he emerges from a makeover swimming in long or serenading in chicken suits, she composes lashes, rose-colored curls and an ill-fitting dress music for smartphone apps and video game covered in gems. No matter if the boys come or developers. go, these girls have fun. n

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The Studios Open this Fall with 60 Classes

A common lament among Seattle’s professional performance community is a career ceiling, the idea that an actor or dancer can achieve only so much here before hitting a limit, forced to accept that limit or leave town to grow. In the last few years, the theatre community has made an effort to create more avenues for local performers, but available roles are only one piece in the complex puzzle MOZART’S facing the area’s maturing performance scene. BAD BOY “Having been a working actor here, Don this was the thing that was missing,” Shanna says. “I Giovanni kept hearing in the dressing rooms and in the audition lines, Ugh, there’s nowhere to train.”

Another is education—classes where adults can hone their craft and add skills to their repertoire. Enter The Studios, a massive new undertaking opening 25 % OFF downtown as early as late September, offering some 60 drop-in classes ranging SELECT SEATS , Seattle Opera, 2007 © Rozarii Lynch from voice lessons to stage combat, intermediate rhythm tap, audition FRIDAY, OCT. 31 coaching and “Oh Crap I Have Lines”—

all taught by an impressive roster of 46 Giovanni Don founding faculty. And those teaching jobs? Also good for the rising tide of performance in the region. “We think about being a spring in the city,” says Shanna Waite, who co- OCT. 18-NOV. 1, 2014 founded The Studios along with her MARION OLIVER MCCAW HALL husband, Ryan Waite. Shanna, 33, is a WITH ENGLISH SUBTITLES | EVENINGS 7:30 P.M., SUNDAY MATINEE 2:00 P.M. performance veteran; Ryan is a longtime With the Seattle Opera Chorus and members of Seattle Symphony Orchestra. software engineer and tech exec. The Studios are their way of giving back to PHONE 206.389.7676 | 800.426.1619 the city. “Having been a working actor here, UNDER 40? SAVE 30% seattleopera.org/under40 this was the thing that was missing,” GROUPS SAVE 15% 206.676.5588 Shanna says. “I kept hearing in the IN PERSON Ticket Office: 1020 John St., Mon-Fri 9 a.m.-3 p.m. dressing rooms and in the audition lines, PRODUCTION SPONSORS: MARYANNE TAGNEY AND DAVID JONES Ugh, there’s nowhere to train. You have 2014/15 SEASON IN HONOR OF SPEIGHT JENKINS to go to New York or LA or Chicago if you want to keep up.” (continued on page 14) SEATTLEOPERA.ORG

SOP 081214 giovanniES014 2_3v.pdf encoreartsseattle.com 13 ENCORE ARTS NEWS

CELEBRATE INDEPENDENCE (continued from page 13) In space alone, The Studios command attention. The facility is housed in the JULY 2014 Times Square Building—the triangular An experimental building with the Mariners Team Store in movement’s 40-year legacy its nose—its enormous exterior windows Ishmael Butler on the evolution of facing Fifth Avenue. Inside, the totally AUTHENTIC Shabazz Palaces gutted 10,000-square-foot space will include a modular, light-drenched ENTERTAINING performance and rehearsal space and a lobby at street level, as well as a lower REVEALING level with five additional studios in various sizes. Subscribe Each studio is today and say being outfitted yes to exercise with state-of-the- your freedom art equipment, NEW AMERICA including wireless of choice. KITTEN N’ LOU REVOLUTIONIZE CAMP touch-sensitive speakers, LED ANNUAL SUBSCRIPTION – $36 CITYARTSONLINE.COM/SUBSCRIBE 2 YEAR SUBSCRIPTION – $48 OR CALL 206.443.0445 x100 lights, and sprung floors (yes, tap will happen here).

Each studio is being outfitted with state-of-the-art equipment, including wireless touch-sensitive speakers, LED lights, sprung floors (yes, tap will happen here), custom ballet barres, 10-foot-tall mirrors and electric pianos. Then there’s the locker rooms, a physical therapy and conditioning area (“the only people who have that these days are the ballet and the Rockettes,” Shanna quips) and a former bank vault, now ultra-soundproofed as a LOS RICHARD ETHEL AND recording studio meant to record voiceover demos and new musicals and to assist with PINGUOS THOMPSON KAKI KING out-of-town auditions held via Skype. Saturday | October 11 Saturday | October 25 Thursday | October 30 Though some of The Studios’ classes are $29, $24 & $19, $44, $39 & $34, $39, $34 & $29, geared toward professionals, others are $15 youth/student $15 youth/student $15 youth/student designed for students at every level and a Sponsored by Koenig Financial Sponsored by Comprehensive high-octane customer service staff ensures Group/Mike & Dusty Koenig and Wealth Management, Best Western All performances begin at 7:30 pm. that you’re “not in over your head,” as Ron & Michelle Clyborne/ Plus Edmonds Harbor Inn, and Windermere Real Estate North Destination Marketing 10% discount for Seniors 62+ & Shanna puts it. As a hub for novices and Military on events presented by ECA! experts alike, The Studios offer a safe space where students can learn from each other as well as from teachers and visiting ec4arts.org | 425.275.9595 guests. Every class offered is a drop-in; 410FOURTHAVENUENORTH there are no intensives with multi-week EDMONDSWA98020 commitments. “Drop-in classes are a proven practice in the dance world,” Shanna says. “You actually get more 2014–2015 SEASON intensity in the classroom; people show up, presented by like, I am present.” LEAH BALTUS

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On TV and Shame BY LAUREN HOFFMAN

COUPLE OF YEARS AGO, I was reading a Pitchfork profile of what gets called “prestige television” is actually just of Passion Pit’s brilliant frontman, Michael Angelakos. “television about how hard it is to be a white man,” but It was a compelling look at his ability to create in that’s a separate essay.) spite of mental illness, but I kept getting stuck on one The term gets thrown around pretty loosely these days, throwaway detail about Angelakos’ domestic life: “The but I do believe we’re living in a golden age of television, couple doesn’t own a television, because they’d rather which is to say there’s more incredible television out encourage chatter between their guests; they use a there than ever before. Enlightened. Broadchurch. Parks projector to watch films and TV shows on DVD when and Recreation. But I don’t like hearing people claim they feel like it.” that it’s now okay to watch TV—some TV—now that that It’s not really the sort of quote a person should golden age has dawned. More than any other art form, be stewing over years later, but that doesn’t stop me the lines we draw between good and bad when it comes from pointing out that, projector or not, a screen you to television feel completely arbitrary, although you use to watch television programs is a TV. I’m also still wouldn’t know it from how passionately people argue wondering what point the writer was trying to prove by for them. specifically noting the absence of a television. Was he The truth is, we can line up Breaking Bad and Keeping trying to prove Angelakos’ intelligence? His coolness? Up with the Kardashians and decide the former has more Years ago, writer, frequent This American Life dramatic or artistic merit, but that doesn’t change the contributor and avowed curmudgeon David Rakoff did a fact that decades from now, schoolchildren (or at least scathing imitation of people who forgo television: “Well. sociology majors) will intently study the Kimye Vogue I don’t watch TV. But I do enjoy NOVA.” cover. Put another way: Place the brow By now, that’s evolved into something wherever you want, but it’s all your that sounds more like, “We don’t have Place the brow culture. a TV, but we use my parents’ HBO GO® wherever you Television might reflect our culture login because we’re totally obsessed more accurately (or maybe just more with Game of Thrones.” want, but it’s all literally) than any other art form. It I’ve written about television (not for might also be the art form we shame it, although if you held me upside down your culture. the most. But why? It’s been decades and shook me long enough some Parks since Newton Minow became chairman and Recreation fanfiction might fall out of my pockets) of the Federal Communications Commission and for several years, and it’s a peculiar line of work to pronounced the landscape of television he’d inherited describe. I watch a show. I write down what happened “a vast wasteland.” The term “idiot box” hasn’t been en and what I thought about it and how it made me feel. vogue for a long time. So why do we roll our eyes at some And then, to answer the question I hear at parties, yeah, of what’s on TV, even as we’re gluing them to the rest? someone pays me. A few weeks ago, I had drinks with an I don’t think it’s intentional; it’s just easy to be ex-boyfriend I hadn’t seen in a few years (classic rookie reflexively superior about our own cultural choices. mistake), and when the conversation turned to the work If we stopped long enough to realize we’re essentially I do, he excitedly told me how into television he’s been saying, “Your TV program on network television where these days. He listed the usual suspects: True Detective, people sing is stupid, but my TV program on premium Mad Men, Community, Breaking Bad. cable with dragons is sophisticated,” we’d probably dial “What I hate, though, are…you know the trashy it back a little. shows? Stuff like American Idol. Or any of the reality There’s never been a better summer to stay inside with shows, really. Or, God, Glee. That’s the sort of television a Netflix subscription and I’m here to tell you that if you that’s tearing apart the fabric of our culture.” do, there’s nothing to feel guilty about, whether you It is also precisely the sort of television I write about. choose Big Brother or The Leftovers or Orphan Black or I realized recently that I’ve written more about Glee than Finding Carter. Live in a golden age of television that’s anything else in my career (with the possible exception golden not because TV is better than it’s ever been, but of my own feelings). I’ve also extensively covered Project because you’re able to find what you like and watch it, Runway and Keeping Up with the Kardashians—all sorts with all of the pleasure and none of the guilt. of shows that often get lumped under the umbrella of And, seriously, Glee is destroying the fabric of our “guilty pleasures,” not prestige television. (The bulk culture? Please. At worst, it’s auto-tuning it. n

encoreartsseattle.com 15 NEW CONSTRUCTION | REMODELING | HIGH PERFORMANCE BUILDING

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