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Author: Phillip Chavira

  • Wild Horses Press Release

    For immediate release
    Contact: Joann Natalia Aquino, Marketing Contractor
    joann@intiman.org | cell: 206.931.3202
    INTIMAN.ORG

    Intiman Announces WILD HORSES

    A New American Play by Allison Gregory

    Starring Dedra D Woods & Directed by Sheila Daniels

    This all-women artist production team brings Intiman’s second mainstage show of its 2018 WILD, WICKED, WOKE Season.  


    Sheila Daniels                Dedra D Woods                                 

    SEATTLE, WA (April 10, 2018) — Intiman Theatre’s second mainstage production of its 2018 WILD, WICKED, WOKE Season, Allison Gregory’s WILD HORSES, will be directed by Sheila Daniels and feature Seattle-based actor Dedra D Woods. WILD HORSES, a savagely-­funny, one-woman play about a transitional summer in a young woman’s life, plays at 12th Avenue Arts from May 31 through June 24, 2018.

    WILD HORSES, which Broadway World called “a brilliantly constructed and highly engaging tale,” is a coming ­of­ age story for all generations. The pathos and hubris of her teenage years, the struggle for identity, independence, and authenticity, and the desire to find her place in a complicated world — it all comes rushing at us as she takes us on the ride of her life.

    Actor Dedra D Woods, star of Intiman’s WILD HORSES, said, “I’m excited to get in the room with Sheila Daniels, and to work with her and see how we can ignite the story.”

    Dedra D Woods (she/her) is an actor, teaching artist and facilitator. She holds a BFA in Acting from SUNY Purchase. She is currently in AN OCTOROON at ArtsWest. Dedra’s other credits include: THE LITTLE PRINCE (Seattle Children’s Theatre), I KNOW WHY THE CAGED BIRD SINGS (Book-It Rep), WEDDING BAND (Intiman), A CIVIL WAR CHRISTMAS (Tap Root), BRING DOWN THE HOUSE, MEDEA (Seattle Shakespeare Co), VIOLET, DEATH OF A SALESMAN (ArtsWest). INTIMATE APPAREL (Artist Repertory Theater) and WE ARE PROUD TO PRESENT… (Pony World Theater). She has also enjoyed working with ACT’s Construction Zone Series, Hedgebrook Women’s Playwrights Festival, The Hansberry Project, Seattle Reps Writers Group Showcase, Northwest Playwrights Alliance and Playwrights’ Circle. Dedra is also a member of Barefoot Theatre Company NYC/LA.

    Director Sheila Daniels (she/her) has been making theatre as a director, choreographer and educator in Seattle since 1994. She served as Associate Director to Bartlett Sher at Intiman from 2007 through 2009, and is honored to be affiliated with the company ever since. Sheila’s directing credits include: A STREETCAR NAMED DESIRE, ABE LINCOLN IN ILLINOIS, CRIME AND PUNISHMENT, THE CHILDREN’S HOUR, LYSISTRATA (Intiman), THE RAMAYANA (co-creator, A Contemporary Theatre), DANCING AT LUGHNASA (Seattle Repertory Theatre, TANTRUM Theatre), JACKIE & ME (Seattle Children’s Theatre), LYDIA, THE NORMAL HEART, BREAKING CODE, THE BRIDGE OF SAN LUIS REY (Strawberry Theatre Workshop), ACCORDING TO COYOTE (Seattle Children’s Theatre Company, Children’s Theatre Company of Minneapolis), A WINTER’S TALE, MUCH ADO ABOUT NOTHING, ELECTRA, PERICLES, MACBETH (Seattle Shakespeare Company), THIS WIDE NIGHT (Seattle Public Theatre), CRIME AND PUNISHMENT (Theater Under Ground/CHAC), WAITING FOR LEFTY, GOD’S COUNTRY, ARCADIA (CHAC), RUBBLE WOMEN (co-creator, UMO Ensemble), ANAPHYLAXIS (Throwing Bones/IRT, NYC) BURNING BRIDGET CLEARY (Ladykiller Productions), THE LAST STATE (On the Boards), VAYA CON LOLA, SHOCK BRIGADES; WOMEN IN COMBAT (Baba Yaga). Sheila is a four-time nominee and two-time recipient of the Gregory Award for Outstanding Director.

    The Creative Team for Intiman’s WILD HORSES, who all identify as female, includes Costume & Scenic Design by Intiman’s Artistic Director Jennifer Zeyl (she/her), Lighting Design by Vada Briceño (she/her), and Sound Design by Erin Bednarz (she/her).

    About the Production:

    WILD HORSES produced by Intiman Theatre runs from May 31 through June 24, 2018 at 12th Avenue Arts (1620 12th Avenue, Seattle WA 98122). Tickets (ranging from $28-$38) may be purchased online via intiman.org/wildhorses.

    About the Playwright:

    Plays by Allison Gregory (she/her) have been produced all over the US. Allison has received commissions, grants, and development from Oregon Shakespeare Festival, South Coast Repertory, The Kennedy Center, Indiana Repertory Theatre, the Skirball-Kenis Foundation, GEVA, ACT Theatre, Seattle Repertory Theatre, Orlando Shakespeare Festival, New Harmony Project, National New Play Network, Northwest Playwright’s Alliance, Seattle Children’s Theatre, LATC, Amphibian Stage Productions, Theatre Lab@FAU, BANFF Playwright’s Center, and Austin Scriptworks. Her work has been the recipient of the Julie Harris Playwriting Award, South Coast Repertory’s Playwright’s Award (Forcing Hyacinths), Garland & Dramalogue Awards (Fall Off Night, Breathing Room), Seattle Times Best New Play Award (Burning Bridget Cleary). NOT MADEA (O’Neill & BAPF finalist), and WILD HORSES (O’Neill semi-finalist) received National New Play Network Rolling World Premiere productions across the country. MOTHERLAND (O’Neill finalist, American Blues Blue Ink Award finalist, Harriet Lake Playfest selection) was selected for NNPN’s Showcase of New Plays.

    About Intiman Theatre:

    Intiman Theatre wrestles with American Inequities. Intiman Theatre is a professional theater company in Seattle, Washington who won the 2006 Tony Award for Outstanding Regional Theatre.  Since its founding in 1972, has presented over 225 productions to Seattle audiences.

    Among the more recent of these are ANGELS IN AMERICA by Tony Kushner, TROUBLE IN MIND and WEDDING BAND by Alice Childress, BOOTYCANDY and BARBECUE by Robert O’hara, and DRAGON LADY by Sara Porkalob.

    Intiman produces in various venues throughout Seattle, which include the Langston Hughes Performing Arts Institute in Central District, 12th Avenue Arts, Velocity, UW Jones Playhouse, Seattle Center Theatre, Seattle Repertory Theatre and Cornish Playhouse at Seattle Center.          

    Intiman kicked off its 2018 WILD, WICKED, WOKE Season with a SOLD-OUT co-production with ArtsWest of HIR by MacArthur “Genius” award-winning writer Taylor Mac, and directed by Artistic Director Jennifer Zeyl. Intiman is proud to follow this successful production with WILD HORSES by Allison Gregory playing at 12th Avenue Arts from May 31-June 24, 2018, and with NATIVE GARDENS by Karen Zacarías playing at The Jones Playhouse from September 6-September 30, 2018.

    For Calendar Listings

    Who: Intiman Theatre presents WILD HORSES

    Where: 12th Avenue Arts, 1620 12th Avenue, Seattle WA 98122

    What: WILD HORSES written by Allison Gregory, directed by Sheila Daniels and featuring Dedra D Woods

    When: May 31-June 24, 2018; Wednesdays-Saturdays at 7:30pm | Sundays at 2:00pm

    Tickets: $28-$38

    Tickets are now on sale via intiman.org/wildhorses

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  • 2018 Season Wild Wicked Woke

    FOR IMMEDIATE RELEASE
    February 26, 2018
    Contact: Joann Natalia Aquino, Marketing Contractor
    joann@intiman.org | (206) 931-3202

    Intiman Theatre Announces Its 2018 Season:
    WILD, WICKED, WOKE
    Intiman will produce three mainstage productions in 2018 — including HIR, a co-production with ArtsWest — along with other programming.
    Season subscriptions go on sale today, Monday, February 26 at intiman.org.
    Single tickets for WILD HORSES and NATIVE GARDENS will be offered on March 19.

    Seattle, WA (February 26, 2018) — With a new mission statement declaring Intiman Theatre wrestles with American inequities, Intiman has announced its 2018 Season with the theme: WILD, WICKED, WOKE.

    “In 2018, we will lean into our mission more intensely than ever,” said Intiman’s Artistic Director Jennifer Zeyl. “We will hold underrepresented stories to the light, look at issues of identity, race, visibility, gender, coming-of-age, microaggression and colonization. All of this while centering new artists, unlikely combinations and lived true stories, reminding our audiences and artists alike that we are what makes America great.”

    Intiman’s Wild, Wicked, Woke 2018 Season will begin with HIR (pronounced ‘here’) by MacArthur “Genius” award-winning writer Taylor Mac. This co-production with ArtsWest is directed by Intiman’s very own Artistic Director Jennifer Zeyl. HIR, the riotous tale of a family in revolt, opens on February 28 and plays through March 25, 2018 at ArtsWest Playhouse and Gallery.

    Following HIR is WILD HORSES by Allison Gregory, a savagely-­funny play about a threshold summer that forever alters an adolescent girl, as portrayed by her grown­up self. WILD HORSES, directed by Sheila Daniels, is playing at 12th Avenue Arts from May 31-June 24, 2018.

    Closing out the Wild, Wicked, Woke 2018 Season is NATIVE GARDENS by Karen Zacarías. In this brilliant new comedy, cultures and gardens clash, turning well-intentioned neighbors into feuding enemies. NATIVE GARDENS, directed by KJ Sanchez, is playing at the Jones Playhouse from September 6-September 30, 2018.

    In addition to producing three major productions that wrestle with American inequities, Intiman is working to champion diversity onstage and off by creating new learning opportunities for theatre artists with a variety of backgrounds, identities and abilities.
    For the fourth year, Intiman will produce the Intiman Emerging Artists Program (IEAP), a no-cost to participant program that brings up-and-coming diverse local artists together during the summer for professional training and development that prepares them to work professionally in the region.

    The Seattle community will also have the opportunity to help support Intiman’s 2018 goals during its #SHOWTHELOVE campaign, which launches on March 22. #SHOWTHELOVE is a fun, online giving campaign that builds a vibrant community to empower a lot of people to give a little and make a huge difference.

    Since its founding in 1972, Intiman Theatre has presented over 225 productions to Seattle audiences. Intiman produces classic American stories, world masterpieces, contemporary plays and new writing — exceptional theater created by artists who make their homes in Seattle and artists from across the country, recognized masters of their craft and exciting new voices. These great stories encourage civic dialogue and personal reflections about the issues we face as a community, in our country and on the planet. Intiman believes there is a connection between what we choose as entertainment and the questions we ask about what it means to be human; that connection is the foundation of every play in Intiman’s season.

    Since the Intiman Theatre Festival emerged in 2012, Intiman has produced plays that wrestled with American inequities and celebrated untold stories. These include Sara Porkalob’s DRAGON LADY in 2017, 20 plays by Black women in 2016; Robert O’Hara’s uproarious satire BOOTYCANDY in 2015; Tony Kushner’s epic ANGELS IN AMERICA in 2014; the premiere of STU FOR SILVERTON, a new musical about the first openly transgender mayor in America in 2013; and MIRACLE!, created and directed by Dan Savage, in 2012. Intiman produces in various venues throughout Seattle, which include the Langston Hughes Performing Arts Institute in Central District, 12th Avenue Arts, Velocity, UW Jones Playhouse, Seattle Center Theatre, Seattle Repertory Theatre and Cornish Playhouse at Seattle Center.

    Today, guided by the vision of Artistic Director Jennifer Zeyl and Executive Director Phillip Chavira, Intiman is one of the preeminent theaters in the country, recognized for its work and commitment to the community and its audiences.

    Chavira said, “I am so fortunate to work with Jennifer Zeyl as my business partner. Together we bring over 30 years of professional experience with theatre companies across the US, advanced degrees in arts, business, and languages, multiple awards, and a genuine visionary alignment to make great work happen.”

    Intiman’s 2018 Season is also led by Co-Curator KJ Sanchez, acclaimed playwright and director. “Jennifer and I dove head-first into thinking about programing for all of Intiman’s audiences – past, present and future,” said Sanchez. “I have been a huge fan of Intiman’s bold, inclusive and high-spirited work for years and to be a part of the 2018 Season is an honor and absolute delight.”

    A leader in the Seattle community, Intiman has received national recognition and many honors, including the 2006 Tony Award for Outstanding Regional Theatre.

    Intiman will have additional programming and special events throughout the year, stay tuned for more announcements to come.

    INTIMAN THEATRE
    WILD, WICKED, WOKE 2018 SEASON
    PRESENTS


    HIR
    Co-produced by Intiman and ArtsWest
    February 28-March 25, 2018
    Written by Taylor Mac
    Directed by Jennifer Zeyl
    At ArtsWest, 4711 California Avenue SW, Seattle
    Somewhere in the suburbs, Isaac has returned from the wars to help take care of his ailing father, only to enter a different warzone: a household in revolt. His mother, liberated from an oppressive marriage – with Isaac’s newly out transgender sibling as her ally – is on a crusade to dismantle the patriarchy. But in Taylor Mac’s sly, subversive comedy HIR, annihilating the past doesn’t always free you from it.
    “Gloriously skewed vision of the toxins fouling the American family” -The New York Times


    WILD HORSES
    May 31-June 24, 2018
    Written by Allison Gregory
    Directed by Sheila Daniels
    At 12th Avenue Arts, 1620 12th Avenue, Seattle
    WILD HORSES is a savagely-­funny play about a threshold summer that forever alters an adolescent girl, as portrayed by her grown­up self. Complex and timeless, it is a coming ­of­ age story for all generations. The pathos and hubris of her teenage years, the struggle for identity, independence, and authenticity, and the desire to find her place in a complicated world — it all comes rushing at us as she takes us on the ride of her life.
    “Feels like being released from the pen to run wild into the night” -Austin Chronicle


    NATIVE GARDENS
    September 6-September 30, 2018
    Written by Karen Zacarías
    Directed by KJ Sanchez
    At the Jones Playhouse, 4045 University Way NE, Seattle
    You can’t choose your neighbors. In this brilliant new comedy, cultures and gardens clash, turning well-intentioned neighbors into feuding enemies. Pablo, a rising attorney, and doctoral candidate Tania, his very pregnant wife, have just purchased a home next to Frank and Virginia, a well-established D.C. couple with a prize-worthy English garden. But an impending barbeque for Pablo’s colleagues and a delicate disagreement over a long-standing fence line soon spirals into an all-out border dispute, exposing both couples’ notions of race, taste, class and privilege.
    “Challenges audiences to look beyond petty differences and rediscover our shared decency” -DC Theatre Scene


    TICKETS
    Season subscriptions go on sale today, Monday, February 26 at intiman.org. Single tickets for WILD HORSES and NATIVE GARDENS will be offered on March 19.

    ABOUT INTIMAN THEATRE
    Intiman Theatre is a professional theater company in Seattle, Washington that wrestles with American inequities. Intiman won a Tony Award in 2006 for Outstanding Regional Theatre and has presented over 225 productions to Seattle audiences. For more information, visit www.intiman.org.

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    Intiman Theatre
    201 Mercer Street
    Seattle, WA 98109

  • Intiman and ArtsWest Co-Production

    For immediate release

    Contact: Joann Natalia Aquino, Marketing Contractor
    joann@intiman.org | cell: 206.931.3202

    INTIMAN THEATRE ANNOUNCES ITS FIRST SHOW OF THE 2018 SEASON, A COLLABORATION WITH ARTSWEST PLAYHOUSE AND GALLERY

    Intiman Theatre, in collaboration with ArtsWest Playhouse and Gallery, is proud to co-produce the Seattle premiere of Taylor Mac’s HIR directed by Jennifer Zeyl as its first show of the 2018 Season.

    SEATTLE, WA (January 8, 2018) — Intiman Theatre is thrilled to announce an exciting collaboration with ArtsWest Playhouse and Gallery co-presenting the Seattle premiere of Taylor Mac’s HIR, playing February 28 through March 25, 2018 at the ArtsWest Playhouse and Gallery in West Seattle. HIR is Intiman’s first show of its 2018 Season. The play will be directed by Intiman’s Artistic Director Jennifer Zeyl.

    Intiman Artistic Director Jennifer Zeyl said, “I am thrilled to be directing Taylor Mac’s HIR in collaboration with ArtsWest, a company for which I have deep admiration. This is a unique opportunity to co-mingle our audiences and artists while exploring this hilarious, dark comedy. HIR follows in the tradition of great American plays by great American playwrights like Sam Shepard and Edward Albee while thoroughly updating the given circumstances in which the traditional American family finds themselves today.”

    ArtsWest’s Artistic Director Mathew Wright added, “We couldn’t be more excited to be joining forces with Intiman, an organization whose work and mission so closely aligns with our own, and who have been incredible friends and colleagues over the past few years.”

    After winning acclaim in New York, Taylor Mac’s HIR premieres in Seattle in this co-production. Pulitzer Prize finalist Taylor Mac (who uses “judy” as a gender pronoun) is a MacArthur “Genius” award-winning writer and performance artist at the forefront of alternative responses to American culture. Author of seventeen full-length plays, Taylor Mac has received rave reviews for the extraordinary 24 hour durational concert, A 24-DECADE HISTORY OF POPULAR MUSIC, which reframed and re-enacted 240 years of US history. In HIR, Taylor Mac tears apart the kitchen sink genre by challenging gender expectations and subverting all notions of the typical American family.

    About the Production

    HIR runs from February 28 through March 25, 2018 at ArtsWest Playhouse and Gallery (4711 California Ave SW, Seattle WA 98116). Tickets (ranging from $17-$38) may be purchased online via intiman.org/hir, by phone at 206.938.0339, or at the ArtsWest Box Office Thursday-Saturday from 2-7:30pm.

    Press Information

    Press tickets are available for Opening Weekend, March 2-4. Please contact Michael Wallenfels at michaelw@artswest.org to arrange. Photos are available by request – please contact Michael Wallenfels at michaelw@artswest.org.

    For Calendar Listings

    Who: ArtsWest Playhouse and Gallery and Intiman Theatre co-present Taylor Mac’s HIR

    Where: ArtsWest Playhouse and Gallery, 4711 California Ave SW, Seattle WA 98116

    What: HIR, written by Taylor Mac and directed by Jennifer Zeyl

    When: February 28 through March 25, 2018; Thursdays-Saturdays at 7:30pm | Sundays at 3:00pm

    Tickets: General Admission: $38.00 | Seniors (65+): $33 | Students: $17 | TeenTix (door only): $5

    Tickets on sale now via intiman.org/hir

    ABOUT INTIMAN THEATRE

    Intiman Theatre is a professional theater company in Seattle, WA that boldly produces work that is relevant and continually wrestles with American inequities. Intiman won a Tony Award in 2006 for Outstanding Regional Theatre and has presented over 225 productions to Seattle audiences.

    Over the last six years Intiman Festival has produced and celebrated untold stories, to include: Sara Porkalob’s DRAGON LADY in 2017, 20 plays by Black women in 2016;  Robert O’Hara’s uproarious satire BOOTYCANDY in 2015; Tony Kushner’s epic ANGELS IN AMERICA in 2014; the premiere of STU FOR SILVERTON, a new musical about the first openly transgender mayor in America in 2013; and MIRACLE!, created and directed by Dan Savage, in 2012.

    ABOUT ARTSWEST PLAYHOUSE AND GALLERY

    ArtsWest is a vibrant center for both performing and visual arts located in the West Seattle Junction. This 149-seat theatre provides a unique setting for audiences and artists as stories of human emotion unfold in an intimate space. Winner of the American Theatre Wing’s 2012 National Theatre Company Award, ArtsWest has produced such diverse work as Green Day’s AMERICAN IDIOT, CHINGLISH, last fall’s critically acclaimed production of Henrik Ibsen’s GHOSTS and the smash hit PETER AND THE STARCATCHER. ArtsWest produces artistic events that provoke conversation, incite the imagination and use live theater as a powerful agent of change. www.artswest.org

  • Emerging Artists Week #3 – Anthea Carns

    Emerging Artists Week #3 – Anthea Carns

    This is the third in a series of blog posts by our 2015 Emerging Artists, Intiman’s summer training intensive for a diverse cohort of up-and-coming theatre artists.
    Today’s post is written by Anthea Carns, a playwright with a BFA from Carnegie Mellon who uses her art to make sense of herself and the world.

    Shortly before the Emerging Artists Program started, while I was in the throes of finishing a first draft of my script, I had the chance to hang out with some friends from college and catch up on what projects we were all working on. I described a little bit of the program: how I’d been given the task of writing a piece inspired by Lillian Hellman’s work, to showcase six talented actors and a director new to the community.

    “Are you excited?” one of my friends asked.

    “Honestly?” I told him. “I have never been so scared by a piece of my own writing before.”

    I’ve used that line a few times, and it remains true: this whole process is terrifying. In a good way, I promise–but terrifying nevertheless. Like standing on the edge of a canyon and surveying the view, admiring the beauty but wary of the drop.

    The fear is because I’m doing something big and challenging and exciting, because I’m writing about a person to whom I want to do justice, and for a group of artists that I’d like to help shine, and because writing makes you vulnerable and the best art comes from that vulnerability.

    Having the script read for the group on the first day of the program was the first hurdle we had to clear. Starting rehearsals was the next one. And as we’ve spent more and more time in rehearsal, with the entire team bringing their expertise and skills to bear on the text, I’ve had less time to be terrified. Too busy working, as our team creates something beyond my imagination.

    See, writing is often a solitary act. Even with the communities of writers I’ve been lucky enough to be part of, most of us are most productive when we put on our headphones, close our office doors, and focus on the world we’re creating rather than the one we’re inhabiting. The end goal of writing is connection with someone else, sure–Stephen King calls the writer-reader connection “an act of telepathy. No mythy-mountain shit; real telepathy”–but the writer and the reader are both going to be alone when they’re experiencing the words.

    Playwrighting, though, involves a group even in the moments when the writer is sitting alone trying to put words on the page. The lines on the page are going to be spoken and embodied by someone, who’ll be in dialogue with someone else, who’ll be part of a larger cast, who’ll be connecting with an audience full of people. And once you get into the rehearsal room, the cast, the director, even the design team is helping you refine your text. If you’re lucky, the actors will speak the lines exactly the way you imagined them when you were writing.

    If you’re luckier, the actors will come up with something better than what you imagined.

    I’ve been very lucky indeed. Our cast came to our first rehearsals willing to roll with whatever we could throw at them. And we started throwing stuff pretty fast: from me, new pages and scenes that I’d written two nights before, and from our director Alice, non-traditional gestural and movement work. We asked a lot, the cast responded with “yes, and,” and I got the inexpressible delight of watching them discover things in my writing I’d had no idea were there.

    Alongside our regular rehearsals, we’ve done work with the whole cohort to help shape and develop our pieces. You’d be amazed how much you can learn about your own characters and how you’ve written them when you watch your actors improvise and bounce them off characters from other works. I got to watch Joan of Arc get into an argument with a 1960s Vietnamese-American lesbian while a 1930s strikebreaker harangued them for money. And if you don’t think that’s worth the price of admission, man, I don’t know what to tell you–I learned a hell of a lot about what the actors had already discovered and what I might need to help them find in just five goofy minutes. At the start of the program, Andrew Russell told me and Alice that actors were often the best dramaturgs, and so far (with the greatest of respect to my fellow dramaturgs, of course), that’s been true.

    There’s a lot of work yet to be done, of course: new material to write, existing material to shape, tech rehearsals, performances. And I can’t tell you how excited I am for it. Scared, too, sure, but not of the drop.

    There’s a pretty awesome team on my side taking the leap with me–and I trust us to catch each other.

    Or maybe we’ll take off. Hey, it’s theatre; it’s writing. We’re already engaged in acts of telepathy and creation. A little flight isn’t out of the question.

    Photo Credit: Pamela M. Campi Photography

  • Emerging Artists Week #2 – Averil Kelkar

    Emerging Artists Week #2 – Averil Kelkar

    This is the second in a series of blog posts by our 2015 Emerging Artists, Intiman’s summer training intensive for a diverse cohort of up-and-coming theatre artists.
    Today’s post is written by Averil Kelkar, a BFA Acting student at New York University. As a gay actor of color, Averil takes pride in working with a company that is aligned with his desire to use theatre as a dialogue. Averil believes that art comes in all shapes, sizes, backgrounds, and perspectives.

    Is the theatre really dead?

    Simon and Garfunkel callously poised this question back in 1966 in one of my favorite songs, The Dangling Conversation. To qualify the argument, Simon writes that “we speak the things that matter with words that must be said”.  And this question must be answered.

    In the spirit of many important questions, there’s not a “yes” or a “no”, “black,” “white,” or even “grey.” And I’m here to say that every single experience with the Intiman Emerging Artist Program boldly extinguishes this fear that lives within any theatre artist today. We extinguish this fear with our passion to create new, inventive work and breathe life into both the arts community and the Seattle community at large.

    A redefinition of theatre artists is needed. Long gone are the days of “I’m ONLY an ….” Every person on Intiman’s team –emerging artist, apprentice, or staffer– explores multiple modes of theatre. Andrew Russell, Producing Artistic Director, has a strong and active creative life as a director of theatre and has also branched out into playwriting for John Baxter is a Switch Hitter. Jennifer Zeyl signed on board as Associate Set Designer while also leaping on as Producing Manager. These are merely two of the endless examples at Intiman. The creative and the business sides of theatre have become synonymous, as, I dare say, it should be.

    We will not allow men in suits to control the artistic integrity of our work anymore. Intiman is a community of artists from all backgrounds who find theatre to be an immediate and essential discourse for the community, and continue to breathe and direct that life and passion in their work.

    The Intiman Emerging Artist Program (IEAP) stresses the importance of the Seattle artistic community as a whole. The program integrates a series of directors, writers, and actors from all backgrounds. This collaborative approach makes for a rich and process-oriented rehearsal environment. Working with dramaturg-turned-playwright Anthea Carns, and dance-inspired-performance-director Alice Gosti, means the approach to the text is always new, scary and inventive. That is within the program alone.

    IEAP also explores the interconnected network of performance-based companies within the Seattle community. In the first two weeks, IEAP has opened doors to Washington Ensemble Theatre (W.E.T.), Pacific Northwest Ballet (PNB), and the out-of-town based company, The Williams Project. These three companies speak to the ways that the Intiman is changing engagement within the performance community. W.E.T. is an established part of the Seattle Theatre scene, while PNB practices a completely different medium with their acclaimed dance productions and support of up-and-coming companies expressly using performers from around the country.

    Intiman is connecting their artists to  Seattle’s theatre scene — asking its artists to branch out and explore different types of performance as well as interconnecting their artists (and subsequently Seattle) to be a part of a dialogue larger than our beloved city.

    In redefining the way theatre navigates the community, The Intiman renders Simon’s question irrelevant. Instead, Intiman operates as a community of artists who happen to perform text based stories. We call this theatre. This is not ‘the theater.’ ‘The Theatre’ being the institutional culture that exists for art’s sake. This is our theatre, our theater here in Seattle, and here now in 2015. Intiman is asking Seattle to answer essential questions about what it means to be a Seattleite, an artist, a citizen and person. As Intiman has already told you, the hunt is on – and  Intiman is ready to strike. And I am proud to strike along with it

     

    Photo Credit: Pamela M. Campi Photography

  • Malika Oyetimein: “Directing for Intiman is a dream manifested.”

    Malika Oyetimein: “Directing for Intiman is a dream manifested.”

    Malika Oyetimein, featured director for Intiman’s new Director’s Lab program, moved to Seattle just nine months ago — and already our city is buzzing about her unapologetic, socially progressive work.
    We checked in with Malika about her passion for theatre, her impressions of Seattle, and – of course – BOOTYCANDY.

     

    On the kind of theatre she loves to make:

    The theatre that I create looks like the world we live in. This world is messy, complex, and heartbreaking because the people who inhabit it are – and that’s okay. My work reflects that. It’s in your face and unapologetic. That what theatre is: a place we go to have our values questioned and our beliefs challenged. I want the theatre I make to shake up the world, one audience at a time.”

    On joining Seattle’s theatre community:

    “I’m learning that Seattle takes chances on new faces. I’m excited by this city that isn’t afraid to reach out to new talent -and there seems to be a lot of opportunities for small companies and emerging artists. Coming from Philadelphia, a community I was completely in love with and immersed in, I didn’t know what to expect. I’m amazed that after being in Seattle for only eight months, I’ve already been embraced by this community.”


    On getting inspired by Intiman’s mission:

    Malika_Quote“I came to Seattle for the first time in 2011. My sister had just moved here and she told me there was a really cool company called Intiman that I would love. The show we went to see was Valerie Curtis-Newton’s all-African American production of All My Sons. I remember afterwards walking up the steps by The Cornish Playhouse water fountain, telling my sister that I wanted to direct for this company one day.”

    On why she’s excited to join the Intiman family:

    “Directing for Intiman is a dream manifested. I remember looking at season programs and being like: Wow! Look at the risks they’re taking. I’ve known from the beginning that this was a company I wanted to be a part of. Now I’m directing Bootycandy and it feels as if I’ve come full circle.”


    On being commissioned as a director for Intiman’s production of Bootycandy
    :

    “I’m thrilled that my Seattle debut is being made with an innovative, beautiful show like Bootycandy. Being trusted with this big, bold story and being allowed to helm this production when only Robert O’Hara has in the past feels amazing.

    Malika_Quote2On why Bootycandy will surprise you, choke you up, and make you think:
    “You’ve never seen anything like this show before. It’s equal parts hilarious, offensive, and heartwarming. The play isn’t easy, you know? There are sections in this play that deal with race and sexuality and it’s uncomfortable. And it should be, these are not easy topics– and Robert O’Hara has always said that he’s glad about that – he wants you to choke on this play. We should have to work to swallow and digest these topics. I also love that the protagonist is a African American homosexual male – how many plays have you seen with that main point of view? It’s beyond time for us to start getting into these stories.”

    On why you’re going to connect with this show:

    “If you’ve ever felt lost and tried to find yourself than you’ll see yourself in Bootycandy. It’s a story that explores relationships, family, and the complexities of figuring yourself out. That’s something we all can identify with. Self discovery and acceptance is universal.”

     

    2015-Festival-BuyTickets

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