Piano Repair & Maintenance Fund Campaign

Did you know? TPS has TEN pianos in our rehearsal and performance spaces!

These pianos are used by members and facility clients on a daily basis and as anybody who has ever laid hands on them can attest, they are ALL in dire need of restoration, repair, and regulation. Repair and/or replacement of our pianos is one of the most frequent requests we receive.

TPS Piano Repair & Maintenance Fund Campaign from Theatre Puget Sound on Vimeo.

And we’re taking action now! This is what TPS needs your help to do.

  1. Restore the inner parts of the piano. Work on the action includes replacing missing parts.
  2. Repair and reinforce the exterior cabinetry. These pianos have taken a lot of abuse!
  3. Once the pianos are in usable condition, we will regulate them on a routine schedule, with tuning and other regular care.

And thanks to ingenious scheduling by TPS Technical Director Rex Carleton and piano technician Mike Gill, we are able to complete this work without ever having a studio absent a piano—and we’ll proceed one piano at a time as quickly as funds are raised. Every donation to our Piano Repair & Maintenance Fund Campaign will be put toward this work so we may provide you, our valued clients and members, with quality resources to create your art.

We have a set a goal of $6,000 to be raised between now and the end of the year for the restoration, repair, and regulation project. 

We’ve already started on the Yamaha in Studio D. If you rehearse in there, try it out and hear the difference!

Once we have raised the initial $6,000, we will push toward our STRETCH goal of $13,000. The additional $7,000 will be enough to purchase 1 to 2 new-to-us pianos in good condition, to replace some of the worse-off pianos.

Join us as we kick off our long-waited Piano Repair & Maintenance Fund Campaign on Giving Tuesday, November 29, 2016.

Donate here to our Generosity campaign. But remember! November 29 is only the beginning! You can donate from now until the end of the year toward to the TPS Piano & Maintenance Repair Fund. Please include this worthy and much-requested cause in your end-of-year giving plans.

On behalf of all the pianists and vocalists and musicians who count on our studios for their musical rehearsals, TPS thanks you!

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Posted in Check It Out!, fundraising, News, TPS Admin |

Seattle Fringe Festival Deadline EXTENSION

sfflogobig

Seattle Fringe Festival runs 

March 23 – April 1, 2017

Could it be YOU on one of the SFF 2017 stages?

Who should apply? Performers who create and do:
scripted theatre
solo performance
musicals
burlesque
clowning
operas
puppetry
sketch comedy
improv
dance
devised work
generative pieces
and more!

Only four days remain for you to submit your application before the final deadline on Friday, November 11, at 11:59 pm! Get your show featured in two jam-packed weekends of compelling, artist-driven performance.

When do we find out who is IN the festival? At the Lottery Drawing Party!

Sunday, November 13
SOLO Bar
6:00 – 8:00 pm
(cash bar)
Welcome at 7:00 pm
Toast & Drawing at 7:15 pm

We’ll be sipping specialty Fringe cocktails, hearing a welcome and 2017 festival vision from the Steering Committee and TPS, and offering some fun swag!

#DoTheFringe    #SFF2017

Find Seattle Fringe Festival on Facebook
Follow Seattle Fringe Festival on Twitter

Seattle Fringe Festival is a direct program of Theatre Puget Sound. TPS Community: thank you so much for your assistance, support, and patience as we help create a new organizational structure for the Seattle Fringe Festival in 2017. We are so grateful to have such a diverse group of community members from all performance genres aiding in the effort to support emerging and independent production of live performance in Seattle!

Posted in Events, News, Theatre Puget Sound | Tagged , , , , , , , , , , , |

Fall Newsletter – September 2016

Issue No. 3 | September 2016

Here you’ll find all of the information included in our most recent newsletter.

Greetings,

It’s almost here! The Gregory Awards, Seattle theatre’s party of the year, is just 25 days away. Join us for the gala at Marion Oliver McCaw Hall to strut the red carpet, sip champagne, and celebrate outstanding local theatre! Purchase your tickets now.

If 25 days feels too long to wait, help us get the party started early at the Nominee Reception on October 16. Great food and drinks, incredible live music, and all the nominees await you at The Studios. It is the perfect way to kick off our awards season. Reserve your spot at the Nominee Reception here.

And keep an eye on your email! Although TPS has been filling it lately, we’ll soon be putting out the call for Gregory Awards volunteers.

Until then, check out the rest of our Fall Newsletter. This quarter, we have news from the long-awaited launch of Leadership for Social Change, a Diversity Highlight about The Royale at ACT Theatre, a job opportunity , an update on fundraising, and more.

The Gregory Awards

Strut down memory lane with photos from the 2015 Gregory Awards: the Nominee Reception, all of last year’s Recipients, and the glamorous Red Carpet photos!
and get ready for…
October 16 – Nominee Reception
Toast the Talent!
October 24 – Gregory Awards Ceremony
Celebrate outstanding theatre!

Leadership for Social Change Launch

We have kicked off our year-long Leadership for Social Change program, led by Carmen Morgan. Arts administrators gathered September 22-25 to begin their deep dive into the challenging and rewarding work focused on diversity, equity, and inclusion. We had an exciting start to the program and will continue to keep you updated as we move forward on this brilliant journey!

Diversity Highlight – The Royale

ACT Theatre‘s look at Jack Johnson, the first African American American world heavyweight boxing champion. Find out what Literary & Artistic Manager Emily Penick and Marketing & PR Assistant Cati Thelen told us about the cast, creative team, and Community Responder talkbacks. For more details, read about it on our TPS News.

Job Opportunity: Facilities Program Assistant

(FILLED) This is an administrative position dedicated to organizing and performing work related to daily operational needs of the TPS facility program. If you’re interested in helping us schedule rentals and maintain order in our studios, view the position description and application instructions here.

A Free Way to Donate!

Imagine if you could help TPS get a big donation just by making a comment on Facebook… You can and it couldn’t be easier! Friday, September 30, is the deadline for us to get as many people as possible to write “Theatre Puget Sound” in the comments on this post.

Let Razzi’s Pizzeria know you support TPS!

Member Service Announcement

We send direct mail to keep you informed (hello!), maintain the Member Listserv – tpsmembers@tpsemail.org – to keep each other informed, and of course, we use Facebook to get the word out too. Do you have information to share with the TPS Members? Let us know! It might be the perfect thing to include in a Diversity Highlight, now featured in our newsletter, or to share on the listserv with your fellow members. If you’re ever curious about the best way to reach TPS Members, ask Member Liaison Catherine Blake Smith.

Farewell Rob!

After two years of making sure all your rental needs were met, maintaining our studios and performance spaces, and being an all-around great guy, Facilities Manager Rob Raas- Bergquist said goodbye to TPS on Tuesday. We’re excited to see what he does next! Please direct your facilities and booking questions to studio4@tpsonline.org.

TPS Administrative Updates:

We’ve adjusted our office hours. Have an administrative and in-person facilities request? Stop by our offices on the 4th floor of the Seattle Center Armory! We are now open
Monday through Friday 10 am to 5 pm and closed for lunch, 12-1 pm daily.

TPSOnline Quick Links

Posted in News, Theatre Puget Sound, TPS Admin |

FILLED TPS Job Opening – Facilities Program Assistant

Thank you for your interest – this position has been filled

Continue reading

Posted in Check It Out!, Jobs, TPS Admin |

Diversity Highlight: The Royale at ACT Theatre

TPS recently sat down with ACT Theatre’s Literary & Artistic Manager Emily Penick  and Marketing & PR Assistant Cati Thelen to talk about The Royale, by Marco Ramirez. The Royale tells the story of Jack Johnson, the first African American heavyweight boxing champion in this country. Johnson was a Trailblazer, an icon we hear of often in American sports history—think of Jackie Robinson, Michael Jordan, Serena Williams, Gabby Douglas—and the play focuses on the biggest fight of his career.  

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ACT’s production features a diverse cast—made up of members of ACT’s Core Company, a former Intiman Emerging Artist, and more—live underscoring, and audience participation. As part of their production concept, Director Ameenah Kaplan (an original American member of STOMP!) and sound designer Sharath Patel brought the cast together to record a variety of visceral and subtle physical sounds, including a heartbeat, for the sound design.

In addition to a diverse cast of established and emerging black actors, there is another aspect of this production that makes it stand out. After every show there will be a talkback with a panel of cast members after every show, but select performances will feature a new talkback format with a Community Responder, scholars and artists especially selected for the unique insight and a different perspective they can offer the audience during discussion. Donald ByrdVivian Phillips , and others are leading structured feedback and responses in a setting unique to this production, ACT, and the community.

The Royale also has inspired several community connections with the Northwest Tap Connection, Spectrum Dance Company, Au Collective, the Seattle Arts Commission, and Arcaro Boxing Gym. Arcaro is getting involved with the production itself, by prompting the audience to respond to this question in the lobby: “What do you fight for?” 

What do you fight for?

The Royale runs until October 9
Click here to purchase tickets
Learn more about the Community Responders

Posted in Diversity Highlight, In Focus, Interview, News | Tagged , , , , , , , , , |

Diversity Highlight: (Miss) Fortune Has Green Eyes

New to Seattle, Brown Soul Productions develops and produces new work by women of color

Brown Soul Productions features a new play about remorse, redemption, and family by Alma Davenport, Artistic Producing Director, called (Miss) Fortune Has Green Eyes, directed by Sandra L. Holloway.

(Miss) Fortune Has Green Eyes tells the story of a recovering alcoholic, who wins the lottery. His world begins to crumble under the greed of those around him, while his eldest daughter struggles to put hers together. What happens when remorse is not enough and money cannot buy redemption?

One of the goals of Brown Soul Productions, founded by two sisters, is to tell the stories of women who society may not always to get to hear from. They also wish to build an audience and relationships with other theatre makers in Seattle. Their inaugural production will occur in TPS’s Theatre4, a black box incubator performance on the 4th floor of the Armory, 9/16-18 and 9/23-25 at 7:30 p.m. Click here for tickets.

“Work ing on any Alma Davenport piece is like being able to exhale. She pulls you into a world of richly drawn people, who are so human, beautiful and complex . She tells their stories so masterfully and without prejudice… it’s just so satisfying.” Director Sandra L. Holloway

(Miss) Fortune Has Green Eyes will be presented in strategic partnership with Northwest Family Life, an organization that educates and assists individuals and families in finding hope and healing when facing the pain of domestic violence. A portion of the proceeds of the production will be donated to NW Family Life.

Posted in Diversity Highlight, News |

Diversity Highlight: 1-Off Production Blood Wedding/Bodas de Sangre

The producers of 1-Off Production discuss successes, challenges, and future of producing in Seattle’s public parks

The co-producers of 1-Off Production – Tina Polzin, Ana Maria Campoy, and Matt Sherrill – talk about their experiences with producing a bilingual outdoor version of Blood Wedding/Bodas de Sangre, the conversations sparked in the theatre community about bilingual theatre and audience expectations, the successes and challenges of producing outdoors, and their hopes and plans for next summer.

COMMUNITY CONNECTIONS

The co-producers of Blood Wedding/Bodas de Sangre in underserved Seattle parks found value in the opportunity to create a vivacious and welcome atmosphere for the whole neighborhood to enjoy. They accomplished this in two ways: through bilingual theatre featuring people of color, and by removing the potential barriers of a traditional theatre experience.

Audience members appeared in all forms: from the kid on his bike who rode by behind the actors and came back later to watch the rest of the show to entire multi-generational families, 7 months to 70 years old, with dogs too. Each audience member interaction – which they loved to do! – became a special moment for the cast to remember.

Director Tina Polzin and co-producer Ana Maria Campoy also made genuine efforts to create strong and authentic community connections. They visited Nickelsville by the Othello Light Rail Station, Neighborhood House, local churches, and Casa Latina to tell them about the show. At Casa Latina, actors from the show did a skit about workers’ rights in Spanish, to use arts as a platform for communication and change.

Blood Wedding/Bodas de Sangre was also a great way to show neighborhood kids that bilingual theatre can come to them. Over 20 languages are spoken in Seattle Public Schools, and most schools and neighborhoods are still divided along the Red Line. Performing theatre in these areas shows the neighborhood residents what is possible.

RADICAL GENEROSITY

Each show ended with a musical performance, giving performers and audience members time to interact and talk with each other, creating and sustaining authentic and cultural familial connections. By talking to audience, comprised mostly of local residents, producers and performers learned that there are very few performing arts services or opportunities provided to elementary students and adults. Performing a bilingual play in an accessible environment not only challenged the producers’ perspectives of what a theatrical event is, but also revealed opportunities to practice radical generosity.

Christen Gee left a large blanket available for latecomers at every show. Ana Maria, Tina, and Matt cite this as one of the many examples of radical generosity, along with sharing and mentoring among the cast; Danielle Pekus, the stage manager who made every show possible by transporting furniture and props between venues; and everyone made a commitment to each other and the performances, all in service of the play.

PROOF, NEXT SUMMER

1-Off Production has already started work on next summer’s show, Proof by David Auburn, directed by Arlene Martinez-Vickers. Arlene and Ana Maria have been adapting the play into a bilingual version that will be performed on porch steps, in underserved parks, and hopefully in conjunction with a neighborhood block party. Tina Polzin pointed out that “bilingual adds to the story” as opposed to making it more confusing. Producing plays with universal themes allows the nuances of bilingual theatre to shine through, as pointed out by Mark Baumgarten in the Seattle Weekly.

Each of the producers had different goals this past summer that intersect and serve each other: Ana Maria Campoy wants to see stories by people of color for people of color, Matt Sherrill is redefining what “theatre” and the “theatrical experience” are, and Tina Polzin (Director, Blood Wedding/Bodas de Sangre) wants to “bring theatre to people who may not have the chance.”

Blood Wedding/Bodas de Sangre was supported, in part, by an award from 4Culture and The Office of Arts & Culture in partnership with Seattle Parks and Recreation and the generosity of Broadway Bound.

Posted in Diversity Highlight, In Focus, News |

Diversity Highlight: Intiman’s Wedding Band

Intiman Theatre Festival continues its celebration of Black Women Playwrights with Wedding Band: A Love/Hate Story in Black and White by Alice Childress

Intiman Theatre Festival began this year with Stick Fly by Lydia R. Diamond, continued throughout with several Black Women Wisdom staged readings co-produced with The Hansberry Project, and is closing with Wedding Band by Alice Childress.

Valerie Curtis-Newton, festival co-curator direc ts , featuring a cast of diverse and local actors. Curtis-Newton, who directed Childress’s Trouble in Mind (2013) is continuing and growing the conversation about race in the Seattle theatre community.

“Though not well-known, the play’s author, Alice Childress inspires. For decades, she successfully managed to write our humanity in its fullness with wit and honesty,” Curtis-Newton said. “Her plays talk about love and struggle in ways that make us see ourselves and hope to do better. They say, ‘Talk to each other.’ It’s a timely message – even today.”

Set in 1918, Wedding Band is the story of two lovers – Julia, a black seamstress, and Herman, a white baker – who want to marry in the Jim Crow South. The play poses the question: Can we be strong enough to tell the truth to each other and still love?

September 6 – October 2
Floyd and Delores Jones Playhouse (UW)
Tickets Available for $20-$40

Posted in Diversity Highlight, TPS Admin |

Diversity Highlight: Theatre Battery

Theatre Battery presents Tearrance Arvelle Chisholm’s Hooded or Being Black for Dummies

Tearrence Arvelle Chisholm, playwright, will attend previews on 8/25 and 8/26 of Hooded or Being Black for Dummies at Theatre Battery in Kent, WA. Hooded is the story of Marquis and Tru, fourteen-year-old black boys who exist in two totally different worlds. Marquis is a republican prep-schooler living in the affluent white suburb of Achievement Heights, while Tru is a street savvy rap artist from deep within the inner city of Baltimore. Their paths cross one day in a holding cell, where Tru decides that Marquis has lost his “blackness.” As professor and reluctant student, they confront ignorance and traverse the gap between 2pac and Nietzsche. Hooded is produced with Radical Hospitality ticketing, meaning that no one will be charged to attend a performance.

“I write plays for the theatre. I am interested in theatricality for theatricality’s sake. By this I mean I write plays that are required to live on the s tage. I am cons tantly think ing about my audience as I write; how to move them, manipulate them, make them uncomfortable and at once never forget that they are watching a thing that is unique and can only ever happen one time.” Tearrence Arvelle Chisholm

THEATRE BATTERY produces experimental plays for the suburban community of Kent, Washington. They aim to nurture their audience’s understanding of the connection between theatre and relevant social issues through the presentation of contemporary works in nontraditional settings. They envision serving an audience with access to new material otherwise kept exclusive to urban centers, while growing as a professional home for emerging and established artists from around the Sound. Facebook Page

 

Posted in Diversity Highlight |

Sound Theatre Company’s recent production The Last Days of Judas Iscariot featured a multicultural and racially diverse cast

Sound Theatre Company, nominated in 7 categories for the 2016 Gregory Awards including Theatre of the Year, recently closed a production of The Last Days of Judas Iscariot by Stephen Adly Guirgis.

TPS interviewed some of the cast about their successes, challenges, and what they would like to see change in the Seattle theatre scene.

Ray Tagavilla
Satan (2016 Gregory Awards Best Actor Nominee)
Previously in A Small Fire (2014)

What was the most exciting part about working on Judas?

Working with this luminous cast.

Biggest challenge?

Actually keeping my voice. I blew it out 2 days before the first preview and was never at full power throughout the run.

What would you like to see change in the Seattle theatre scene?

I love the diversity of this cast and it’s something I don’t see too much of. I always find it exciting when a theater decides to do blind casting and relies on an actor’s talent/experience and not whether they look “right” for the part.

Corey Spruill
Bailiff/Simon the Zealot
Previously in Dogg’s Hamlet/Cahoot’s Macbeth (2013) and The School for Lies (2014)

What was the most exciting part about working on Judas?

Working with such juicy writing, and the cast. The cast was fantastic to work with, everyone really brought something new to the table.

What was the biggest challenge of performing your role?

Both roles I portrayed had different challenges. The Bailiff sat on stage the majority of the play but didn’t say much, in a lot of ways he was the eyes and ears of the audience.

What would you like to see change in the Seattle theatre scene?

I don’t get out and see as much theater as I should. I would love to see bolder, and more challenging theater. Theater that’s not only has a diverse group of actors, but also material that really connects us all as a community.

Sujay Chattopadhyay
Sigmund Freud

What was the most exciting part about working on Judas?

An obvious exciting part was the opportunity to portray a character of this mind-blowing script by Stephen Adly Guirgis. However, an even more exciting part for me was to be fortunate to work with a group of extremely talented actors and highly creative crew members under the super-caring guidance of Teresa Thuman.

What was the biggest challenge of performing your role?

I believe I had two major challenges. Firstly, the role I played was the only non-biblical and non-religious (maybe atheist, to be more specific) character in the play. Also, while most of the other characters in the play had the freedom to express their feelings across a wide range of rawness and sophistication, Freud was throughout presented in a highly refined manner. Maintaining this distinction via restricted expressions was one big challenge for me. Another tough task was to make the out-of-the-box Freud-ish thinking and logic understandable to the audiences, as if in some professorial way to the students.

What would you like to see change in the Seattle theatre scene?

I would love to see a lot more representation of world culture in Seattle theatre via staging of stories and plays from all around the world, when one can say that Seattle thinks like the planet, at least through the lens of theatre. I think this can effectively increase the bonding of love and respect among races and ethnicities, and, if properly cultivated, might be a model to the rest of the world during this terrible period of monstrous restlessness.

Kathy Hsieh
Henrietta Iscariot/Sister Glenna

What was the most exciting part about working on Judas?

Even though I’ve worked with or seen or knew of almost everyone in the cast before this production, it was such a joy to work with all of them at the same time in one show! The most exciting part of working on Judas was the multicultural diversity of the production. Not enough shows in Seattle have many people of color unless a role is specifically written for a person of color. And when there are people of color in a show, most shows are still very segregated – August Wilson shows feature primarily black actors, David Henry Hwang shows are primarily cast with Asian and white actors. And while many of the culturally specific companies in town (eSe Teatro, SIS Productions, Hansberry Project, Pratidhwani) do terrific work and honor casting that’s true to their community, casting in Seattle is still very segregated. So how fabulous to be in a show where I got to hang out with actors of all ages and ethnicities in one space!

What was the biggest challenge of performing your role?

The biggest challenge was doing the Irish accent for Sister Glenna! Thomas Merton’s definition of despair does not flow well with an Irish brogue!

For Henrietta it was making sure that when I started the show, I started with a bang because the more that audiences could connect with her emotionally, then when the next two characters come on and provide a comedic release, the audience quickly realizes that this show is going to take you from one extreme to the other so to prepare for the wild ride.

What would you like to see change in the Seattle theatre scene?

It’s getting better, but I would love to see even more shows where there’s a greater diversity in casting and script offerings. Even though  we’re considered pretty white by most cities its size,  still, 1/3 of Seattle’s population are people of color (and half of those people of color are Asian Americans) but we’re not even close to seeing that kind of diversity in most Seattle theatres yet. Sound Theatre, Intiman, Book-It, Pork Filled Productions, ReAct, Arts West, and Seattle Public Theatre are some examples where we’re seeing more multicultural diversity. I can’t wait for the day when what we see on Seattle stages actually does truly look like a reflection of who we see in the world around us in real life.

Posted in Arts Crush, Check It Out!, Diversity Highlight, In Focus, Interview, TPS Admin | Tagged , , , , , , , , |