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writemywaytoyourheart · 2 years

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hii!! im really hoping you see this and it doesnt get lost in your inbox!

i stumbled across Aim for the Heart a few weeks ago, and i literally binged all the chapters in a few days! you write SO SO well (really wrote your way into my heart ❤️💜) im still keeping up with the story and im anxiously waiting for what happens in the last chapter!!

then just a few days ago, i went to check out your other works and read Onerus. IT WAS WRITTEN SO WONDERFULLY AS WELL I LOVE THE STORY SM

i binged it too and just finished the last chapter a few minutes ago ♡ i was literally crying so much towards the end and i felt my heart break and get mended back again when i realised Euphoria was the song jk wrote for oc!!

your writing really touched me and made me feel so many things! thank you so much for writing :D sending you love ♡♡♡♡♡♡♡

Hi hi!!!

It most certainly did not get lost in my inbox! I just was at work for a bit so I'm answering them now hehe 🤗

I'm so freaking happy you stumbled across afth 😭😭😭 welcome welcome!!!! We're happy to have you in our honeybunch fam! 💗 🍯

Oh my goodness you are too flipping cute 😭 I'm glad you got to read Onsra! It definitely holds a special place in my heart ❤ the biggest compliment anyone can give me is that my work made them feel stuff and helped them, so TYSM FOR SAYING THAT!!!!!! You guys are so insane for binging my works (they're so flicking long lmao) yall are literally reading novels upon novels upon novels and I don't think you realize that!! ITS SO COOL

accepting that love and sending some back to youuuuu!

ILY 🌟

-chip

#asks #hobispriteu1306

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kairuy · 7 years

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DIVERSITY IN SEATTLE THEATRE, SEPT/OCT 2017

Here we go.

1. The Earth Shakes, HERON Ensemble, Samantha Cooper, dir. Linnea Ingalls. If I remember correctly, this play is loosely based on Antony and Cleopatra; it is diversely-cast, and as is characteristic of this ensemble - they inhabit that word to its fullest definition – the cast switches characters between scenes, like a relay race that crosses all boundaries of race and gender.

2. The Who and the What, ArtsWest, Ayad Akhtar, dir. Samip Raval. Race-specific. This play is about a Pakistani father and his American-born daughters. I don’t think the actors were necessarily Pakistani; I believe they did a lot of work with Pratidhwani - who co-produced - and with Pakistani consultants to achieve more of a cultural understanding of the characters beyond what is merely in the script.

3. The Odyssey, Seattle Rep, Todd Almond and Lear deBessonnet, dir. Marya Sea Kaminski. Diversely-cast, across race, across gender, across age, across ability, pulling a cast of a hundred (or so it felt) from all over Seattle, led by a handful of professional actors.

4. Why We Have A Body, Strawberry Theatre Workshop, Claire Chafee, dir. Rhonda Soikowski. White or white-presenting, as far as I can tell.

5. Dragon Lady, Intiman, Sara Porkalob, dir. Andrew Russell. Holy mother of god. I have seen this in one form or another at least five times. I could see it another five times. This is about identity, about family, about pride, about strength, about poverty, about pain, about the damage you can do in ways that cross generations, about how you don’t know you’re repeating past mistakes - your own and those of others - until you’ve made them, about how you don’t know what it will take to break a cycle until you’ve broken it.

6. Teh Internet is Serious Business, WET, Tim Price, dir. Wayne Rawley. As far as I can tell, both race-specific and non-race-specific, and casted accordingly.

7. Blues for Mister Charlie, The Williams Project, James Baldwin, dir. Ryan Guzzo Purcell. Race-specific, casted accordingly. Flawless. This is one of my favorite plays of all time. James Baldwin’s writing is diamond-sharp and so relevant it makes you feel like you are on fire. Loosely based on the murder of Emmett Till, it is dedicated to Medgar Evers, his widow and children, and “to the memory of the dead children of Birmingham.” It broke my heart every time Richard, the man whose murder at the beginning of the play sets everything in motion, calls his father Meridian “daddy.”

8. Life: An Adaptation an Adaptation, Filament Collab Lab, Nathan Brockett, dir. Nathan Brockett/choreo. Sophia Franzella. As far as I can tell, white or white-presenting.

9. Gemini Season (reading), NCTC Pipeline, Nelle Tankus, dir. Emily Harvey. This is a play about a trans woman and most likely should be and was casted accordingly.

10. I Know Why the Caged Bird Sings, Book-It, Myra Platt/Malika Oyetimein/Maya Angelou, dir. Malika Oyetimein. Race-specific, casted accordingly. The white characters in this story – there are necessarily white characters in this story – are played by the black ensemble, who drew white gloves over their hands to signify their character’s whiteness. This sent a shiver up my spine.

11. King of the Yees, ACT, Lauren Yee, dir. Desdemona Chiang. Race-specific – that is, Asian – and casted accordingly. This is a Chinese-American story. Whether the actors are Chinese-American or not isn’t necessarily important to me. They were hilarious as fuck. I cried laughing. Ray Tagavilla is one of my favorite people on the planet.

12. Journey of the Saint (reading), eSe Teatro, Cesar de Maria, dir. Rose Cano, race-specific and casted accordingly.

13. Onerus, Café Nordo, Terry Podgorski, dir. Erin Brindley. Diversely-cast, as they usually do.

14. Julius Caesar, Seattle Shakes, William Shakespeare, dir. George Mount. Diversely-cast.

15. Burning Doors, OTB/Belarus Free Theatre with Marya Alyokhina, dir. Nicolai Khalezin/Natalia Kaliada. White, or white-presenting, that is, Russian.

16. Las Mariposas y Los Muertos, Forward Flux, Benjamin Benne, dir. Pilar O’Connell. Race-specific, casted accordingly.

17. No More Sad Things, Forward Flux, Hansol Jung, dir. Wesley Fruge. Diversely-cast.

18. Sycorax, 18th/Union, Y York, dir. Mark Lutwak. Race-specific solo work, casted accordingly. I could listen to Demene Hall forever. This is a play that is, on the surface, about Sycorax, the mother of Caliban, who is mentioned in The Tempest but does not appear. Actually this is about the pain of blackness, as a child, as a girl, as a woman, as a lover, as a mother. This is a play about innocence and love and betrayal.

19. Go Dog Go! SCT, Allison Gregory/Steven Dietz, dir. Allison Gregory/Steven Dietz. Diversely-cast. Well, I mean, they’re playing DOGS. By the way, this show is aimed at small children.

20. Pride and Prejudice, Seattle Rep, Kate Hamill, dir. Amanda Dehnert. Diversely-cast.

21. The World of Extreme Happiness, SPT, Frances Ya-Chu Cowhig, dir. Desdemona Chiang. Race-specific, that is, Asian, casted accordingly. Again, don’t ask me about whether the actors are Chinese or not, or half-white or not. That’s not something I care about at all. This one hurts my heart, for reasons I have discussed elsewhere, and I love it.

22. Beware the Terror of Gaylord Manor, ACT, BenDeLaCreme. Diversely-cast. I mean, it’s a drag burlesque cabaret, basically.

23. Ragtime, 5th Ave, Terrence McNally/Stephen Flaherty/Lynn Ahrens, dir. Peter Rothstein. Race-specific, casted accordingly. I might have side-eyed the Wealthy White Savior Lady plot line a tiny bit.

24. Coriolanus: Fight Like a Bitch, Rebel Kat, William Shakespeare/Katherine Jett, dir. Emily Penick. All-female Shakespeare, pronouns changed, diversely-cast. Holy crap, this was stunning.

25. Happy, Happy, Happy, Macha, Jenn Ruzumna/Lisa Every, dir. Amy Poisson. White or white-presenting.

26. The Crucible, ACT, Arthur Miller, dir. John Langs. Diversely-cast. The only race-specific bit was the casting of Tituba, who appears in the beginning and then disappears. I read today that Langs had originally cast Shermona Mitchell as both Tituba and Judge Hathorne, but could not overcome the restrictions of the Miller estate. At the last minute, Reginald André Jackson was added to the cast as Hathorne. This had to be devastating. Also devastating was watching the scene where Mary Warren confronts Abigail Williams in court. To watch a room of people believe a lying white girl (Abigail) over a trying-to-do-the-right-thing black girl (Mary) reminded me of a line from James Baldwin’s Blues for Mister Charlie: “You can’t call a white woman a liar, even if you’re a white man.”

27. Last Stop on Lilac Street, Annex, Kelleen Conway Blanchard, dir. Keira McDonald. Mostly white or white-presenting, except for Alaji. Maybe I should stop calling plays “diversely-cast” if they have only one actor of color. Argh, do I need to scroll back through the last 10 months and re-edit everything?

28. Burn This, Theatre22, Lanford Wilson, dir. Corey McDaniel. Diversely-cast. Well, I mean, again that thing where you have one actor of color and everyone else white or white-presenting. What should my cutoff be? 25%? 40%? 10%?

29. Mirror-Mirror (reading), Pork-Filled Productions, Lamar Legend, dir. Aaron Jin. Diversely-cast. This is part of a weeklong series of readings of new plays by playwrights of color, dramaturged and directed and performed mostly by artists of color, presented by Pork-Filled Productions, running at Theatre Off Jackson through Saturday.

30. Sings the Hits, Theatre22, Scotto Moore, dir. Katie McKellar. Diversely-cast.

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