Relative Theatrics kicks off their 8th Season: A NEW WAY FORWARD with a hybrid theatre/film production of AND THE WIND HOWLS by Leann Kim Torske, September 4th-13th, 2020, virtually. The development team for this contemporary Wyoming play includes Anne Mason, Jared Mohr-Leiva, Lea Bergman, and Kat Tyler. This World Premiere is commissioned by Relative Theatrics and The Wyoming Arts Council.
Jen (Kat Tyler) returns to her small Wyoming hometown after an eye-opening first year of college. She wants a different life than her family had, but she’s decided that Wyoming might not be so bad after all. Her best friend Amber (Lea Bergman) can’t wait to leave. The one thing they agree on is that their small town has never felt so small. Inspired by Wyoming’s history of trailblazing women, Jen buckles down to create social progress, change local politics, or if nothing else, show her mom (Anne Mason) that a rough-talking, hard-working Wyoming woman can shift the way the wind is blowing. AND THE WIND HOWLS will be filmed using a point-of-view shot where the audience experiences the story through one perspective at a time. Point of view shots are a creative form of filming to maintain the visual intimacy for the audience that they would otherwise experience when viewing a live Relative Theatrics performance in the Gryphon Theatre. Individual Tickets and Season Passes can be purchased online at: Relativetheatrics.com/annual-campaign Relative Theatrics strives to present thought-provoking theatre that examines the joining qualities of the human race. We believe that theatre is a forum with the power to illuminate the binding qualities of humanity and reinforce the ideals that as a society we have values that pose as common ground and emotions that relate us to one another. Taking artistic risk, we provide a community gathering place where thoughts can be exchanged about society, culture, and the power of creativity. Discussions of the performance will include a chat-back with the actors, director, and playwright that will be scheduled at a later date. The play contains adult themes and language. Tickets: $15 *SUBSCRIBERS WILL RECEIVE A PRIVATE VIEWING LINK FOR AT-HOME STREAMING on September 4th! The link can be used anytime from September 4-13. AND THE WIND HOWLS is supported in part by grants from the Wyoming Arts Council, the National Endowment for the Arts, Wyoming Humanities, and the National Endowment for the Humanities. AND THE WIND HOWLS - Fact Sheet CAST Jen - Kat Tyler Amber - Lea Bergman Traci - Anne Mason PRODUCTION TEAM Playwright - Leean Kim Torske Directors - Anne Mason and Jared Mohr-Leiva Stage Manager - Alex Soto Set Dressing - Kendall Yoder Costumes - Isa Jakowich Lights - Justen Glover Props - Kendall Yoder Sound - John Wilhelm Dramaturgy - Bailey Patterson Social Justice Outreach and Engagement - Jaye Cooney Film Supervisor - Kendall Yoder Film Assistance - Nid Collins LOCATION Private Viewing Link will be sent to ticket holders. TICKET PRICES $15 MEDIA CONTACTS Melissa Ross - [email protected]
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Action item: Read the article When Black People Are In Pain, White People Just Join Book Clubs, by Tre Johnson
BIPOC Action item: Watch the documentary I Am Not Your Negro
The Wyoming Arts Council is pleased to announce the recipients of this year’s Fellowships in Visual Arts, Creative Writing, and Performing Arts. Visual Arts Fellowship recipients are: Diana Baumbach of Laramie, Shawn Bush of Casper, and Rachel Hawkinson of Casper. Honorable mentions were awarded to Barrie Bryant of Kirby, Carli Holcomb of Casper, and Mona Monroe of Alta. Creative Writing Fellowship recipients are: Betsy Bernfeld of Wilson in Poetry, Susan Marsh of Jackson in Fiction, and Shreve Stockton of Ten Sleep in Creative Nonfiction. An honorable mention was given to Kate Northrop of Laramie in the poetry category. Performing Arts Fellowship recipients in Music are: Aaron Davis of Jackson and Abby Webster of Wilson. An honorable mention was awarded to Andrew Wheelock of Laramie. Performing Arts Fellowship recipients in Theatre and Dance are: Anne Mason of Laramie and Luke Dakota Zender of Jackson. Honorable mentions were awarded to Patrick Konesko of Laramie and Gina Patterson of Jackson. Fellowships are merit based awards to selected Wyoming artists based on their submitted portfolio of work that reflects serious and exceptional artistic investigation. Recipients each receive a $3,000 award and the opportunity to share their work with the community through support from the Wyoming Arts Council. Submissions are juried anonymously by jurors from outside the state with extensive backgrounds in each artistic area. The jurors for this year’s Fellowships were Iwan Bagus and Nicole Herden for Visual Arts, Mesha Maren, Marie Mutsuki Mockett, and Kathryn Savage for Creative Writing, and Tara McGovern and Claro de los Reyes for Performing Arts. For more information on this program and details on each recipient please visit www.wyomingartscouncil.org or contact Taylor Craig at 307-274-6673 or [email protected]. Photo caption: The 2021 Wyoming Arts Council Fellowship Recipients. Top row L-R Shreve Stockton, Abby Webster, Aaron Davis (photo by Brad Christensen), Middle row L-R Anne Mason, Shawn Bush, Diana Baumbach (photo by June Glasson), Bottom row L-R Betsy Bernfeld, Luke Dakota Zender, Rachel Hawkinson, Susan Marsh.
Action item: Read Peggy McIntosh's White Privilege: The Invisible Knapsack. Where to read it: via this link Time needed to read it: 15-20 minutes. What It's About: Peggy McIntosh gives a personal account explaining how we are often blind in the ways we are privileged in comparison to others. Discussion questions:
Action Item: Watch 13th: An Original Netflix Documentary.
Where to watch it: On Netflix, or streaming free on YouTube. Length: 100 minutes What It's About: Filmmaker Ava DuVernay explores the history of racial inequality in the United States, focusing on the fact that the nation's prisons are disproportionately filled with African-Americans. Discussion questions:
How These Black Playwrights Are Challenging American Theater Jackie Sibblies Drury, Jeremy O. Harris, Antoinette Nwandu and Jordan E. Cooper, on influences, gatekeepers and helping “the young black theater nerd find work that looks like them.” Black Lives Matter: U.S. Theatres Stand With the Movement for Racial Justice Dozens of theatres express their solidarity in the grief and anger over anti-Black violence, offer resources, and commit to more equitable paths. “Uncomfortable Conversations with a Black Man” - A new series by ex-NFL player Emmanuel Acho The audience is specifically for White people. There are now two conversations: #1: https://www.youtube.com/watch?v=h8jUA7JBkF4 #2: https://www.youtube.com/watch?v=CwiY4i8xWIc Movies, Documentaries & TV to Watch:
Books To Read:
Podcasts to Listen To:
Places to Donate:
Other Educational Resources:
Black Owned Businesses to Support:
Engage in conversations with friends, family, colleagues, community:
Organizations to Follow:
Conversation With Yourself:
Theatre Resources:
How a local Laramie theatre company and specialty shop collaborated to create a unique experience for their customers during Covid-19. Back in March, like many business owners, Anne Mason, the founding Artistic Director of Relative Theatrics, a Laramie based theatre company, was faced with closing the doors of her theatre, canceling upcoming live performances and postponing her annual fundraising event. Despite taking a big financial hit from these cancellations, Anne quickly organized a virtual programming series to continue to engage her subscribers during these isolated times. What started as a cancellation of her annual fundraising event (that was to be held at Chalk N’ Cheese) turned into a collaboration with a local business to combine wine, cheese, and virtual theatre. Pairings @ Chalk N’ Cheese is a specialty shop in Laramie, WY that features cheese, foods, and wines from around the globe. “We had initially planned a Season Announcement Fundraising Event at Chalk N' Cheese on April 30th. When that was canceled, Misty (the owner) and I brainstormed ways that we could still support one another and create something for our customers that was both new and familiar at the same time,” Anne explained, “I had been exploring the mechanics of virtual programming for our theatrical presentations - a way to enjoy the theatre inside the home. What better way to enhance that experience than by throwing delicious wine and cheese into the mix?” Misty Hester, the owner of Chalk N’ Cheese commented on how the collaboration with Relative Theatrics has supported her business during Covid, “It has been a great opportunity to reach a new customer. But, more importantly, it has given the audience a feeling of experience; not just watching. Anne Mason and I have discussed each reading and worked together in finding the right wine and cheese to fit.” Anne remarked, “Through the partnership, Relative Theatrics and Chalk N' Cheese are able to curate a unique entertainment experience that gives our community something to look forward to every week.” One example of their weekly pairings comes from the April 17th premiere of TWO DEGREES: “On Friday, April 17th we offer you Blanc de Bleu, Cuvee Mousseax to enjoy during our reading of TWO DEGREES by Tira Palmquist. While this sparkling wine may be thought to be reserved for a prestigious celebration, we believe that in today's world we should celebrate everyday. The winemakers dazzle the imagination with Blanc de Bleu's seductive flavors and beautiful shade of blue; reminding us of the colors found within glaciers. This effervescent wine contains a dry, crisp finish and a hint of blueberry, perfect to pair with Delice Mon Sire Brie from France and/or Parrano Gouda from Holland. Delice Mon Sire - a triple cream cheese that is soft, yet bold - is enriched with creme fraiche adding a luscious creaminess. The Parrano, a semi-soft aged gouda, delivers a caramel/scotch-like flavor that melts in your mouth.” Relative Theatrics has observed increased social media engagement from the wine, cheese, and theatre pairings. “It's so much fun to see people sharing pictures of their glasses of wine and cheese boards in front of their televisions or computers with the live stream playing. The virtual programming from Relative Theatrics has allowed us to expand our reach to every corner of the state, and beyond. People are no longer restricted by geographical limits. We are reconnecting with past patrons who have moved away from Laramie. We're also building a new virtual network of viewers that will hopefully entice folks to visit Laramie for a play and glass of wine once we're on the other side of this pandemic!” stated Anne. Pairings @ Chalk N’ Cheese has also seen increased revenue from the weekly pairings with the virtual readings. “Maybe 25% to 30% of the sales on the day of the event. Fluctuates with each reading.” Misty added, “The customers know that I am giving 10% of the sales to Relative Theatrics and they are very supportive! It's pretty cool. But, even more so, we are seeing these customers return, buying more and wanting to know more about what we offer.”
Anne Mason believes the partnership between businesses is important. “We are in such uncertain times. Everyone is concerned about where their next paycheck will safely come from and how we will collectively survive these trying times. I strongly believe that the best way to ease the economic and psychological stress is to support our fellow community members. What is possible if we approach these circumstantial obstacles with a spirit of creative collaboration rather than caustic competition?” Misty has been ‘Pairing with other Businesses’ for the past 2 years. “We have had desserts and wine with Big Hollow Co-op, International Cabernet Franc Night tasting with Sweet Melissa's, International Merlot Night tasting with WyoColo Restaurant, a tasting with a specific winery and their representative in house to talk about their wines, etc. Customers enjoy the flavors and experience!” The silver-lining through this has helped both Relative Theatrics and Pairings @ Chalk N’ Cheese with long-term business strategies. “I love the idea of continuing this partnership once we are all able to gather in person again. An evening at Chalk N' Cheese before heading to the theatre sounds like a wonderful night out to me,” stated Anne, “In the meantime, we will do our best to facilitate a wonderful night in!” Misty responded, “We are already trying to come up with ideas to keep the momentum going and always looking for ideas to keep our customers engaged. It's about the experience and learning along the way.” Relative Theatrics will be wrapping up their 7th Season this month with the 6th Annual PLAYWRIGHTS VOICED FESTIVAL: Featuring New Plays, May 20-23, 2020 virtually through a YouTube Live Stream. The series features 4 nights of new plays by developing playwrights. “For both Chalk N' Cheese and Relative Theatrics, the wine and cheese pairing with each virtual play reading is an excellent way to introduce our patrons to new stories, new flavors, new experiences.” DIRECTOR'S NOTES FROM NATHANIEL QUINNCan we truly capture what is important to us through art? If art mimics life, and life mimics art, then art is life. Since life is a living, breathing, changing, organic creature. Therefore; photography is art is life. But a photograph is unique because it lives in all time. Take out your phone, and open the first image of a person. It can be a partner, friend, lover, child, parent, quick selfie, it doesn’t matter. What matters is this person is in a state of all time. When was the picture taken? This morning? Yesterday? A week/month/year ago? The point is, even if you snapped a quick selfie while reading this, that picture happened in the past. But the photo is currently in the present. More difficult to fathom, is that the person in that image is no more. They have moved into the future and changed, grown, breathed, stopped breathing, loved, lost, moved on. Therein lies the question: The moment we capture something important, it both exists and ceases to be. How then does that affect how we live as human beings? Do we live in the past with our happiness, sadness, arguments, or bereavements? How do they shape us as we move forward? Hopefully we are better because of them, but what about the pictures that reflect the negative? Abusive relationships, racism, sexism, ageism, elitism, do they help us move forward, or trap a past version of us? Any way it works out, I know you’ll be a different person by the end of this production, thank you for sharing the past, present, and from the moment I’m writing this, the future you. ADDITIONAL RESOURCESJackie Sibblies Drury Explores the Role of Art in ‘Really’ - American Theatre Magazine
The playwright discusses why the New York production was unique, the role of race in her play, and why she doesn’t consider herself a career playwright. ‘Really’ Meditates on History’s Forgotten Subjects - The Village Voice Photography can be a way to control reality. By stealing an instant from the ungoverned stream of time, photographers impose order on flux. And by artfully posing their subjects, they can transform a living, changing person into a static image of their own imagining. Really asks what do we try to leave behind, what do we actually leave behind, and how do we deal with being left - Undermain Theatre What can you see through a camera lens that you can’t with the naked eye? Is what you are seeing “real” or is it just a flash of the subject? Rereading: Camera Lucida by Roland Barthes - The Guardian Grieving for his mother, Roland Barthes looked for her in old photos – and wrote a curious, moving book that became one of the most influential studies of photography. Jackie Sibblies Drury: Thinking and Feeling - American Theatre Magazine Her Pulitzer-winning play ‘Fairview’ is about why white people should make space for people of color; she’s amused that it’s controversial. With each successive year of operation at Relative Theatrics, I aim to push the boundaries further and further. How can we tell challenging, relevant stories in a more innovative and affective manner? In exploring the world of THE (curious case of the) WATSON INTELLIGENCE, I’ve started to recognize the continual patterns of human driven advancement and ingenuity. The play itself highlights multiple mechanizations that revolutionized human connection.
In 1876 Alexander Graham Bell sent the first communication by wire to his trusty assistant, Thomas A. Watson, thus sparking a revolutionary new string of communication. Suddenly, one could communicate with another in a different room; then a different house; then a different city. In the coming years, as radio technology advanced, messages were liberated from the connective wires and the advent of transcontinental communication shrunk the parameters of time and space even further. Fast forward (as, yes, new technologies have allowed us to do) and the immediacy of contact and knowledge flies into the palms of our hands almost instantly through our smart phones. In the blink of an eye, we can contact anyone, anywhere, at anytime. Another revolutionary invention altered society’s comprehension of time and space: The Steam Engine. This powerful, industrial machine sped across the countryside, accelerating travel time and connecting communities at a seemingly impossible rate. Interestingly enough, this invention that led to the unifying of time via time tables, has also been credited with the “annihilation of time and space.” As the connectivity of rail travel shrunk the world, humanity’s view of the world altered as well. Travelers viewed life speed by in a blur through a static train compartment window which, for many, caused new anxieties about the lack of control and possible danger that new technology presented. Through a philosophical lens, there is another massive force that has the potential to transcend time and space: Love. As Eliza puzzles out her predicament with Josh Watson, she poses the same ontological query: “what is the nature of the phenomenon where a person who claims to know you better than you know yourself makes you feel his physical presence like a, like a burning sensation in your chest even when he’s miles away?” Just as the steam engine, radio, and telephone technologies provided individuals with immediacy in communication, so can intimacy. New lovers Eliza and Josh lose their sense of time in one another; but, they also run the risk of losing their sense of self. Thus we are presented with the ultimate paradox of companionship. In order to have the gifts of relationship and intimacy, one has to experience unbearable things. This ultimately proves risky - the vulnerability of dependency on another person with unpredictable actions can cause one to return to the security of technological companionship. The cosmic shift that occurs internally as a result of opening oneself to another human being can alter one’s perception of their surroundings, causing “tremendous foreboding such as we always feel when there comes an enormous, an unheard-of event whose consequences are imponderable and incalculable.” Interestingly enough, this quote from Heinrich Heine refers not to love, but to rail travel in the late 1800’s. These parallels between the space/time disruption of love and of technology occur stylistically within the text of THE (curious case of the) WATSON INTELLIGENCE, viewed in the braided overlap of various time periods. At first there are a distinct jumps in time and place; yet each clearly defined shift contains the same actors and character names. There is unease, there is unsettlement. The audience must figure out how to reconcile these uncanny realms. Just as they grow accustomed to the leaps in time, the shifts begin to blur. The shifts between realms occur smoothly by the end of the play, blurring the lines and our perception of the world - much like the fluid view from inside a train compartment. Adam Greenfield, Director of New Play Development at Playwrights Horizon’s where WATSON received its world premiere, notes that “technology has changed the way we perceive time moving. Stories begin to resemble the behavior of technology, finding narrative and meaning in the search for connections, associations, and patterns. It’s a compression of space and time, where everything is related to everything else and time becomes a constant present.” As we journey our way through the play, the series of seemingly unrelated events begin to highlight a pattern in each individual, shining a light on the core essence of the character. It is in this distilled clarity of the Constant Present that we can ask the deep questions about what it means to be human. Or, perhaps more specifically, what it means to be human with other human beings. |
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