Seattle’s influence as a theatrical leader has been constant since the founding of the regional theatre movement, erupting in the Northwest with the World’s Fair of 1962. As Gregory Falls, founder of the University of Washington Professional Actor Training Program and ACT – A Contemporary Theatre once said, “Theatres, like grapes, grow best in bunches.”
One of the final refuges for the continent’s indigenous people, this is the sacred land of the great Northwest Indians, where in 1852 Chief Sealth welcomed the first “settlers” to the site that would become Seattle. Suddenly, when measured against the centuries, Chief Sealth finds “My people are few. They resemble the scattering trees of a storm swept plains.” As a way of life tragically vanishes, another begins. A gateway to the Alaska gold rush, a home to fur traders and trappers, then later, loggers. Dams are built. World Wars brought the Boeing generations and with that the nuclear family, a largesse and commitment to community that melded with the wilderness character and funded great civic and cultural institutions. Boeing gave way to Microsoft, Jeff Bezos came to town, biotech and medical research found a home, and when Bill and Melinda Gates created the world’s largest foundation, the region became synonymous with curing the most virulent of world diseases. Through this spirit of the region, theatre artists weave their work, entertaining audiences while engaging citizens in civic discourse about the most important issues of the times.
Today, Seattle continues its tradition of bold and adventurous theatre. It’s home to nationally recognized companies, internationally acclaimed artists, and a thriving fringe scene, where artists of stature work side by side with emerging talent. In this issue of the Journal, you will read that for some, the community feels in flux as they navigate the rapidly shifting ecosystem born from extraordinary, unprecedented growth. Seattle is on the edge of opportunity once again, like so many times before, over in the left-hand corner.
The centerpiece of this issue is a roundtable hosted by Allison Narver, in which a dozen directors and choreographers wrestle with what has come and what’s possible. Desdemona Chiang, newly elected to the SDC Executive Board and a leader of a new generation of Seattle artists, is developing new work by some of our nation’s best writers of color when she isn’t staging Shakespeare.
You’ll find Portland and Eugene voices included as well. Then dive into the multifaceted, brilliant mind of Kurt Beattie, a joy on any topic, but as guided in an interview by Ted Sod, particularly revealing. Talvin Wilks, while best known today for his work in the Central and Northeast regions, was a Seattle regular. I first experienced the breadth of his brilliance in his collaborations with Ping Chong and when the legendary Seattle Group Theatre produced a shocking production of Tod, the boy, Tod, directed by Timothy Bond.
I spent much of my career in Seattle, and I miss Seattle, the artists I worked with side by side, the organizations they lead, and the audiences who partake. I am excited to learn about
the artists who have emerged over the past decade and am committed to celebrating and shining a light on those who mentor the young and hold the legacy. I sometime notice it’s hard to find someone working regularly around the country who hasn’t passed through Seattle. It’s a great community for nurturing talent. Some stay, some go on, but all carry the influence of the region.
As I write this, I am just five days past the 10th anniversary of my first day of work at SDC. I was caught off guard by the news and taken aback by the kind words and spirited gifts from Board Members and colleagues. I have already made it clear to everyone that I will not be sharing my Pearl Jam nesting dolls with anyone. So this issue, at this time, holds a synchronicity— entirely unplanned—with my anniversary that is not lost on me.
I can still remember vividly how unexpected it was a decade ago to find myself and my family considering leaving a job I loved in a city I loved to help guide the Union into its next 50 years. My career at that point had been built on hard work, good fortune,
and a pretty good eye for an interesting opportunity. But nowhere in my thinking had I ever dreamed I would run the Union that represents stage directors and choreographers. In hindsight, I look back and wonder how much of my experience had actually neatly been leading up to my being at SDC.
Over the course of my professional life, primarily in Seattle (with a few early years in DC), I had been in just the right places at the right time.
Those right moments invariably involved brilliant directors and choreographers. I had had the pleasure of being part of making the work possible for an exceptional group of SDC Members who led or landed in the handful of theatres I had dug into.
I am proud of what we have accomplished together. SDC sits as strong as ever on its founding promises to unite, empower, and protect. I look forward to the hard but exciting work ahead. There is much to be done, including planning for our 60th next spring. I’m happy to be here to be a part of it.
In solidarity,
Laura Penn
Executive Director
P.S. You are all welcome to come visit and play with my Pearl Jam matryoshka dolls anytime!