Fury-fueled crowds of chanting protestors, clever and insightful picket signs, and collective action to transform or eradicate unjust laws and cultural practices — this is how many see social justice. But when Intiman Theatre began to look for a new home and contemplated how they could advance their mission, they imagined how social justice could be advanced by backstage storytellers — costume designers, lighting designers, sound riggers, set builders, and other technical theatre artists. The answer was a two-year Associate of Arts degree in Technical Theatre for Social Justice (AA-TTSJ) and a partnership with Seattle Central College (SCC). But what does that mean, exactly? Who can participate? And what does social justice in technical theatre really look like? During our telephone interview, Intiman’s Educational Director, Dr. M. Crystal Yingling, gave a sneak peek into the program.
The adaptation of Claudia Rankine’s book plays at Sound Theatre through July 28
by Georgia McDade
If you believe the Garden of Eden, then you accept that life was peaceful, tranquil. If you also believe the Garden was located in Africa, then perhaps you can accept that the Africans lived peaceful, tranquil lives — at least for a time.
Amontaine Aurore. This multitalented woman is making a name for herself. She is a writer, actor, director, performance artist, and founder of Ten Auras Productions. When there were no roles for her to play, she wrote one-woman shows in which she starred: Waiting for Billie Holiday (2006), My Name Is Trazar (2007), Queen Rita’s Blues Alley (2008) ,and Free Desiree, (2012), all directed by Tikka Sears.
Book-It Repertory Theatre’s production of Willa Cather’s novel My Antonia at Center House can make you feel good.
Unlike two recent productions, University of Washington’s Incident at Vichy and Seattle Repertory Theatre’s A 1000 Splendid Suns — both superb, but decidedly less than humorous — My Antonia has many funny parts. Antonia Shimerda and Jim Burden face crises just as characters do in the other works, but here, there is breathing space. Adult Jim’s nostalgia figures prominently, as the play is based on memories dating back to the time 10-year-old Jim and 14-year-old Antonia meet.
Langston Hughes Performing Art Institute hosted one of the most emotional, heart-pulling choreography moments this year. Shown at the historic Central District building in September, Showing Out: Contemporary Dance Choreographers was an event showcasing artistic expression through powerful movement. Curated by Dani Tirrell, it highlighted the Black and queer experience that is often underrepresented and unappreciated in our society.
