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’62 Center

Will Call #68: David Eppel bids farewell with Tartuffe

David Eppel shares thoughts on apartheid, creativity in the shadow of oppression, and his 35 years as a professor of theatre at Williams College*

David Eppel, professor of theatre at Williams College; photo by Jason Velázquez.
David Eppel, professor of theatre at Williams College; photo by Jason Velázquez.

WILLIAMSTOWN, Mass—The Williams Theatre Department is proud to present Molière’s classic comedy Tartuffe, translated by Pulitzer Prize-winning poet Richard Wilbur. Get ready for a Baroque romp, a minuet in rhyming couplets, and a wicked, hilarious satire, complete with keyhole peepers and eavesdroppers. First performed on May 12, 1664 at Versailles for Louis XIV, Tartuffe was instantly banned and had to be rewritten so as not to offend the church, the aristocracy, the king, and just about everyone else. Watch as the ruling classes are hoisted by their own hypocritical petard. All of the above, and much, much more, awaits…in thigh-slapping iambic pentameter, no less. There will be a post-performance Q&A after the Saturday evening performance hosted by “Monsieur Tartuffe comes to America” author Emmanuelle Delpech and Costume Designer Deborah Brothers. Performances are on Thursday, March 8th to Sunday, March 11th at 7:30 PM and Saturday, March 10th at 2:00 PM on the ’62 Center’s Adams Memorial Theatre, located at 1000 Main Street, in Williamstown, MA. Tickets are $3.

Tartuffe cast:
Nadiya Atkinson ’21
Tobias Delgado ’21
Terah Ehigiator ’18
Samori Etienne ’21
Caroline Fairweather ’20
Nicole Jones ‘20
Scott Lipman ’18
Evelyn Mahon ’18
John Murphy ’21
Christine Pash ’18
Thomas Robertshaw ’19
Jack Romans ’20
Jack Scaletta ’18

David Eppel, Director
Fiona Selmi ’21, Assistant Director
Jason Simms, Set Designer
Deborah Brothers, Costume Designer
Natalie Robin, Lighting Designer
Bobby McElver, Sound Designer
Julia Tucher ’21, Assistant Sound Designer
Paige Carter, Properties Master

The Theatre Department works to develop in each student an understanding of theatre that is both broad and deep. Through creative expression and critical study, we challenge students to engage both contemporary and historical modes of performance. Theatre students make artworks through design, acting, directing, and dramaturgy. They are encouraged to experiment, to risk, and to make bold choices. Working collaboratively with faculty and guest artists, students integrate intellectual, physical, and emotional responses into an array of live performances each academic year.

For tickets, visit the Williams ’62 Center Box Office Tues-Sat, 1-5 pm or call (413) 597-2425.

 

*This article was created, in whole or in part, using submitted officially released information.

Will Call #62: The Wolves roam CenterStage in DeLappe’s 2017 masterpiece

The cast of the Williams Theatre Department production of "The Wolves," written by Sarah DeLappe, and directed by Shayok Misha Chowdhury. The show runs November 9, 10, 11, 16, 17, and 18; photo by Jason Velázquez.
The cast of the Williams Theatre Department production of “The Wolves,” written by Sarah DeLappe, and directed by Shayok Misha Chowdhury. The show runs November 9, 10, 11, 16, 17, and 18; photo by Jason Velázquez.

This is Will Call, #62—We travel this episode to somewhere in the Midwest to meet high school women’s soccer team The Wolves. Rather we’ll speak with Misha Chowdhury, who directs this Williams Theatre Department staging of Sarah DeLappe’s 2017 Pulitzer Prize Finalist play, The Wolves, which runs Nov 9, 10, 11, 16, 17, 18 on the CenterStage. Keep Reading

Will Call #61: Antigone in Ferguson, Social Activism Panel Discussion

Amy Holzapfel Chair, Associate Professor of Theatre at Williams College, moderates a discussion about the politics of participatory performance, and the lessons and practices it can share with democratic assembly in public space. She is joined by panelists, Bryan Doerries, Director, Antigone in Ferguson; Taibi Magar, Director, Underground Railroad Game, Rebecca Schneider, Professor in the Department of Theatre Arts and Performance Studies, Brown University.

 

 

The hook is to connect theatre with the contemporary wave of engaged social activism.

Joining In: Participatory Performance and Social Activism Panel Discussion
Thursday, September 28, 2017; 5:00 p.m.

Directing Studio, ’62 Center for Theatre and Dance

’62 Center for Theatre and Dance

The following information comes from released material provided to the Greylock Glass.

 

CenterSeries

presents

Theater of War Productions

Antigone in Ferguson

featuring Tracie Thoms, Zach Grenier

with  Duane Foster, Marjolaine Goldsmith, Willie Woodmore

 

Amy Holzapfel, Chair, Associate Professor of Theatre; photo by Jason Velázquez.
Amy Holzapfel, Chair, Associate Professor of Theatre; photo by Jason Velázquez.

WILLIAMSTOWN, Mass.—The ’62 Center for Theatre and Dance’s CenterSeries is excited to kick-off the 2017/2018 season with a timely production of Antigone in Ferguson, directed by Bryan Doerries and composed by Phil Woodmore. Both compelling theatre and searing social justice project, Antigone in Ferguson is a radical and unlikely staging of Sophocles’s classic tragedy, conceived in response to the 2014 killing of Michael Brown in Ferguson, Missouri. Antigone’s themes of integrity and human folly, set down in the fifth century BCE, resonate through the ages, illuminating the recent clash between public authorities and American citizens as they call for justice in police brutality cases. At the end of the performance there will be a community discussion. There will be one performance only, on Saturday, September 30th, 2017 at 8:00 PM on the ’62 Center’s MainStage, located at 1000 Main Street, in Williamstown, MA. Tickets are $10/$3 students.

 

A play that speaks to Ferguson’s tragedy and lets the audience speak back. – PBS News Hour

 

Bryan Doerries, author of “The Theater of War: What Ancient Greek Tragedies Can Teach Us Today,” directs this timely adaptation. Performed by an all-star cast along with a gospel choir featuring police officers, educators, and community members from Ferguson, the play makes an appeal for the timelessness of Sophocles—and the urgency of grappling with his implications in our current political climate.

 

Theater of War Productions (ToW) presents community-specific, theater-based projects that address pressing public health and social issues. Through the presentation of dramatic readings of seminal plays followed by public conversations, the company’s programs confront topics such as combat-related psychological injury, end-of-life care, police and community relations, prison reform, gun violence, domestic violence, sexual assault, and substance abuse and addiction. Using theater to build a common vocabulary for openly discussing the impact of these issues, events are designed to generate compassion, empathy, and understanding between diverse audiences. All events are free to the public and feature leading film, theater, and television actors. Notable artists who have led readings include Blythe Danner, Adam Driver, Jesse Eisenberg, Giancarlo Esposito, Jake Gyllenhaal, Alfred Molina, Frances McDormand, Tamara Tunie, Jeffrey Wright and others.

 

Bryan Doerries is a Brooklyn-based writer, director and translator, who currently serves as Artistic Director of Theater of War Productions, which uses classic literature to help individuals and communities heal from trauma and loss. During his tenure at Theater of War Productions, the company has presented diverse projects across the country and internationally. Doerries’ book, The Theater of War: What Ancient Greek Tragedies Can Teach Us Today, was published by Alfred A. Knopf in September of 2015, along with a volume of his translations of ancient Greek tragedies, entitled All That You’ve Seen Here is God. His graphic novel, The Odyssey of Sergeant Jack Brennan, an adaptation of Homer’s Odyssey as told by an infantry Marine to his squad, was published by Pantheon in April of 2016. Doerries lectures on his work at cultural venues throughout the world and, in recent years, has taught courses at Princeton University, the Stella Adler Studio of Acting, and the Bard Prison Initiative.

 

Doerries is a proud graduate of Kenyon College and serves as a board member of the Alliance for Young Artists & Writers and Friends of the Young Writers Workshop. Among his awards, Doerries has received an honorary Doctorate of Humane Letters from Kenyon College, and in March 2017, he was named Public Artist in Residence (PAIR) for the City of New York, a joint appointment with the New York City Department of Veterans’ Services and Department of Cultural Affairs. During this two-year residency, he will bring more than 60 Theater of War Productions projects to diverse communities across all five boroughs.

 

Related links:

PBS Newshour

“A Play that Speaks to Ferguson’s Tragedy and lets the audience speak back”

by Jeffrey Brown

http://www.pbs.org/newshour/bb/play-speaks-fergusons-tragedy-lets-audience-speak-back/

WYPR

“Antigone in Ferguson Comes to Baltimore”

by Sheilah Kast & Andrea Appleton

http://wypr.org/post/antigone-ferguson-comes-baltimore

City Paper

“What About Justice? Paul Giamatti and Sonja Sohn star in ‘Antigone in Ferguson’ at Coppin“

by Maura Callahan

http://www.citypaper.com/arts/stage/bcp-012517-stage-antigone-20170125-story.html

Continuing its mission to contextualize arts within scholarly inquiry, the Center presents an impressive body of work that sets student work side-by-side with that of professional artists.  We strive to challenge traditional forms, engage with a larger political dialogue and allow our audiences to explore diverse modes of expression.  Not content merely to present popular work, the Center’s professional performances, workshops and student productions are designed to invite the entire community to engage, debate, and celebrate the experience of both witnessing and creating live art.

 

For tickets, visit the Williams ’62 Center Box Office Tues-Sat, 1-5 pm or call (413) 597-2425. For more information, please visit http://62center.williams.edu

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Will Call Episode #56: Amy Holzapfel on Gender, Transgender, and Breaking the Glass Grid

left to right: Alexis Soloski, Natalie Robin, Mandy Greenfield, Amy Holzapfel, Kristen Van Ginhoven, Helga Davis, and Basil Kreimendahl; graphic composed of submitted images, see individual entries for more information.
left to right: Alexis Soloski, Natalie Robin, Mandy Greenfield, Amy Holzapfel, Kristen Van Ginhoven, Helga Davis, and Basil Kreimendahl; graphic composed of submitted images, see individual entries for more information.

Breaking the Glass Grid: Gender and Transgender  Bias Across the Performing Arts Industry

left to right: Alexis Soloski, Natalie Robin, Mandy Greenfield, Amy Holzapfel, Kristen Van Ginhoven, Helga Davis, and Basil Kreimendahl; graphic composed of submitted images, see individual entries for more information.
left to right: Alexis Soloski, Natalie Robin, Mandy Greenfield, Amy Holzapfel, Kristen Van Ginhoven, Helga Davis, and Basil Kreimendahl; graphic composed of submitted images, see individual entries for more information.

This is Episode #56 of Will Call, here at the Greylock Glass, released Tuesday, February 28, 2017.  I’m your host, Jason Velazquez, and I hope you’ve been enjoying our opening music, “Dark Sky Day,” by pianist and composer Lisa Hilton. We’ll play more from Ms. Hilton later in the show. Well, we had a grand time covering the 10X10 Upstreet Arts Festival, with our unauthorized submission of 10 Micro-casts over the course of the event, didn’t we? Now, though, it’s time to focus our attention on North County, as we speak with Amy Holzapfel about a panel discussion being held on the Campus of Williams College as part of its “CenterSeries” on Thursday of this week:

Breaking the Glass Grid: Gender and Transgender Bias Across the Performing Arts Industry

Ms. Holzapfel will moderate this conversation among some of the most respected personalities of American theatre today. The evening is CERTAIN to unflinchingly dissect some of the most troubling aspects of gender disparity plaguing the arts. The glacial pace of withdrawal of white male dominance on both sides of the curtain, as well as in the board rooms and administrative offices, has given rise to increasingly frequent and vocal dialogue in recent years.

Hosted by the Williams Theatre Department, the event occurs March 2nd  at the ’62 Center for Theatre and Dance’s Adams Memorial Theatre, located at 1000 Main Street, in Williamstown, Mass. The event is free and open to the public, but due to the immense interest, the audience is advised to arrive early to secure a seat.

And now, let’s welcome to the show Amy Holzapfel, who manages to make contemplation of this weighty topic as refreshing as it is thought provoking.

Amy Holzapfel

Amy Holzapfel, Chair and Associate Professor of Theatre at Williams College; photo by Roman Iwasiwka.
Amy Holzapfel, Chair and Associate Professor of Theatre at Williams College; photo by Roman Iwasiwka.

Amy Holzapfel is Chair and Associate Professor of Theatre at Williams College, where she teaches courses in theatre history and literature, performance studies, and dramaturgy. She also serves as dramaturge on Theatre Department productions and on the advisory committees of the Departments of Comparative Literature and Women’s, Gender & Sexuality Studies. Her principal research interests include: nineteenth-century theatre, theatre and visual art, dance-theatre, and contemporary performance. Her monograph, Art, Vision & Nineteenth-Century Realist Drama: Acts of Seeing (Routledge, 2014) explores how modern theories of vision in art and science impacted the rise of the realist movement in theatre. She has published articles in Contemporary Theatre Review, PAJ: A Journal of Performance and Art, The Journal of Dramatic Theory & Criticism, Modern Drama, and Theater, as well as chapters in the anthologies Spatial Turns: Space, Place and Mobility in German Literary and Visual Culture (Rodopi 2010), The Oxford Handbook on Dance & Theatre (Oxford 2015), The Routledge Companion to Scenography (Routledge 2017), and August Strindberg & Visual Culture (Bloomsbury 2018). She is currently at work on two research projects: the first exploring the lost chorus in modern performance and the second theorizing a post-Recession genre of “subprime critique and performance.” She received her M.F.A. (2001) and D.F.A. (2006) in Dramaturgy & Dramatic Criticism from the Yale School of Drama. She is the recipient of a Fulbright Award, a Hellman Fellowship, a Lehman Fellowship at the Oakley Center for the Humanities & Social Sciences, and a Research Fellowship from the American Society of Theatre Research, as well as two Honorable Mentions for her published essays.

Helga Davis

Helga Davis is not only a performer, but also a podcaster with 105.9 WXQR, New York Public Radio, where she hosts her own show, <em>Helga</em>; photo by Michal Hančovský.
Helga Davis is not only a performer, but also a podcaster at 105.9 WXQR, New York Public Radio, where she hosts her own show, Helga; photo by Michal Hančovský.

Helga Davis served as a principle actor in the 25th-anniversary international revival of Robert Wilson and Philip Glass’s seminal opera Einstein on the Beach. Her appearance in You Us We All by Shara Nova (My Brightest Diamond) and Andrew Ondrejcak marked her fifth at the Brooklyn Academy of Music’s Next Wave Festival. Among the many works written for her are Faust’s Box, written and directed by acclaimed Italian contemporary music composer Andrea Liberovici; Oceanic Verses by Paola Prestini, with libretto by Donna DiNovelli and video by Ali Houssani; Elsewhere by Missy Mazzoplli and Maya Beiser; and The Blue Planet, a multi-media theater piece written by Peter Greenaway and directed by Saskia Boddeke. She was also the co-star of The Temptation of St. Anthony directed by Robert Wilson, with libretto and score by Bernice Johnson Reagon of Sweet Honey in the Rock.  Recently, Davis performed Yet Unheard by Courtney Bryan at Cooper Union, a work based on the poem by Sharan Strange and performed on the first anniversary of Bland’s death. Her work First Responder was conceived and performed at MassMoCA this fall after an invitation to respond to Nick Cave’s Until.

Mandy Greenfield

Mandy Greenfield, artistic director of the Williamstown Theatre Festival; photo courtesy of Williamstown Theatre Festival.
Mandy Greenfield, artistic director of the Williamstown Theatre Festival; photo courtesy of Williamstown Theatre Festival.

 

 

 

Mandy Greenfield is the Artistic Director of Williamstown Theatre Festival, one of the most influential American theater institutions for over six decades. In 2015, she expanded the New Play Development initiatives of WTF with the establishment of a New Play Commissioning Program and the creation of a Playwright-in-Residence position at the Festival.  Prior to joining WTF, Mandy served as Artistic Producer of Manhattan Theatre Club where she produced more than seventy-five world and American premiere plays and musicals both on and off Broadway. The plays she has commissioned, developed, selected and produced have garnered every major theatrical honor including the Pulitzer Prize, Tony Award, Lucile Lortel Awards, Drama Desk Awards, Obie Awards, and the Kleban Prize in Musical Theatre.  Mandy is a member of the Broadway League, she serves on the Advisory Board of the Drama League and The Relentless Award. She has been a judge and director of The Susan Smith Blackburn Prize. She is a graduate of Yale University.

Kristen Van Ginhoven, Founding Director WAM Theatre; photo courtesy WAM Theatre.
Kristen Van Ginhoven, Founding Director WAM Theatre; photo courtesy WAM Theatre.

Kristen Van Ginhoven

Kristen Van Ginhoven’s WAM Theatre credits include directing the New England Premiere of  “In Darfur” by Winter Miller (beneficiary: 13 Housemothers at the Mother of Peace Orphanage in Illovo, South Africa); Northeast Regional Premiere of “Emilie: La Marquise Du Chatelet Defends Her Life Tonight’ by Lauren Gunderson (beneficiary: The Rites of Passage and Empowerment for Girls Program); World Premiere of “The Old Mezzo’ by Susan Dworkin (beneficiary: Shout Out Loud Productions); ‘The Attic, The Pearls and Three Fine Girls’ by Martha Ross, Ann-Marie MacDonald, Jennifer Brewin, Alisa Palmer and Leah Cherniak (beneficiary: Berkshire United Way Teen Pregnancy Prevention Initiative);  ‘Melancholy Play’ by Sarah Ruhl (beneficiary: Women’s Fund of Western MA) and ‘The Last Standing Protestor’ by Lydia Styk for ‘A WAM Welcome’ (beneficiary: Women for Women International). She is a participant of the Michael Langham Workshop for Classical Direction at the Stratford Festival of Canada, where she will assistant direct the 2015 production of “The Physicists”. Additional directing credits include “The Whale” (Adirondack Theatre Festival), “10×10 Festival” (Barrington Stage Company, 2013/2014), “The Cabbage Patch” (Majestic Theatre), “Petticoats of Steel”(Capital Repertory Theatre). Kristen has also directed at Sienna College, Emerson College and Cohoes Music Hall. Selected assistant directing: 42nd Street (Stratford Festival of Canada) Two Men of Florence (Huntington Theatre) Sleuth, Absurd Person Singular (Barrington Stage Company,). She is an associate member of the Society of Stage Director’s and Choreographers, a member of the Canadian Actor’s Equity Association (CAEA) and was a member of the 2013 Lincoln Center Theater Directors Lab. As a theatre educator, Kristen has worked as an artist in residence and adjunct faculty at various colleges and universities, including Emerson College and Queen’s University. She is a freelance artist and consultant for ISTA (International Schools Theatre Association), an association devoted to international youth theatre education who hold events and festivals worldwide where young people, teachers and artists come together to explore theatre through intense collaboration. Kristen has a Masters in Theatre Education from Emerson College, where she received the Presidential Fellowship, a Bachelor of Arts from Dalhousie University and a Bachelor of Education from Queen’s University. www.kristenvanginhoven.com

Alexis Soloski, theater critic; submitted photo.
Alexis Soloski, theater critic; submitted photo.

Alexis Soloski

Alexis Soloski is a theater critic for the New York Times and the Guardian and a contributor to the New Yorker. She formerly worked as the lead theater critic at the Village Voice and has served on the Obie Committee, the Drama Critics Circle, and the Pulitzer Prize Drama Jury. She is a lecturer in Literature Humanities at Columbia University, where she earned her doctorate in English and Comparative Literature, and has also taught at Barnard College. Her academic writing has appeared in Theater, Theatre Journal, Modern Drama, and Literature and Medicine, among others, and she has contributed a chapter to Experiencing Liveness in Contemporary Performance from Routledge.

Basil Kreimendahl

Basil Kreimendahl’s play Sidewinders won the Rella Lossy Playwright’s Award and had its world premiere at The Cutting Ball Theater in San Francisco. Orange Julius was developed at the 2012 O’Neill National Playwrights Conference and was included in La Jolla Playhouse’s DNA new work series. Basil was commissioned by Actors Theatre of Louisville for Remix 38 at the 2014 Humana Festival of New Plays. Basil’s plays have also been developed by New York Theatre Workshop, About Face Theatre, Inkwell, Rattlestick, WordBRIDGE, The LARK, and The Oregon Shakespeare Festival. Basil has been a Jerome Fellow and is a current McKnight fellow.

 

Basil Kreimendahl; submitted photo.
Basil Kreimendahl; submitted photo.

A recipient of an Arts Meets Activism grant from the Kentucky Foundation for Women for theatre work with the trans community in Louisville, Basil has taught playwriting to elementary, high school, and college students, founded and ran a playwrights group for queer youth in Louisville called Out On The Edge, and was the Provost’s Visiting Writer at the University of Iowa 2013/2014. Basil’s work has been published by Dramatic Publishing and was included in Xlibria’s Becoming: Young Ideas on Gender and Identity. The Cost of a Goat won a National Science Award at KCACTF in 2012. MFA University of Iowa, 2013.

Natalie Robin

Natalie Robin is a NY-based lighting designer whose design work focuses on new American plays, contemporary dance and site-specific work. Natalie has taught at New York University, Williams College, Brooklyn College, and the University of New Haven.  She has also been a guest designer and student mentor at several universities.

Natalie Robin; submitted photo.
Natalie Robin; submitted photo.

Currently, she is the Visiting Assistant Professor of Performance Design and Technology at Alfred University. Natalie is the Associate Producer of Polybe + Seats and an Associate Artist of Target Margin Theater. Natalie is a contributing writer for both Live Design and Stage Directions. BA: Columbia. MFA: NYU/Tisch. Member USA 829.

Lisa Hilton

Nineteen albums in, after working with the top-drawer jazz masters, like Antonio Sanchez, Christian McBride, Nasheet Waits, Sean Jones, and many others, Lisa Hilton strips her music down to the essentials and returns to the solo format with DAY & NIGHT, released just last month on the Ruby Slippers Productions label. Hilton was last heard in this setting with her acclaimed 2010 release, NUANCE, which All About Jazz said was “a recording that focuses and captures the exquisite subtleties of life”.

 

Lisa Hilton's 2017 "Day & Night" is a return to a solo landscape.
Lisa Hilton’s 2017 “Day & Night” is a return to a solo landscape.

Hilton is considered one of the most distinctive composers and pianists in jazz today, her compositions drawing on classical traditions, twentieth century modernists, and the avant-garde as much as they look back to icons of American jazz and blues. Hilton’s blues inflected trans-genre or poly-genre style influences extend beyond jazz legends Thelonious Monk, Count Basie, Horace Silver and Duke Ellington, to include bluesman Muddy Waters and Robert Johnson, minimalists like Steve Reich, current rockers Black Keys or modernists Prokofiev, Stravinsky and Bartok.  Originally from a small town on California’s central coast, Hilton studied classical and twentieth century piano formally from the age of eight, where she was inspired by her great uncle, Willem Bloemendall, (1910-1937), a young Dutch piano virtuoso.

In college though, due to the lack of creativity in the program, she became a music school drop out, switching majors and receiving a degree in art instead.  Ever since becoming a professional musician, this background in the fine arts has well informed Hilton’s composition process. “While Louis Armstrong was performing, Monet was painting water lilies and French composers like Debussy were using harmonic ‘impressionism’.  As a composer today, I explore music as art, building the composition with musical elements then ‘painting’ texture and color through various jazz approaches,” Hilton explains. “I might apply Seurat’s pointillism ideas to improvisation, creating new ways of expressing our life today.”

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Will Call #20 — Rhythm of the Forest Felt at Drum and Dance Fest

Amiée Gelinas keeps the beat of international percussion in sync with the the pulse of conservation.

PLUS: Kameron Steele directs Federico García Lorca’s “Blood Wedding” at the ’62 Center

Aimée Gelinas, far right, is a member of Gaia Roots, a group that will be performing at the 6th Annual Drum and Dance Fest.
Aimée Gelinas, far right, is a member of Gaia Roots, a group that will be performing at the 6th Annual Drum and Dance Fest.

The 6th Annual Drum and Dance Fest is a fundraiser for the Tamarack Hollow Nature & Cultural Center’s “Raise the Roof” fund to build a sustainable nature and education center and to conserve 32 acres of highland Boreal forest in Windsor, MA.

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Will Call #19 — Getting Reel with Wind-Up Fest

"Uncertain," directed by Anna Sandilands and Ewan McNicol, will be shown Saturday, October 17, at 3:00 p.m. at the '62 Center for Theatre and Dance; publicity photo. Afterwards, Local Pulitzer-Prize winning writer Elizabeth Kolbert (The Sixth Extinction) speaks with the directors about nature out of balance.
"Uncertain," directed by Anna Sandilands and Ewan McNicol, will be shown Saturday, October 17, at 3:00 p.m. at the '62 Center for Theatre and Dance; publicity photo. Afterwards, Local Pulitzer-Prize winning writer Elizabeth Kolbert (The Sixth Extinction) speaks with the directors about nature out of balance.

Artistic Director Paul Sturtz and Managing Director Sandra Thomas discuss the new format, film making, and efforts to make the Wind-Up Fest increasingly inclusive.

"Uncertain," directed by Anna Sandilands and Ewan McNicol, will be shown Saturday, October 17, at 3:00 p.m. at the '62 Center for Theatre and Dance; publicity photo. Afterwards, Local Pulitzer-Prize winning writer Elizabeth Kolbert (The Sixth Extinction) speaks with the directors about nature out of balance.
“Uncertain,” directed by Anna Sandilands and Ewan McNicol, will be shown Saturday, October 17, at 3:00 p.m. at the ’62 Center for Theatre and Dance; publicity photo. Afterwards, Local Pulitzer-Prize winning writer Elizabeth Kolbert (The Sixth Extinction) speaks with the directors about nature out of balance.

Since 1999,the Williamstown Film Festival has brought the finest contemporary films, directors and actors to the pastoral hills of the Berkshires. Each Film Festival season aimed to honor film’s history while concurrently celebrating the present cultural moment.

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INDIEcent Exposure #14 — The Sun Parade Fire It Up in October

The Sun Parade open for Dr. Dog at MASS MoCA 10/10 and help kick off the Wind-Up Fest 10/15; photo by Joanna Chattman
The Sun Parade open for Dr. Dog at MASS MoCA 10/10 and help kick off the Wind-Up Fest 10/15; photo by Joanna Chattman

Pi Valley Faves, The Sun Parade march into the Berks for TWO shows this month.

PLUS:  Kris Delmhorst—TONIGHT at the BarN

The Sun Parade opens for Dr. Dog at MASS MoCA 10/10 and helps kick off the Wind-Up Fest 10/15; photo by Joanna Chattman
Jefferson Lewis, Chris Marlon Jennings, and Jared Gardner of The Sun Parade. The band opens for Dr. Dog at MASS MoCA 10/10 and helps kick off the Wind-Up Fest 10/15; photo by Joanna Chattman.

ALERT: Consider PREPARING for the possible landfall of Hurricane Joaquin while we have plenty of time..

Singer and guitarist Chris Marlon Jennings relates the band’s creation story and talks about the ongoing development of their creative process. The Sun Parade helps And the Kids kick off the opening of Wind-Up Fest here in NoCo, opens for Dr. Dog at MASS MoCA, and curates a micro festival at Gateway City Arts with their friends Great Smokey and Xenia Rubinos.

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Will Call #17 — Sonia Nazario On “Enrique’s Journey”

Sonia Nazario, author of "Enrique's Journey," will speak at William's College November 30.
Sonia Nazario, author of "Enrique's Journey," will speak at William's College November 30.

Pulitzer Prize-winning author continues to shine a bright light on an expanding crisis.

Sonia Nazario, author of "Enrique's Journey," will speak at William's College November 30.
Sonia Nazario, author of “Enrique’s Journey,” will speak at William’s College November 30.

Enrique’s Journey recounts the unforgettable quest of a Honduran boy looking for his mother, eleven years after she is forced to leave her starving family to find work in the United States. Braving unimaginable peril, often clinging to the sides and tops of freight trains, Enrique travels through hostile worlds full of thugs, bandits, and corrupt cops.

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Will Call #11 — Williams College Summer Theatre Lab

Jonathan Gonzalez and Kimberly Golding in Williams College Summer Theatre Lab's 2013–2014 season production of "A Brief History of America;" photo courtesy WCSTL
Jonathan Gonzalez and Kimberly Golding in Williams College Summer Theatre Lab's 2013–2014 season production of "A Brief History of America;" photo courtesy WCSTL
Jonathan Gonzalez and Kimberly Golding in Williams College Summer Theatre Lab's 2013–2014 season production of "A Brief History of America;" photo courtesy WCSTL
Jonathan Gonzalez and Kimberly Golding in Williams College Summer Theatre Lab’s 2013–2014 season production of “A Brief History of America;” photo courtesy WCSTL

“Will Call” dropped in on Caitlin Sullivan, Artistic Director of the Williams College Summer Theatre Lab at the ’62 Center for Theatre and Dance. Caitlin, ’07, traces her roots back to the beginnings both of the Lab and the Center. Beginning this season, she is guiding the talents of Lab participants like rising senior Kimberly Golding, pictured above, who joined the conversation to describe some of her experiences with the program.

Plus: Doug Jones of Images Cinema discusses
“The Wolf Pack,” “Amy” and more.

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