Yesterday SIFF announced that Andrew L. Haines will take
over the role of executive director in January as Amy Fulford steps down from
serving as interim executive director. Fulford served as interim since last
March when former Executive Director Sarah Wilke stepped down.
Haines will come to SIFF after serving as director of marketing and communications at Seattle Rep since 2015, where he was also on the leadership team. Haines was responsible for all promotion and communication of Seattle Rep’s artistic programming and core values. He oversaw the marketing, communications, business operations and patron experience departments. Through his leadership, Seattle Rep increased subscriptions by 45 percent over three years.
Before his role at Seattle Rep, Haines held multiple positions
in sales including executive director of the National Group Sales Division, in
which he was responsible for more than $32 million in annual ticket sales.
Haines showed excitement about his new role saying, “I am honored to join SIFF, one of the preeminent film organizations in North America, as the next executive director. This is an exciting time for SIFF, and I look forward to collaborating with the staff and board to advance the mission, expand audiences, and deepen engagement within the community.”
As executive director, Haines will have the opportunity to share his experience in sales and engagement as the Seattle International Film Festival celebrates its 46th year in 2020, in addition to overseeing the year-round cinema and education programs. A fact that SIFF’s team is enthusiastic about. “I’m looking forward to working with and learning from Andrew, who brings a wealth of experience to SIFF,” said Beth Barrett, SIFF’s artistic director. “We are so pleased to have a leader who has exciting new ideas about audience engagement and enhancing our ability to deliver our mission.”
Historic Seattle, who spearheaded the successful campaign to
name The Showbox a City of Seattle Landmark, announced that they have submitted
a formal offer to purchase The Showbox with the help of Seattle Theatre Group
(STG), the non-profit organization that operates The Paramount, Moore and
“Historic preservation is not solely about protecting a
physical building, it’s about preserving the nature of what happens within it,”
said Ricardo Frazer, board chair of STG.
“That is why we are compelled to stand beside Historic Seattle in this effort.
In an era when the redevelopment of cultural space is far too common, we fear
what the loss of this iconic venue would mean to our region.”
When it was announced in July 2018 that the 80-year-old venue
would be demolished and the property redeveloped into apartments, there was a
loud outcry from the Seattle community. A temporary ordinance by the Seattle
City Council blocked development by placing The Showbox within the Pike
Place Market Historical District and the developer dropped out.
After a King County Superior Court judge overturned the
ordinance, a settlement between the city and the owner of The Showbox, Roger
Forbes, was struck. Part of this deal ensured that the city would have first
right to purchase The Showbox at Forbes’ asking price.
The partnership between Historic Seattle and STG includes an offer to purchase the venue, as well as advocating for “controls” to be placed to protect The Showbox in case they are unable to purchase, and the venue goes to another buyer. These controls would protect certain character-defying elements of the venue from being destroyed.
“As we continue our due diligence and look forward to the
opportunity to negotiate with the property’s owner, Historic Seattle will not
back down in our fight to protect The Showbox. Landmarks deserve protection,”
said Eugenia Woo, director of preservation services at Historic Seattle.
These discussions will take place at the public meeting of the Landmarks Preservation Board on December 18. Historic Seattle asks people to come and support and submit comments. More can be learned on Historic Seattle’s website.
An all new way to experience your favorite professional
opera singers in an intimate setting is coming in the new year.
To say Seattle Opera has
had a big year would be an understatement. From moving to their beautiful new
home at the Opera Center, to appointing a new general director, Christina
Scheppelmann, 2019 has been a whirlwind of change. And it looks like 2020 will
be just as evolutionary for the opera.
Beginning in January 2020, Seattle Opera will offer an
artist recital series which will provide audiences up close and personal performances
by Seattle Opera’s mainstage singers. Taking place in the stunning Tagney Jones
Hall, the singers will perform opera favorites, popular music, musical theatre
classics and more.
Providing an opportunity for singers to showcase their
creativity, and for audiences to experience a different avenue to opera, is
exactly the drive behind the Opera Center. This is just one fantastic event
that Seattle Opera provides to invite the community in; others can be seen on
Information for the two recitals can be seen below.
Mezzo-soprano Melody Wilson takes a break from debut
performances in Eugene
Onegin to show off her creative range with an eclectic program of
art songs. Alongside Berlioz’s iconic, shimmering cycle Les nuits
d’été (Summer Nights), rising opera star Wilson will showcase
Catalan composer Xavier Montsalvatge’s playful Cinco canciones
negras (Five Black Songs).
Before taking the stage as Addie in Charlie
Parker’s Yardbird, world-renowned soprano Angela Brown presents a
unique recital in Tagney Jones Hall. This concert features musical settings of
poetry and prose by American literary legends Toni Morrison, Maya Angelou, and
Mari Evans. Through music, Brown will take the audience on an intimate journey
through the lives of these three luminaries and her own, describing her
relationship with each writer and how they helped to shape her life and singing
Tickets are available now and can be purchased on Seattle
After 50 years of
leadership by Founder Robert Kelley, TheatreWorks Silicon Valley has chosen a
new artistic director in Tim Bond. The announcement comes after Kelley
announced his retirement in May 2017.
Tim Bond will come
from a tenure professorship at the University of Washington’s School of Drama,
where he was the Head of the Professional Actor Training Program for the past
Bond began his career with Seattle Group Theatre in 1984, where he progressed to artistic director in 1991, an office he held until 1996. Much like his predecessor, Bond spent much of his time directing West Coast and World Premieres.
“Tim is a highly respected, nationally-known director and educator, and has the open-hearted personal qualities, integrity, and values that TheatreWorks has always treasured…I am thrilled that TheatreWorks has found one of the country’s most prominent arts leaders, and I’m confident that Tim will lead the company boldly into its next half-century.”
From 1996–2007 Bond
was an associate artistic director at Oregon Shakespeare Festival where, in
addition to directing, he focused his energy on promoting equity and inclusion
throughout the company. During his time here he also created the FAIR (Fellowships,
Assistantships, Internships, Residencies) program, which strives to achieve
equity within the company by creating opportunities for the next generation of
Before his current
position at UW, Bond was the producing artistic director at Syracuse Stage and
the Syracuse University Department of Drama from 2007–2016. During this time
Bond produced over 100 shows and promoted partnerships between his company and
other regional theatres.
Tim Bond comes to TheatreWorks well-versed in directing, producing and cultivating new plays and musicals. His devotion to equity and diversity within theatre artists and administrators can be charted throughout his career. As Robert Kelley stated, “I can’t wait for the chance to introduce Tim Bond to all of you who have supported the art of TheatreWorks for so long. We are, dear friends, in the very best of hands.”
Before taking his
new position, Tim Bond will be directing Cabaret at the University of
Washington as well as The
Rep, this February.
Stanford Live has added 10 more performances to their 2019-20 Season. Tickets will be available to the public on November 15, 2019. Check out all the great performers, artists and writers coming in the winter and spring of 2020.
A crowd favorite at NYC’s famous piano bar, Marie’s Crisis, Brandon James Gwinn is a singer-pianist, composer-lyricist, and producer lauded as “one hell of an entertainer” by the Bistro Awards. For one night only, Gwinn is bringing his unforgettable piano bar experience to the Bing Studio.
Praised for her captivating stage presence and performances that are technically and musically masterful, Hanzhi Wang is the only accordionist to ever win a place on the roster of Young Concert Artists.
Academy Award, Golden Globe, Emmy and Grammy-winning artist, actor, and activist, Common continues to break down barriers with a multitude of critically acclaimed, diverse roles, and continued success at the box office. Let Love Have the Last Word shares Common’s own unique, personal stories of the people and experiences that have led to a greater understanding of love and all it has to offer.
Colin Quinn is a stand-up comedian from Brooklyn (okay, Park Slope). From MTV’s Remote Control to SNL to Comedy Central’s Tough Crowd with Colin Quinn, Mr. Quinn is not one to take a hint and bow out gracefully.
Gladys “Bobi” Céspedes has been at the forefront of representing and promoting Cuban music in the Bay Area and the United States for over 40 years. On her new album, Mujer Y Cantante, Bobi Céspedes thrills us with her prowess as woman and singer.
As a result of their beginnings, Rodríguez and Martinez share a natural chemistry that makes for a galvanizing musical experience when they come together. Their first duo outing, Duologue, finds the pair exploring a range of moods and influences, from Cuban classics to collaborative original compositions to a number of unexpected favorites.
The Choir of St John’s College, Cambridge is known and loved by millions from its broadcasts, concert tours, and over 90 recordings. Founded in the 1670s, the Choir is known for its rich, warm, and distinctive sound, its expressive interpretations and its ability to sing in a variety of styles.
Halloween is over, Daylight Saving Time has ended, and arts organizations all around the Greater Seattle Area are gearing up for their holiday shows. And just like squirrels preparing for winter hibernation, its time to pick the nut that’s right for you.
When a person is picking out a holiday-centered performance to attend—especially if that person is a resident of Seattle—The Nutcracker is usually one of the most obvious choices. But with multiple renditions of The Nutcracker available to audiences this year, choosing which one to attend may seem overwhelming. To help find the best adaptation for you, we’ve explored three different versions of the beloved tale of the Mouse King and the Nutcracker—The Hip Hop Nutcracker, George Balanchine’s The Nutcracker®and The Hard Nut.
The Hip Hop Nutcracker with MC Kurtis Blow
A holiday mash-up for the whole family, The Hip Hop
Nutcracker is back and better than ever. Directed and choreographed by
Jennifer Weber, The Hip Hop Nutcracker is a contemporary dance
spectacle set to Tchaikovsky’s timeless music. A unique and joyful event, this
evening-length production is performed by a supercharged cast of a dozen
all-star dancers, a DJ, a violinist and MC Kurtis Blow, one of hip hop’s
founding fathers, who opens the show with a short set.
Through this re-mixed and re-imagined version of the classic,
the dynamic performers of The Hip Hop Nutcracker take us on a
journey that celebrates love, community and the magic of the holiday season.
This one is for you if…
…you love Tchaikovsky’s score, but wouldn’t mind having a few new remixes and beats mixed in to change things up.
…you want to experience a refreshed storyline with updated dance (all manner of hip hop), settings (New York City), and costumes (contemporary clothes), but with the fantastic music and cheerful holiday feeling you know and love.
Northwest Ballet’s best-selling holiday classic, The Nutcracker is
a fantastical combination of Ian Falconer’s unique design, Tchaikovsky’s
beloved score, and the entire Company in show-stopping roles. A memory making
tradition for generations of families and friends, Nutcracker fun
includes McCaw Hall gloriously decked-out for the season’s best photo ops.
This one is for you if….
…you haven’t seen the George Balanchine ballet yet. The iconic
Balanchine production replaced the long-running Stowell and Sendak version in
2015 and has been captivating audiences in Seattle each year since.
…you want something good for children or even just for the child in yourself. Opening weekend even includes crafts and dance classes for the little ones.
Celebrating its 28th anniversary, The Hard Nut is a cascade of wit and wintry beauty. It’s a lavish, gender-bent love letter to the classic The Nutcracker. Based on E.T.A. Hoffman’s The Nutcracker and the Mouse King, Mark Morris’ version takes it from the straight-laced 1890s to the swinging 1970s, with raucous parties, dancing G.I. Joes, whimsical costumes, and a “Waltz of the Snowflakes” like no other. Based on the comic book art of Charles Burns and featuring Tchaikovsky’s complete original score, performed by a live orchestra conducted by Colin Fowler, Morris’ lyrical, modern retelling playfully preserves the warm spirit of an essential holiday tradition.
This one is for you if…
…you’re looking for something a bit irreverent, quirky, bold
and a little darker than other Nutcracker interpretations.
…you like modern dance but want to keep the traditional Tchaikovsky score, played by a live orchestra of the MMDG Music Ensemble.
The stellar cast features many TheatreWorks Silicon Valley veterans, as well as many actors who originated the roles in the 2018 TheatreWorks New Works Festival, where this musical was first work-shopped.
TheatreWorks Silicon Valley rings in the holidays with the
new musical Pride and Prejudice, the 2019 Tony-winning company’s 70th
World Premiere. Based on Jane Austen’s iconic novel, this engaging work features
book, music and lyrics by Paul Gordon, whose musicals include TheatreWorks
Austen’s Emma, Daddy
Long Legs, and the Tony-nominated Broadway musical Jane Eyre. Pride
and Prejudice follows delightfully liberated Lizzie Bennet and dashing,
disdainful Mr. Darcy as they discover the irresistible power of love. A
favorite from TheatreWorks’ 2018 New Works Festival, this brand new musical
romantic comedy will be directed by TheatreWorks’ Founding Artistic Director
Mary Mattison (Lizzie Bennet) Mattison has been seen
onstage at the Northern Carolina Theatre and Theatre Raleigh, and in readings
of Clueless, The Musical and Superhero at The Eugene O’Neill
Theatre Center. Her television credits include CBS’s Blue Bloods.
Justin Mortelliti (Mr. Darcy) Mortelliti was seen on
Broadway in Escape to Margaritaville and Off-Broadway in The New Group’s
Clueless, The Musical and The Columbine Project, for which he
received an Artistic Director’s Achievement Award for Best Lead Actor in a
Drama. His regional credits include starring in the original Las Vegas cast of Rock
of Ages and performing at regional theatres including La Jolla Playhouse
and The Wallis Annenberg Center. His film and TV work includes Netflix’s Orange
is the New Black, CBS’s Numb3rs, AMC’s TURN: Washington’s Spies
and Nickelodeon’s Victorious, in addition to performing as the musical
guest for CBS’s The Queen Latifah Show.
Sharon Rietkerk (Jane) Originating the role of Jane
Bennet in the 2018 TheatreWorks New Works Festival, Sharon Rietkerk returns to
TheatreWorks where she won San Francisco Bay Area Critics Circle (SFBATCC)
Award for her performance in Triangle,
a Theatre Bay Area (TBA) award for Marry Me a Little, received a SFBATCC
Award nomination for her performance in The Secret Garden, and was also
seen in Cyrano,
Little Women and the 2015 production of Jane Austen’s Emma. Other
awards include a TBA Award for Born Yesterday at Center REPertory
Company. Rietkerk has also performed onstage at Old Globe Theater, San Jose
Repertory Theatre, 42nd Street Moon and American
Conservatory Theater, in concerts with the San Francisco Symphony and
Chicago Cubs, and was seen in Streaming Musical’s filmed theatrical production
Melissa WolfKlain (Mary) Originating the role of Mary
Bennet in the 2018 TheatreWorks New Works Festival, Melissa WolfKlain returns
to TheatreWorks Silicon Valley where she was nominated for a SFBATCC Award for
her performance in the World Premiere of Tinyard Hill and was seen in
TheatreWorks New Works Festival workshops of Caraboo and Asphalt
Beach. Receiving a 2019 TBA Award nomination for Dames at Sea at
42nd Street Moon, she also won SFBATCC Awards for her performances in Broadway
by the Bay’s Singin’ in the Rain and Crazy for You. Seen in the
national tours of White Christmas and 42nd Street, WolfKlain has
also performed at regional theatres including San Francisco Playhouse, Hillbarn
Theatre and Arizona Repertory Theatre, and her film and TV credits include FOX
TV’s America’s Most Wanted and Lifetime’s The Truth about Jane.
Tara Kostmayer (Lydia) Making her TheatreWorks
Silicon Valley debut, Tara Kostmayer has been seen Off-Broadway in A Chorus
Line at Encores! New York City Center and has performed regionally at
theatres including La Jolla Playhouse.
Chanel Tilghman (Kitty) Making her TheatreWorks
Silicon Valley debut, Chanel Tilghman has been seen in productions at Berkeley
Playhouse and Bay Area Musicals.
Christopher Vettel (Mr. Bennet) Returning to
TheatreWorks Silicon Valley where he was seen in Little Women, Christopher
Vettel plays Mr. Bennet, the patriarch of the Bennet family. Seen in a national
tour of Sunset Boulevard and the 30th Anniversary national tour of Annie,
Vettel has performed in the German company of Really Useful Group’s production
of Sunset Boulevard, the European tour of Cabaret, and Cameron
Mackintosh/JAR production’s Hey, Mr. Producer!. Vettel has also
performed Off-Broadway at New York Musical Festival and Westside Theatre, and
his regional theatre credits include San Jose Repertory Theatre, Barrington
Stage Company, 42nd Street Moon and San Jose Stage Company.
Heather Orth (Mrs. Bennet) Originating the role in
the 2018 TheatreWorks New Works Festival, Heather Orth makes her TheatreWorks
mainstage debut as Mrs. Bennet, the matriarch of the Bennet family. Receiving
2019 TBA Award nominations for her performances in Sweeney Todd at
Hillbarn Theatre, Passion at Custom Made Theatre Company, and Sister
Act at Broadway by the Bay, Orth has won TBA Awards for her performances in
Sister Act at Berkeley Playhouse and The Boys from Syracuse at
42nd Street Moon. Orth has won SFBATCC Awards for her performances in Jesus
Christ Superstar at Ray of Light Theatre and The Secret Garden at
42nd Street Moon, as well as for Chess and Grey Gardens at Custom
Made Theatre Company. Orth has also performed at Feinstein’s at the Nikko and
with Symphony Silicon Valley.
Travis Leland (Mr. Bingley) Seen as Miles Tuck in
last season’s Tuck
Everlasting, Travis Leland returns to TheatreWorks Silicon Valley as
Mr. Bingley, Mr. Darcy’s charming, well-mannered friend. Leland’s other
TheatreWorks credits include the 2017 production of Rags
and the 2015 production of Jane Austen’s Emma. Leland has also performed
at the Geffen Playhouse and the Wallis Annenberg Center.
Monique Hafen Adams (Miss Caroline Bingley) Originating
the roles of Caroline Bingley and Kitty Bennet in the 2018 TheatreWorks New
Works Festival, Monique Hafen Adams makes her TheatreWorks Silicon Valley
mainstage debut as Miss Caroline Bingley, Mr. Bingley’s snooty sister. Also
seen in TheatreWorks New Works Festival workshops of Eric Hermannson’s Soul
and Past, Present, and Future, Adams’s honors include SFBATCC Awards for
She Loves Me, Company, My Fair Lady, and Camelot at
San Francisco Playhouse and The Liar at Center REPertory Company, as
well as a TBA Award for Threepenny Opera at San Jose Stage Company.
Adams has performed at theatres across the Bay Area including American
Conservatory Theater, San Jose Repertory Theatre, Hillbarn Theatre and Pear
Taylor Crousore (Mr. Wickham) Making his TheatreWorks
Silicon Valley debut, Taylor Crousore plays Mr. Wickham, a handsome soldier who
catches the eye of the Bennet sisters. Crousore’s Off-Broadway credits include
A Musical About Star Wars, NEWSical the Musical and Forbidden Broadway.
He has also performed in The Public Theater’s Under the Radar Festival and at
Carnegie Hall and trained with the Upright Citizens Brigade.
Dani Marcus (Charlotte Lucas) Originating the role in
the 2018 TheatreWorks Festival, Dani Marcus returns to TheatreWorks Silicon
Valley as Charlotte Lucas, a friend of Lizzie Bennet. Playing Harriet Smith in
TheatreWorks Silicon Valley’s 2007 World Premiere production of Jane
Austen’s Emma, Marcus reprised the role in productions of the musical
across the country at The Old Globe, Cincinnati Playhouse in the Park,
Repertory Theatre of St. Louis, and in Streaming Musical’s filmed theatrical
production. Marcus was seen in the national tour of A Gentleman’s Guide to
Love and Murder and her New York theatre credits include performances at
National Yiddish Theatre and New York Musical Festival. Marcus won a SFBATCC
Award for her performance in Beggar’s Holiday at Marin Theatre Company
and appeared in TheatreWorks Silicon Valley’s 2003 production of A Little
Night Music. She has also performed at regional theatres including San Jose
Repertory Theatre, Center REPertory Company and Broadway by the Bay. Marcus was
seen in FX Network’s Lucky and her voice can be heard in Pokémon: The
Dragon Master’s Path and Pokémon: Keeping in Top Forme.
Brian Herndon (Mr. Collins) Originating the role in
the 2018 TheatreWorks New Works Festival, Brian Herndon returns to TheatreWorks
Silicon Valley as Mr. Collins, a pompous clergyman. Playing Mr. Elton in
TheatreWorks Silicon Valley’s 2007 and 2015 productions of Jane Austen’s Emma,
Herndon reprised the role in productions of the musical across the country at
The Old Globe, Cincinnati Playhouse in the Park, Repertory Theatre of St.
Louis, Arizona Theatre Company, and in Streaming Musical’s filmed theatrical
production. Herndon has appeared in many TheatreWorks Silicon Valley
productions including Rags, Being Earnest, The Elephant Man,
The Learned Ladies of Park Avenue and the World Premiere of A Little
Princess. Other theatre credits include performances at Marin Theatre
Company, San Francisco Playhouse, Aurora Theatre Company, Center REPertory
Company, 42nd Street Moon, Berkeley Playhouse and Shotgun Players.
Lucinda Hitchcock Cone (Lady Catherine de Bourgh) Originating
the role in the 2018 TheatreWorks New Works Festival, Lucinda Hitchcock Cone
returns to TheatreWorks as Lady Catherine de Bourgh, an imposing noblewoman who
is Mr. Darcy’s aunt. Cone returns to TheatreWorks Silicon Valley where she was
most recently seen in last season’s Tuck Everlasting, in addition to
appearing in Outside
Mullingar, Ragtime and Cabaret. Cone has also performed
in the National Tour of Big River and regionally at American
Conservatory Theater, Berkeley
Repertory Theatre, Marin Theatre Company, Hartford Stage, The Repertory
Theatre of St. Louis, Indiana Repertory Theatre, Portland Stage Company, San
Jose Repertory Theatre and others. Cone has won SFBATCC Awards for her
performances in River’s End and Lips Together Teeth Apart at
Marin Theatre Company, Night of Hunter at Willows Theatre, and Mad
Sean Fenton (ensemble) Rounding out the ensemble is
Sean Fenton, who returns to TheatreWorks Silicon Valley where he was seen in
the World Premiere of The
Four Immigrants: An American Musical Manga and the 2003 production of A
Little Night Music. Receiving a 2014 TBA Award for his performance in Where
the Mountain Meets the Moon at Bay Area Children’s Theatre, Fenton has also
performed at Custom Made Theatre Company, Broadway by the Bay, and Foothill
Tickets for Pride & Prejudice are now available online
or by calling the box office at 650.463.1960.
Berkeley Repertory Theatre announces the highly anticipated
special event of this season, Gatz, which enacts the beloved classic
novel The Great Gatsby by F. Scott Fitzgerald and is directed by John
Collins, to create a once in a lifetime experience.
The theatrical ensemble Elevator Repair Service will make
Rep debut with Gatz, an astonishing tour de force unlike anything
else in contemporary theatre.The winner of two Lucille Lortel Awards, three
Elliott Norton Awards and an Obie Award, Gatz has enthralled audiences
around the globe, from New York to Lisbon and Los Angeles to Abu Dhabi.
Gatz follows an anonymous office worker at a shabby
small business who finds a copy of The Great Gatsby on his desk one
morning and starts to read aloud. At first his coworkers hardly notice. But
after a series of strange coincidences, it’s no longer clear whether he’s
reading the book or the book is transforming him.
“[A] work of singular imagination and intelligence. The most remarkable achievement in theater not only of this year but also of this decade.”
New York Times
Each performance of Gatz runs 6 hours, plus two
15-minute intermissions and a 2-hour dinner break.
(Due to the nature of live theatre, these times may vary
Gatz begins on February 13 and runs through February
23, 2020. Individual tickets are now available and can be purchased online
or by phone at 510.647.2949.
Elevator Repair Service
is a New York City-based company that creates original works for live theatre
with an ongoing ensemble. The company’s sources range from found material
(transcripts of trials, old movies, YouTube videos) to literature and
conventional plays (both classical and contemporary). Founded in 1991, ERS has
authored an extensive body of work that includes 19 original theatrical
productions. These have earned the company a loyal following and made it one of
New York’s most highly acclaimed experimental theatre companies. ERS’s
productions share a commitment to risk-taking and reinvention, blending unusual
texts with innovations in theatrical form. The finished works feature ERS’s
signature dynamic performance style and playful sense of humor coupled with a
rigorous commitment to psychologically complex performances. ERS has received
numerous awards and distinctions including an Obie for Sustained Excellence,
The Foundation for Contemporary Arts Theater Grant, and the Theatre
Communications Group’s Peter Zeisler Memorial Award for Outstanding
Achievement. ERS ensemble members have received Obies for Sound Design and
Sustained Excellence in Performance and Lighting Design.
ArtsFund announces the launch of its 50th anniversary year with a proclamation from Mayor Durkan, who has declared October 15, 2019 to be “ArtsFund Day”. The honor officially kicks off ArtsFund’s milestone year.
Founded in October 1969, the Seattle-based nonprofit has
been building community through the arts for 50 years. ArtsFund is one of the
nation’s leading United Arts Funds and has contributed to the vibrancy of the
Central Puget Sound region by supporting the health and vitality of arts and
cultural organizations and the individuals they serve.
ArtsFund Interim President & CEO Sue Coliton stated,
“ArtsFund was founded 50 years ago to generate support for the arts from the
business community. Since then, it has evolved into a leader of the
sector. We work to ensure arts are accessible to all and valued as central
and critical to a healthy society. A future for the arts is a future for
community, and ArtsFund is uniquely positioned to help deliver on that
“Whereas, the City of Seattle recognizes the work ArtsFund has been undertaking for the past 50 years and wishes them continued success.”
Mayor Jenny A. Durkan, City of Seattle, from the proclamation
The celebration of 50 years of impact will complement
ArtsFund’s annual fundraising campaign, which runs through May 31, 2020.
Each year, ArtsFund’s fundraising empowers companies, individuals and community
partners to make collective, regional and significant impact strengthening the
community through support of the arts. Revenues from ArtsFund’s annual drive will
support grants and capacity building programs, as well as additional activities
and services strengthening more than 120 organizations throughout the Central
Puget Sound region.
ArtsFund Board Chair Anthony R. Miles added, “As we
celebrate 50 years of impact, we remain focused on realizing ArtsFund’s unique
potential to enhance the role of the arts and creativity in our region. In
addition to grantmaking, ArtsFund’s research, programs and advocacy contribute
to a sustainable, collaborative, informed, equitable and inclusive future. As
the region has grown and evolved ArtsFund has been there every step of the way
for the arts and cultural community. We are committed to empowering the sector
in the years ahead.”
As the region has grown and evolved ArtsFund has been there every step of the way for the arts and cultural community.
Anthony R. Miles, ArtsFund Board Chair
ArtsFund was originally founded as the United Arts Council
of Puget Sound to bring corporate and civic leaders together to help establish
and sustain our region’s arts and cultural institutions. Upon completion of its
inaugural fundraising campaign, the first grant beneficiaries included ACT Theatre,
Northwest Ballet, Seattle Art Museum, Seattle Opera, Seattle Symphony
and Seattle Rep—all
organizations still supported by ArtsFund today. Fifty years and a few
name changes later (to Corporate Council for the Arts in 1975 and to ArtsFund
in 2003), ArtsFund has supported nearly 240 arts nonprofits with more than $84
million in grants, and by providing valuable leadership and advocacy.
Anniversary events will include a birthday edition of
ArtsFund’s Celebration of the Arts Luncheon on March 20, 2020. Registration
will open in February 2020.
The full mayoral proclamation can be viewed on Artsfund’s website.
Learn more about ArtsFund’s 50 years of impact and the plans for the year ahead.
Pacific Northwest Ballet turns to regional talent for the mixed-bill Locally Sourced, which will play for just seven performances, November 8–17, and includes three world premieres.
Love and Loss
In Donald Byrd’s sixth work created for Pacific Northwest Ballet, a cast of 22 dancers will perform to music by Emmanuel Witzthum.
Donald Byrd is a Tony-nominated (The Color Purple) and Bessie Award-winning (The Minstrel Show) choreographer. He has been the Artistic Director of Spectrum Dance Theater in Seattle since 2002. He has created dance works for many leading companies and was recently named a 2019 Doris Duke Artist Awardee.
F O I L
In her first work for the Pacific Northwest Ballet mainstage, Eva Stone choreographs a work to music from five women composers and collaborates with an all-woman design team.
Eva Stone is the founder and producer of CHOP SHOP: Bodies of Work, a a contemporary dance festival held annually in Bellevue. She has been teaching and lecturing throughout the Puget Sound since 1995 and is currently on faculty at Spectrum Dance Theater and Pacific Northwest Ballet School, where she initiated the New Voices choreography course for young women.
Wash of Gray
Also choreographing for Pacific Northwest Ballet’s mainstage for the first time will be Miles Pertl, a PNB company dancer who is collaborating with his sister, visual artist Sydney M. Pertl. Together, with composer Jherek Bischoff, they are creating a multi-media dance work.
Seattle native Miles Pertl has choreographed works for PNB’s NEXT STEP and PNB School’s annual School Performance as well as the Noverre Society in Stuttgart, Danza Estate in Gubbio, Italy, and New Moves in Amsterdam. With a love of both dance and art, he has teamed up with his sister, artist Sydney M. Pertl, to form SeaPertl Productions, an organization which seeks to showcase both worlds and shine a spotlight on local talent.