The Performing Arts Guide Debuts in Seattle

We’re excited to announce in partnership with ArtsFund, and with the support from our sponsor Windermere Midtown Collective, the Performing Arts Guide. In addition to highlighting the upcoming performing arts events in the Greater Seattle Area, this publication is a way for us all to celebrate the return to live performances.

For over 50 years, we at Encore have endeavored to connect arts, culture and community. To bring audiences closer to the performances they love, we began producing our flagship product, Encore arts programs, and we haven’t looked back since. In the five decades we have produced programs, Encore has grown to include a suite of other products including this website, Encore Spotlight, and our new digital program platform, Encore+, which offers our same beloved program in a contactless and mobile-friendly format.

The Performing Arts Guide has been published in print and digital formats as a collaborative effort with arts organizations of all kinds throughout the region, outlining the best of dance, theatre, music and more.

Released at a time when most arts organizations are making their long-awaited return to the stage, the Performing Arts Guide gives audiences a peek into the best of the upcoming season. The guide can be used year-round and will act as a memento for this remarkable year.

The beautifully curated print publication will be mailed to subscribers and patrons of the participating arts organizations this Friday. The digital version is ready and available for everyone to enjoy.   

Seattle Opera’s “La Bohème” is a Touching Spectacle for McCaw Hall’s Returning Audiences

Before the curtains rose, they already glistened. As the largely AARP card-valid audience buzzed with excitement, I immediately felt out of place: as an opera virgin with an aversion to high art, I was unsure whether I would enjoy a supposed masterpiece in a form known for its formality. However, despite the libretto’s many flaws, Seattle Opera’s sensational vocalists and sweeping scenic design immersed me in the world of La Bohème, dazzling, delighting, and boring me along the way.

All seven principal performers were thoroughly impressive, though I found myself particularly enamored by Kang Wang’s (Rodolfo) soaring falsettone. While his co-star Keri Alkema’s (Mimì) voice was also strong, it didn’t modulate throughout the course of the show, resulting in her arc feeling underdeveloped. This incited my sour reaction to the ending, in which I (spoiler alert) anxiously awaited her death. Nonetheless, the relatively small ensemble filled the space with Giacomo Puccini’s score, a feat worth celebrating.

I was equally enchanted by the stunning scenery and cleverly integrated lighting—the two worked together to brilliantly recreate natural light via pseudo-windows within the set, producing a sense of depth I’ve seldom seen in theatre. Despite the sheer beauty of these visual elements, they detracted from the artistry and intimacy of the piece—no matter how gorgeous a stage picture is, theatricality should enhance the story or else it distracts from it.

The show follows four struggling artists (Rodolfo, Marcello, Colline, Schaunard) as they navigate lovers (Mimì and Musetta), landlords (Benoît), and tuberculosis. The show’s overly sentimental tone didn’t feel authentic considering the characters’ circumstances. I’d argue this was due to the libretto’s focus on rushed romanticism—for instance, Rudolfo and Mimì meet and proclaim their love for one another in the same scene. Meanwhile, the repetitive nature of Puccini’s score was emotionally numbing, creating a disconnect between the characters and audience. If the show took more time with the plot but moved at a slightly faster pace emotionally, I believe it would’ve strengthened my engagement with the characters.

The Seattle Opera chorus walks among the …stunning scenery and cleverly integrated lighting.” Photo by Philip Newton.

As I navigated a sea of gray hair at intermission, I was curious as to why so many older consumers of art are drawn to a story about the struggles of young adults. I believe this is due to the show’s nostalgic value and absence of irreverence. Even as a teenager, watching the experiences of those younger than me in life and art returns me to a glamorized version of those times. In La Bohème, this is supported by a goofily innocent sense of humor.

However, the show’s exaggerated situational comedy reminded me of a cartoon, which I found peculiar considering the vastly different social contexts and conventions for the art forms—perhaps high and low art are more similar than we’d like to admit and one medium shouldn’t be viewed as more important than the other. Likewise, we should avoid the societal expectation that opera is solely for older or more sophisticated arts consumers—it is a medium that can be appreciated and enjoyed by all ages, so it should be treated as such.

While I believe Rent, a modern adaptation of the show, is a more energetic and relatable portrayal of love, loss, and the pursuit of a creative life, La Bohème’s innocent humor and focus on romanticism successfully presents the story with an undertone of warmth. It’s difficult to determine whether I enjoyed the piece or simply appreciated it, but it’s a spectacle to be reckoned with and a worthy experience nonetheless. In addition, the theme of losing loved ones is more relevant than ever as COVID-19 continues to take lives every day.

In school, we’re asked whether we’re passionate about science or the arts as if the two compete. However, before the show, the artists thanked scientists for helping performing arts return in-person via the COVID-19 vaccines. This demonstrates that the two aren’t mutually exclusive: science allows us to exist; art allows us to live.

La Bohème runs at McCaw Hall through October 30. Tickets are available for purchase online.

Kyle Gerstel is a 14-year-old theatre geek who couldn’t be happier to have found TeenTix in 2020. He’s currently directing an entirely youth-driven production of The Laramie Project and assistant directing a local production of Metamorphoses. When not writing articles for the TeenTix Newsroom, you can find him performing in Youth Theatre Northwest productions, writing comedy songs, or obsessing over Bo Burnham.

This article was written on special assignment for Encore Spotlight through the TeenTix Press Corps, a program that promotes critical thinking, communication and information literacy through criticism and journalism practice for teens. TeenTix is a youth empowerment and arts access nonprofit. 

Theater of Possibility Makes the Original Musical “Abraham’s Land” Available on Demand

Abraham’s Land, an original musical with words by playwright Lauren Goldman Marshall and music by Pulitzer-nominated composer Roger Ames, is now available on demand for audiences to enjoy from home. Now through October 31, you can purchase tickets to view the edited livestreamed performance provided by Theater of Possibility.

Don’t miss your chance to see the musical that audience members are saying is “…a true work of (he)art and soul” (Coni Pursley) and “…so very timely, not to mention beautiful” (Gail vonHahmann). Abraham’s Land follows an Israeli soldier, Sergeant Yitzhak, during the Israeli occupation of Palestine and the First Intifada. After Yitzhak fatally shoots a Palestinian, Ismail, who he believed to be a threat, he discovers Ismail was an unarmed demonstrator. Filled with guilt, Yitzhak travels to Gaza to ask for forgiveness from Ismail’s family. Yitzhak disguises himself as a Palestinian for his journey, experiencing the humanity of the Palestinians and coming to terms with his own.  

This musical about humanity and forgiveness had its world premiere at Kirkland Performance Center July 15–18, 2021 as the first live theatre production to open after COVID-19 restrictions allowed in Washington state. The performances were also livestreamed to audiences in 37 states and across six countries.

The musical began its production history 30 years ago as a Jewish-Arab collaboration between writer Lauren Goldman Marshall, composer David Nafissian and director Hanna Eady. In 1999 the script was further developed at Seeds of Peace International Camp by Marshall with the help of Israeli and Palestinian teens. Abraham’s Land was workshopped at Village Theatre and Nautilus Music-Theatre in Minneapolis-Saint Paul.

The edited livestream will be available for on demand purchase through October 31. Tickets are pay-what-you-can, ranging from $1 to $100, with a suggested purchase price of $25. Abraham’s Land was produced by Theater of Possibility and Abraham’s Land Musical, LLC.

View a song from the live performance:

Excerpt from “My Very First Orange,” a song from the Theater of Possibility’s production of Abraham’s Land.

San Francisco Opera Will Livestream Performances of “Fidelio” for $25

San Francisco Opera is bringing the drama and energy of live opera directly to audiences’ living rooms with a livestream of Beethoven’s Fidelio for three performances.

While live performances have returned to the stage and audiences are welcomed back to the seats, the digital performances that we have come to know in the past year and a half are not disappearing altogether. Arts organizations like SF Opera are ensuring their patrons can view performances in any way they feel comfortable, whether that be at the War Memorial Opera House or at home, by making their upcoming production of Fidelio available to livestream for just $25.

The performances on October 14, 17 and 20 will be available to livestream on desktop, mobile or tablet devices. As the performance will be livestreamed, audiences will not be able to pause, stop, rewind, or watch on demand—it truly will be a live performance, with all the thrill that comes with one.

Ludwig Van Beethoven’s only operatells the story of a woman who disguises herself as a young man to infiltrate the prison where her husband is being kept by a political rival. Fidelio boasts a strong female lead and plenty of excitement. This brand-new production by director Matthew Ozawa brings the 19th-century opera into the modern era with a staging reflecting 21st-century incarceration.

So starting popping the popcorn, put on your slippers, and pick the comfiest spot on the couch to settle in for a night at the opera, at home.

San Francisco Opera’s Fidelio will run October 14–30, 2021 at the War Memorial Opera House. The livestream will be available for the performances on October 14, 17 and 20.

Forums at TownHall Seattle Will Give Candidates a Platform to Share Their Cultural Plans for the Region

Two candidates’ forums hosted by Inspire Washington will provide general election contenders the opportunity to outline their plans for restoring, supporting and expanding the region’s cultural arts, heritage, and natural science fields. 

Broadcasting from TownHall Seattle, the Seattle Cultural Candidate Forum will be held on October 4 at 7 p.m., for a livestreamed audience and will feature Seattle Mayoral Candidates M. Lorena González and Bruce Harrell, City Council Candidates Teresa Mosqueda, Kenneth Wilson, Nikkita Oliver and Sara Nelson. Seattle School Board candidates will also answer questions from the event’s two moderators, Marcie Sillman and Vivian Phillips.

Questions for the candidates were prepared by a diverse array of cultural leaders to focus on specific needs and areas for growth. The forum will feature performances from local artists between moderated sessions with the candidates.

“Washington’s arts and cultural sector has been pummeled by the pandemic yet remains a critical engine for our economy and the catalyst for reconnecting communities after more than a year of social distancing mandates,” Manny Cawaling, Executive Director of Inspire Washington said. “Here in King County, there are hundreds of cultural organizations doing exemplary work to withstand the mandated closures and restrictions brought about by COVID-19 and assist the artists who make this region such a vibrant place to live. Beyond economic statistics, our programming nurtures growth and strengthens communities. We make a difference and communities are counting on us to restore programming. We are excited to host these forums for voters to gain new insights and to challenge every candidate to be a cultural champion.”

The King County Cultural Candidate Forum will be held on October 12, 7 p.m., to a livestreamed audience and will feature King County Executive Candidates Dow Constantine and Joe Nguyen, County Council District 1 Candidates Rod Dembowski and Sally Caverzan, District 3 Candidates Kathy Lambert and Sarah Perry, District 5 Candidate Dave Upthegrove and Shukri Olow, and District 9 Candidates Reagan Dunn and Kim Khanh Van. The County Candidate Forum will be moderated by Janell Johnson.

This is a critical moment for the cultural sector. Now more than ever, we need champions in order to recover and thrive. Take this opportunity to get involved and share with your friends and be sure to “attend” the livestreams!

Both livestreams are free and available to all. You can RSVP here.    

SF Symphony Makes Access to Their Video Streaming Service, SFSymphony+, Free for All

San Francisco Symphony has announced that their digital programming platform, SFSymphony+, will now be available to all people without a subscription. The platform includes a myriad of performances, special programs and more.

SFSymphony+ was launched in February 2021 and offers viewers the ability to stream content from their home or on the go. Highlights of the 2021/22 digital season include two signature projects led by Music Director Esa-Pekka Salonen—LIGETI: PARADIGMS, created in partnership with renowned media artist Refik Anadol and SF Symphony Collaborative Partner and roboticist Carol Reiley, and a new direct-to-digital staged production of Igor Stravinsky’s The Soldier’s Tale, directed by Netia Jones.

Three new programs released yesterday on SFSymphony+ include SoundBox: Delirium, curated by pianist Jeremy Denk; CURRENTS: Niji (Rainbow), curated by koto master Shirley Kazuyo Muramoto; and Robert Schumann’s Symphony No. 3, Rhenish, conducted by Esa-Pekka Salonen.

Additional digital projects to be released on SF Symphony+ throughout the season include a variety of orchestral performances and chamber music with San Francisco Symphony musicians and guest artists.

SFSymphony+ is available for free browser-based streaming worldwide on, via TV services including Apple TV, Amazon FireTV, Chromecast, Roku, and smart TVs, and can be downloaded as an app via Apple App StoreAmazon FirestickGoogle Play – Android, and Google Play – TV.

Vaccination and Mask Requirements at Performing Arts Venues in the San Francisco Bay Area

As we prepare to return to live performance, we will help keep you updated with requirements from arts organizations on vaccination status and masking. Be sure to find full information on each organization’s website before attending a performance.


All ticketholders 12 years of age or older are required to show proof of full COVID vaccination for entry into the Orpheum Theatre. “Fully vaccinated” means that a ticketholder’s performance is at least 14 days after their final vaccine dose. Proof of a negative COVID PCR test taken within 72 hours of performance will no longer be accepted for patrons who purchased tickets after August 12, with the exception of children under the age of 12. Children under 12 will continue to be required to show the negative test results of a PCR test taken within 72 hours of performance. Children under 5 are not admitted. All patrons are required to wear masks inside the theatre at all times (except when consuming food or beverage in the lobby or auditorium). Prolonged periods of mask removal are not permitted for eating or drinking—masks must be worn between bites and sips. See full protocols.

California Shakespeare Theater

Everyone who comes to the Bruns—including audiences, staff, artists, and crew—will need to bring proof of vaccination (a vaccination card/photo of vaccination card, or a Digital Vaccine Record; and your ID) or a negative COVID-19 PCR result from a test taken within 72 hours before entering the grounds. People are considered fully vaccinated 14 days after the second dose of a two-dose COVID-19 vaccine, or 14 days after a single-dose vaccine. A Cal Shakes staff member will verify your documents at the front gate. If you do not bring your documents with you, you will not be granted admittance to the grounds.

Masks are required when not actively eating and drinking. See full protocols.

San Francisco Opera

Per San Francisco city guidelines, San Francisco Opera will require all patrons ages of 12 and older to show proof of vaccination to attend performances at the War Memorial Opera House and the Diane B. Wilsey Center for Opera, along with a photo ID.

If you plan to attend a performance with a child under the age of 12, please call the Box Office at (415) 864-3330 to discuss seating and safety options. Please note the operas SF Opera is presenting this season are most appropriate for children ages 12 and up. See full protocols.

San Francisco Symphony

The San Francisco Symphony requires proof of full vaccination against COVID-19 for everyone ages 12 and up entering Davies Symphony Hall. Audience members under age 12 must show proof of a negative COVID-19 (PCR test taken within 72 hours of the event or antigen [rapid] test taken within 24 hours of the event). These protocols are in accordance with policies enacted by the City and County of San Francisco and follow the advice of the San Francisco Symphony Health & Safety Task Force.

Full vaccination is defined as completion of the two-dose regimen of Pfizer or Moderna vaccines or one dose of Johnson & Johnson vaccine administered two weeks or more in advance of the concert. A negative COVID-19 test must be taken not more than 72 hours before the concert. See full protocols.

Stanford Live

For outdoor shows at Frost Amphitheater, masks are required for unvaccinated patrons, and optional for fully vaccinated patrons. In accordance with Santa Clara County Public Health, masks are encouraged to be worn by all at crowded outdoor events. For indoor shows at Bing Concert Hall, masks are required to be worn by all patrons. Please bring your own face coverings that cover your nose and mouth and wear them at all times. Masks with valves will not be allowed. If you are eating, please cover your face between bites and sips.

All visitors coming to an indoor performance at Stanford Live (Bing Concert Hall, Bing Studio, Memorial Auditorium, Memorial Church) must meet at least one of two criteria: be fully vaccinated against COVID-19 OR receive a negative PCR COVID-19 test within 72 hours prior to arrival onsite. To show proof of vaccination, you must bring a photo ID plus one of the following: vaccine card or a photo of your vaccine card PR digital COVID-19 vaccine record using the My Vaccine record App. See full protocols.


Every individual must show proof that they are fully vaccinated at the time of their entry into the building, along with a matching photo ID. You may present a physical vaccination card; a clear, legible photo of your vaccination card; or a digital vaccine record. California residents may obtain a digital vaccine record at

“Fully vaccinated” means that it has been 14 days since your second dose of a WHO or FDA-approved two-dose vaccine (e.g. the Pfizer/BioNTech or Moderna vaccine), or 14 days since your sole dose of a WHO or FDA-approved single-dose vaccine (e.g. the Johnson & Johnson/Janssen vaccine). If you or a member of your party are legally exempted from being vaccinated, you must reach out to the TheatreWorks Box Office at 650.463.1960 or as early as possible prior to your performance date to alert us (four days before your performance is the final cutoff), as you might be permitted to provide a negative COVID test as an alternative to proof of vaccination. See full protocols.

Vaccination and Mask Requirements at Performing Arts Venues in Seattle

As we prepare to return to live performance, we will help keep you updated with requirements from arts organizations on vaccination status and masking. Be sure to find full information on each organization’s website before attending a performance.

The 5th Avenue Theatre

Starting on January 12, 2022, the first performance date of the 2021/22 Season, The 5th Avenue Theatre will require proof of COVID-19 vaccination for all audience members or proof of a negative COVID-19 test for exempted persons. Masks will also be required for audiences inside the theater, except while eating or drinking in designated locations.

Children under 12 and people with a medical condition or closely held religious belief that prevents vaccination must provide proof of a negative COVID-19 PCR test taken within 48 hours of the performance start time, or a negative COVID-19 antigen test taken within 6 hours of the performance start time. The 5th Avenue Theatre welcomes guests ages 4 and up. See full protocols.

ACT Theatre

ACT Theatre will rigorously follow all health and safety guidelines as identified by the CDC, regional government entities and our union partners regarding COVID-19 protocols including vaccination status, masks and cleaning procedures to ensure the safety of our audience, artists, production crew and staff.

All of the shows have flexible ticket exchange and refund policies. If you or any of your party feel unwell, feels uncomfortable attending a performance for any reason or needs to self-isolate, you can request to exchange your tickets free of charge for another performance, receive a gift-certificate voucher equal to the face value of your ticket, donate the value of your ticket back to ACT or initiate a refund up to 4 hours before your scheduled performance. See full protocols.

Book-It Repertory Theatre

For entry to any and all performances at The Center Theatre at Seattle Center, patrons, artists, and staff will need to wear a mask and provide proof of vaccination (in a clear and legible format) or negative COVID-19 test (PCR within 48 hours or antigen within 24 hours. Please, do not attend your scheduled performance if anyone living in your household, or to whom you have regular exposure, is awaiting a COVID test within your 48- or 24-hour test period.) There will be no separate sections for vaccinated/unvaccinated patrons. See full protocols.  

Pacific Northwest Ballet

Upon entering McCaw Hall, all PNB patrons will be required to provide proof of vaccination OR a negative COVID-19 test, a valid ticket to the performance and photo ID.

Masks will be required inside McCaw Hall lobby spaces and in the auditorium for the foreseeable future. Additional safety measures include upgrading all of McCaw Hall’s HVAC filters to top-of-the-line MERV 13 filters and running 100% fresh air circulation for all events. All events will at a minimum follow State and CDC guidelines for large indoor events. In-person capacity may be limited and social distancing may be required. See full protocols.

Seattle Opera

When attending a Seattle Opera event, patrons will need to provide proof of COVID-19 vaccination (or proof of a negative COVID-19 test for exempted persons) for all public events at McCaw Hall and the Opera Center. As previously announced, masks are required except for when eating or drinking in designated areas. 

Children under 12 and people with a medical condition or closely held religious belief that prevents vaccination must provide proof of a negative COVID-19 PCR test taken within 48 hours of the performance start time. A negative COVID-19 antigen test taken within 12 hours of the performance start time is also acceptable. Opera Center programs designed for youth will not require vaccination.

Vaccination and masking requirements will likely remain in place for the upcoming season. Seattle Opera will review these policies on an ongoing basis. Relaxing certain measures may be possible when recommended by health officials or when COVID case counts allow. All Seattle Opera staff have been vaccinated. See full protocols.

Seattle Rep

Seattle Rep will require masks and vaccinations or a negative COVID-19 test for all attendees to its performances in order to ensure a safe and successful return of the Seattle arts scene.

Children younger than 12 years and individuals with a medical condition or closely held religious belief preventing vaccination can instead provide proof of a negative COVID-19 PCR test taken within 72 hours of the performance start time, or a negative COVID-19 antigen test taken within 24 hours of the performance start time. Self-reported negative test results that are not from a test provider, a laboratory, or a health care provider cannot be accepted. Masks will be required for all attendees at all times in the venue, except while actively eating or drinking.

Seattle Rep is planning to sell all performances at regular seating capacity, but if health and safety guidelines change there is the possibility of capacity restrictions becoming necessary. If so, it is possible that ticketholders will be reseated. See full protocols.

Seattle Symphony

Benaroya Hall will require proof of full vaccinations for all performances. Children younger than 12 years and individuals with a medical condition or closely held religious belief preventing vaccination can instead provide proof of a negative COVID-19 test. Masks will also be required at all times for all attendees regardless of vaccination status.

Benaroya Hall staff will check for proof of vaccination and negative COVID-19 tests at the doors as a condition of entry. Those without documentation will not be admitted to the performance. See full protocols.

Seattle Theatre Group and Broadway at The Paramount

STG requires proof of vaccination for entry to all performances at the Paramount, Moore and Neptune Theatres. Only children under 12, and people with a medical condition or sincerely held religious belief that prevents vaccination, may attend without proof of vaccination. Individuals who meet those criteria must provide proof of a negative COVID-19 PCR test taken within 48 hours of the performance start time. Additionally, masking is required inside the venue. Patrons and employees will be required to wear masks, except while actively eating or drinking. See full protocols.

Village Theatre

Village Theatre will require masks and vaccinations or a negative COVID-19 test for all attendees to its performances in order to ensure a safe and successful return of the greater Seattle area arts scene. Village Theatre anticipates vaccination and masking provisions to remain in place for the foreseeable future and expects to review these policies on an ongoing basis, evolving them as need be.

Children younger than 12 years, individuals with a medical condition, or individuals with a closely held religious belief preventing vaccination can instead provide proof of a negative COVID-19 PCR test taken within 72 hours of the performance start time or a negative COVID-19 antigen test taken within 24 hours of the performance start time. Self-reported negative test results that are not from a test provider, a laboratory, or a health care provider cannot be accepted. See full protocols.

Intiman Theatre Celebrates Move to Capitol Hill With Outdoor Arts Festival

Intiman Theatre is inviting Seattle to join in and celebrate the return of the live arts in a safe, outdoor setting at HOMECOMING Performing Arts Festival on September 18 and 19 in front of the Erickson Theatre on Harvard Avenue between Pike and Pine.

The festival will feature a full block of outdoor entertainment including vendors, food trucks, artist installations, a beer garden presented with Life on Mars, and over 100 artists performing on the mainstage.

Festival headliners include Ahamefule J. Oluo, BeautyBoiz, and dani tirrell + friends. There will be programming from Café Racer, LANGSTON, Red Eagle Soaring, Velocity Dance Center and more. barry johnson will unveil a new 24’ mural as the backdrop for the stage.

Each day will open with children’s entertainment from South End Stories, followed by live bands, dance, stand-up comedy curated by Emmett Montgomery, drag, burlesque, DJ sets and more. The Filthy FemmeCorps marching band will perform on Sunday. On Saturday, Intiman is teaming up with BECU to present the “Angels in Seattle” awards, recognizing five local arts heroes with $1,000 prizes.

Additional artists performing include: Aishé Keita, AJ Suede, Archie, Arson Nicki, Betty Wetter, Bonnet Black, Bosco, Bread Pilot, Burl Dirkman, CarLarans, Charlie Cash, Cherdonna Shinatra, David Rue, El Sánchez, Erin Ingle, Fairygawdzad, marco farroni, House of Noir, LüChi, Markeith Wiley, Moonyeka, Nia-Amina Minor, Tinashea Monét, Waxie Moon and many more.

The artist lineup is different each day. Full festival passes and single day tickets are now available, ranging from $5–105. A limited number of FREE FOR EVERYONE tickets will be available at the box office on the day of the festival.

HOMECOMING Performing Arts Festival will take place at Harvard Avenue between Pike and Pine (entrance near 801 E Pine St. 98122) on September 18 and 19, 2021 (Saturday: 11am-10pm / Sunday: 11am-9pm). Tickets are available for purchase online.

New Podcast From Seattle Shakespeare Focuses on POC Artists’ Relationships With Shakespeare’s Works

“Under This Light—A Revelation of Shakespeare and Self” is a new podcast series that gathers locally and nationally recognized POC theatre professionals for a conversation about their relationship with Shakespeare and the classics. Each episode in this new, biweekly series explores the guest artist’s background and career to uncover personal triumphs, current struggles, and future ambitions while revealing what Shakespeare means to them.

“‘Under This Light’ is a much-needed conversation between POC artists which directly addresses issues we currently face within our community and our creative work,” says series host Lamar Legend. “We’ll wrestle with Shakespeare’s stories, his problematic text, and where our joy can fit within them. My hope is that, in listening to the broad array of backgrounds and experiences from our guests, listeners may see themselves and their own journeys reflected; perhaps, learn something new; and are emboldened to deepen their relationship with The Bard.”

The “Under This Light” podcast series is an extension of Seattle Shakespeare Company’s mission to help to make classical plays relevant to the ongoing human conversation and open ways of thinking about and viewing Shakespeare through a new lens. It helps connect people to the classics who think it might not be for them and provide a different perspective to patrons who already have a familiarity with the classics.

The project team for the series includes Seattle Shakespeare Company’s Diversity Programming Coordinator Lamar Legend (Host/Producer) and Stephon Dorsey (Sound Engineer/Composer).

The series appears on Seattle Shakespeare Company’s Rough Magic podcast, and is available on Apple Podcasts, Spotify, and wherever podcasts are available. More information about the podcast series can be found on Seattle Shakespeare Company’s website.