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 , , , , , , , , |

Diversity Highlight: CAATA ConFest

CAATA is an integral part of the Asian American theatre community.

For the 5th time, the Consortium of Asian American Theaters & Artists presents Seismic Shifts: Leading Change in the American Theater, October 1-9 in Ashland, OR hosted in partnership with Oregon Shakespeare Festival. August 15 is the final day for Early Bird registration. August 31 is the final day to purchase combined Conference and Festival passes. Seismic Shifts will be a collection of conference events and festival activities. Prominent members of the Seattle theatre community, Roger Tang and Kathy Hsieh, are presenting two parts of a panel discussion during the ConFest. Roger is also on the CAATA national board and planning committee. At the ConFest, not only will there be keynote speakers and panel discussions, there will also be new play readings, networking opportunities, and full productions including Vietgone, which will be at Seattle Repertory Theatre next season. Plus, an excerpt of Maggie Lee‘s Tumbleweed Zephyr will be presented at the ConFest showcase.

See the full schedule here.

Continue reading

Posted in Diversity Highlight, News |

Volunteer for the TPS Stage at 2016 Bumbershoot!



Theatre Puget Sound has a fantastic lineup of local theatre at the 2016 Bumbershoot Stage and we need your help wrangling it!  We need volunteers to help with seating, crowd management, and being a great representative of the local theatre scene.  Our stage is only open from 2:15-10:15 pm and your pass is good for the whole day, so you will have time to take in the sights of Bumbershoot when you volunteer!

DATES: Friday September 2 through Sunday, September 4, 2016

Preference goes to volunteers available for multiple days.

The 2016 Bumbershoot Theatre Puget Sound Stage features a lineup of..

More details on Bumbershoot’s website!

TO APPLY: Fill out the form at the bottom of this page.  Any questions, please email shane@tpsonline.org.

Priority will be given to Theatre Puget Sound members and previous volunteers.  Thank you!

You will be notified of your participation status by Monday, August 22.

ALL VOLUNTEER SLOTS CURRENTLY FULL.  If you are still interested, please fill out the form below to be added to the waitlist.

Bumbershoot 2016 Volunteer Form


FRIDAY 10 am - 1:30 pm & SUNDAY 8:00 - 11:30pm: You will help our technical team set up/clean up for the festival! Some heavy lifting may be required. You are free to enjoy the rest of Bumbershoot during the time not scheduled.
DAILY (1 pm - 10:15 pm): Assist setting up/cleaning the lobby, seating people in the Center Theatre, monitoring audience, and answering questions. You are free to enjoy the rest of Bumbershoot during time not scheduled, and breaks/lunches will be allowed during slower times.
AFTERNOON (12:45 pm - 6:15 pm): Assist with seating people in the Center Theatre, monitoring audience, and answering questions. You are free to enjoy the rest of Bumbershoot during time not scheduled.
EVENING (5:00 pm - 10:15 pm): Assist with seating people in the Center Theatre, monitoring audience, and answering questions. You are free to enjoy the rest of Bumbershoot during time not scheduled.


Posted in bumbershoot, Volunteer Opportunity | Tagged , , , , |

Announcing the Creative Team for The 2016 Gregory Awards!

Every year, we have a host and a special team of well-loved local talent who help us round out the night at the annual Gregory Awards.

On Monday, October 24 at Marion Oliver McCaw Hall, we’re excited to welcome back some familiar faces as well as someone new to the stage! And keep an eye out on Facebook for our personal interviews with each of the artists.

See you at the show!






Returning as Co-Host… Kate Jaeger!


Kate Jaeger is an improviser, actor and singer. She likes you and your face.

Returning as Co-Host… Bhama Roget!



Returning as Music Director… Michael Owcharuk!


Michael Owcharuk is a composer and pianist working in jazz, rock, classical, pop, and music for theater, dance, and film. You can hear him performing regularly all around Seattle with a wide variety of artists. Michael has composed and/or performed music for STG, Book-It Repertory Theater, 14/48; The World’s Quickest Theater Festival, Freehold Theater, Seattle Immersive Theater, Cafe Nordo, and many independent productions.

And introducing Special Guest… Sara Porkalob!


Sara Porkalob is a Seattle actor, director, and award winning solo-performer who loves musical theatre and  feminist deconstructions of Shakespeare.

Posted in Awards, Events, Interview |

TPS Announces a Summer Fundraiser: Brews & Bites!

Celebrate beer, summer, and TPS!

brews and bites FB event header

Theatre Puget Sound is headed to Rooftop Brewing Company on Sunday August 21 for our summer fundraiser, a celebration of the arts, crafted beers, and tasty bites. For only $30 from 5 to 9 pm, you’ll have a night full of fun and frivolity:

  • A commemorative TPS pint glass for unlimited beer
  • Delicious ‘bites’ served up by favorite local eateries
  • Exciting sights and sounds of Pradithwani Dance
  • Chance to win some locally made arts and crafts!

Hosted by Shawn Belyea of 14/48 Projects, you will have the chance throughout the night to support TPS and win prizes for $5/turn with the Beer Ring Toss (snag your favorite beer!), Beer Walk (maybe you’ll land on a great prize!), and the Raffle (you don’t have to be present to win!).

Your $30 ticket isn’t just about tasty treats and fabulous prizes. Pradithwani Dance, will do dance lessons and a performances too!

Don’t miss this chance to celebrate your favorite local arts service organization. Snag your tickets today!

Download a PDF to share: BrewsBitesEvent

Posted in Check It Out!, fundraising, Press, Theatre Puget Sound, TPS Admin | Tagged , , , , , , , , , , , |

Budgeting Workshop – July 10

Budgeting Workshop FB Header

Sign up for our July 10 Budgeting Workshop with Kathie Whitehall!

For the price of three iced mochas, you’ll learn about budgeting, saving, investing, tax planning, and the value of your time through discussion and exercises. This class is geared toward working artists, led by Kathie Whitehall, an artist who’s been self-employed for over 25 years. Kathie will even walk you through how to fill out a budget worksheet, step by step.

The goal of this workshop is to give you the tools that let you think about where you see yourself in the future: living a more creative life? debt-free? traveling? in grad school? owning a home? Join us!

Maximum 10 participants.

Hosted by Theatre Puget Sound, in the TPS Blackbox.

12:30 – 4:30 pm

Reserve your spot today – $15

Posted in TPS Admin, WholeLife, workshops |

Health Insurance Workshop with Cindy Hagen


Health Insurance: 

How do I get it? Why do I need it?
Do I even to think about it?

This post includes the materials provided at the workshop.

We hosted a free to TPS members workshop geared to help you as individual artists make informed decisions about your healthcare. We will schedule another workshop closer to open enrollment period, in October 2016.

Cindy Hagen of Hagen Insurance Partners talked us through the ins and outs of health insurance:

• Who pays for it?
• What is it?
• Where do you find it?
• When can you get it?
• Why should you have it?
• How do you use it?

We covered questions regarding healthcare and learn about the following topics:

• Group vs. Individual insurance
• Health insurance policy types
• How an Agent can help you
• Open enrollment and special enrollment periods
• The Washington State Health Plan Finder


We’ve worked with Cindy for the last few years and she has been fabulous. We have a small staff, and all sorts of different needs—those of us who want healthcare through work, those who don’t, those with partners, etc.—and she is always fantastic at helping us problem-solve in a smart and efficient way. Plus she is really nice, which in this world helps.

Andrew Russell, Artistic Director, Intiman Theatre Festival


Slideshow Presentation

Special Enrollment Period Fact Sheet

Healthcare Flow Chart TPS Seminar 2016

TPS Health Insurance Resources

Metal Level_Guide

Lower Costs Fact Sheet

Essential Health Benefits


Posted in Events, Theatre Puget Sound, WholeLife, workshops |

Leadership for Social Change

TPS Web Header-LFSC 2016-PROGRAM-TPS-850x300

Learning Objectives
Program Features
Anticipated Outcomes
Participant Expectations
About our Facilitator: Carmen Morgan
Download Program Info
Submit Your Application–due by July 15


Leadership for Social Change (LFSC) is a key part of Theatre Puget Sound’s overall commitment to equity, diversity, and inclusion. In partnership with Carmen Morgan, Director of artEquity, TPS will launch a regional cohort of approximately 12 theatres who will create a dynamic, peer-learning community to develop and execute action plans to strengthen their organizational commitment around issues of equity.

The LFSC curriculum has a three-pronged approach that focuses on the following: 1) personal development and analysis building around identity, social location, language, privilege, and power dynamics, 2) organizational and institutional development to advance equity, diversity, and inclusion; and 3) collective impact on a regional level. All three components are integral in understanding and interrupting larger systemic and organizational barriers, as well as understanding privilege and how to be better allies. LFSC theatres will be encouraged to take on leadership roles within their region and broader field; be creative and innovative problem-solvers; boldly try out new ideas and initiatives; and share best practices and learnings with the broader community.

This intensive approach not only creates a climate within each individual theatre whereby institutional change is more likely to take hold but also adds significantly to the collective impact and regional and national momentum of equity, diversity, and inclusion efforts already taking place. LFSC participants develop and fine-tune action plans for their organizations while providing a structure of support and accountability for each other. Participants engage in skills-building opportunities through webinars and in-person convenings. Throughout the 12-month cohort, participants will work together addressing a wide range of issues and topics.

The first 12-month cohort will launch in September 2016. Theatres selected for the inaugural cohort will be made up of a diverse cross-section of theatre from the field.

The LFSC curriculum was created by Carmen Morgan, and the first cohort will be led by her.


Although LFSC only convenes a few times per year, it is nonetheless a significant time investment for participants. Personal, organizational, and regional change require sustained effort and attention, and the peer-learning structure of the LFSC provides a forum for shared accountability and benchmarking progress. What follows are some examples of what participants will accomplish together over the 12 months. By the end of their time, participants will have

  • attended as many of the convenings and webinars as possible, disseminating the learnings within their organizations;
  • strengthened their personal analysis of identity, social location, privilege, and unconscious bias;
  • dedicated time to skills building – core competencies, language, tools, and effective strategies;
  • undergone an organizational analysis to evaluate the inclusivity of their institution and the diversity of their board and staff;
  • learned how to create equity, diversity, and inclusion action plans for their organizations and put them into practice;
  • worked on projects related to regional equity, diversity, and inclusion issues;
  • taken collective action to advance equity, diversity, and inclusion at a regional level;
  • committed to being a leader for social change, removing structural barriers and equalizing power at the personal, organizational, and regional levels; and
  • determined useful ways for theatres who are ready for action to connect beyond LFSC to provide mutual support and accountability to each other.


Resource Networks:

  • Broad peer-learning community: LFSC members become a part of a regional network learning together, providing support, holding each other accountable, and leading in the area of equity, diversity, and inclusion.
  • Learning teams: Designed to foster creative opportunities, resource sharing, and collaboration that can be enhanced through deeper intimate relationships and trust building.

Webinars: Resource sharing and skills building are core components of LFSC. As such, participants will gain resources and skills in a variety of areas, both in person and through the strategic use of webinars.

LFSC Peer-Learning Sessions: An opportunity to assess and discuss regional trends, share lessons learned/best practices, and continue peer learning.

Intensive Skills-Building/Analysis-Building Sessions: While webinars, and peer-learning sessions will play an important role in the learning process, participants will also experience two intensive retreats and a community summit. These sessions will focus on personal, organizational, and regional analysis and capacity building. These intensive sessions will provide an opportunity for deeper learning through interactive processes and opportunities for practical application.


The progress of LFSC will be noted by some of the following outcomes:

  • Coordinated diversity and inclusion efforts among a diverse cross-section of theatres from the region.
  • New theatre-specific tools, resources, and documented best practices to support ongoing equity, diversity, and inclusion regional initiatives.
  • Deep learning and capacity building for theatres leading equity, diversity, and inclusion efforts.
  • Peer learning and support around regional, national, and issue-specific topics.
  • A growing network of theaters leading the charge for greater equity, diversity, and inclusion in the arts.


Leadership for Social Change recommends participation of at least two individuals from the organization throughout the 12-month training program. Each participant should expect to spend an average of 6 hours each month of meetings and preparation time between September 2016 and August 2017.

Attendance at the sessions below will be a required component of time commitment to this program.


The following timeline includes a rough schedule of LFSC activities. Specific dates will be added, and additional changes made, after the launch in August.

  • May 2016: Announce/Promote Opportunity & Solicit/Review Registration Submissions
  • June 8-9: Informational Meeting/Submission Info/Topic and Mini Workshop led by Carmen Morgan
  • June – July 15: Submissions Open – Please submit your Statement of Interest by completing the Google Form.
  • August 22: Participant Notification
  • September 22-25: Retreat #1 w/Carmen Morgan
  • November 2016: Cohort Peer Learning/Workshop Opportunity
  • January 2017: Cohort Peer Learning/Workshop Opportunity
  • February 2017: Cohort Peer Learning/Workshop Opportunity
  • March 2-5, 2017: Retreat #2 w/Carmen Morgan
  • May 2017: Group Progress Check-in/Peer Learning
  • June 2017: Facilitated Webinar w/Carmen Morgan
  • August 3-6, 2017: Non-Retreat w/ Carmen Morgan. Next Steps evaluation and Community Summit report out


Who should I submit as our two core participants? We ask that the core participants have the personal commitment and institutional support needed to make change at their organizations and beyond. We believe that someone with personal commitment prioritizes equity, diversity, and inclusion as central to their work both within and beyond their organization. We define institutional support as the capacity to affect significant organizational change, through either positional power or clearly defined organizational support. While everyone will come to the process from a different place in this work, we believe that a shared combination of personal commitment and institutional support empowers true progress.

Can one of our participants be a trustee? While we recognize the importance of the board in advancing change, the LFSC curriculum is designed for staff members. LFSC will provide participants with tools for engaging the board in this work. If there is a reason you want a trustee to participate, please contact Karen Lane with your thoughts.

I’m totally new to this conversation. Will I feel lost or excluded? We believe the work is strengthened by having a diversity of experience within the cohort, as this mirrors the diversity found at our organizations and in the field itself.

I’ve been doing equity, diversity, and inclusion work for many years. Is LFSC for me? While some of the analysis-building may be familiar to you, the LFSC is also an opportunity to develop the relationships necessary to advance the work at the personal, organizational, regional, and field-wide levels. We welcome the experience of those who have been doing equity, diversity, and inclusion work for many years, especially those from communities and organizations of color or other underrepresented communities. These voices are essential for the work of this initiative to have integrity.

What costs are associated with LFSC? There is a general participation fee of $350 per person. With support from the Seattle Office of Arts & Culture, 4Culture, and ArtsWA, TPS will be able to subsidize some participant fees up to $100, with priority consideration given to smaller-budget theatres, underrepresented individuals and organizations, or multiple team members.

I have questions that aren’t answered on this page. Where can I send my questions? Please direct all questions to creatingchange@tpsonline.org.


Carmen MorganCarmen is a national consultant leading conversations at the forefront of the field on equity, diversity, and inclusion issues. She is the founder and director of artEquity, a national program that provides tools, resources, and training to support the intersections of art and activism.  She has provided leadership development, organizational planning and coaching for staff, executives, and boards for over 100 non-profit organizations.  She is on the faculty of Yale School of Drama where she addresses issues of identity, equity, and inclusion in the arts.

For the past eight years, she has worked with the Oregon Shakespeare Festival on structural and organizational equity. With her guidance, OSF has implemented innovative programming, policies, and new organizational structures to support ongoing inclusion efforts.  In addition, she serves as the consultant for Theatre Communications Group’s diversity and inclusion initiatives and programming, where she partnered with TCG to launch a national Equity, Diversity, and Inclusion Institute for theatres. She has provided customized resources to theaters and arts organizations in the US and Canada, including Cal Shakes, Portland Center Stage, Steppenwolf, New York Foundation for the Arts, Americans for the Arts, National Endowment for the Arts, the Association for the Performing Arts Service Organization, League of American Orchestras, Opera America, Association of Performing Arts Presenters, Professional Association of Canadian Theatres, Theatre Puget Sound, and Center Theatre Group, to name a few.

For the past fifteen years, Carmen directed Leadership Development in Interethnic Relations (LDIR), a nationally recognized social justice program co-sponsored by Asian Americans Advancing Justice, the Central American Resource Center, and the Martin Luther King Dispute Resolution Center. Prior to her work with the LDIR program, Carmen was the Associate Regional Director for the American Friends Service Committee (AFSC), an international human rights organization, where she oversaw human rights work on the US/Mexico border; gay liberation and sovereignty education work in Hawai’i; and tenant rights and racial/economic justice work in California and Arizona.

Carmen is a founding member of the California Chapter of the National Association for Multicultural Education (NAME), a former Human Services Commissioner, and is currently on the Board of Directors for Black Women for Wellness, a community-based organization serving women in South Los Angeles. She has presented at numerous national conferences including the National Conference on Race and Ethnicity, National Association for Multicultural Education, Grantmakers in Health, Grantmakers for the Arts, Americans for the Arts, The California Endowment, and the Robert Woods Johnson Foundation, to name a few.

Carmen’s work is rooted in popular education, community organizing, and a commitment to social justice. She remains dedicated to community building and activism, and has worked in the non-profit sector for over 20 years.


Theatre Puget Sound is grateful for grant support from the following: Seattle Office of Arts & Culture, ArtsWA4Culture, and National Endowment for the Arts.

LOGOS - LFSC Sponsors - Screenshot 2016-05-22 21.46.12



Posted in advocacy, education, Events, In Focus, News, Theatre Puget Sound, TPS Admin, workshops | Tagged , , , , , , , , , |