2014 SEASON:
MR. PIM PASSES BY
JAN. 31 – MAR. 1
IN THE BOOK OF
MAR. 28 – APR. 26
DIANA OF DOBSON’S
MAY 16 – JUNE 14
JANE EYRE
JULY 11 – AUGUST 9
THE FABULOUS LIPITONES
SEP. 19 – OCT. 18
BY A.A. MILNE
DIRECTED BY
KAREN LUND
JAN. 31 - MAR. 1
UW MEDICINE
|
S TOR I E S
AN INJURY.
A PARTNERSHIP.
ANOTHER SUMMIT.
I
WAS IN REMOTE Patagonia, about to make the
climb of my life, but an injured disc in my back
was flaring up again. I needed help. Dr. Krabak
consulted by email, helping me find safe medications
to get the pain under control. Even in that remote part
of the world, he was there for me.
When I injured my back about five years ago, Dr. Krabak
(UW Physician, UW Medical Center) is the reason it
didn’t end my career. As a professional climber, there’s
rarely a time when I can rest and let myself heal. And
because I’m always traveling, regular appointments are
nearly impossible. Dr. Krabak understands athletes like
me. So he works around my unmanageable schedule
and puts his experience to work finding safe and
effective ways for me to manage the pain and still
pursue my passion.
I think of him as my partner as much as my doctor. He’s
there for me when I need him, to keep me climbing for
as long as I can.
READ KATE’S ENTIRE STORY AT
uwmedicine.org/stories
U W M E D I C I N E . ORG
E N C O R E A RT S N E W S January-February 2014
Volume 10, No. 4
F RO M C I T Y A RT S M AG A Z I N E
Paul Heppner
Publisher
Susan Peterson
Design & Production Director
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Paul Heppner
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Leah Baltus
Editor-in-Chief
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Account Executive
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Art Director
Jonathan Zwickel
Senior Editor
Gemma Wilson
Associate Editor
Amanda Manitach
Visual Arts Editor
I Think We’re
Alone Now
Amanda Townsend
Events Coordinator
www.cityartsonline.com
Paul Heppner
President
“Audiences squeeze in to get a glimpse of Anna
Goren performing in the tiny upstairs bathroom. She
uses a loop pedal, her rich voice, poetry and ukelele to
represent the feeling of being alone in a bathroom during the hours when everyone else is asleep. In Heart
Content, this room represents an escape from the
elaborate architecture of the rest of the home and
reminds the audience of cycles, daily routines and the
beauty of a woman’s voice in the shower.”
Mike Hathaway
Vice President
Erin Johnston
Communications Manager
Genay Genereux
Accounting
Encore Arts Programs is published monthly by Encore Media
Group to serve musical and theatrical events in Western
Washington and the San Francisco Bay Area. All rights reserved.
©2014 Encore Media Group. Reproduction
without written permission is prohibited.
—Elana Jacobs, artistic director of CabinFever, a company
that weaves dance, music, art and theatre into site-specific
performances. CabinFever performed Heart Content in
November at the historic Stimson-Green Mansion on First Hill.
MIGUEL EDWARDS
Corporate Office
425 North 85th Street Seattle, WA 98103
p 206.443.0445 f 206.443.1246
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CONTENTS
2014 SEASON:
MR. PIM PASSES BY
JAN. 31 – MAR. 1
IN THE BOOK OF
MAR. 28 – APR. 26
DIANA OF DOBSON’S
MAY 16 – JUNE 14
JANE EYRE
JULY 11 – AUGUST 9
THE FABULOUS LIPITONES
SEP. 19 – OCT. 18
Mr. Pim Passes By
A1
By A.A. Milne
Directed by Karen Lund
BY A.A. MILNE
DIRECTED BY
KAREN LUND
JAN. 31 - MAR. 1
ES044 covers.indd 1
12/17/13 3:15 PM
E N C O R E A RT S N E W S THINK BIG
Waterfront Gets $1 Million for Art
Amid the chaos, construction and traffic
brought on by Seattle’s massive Waterfront
redesign, it’s hard to imagine the far-off
finished product as a thing of beauty.
But buried within this Herculean civic
undertaking that both replaces the Elliott
Bay Seawall and demolishes the Alaskan
Way Viaduct, a thing of beauty already
awaits: $1 million set aside for public art.
“We’re putting it out there to the world and
waiting to see what comes back,” says Randy
Engstrom, director of the Office of Arts &
Cultural Affairs. In October, Engstrom’s
office officially requested proposals for the
Public Piers project, a slice of the overall
redesign that will place a “major integrated
artwork” on Union Street Pier or Pier 62/63.
“We want to really challenge the arts
community to come up with something
great,” Engstrom says.
A “major integrated artwork” is a
nebulous concept. What could it look
like? Engstrom points to the colossal
redevelopment of Chicago’s Millennium
4 ENCORE STAGES
F RO M C I T Y A RT S M A G A Z I N E
Park as an example—not just as an aesthetic
success, but also as an economic engine.
“It took Chicago from being number 38
in tourist visits to number one the year it
opened,” he says. “And Cloud Gate [aka the
Bean] saw three million visitors in its first
six months. The art in that park defines the
park. We hope the call at Pier 62/63 produces
that sort of visionary hallmark.”
The deadline to submit proposals was
Dec. 19, when a panel of artists, peers and
community members started the selection
process. In February 2014, the chosen artist
(or team) will begin collaborating with
James Corner Field Operations, the design
firm spearheading the overall waterfront
redesign.
Local news outlets have reported public
dismay at the art project’s million-dollar
price tag, but Engstom explains that the
numbers can be misleading. “It’s not like we
write an artist a million-dollar check and
then the next day a piece of art shows up,”
he says. “Really, only about 15 to 20 percent
of that budget is going to the artists’ design
fees.” The rest of it, he says, is for things like
fabrication, engineering and installation,
which create jobs in the local economy.
More importantly, Engstrom explains,
the Public Piers money was earmarked
by Seattle’s percentage-for-art program, a
40-year-old city ordinance which dictates
that one percent of the city’s Capital
Improvement Program funds goes to public
art. Seattle was one of the first cities to adopt
such a program, and has since funded more
than 380 permanent works, including Isamu
Noguchi’s invitingly clamber-able Black
Sun in Volunteer Park, Richard Beyer’s oftdecorated People Waiting for the Interurban
in Fremont and Jack Mackie’s Dancers’
Series: Steps, which trips up and down
Broadway on Capitol Hill. The winner of the
Public Piers project will be a major addition
to that list of active, engaging works, and
Engstrom is a ready evangelist. “We have a
really vibrant creative and cultural sector in
Puget Sound, which makes this a great place
to live,” he says. “Public art is a big part of
that.” GEMMA WILSON
EXQUISITE CORPSE CINEMA
Six Directors Join Cinematic Forces
MARCH 5 – 22, 2014
AW
By WENDY WASSERSTEIN
Directed by PEGGY GANNON
206-938-0339 www.ArtsWest.org
4711 CALIFORNIA AVE. SW, SEATTLE, WA 98116
SEASON
SPONSORS
PERSONAL SAFETY NETS©
www.personalsafetynets.com
PROGRAM
SPONSOR
Haegue Yang. Towers on String —Variant Dispersed [installation view]. 2012–2013. Aluminum Venetian blinds, aluminum hanging
structure, powder-coating, and steel wire. Courtesy of the artist and Greene Naftali, New York. Photo credit: R.J. Sánchez.
Film narratives often slide from the ridiculous
to the sublime, but it takes a special kind of
storytelling to make a movie about grifters, yoga
devotees, drug dealers, gruesome murders, a
Dougie dance session, a tender love story and the
musical stylings of BOTH Warren G and Kenny G.
In the case of Every Day Is a Journey, it also took
six directors and a lot of goodwill.
“We called in a lot of favors,” says Justin Freet,
the mastermind behind the “synergistic cinema”
concept of EDIAJ and the director of its first
episode, “The Inner Octopus.” Freet conceived of
the project as an audience-builder for the Seattle
film festival Rawstock, which he co-founded
with Dylan Noebels and Will Russell in 2005. In
2011, when Rawstock had a contract with ACT
Theatre, they’d pre-scheduled six screenings and
needed an audience.
“I was thinking, how are we going to get
people to come to six of these events?” says Freet.
“We have great short films from all over, but we
needed a real hook.” He started toying with the
idea of telling a serialized story in six episodes,
and airing a new one at each screening. “I
wanted people to say, in two months I have to
come back and see what happens next.”
Freet began calling filmmaker friends with
Rawstock connections: Nik Perleros, W.T.
Russell, Christian Palmer, Jason Reid and Ian
Connors. “I thought it would be really cool if I
jumpstarted it and then said, guys, you can do
whatever you want,” he says. “You have to take
up the story threads from the previous episodes
and see what happens.” Would it be a train
wreck or would it somehow fall into place?
Ultimately, it was a little bit of both. Freet
introduced a set of characters and a simple
story of low-level con men, and the snowballing
began. Episode two took an absurdist left turn,
episode three killed off a main character, episode
four opened the tap wide on a heartbreaking
love story. Episode five went scorched-earth on
the whole story, and episode six was left to pick
up the pieces and make audiences care again.
A full-length film was never anyone’s endgame,
but it turns out that, viewed as a whole, EDIAJ is
bizarre and completely unpredictable.
Because of the project’s nonexistent budget,
cast and crew did double duty. Russell also plays
yoga teacher cliché Sullivan Burke; Freet ended
up playing a hitman named Freakshow after
an actor flaked on him. Local actors like Susan
Perleros, Dylan Noebels and John Hildenbiddle
contributed their talents, but the performance
by Nate Quiroga (formerly of local rap group Mad
Rad, now part of indie rock band Iska Dhaaf)
became the heartbeat of the film.
Due to issues with music rights (and the
headache of negotiating with a massive creative
team), EDIAJ could never be released for profit.
Beginning in December, the episodes were
released on YouTube for free, concluding with
the entire 99-minute film. Each episode is a
stand-alone piece, but there’s something special
about watching this cinematic chimera in its
entirety. A Rawstock audience member put
it best, Freet says: “It’s like watching a living
movie.” GEMMA WILSON
Haegue Yang: Anachronistic Layers of Dispersion
Artist lecture: Thursday, February 6 at the Henry
Exhibition on view through February 9
H
enry Art GAllery
henryart.org
encore art sprograms.com 5
Winter Creature
Acting in a feature film reaffirmed Tomo Nakayama’s
commitment to music. Now he’s steering away from
the chamber-pop grandeur of his beloved band Grand
Hallway and toward a closer connection to
his songs and his audience.
BY JONATHAN ZWICKEL
6 ENCORE STAGES
PHOTO BY STEVE KORN
encore art sprograms.com 7
E N C O R E A RT S N E W S You can’t manufacture intimacy like the
interior of a parked car on a cold, wet
November night. Outside, traffic streams
by on Leary Avenue in a murmuring swish,
taillights haloed through the rain-blurred
windshield. Inside is a cocoon of upholstery
and body heat.
Tomo Nakayama sits in the driver’s seat,
tented by a dark wool coat. He plugs his
iPhone into the stereo and without fanfare
plays a song he recently recorded, an
un-mastered, unreleased cover of a deep cut
by the Rolling Stones called “I Am Waiting.”
The music is sparse, hypnotic, languid—
acoustic guitars pulsed by thigh slaps and
sleigh bells. It sounds like an ancient English
ballad, earthy and sober but incantatory,
almost mystical. Tomo (always Tomo,
because Nakayama is too formal and too
foreboding for this 5-foot-3-inch 33-year-old)
leads with a hushed vocal melody.
Like a winter storm, fears will pierce your
bones
You will find out, you will find out
A meric an Conser vator y Theater • Berkeley
Reper tor y Theatre • Broadway San Jose
• California Shakespeare Theater• San Francisco
Ballet • San Francisco Opera • SFJAZZ • Stanford
BIR
112513 monster 1_6v.pdf
Live• TheatreWorks • Weill Hall at Sonoma State
Reach a
SophiSticated
audience
University • 5th Avenue Theatre • ACT Theatre •
Book-It Repertory Theatre • Broadway Center for
the Performing Arts • Pacific Northwest Ballet •
Paramount & Moore Theatres • Seattle Children’s
Theatre • Seattle Men’s Chorus • Seattle Opera
• Seattle Repertory Theatre •Seattle Shakespeare
Company • Seattle Symphony • Seattle
Women’s Chorus • Tacoma City Ballet • Tacoma
Philharmonic • Taproot Theatre • UW World
Series at Meany Hall • Village Theatre Issaquah
& Everett • American Conservatory Theater•
Berkeley Repertory Theatre• Broadway San Jose•
California Shakespeare Theater• San Francisco
Ballet • San Francisco Opera • SFJAZZ • Stanford
put your business here
Live • TheatreWorks • Weill Hall at Sonoma State
University • 5th Avenue Theatre • ACT Theatre
• Book-It Repertory Theatre • Broadway Center
www.encoremediagroup.com
Midway he harmonizes with another
voice. This is Jesse Sykes, the husky-throated
singer he sought out specifically for this
song, which will be included in an upcoming
compilation of covers of songs from Wes
Anderson films. Their voices rise together,
toward an unseen light. A single guitar chord
hovers in the air as the song ends.
“It was in Rushmore,” Tomo says. “That
chorus, so foreboding. It sounds almost like
an apocalyptic warning. I’ve always loved
it.”
We’re parked a block from the Ballard
cafe where he works mornings as a barista.
After two hours of conversation over coffee
inside—talking about Tomo’s Japanese mom
and Vietnamese dad, his early childhood in
Japan and teenage years in Ballard, his belief
that honest moments can’t be packaged and
resold—we’d retreated to the car for its stereo.
I’m betting Tomo prefers to hear his music
like this, sitting beside an attentive audience
of one.
Solo Tomo is a new thing. After a decade
of playing music in big bands, he’s lately
finding strength in smallness, distilling
his talents, finding his essence. Over the
past year, Tomo toured the East Coast solo,
appeared in a feature film and released a
successful single as part of that film. All
along, he’s been pressing against his own
preconceptions and self-imposed limitations.
Now he finds himself on the verge of a
musical awakening.
Tomo has led Grand Hallway since 2005
8 ENCORE STAGES
EAP House Ad Reach 1_6V 3.19.13.indd 1
3/20/13 3:00 PM
F RO M C I T Y A RT S M AG A Z I N E
as a vehicle for his prolific songwriting
and expansive compositions. Abetted by
a slew of stellar musicians that swelled
to nine members and sometimes more for
recording, Grand Hallway erupted with
dramatic, warm-hearted songs. Most were
mini-orchestral odes to love and family and
the Pacific Northwest. The band has released
a handful of albums, gaining an ardent
following locally and in Europe.
The most recent, 2011’s Winter Creatures,
features Tomo on vocals, guitar, piano, bass,
drums, pump organ, mandolin, vibraphone,
Mellotron, synth, tack piano, timpani,
harmonium, glockenspiel and percussion.
The album manages an evocative
simultaneity: It’s crystalline as snow and
cozy as a blanket, a dual aesthetic that
infuses all of his work.
“There’s a particular feeling you get
in winter,” Tomo says. “It reminds me of
Christmas or being home with the family and
everything is white and quiet outside, really
still and cold, but then you go inside and sit
by the fire and hang out with your family. It’s
intimacy versus the harshness and starkness
outside.”
“He’s a self-assembled
human cathedral.
He’s transcendent
on his own.”
In addition to his work with Grand
Hallway, Tomo also played keys and
percussion with the Maldives for a few
years—the sole Asian-American surrounded
by a burly cadre of bearded white guys. But
the constant big-band collectivism of both
groups wore on his creativity. Consensus was
fun but he ached for individual expression.
“Whenever I write a song, I hear all these
different parts in my head, and then I’d want
to fill up the spaces with the parts I was
hearing. But now I feel it’s almost better to
leave it up to the listener to fill in those gaps.
Let the silence be the orchestra.”
Over the last two years, Tomo has
performed mostly by himself, just
fingerpicked acoustic guitar and voice and
11/25/13
PM to the
a piano if one’s around.
He’s 4:01
taken
Fremont Abbey, with its seated shows and
focus on acoustic performances, over the
Tractor, his former venue of choice, which
now seems too distracted.
continued on page 9
PreSenTing
by A.A. Milne
Scott Nolte,
Producing Artistic
Director
Karen Lund,
Associate Artistic
Director
ThAnk yOu TO Our
2014 SeASOn
SuPPOrTerS
CAST
(In Order of Appearance)
Anne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ginny Holladay
Mr. Carraway Pim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chris Ensweiler *
Dinah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Allie Pratt
Brian Strange . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Daniel Stoltenberg
Olivia Marden . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . April Poland
George Marden . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ryan Childers
Lady Marden . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kim Morris
ProduCTion
Director
Scenic & Sound Design
Costume Design
Lighting Design
Stage Manager
Dramaturg
Dialect Coach
Karen Lund
Mark Lund
Sarah Burch Gordon
Roberta Russell
Micah Lynn Trapp
L. Nicol Cabe
Marianna De Fazio
SeTTing
ST. JOhn’S LODGe
nO. 9
The morning room at Marden House (Buckinghamshire, England early 1920’s)
Mr. Pim Passes By is approximately 2 hours including one 15 minute intermission
OPeninG niGhT
SPOnSOr:
The uPPer CruST
*Member of the Actors’ Equity Association,
the Union of Professional Actors and
Stage Managers in the United States.
encore artsseattle.com A-1
direCTor’S noTeS
Welcome to Taproot Theatre and the first show of our 2014 Season. It is a long awaited
delight to invite you into our newly expanded facility. We want you to consider Taproot your
second home! We hope you will enjoy the new Stage Door Café space tonight and come back
to enjoy the café’s full menu when it opens in mid to late February.
Along with attending our Season in the Jewell Mainstage Theatre, we invite you to take in one
of the many productions in our brand new Isaac Studio Theatre. We are looking forward to
discovering with you all that this newly expanded facility has to offer.
Speaking of discovery, we were thrilled to hear about the “worthy but neglected” plays of
A.A. Milne unearthed by the Mint Theatre in New York City. Like so many millions around the
world, I have long been a fan of the Winnie-the-Pooh series of children’s stories by Milne, but
had no knowledge of his history as a playwright.* What a thrill it was to find a whole canon of
work by Milne that, while hugely popular in its time, was later eclipsed by his famous Pooh
characters.
Mr. Pim Passes By is a delightful romantic comedy that found huge commercial success in London and New York when
first produced in 1920. It humorously addresses some very important questions regarding love, honor, respectability,
partnership and the depth and breadth of romantic passion—questions that have not gone out of style. With Milne creating
the dramatis persona, you can expect a brilliant array of colorful characters to cross our stage, including loony landowners,
romantic buffoons, dowager aunts and Mr. Pim himself (who seems a humanized cousin to the lovable Pooh). I promise
you are in for a treat. Won’t it be fun to tell your friends what you’ve discovered.
Enjoy!
Karen Lund
Associate Artistic Director
*Our Mr. Pim Passes By dramaturge, L. Nicol Cabe, reveals
more about Milne’s intriguing but overlooked writing career
in her notes, located on page A6 of this program. Believe
me, you’ll want to know more.
uP nexT AT TAPrOOT:
In the
Book of
by John Walch
the blue glass
Restaurant and Bar
206-420-1631
704 NW 65th St.
Seattle, WA 98103
theblueglass.net
“Serving global comfort food, craft cocktails,
wine and beer.” Open for dinner, happy hour.
A-2 TAPROOT THEATRE COMPANY
theuppercrustcatering.com
MAr 26 - APr 26
206-783-1826
Serving the greater
Puget sound area
A love story inspired by
the Biblical book of Ruth.
Full-service catering available for
corporate functions, weddings,
fundraisers, memorials, celebrations,
and private parties of all sizes.
TAProoT TheATre STAff
Artistic/Production stAff
scott L. nolte - Producing Artistic Director
Karen Lund - Associate Artistic Director
Mark Lund - Design Director
Micah Lynn trapp - Production Stage Manager
sarah Burch Gordon - Costume Shop
Manager & Resident Designer
Wendy Hansen - Resident Props Master
AdMinistrAtive stAff
Pam nolte - Community Liaison
rick rodenbeck - Finance & Operations Director
nikki visel - Marketing Director
Just one
Just one
Just one
audience member whose life is deeply
touched by a Mainstage play.
Acting Studio student who stands on
stage for the first time – and realizes
she loves it.
elementary school student who sees
a Road Company anti-bullying play
at his school – and knows
he’s not alone.
elizabeth Griffin - Communications Manager
sonja Lowe - Marketing Associate
tanya Barber - Creative Marketing Specialist
Acacia danielson - Administrative Assistant
deveLoPMent
Joanna vance - Development Associate
That’s all it takes to
ignite HOPE.
PAtron services
Jenny cross - Patron Services Manager
Benjamin smyth - House Manager Lead
stephen Loewen, sonja Lowe, cathie rohrig,
dave selvig - House Managers
Kristi Matthews - Box Office Manager
Each gift we receive helps us continue to
inspire more than 140,000 people each year.
Jessica spencer - Box Office Lead
Laura Bannister, Linda Haugen, charis tobias,
Jd Walker - Box Office Representatives
Marty Gordon - Custodian
Jacob Yarborough - Facilities Maintenance
Will YOU
join us today and make
a tax-deductible gift?
educAtion & outreAcH
nathan Jeffrey - Director of Education & Outreach
Jenny cross - Resident Teaching Artist
suzanne townsend - Associate Director of
Education & Outreach
LeAd voLunteers
tamara Allison, Jeff corwin, sue danielson,
sharon delong, Mary Leatherman,
sharon Musslewhite, Judy renando, Lee ryan
Hand your gift to an usher,
call Jo Vance at 206.529.3672,
mail it to Taproot’s address below,
or visit taproottheatre.org/donate.
Taproot Theatre Company
Attn: Jo Vance
PO Box 30946
Seattle, WA 98113
encore artsseattle.com A-3
The CoMPAny
ryAn ChiLDerS (George Marden) is
thrilled to be back on stage at Taproot
Theatre. As always, he loves to perform
with this amazing company. Past
Taproot favorites include The Whipping
Man, Around the World in 80 Days, An
Ideal Husband and Big River. Thank
you Sydney for all your love and
support.
ChriS enSWeiLer (M. Carraway Pim)
is honored to be making his debut at
Taproot. Locally, he has performed
with Seattle Repertory Theatre, Village
Theatre, Seattle Children’s Theatre,
Seattle Shakespeare Co., Wooden O,
Balagan Theatre, The Hansberry Project
at ACT, Endangered Species Project and
14/48: The World’s Quickest Theatre Festival. Regional
credits include Alliance Theatre, Alabama Shakespeare
Festival, Georgia Shakespeare and Tennessee
Shakespeare Co.
Ginny hOLLADAy (Anne) is an actor/
director/playwright/musician/visual
artist. She grew up in Lithuania and
Germany. Ginny attended Belhaven
University where she received a BA in
theatre performance and Stella Adler’s
ten-week acting intensive. Her favorite
roles include Dorothea in Lee Blessing’s
Eleemosynary and directing Angel Street. Ginny has
performed in France, Germany and the U.S. She now
resides in Seattle where she is pursuing a career as an
actor/director/playwright/musician.
kiM MOrriS (Lady Marden) was last
seen on the Taproot stage as the nearly
blind and deaf Gertrude and the ever
eccentric Miss Flora Van Huysen in
The Matchmaker. A fan of A.A. Milne,
Kim is delighted to be part of this rich
and funny story. She has performed for
Taproot’s Mainstage for more than 30 years, has directed
and performed with Taproot’s Touring Company, and also
directed The Lights of Christmas Dinner Theatre for many
years. Love to my wonderful family!
APriL POLAnD (Olivia Marden) was last
seen at Taproot as Olivia in Illyria.
Previously, she appeared in Taproot’s
The Odyssey and Man of La Mancha.
Locally, she has performed with Seattle
Shakespeare Company, Artswest and
Seattle Children’s Theatre. Some
regional credits include Lady Macbeth
A-4 TAPROOT THEATRE COMPANY
(VA Shakespeare Festival), Beatrice (Idaho Shakespeare
Festival), and the Witch in Into the Woods (Mill Mountain
Theatre). She also enjoys singing with The Dickens
Carolers every year.
ALLie PrATT (Dinah) is a California native
who now happily works in the rainy city.
You may have seen her at some point
last year with Seattle Shakespeare, Live
Girls!, Eclectic or Book-It. Now she
is thrilled to be starting off 2014 with
Taproot. Her training includes PCPA
Theaterfest, and a BFA from Cornish
College of the Arts. www.alliepratt.com
DAnieL STOLTenBerG (Brian Strange)
is delighted to collaborate on this
production with such a capable
ensemble. He previously sneered
his way across Taproot’s stage as
Malvolio in Illyria, and recently played
Christopher Marlowe in Holiday of Errors
with Sound Theatre Company. Mr. Pim
Passes By is a perfect play for this theatre; thank you for
being a part of it. Thanks also to Karen for allowing and
empowering us to do our best work.
L. niCOL CABe (Dramaturg) is a director, dramaturg, writer
and sometime actor. This is her sixth time dramaturging
a show with Taproot Theatre and she looks forward to
many more.
SArAh BurCh GOrDOn (Costume Designer & Shop Manager)
has designed 45+ shows for Taproot in the past nine
years. Regionally, Sarah has also designed for TAG,
SART, Stage West Theatre, Brick Playhouse and Venture
Theatre. She was nominated for a 2010 Gregory award.
Her MFA is from Temple University. Roses and parsnips
to CLM.
MAriAnnA De FAziO (Dialect Coach) has worked as dialect
coach on several Taproot shows, including The Beams
are Creaking and Gaudy Night. She performed on stage
in Jeeves in Bloom and will be in the upcoming Diana of
Dobsons. She has also coached dialect at Seattle Public
Theatre and Sound Theatre Company. Marianna is a
proud employee of Theatre Puget Sound. She earned her
MFA at the University of Washington. Thanks to all the
lovely folks on and off stage at Taproot. Love to AK.
kAren LunD (Director) is celebrating more than 20 years
at Taproot as Associate Artistic Director where she has
directed or performed in more than 100 productions.
Recent work at TTC includes the sold-out, criticallyacclaimed production of Jeeves in Bloom, Illyria
(Gregory Award nominated for supporting actor) and
Le Club Noel. National credits include productions at
The CoMPAny
Cincinnati Playhouse, Idaho Shakespeare and Kentucky
Shakespeare. Her film credits have garnered numerous
national awards including three Telly awards and the New
Filmmaker’s Award at the City of the Angels Film Festival.
Karen sends her love to her amazing husband Mark and
wonderful children, Jake and Hannah.
MArk LunD (Scenic & Sound Design) was nominated for a
2013 Gregory Award for the set design of The Whipping
Man and has designed more than 100 TTC shows.
Design highlights include scenery for An Ideal Husband,
An Inspector Calls, The Voice of the Prairie and Brownie
Points. Other design work includes Seattle Shakes, BookIt, Seattle Fringe Festival and award-winning short films.
Mark is also a voice over actor. Love to Karen, Hannah
and Jake.
rOBerTA ruSSeLL (Lighting Design) has been designing
lighting and scenery in the Pacific Northwest area since
1987. Recent design work includes lighting design for
Taproot Theatre’s Tartuffe, Gaudy Night and Jeeves in
Bloom; lighting design for Seattle Shakespeare’s Much
Ado About Nothing; and set and lighting design for
Seattle’s Early Music Guild, presented at the Moore
Theatre with director Arne Zaslove and director/
choreographer Donald Byrd. She is a professor at
Cornish College of the Arts.
MiCAh Lynn TrAPP (Stage Manager) has been on staff as
production stage manager at Taproot for the past year
and a half, and Mr. Pim will be her fifth show as stage
manager. Outside of Taproot, Micah has had the privilege
of working with a wide variety of companies such as
Cornerstone Theatre, Rogue Artist Ensemble, RedCat,
Warrior Poet Productions, Texas Shakespeare Festival,
Chicago Opera Vanguard, Caffeine Theatre, Signal
Ensemble Theatre and The Goodman Theatre.
SCOTT nOLTe (Producing Artistic Director) is a co-founder
and the Producing Artistic Director of TTC. Over the
course of 37 years, he has directed such plays as The
Odyssey and Smoke on the Mountain, and more recently
The Matchmaker, The Whipping Man, Gaudy Night,
Sherlock Holmes and the Case of the Christmas Carol
and Freud’s Last Session for TTC. He has participated in
several new-play development projects, is past president
of Theatre Puget Sound and is a member of the Society
of Stage Directors and Choreographers. In 2011, Scott
and Pam Nolte were named Alumni of the Year by Seattle
Pacific University.
Mr. PiM PASSeS by STAff
Production stAff
Grace varland - Assistant Stage Manager
Ginny Holladay - Directing Intern
costuMe stAff
erin Perona - Wig Stylist
Kelsey Mccormack - Dresser
dana friedli-nuemann - First Hand/Cutter/Draper
Melinda schlimmer - Stitchers
deborah ferguson - Volunteer
scenic, LiGHtinG, sound stAff
Kristi Matthews - Master Electrician
daniel cole - Assistant Master Electrician
Amy Wyatt - Sound Board Operator
daniel cole - Light Board Operator
tim samland - Scenic Carpenter
Alex Grennan, Baylie Heims, daniel Miller,
dustin Morache, chris scofield,
robert tobias, Jd Walker - Electrics Crew
encore artsseattle.com A-5
froM The drAMATurg
A.A. MiLne’S iMAGinATiOn WAnDerS By
by L. Nicol Cabe
The playwright behind Mr. Pim Passes By, A.A. Milne, is most recognized for his delightfully timeless children’s books
featuring Winnie-the-Pooh. What few people realize now is that Milne built a diverse career over decades as a writer
and became famous for many stories, not just his children’s literature.
Milne graduated Cambridge in 1903 and set his mind to becoming a journalist. By 1904 he had published 17 articles
in many major English publications. He worked primarily as a humorist with Punch magazine and became an assistant
editor for the magazine for a few years. He became well known for his short stories about The Rabbits—not animals,
but a middle class human family—whose bumbling witticisms delighted magazine readers.1
When the First World War broke out, Milne enlisted and served on the front lines in France for four years.2 While
in the trenches, Milne wrote his first play, Once on a Time, to be performed for the troops by his wife and five child
actors. Historians believe that the play, lost to time now, shares many elements of the later Pooh books. In 1916, upon
the urging of his close friend J.M. Barrie (author of Peter Pan), Milne completed his first successful play, WurzelFlummery.
Milne’s first commercially successful play, Belinda, opened in 1918 despite his editors and publicists claims that no
audience in London wanted to see a play by a magazine humorist. Mr. Pim Passes By is Milne’s most famous play,
performed first in 1920. His son, Christopher Robin Milne, was born that same year.
Milne also wrote several mystery novels, again despite his publicists’ outcries that no reader wanted stories of intrigue
written by a playwright. In fact, ignoring finger-wagging from many different sources, Milne continually wrote anything
that caught his fancy—mysteries, poems, even screenplays for the budding British film industry. Looking back at his
early work in 1926 (which included Gallery of Children, a collection of short stories for young readers that later became
the Winnie-the-Pooh books), Milne concluded that “the only excuse which I have yet discovered for writing anything
is that I want to write it; and I should be as proud to be delivered of a Telephone Directory con amore as I should be
ashamed to create a Blank Verse Tragedy at the bidding of others.”3
Milne’s imagination roamed through many different worlds, but his work has always included delightful characters.
He was particularly noted for his strong women—in this play, both love-struck young Dinah and strong-willed and
intelligent Olivia, and in the Pooh books, Kanga. Two of his most beloved characters, Pooh and Pim, share a lovable
penchant for daydreaming and a tendency to become easily confused. While Mr. Pim is an older gentleman and his
forgetfulness has an edge of senility, he and Pooh both live in their own imaginations—perhaps a bit like Milne himself.
Sources:
1. “Who Was Alan Alexander Milne?” Christopher Robin’s Green Door. Updated October 22, 2013 http://www.rakkav.com/greendoor/pages/alan.htm
2. “1920.” Wikipedia: The Free Encyclopedia. Wikimedia Foundation, Inc. 22 July 2004. Web. 21 November 2013. http://en.wikipedia.org/wiki/1920
3. “A.A. Milne.” Wikipedia: The Free Encyclopedia. Wikimedia Foundation, Inc. 22 July 2004. Web. 8 November 2013. http://en.wikipedia.org/
wiki/A.A._Milne#1903_to_1925
4. “Mr. Pim Passes By – A.A. Milne.” The Captive Reader. Blog Post, 25 June 2012. http://thecaptivereader.wordpress.com/2012/06/25/mr-pimpasses-by-a-a-milne/
Pleased to be partnering with Taproot Theatre
www.systemsixbookkeeping.com
206-851-4330
Strategic bookkeeping and accounting for small businesses
and high performance entrepreneurs.
A-6 TAPROOT THEATRE COMPANY
helPful inforMATion
FOOD & Drink
Covered coffee, hot tea and bottled
water from concessions are allowed in
the theatre. Please dispose of your cups
and water bottles after the show. No
food is permitted in the auditorium.
Snacks from concessions can be
enjoyed in the lobby.
We can no longer accommodate
dinner leftovers for patrons because
the refrigerator space belongs to
the Stage Door Café. Thank you for
understanding.
DrAMATurG DiSPLAy
Classes for 4th-12th grades as well as adults.
Visit us online at www.taproottheatre.org/classes
for a full listing of fall acting classes.
RegisteR online oR Call 206.529.3668
Visit the upper lobby to view a display
with additional information relating to
the current production.
ASSiSTeD LiSTeninG DeViCeS
Patrons desiring an assisted listening
device may request one from the House
Manager.
LOST & FOunD
boArd of direCTorS
OFFiCerS
If you have lost an item, check with the
Box Office in person or by phone at
206.781.9707. If you find a lost item,
please give it to the House Manager
or Box Office staff. Unclaimed lost &
found items may be donated to a thrift
store at the discretion of management.
Larry Bjork – Board Chair
President, Bjork Engineering
Alyssa Petrie
Community Volunteer
Peter Morrill – Treasurer
Director of Resource Management, Point B
Dr. Sarah Roskam
Internal Medicine, UW Medical Center
Do you have antique or vintage
items you no longer need?
Rob Zawoysky – Secretary
Creative Director, Masterworks
Dr. George Scranton
Professor of Theatre, Seattle Pacific University
Taproot Theatre’s production team
is now accepting:
MeMBerS
Steve Thomas
Partner/CEO, Oneicity
Joe Helms
Managing Director, Ronald Blue & Co.
George Myers
Senior Partner/Consultant, The Effectiveness
Institute
Dan Voetmann
President, Destination Marketing
ACknowledgeMenTS
• Gary Brunt, Greenwood Town Center/Piper Village
• Director, Karen Lund would like to thank Mark DuMez of Chemainus Theatre in BC
for introducing her to the plays of A.A. Milne.
ProP & SeT donATionS
• Vintage or vintage-style (pre-1970s)
furniture, luggage, books, trunks,
telephones, radios and kitchenware
• Period newspapers and magazines
• Sorry, no costume donations
accepted at this time
Contact Mark Lund at 206.529.3644
or [email protected]
ViDeO AnD/Or AuDiO reCOrDinG
OF ThiS PerFOrMAnCe By
Any MeAnS WhATSOeVer iS
STriCTLy PrOhiBiTeD.
encore artsseattle.com A-7
ThAnk you
Taproot Theatre gratefully acknowledges the following for their generous support, both to our Annual Fund and
Capital Campaign. This list reflects gifts made to both funds between 12/01/2012 and 12/12/2013. While
space limitations prevent us from including every donor here, we are pleased to present a more extensive list
on the front wall of our lower lobby. If you have any questions, or would like more information about making
a tax-deductible gift to Taproot Theatre Company (a 501c3 organization), please contact Joanna Vance at
206.529.3672 or [email protected].
corPorAtions/foundAtions
$10,000+
4Culture
ArtsFund
Boeing Gift Matching Program
Gesner-Johnson Foundation
Margery M. Jones Trust
Moccasin Lake Foundation
National Christian Foundation Seattle
In Honor of Cindy Niermeyer
The Seattle Foundation
The Taxpayers of Washington State
Tulalip Tribes Charitable Fund
1 Anonymous
$5,000 - $9,999
AmericanWest Bank
Buchanan General Contracting Company
National Endowment for the Arts – Art
Works
Washington State Arts Commission
$2,500 - $4,999
Greenwood Shopping Center Inc.
Horizons Foundation
Humanities Washington
Margaret Bullitt Charitable Gift Fund
Microsoft Matching Gift Program
University Lions Foundation
1 Anonymous
$1,000 - $2,499
Ballard Hardware and Supply
Fales Foundation Trust
Google Matching Gifts Program
McEachern Charitable Trust
Nintendo Matching Gift Program
Ronald Blue & Co, LLC
St. John’s Lodge No. 9
$500 - $999
Blackrock Matching Gifts Program
individuALs
Angels ($10,000+)
Mrs. Phil Duryee
Fred & Claudia Gilleland
Richard Gordon
The Daniel J. Ichinaga & Allison Cook
Fund
Sandy Johnson
Glenna Kendall
Terry & Cornelia Moore
Petra Foundation
George & Alyssa Petrie
Dion & Gregory Rurik
Richal & Karen Smith
Bill Snider & Kendra VanderMeulen
Daniel & Margret Voetmann
Robert & Maree Zawoysky
2 Anonymous
Marquee ($5,000 - $9,999)
David & Gay Allais
In Memory of Aubrey Bean
Larry & Lorann Bjork
John & Ann Collier
Christopher & Patricia Craig
Joyce Farley
Gary & Deborah Ferguson
Joseph & Elizabeth Helms
Kraig & Pam Kennedy
Mark & Karen Lund
Gary & Nancy Massingill
Scott & Pam Nolte
George & Claire Scranton
Robert L. Smith
Steve Thomas & Kris Hoots
Mr. Chris Thompson
Producers ($2,500 - $4,999)
Ted & Ruth Bradshaw
Margaret Bullitt
Tom & Linda Burley
Tanya Button
Leon & Sharon Delong
Dennis & Deborah Deyoung
Doug & Linda Freyberg
Donald V. Hallock
In Memory of Dick Hampton
Dorothy Herley
Wayne & Naomi Holmes
Peter & Gisele Krippner
Philip & Cheryl Laube
Fred & Carolyn Marcinek
Peter & Megumi Morrill
George & Joy Myers
Kathy Pearson
Mona Quammen
Sarah Roskam
Susan Rutherford
Maryanne & Dennis Schmuland
Beverly Taylor
Daniel & Joann Wilson
Directors ($1,000 - $2,499)
Allan & Anne Affleck
Fil & Holly Alleva
Dorothy Balch
Dr. Brad Bemis & Kris Bemis
Inez Noble Black
Tom & Jan Boyd
Melvin & Cordelia Brady
Shelly Casale
Don Cavanaugh
Russell & Fay Cheetham
Alan & Gail Coburn
James & Kay Coghlan
Chad Creamer & Marcie Zettler
Ronald & Virginia Edwards
David & Peppe Enfield
Juan & Kristine Espinoza
Brian & Laura Faley
Lee Fitchett
Virginia Fordice
Michael & Karen Frazier
Steven & Jamie Froebe
Gary & Kathy Gable
Sean & Catherine Gaffney
Alan & Carol Gibson
John & Sally Glancy
Arnott Gray
Lucy Hadac
Jennifer Hafterson
Matt & Sherri Hainje
Carolyn Hanson
David & Connie Hiscock
David & Tanya Hodel
Mark & Susan Hornor
Jeff & Pam Horton
Lee & Ginnie Huntsman
Mike & Barb Jewell
Mark & Mary Kelly
Agastya Kohli & Marianna De Fazio
Susan Lamar
Frank Lawler
Ron & Constance Lewis
Cody & Beth Lillstrom
A-8 TAPROOT THEATRE COMPANY
Gerald & Velma Mahaffey
Carrie McCrimmon
Gary McDonald
Lee & Janet McElvaine
McFadzean Family Fund
Tom & Jean Mohrweis
Don & Kim Morris
Daniel & Bernadette Nelson
Joseph & Kela Ness
Eugene & Martha Nester
Lloyd & Jackie Nolte
John & Lucy Nylander
Jim & Ann Owens
Mary Pagels
Thom Parham
Bruce & Cynthia Parks
Tyler & Katie Parris
Jeff & Joann Parrish
Brian & Christa Poel
Mike & Catherine Purdy
John & Patty Putnam
Tom & Claudia Rengstorf
Vic & Kristine Rennie
Kate Riordan
G.M. & Holly Roe
Robert & Cathie Rohrig
Mrs. Grace Rutherford
Kathryn Sand
Edward & Bonnie Schein
David & Joan Selvig
Todd & Teresa Silver
Dale & Susan Smith
Angela & Dave Smith
In Memory of Kathleen Marie Smith
Charles & Marilyn Snow
Loren & Carol Steinhauer
Jack & Cynthia Talley
Jerry & Diane Thompson
Jeff & Margie Van Duzer
Jewely Van Valin
Fred & Judy Volkers
Tom & Connie Walsh
Chris Weaver
James & Jo White
Randon & Carolyn Wickman
Norma Wills
Jean Winfield
David & Ann Woodward
Playwrights ($500 - $999)
Fred & Janet Alkire
Jim Angerer
Russell & Janice Ashleman
Geraldine Beatty
Joanna Beitel
Bryan Boeholt
Kevin & Anne K. Brady
Christine Cave
Eldon Chelgren
Alan & Janice Christensen
Wayne & Greta Clousing
James & Janis Cobb
Jay & Jenny Cross
Todd Currie
Richard & Donna Dahlstrom
Benjamin & Amanda Davis
Donald & Claudia Deibert
Amelia Earhart
Earl & Denise Ecklund
Gary & Juelle Edwards
Kristine Engels
Juan & Kris Espinoza
A. Etter
Mark & Judy Fenton
Pradeep & Janet Fernandes
Stanley & Jane Fields
Marion Fisher
Larry Fletcher
Cynthia Fye
Jim & Jeanne Gallagher
Robert Gallaher
Thurman & Marjorie Gillespy
Carl & Pat Giurgevich
Maren & Braden Goodwin
Bonnie Green
Tim Greenleaf
Peter & Anne Haverhals
Henry & Lauren Heerschap
Jonathan Henke
Paul Hensel
Jason Herman
David & Mary Kay Hilmoe
Loren & Isobel Hostek
Fred & Jeanne Howard
Virgil & Norma Iverson
Mora Johnson
David & Christina Johnson
Glenn & Lisa Knight
Karen Koon
Rosemary Krsak
John & Jean Krueger
Henry & Jennifer Laible
Jack Lee & Pm Weizenbaum
Wesley & Merrilyn Lingren
Ben & Donna Lipsky
Stuart & Dorothy Lundahl
Harry & Linda Macrae
John Maytum
Bob & Karolyn McDaniel
David & Carol McFarland
Tim & Sharon McKenzie
Robert & Grayce Mitchell
Kim & Dana Moore
Les & Carol Nelson
Craig & Linda Nolte
Nolan & Lorena Palmer
Patrick & Charity Parenzini
James & Annita Presti
Ralph & Joan Prins
Bill & Jodie Purcell
Rick & Leah Rodenbeck
Frederick & Caroline Scheetz
William Seaton
Dick & Nancy Sleight
Ronald & Dorita Smith
Andrew & Sandra Smith
Joy Smith
William & Carolyn Stoll
Elliot & Daytona Strong
Barbara Suder
Chuck & Kathy Talburt
Larry & Mary Ruth Thomas
Michael & Laura Thomason
Robert & Gina Thorstenson
Suzanne Townsend
James & Jill Trott
Edel Underhill
Jan Vander Linden
Daryl & Claudia Vander Pol
Doug & Kristin Walsh
John & Sonja West
Leora Wheeler
Larry & Linda Williams
Donald & Gail Willis
Glen & Eilene Zachry
2 Anonymous
Taproot Theatre
Company is a
professional, nonprofit theatre with a
multifaceted production
program. Founded in
1976, TTC serves the
Pacific Northwest with
touring productions,
Mainstage Theatre
productions and the
Acting Studio. Taproot
is a member of Theatre
Communications Group
(TCG), Theatre Puget
Sound (TPS) and the
Phinney Neighborhood
Association.
Taproot Theatre
Company creates
theatre experiences
to brighten the spirit,
engage the mind
and deepen the
understanding of the
world around us while
inspiring imagination,
conversation and hope.
Mailing Address:
PO Box 30946
Seattle, Washington
98113-0946
Administrative Offices:
206.781.9705
Fax: 206.297.6882
Box Office:
206.781.9707
[email protected]
www.taproottheatre.org
www.facebook.com/
taproottheatre
twitter: @taproottheatre
E N C O R E A RT S N E W S Winter Creature
continued from page 8
About that voice. Tomo’s speaking voice
is West coast low-key, distinctly uninflected
and matter-of-fact. It’s the kind of voice that
can describe a musical experience as “pretty
magical” without the slightest twinge of
twee. His singing voice, on the other hand…
Without exaggeration, misconception or
cliché, Tomo’s singing voice is angelic. It’s
boyish in tone, or perhaps womanish, tender,
beautiful, clear and strong. All of those
things, but the word that feels most apropos
is pure.
“I’d always been drawn to female voices
more than male voices for some reason, and
I just found that my range was more in that
kind of register,” he says. “So I’d always sing
along to Whitney Houston, and that wasn’t
weird to me. I guess I never thought I was
unique because I’ve only ever done it the way
I know how. It has to do with being OK with
having an androgynous voice. I feel like it’s
all leading to the same source or the same
place where music comes from.”
On its own, Tomo’s singing is magnetic.
Paired with his diminutive appearance, it’s
arresting. That dissonance drew screenwriter
and film director Lynn Shelton to Tomo
when she first heard him perform at the
Abbey two years ago. She’d known Tomo as
a mysterious character in the Maldives but
had never seen him perform on his own.
That night he sang Judy Garland’s “The Man
that Got Away” and it was, Shelton says, “a
visceral, transcendent human experience.”
That voice in that space is gonna go in one
of my movies, she decided. And so Tomo
ended up with a major role in Shelton’s
Touchy Feely, which toured the festival
circuit before getting its theatrical release
this past summer. (It came out on DVD in
December.) He plays Henry, an aspiring
musician and part-time barista.
“The role wouldn’t exist without Tomo,”
Shelton says by phone. “I didn’t write the role
and then look for someone to fill it, I wrote
the role for him and because of him.”
Shelton introduces Henry as a shy
and earnest guy then builds the story to
his performance at Fremont Abbey. In a
beautiful synthesis of music and narrative,
Henry/Tomo plays a song called “Horses,”
which Tomo wrote specifically for the film.
It’s a transformative climax that commingles
several storylines, characters struggling to
find love and meaning, as Tomo sings with
almost religious gravity.
F RO M C I T Y A RT S M A G A Z I N E
Is it a blessing or a curse to be found, to be
found?
Is it a burden or a gift to be bound, to be
bound?
“There are all these different characters
going through their different journeys and
this song had to envelop them all and find a
common thread,” Shelton says. “It’s kind of
a miracle.”
Jesse Sykes uses similarly reverent
language after meeting Tomo for the first
time to record “I Am Waiting.” She normally
turns down requests for vocal contributions,
she says, but Tomo’s demo version was too
powerful to pass up.
Without
exaggeration,
misconception or
cliché, Tomo’s singing
voice is angelic.
“He’s a self-assembled human cathedral,”
Sykes says. “He doesn’t need the bells and
whistles. He’s one of the lucky ones in that
he doesn’t need a band to communicate. He’s
transcendent on his own. Some people have
a little more ghost in them, that juju that
can’t be put into words.”
Tomo says he’s been listening to a lot of
electronic artists and gravitating toward
stripped-down vocal stylists like Arthur
Russell and Bill Callahan. He’s seeking
economy, drilling down to the core of his
songs rather than building grandeur around
them: a minimalist approach to maximizing
impact. In December he played St. Mark’s
Cathedral, Seattle’s grandest intimate venue.
Though Tomo says he enjoyed acting, the
most important result of Touchy Feely was
that it reaffirmed his commitment to music.
It made clear his course. It gave him courage.
For his next album, he’ll abandon the name
Grand Hallway in favor of something else.
Maybe a pseudonym, maybe his own name.
The idea is to denote this new attention to
closeness and connection.
“The name Grand Hallway lends itself
to expectations of a big experience,” Tomo
says. “The intent of the name was kind of
reflecting how people come in and out of
your life, and we experience these fleeting
moments of beauty, but then you have to
go on your way. The hallway is not a place
where you live. You just pass through.” n
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encore art sprograms.com 9
E N C O R E A RT S N E W S A WORLD PREMIERE BY SAMUEL D. HUNTER
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10 ENCORE STAGES
SRT 120413 wilderness 1_3s.pdf
Alisa Furoyama and
Forrest Eckley ready
Glasswing for opening.
More in Store
Glasswing’s urban
surplus is true to
the Northwest.
BY JONATHAN ZWICKEL
IN THE WORLD of independent retail, simply
selling stuff is no longer a viable business
model. The retail space that thrives isn’t
filled with things to buy; it’s a repository
for experiences, real or potential. It’s a
platform for artisans and entrepreneurs. It
builds community. It offers story as much as
substance.
Eye-roll worthy perhaps, but this new
retail paradigm is an earnest approach to
conscientious consumption. It’s as much
a marketing tack as it is an ideal—but that
doesn’t eradicate its altruism.
“People need a compelling reason to go
buy something from a store, otherwise you
should just go online,” says Forest Eckley,
co-owner of Glasswing, a new retail venture
which opened in the former Sonic Boom
space in Capitol Hill’s Melrose Market last
month. Eckley hopes that Glasswing’s mix of
clothing, housewares and furniture—plus a
space available for rotating guest designers
and hosted events—will offer that elusive mix
of hard goods and intangible experience.
Glasswing has existed for a few years as
an occasional pop-up shop around Seattle,
a fashion blog and more recently, an online
store, but this is its first full-time, brickand-mortar home. The brand specializes in
high-end clothing for men and women that
adheres to an au courant urban-woodsman
aesthetic: Rugged sweaters, heavy overcoats
and sturdy work shirts refined for active city
MIGUEL EDWARDS
to
F RO M C I T Y A RT S M AG A Z I N E
at Meany Hall on the UW Campus
Asia’s most acclaimed
dance company performs
Songs of the Wanderers,
a work inspired by
Siddhartha’s quest for
enlightenment and brought
to life on an astonishing set
of 3-1/2 tons of shimmering
golden grains of rice.
MARCH 6-8
206-543-4880 • UWWORLDSERIES.ORG
A
A New
New Orleans
Orleans French
French Quarter
Quarter Dining
Dining Experience
Experience
UWWS 112513 ES044 1_3s.pdf
toulouse
toulouse
Br Br
oa oa
d d
ve ve
tA tA
lio lio
El El
ay ay
W W
n n
ka ka
as as
Al Al
Denny
Denny
Downtown
Downtown
Seattle
Seattle
99
99
4th4th
1525 MELROSE AVE.
Mercer
Mercer
Seattle Center
Seattle Center
Pike
Pike
I5
I5
Pinoneer Square
Pinoneer Square
Toulouse Petit
Kitchen & Lounge
90
90
Kitchen & Lounge
Fifth
Fifth Most
Most P
Popular
opular Restaurant
Restaurant in
in the
the Nation
Nation
Tenth
Tenth Most
Most P
Popular
opular in
in the
the W
World
orld
–– Trip
Trip Advisor's
Advisor's 2012
2012 Traveler's
Traveler's Choice
Choice Award
Award
Breakfast
Breakfast
glasswingshop.com
Lake Union
Lake Union
Queen Anne
Queen Anne
Queen
Queen
Anne
Anne
AveAve
dwellers. Some items are made by American
heritage brands like Gant and Filson; others
are designed in-house by Eckley and his
partners Sean Frazier and Alisa Furoyama.
Pairing expensive clothes alongside
practical, outdoorsy items like hatchets,
wool blankets and pewter flasks epitomizes
Glasswing’s modern-surplus retail approach.
In the field or in your apartment, these items
look good and function well. This style is
popular from Portland to Brooklyn, but it
resonates deepest in Seattle, where real
wilderness exists mere minutes from city
streets.
Clothing, plants and home goods occupy
the front third of Glasswing’s storefront. Set in
the middle is furniture by Brackish, another
one of Eckley’s endeavors. Using reclaimed
wood and metal, he and his Brackish design
partner Andy Whitcomb design couches,
dining tables, bar carts and garment racks.
All feature hard angles, heavy materials
and muted colors in a hyper-masculine,
minimalist style; all are hand-built by Seattle
craftsmen. The Brackish showroom area
plays a dual role: It allows customers to check
out the furniture and provides a lounge area
inside the store.
“I wanna give people a reason to feel like
they can hang out without having to buy a
$4,000 dining table or $200 dress,” Eckley
says. “They can just come in and hang out in
this cool environment. We’ll have plenty of
furniture for people to have meetings or read
or just decompress on their way up the hill
from downtown.”
Meeting and collaboration space occupies
the back third of the space, where Eckley says
he’s renting four or five desks to freelance
photographers and designers. This area
adjoins an area available to rotating pop-up
shops that are scheduled throughout the
coming year. The first will be Scout, a Seattle
retailer and pioneer of urban-woodsman chic,
and Ty Ziskis, a musician-about-town who
imports vintage workwear from the UK.
The back wall of Glasswing is made of
floor-to-ceiling windows that yield gorgeous
natural light. The ceiling is beautifully
textured unfinished wood bracketed by
heavy, wooden beams. Eckley calls the raw,
unadorned style of the 100-year-old building
“a dream interior.”
“At heart we’re a retail shop, but in order
to be a retail shop worth visiting, we have to
do something different,” Eckley says. “To get
a really cool space we have to have multiple
income streams so we’re not just relying on
designing and buying and selling clothes.
Those two elements lead to
a dynamic
ad proofs.indd 1
space that’s fun and interesting and never
stagnant.” n
Lunch
Lunch
Happy
Happy Hour
Hour
601 Queen Anne Ave North, Seattle
601 Queen Anne Ave North, Seattle
|
|
Dinner
Dinner
toulousepetit.com
toulousepetit.com
|
|
Late
Late Night
Night
206.432.9069
206.432.9069
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E N C O R E A RT S N E W S F RO M C I T Y A RT S M AG A Z I N E
baby 111313 black 1_3v.pdf
Cory Clark bundles up to sell soda at a chilly Ballard Farmer’s Market.
Fizzy Logic
Soda Jerk microbrewery takes soda
from uninspired to urbane.
Even straight out of a charmless industrial
refrigerator, lemon lavender soda is delicious.
Cory Clark, owner and founder of Soda Jerk
Sodas, has tapped a small keg of the bright
pink beverage so that I can taste his most
popular flavor—the only one he always has on
tap at his Ballard Farmer’s Market stand, for
sale by the glass or the growler. “My customers
get upset if I don’t have it,” he says.
Before I take a foamy sip, I smell why this
is such a popular drink. The scent of lavender
thumps me in the nose, thick, floral and
herbal, immediately balanced by the bright
tang of lemon. Refreshing, complex and
sophisticated, it’s a strange soda sensation for
someone with an unhealthy love of Coke Zero.
The other two flavors in the fridge, cranberry
tangerine and apple pie, are also impressive,
the first quietly sweet and brilliantly red, the
second of a dusky, spiced essence, still light
and fruity but with a velvety finish akin to
high-end cream soda.
Clark is a tall, affable man, wearing a
turquoise Soda Jerk T-shirt, chin-length hair
peeking out from under a baseball cap. We’re
chatting in the shared kitchen space on lower
Queen Anne where he concocts his soda
flavors—28 recipes and counting.
Soda Jerk began when the in-home
seltzer-maker SodaStream hit the market;
Clark was less than impressed with the
12 ENCORE STAGES
sticky, sickly-sweet syrups provided for
making homemade sodas. In mid-2012, he
experimented with fresh ingredients and soon
had five flavors of soda syrup: Ginger ale,
hibiscus spice, honey lemon, tonic water and
watermelon basil. Syrup was fine, but when
Clark started making fresh sodas, he knew he
was onto something.
“In order to make a syrup you have to
cook it, and that’s going to change the flavor
profile,” he says. “Cooked watermelon juice
tastes much different than if it’s fresh.” Syrups
also require more sugar than fresh sodas
(he uses organic cane sugar, nothing highfructose about it) and they have to be bottled,
labeled and shelf-stable.
“I’m more agile with the sodas,” he says.
“I can easily do a new flavor if I want to, even
based on something at the farmer’s market. If
I see someone has pears, I can work with fresh
pears.” Leaving room for spontaneity has led
to soda flavors like pink grapefruit tarragon,
apple ginger, elderflower, caramelized pear,
plum five-spice, elderberry black peppercorn
and vanilla hazelnut. Clark hit Seattle farmer’s
markets with fresh sodas in August 2012 and
he hasn’t looked back.
Soda Jerk might be heir apparent to a
distinctly Seattle line of envelope-pushing
sodas. Jones Soda, which debuted in 1996,
touted cane sugar and environmental
MIGUEL EDWARDS
BY GEMMA WILSON
responsibility, but the lurid colors and
traditional-plus flavors (not to mention an
energy drink called “WhoopAss”) make it very
much a brand of the ’90s. Founded in ’06, DRY
Soda was a mid-aughts evolution of the idea:
a lower-sugar, adult soft drink, with thenunusual flavors like rhubarb, vanilla bean and
juniper berry. Now Soda Jerk is tapping into a
new culinary zeitgeist: farm-to-bottle.
Clark’s enterprising spirit makes up for
his lack of professional food experience. He
grew up in “a family of do-it-yourselfers” near
Buffalo, New York. “We built the house I has
growing up in,” he says. “From age seven I
was nailing things, laying bricks. We built it
around us.” He studied fashion design and
marketing at the University of North Carolina,
then landed in Dallas, where he became a
cosmetic chemist, creating all the products
for the two stores (“A lot like Lush”) and spa
he owned. His outdoorsy nature, and his now
ex-wife, a Seattle native, ultimately drew him
to the Northwest.
For now, Soda Jerk is a one-man operation.
“I’ll do everything myself until I can’t,”
he says. But Clark thinks big. “I have too
many ideas sometimes. And it takes focus to
make sure one thing succeeds before adding
something new.”
Clark’s “too many ideas” do yield gold—like
a MacGyver-ed rocking chair that lets him
shake and carbonate six five-gallon kegs at
once. He’s also Kickstarting funds for a tiny
soda truck, which would allow him to double
his business, and he’s started to make chewy
candies with some of the same flavor combos
I smell why this is
such a popular drink.
The scent of lavender
thumps me in the
nose, thick, floral and
herbal, immediately
balanced by the
bright tang of lemon.
as his sodas. Top-secret projects include
creating an undisclosed “salty snack” for the
soda truck and partnering with a purveyor of
frozen treats.
Down the line, Clark’s master plan involves
UV pasteurization so he can wholesale to
bars and restaurants. Creative sodas offer a
great alternative to alcoholic beverages—and
they also go great with booze. Clark’s favorite
flavor, lime cilantro jalapeño, is tailor-made
for cocktails: Just add tequila. Whatever your
poison, Clark has something to suit it. And if
he doesn’t, he just hasn’t thought of it yet. n
ad proofs.indd
Soda Jerk Soda is available at Seattle
farmer’s1
markets. For current market schedule and
flavors, visit https://www.facebook.com/
SodaJerkSoda.
See the complete ECA 2013–2014 Season at www.ec4arts.org!
PSBC 110413 hug 1_3s.pdf
KURT ELLING
Thursday | March 20
$32, $37 & $42, $15 youth/student
Sponsored by
Carl Zapora & Cheryl Foster, Jean Hernandez,
and Irwin Zucker, age 11
BODYVOX
Saturday | May 3
$27, $32 & $37, $15 youth/student
Sponsored by
Bob & Sylvana Rinehart, Sound Health Physicians,
and Barclay Shelton Dance Centre
CHANTICLEER
Thursday, May 8, 7:30 pm
$27, $32 & $37, $15 youth/student
Sponsored by
Stephen Clifton & Ed Dorame, Rock & Maggie Peterson, Thomas & Julene Tomberg,
and Erin Eddins, CFP/StanCorp Investment Advisors
10% discount for Seniors 62+ & Military on events presented by ECA!
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ECA
E N C O R E A RT S N E W S Pop Royalty
Celene Ramadan gives
glamor to comedy.
BY AMANDA MANITACH
WHO Celene Ramadan, the 33-year-old vintage-pop
teen-dream siren and comedienne better known as
Prom Queen. (She actually never went to prom).
Raised bi-coastal, Ramadan has called Seattle home
for 10 years.
FUNNY GIRL Ramadan’s Egyptian father sang and
played drums in a rock band in Alexandria. Thanks
to him, she grew up obsessed with the Beatles and
learned to play drums, oboe, guitar and piano at a
young age. A natural thespian and comic on stage,
Ramadan was so shy that she refused to sing in front
of people and shut herself in the basement to practice
and play. After some serious soul-searching in college, she realized she couldn’t live without performing.
She canvased the school with gig posters and forced
herself to get in front of a crowd.
A HUNDRED HATS Sultry chanteuse isn’t Ramadan’s
only colorful day job. She’s made a living delivering
singing telegrams; impersonating celebrities like Cher,
Britney, Celine Dion, Katy Perry and Marilyn Monroe;
and popping out of birthday cakes. She also produces
videos and makes custom music for iPhone apps,
ringtones, video games and commercials. In her other
music project, Leeni, she makes chiptune music with a
Nintendo Gameboy.
IT-LIST A self-described Priscilla Presley prom-punk
palm reader, Ramadan cites style idols that are as
blown-out and out-of-this-world as the queen herself:
Debbie Harry, Brigitte Bardot, Françoise Hardy, David
Lynch, David Bowie, Trish Keenan (RIP), Björk and
Beyoncé.
NEXT UP Ramadan recently successfully funded a
LAUREN MAX
Kickstarter campaign to realize her next Prom Queen
project: an album released on DVD made entirely
of music videos. She raised $12K for the album-film
hybrid, called Midnight Veil, and is currently shooting
and editing around Seattle and beyond.
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F RO M C I T Y A RT S M AG A Z I N E