In Mourning Of Innocence

  • July 10, 2014 9:18 pm

When I think of the events we have done in the past years and their focus: violence against women, human rights abuses, censorship, violence against journalists, freedom of expression, Russia, Belarus, Congo, Chechnya, I know we have touched people to awaken to issues they have not paid much attention to in their daily comings and goings.

But lately, in watching the news, reading articles, seeing video and documentary about the state of our world I realize that each individual focus – each subject or theme we have embraced – are only residual aspects of a greater challenge.

We are loosing our humanity.

When I say ‘we’ I mean the collective ‘we.’  I mean that, as a species, we are expressing so much violence, so much self-hatred, so much destruction of ourselves and the planet that feeds, nourishes and protects us that it can only be reflective of an illness or a misalignment which is screaming out to be addressed.

There is no ‘us’ and ‘them’ in a global reality.  As much as we would like there to be.  We have left that time. We are interconnected, our actions in one country affect another, we feed each other, we clothe each other, we entertain one another and share information on a minute-to-minute basis.

And yet there is a frightening movement in the last few months toward the use of children as pawns in our self-hatred and in the darkness we have entered.  Certainly the rape of girls in Congo as a tool of war and the kidnapping and training of child soldiers has been going on for years, and now we see Nigerian girls kidnapped as a motive for terrorizing a nation, and teenagers murdered in Israel and Palestine as . . . what?  As instigations for launching rockets and air raids?  We are now using our youth as the territory of our violence.

These are our children.  These are the flowers of the miracle of Life.

There is no hope but what we make.  I see darkness all around.  But innocence – pure and true – can be nurtured to embrace a reality that I believe is the only one that will truly save humanity.

On our homepage is a question we have asked you to answer.  The question is: ‘Who Is The Enemy?’

But I will be removing that question soon and canceling that project.  Because the answer is clear and need not be explored all that deeply.

We are the enemy to our own selves.

And I do not want to engage any further in the violence of this world.  I don’t believe in it.

What I do believe in is Life.

So, as we move forward on these new programs: The GTP Creative Corps for youth and The GTP Institute for university students, we will focus on one thing.  The development of creative thinkers who will work to maintain a balance to this darkness, will seek a light to shine on our lost pathway, who will be encouraged and guided to believe in a power greater than hatred, fear, violence and the destruction of our humanity.

This will be the focus of our work.

In honor of all the innocence being destroyed as I type each. . .  one. . .  of . . . these. . .  letters.

Calling For An Evolution.

  • January 2, 2014 2:51 pm

Evo-lu-tion: A gradual process in which something changes into a different and usually more complex or better form.

 

46494_10151141618802569_929889223_nThere is a lot that theatre can do.  But I believe, at its best, theatre can evoke evolution in society. And, at this moment, we are in sincere need of exactly that.

We are living in a time when so much is at stake.  The global ‘community’ seems to function perfectly for mega-corporations, governments, the military industry, but not quite so much for the average citizen.  And yet we are affected by this globalization, both directly and indirectly. For us, the borders are becoming more closed and difficult to cross, our freedoms are being restricted for ‘our protection,’ our food supply is being poisoned for ‘our benefit,’ our wages are decreasing, our fears rising. The world is becoming smaller, yes, and we do connect through internet, this is true.  We learn about what is happening in other parts of the world.  We spend hours on Facebook and Twitter.  And we do credit these social media sites with instigating revolutions.  We recognize the power of collective action — even through cyberspace – to invoke change.  But is true human evolution possible relying only on this cyber-environment to connect us?

Without intimate contact, we cannot truly come to know one another. Without the glory of creating together . . . which is what human beings do best . . . we will not advance as individuals or societies.  We will regress.

It is not that I am calling for an elimination of our progress and advances technologically.  But I am calling for an active recognition that, at the foundation of it all, we need to know each other.  We need to experience directly and globally what we most value: compassion, understanding, joy, laughter, empathy, kindness, sensitivity, playfulness, celebration, self-expression, curiosity, imagination, patience, Love.

These instincts and faculties, I believe, we are all born with.  As Nelson Mandela said:

“No one is born hating another person because of the color of his skin, or his background, or his religion.  People must learn to hate, and if they can learn to hate, they can be taught to love, for love comes more naturally to the human heart then its opposite.”

Theatre, particularly, explores the caverns of the human heart and the expanse of our collective and individual stories.  The live interaction between the artists and the sharing of their discoveries with the audience through language, visual art, music, choreography, passion and intellect stretches all involved toward the fullness of our miraculousness.  At its best, theatre gifts all those present with a unique moment of time which exists only because they are there together.  Never to be repeated exactly the same again.  We leave the moment better somehow, larger, deeper, more alive and curious about ourselves and our world.  We become sensitized and alert.  We evolve with a knowledge that only comes from an experience which invites us into a space where we sit elbow-to-elbow with those we don’t know and patiently, listen.  We let a world unfold into our eyes, ears, mind and heart.  We see other human beings, who look so much like ourselves, soar for us to heights of human expression.  To the joys, the humor, the loss, the weight of struggling with life as it is.  And we leave feeling more alive in our bodies and, if given the opportunity, in our communities, our world.

The Global Project is not a theatre company.  It is an offer of evolution.  It is a love affair with theatre from the knowledge that, in the world in which we live today, an art form such as this – – presented in ways that involve and engage, question and observe, will celebrate what we can become: human beings living in harmony on this planet.

It is possible.  But it requires an evolution.

And we are calling for it.

Campaign for Finance

  • July 6, 2012 11:10 am

A nation that continues year after year to spend more money on military defense than on programs of social uplift is approaching spiritual doom. – Martin Luther King, Jr.

On July 3rd I read an article in the Huffington Post which said that in three days: “Nearly 65,000 Democratic supporters have contributed an average of $35. . .”  I took out my calculator.  That is $2,275,000.  $1,000,000 of which was raised in 24 hours.  On a Saturday.

And I had to think: ‘what is wrong with our nation?’

We are turning our backs on our arts. . . our culture. . . for ‘lack of funding’ but when there is a political battle to be waged, we fill the war chests and face each other from across the aisle wearing our blue and red t-shirts and crying our support and love for this great nation.

So I read what Martin Luther King said.  And, although he is referring to our military, as our parties amass their enormous accounts so that they can destroy the opposition in order to win, I am beginning to see no difference in the potential outcome.

Just following September 11, 2001 I read a book by the Nobel Prize winner, Elias Canetti, called ‘Crowds and Power.’  In this book Canetti demonstrates how we move from individual thinkers to non-individualized beings.  He shows the various ways in which we lose our personal power and join our energy to a crowd energy.  He explains this as a product of the ‘human condition’ and gives many examples of how very quickly it can occur.

It seems to me that we have all agreed we are a country in economic crisis that simply must allow the ‘extras,’ which enhance the quality of life and expand our potential as human beings, to be pushed aside and buried as unnecessary ‘luxuries’ during this time.   And then the political machine goes into gear…. and we, with our ‘average of $35′ contributions, follow.  Writing our checks and scanning our credit cards with passionate enthusiasm for our vision of ‘the future’ embodied in a candidate we likely will never meet who will not fulfill all our dreams of an utopian United States of America no matter how hard he or she attempts to fulfill their campaign promises.

I simply wonder what would happen if we didn’t.  Could you imagine what would happen in this country, in your town, your city if that $1,000,000 raised on that Saturday had gone to support the arts and arts education?

Who are the victims of this war?  In my mind, the victims include our communities, our children, our future.  When over two million dollars appears in less than a week to support our passion for taking sides and overcoming the opponent (who, by the way, are our neighbors and family and friends), but theatre companies, museums and dance companies are closing, children are losing their exposure to arts programming and educational support for their creative development, and therefore the future of our society is being eliminated. . . I think the victims are clear.

We, as a nation, have found more interest in the power of politics than in the true daily occurrences in our own lives and the lives of our neighbors.  When the campaign is over and the television networks, who are major ‘winners’ in this fight, announce who is elected, or re-elected to the various offices we can look at the most costly and expensive race for power in the history of our country and know who the true losers are.  Ourselves.

We can choose differently, if our priorities as a nation were different.  It is possible that we can awaken from this ‘crowd mentality’ to realign our focus toward the values which can reflect the truth of who we are.  A nation of individual cooperative people, a generous nation, a nation which reflects the world as a prism through the individuals found in our schools, our parks, our stadiums, and our theatres.  A nation which values what we create and, yes, this likely requires we insist the money flows from supporting campaigns in the hundreds of millions of dollars to creating tangibles in our communities we can benefit from and be proud of.

The Global Theatre Project, and so many organizations in this truly great nation, are your neighbors and friends who are working to make our country, and our world a more holistic and communal place.  If there should be money raised with vigor and passion it should be for those organizations and individuals who are working to bring us all together through positive creative and socially impacting work.

I must admit I am appalled by the amount of money pouring into this campaign.  We are not at our best when we move into a mode of automatic response to the war of Democrats versus Republicans.  I believe we then reach the precipice of ‘spiritual doom’ that Martin Luther King identifies.  But, like Mr. King, I have a dream.  My dream is that one day very soon we will wake up from our slumber, see the waste of these resources, how appalling it is and choose a different path.   I propose a campaign for finance of our arts and education. . . what if, this Saturday, we simply raised $1,000,000 for support of the arts.  Obviously, it’s not really such a difficult thing to do.

Bari

As Artistic Director and President of the Board, I would be remiss if I didn’t suggest a donation of $35 or more would be put to good use by The Global Theatre Project.  You can click here to learn more. And feel free to tell 65,999 of your friends and colleagues!

 

 

 

The GTP Diaries: #3

  • June 13, 2012 4:52 pm

Of Rape and Strike

In 2008 we decided to participate in the global VDay initiative created by Eve Ensler.  Bringing together over 40 US and international students, community members and theatre artists we created 6 events throughout the city which brought attention to the issue of violence against women.  There were exhibits, readings and children’s puppet shows.  The major centerpiece of the week was a production of Ms. Ensler’s ‘The Vagina Monologues’ which we performed in Italian and English with 28 women from 8 different countries.  The majority of whom were Italian and US university students.

The mission behind this project, raising money and awareness to eliminate violence against women and girls, was an easy one for everyone to stand behind.  But it was the creation of the play, the delving into the emotions, the building of a community that was going through a creative process, which solidified a group of people who never would have met, let alone spent this type of rich and valuable time together.  Some of the women spoke both languages, some only one.  But bonds were made regardless and a common commitment to creating and then sharing their work was palpable.

This event did something else however, it brought US students into relationship with the Florentine and international expatriate community.  It helped erase some of the perceptions about American students so deeply held in Florence.  There was respect for the girls which was a new experience for many of the adults of the group.

On closing night, after the performance, the set was being struck.  Everyone was in the theatre and the lobby packing up and working together.  It was 1am.  I was in the lobby packing a box when a student came up to me:

“Bari, there is a girl in the piazza with a guy and he is trying to kiss her.  She is drunk.”

A few of us went to check out the situation and, indeed, there was an American student with long blonde hair, the typical very short skirt and very high heels being slowly dragged into the alley by a man in his 30’s.

We chased him away, grabbed the girl and brought her into the lobby.  We would have sat her into a chair, but she was too drunk to wait for that.  She slid to the floor unable to say her name, unable to hold up her head.  Her wallet had no ID.  I had seen girls this drunk before.  It is terribly common in Florence.  And terribly dangerous for them.  They drink like they are on an extreme sport team for alcohol consumption, then they loose all their senses and they loose something else…. control of what happens to them.

This one was lucky.  She was saved.  This time.

And who was she saved by?  American students in Florence at 1am doing something quite different.  Striking a set with a community of residents who respected them and came to hold affection for them.  People who built something together of value and made an impact together in the community.

We all stood over this girl with no name who was blurting out her inner chaos to us in inarticulate phrases and I thought, ‘how ironic.’  Here we were: myself, American students, Italian actresses and the theatre manager staring down at the sterotype.  Until this project came into their lives this is exactly how the actresses and theatre manager thought all Americans behaved.

But now they knew better.  Now they had the experience to break a stereotype.  They could never have a conversation again with their friends or family which went ‘all American students disrespect our city and don’t care about other cultures.  They are all so self centered.  They all come here to drink and not to learn.’   They couldn’t have that conversation without their new response which would go something like: ‘No, not all are that way.’

Because, as we stood over the inebriated lump on the lobby floor, we knew she was only one person with a problem.  Not ‘all’ of anything.  So we called for help, poured her into a cab home with her roommates, and went back to striking the set.

 

The GTP Diaries: #02

  • May 1, 2012 1:07 pm

Community Theatre

In 2009 I attended a gathering of the Società delle Idee in Florence.  The theme of the event was ‘From Galileo to the Gas Bill.’  An intriguing theme that opened the door into a many-sided discussion.

Galileo said: We cannot teach people anything. We can only help them discover it within themselves.  Discovery, questioning, exploration, risk – this is theatre.  But my question at that meeting and still today is: does that discovery occur only with the event on the stage, or is there a wider view necessary in order to experience ‘theatre’ as a responsive and relevant art form?  In defining my work in Florence and now with The Global Theatre Project I often confront a distaste for the word ‘community’ from my fellow colleagues.   ‘Community theatre’ evokes a great prejudice and even negative connotations in certain conversations.  There seems to be an agreed-upon divide between community theatre and ‘real’ work.  But without community, without an active engagement with community, we cannot aspire to the obligation I feel artists hold: which is to be guides toward a more expansive possibility of who we are and what we are capable of.

We have something invaluble to offer not only through our performances, but through out engagement with our societies.  We know something that, for one reason or another, we allow ourselves to experience and re-experience.  We know pain, and beauty, celebration and connectivity.  We know the glory of a truly mundane moment approached with such absolute curiosity that it is lifted to artistic realms.  We are some of the bravest beings on the planet because we explore the one thing that many others run from: what it is to be human.

But why should our work as ‘professionals’ be defined by the confines of a designated playing space?  And why should we feel there is a diminishment of our ‘professionalism’ if we engage with the very people we live amongst, want to reach and often reflect on our stages and in our stories?

There are so many ways to engage the community. Sometimes that means being in performance together.  But there are many other ways to stimulate creative thought and participation.  For me it has always been important to motivate collaboration through inquiry.  Through a theme or a response to an issue.  I think, in looking back at that day at the Società delle Idee, it was important for me to begin my own inquiry into how deeply a creative organization can connect to the community.  How much it can give.  And give.  And give.

‘From Galileo to the Gas Bill’ can be interpreted in a variety of ways.  And, at that meeting, many ideas and thoughts were shared.  We each pay a gas bill… if we participate in our local municipality.  We each put something in in order to get something back.  And, when we are all contributing, society works.  I feel strongly that now is the time in our history where theatre artists must consider more about what they give than what they get.  The ‘get’ will be inevitable.  But the ‘give’ is where all the creative possibility lay.

The GTP Diaries: #01

  • April 23, 2012 3:46 pm

Politics and Art

I remember, several years ago, I had a student in Creative Campus named Georges.  Georges was from Egypt and studying international law at the European University in Florence.  He wasn’t an artist.  But he was curious and passionate and he had an immediate understanding of the impact artistic experiences and collective experiences have on society.  He became very involved in a great deal of what we did.

One of his projects, which he created with a girl from the states, was in response to our Creative Campus project ‘the effects of the global economy on the environment.’  This was a theme one of the local professors was interested in seeing developed creatively and I was intrigued as to what the kids would come up with.  Georges and his friend stood in front of the Duomo (the main cathedral of Florence) and handed out a small sheet of paper to passersby in three languages with facts about the effects of smog from over abundant tourism on the over 500 year old architectural wonder.  Then they photographed the responses of people to the paper . . . reading it, throwing it into a ball, discussing it with others.  And these photographs along with their narrative of direct responses to them became their installation at our event.

What struck Georges and his partner most was a comment of an elderly Florentine man who read the paper, looked at them with tears in his eyes, and thanked them for bringing attention to something of such importance which, in his lifetime of living in his city, he had never heard asked before.

A few weeks after the presentation we had a Creative Campus gathering with an important local artist, Marco Fallani, who was speaking about the commitment to a creative life and a creative society.  Georges asked why it was that when dictators come into power they kill the artists first.

Little did Georges know that his creative inquiry in front of the Duomo was a part of the answer to his question. Or, as Robert Frost so aptly put it:

Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.

Not Able to be Re-educated

  • December 8, 2011 9:57 pm

Playwright Stefano Massini

“Art is the strongest reason that man has to being on the planet.”

Stefano Massini, playwright of Act 1: A Stubborn Woman: a theatrical memorandum on Anna Politkovksaya sat down with Actress Carolina Gamini in Florence. Since the video is in Italian, Carolina & Bari translated it. For our Italian speakers, we’ll get you the video soon!

 

Q: What compelled you to write A Stubborn Woman?
SM: Simply, when I found out about her death, of which I knew absolutely nothing, the thing that struck me the most was that someone had decided to eliminated this
journalist’s voice so that nobody would hear about what she committed her life to
reporting. I thought, in my small way with my profession, that I would be able to
go against this plan by writing a theatrical piece that would increase the number
of people hearing the story and get to know the story of Anna Politkovskaya. As a
consequence I wrote this text to go against the plan of those that decided to silence and muffle her voice.

Q: Can you tell us something about some of your other works?
SM: Currently I am writing a text that is the story of a trio of women who are interpreted by the same actress and who changes her the role she is playing according to the light shifts. It is the story of three women: a Palestinian, an Israeli and a female soldier who find themselves living in the same situation, the same moment and who talk about one another. Other texts that have been on stage: an adaptation of Frankenstein by Mary Shelley, the story of Van Gough when he was in the mental asylum, IL TRITTICO DELLE GABBIE which that takes place in a closed space allowing the audience to experience the internal life of three different inmates.

 

Florence performance last summer. Photo by Lucca Fontanella.

Q: How did you become involved with The Global Theatre Project?
SM: I became involved when I was a part of the organization of Festival della Creatività in Florence and was put in touch with Bari Hochwald, the Artistic Director, through a mutual friend. After a long exchange of emails with her, I sent her the text on Anna Politkovskaya which she read the text and was moved by. So much so that she decided to work on it. I had an experience of working with the students from the Theatre Immersion Project with Bari here in Florence and from this, the possibility to stage the play in Los Angeles arose.

Q: Can you tell us something about the experience from last summer?
SM: It was a very particular experience for me, as it always is every time this text is approached. Usually theatrical texts have written characters. But this text, on the other hand was written as a very open text with no characters. There are just a flow of words that can be interpreted either as a monologue by an individual actor or by a chorus. For example I remember that also here in Italy it was staged by two actors, a male and a female, directed by me and they shared the role of Anna Politkovksaya and at the same time there was also a great actress, Ottavia Piccolo, who did the performance as a monologue. She continues to perform it this way. In Brussels an additional performance has been done with 5 actors. In Bavaria there were two actors. In Teatre d’Europe it was represented with 25 actors. So there are various ways of staging this text. I was also intrigued to see the way that The Global Theatre Project approached it last summer using both singular and choral voices.

Q: Did you like this approach?
SM: It was very successful and interesting for me to see how it worked in English. Because English is a very theatrical language and was very interesting to hear how it sounded in the English language. And the actors were very good.

Q: Why did you leave the text open in this way for interpretation?
SM: I didn’t want to limit it but wanted it to be open and free for any theatre artist to perform and interpret. This text is different from my other work. With this play, I have never controlled the environment of the presentation or given the rights to some people and not to others to perform the show. I want this text to be presented in any way possible so that Anna’s voice can be heard and appreciated by everyone.

Q: What struck you the most about Anna’s story?
SM: Simply her courage. We live in a period where each one of us, due to our extreme individualism, look toward ourselves too much of the time. And we completely forget the situations outside ourselves. We have just come out of an era where it is 20 years since the fall of the Berlin wall. With that event ideologies have also fallen…. both the communist and anti-communist ideologies. Now we have entered into a moment with the collapse of the capitalist economy. It is very strong to see these people protesting in front of Wall Street. It is the collapse and breakdown of everything that had animated the 20th century ideologies. Ideologies that looked to taking care of what was not only individualist but collective. Including the working class, capitalism, economic growth, political and religious motivations and so on. Today we are witnessing a phenomenon which is completely opposite. We are witnessing the collapse of group ideologies and the rebirth of individual instinct. It is a selfish era that we are living in now.

While Anna Politkovskaya is exactly the opposite of all this. She lives for her cause in a post Soviet, post ideological

Florence last summer. Photo by Lucca Fontanella.

Russia. In a Russia that no longer has an ideology that unites it. But where the most anarchic, diverse tendencies are enacted (so much so that a war is needed for uniting the country). And her life demonstrates the value of living for a cause greater than herself. I find this something which is totally against the norm and holds great value in the sharing of it.

Q: Do you think that art has a power in the world?
SM: Yes, the strongest power that exists. In the sense that the human being differentiates itself from other animals because he is capable of creating art. Which doesn’t mean that the magnificent dams built by beavers and the beehives of bees aren’t extraordinarily artistic, but the Sistine Chapel or the Pergola Theatre, where we are now, are testimonies of the genius of man. Art doesn’t only have the possibility of communicating. Art is the strongest reason that man has to being on the planet. It is not politics, it is not economy, it is art that makes the difference.

I would like to also say something, which is that I have always been surprised by the translation of A Stubborn Woman, with the use of the word ‘stubborn’. The title is not exactly translated correctly. Because the title in Italian literally means ‘A woman not able to be re-educated’. But that doesn’t sound very good. That is what the title actually means, however.

Supporter Spotlight: The Italian Cultural Institute (IIC)

  • December 5, 2011 2:00 pm
Florentine Playwright Stefano Massini's play premieres this Sunday

Our supporters and partners are invaluable to the work of The Global Theatre Project and beyond. If we had a nickel for every wonderful deed or talent donated, there would be no need to fund-raise! From the very beginning, The Italian Cultural Institute offered their assistance, and we are grateful for the exposure to their…

For the Public Benefit

  • December 4, 2011 8:57 pm

We asked Gregory Crafts of Theatre Unleashed about why they pair theatre with charity causes. We also thank him for the guest blog on their site last week! Love collaborating with our fellow theatre artists.

With our busy lifestyle, my wife and I eat on the run constantly. Occasionally, we will find ourselves at BJ’s Restaurant & Brewhouse in Burbank. Now, we don’t order dessert very often when we eat out, but every time we go to BJ’s, we get a Pizookie. Why? It’s for the kids. That’s right. We buy that decadent warm cookie with dollops of ice cream and mousse because a portion of what we pay for it goes to benefit the BJ’s Restaurant Foundation, which supports children’s charities like the Cystic Fibrosis Foundation. BJ’s is smart because they provide us the opportunity to do social good while treating ourselves to something we enjoy. Granted, I don’t know exactly how much of the money we spend on that Pizookie actually benefits children with cystic fibrosis, but the spirit behind their promotion is a good one. It’s an idea worth stealing spreading.

Growing up, I was a Cub Scout, then a Boy Scout, going so far as to earn my Eagle rank. Service to the community, working for social justice, and working for the benefit of others was just something you did. No questions asked. I learned early on that I was very fortunate to be born into a middle-class family in a first-world country, to be grateful for the opportunities that afforded me, and to use the advantages I had for the betterment of those less fortunate. At 30 years old, I try to apply those values to everything I do, including the execution of my responsibilities as Managing Director of Theatre Unleashed. 

When we first founded TU back in 2008, I saw a fascinating little phrase in both our articles of incorporation and our 501(c)(3) letter – we are “a public benefit organization.” It is part of our purpose to benefit the public, in this case the members of the greater Los Angeles community. Now,  theatre companies legitimately fulfill their responsibility as PBOs by enhancing their local culture, bringing art to the masses the same way a torch brings light to the darkness. I fully support these efforts. I also look at said efforts and ask, “why stop there? There’s more that needs to be done.” 

This year, Theatre Unleashed is once again supporting the Marine Toys for Tots Foundation by collecting donations at the door for our annual holiday show, It’s a Wonderful Life: A Radio Play. This time however, we’re taking it a step further: if you bring us a new, unwrapped toy this year, you can name your ticket price at the door. That’s right. Bring us a new action figure, a doll, a deck of cards, some warm kid-sized clothes, anything like that, and you tell us how much you want to pay to see one of the most beloved classic holiday stories live on stage. It could be anywhere from $1 to $100. Whatever you like. We do ask that you call to reserve your seats in advance if you want to take advantage of this promotion. Our box office line is (818) 849-4039. Otherwise, tickets are $20 at the door, $16 through our website (www.theatreunleashed.com). We hope you’ll join us.

C’mon. Do it for the kids. 

Best Regards,
Gregory Crafts
Managing Director
Theatre Unleashed

C: (310) 717 3102
E: gregory.crafts@theatreunleashed.com
W: www.theatreunleashed.com
T: twitter.com/theatreunleashd
F: facebook.com/Theatre.Unleashed
Y: youtube.com/theatreunleashed

 

Our Team Gives Thanks

  • November 23, 2011 7:50 pm
A-picture-of-journalist-A-002

Often working on a show and involving yourself in other people’s stories causes artists to view their own life differently. I asked our team if they are thankful for anything specific after spending time on our rehearsals for the bilingual performance portion of Especially Now: Create the World Together. The replies are beyond inspiring.   -Cindy Marie…