...and I quote...

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This year we asked each of our retreat participants to share their favorite quotes with us. Some were quite funny, some incredibly insightful, all are worth sharing. I thought posting them here would be an appropriate way to say goodbye to a wonderful week. Happy reading!

Submitted by LaVonne Rae Andrews (Actor):
"There is a power in the Universe greater than you and you can use it!" - Ernest Holmes
Why is it my favorite? Because it's true and I use it!

Submitted by David Armstrong (Actor):
"The distance between genius and insanity is measured only by success." - Tomorrow Never Dies

Submitted by Dani Bedau (Director):
"The weight of this sad time we must obey, say what we feel not what we ought to say." - Shakespeare, King Lear

"Mother, still your tears, for remember the soul of the universe willed a world and it appeared." Bruce Springsteen, Jesus was an Only Son

The Shakespeare cuts to the core of my life's philosophy: in all times- sad, hard, good, meaningful- speak what we feel, what must be said. It may not always be what we 'ought to say' or how we are expected to behave, but sometimes it is necessary. The Springsteen reminds me that all things are possible. When things are really hard there is something larger to tap into. We are not alone. Infinite possibilities.

Submitted by Jennifer Bobiwash (Directing Intern):
"Creativity requires the courage to let go of certainties." - Erich Fromm
I like this quote because of the simplicity of it. It reminds me to not think so much and to trust in myself; that I've done my work and to just be.

Submitted by Tonantzin Carmelo (Actor):
"We think in generalities, but we live in detail." - Alfred North Whitehead (1861 - 1947)
Always a good reminder when acting.

Submitted by Michael Drummond (Actor):
"The purpose of life is a life of purpose.” - Robert Byrne
This quote inspires me to have a meaningful life.

Submitted by Elena Finney (Actor):
“In Europe an actor is an artist. In Hollywood, if he isn't working, he's a bum.” - A. Quinn

Submitted by Sofia Gardenswartz (Actor):

"Courage, sacrifice, determination, commitment, toughness, heart, talent, guts. That's what little girls are made of; the heck with sugar and spice." - Bethany Hamilton, the greatest female surfer of our time

Submitted by Scott Horstein (Director):

“Look what is done cannot be now amended.” – Richard in Shakespeare’s Richard III
This is my current favorite quote, probably because I recently worked on a production of this play. Richard is Shakespeare’s famously disabled (or, in Shakespeare’s words, deformed) villain, who slaughters as many family members as it takes to get the crown. In a climactic scene with his sister-in-law Queen Elizabeth (not the famous Queen Elizabeth), that signals the waning of Richard’s power, he tries to persuade her to woo her daughter for him. Because of the complicated family tree dynamics, if Richard marries Elizabeth’s daughter, he’ll be able to retain the crown forever. She resists his overture: hasn’t he just killed her husband, brother-in-law, and two small sons? Richard’s reply is the quote above. It’s darkly hilarious in its bravado, bracingly modern in its plainspokenness, insane in its logic, and desperate enough to let us know that the powerful Richard is finally on the ropes. The cultural politics of this play’s attitude toward disability are difficult, but a lot of the writing is terrific.

Submitted by Joan Hurwit (Stage Manager)
"Live. Laugh. Love."
These are the three things I try to balance in my life. I weigh all three equally, they are all necessary, and a large part of who I am. No matter how, I feel you must embrace them, especially when it is particularly hard. They are the best remedies.

Submitted by Carlenne Lacosta (me!):
"If you enter this world knowing you are loved and you leave this world knowing the same, then everything that happens in between can be dealt with." - the late great Michael Jackson, may he rest in peace

Submitted by Douglas Langworthy (Dramaturg):
“I have never let my schooling interfere with my education.” - Mark Twain
As a dramaturg I am constantly learning with each new play I try to unpack. Life is a never ending process of discovery.

Submitted by Krysti Litt (Actor):
"Just keep swimming." - Finding Nemo
It may sound silly to have my favorite quote come from a Disney movie, but it epitomizes my way of looking at life. No matter how rough or bleak things may become, if I "just keep swimming" and doing what I love, I will be happy.

Submitted by Patricia Loughrey (Writing Workshop Leader):
“If you wish to be a writer, write.” - Epictatus.
I love this quote: it reminds me that writing is learned by doing, and relearned with each new project.

Submitted by Stephen McCormick (Dramaturg):
“The future has several names. For the weak it is the impossible. For the fainthearted it is the unknown. For the thoughtful and valiant it is the ideal.” – Victor Hugo
This quote is important to me because it reminds us to keep looking forward to the next big opportunity. Optimism never goes out of style.

Submitted by Yvette Nolan (Director):
"I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little or make a poem which children will speak for you when you are dead." - Henry, in Tom Stoppard's The Real Thing
Why is it important to me? Because I do believe that we can nudge the world a little.

Submitted by Ian O'Meara (Actor):
"Just do it!" - my mom
My mom always encourages me to believe in myself and go for it. When I go on auditions, she always tells me, "Ian just do it, go for it, believe in yourself. You will do great."

Submitted by Tony Palermo (Sound Effects Artist):
“Reality is not what it’s cracked up to be!” - I coined this quote myself
Why is it my favorite? In sound effects work, reality often isn’t real enough for listeners to “get it.” So we must use fakery—to make reality more real!

Submitted by Kalani Queypo (Directing Intern):
"Do what you can, with what you have, where you are." - Theodore Roosevelt
I like it because it is simple and immediate. It doesn't speak on wishes and dreams but of what is happening right now.

Submitted by Pamela Sevilla (Stage Manager):
"It's about one moment. It's about hitting the wall and having to make a choice, or take a stand, or turn around and go back." - Jason Robert Brown

Submitted by Jay Sheehan (Directing Workshop Leader):
"It is all about relationships."
Because we wont get anywhere in this world without human kindness and taking care of one another.

Submitted by Derek Smith (Actor):
"I feel infinite." - The Perks of Being a Wallflower by Stephen Chbosky

Submitted by Arigon Starr (Playwright and Actor):
“I know who I am! I’m a dude, playing the dude disguised as another dude!” - Kirk Lazarus in Tropic Thunder
I am absolutely in love with the ridiculousness of acting. Robert Downey Jr.’s character in Tropic Thunder made me laugh the “laugh of recognition” as he went through his paces, justifying his character’s motivations and actions. There’s a lot of “funny” to be poked at the Hollywood entertainment machine’s expense — and much more Native American humor and humanity to mine and showcase. What a joy to be part of an elite group of artists who have the opportunity to do all this and more.

Submitted by Sheila Tousey (Actor):
"Every man blames himself." - John Steinbeck

"When seen as a whole, art derives from a person's desire to communicate himself to another. I do not believe in an art which is not forced into existence by a human being's desire to open his heart. All art, literature, and music must be born in your heart's blood. Art is your heart's blood." - Edvard Munch, 1890

Why do I love this quote? The best acting and writing is when it's personal and brave. What is more courageous than showing your heart with all its attending loneliness, melancholy, agitation, and love? It reminds us we are penetrable and gloriously human.

Submitted by Jonathan Tsang (Production Assistant):
"I can accept failure, everyone fails at something. But I can't accept not trying." - Michael Jordan I didn't have a favorite quote, so I just looked for one from my favorite person and I liked this one. This is also the reason I went back to school. I could live with myself if I failed at making it in the film industry, but I couldn't live with myself if I never tired.

Submitted by Kateri Walker (Actor):
"Love one another."

Submitted by Stephan Wolfert (Actor):
“Art washes from the soul the dust of everyday life.” –Pablo Picasso
This quote epitomizes my transition from military service back into civilian life. Theatre changed my life for the better. It caused me to create an organization (modeled after Native Voices) which uses the arts to help veterans with their life-long process of transitioning from the military back into the civilian community.

Submitted by Christina Wright (Design Advisor):
"To use Brecht without criticizing him is to betray him..." - Heiner Muller

Submitted by Rayanna Zaragoza (Actor):
"All the world's a stage, and all the men and women merely players; They have their exits and their entrances; And one man in his time plays many parts; His acts being seven ages." - Shakespeare, As You Like It
This is my favorite quote because it shows that every person's life is like a play, so we best not hold back and we best make it interesting!
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my backbone

Although the retreat and festival have come and gone, I still have a few acknowledgments I'd like to make. As you may have guessed, I'm primarily responsible for coordinating the retreat. My work for this year's event began as last year's retreat was concluding just as my planning for next year's retreat has already begun. During the week of the retreat, I place all my trust in my stage managers and production assistant who keep things running smoothly as I continue to run around behind the scenes tinkering with the schedule, resolving individual matters, etc.

This year I am particularly indebted to my team who not only managed to overcome all pitfalls and keep everyone on track but helped me retain at least a small portion of my sanity. To Crystal, Pam, Joan, and Jonathan: thank you for everything.

Crystal Mercado, Stage Manager for The Red Road and Different Doesn't Mean the Same

Crystal is a 2008 graduate of Arizona State University's Theatre for Youth MFA program. She has taught theatre, creative drama, puppetry, and theatre for social change with students of all ages, including her thesis project, an inter-generational visual art and theatre performance involving teenagers and elderly women in Guadalupe, AZ. She was a full-time intern at Inside Out Community Arts in Venice, CA, a socially based theatre arts program for middle school students. Her work in San Diego includes being a stage manager and teaching artist for the Old Globe's trans-border, bilingual touring production of Romeo y Juliet/a. In her first year at Young Audiences she has helped establish a free professional development series for teaching artists in San Diego. She also co-coordinates field trips, and teaches theatre at Hoover High and Kearny High Educational Complex.

Pamela Sevilla, Stage Manager for Carbon Black and Fancy Dancer

Pam graduated from SDSU in the Spring of 2008 with a BA in Theatre Arts Performance and has continued at SDSU as an MA candidate in Theatre Arts. Performance credits include: Desire Under the Elms, Songs for a New World, The Jungle Book, The Grapes of Wrath, In the Beginning, and Lord Derby's Giant Eland. Previous projects: Bunbury: A Serious Play for Trivial People (Director, Skull and Dagger), Kiss of the Spider Woman (Director, SDSU Juries), The Glass Menagerie (Assistant Director), Stone Cold Dead Serious (Stage Manager, Skull and Dagger).

Joan Hurwit, Stage Manager for The Frybread Queen

Joan is currently earning her MA in Theatre Arts at San Diego State University. At the 2008 Student Research Symposium, she won the only undergraduate Presidential Award for a directorial/creative production proposal. She recently served as the assistant director/assistant dramaturg/blog manager for Native Voices at the Autry's production of Wings of Night Sky, Wings of Morning Light and is currently the Dramaturgy Intern at La Jolla Playhouse.

Jonathan Tsang, Production Assistant

Jonathan is currently a student at SDSU majoring in Television, Film and New Media; Production emphasis. Prior to SDSU, he was a financial analyst for various companies.
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Spotlight on the casts of THE FRYBREAD QUEEN and FANCY DANCER

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The Frybread Queen by Carolyn Dunn (Muskogee Creek, Seminole, Cherokee)
Saturday, June 27, 1p @ Autry National Center
* Frybread reception occurs immediately after the reading *

For Carlisle Emmanuel Burns:
Kateri Walker (Saginaw Chippewa) has a B.A. in Theater & Drama from the University of Michigan. Theater credits include: Black Elk Speaks (original cast member, Denver Center; Mark Taper Forum); As You Like It; Deathsongs: The Conquest of Paradise; Kimosabe; Dust Eaters; Wakikna Unkinknabe; Antigone; and Native Voices at the Autry's reading of Please Do Not Touch the Indians. Television credits include: ARLISS, As the World Turns, Stolen Women: Captured Hearts, and The Talking Stick. Film credits include: Jericho, Diamond Men, K-PAX, The Scarlet Letter, North Star, Outside Ozona, Home, The Strange Case of Bunny Weequod, Renegade, and Missionary Man. She is managed by Milt Suchin, represented by House of Representatives and Cunningham-Escott-Slevin-Doherty. SAG/AEA/AFTRA

For Lily Savanah Santiago Burns:

Rayanna Zaragoza (Pima), a "Native" New Yorker, is an incoming junior and former Dance Company member at Beverly Hills High School. Recent Native Voices credits include: Native Skin (Mary Harjo) and Serra Springs (Moar). Television credits include: Third Watch, Sesame Street, and New York Undercover. In addition, Rayanna recently starred in the films Crista's Hours (Crista) and Biscuit (Biscuit). In New York she performed Off-Broadway and, as a vocalist/guitarist, played at various venues such as Nirvana. Rayanna's agent is Jackie Lewis at Diverse Talent and her manager is Annet McCroskey at ArtisticEndeavors. She thanks her family for their love and support. SAG
Native Voices: What drew you to the profession of theatre?
Rayanna Zaragoza: I grew up sitting at the side of the stage of my father's Broadway shows, so I guess you could say I was born into it. It's just a coincidence that I am OBSESSED with it!

NV: What are some of your favorite projects you've worked on?
RZ: Doing Serra Springs at the Autry was one of my favorites because it was a fun challenge to do a musical in two weeks!

NV: Which plays or playwrights have you been influenced by?
RZ: I absolutely love plays I can relate to and plays that have characters that interest me. I recently read a play called Way Deep by Katherine Burger and fell in love!

NV: If you could sit down and interview anyone from the past, who would that be?
RZ: I would probably interview Audrey Hepburn, she is my inspiration!

NV: What's the longest standing item on your "To Do" list?
RZ: That would probably be either to clean my room or write a song on my guitar that is actually good.

NV: What is your greatest indulgence?
RZ: I have a sweet tooth. I'm always up for a bag of candy and a book and a bench!

NV: Fill in the blank: It's not theatre if it's not ___________.
RZ: It's not theatre if it's not dramatic on stage and off.

NV: As you may know, our 2009-2010 Season marks Native Voices' Tenth Anniversary at the Autry. Where do you think theatre will be in the next ten years?
RZ: As the generations change, I believe that in ten years the theatre will move away from the commercial ways and head towards plays and musicals that depict life as it actually is, without all of the extravagance.

For Jessie Burns:LaVonne Rae Andrews (Tlingit Raven Clan) has two commercials running: CareMore and AARP. She played a “crazed woman” in the recently released feature film Dark World starring Michael Paré, Theresa Russell, and James Russo. The role of Grandma Two Hawks in Native Voices at the Autry's World Premiere of Teaching Disco Square Dancing to Our Elders is one of her favorites. She is also an ordained minister for the Centers of Spiritual Living. www.Spirit-on-Wheels.org. SAG/ AEA/ AFTRA

Native Voices: What drew you to the profession of theatre?
LaVonne Andrews: When I was only three years old, a producer who lived across the street in Seattle, Washington used me on his TV show. I was to play a "baby" who still sucked her thumb. Although in real life I still DID suck my thumb, I didn't want to admit it to an adult. The director explained that it was just for the scene...and it was called "acting." I realized that I could do something I wasn't "supposed" to do and get away with it...so I liked this thing called "acting!"

NV: What are some of your favorite projects you've worked on?
LA: I feel honored to be a part of the Autry presentations (of course) and loved doing Dust Eaters by Julie Jensen in Salt Lake City.

NV: Which plays or playwrights have you been influenced by?
LA: New playwrights and unknown talent hold a special place in my heart. How blessed it is to experience such genius.

NV: If you could sit down and interview anyone from the past, who would that be?
LA: I'd love to talk to Helen Hayes. Years ago (in junior high school) I wrote a report on her and she still fascinates me.

NV: What's the longest standing item on your "To Do" list?
LA: Organize all my hard copy photos in albums.

NV: What is your greatest indulgence?
LA: Chai lattes at Starbucks (vente, nine pumps, low fat milk, no water, extra hot) and playing "BananaGram" while drinking my indulgence!

NV: Fill in the blank: It's not theatre if it's not ____________.
LA: It's not theatre if it's not fulfilling.

NV: As you may know, our 2009-2010 Season marks Native Voices' Tenth Anniversary at the Autry. Where do you think theatre will be in the next ten years?LA: Congrats on the ten years! Theatre will continue to serve the "cultural creatives," those who love to communicate and those who just have to express theatrically.

For information on Arigon Starr (Annalee Walker Hayne), please click here to view our previous post.
Fancy Dancer by Dawn Dumont (Cree, Metis)
Saturday, June 27, 4p @ Autry National Center

Elena Finney (Mescalero-Apache/ Tarascan) has performed with several multi-ethnic theater companies and was awarded a 2006 "First American's in the Arts" award for her outstanding performance as Teresa in the Native Voices production Kino and Teresa. Well versed in comedy, she has performed at the Second City and The Upright Citizen's Brigade in Los Angeles. She can also be heard as the voices of several characters in comedian Mike Hollingsworth's animated short films. TV credits include: Love Inc., Charmed, Mind of Mencia, Medical Investigation, and Popular. Film credits include: PowWow Dreams and Cantina. She developed her craft while earning her degree at UCLA's School of Theater, Film and TV. Represented by Tom Parziale, Visionary Talent Management. SAG/ AFTRA/ AEA

Native Voices: What drew you to the profession of theatre?
Elena Finney: I grew up in a very small, narrow-minded town and the theater saved me. If I hadn’t found theater I would probably have gotten pregnant in high school, be living in a van in my grandparents backyard in Norco, and be married to the kind of guy who wears three wolf moon t-shirts.

NV: What are some of your favorite projects you've worked on?
EF: My favorite projects are ones when I can lose myself in the work. I’d rather work with a close-knit ensemble, where trust is implicit and we push each other creatively and play a minor character than be the lead and not have that sense of trust and ensemble. That's my favorite thing about working with Native Voices. I also absolutely love working in foreign languages that I don't speak fluently.

NV: Who have you been influenced by?
EF: I took a class from Hanay Geigomah in college that changed everything for me in terms of my understanding of Indian people in theater. I love, love, love Pirandello. I had a deep infatuation with Sam Shepard in college. Who doesn’t appreciate Pinter, Beckett, Shanley, O’Neil? And, I'm deeply indebted to Diane Glancy, who has kept me creatively challenged for the past many years.

NV: If you could sit down and interview anyone from the past, who would that be?
EF: I’d love to have a conversation with my maternal great-grandmother who left her family as a teenager. I’m really very curious about the circumstances surrounding her first husband’s death. All I know is that he died during the Spanish flu epidemic, but not of the flu.

NV: What's the longest standing item on your "To Do" list?
EF: Become fluent in Spanish. I have been fudging it for a long time and it would be lovely to actually understand why I am making them laugh in Latin market commercial auditions. I have a creeping suspicion that they are not laughing with me.

NV: What is your greatest indulgence?
EF: When my husband-to-be is away I indulge in chocolate truffles, velvety red wine, and the charming voice of Ira Glass coming through my radio. Oh Ira!

NV: Fill in the blank: It's not theatre if it's not _________.
EF: It's not theatre if it's not been spelled with a final “re.” Then, its just theater and it’s generally pronounced with less flourish.

NV: As you may know, our 2009-2010 Season marks Native Voices' Tenth Anniversary at the Autry. Where do you think theatre will be in the next ten years?
EF: I don’t know, but I hope to see us continuing to engage in dialogue with other international indigenous tribal cultures. I had the lucky experience of participating in the Origins Festival and it was so exciting to see the works coming from Maori Theater, Canadian Theater and Aboriginal Theater.

For information on Kateri Walker, please see above.
For information on Tonantzin Carmelo and Stephan Wolfert, please click here.
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Spotlight on the cast of CARBON BLACK

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Carbon Black by Terry Gomez (Comanche)
Friday, June 26, 8p @ Autry National Center
* Reception occurs at 7p *

For Carbon "Inky" Black:

Michael Drummond is 15-years old and a high school freshman. He loves acting, surfing, photography, painting, and journalism. Favorite roles include Puck in A Midsummer Nights Dream (Old Globe Theatre's Shakespeare Festival) and Orson in An American Christmas over the past four holiday seasons (Lambs Players Theatre). Television credits include Everybody Hates Chris, Veronica Mars, and several commercials. He is thrilled to be a part of Native Voices.

Native Voices: What drew you to the theatre?
Michael Drummond: I did a lot of community theatre when I was younger and loved it. I can perform and be creative.

NV: What are some of your favorite projects?
MD: Puck in A Midsummer Nights Dream at the Old Globe; the films Winged Creatures and Surfer Dude; and the TV show Everybody Hates Chris.

NV: Who would you interview from the past?
MD: I would interview my Grandpa. I never got to meet him and everyone tells me what a great man he was.
NV: What's the longest standing item on your "To Do" List?
MD: This will stay on till my 18th birthday--to go skydiving.

NV: What's your greatest indulgence?
MD: One of my favorite activities is eating, so I would say food!

NV: Fill in the blank: It's not theatre if it's not ______.
MD: It's not theatre if it's not passionate.

NV: Where do you think theatre will be in the next 10 years?
MD: It does seem that with the economy and growth in TV/film that theatre could be negatively affected, but I still think in ten years theatre will be thriving. Everyone needs a little theatre in their lives.

For Sylvie Black:
Sheila Tousey (Menominee, Stockbridge Munsee) has acted in film, television, Broadway, Off-Broadway, and in regional theaters across the country. Some of her favorite directors she has worked with include: Michael Apted, Sam Shepard, Joe Chaikin, Dan Sackheim, Lisa Peterson, David Esbjornson, Betsy Theobald, Livieu Ciulei, Tony Taccone, Maria Vail, JoAnn Akalitis, and Robert Woodruff. She was Artist-in-Residence at The Public Theater in NYC in 2006 and 2007 where she, along with Maria Vail, and in collaboration with Sam Shepard, adapted The Bottle House, a play based on the short stories and poetry of Sam Shepard. Training: MFA NYU Graduate Acting Program.

For Tucker Bodell:

Stephan Wolfert left a career in the military for a life in the theatre after seeing Richard III. Since leaving the Army as an Infantry officer he has: received his Master of Fine Arts degree in Theatre from Trinity Rep Conservatory; created and directed the military segments for Twyla Tharp/Billy Joel’s Tony-award winning Broadway musical Movin’ Out; created the largest touring Shakespeare Company in New England; and taught acting and Shakespeare at Cornell University. Stephan is the founding director of the Veterans Center for the Performing Arts and a proud member of Actors’ Equity Association.

For Lisa Yellowtree:

Tonantzin Carmelo (Tongva/ Gabrielino, Mexica) was previously seen in Native Voices at the Autry's world premiere productions of Please Do Not Touch the Indians, Jump Kiss, Teaching Disco Square Dancing to our Elders; and was a participant during the 2007 Playwrights Retreat and Festival of New Plays. Recent film credits: Thunder Heart Woman in Into the West; and the lead in the feature films Imprint, Unearthed, Periphery, and Shadow Heart. She was also a guest star on CSI: Miami. Represented by Talent Works. SAG/ AEA/ AFTRA
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City of Angels here we come!

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San Diego down, LA to go! Last weekend, Native Voices descended upon the La Jolla Playhouse for the first leg of our Festival of New Plays. The houses were great, the staff was fantastic and, most importantly, the plays showed tremendous growth and strength. It's amazing what can happen in one week!

Before we head home to the Autry, I wanted to take a moment to acknowledge our retreat hosts - San Diego State University and the Playhouse - for their generosity, patience, and overall awesomeness. Special thanks to Michelle Adams, Windy Alcantra, Mark Anderson, Alicia Carter, Shirley Fishman, Angie Parkhurst, Jeanette Piranio, Alyssa Root, Stephen Sakowski, Marike Schultz-Meyer, and Jay Sheehan.

Check back tomorrow for a feature on our actors for Carbon Black...
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...back to the writing...

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Wednesday. Half way through the retreat and I've finally been able to make it into some of our workshop rooms. This morning I sat in on the workshop for Carbon Black. Terry's been making great strides and it's an amazing experience watching actors breathe life into her words. It was a great energy in the room.

I then sat in on Rob's Writing Workshop and it was an incredibly enjoyable experience. Although it was designed with playwrights in mind, it really helped expand my vocabulary in regards to script analysis, which is part of what I do for Native Voices. Rob even did a one-man rendition of Hamlet which I wish I would have recorded!

Right now, I'm observing Patty's workshop. I've only been in here a few minutes and I've already learned a ton! New term: discovery draft- just write and write and write in order to discover who your characters are and what your story is. When you begin actually crafting your play, then you'll be moving towards what can be called a first draft. "Anything that gets ink on the page is good."

I think that's an important decision for playwrights to understand. I think some playwrights get caught up in how the play should look and feel and forget that theatre is simply storytelling. It's finding the story you need to tell and giving it life. It's not about how many projections you can get on stage or how pretty the costumes will be. It's about story and if you don't pay attention to the story, then you've got nothin'.

So, focus on the story first. Listen to your characters. Don't get caught up in trying to make your story into a "thing" just yet. Be patient and eventually a play will come to you.
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Spotlight on our Directing Interns

About Jennifer Bobiwash (Ojibway), Intern for The Frybread Queen

Jenn got the acting bug when she first saw Alanis on "You Can't Do That on Television" and dreams of being slimed began. Coming from a small town that few have heard of, acting opportunities were few and far between. Her career started at a young age, as the star of her own variety hour that played daily from her front yard where she regaled the audience with cover songs and interviewed local guests. She has worked in film, television, and theatre and is currently working on her memoirs. For more info on Jenn, please visit www.jennercide.com.

Native Voices: What drew you to the profession of theatre?
Jennifer Bobiwash: The option to play and create.

NV: What are some of your favorite projects you've worked on?
JB: My Wonderful Coma, where I got to relive the 80s and my first production with the Autry, Berlin Blues.

NV: Which plays or playwrights have you been influenced by?
JB: Shel Silverstein

NV: If you could sit down and interview anyone from the past, who would that be?
JB: Michaelangelo.

NV: What's the longest standing item on your "To Do" list?
JB: To write my one-person show.

NV: What is your greatest indulgence?
JB: Staying in bed all day watching endless TV marathons.

NV: Fill in the blank: It's not theatre if it's not ______.
JB: It's not theatre if it's not art.

NV: As you may know, our 2009-2010 Season marks Native Voices' Tenth Anniversary at the Autry. Where do you think theatre will be in the next ten years?
JB: I would like to see more Native Voices programs around the country.

About Courtney Elkin Mohler (Santa Barbara Chumash), Intern for Carbon Black

Courtney has been busy balancing theory and practice, as they say. She holds a Ph.D. in Critical Studies in Theater from UCLA where she was awarded the 2006-2007 Institute for American Cultures Pre-doctoral Fellowship in American Indian Studies. She currently teaches courses in Theatre, Cultural Studies, Chicano Studies, and Native American Studies at California State University, Dominguez Hills, and consults for UCLA's ArtsBridge Scholars Program and Project HOOP (Honoring our Origins and Our People through Native American Theater). Due to her lifelong obsession for theater, Courtney also acts, directs, and dramaturgs professionally; she sleeps very little.

Native Voices: What drew you to the profession of theatre?
Courtney Mohler: I caught the theater bug when I was six years old, so in some ways it's hard to remember what drew me to the stage in the first place. I do feel that theater is the perfect art form because it is truly collaborative and relies on several people bringing their energy, commitment and passion to the table. To paraphrase a theater professor of mine, "We do theater because there is something about it which makes us feel more alive than anything else in the world."

NV: What are some of your favorite projects you've worked on?
CM: Working on Romeo and Juliet, Narukami, Spring Storm, Dancing at Lughnasa, and King Lear, were all amazing experiences. I also love to teach theater and creative dramatics to children, who I find to be the most creative and fearless people in the world.

NV: Which plays or playwrights have you been influenced by?
CM: I have a very inclusive approach to adoration (although I am a huge fan of the Bard)!

NV: If you could sit down and interview anyone from the past, who would that be?
CM: It's a tie between Shakespeare, Jesus, and Cleopatra.

NV: What's the longest standing item on your "To Do" list?
CM: Publish my book transcript! Direct a show on Broadway. Tour South America. You know, the usual.

NV: What is your greatest indulgence?
CM: World travel. I'll eat Ramen for three months if I can travel for one!

NV: Fill in the blank: It's not theatre if it's not ______.
CM: It's not theatre if it's not ALIVE!

NV: As you may know, our 2009-2010 Season marks Native Voices' Tenth Anniversary at the Autry. Where do you think theatre will be in the next ten years?
CM: My hope is that theater will be an even more vital form of art, with even broader audiences. I would love to see more plays written and performed that deal with native life, issues, and characters.

About Kalani Queypo (Blackfeet/Hawaiian), Intern for Fancy Dancer
Kalani is a proud collaborator with Native Voices at the Autry where he serves on the Advisory Council. He's been seen in the Oscar-nominated film, The New World, and the Emmy Award-winning Into the West. Kalani received the Directorial Discovery Award at the prestigious Rhode Island International Film Festival for a short film he wrote and directed, Ancestor Eyes. Other awards from the film festival circuit include Best Short Film, Best Music Score, Audience Choice, and an Aloha Accolade Award. He works closely with the Young Native Voices: Theater Education Project and is currently producing a feature length film, Our Voices, Our Stories, which will explore the impact of this writing program on Native youth in the urban LA community. Visit www.myspace.com/ancestoreyesshort for more information.

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Spotlight on THE RED ROAD

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Tuesday, June 16, 7p @ SDSU’s Experimental Theatre
The Red Road

Written & Performed by Arigon Starr (Kickapoo- Creek)
Directed by Randy Reinholz (Choctaw)

Preview performance of the radio adaptation of Arigon Starr's 'tour-de-force' one-woman show before it heads to Lincoln, Nebraska for it’s recording with award-winning BBC director Dirk Maggs. You'll follow Grand Ole Opry singer Patty Jones as she leads us through a particularly busy day at Verna Yahola's All Nations Café off legendary Route 66 in Sapulpa, Oklahoma. This raucous comedy features a cast of characters straight out of Indian country- ages nine to fifty-seven- and Miss Starr plays them all!

The Red Road was developed at Native Voices 2005 Playwrights Retreat and received its World Premiere in March 2007 at the Autry National Center in Los Angeles. Admission to this event is free although reservations are requested: carlenne@gmail.com.

About the playwright and performer

Arigon Starr (Kickapoo- Creek) is a singer, songwriter, musician, actor, artist, and playwright. She has released four award-winning CDs and has appeared in many Native Voices at the Autry workshops and productions. She has toured throughout the US and UK and has performed at many venues including the New Orleans Jazz & Heritage Festival, Milwaukee Indian Summer Festival, and the National Museum of the American Indian. Her television work includes Showtime's Barbershop: The Series and ABC's General Hospital. Her comedy radio series SUPER INDIAN, produced by Native Voices at the Autry, was syndicated nationally by Native Voice One, and is now being transformed into a graphic novel. Recently, she joined the cast of Red Ink, a piece that features her own play plus new pieces by Diane Glancy and Drew Hayden Taylor at the Mixed Blood Theater in Minneapolis. In addition to workshopping The Red Road at this year's retreat, Arigon is also an actor in Carolyn Dunn's The Frybread Queen. For more information about Arigon, please visit Starrwatcher Online.

About the sound effects artist

Tony Palermo is an Audie Award-winning radio dramatist, performer, and educator who has produced dramas and workshops for broadcast, stage, and schools. He hosts the RuyaSonic Radio Drama Resources website, offering info on writing, directing, scoring, engineering, and sound effects. For more information about Tony please visit www.RuyaSonic.com.

Check out our previous post for information about director Randy Reinholz.

We hope to see you at the theatre!
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"...life is a play...unrehearsed..."

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We made it! After a few parking tickets, a canceled flight, a misunderstanding with the Conference Center, a derailed train, some confusion about the schedule, I'm proud to say our Playwrights Retreat and Festival of New Plays is now underway at San Diego State University! This morning, Arigon, Randy, Tony, and Crystal enjoyed a fantastic rehearsal for Red Road. Pam, Joan, Jonathan, and I were able to set up the Green Room (which is stocked with crafts by Joan), the Experimental Theatre (our main space for the day), and the Don Powell stage where we'll be having our Mexican dinner this evening. Actually, Catering Services is in the Powell right now setting up our food which we should be enjoying in about an hour.

We had a great read through of Carbon Black and are currently in the midst of reading a brand new draft of Fancy Dancer. After dinner we'll spend some time with the ladies of Frybread Queen.

Despite some hiccups, we've actually been able to stay on schedule which is an accomplishment in itself! I've asked everyone to adopt my new attitude inspired by one of my favorite quotes, "Life is a play...unrehearsed." Meaning, you can plan and plan and plan for everything in life but when it comes down to it, you're just going to have to embrace the fact that the only thing constant is change and learn how to roll with the punches.

So, despite being hungry, I think everyone here's happy and ready to work. We're all very excited about our three new plays as well as The Red Road and Different Doesn't Mean the Same.

Jeannie's out sick with pnemonia. We all miss her very dearly and although it doesn't feel the same without her, we know it's best for her to stay in bed. We're hoping she'll be able to join us tomorrow.

So check back often for more updates and profiles of our participants! Feel free to send me questions if you've got 'em! If you've always wondered what Randy's favorite color is, this may be a good time to ask. ;-D

Till tomorrow!
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Spotlight on the Creative Team of DIFFERENT DOESN'T MEAN THE SAME

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In addition to our three retreat plays, we will also be holding workshops and a presentation of our newly commissioned TYA (Theatre of Young Audiences) piece entitled Different Doesn't Mean the Same. As playwright Larissa FastHorse describes, "This is a simple story about what being different means. The setting is in the late 1700’s in the interior region of Southern California, the land of the Cahuilla people." Different Doesn't Mean the Same is centered around two best friends, Naxanish and Nicil, who become separated when Nicil's family decides to join one of the missions. Larissa continues, "...the friends will learn that we are not all the same, and even though we’re both Cahuilla and both people, we have differences on the inside and outside; and that’s OK. We can accept, and even be friends with, someone who is very different from us."

This charming story is accompanied by music by Adryan Russ and puppets designed by G.W. "Skip" Mercier. Dani Bedau, the Head of Theatre for Young Audience at SDSU, steps in to direct and Steve McCormick, the Director of Education and Outreach at La Jolla Playhouse, serves as dramaturg.

About the playwright...

Larissa FastHorse (Sicangu Nation) grew up in South Dakota. Her recent productions include Teaching Disco Square Dancing to Our Elders: A Class Presentation and a workshop of Serra Springs with Native Voices at the Autry and Average Family with The Children's Theatre Company in Minneapolis. Her TV pilot, The Line, has been optioned by Fox and she is currently writing several theatre and film projects. In her spare time she loves to choreograph. Larissa lives in Santa Monica with her husband, sculptor Edd Hogan.

The message: I hope the audience will learn to embrace and celebrate differences in themselves and each other. We don’t have to be the same or agree to be friends or part of the same culture.

Goals for the retreat: Personally, I want to get over my life long fear of puppets! (They freak me out). I also want to bask in the creative brilliance of my team of collaborators and soak up their input like a sponge. I am so honored and excited to learn from all of them.

Inspiration: I started my career as a ballet dancer because it was the most challenging thing I had ever done. After my dance career, I tried to leave theatre, but the people and energy pulled me back in and I am eternally grateful!

Influence: I’m mostly influenced by dance artists, since that’s a language I’ve been speaking for 30 years. However, I’m one of those people who believe I learn from every live theatre experience I have had the privilege to attend, good or bad.

To do list: Organizing my photos from the year I was in Fame, the Musical in Europe. I think kids have been born and are in middle school since then!

Indulgence: Leaving my Blackberry at home and going for a walk at the beach with my husband.

Future: I hope Native Voices will grow many more Native artists in all areas of theatre, not just writers, directors and actors. I hope they are known as a professional space that people want to work in and explore brave work that isn’t known as Native, but just good theatre.
About the composer...

Adryan Russ co-wrote off-Broadway’s Inside Out, about six women in group therapy, which has played across the U.S. and abroad and is published by Samuel French. The score, distributed by DRG Records, is available at PlayWorksMusic@aol.com. Her musical The Ugly Duckling played at Theatre West’s Storybook Theatre and her CD Everyone Has A Story, released by LML Music (www.lmlmusic), features Broadway/Los Angeles performers such as Susan Egan and David Burnham. An ASCAP writer, NARAS member, and Academy of New Musical Theatre alumnus, she serves on the board of The Society of Composers & Lyricists. Her song Is It Me? appears in the movie Doubt.

About the puppet designer...

Skip Mercier was honored with a Tony and two Drama Desk nominations for his set and costume designs for Juan Darien: A Carnival Mass by Julie Taymor and Eliott Goldenthal at Lincoln Center. His designs for musicals in New York include: Five Course Love; Miracle Brothers; People Are Wrong; Eli’s Comin’; True History and Real Adventures; Dream True (Drama Desk Nomination for Best Set Design); Bed & Sofa (Drama Desk Nomination for Best Set Design); and Wilder. Since completing his training at Yale, over 350 of his designs for theatre, musical theatre, opera, dance, film, and television have been realized and have earned numerous awards. Skip also wrote and directed Flock, a puppet music theatre work at Dell’Arte International in California.

About the director...
Dani Bedau is an Assistant Professor and the Head of Theatre for Young Audiences and the Director of the Theatre, Youth, Media, Education Arts Center at SDSU. She founded Will Power to Youth, a nationally recognized, model arts-education program for Shakespeare Festival/LA. Dani’s work and research emphasize the importance of community building, safety, identity development, dialogue and growing emotional intelligence in the classroom and rehearsal space. She has a growing interest in playwriting and directing new plays.

About the dramaturg...

Steve McCormick is the the Director of Education and Outreach at La Jolla Playhouse where he commissions and produces the annual POP Tour—an original play for young audiences that tours to over 14,000 children throughout San Diego County each year. He completed his MFA in Theatre for Youth at Arizona State University in 2001. Before coming to the Playhouse in 2006, Steve was the Associate Artistic Director/Education Director at First Stage Children's Theater in Milwaukee where he worked for almost fifteen years. He has also worked as an educator, director and/or performer for Milwaukee Repertory Theatre, Utah Shakespearean Festival, Nashville Children's Theatre, Childsplay (AZ), Illinois Shakespeare Festival and the Tennessee School for the Blind.

Check back next week for spotlights on our wonderful TYA actors...
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Spotlight on dramaturg Shirley Fishman for FANCY DANCER

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Shirley Fishman is the Director of Play Development at La Jolla Playhouse where she oversees projects under commission and in development. Dramaturgy credits at the Playhouse include The Night Watcher, 33 Variations, Zorro in Hell, The Wiz, among others. Dramaturgy credits at The Public Theatre include Jessica Hagedorn's Dogeaters; Two Sisters and a Piano by Nilo Cruz; Tina Landau's Space; Arthur Miller's The Ride Down Mt. Morgan; Tony Kushner's A Dybbuk: Or Between Two Worlds; David Henry Hwang's Golden Child; many readings and workshops as co-curator of the New Work Now! Festival. Shirley was a Creative Advisor/Dramaturg at the Sundance Theatre Lab where she worked on I Am My Own Wife; 36 Views; and The Laramie Project. She's a member of LMDA, received her M.F.A. from Columbia University and is a dramaturg for UC San Diego's Baldwin Festival.

The La Jolla Playhouse is one of Native Voices' hosts for the 2009 Festival of New Plays. Carbon Black, The Frybread Queen, and Fancy Dancer will receive public staged readings at the Playhouse's Mandell Weiss Forum Studio on June 19 and 20. For more information about this special engagement, please click here.

Enjoy your weekend!
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Spotlight on dramaturg Douglas Langworthy for CARBON BLACK

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Douglas Langworthy is currently the Literary Manager and Dramaturg at the Denver Center Theatre Company. Prior to Denver, he served as Dramaturg and Director of Play Development at McCarter Theatre in Princeton, NJ for two years and Director of Literary Development and Dramaturgy at the Oregon Shakespeare Festival (OSF) for seven. While at OSF he developed a new adaptation of Dumas’ The Three Musketeers with Linda Alper and Penny Metropulos and a new translation of Brecht’s The Good Person of Szechuan, both for the 1999 season. In 2007 he collaborated with Penny Metropulos and Linda Alper to write lyrics and book for the new musical Tracy’s Tiger, based on the novella by William Saroyan, with music by Sterling Tinsley. Doug has translated 15 plays from the German, which include Spring Awakening by Frank Wedekind and The Prince of Homburg, Penthesilea and Amphitryon. His translation of Goethe’s Faust was produced in New York City by Target Margin Theatre.

Native Voices: How would you describe the field and/or profession of dramaturgy?
Doug Langworthy: I was typing the word “dramaturging” into the computer the other day, and the spell check, confused by the word, suggested “drama – urging”. Somehow I thought that really works as a definition of what we do: we urge drama along, cajoling, nudging and encouraging a play to become what it wants to become.

NV: What have been some of your favorite projects you've worked on as a dramaturg?
DL: Octavio Solis’s Lydia, Michele Lowe’s Inana and Rogelio Martinez’ When Tang Met Laika.

NV: What drew you to the profession of theatre?
DL: It takes my love of literature and puts it in an active relationship with other people.

NV: Which plays or playwrights have you been influenced by?
DL: Shakespeare, Brecht and Chekhov.

NV: If you could sit down and interview anyone from the past, who would that be?
DL: Without a doubt, Shakespeare. We know so little about his life. I would love to know about his writing process, how his acting informed his writing, what his relationship with Elizabeth was like and what inspired plays like The Merchant of Venice and The Merry Wives of Windsor.

NV: What's the longest standing item on your "To Do" list?
DL: Travel to India.

NV: What is your greatest indulgence?
DL: Ice cream.

NV: Fill in the blank: It's not theatre if it's not ___________.
DL: …making you feel and think.

NV: As you may know, our 2009-2010 Season marks Native Voices' Tenth Anniversary at the Autry. Where do you think theatre will be in the next ten years?
DL: Because of the economics of our times, there may be fewer theatres, but I think they will continue to fill a niche that otherwise goes unsatisfied: telling stories in a way that is immediate, emotional and thought-provoking.
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Spotlight on Robert Caisley, dramaturg for THE FRYBREAD QUEEN and Writing Workshop Leader

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Robert Caisley is an Associate Professor of Theatre & Film, and Head of the Dramatic Writing Program at the University of Idaho. His play The Lake received its Equity World Premiere at Philadelphia’s Walnut Street Theatre and was subsequently produced at the Mill Mountain Theatre as part of the 2005 Norfolk Southern Festival of New Works. Other plays include: Kissing (New Theatre, January 2009, previously produced at the Theatre Artists Studio in 2008 and Phoenix Theatre’s 2007 Festival of New Works), The 22-Day Adagio (Mill Mountain Theatre 2004 Norfolk Southern Festival of New Works), Good Clean Fun (developed at the 2008 Great Plains Theatre Conference) and Front (winner of the 1996 Fourth Freedom Forum Peace Play Award; developed at Sundance Writer’s Lab). His numerous short plays include Western Mentality (recently published in Mizna: Journal of Arab-American Literature), The Apology (2009 Northwest Drama Review), and Santa Fe, which was a finalist for the 2004 Heideman Award from Actor’s Theatre of Louisville and originally produced by Stageworks/Hudson as part of the 2005 Play By Play Festival, Hudson, NY. His new play Push was commissioned by Penn State School of Theatre.

Native Voices: How would you describe the field and/or profession of dramaturgy?
Rob Caisley: We help playwrights remember the play they dreamed about last night but maybe forgot to write down in their first draft.

NV: What have been some of your favorite projects you've worked on as a dramaturg?
RC: It’s always going to be my students’ plays. They’re at that really exciting time in their writing careers, when the limitations of their experience are truly a blessing. They haven’t developed the critic’s voice in their heads yet – as a result, they don’t talk themselves out of a risky choice in style or subject or construction.

NV: What drew you to the profession of theatre?
RC: My father has been an actor his whole life. I attended a rehearsal of a production he was in when I was very young: Lillian Hellman’s Little Foxes. He was the guy with the heart condition. He’s having an attack and he tries to stagger up the staircase to the medicine cabinet to get his pills … but his cruel and vindictive sister is keeping them from him, actually rattling the bottle as he tries in vain to reach her. My dad (a far more vivacious man at the time) did a spectacular fall backwards down the staircase. I stood up in the back of the theatre and screamed, “She killed my dad!” The magic of the theatre had completely hypnotized me!

NV: Which plays or playwrights have you been influenced by?
RC: I’m partial to the Royal Court Joint Stock Group of writers: Caryl Churchill, David Hare, Howard Brenton, Timberlake Wertenbaker, Jim Cartwright, etc.

NV: If you could sit down and interview anyone from the past, who would that be?
RC: Anton Chekhov.

NV: What's the longest standing item on your "To Do" list?
RC: Item #1 – Start this damned To Do list!!!

NV: What is your greatest indulgence?
RC: Wine.

NV: As you may know, our 2009-2010 Season marks Native Voices' Tenth Anniversary at the Autry. Where do you think theatre will be in the next ten years?
RC: Hmm. Don’t know. I’d like to see more epic, sprawling plays being written and produced like August: Osage County. We need some gutsy producers to allow playwrights to really expand their creative horizons. Things will move toward liquid scenery and digital tech to offset the staggering cost of production.

Rob has been a friend of Native Voices since its inception. In addition to serving as the dramaturg on Carolyn Dunn's Frybread Queen, Rob will also lead a Writing Workshop entitled "First Aid for Playwrights." This workshop is only open to retreat participants.
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Spotlight on Writing Workshop Leader Patricia Loughrey

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This year we are very fortunate to have Patricia Loughrey join us as one of our Writing Workshop Leaders. Patty's plays include: Nicaragua USA, at the New Conservatory Theatre in San Francisco, and Not Who You See, But Who I Am, with the Mark Taper Forum’s Improvisational Theatre Project. Her HIV education plays include Secrets, produced by Kaiser Permanente and The Inner Circle - over 500 productions worldwide. Patty wrote the book for the family-friendly musical The Daddy Machine, and the interview-based play about Harvey Milk: Dear Harvey. She has been a resident playwright at the William Inge Center for the Arts and currently coordinates the play reading series: Queer Theatre – Taking Center Stage at Diversionary Theatre.

Native Voices: What drew you to the profession of theatre?
Patty Loughrey: When I was about nine years old, my parents took me to the Magic Theatre in San Francisco to see One Flew Over the Cuckoo's Nest (I have no idea why they picked this show. We never went to the theatre. I was a bird lover, did they think it was about birds?). I was of course appalled by the violence of the story, but I was transfixed by the performances. The piece was very physical - the bodies of the patients expressing their wildy extravagent and poignant inner worlds. I felt like I was hearing a music that I had never heard, and it called to the deepest part of me.

NV: If you could go back in time, which era would you visit?
PL: Having just finished a play about Harvey Milk, I have to say I would like to visit the Castro in the mid-seventies. Ironically, I was living barely 20 miles from there at the time but I was too young and too unaware to appreciate what was happening.

NV: What's the longest standing item on your "To Do" list?
PL: Travel in Europe. Gasp. I have never been.

NV: What is your greatest indulgence?
PL: Right now it's Star Trek novels. I will change soon (I can only hope).

NV: Fill in the blank: It's not theatre if it's not ________.
PL: It's not theatre if it's not making visible something invisible.

Patty's Writing Workshop will be held on Wednesday, June 17th from 6p-9p and it is open to all retreat participants, the San Diego Native community, and SDSU students. Admission is free although space is limited. Email carlenne@gmail.com by Friday, June 12th in order to reserve your spot.
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Spotlight on Scott Horstein, director of THE FRYBREAD QUEEN and Writing Workshop Leader

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Scott Horstein has directed workshops and readings at Native Voices, East West Players, the Black Dahlia Theater, and the West Coast Ensemble. His production dramaturgy credits include Denver Center, Oregon Shakespeare Festival, Berkeley Rep, San Diego Rep, and the Old Globe, where he dramaturged for Arthur Miller on his penultimate play Resurrection Blues. He's the former Manager of Play Development for Cornerstone and Literary Director for the Black Dahlia Theater.

In addition to directing The Frybread Queen for this year's retreat and festival, Scott will also lead a Writing Workshop based on Elinor Fuchs' essay Visit to a Small Planet. This workshop is open to all retreat participants.

Native Voices: As you recall from last year's retreat, Native Voices didn't require much pre-retreat work. This year we decided to begin the dramaturgical work on our retreat plays two months early. How has this experience been for you?
Scott Horstein: Great! Our play is still in its becoming phase, and there’s no way I couldn’t have gotten my head around it without this early conversation with writer and dramaturg. And I don’t think we could have made nearly as good use of the retreat.

NV: In addition to your directing credits, you're also a freelance dramaturg. What have been some of your favorite projects?
SH: Everything at Cornerstone Theater Company. Pentecost at the Evidence Room and Old Globe.

NV: How does your experience in dramaturgy influence your directing work?
SH: With directing I give more free play to my own instincts at first without trying to control them with what the text wants – but ultimately having that dramaturgical toolkit to process my impulses – what does the play want? How can you analyze the text to see what it will bear? – is what the dramaturgy gives me.

NV: What drew you to the profession of theatre?
SH: I like to perform. I like the magic of audiences and live performers in the same space.

NV: What is your earliest theatrical memory?
SH: Probably seeing the famous Bob Baker’s marionettes in downtown LA with my mother.

NV: If you could go back in time, which era would you visit?
SH: Revolutionary France? 5th century BCE India (when Buddhism was born)? Elizabethan England? I don’t know.

NV: What's the longest standing item on your "To Do" list?
SH: Learn Spanish.

NV: What is your greatest indulgence?
SH: Fantasy baseball? Though at times it’s a chore/addiction.

NV: Fill in the blank: It's not theatre if it's not _____.
SH: It's not theatre if it's not live.

NV: The 2009-2010 Season marks Native Voices' Tenth Anniversary at the Autry. Where do you think Native theatre will be in the next ten years?
SH: I can only project based on what I know of Native Voices itself -- I don’t know the rest of the field well. But if Native Voices keeps doing what it’s doing, I expect we’ll look back ten years from now and see that there will have been lots of new productions of contemporary work around the country.
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