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By Jonathan Safran Foer Adapted & Directed by Josh Aaseng SEPT.11

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By Jonathan Safran Foer Adapted & Directed by Josh Aaseng SEPT.11 SEPTEMBER 2019 By Jonathan Safran Foer Adapted & Directed by Josh Aaseng SEPT.11—OCT.6.2019 MAINSTAGE SEASON: TOURING SEASON: EVERYTHING IS ILLUMINATED MY NAME IS CELIA/ME LLAMO CELIA HOWL’S MOVING CASTLE CROWN: AN ODE TO THE FRESH CUT THE TURN OF THE SCREW WORDY BIRDY 2019–2020 THE STORY OF EDGAR SAWTELLE September 2019 | Volume 16, No. 1 FEATURE In This Issue Feature 3 The State of Deaf Theatre in Seattle 9 Why Aren’t Young Characters Always Played by Young Actors? Intermission Brain Transmission 12 Test yourself with our trivia quiz! Dialogue 13 Seattle Rep Teams Up with the Community to Put on a Show Upcoming Events 15 Fall 2019 PAUL HEPPNER President Encore Stages is an Encore arts MIKE HATHAWAY Senior Vice President program that features stories Wholesale and Retail Sales KAJSA PUCKETT Vice President, about our local arts community Sales & Marketing ¿ alongside information about GENAY GENEREUX Accounting & performances. Encore Stages is Roasting fine coffees since 1993 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 DEVIN BANNON, BRIEANNA HANSEN, following organizations: AMELIA HEPPNER, 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 400 N 43rd St. Seattle, WA. 98103 ¿ Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve musical and 206-633-4775 theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2019 Encore Media Group. LIGHTHOUSEROASTERS.COM Reproduction without written permission is prohibited. TRACY MARTIN TRACY 2 FEATURE The State of Deaf Theatre in Seattle by DANIELLE MOHLMAN According to the 2010 United States Census, an estimated 2.4% of the Washington population identifies as Deaf. And while estimations surrounding E.J. Cardona as the Voice of the size of Seattle’s own population vary Quasimodo and Joshua Castille widely, it’s clear that the Deaf community as Quasimodo in The Hunchback here is vibrant and engaged. So how are of Notre Dame at the region’s theatres providing accessible The 5th Avenue Theatre. performing arts experiences for the community? According to Deaf Spotlight’s ACT Theatre have embraced the our lens,” Castille explained. He accessibility index, The Paramount talents of actor Joshua M. Castille. clarified, saying that all of the Theatre (as part of Seattle Theatre In 2017, Castille made his Seattle roles he’s performed in Seattle Group and Broadway at The debut playing Billy in ACT’s pro- lean more toward what he calls Paramount), The 5th Avenue duction of Tribes by Nina Raine. He “theatre including the Deaf.” Theatre and ACT Theatre all offer returned in 2018 to play Quasimodo “I wouldn’t consider Romeo long-term commitments to pro- in 5th Avenue’s production of The and Juliet ‘Deaf theatre’ because viding captioning, American Sign Hunchback of Notre Dame, a role its primary audience isn’t Deaf, Language (ASL) interpretation traditionally played by a hear- it’s hearing,” Castille said. “It’s and other accessibility services ing actor. His performance in the all about the intended audience.” to their Deaf and hard of hearing titular role of this new Disney Deaf West Theatre’s produc- audiences. And while these three musical was augmented by actor tion of Spring Awakening, the show theatres seem to be leading the E.J. Cardona, who sang on Castille’s that gave Castille his Broadway way in Deaf accessibility, Seattle behalf. Earlier this year, Castille debut, was a blend of the two. Repertory Theatre and Sound returned to Seattle to portray yet Castille identifies as an artivist, Theatre Company also provide another titular role: Romeo in ACT’s an identifier that he picked up captioning and ASL interpretation production of Romeo and Juliet. from Andrea Moore, executive during select performances. “Deaf theatre rarely happens, director of The Wayfaring Band. Over the last couple of years, because it’s rare that we get to Castille was struck by the way both The 5th Avenue Theatre and direct or produce a show from Moore uses art to mobilize her TRACY MARTIN TRACY encorespotlight.com 3 Howie Seago and Joshua Castille in ACT’s Romeo and Juliet. adapt roles for Deaf talent,” Seago said. “Having a Deaf actor por- traying a role and utilizing some aspects of the Deaf experience might add another layer of depth to the message of the play.” In Romeo and Juliet, a flashing light signaled the end of the school day in Friar Lawrence’s class. Friar John, the often forgotten second friar in William Shakespeare’s Denver community to create change back to work. “I love how Deaf classic, was given a much larger in the world. Spotlight fosters Deaf artists,” role as Lawrence’s interpreter. “Artists make observations on Castille said. “I’m so blown And, as Castille pointed out, the life,” Castille said. “We explore away by their mindset and shared deafness of Romeo and Friar and encourage ideas. It’s so pow- the events they produce. They Lawrence strengthened the bond erful that it would be silly not are supportive and loving.” between these two characters. to be conscious about the socio- Actor Howie Seago, who played Seago encourages Seattle logical effects of our work.” the aforementioned Friar Lawrence theatres to broaden their Deaf Reflecting back on Romeo and role, said that he identifies as talent to include those behind the Juliet, which closed in March a Deaf person first and a Deaf scenes as well. “The next step 2019, Castille said that the deci- actor second. “Most any role can after offering more performance sion to cast two Deaf actors in the be adapted to be performed by a opportunities to the Deaf talent production—Howie Seago played Deaf actor, but I believe I cannot community would be to spon- Friar Lawrence—was intentional. exclude my deafness as part of sor playwriting workshops for the Director John Langs had noticed the makeup of the character,” Deaf and hire Deaf directors— that this young tough guy, Romeo, Seago said. “It is always there.” either as the main director or an was visiting the priest a lot. “Why?” Seago has worked all over the assistant director,” Seago said. Castille asked. “What motivates world—with Oregon Shakespeare “Having a ‘Deaf eye’ will ensure Romeo to go to the priest? Because Festival, Edinburgh Festival, Deaf culture accuracy, proper they are the only two people who Amsterdam Opera, Seattle ASL translations and clear sight- speak that language and share Children’s Theatre, Intiman and lines for Deaf audiences.” that experience. This is similar most recently at ACT. Seago grew Patty Liang, the executive director to real life. We often find Deaf up in Tacoma and it was important of Deaf Spotlight, is grateful for families to participate in or find to raise his two sons in the Pacific the mentorship she received as a a Deaf role model to latch onto.” Northwest, surrounded by family. Ceramics student at the University It’s a casting choice that sent He and his wife decided to call of Washington. It was her ASL ripples through the rest of the Seattle home because it’s a theatre interpreters who suggested she text, including the second half town full of innovative artists. seek out Deaf non-profits in town. of the play when Romeo is left After ACT’s production of Tribes, “There are not many Deaf POC out of a major communica- it was clear to Seago that the arts administrators,” said Liang, tion loop regarding Juliet. theatre was inspired to include who identifies as Chinese American. When asked what keeps him Deaf talent and ASL in future “I hope my efforts encourage coming back to Seattle, Castille productions. It was clear they other Deaf female and POC artists was quick to bring up the Deaf were willing to put in the work. and arts administrators in my community and the strength he “Other theatres in town can field. There isn’t enough visibility witnesses every time he comes start to consider how they might and representation right now.” CHRIS BENNION CHRIS 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. CHRIS BENNION CHRIS Untitled-3 1 4/30/19 12:11 PM Joshua Castille and Lindsay W. Evans in ACT’s Tribes.
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