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FALL 2019 Oct 18–Nov 17 BY STEVEN DIETZ DIRECTED BY JOHN LANGS MFA IN Fall 2019 | Volume 16, No. 2 ARTS LEADERSHIP FEATURE In This Issue Feature 3 ‘Indecent,’ or What it Means to Create Queer Jewish Theatre in Seattle Dialogue 9 Meet the Host of Tiny Tots Concert Series 13 We’re Celebrating 50 Years Empowering a new wave of Arts, Culture and Community of socially responsible Intermission Brain arts professionals Transmission 12 Test yourself with our Online and in-person trivia quiz! information sessions Upcoming Events seattleu.edu/artsleaderhip/graduate 15 Fall 2019 PAUL HEPPNER President Encore Stages is an Encore arts MIKE HATHAWAY Senior Vice President program that features stories Encore Ad 8-27-19.indd 1 8/27/19 1:42 PM KAJSA PUCKETT Vice President, about our local arts community Sales & Marketing alongside information about GENAY GENEREUX Accounting & performances. Encore Stages is Office Manager a publication of Encore Media Production Group. We also publish specialty SUSAN PETERSON Vice President, Production publications, including the SIFF JENNIFER SUGDEN Assistant Production Guide and Catalog, Official Seattle Manager ANA ALVIRA, STEVIE VANBRONKHORST Pride Guide, and the Seafair Production Artists and Graphic Designers Commemorative Magazine. Learn more at encorespotlight.com. Sales MARILYN KALLINS, TERRI REED Encore Stages features the San Francisco/Bay Area Account Executives BRIEANNA HANSEN, AMELIA HEPPNER, following organizations: ANN MANNING Seattle Area Account Executives CAROL YIP Sales Coordinator Marketing SHAUN SWICK Senior Designer & Digital Lead CIARA CAYA Marketing Coordinator Encore Media Group 425 North 85th Street • Seattle, WA 98103 800.308.2898 • 206.443.0445 [email protected] encoremediagroup.com Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2019 Encore Media Group. Reproduction without written permission is prohibited. ANGELA NICKERSON ANGELA 2 FEATURE The cast of Indecent in rehearsal at Seattle Rep. ‘Indecent,’ or What it Means to Create Queer Jewish Theatre in Seattle by DANIELLE MOHLMAN When Indecent opened at Seattle Rep on September 20, Indecent, which was the seventh- it marked a pretty significant first: the first time this most produced play in the country during the 2018-19 season, accord- theatre has produced a play by Paula Vogel. Vogel, ing to the Theatre Communications who’s arguably one of the most prolific and produced Group—and is likely to remain in the top ten this season as well— contemporary playwrights of our time, has been seen in explores the storied production recent years at Taproot Theatre Company (A Civil War history of Sholem Asch’s God of Christmas: An American Musical Celebration, December Vengeance. Vengeance, which was first read at a salon in Poland 2017) and Strawberry Theatre Workshop (How I Learned in 1906, was met with fear and to Drive, June 2018). But as I combed through Seattle animosity from the start. The Jewish patrons of the arts in Poland Rep’s production history, it became more and more clear refused to support a play that that Paula Vogel’s Seattle Rep debut is long overdue. showed Jews behaving immorally— communing with prostitutes and desecrating the Torah, to start. In an imagined meeting between stage manager Lemml and play- wright Eugene O’Neill, one that alludes to O’Neill’s actual defense of God of Vengeance in an obscenity ANGELA NICKERSON ANGELA encorespotlight.com 3 The cast of Indecent in rehearsal at Seattle Rep. case, Vogel writes, “They’re gonna those who feel wayward—as “Why must every Jew onstage claim they’re closing it because they grow into their best self.” be a paragon?!!” Asch exclaims, of Homosexualis. That’s bunk. Temple Beth Am is considered angry at the very suggestion. They’re closing it because the a Welcoming Synagogue, meaning Rabbi Benson shared that play shows that every religion— they’re not only actively creating this conversation surrounding even Jews—sell God for a price.” inclusive space for LGBTQIA+ “immoral” Jewish characters being Because, you see, God of Vengeance folks, they’re also striving for a considered anti-Semitic is still was the first Broadway play truly diverse leadership—from very much alive today. “I think to feature a romantic scene the synagogue’s staff and board it’s less about anti-Semitism as between two women. to their student leaders. Rabbi it is about portraying other Jews Rabbi Dana A. Benson, director Benson admitted that there’s badly,” Rabbi Benson said. “There of youth and family learning at still work to do, but that Temple is this concern about how we are Temple Beth Am and an avid Beth Am is committed to putting portraying ourselves because it theatre fan, was kind enough to in that work every day. may not be understood outside our speak with me about the themes One of the central plot points own community. I think this goes of Indecent and what it means to of Indecent is that the Jewish back to, you know the reference have queer Jewish representation gatekeepers in early 1900s theatre in Wet Hot American Summer, and onstage at Seattle Rep. Because refused to support Sholem Asch jokes that are missed and jokes so much of the play is about on God of Vengeance’s production. that are in-group and the way identity, we began with hers. Not only did they disapprove of that they’re coded for us to see or “Ultimately, if we wanted to the female love interests—a hear. Or Larry David’s character in go along the Game of Thrones moment played for laughs in Curb Your Enthusiasm—or Seinfeld. lines of naming ones identities Vogel’s script as the men in the At what point is it humorous? Is it as part of a title,” Rabbi Benson initial 1906 salon reading keep fun? Is it a laugh that’s both in- said, “mine might read: Rabbi refusing to read the female group as well as transcendent?” Dana Benson, Hufflepuff, soft roles—they were scandalized by Rabbi Benson thinks that the Butch, partner of roller derby the final moment of the play: a modern concern of any one Jewish playing librarian, daughter of desecration of the Torah. And character’s portrayal is more about Jewish-Hungarian lineage, child while Asch’s contemporaries it being “bad for Judaism.” “I of compassionate and kind par- are certainly pleased that he’s shouldn’t speak on behalf of the ents, singer of Broadway, creator writing Jewish plays—and in Jewish community,” Rabbi Benson of spiritually accessible learning Yiddish!—they cannot bring said, “but I still think there is opportunities, hoper for a better themselves to support theatre still this sense of pressure, with world, and willing mentor and where Jews are portrayed as none of us wanting to do some- guide for all learners— especially anything less than perfect. thing that would reflect badly on ANGELA NICKERSON ANGELA 4 My legacy. My partner. You have dreams. Goals you want to achieve during your lifetime and a legacy you want to leave behind. The Private Bank can help. Our highly specialized and experienced wealth strategists can help you navigate the complexities of estate planning and deliver the customized solutions you need to ensure your wealth is transferred according to your wishes. Take the first step in ensuring the preservation of your wealth for your lifetime and future generations. To learn more, please visit unionbank.com/theprivatebank or contact: Lisa Roberts Managing Director, Private Wealth Management [email protected] 415-705-7159 Wills, trusts, foundations, and wealth planning strategies have legal, tax, accounting, and other implications. Clients should consult a legal or tax advisor. ©2019 MUFG Union Bank, N.A. All rights reserved. Member FDIC. Union Bank is a registered trademark and brand name of MUFG Union Bank, N.A. ANGELA NICKERSON ANGELA Untitled-3 1 4/30/19 12:11 PM The cast of Indecent in rehearsal at Seattle Rep. the Jewish people. That’s very love in Indecent, which is a complex “This play now much true of our tradition.” and beautiful lens that honors any Andi Alhadeff, who plays community you view it through.” because of Chana, and Cheyenne Casebier, Alhadeff shared that exploring our current who plays Halina, were at the the emotional center of the play— very beginning of their rehearsal the relationship between Chana administration’s process when we spoke about the and Halina and the many forms central themes of Indecent. But it it takes—has been the easiest abhorrent human was clear that the play had hit a part of the entire process. She rights policies. visceral chord for both actors. credits the safe rehearsal room “I love that this play celebrates and the respect of her fellow cast This play now community, love and risk,” Casebier members. “I feel seen and cared said. “It speaks to different forms for by my colleagues,” Alhadeff because it is full of persecution and loss—and being said, “and that is a formula for of love. This play the other. We couldn’t be more the precious and ordinary kind of ready, as both a culture and society, magic that is human connection.” now because we to share and listen to this story.” Director Sheila Daniels was When Alhadeff first encountered initially drawn to Indecent because need to remember.” the play, it felt like the stories these of the inherent theatricality of characters were telling already lived Paula Vogel’s world. Daniels —Sheila Daniels deep inside her bones. “On top of loved the way Vogel played with being one of the most hauntingly epic scope and deeply intimate stunning plays I have ever seen or moments.

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