Two plays from Black, queer playwrights are as relevant now as ever before
by Victor Simoes
The Williams Project, a Beacon Hill-based theater company that challenges the classic economic model of theater, prepares to open the 2022–2023 season centered around Black, queer writers with the first-ever production of James Baldwin’s The Amen Corner in Seattle.
Continue reading Beacon Hill’s The Williams Project Reimagines Baldwin and Hansberry
by Jasmine J. Mahmoud
There was no campfire at “The Campfire Festival.” Rather, warmth came from other sources: Rheanna Atendido’s energizing voice in duet with an amplified acoustic guitar, Dedra Woods’s staging of her and her mother’s memories, storytelling about ghosts and pandemic boredom and political change, and the enthusiastic incredulity of safely and finally engaging in live theatre again alongside other strangers.
Last Friday evening, I nervously walked north through the very green Columbia Park, hugged by Alaska Street and Rainier Avenue South. What would this post(ish) pandemic theater look, sound, and feel like? Upon nearing the outdoor box office table, I viewed the outdoor theater setup on an upwards sloping lawn, where empty hula hoops lay on the grass designating socially distant seating clusters. Once seated, I stared at the facade of Rainier Arts Center, the stage for this theatrical event. There, affixed on white columns were blue banners with the words “Create,” “Celebrate,” “Perform,” or “Connect,” messages that further amplified this theatrical event.
Continue reading Staging Black Memories, Singing With Ghosts: The Williams Project ‘Campfire Festival’
by Georgia McDade
Should I stay or should I go? Be there or not to be there? Speak up or be silent? The characters in Tony Kushner’s drama A Bright Room Called Day ask themselves these questions and many others, but not at the beginning of the play. The audience, by extension, may ask themselves the same questions.
Continue reading Williams Project Brings Kushner’s ‘Bright Room Called Day’ to Hillman City