Adapted and Directed by Kelly Kitchens SEPTEMBER 18 - OCTOBER 13, 2013 ES013 covers.indd 1 8/20/13 9:10 AM September 2013 RUFUS WAINWRIGHT Volume 10, No. 1 Monday | October 28 $52, $57 & $62, $15 youth/student Paul Heppner Sponsored by The Cheesemonger’s Table, Phill & Marni Muir Butler, and Alan Lawrence/Edward Jones Investments Publisher Susan Peterson Design & Production Director Ana Alvira, Deb Choat, JIM BRICKMAN: THE LOVE TOUR Robin Kessler, Kim Love Saturday | November 9 Design and Production Artists $42, $47 & $52, $15 youth/student Mike Hathaway Advertising Sales Director Sponsored by Anne Gittinger Marty Griswold, Seattle Sales Director Gwendolyn Fairbanks, TAKE 6 Ann Manning, Lenore Waldron Wednesday | December 11 Seattle Area Account Executives Staci Hyatt, Marilyn Kallins, $27, $32 & $37, $15 youth/student Tia Mignonne, Terri Reed Sponsored by Marla Miller & Al Huff, San Francisco/Bay Area Account Executives Terry Vehrs - Windermere, and Susan Dunn Denise Wong 10% discount for Seniors 62+ & Military on events presented by ECA! Executive Sales Coordinator Jonathan Shipley Ad Services Coordinator ec4arts.org | 425.275.9595 www.encoreartsseattle.com 410FOURTHAVENUENORTH EDMONDSWA98020 Paul Heppner Publisher 2013–2014 SEASON Leah Baltus presented by Editor-in-Chief Marty Griswold Sales Director Joey Chapman Account Executive Dan Paulus ECA 072913 rufus 1_3s.pdf Art Director Jonathan Zwickel See all four shows Senior Editor for just $72. Gemma Wilson Associate Editor The best theatre deal in town! 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All rights reserved. ad proofs.indd 1 Subscribe Today: www.seattleshakespeare.org | 206-733-8222 ©2014 Encore Media Group.7/29/13 Reproduction 11:18 AM without written permission is prohibited. 2 ENCORE STAGES SSC 072513 shows 1_3s.pdf ENCORE ARTS NEWS FROM CITY ARTS MAGAZINE 4000 E Madison St 206.323.6027 AM 080813 pink 1_12.pdf GEMMA WILSON GEMMA VIEW FROM THE TOP Heather Hart’s Rooftop Installation In a time when people are more inclined to honors the idea of classical oracles, prophets Instagram a photo of art than interact with whose legends were handed down through it, artist and Seattle native Heather Hart is the ages. The construction of the installation demanding more. Her new installation The honors the time Hart spent working with her Western Oracle: We Will Tear the Roof Off the carpenter father, who put a hammer in her Mother, sits in the Olympic Sculpture Park at hand as soon as she could hold it. this very moment, daring you not to engage. The Western Oracle is the third installa- A shingled rooftop, functional enough tion in Hart’s Oracular series: The Northern to seem plucked from a home and plunked Oracle sits in Franconia Sculpture Park on a hillside, sits atop a West-facing slope in Minnesota, The Eastern Oracle at the in the Park, as though swallowed by the Brooklyn Museum. Each piece honors the earth. A small door marks the entrance to a land in which it sits. The Western Oracle still, barn-like space within—anyone over features a window with a spectacular water the age of about six will have to crouch to view surrounded by a wall made up of drum Readers enter—and the roof is low enough to clamber panels, which viewers are invited to play. on easily. “One of my favorite things about the At Seattle Art Museum’s Summer at SAM Northwest is the geography,” Hart says. “I opening event on July 11, people couldn’t wanted [the piece] to focus on the history clamber fast enough. Folks of all ages scaled of location, and that brought me to Joseph the sunny roof, as New Orleans-style jazz Seymour, the native drummer who taught band Tubaluba thumped and stomped their me how to pull the drum wall. I wanted to way up to the peak. tie into Seattle’s native history—and loosely “All my work is participatory,” Hart its musical roots—and frame the Puget explains. “I’m never satisfied until I can Sound.” actually sit and watch people play and have Hart also wants people to bring their a conversation with them. They complete own stories. At the SAM opening, one man the piece for me.” told her the piece took him back to the roof CKFM 081613 showcase 1_6v.pdf Hart graduated from Cornish in 1998 with of his boyhood garage. Another said he a degree in video and painting, but some- couldn’t help but think of the devastation of thing about working with those media fell Hurricane Katrina. “There’s a lot of nostal- flat. “I saw myself searching for something gia,” says Hart. “That always happens when Captivated flexible and diverse, I was thinking about you pick a common form, which I love.” Readers Sophisticated theory, thinking about ways to be active As twilight turned the Puget Sound into Sophisticated Consumers and talk to people and be accessible to liquid gold, Seattle dance icon Donald Byrd people that were not just within a certain climbed onto Hart’s roof, moving slowly demographic.” and methodically to the sounds of Quinton Advertise in In her search for connectivity, Hart took Morris’s ethereal violin. Hart’s rooftop is ca- Photo courtesy of Seattle Opera. Bill Mohn photographer inspiration from continuity within the pable of more than surfacing old memories. Performing for you 206.443.0445 x105 generations. The name of her installation It’s already making new ones. GEMMA WILSON [email protected] EMG07 Audience 1_12.pdf encoreartsprograms.com 3 Captivated ad proofs.indd 1 Readers Sophisticated 8/16/13 3:18 PM Sophisticated Consumers Advertise in Photo courtesy of Seattle Opera. Bill Mohn photographer Performing for you 206.443.0445 x105 [email protected] EMG07 Audience 1_12bw.pdf CONTENTS She’s Come Undone A1 By Wally Lamb Adapted and Directed by Kelly Kitchens A-1 Welcome A-2 She’s Come Undone Credits A-7 Meet the Cast and Crew A-13 Thank You to Our Contributors A-16 Company Information Adapted and Directed by Kelly Kitchens SEPTEMBER 18 - OCTOBER 13, 2013 ES013 covers.indd 1 8/20/13 9:10 AM ENCORE ARTS NEWS FROM CITY ARTS MAGAZINE Beautiful Dreamer Alice Gosti dances herself home. BY AMANDA MANITACH WHO Alice Gosti, 28-year-old dancer, choreographer, performer and filmmaker from Perugia, Italy. Gosti moved to Seattle eight years ago to study dance and film at the University of Washington. Her work is inspired by durational performance art by artists like Marina Abramovic , Doug Aitken, Matthew Barney, Gina Pane, Yves Klein and Jan Fabre. STYLE GUIDE “As a kid, most of my clothes were hand-me-downs from my brother and family friends, so I’ve always mixed and matched. I love primary colors. I think of Mondrian a lot. Nail polish helps me not chew my nails. I choose a pair of shoes only if I can run in them. Underwear is the most difficult and important item of clothing.” ARCHITECT OF EXPERIENCE Gosti calls herself a “space transformer,” a title bor- rowed from Yoko Ono. Her performance pieces consider every sensual element of the environment, manipulating temperature, taste, sound, smell and textures to evoke memories and emotions in the audience. “I am interested in eradicating the misconception of dance as an art form for the elite,” Gosti says. “I would like to move beyond the fish-tank feeling in which dancers are seen as beautiful, exotic fish.” RUNS IN THE FAMILY The child of artists (her Italian father was an architect, her American mother a graphic designer), Gosti was always the kid running around at art openings. Eventually her parents began interactive installations and perfor- mances as the artist team SANDFORD&GOSTI. “Dreamers themselves, they taught me early on to follow mine,” Gosti says. HOME IS WHERE THE ART IS Growing up bilingual, Gosti never felt like she quite belonged one place or another. “Whenever I was in Italy, I fantasized about living in the States,” she says. “When I finally moved to here, I wanted to go back. Dance and art have been about creating my own language, my own world. I wanted to create a home for myself wherever I went.” LAUREN MAX 4 ENCORE STAGES increase long-term organizational and funding sustainability. With the completion of our three-year strategic plan (which you can view on our website), we are moving forward to achieve specific goals and objectives that will help to: • Expand Book-It’s education, mainstage, and outreach programming • Increase Book-Its capacity for the development of new work and steward new scripts for future productions • Increase Book-Its ability to hire the best artists, designers, and staff, and to continue to maintain our high-quality production values • Begin planning for a new and/or improved performance Thriving and and rehearsal space that will meet our growing needs growing • Maintain a six-month cash reserve The Book-It staff, circa June 2013. With all our new initiatives and projects, it feels really great to be at Book-It! Of course, to make it all happen, we count th Welcome to the 24 Season at Book-It! I am so excited about on your support.