Embracing Storytelling Visions: Indigenous Artistry Shines in Collaborative Journey with Artists Repertory Theatre

PORTLAND, OREGON – October 27, 2023  Artists Repertory Theatre, in partnership with the Public Art Committee of the Regional Arts & Culture Council (RACC), have selected Blaine Fontana and Toma Villa for the mural project, entitled Sky Fox, for the newly renovated ART building on SW Morrison Street. The mural, set to begin October 30th, is inspired by Toma Villa’s timeless origin story of the stars and moon that will be painted on both the SW 15th Avenue and continue on the SW 16th Avenue side of the Artists Repertory Building currently under construction.  

The inspiration for the mural comes from the storytelling tradition of Toma Villa, a member of the Confederated Yakama Nation. Sky Fox is told through the view of an innocent young girl trying to capture Sky Fox’s tail. The story evolves into a metaphor for acquiring wisdom, responsibility, and a deeper understanding of immortality. 

Artist Toma Villa expressed, “This mural is a profound expression of authentic Indigenous artistry, a vessel for sacred storytelling, and an invitation for all to contemplate the profound essence of theater, community, storytelling, and the wonder of creation, inviting engagement on spiritual, intellectual, formal, and environmental planes.” Villa continues, “On one side, viewers will be entranced by the majestic presence of Sky Fox and a resplendent night sky, while on the other, the Daughter playfully attempts to ensnare Sky Fox with Father’s Dip Net.”

Fontana and Villa are both well respected muralists, deeply rooted in the vibrant cultural tapestry of Portland. They have been friends for over 25 years, both holding deep reverence and wisdom of their respective heritages. Between the two, they share over 40 years of experience, having worked alongside each other on multiple mural projects. However, this endeavor will be their first truly collaborative creation, fusing visions, artistic styles, processes, and the diverse richness of mixed media. 

This project is also profoundly meaningful for Blaine Fontana, “Nearly two years ago, I was entrusted with the momentous mural project on ART’s newly unveiled back wall, following an ambitious redesign of the block that the Theatre has lovingly safeguarded for generations. Sponsored by the Wood Partners Group, the existing 200-foot-wide by 40-foot-high mural graces the city block in the newly completed Alta ART Tower plaza, nestled between the two buildings. This mural, narratively designed to honor the theatre, garnered the approval of their board. The new murals for ART will lovingly embrace this existing piece, complimenting it with a vivid, engaging, and enchanting narrative for the community, creating a heartfelt connection for all,” shared Fontana. 

Work on the murals is set to begin at the end of October and is expected to take 4-6 weeks to complete. To follow along on the progress and other updates about the renovations at Artists Repertory Theatre, visit our website www.artistsrep.org.

Meet the Artists

[Portland OR, October 19, 2023] — Artists Repertory Theatre’s (ART) Board of Directors has made the difficult decision to lay off Artistic Director Jeanette Harrison. While ART deeply appreciates Jeanette’s artistic leadership during her time here, the financial realities ART faces, including the suspension of production for the 2023-24 season, have led the Board to conclude that, unfortunately, ART does not have the capacity to retain her position within the organization. 

The decision regarding Jeanette’s role arises from the financial realities facing ART. With resources being carefully allocated towards the completion of our newly renovated venue, ART finds itself at a juncture that calls for strategic adjustments in the leadership structure. Despite the change, ART remains steadfast in its commitment to the community and is optimistic about the future. Board Chair, Pancho Savery stated, “We are grateful for Jeanette’s time at ART. Jeanette’s vision helped us forge a path forward to return to the building.”

Harrison expressed that, “While my time here was short, I’m particularly proud of the strides we made with IDEA work and representation through the commissioning of Diana Burbano’s Sapience and the development of the script in workshop with PHAME, ensuring that complex characters who are disabled are played by actors with disabilities, in a fully inclusive rehearsal room.” She continued, “ART’s commitment to access is embodied in its Morrison Street building, which will have a fully accessible control room. I hope Portland will rally around the remaining staff as they focus their attention on finishing the building.”

Artists Rep is focusing its resources on actively fundraising to return to the home space on Morrison Street. This effort is geared towards establishing a solid foundation for sustainable growth. The newly renovated space will host the vibrant ArtsHub, further enriching the local arts community by sharing our venue, equipment, and professional resources for below market rates with individual artists and organizations. ART remains committed to its mission of providing a home for a diverse community of artists and audiences to take creative risks. ART looks forward to the future, thanks to the continued support of our Portland community.

Hello ART Community,

I am thrilled to have some very good news to share with you. Due to a generous gift from Mary and Tim Boyle, and two other fantastic donors, we will be able to include the building out of the lobby space within our current phase of renovation, now underway at our home on 1515 SW Morrison St.

This is exactly what we needed to happen to propel ART forward. The grand lobby is the heart of the new building and we will be able to present work there as early as spring 2024

This build out will be a rough finish of the space, with all of the comforts and necessities our guests will need including an elevator from the parking garage. It will be furnished with real theater seats, which are moveable to accommodate multiple configurations – and will later become the seats used in the completely finished theater and studio.

With this amazing news we are set to have a beautifully finished building, with partial occupancy in the lobby, and parking – and be set to launch fundraising for the final stages to completely build out the interior.

We can’t yet say what we will present in this lobby space, and honestly it may not be a full play. We are still struggling with operational cash and don’t have the funds for a full production. However, we are thinking creatively about fun, meaningful things we can do in that space as soon as possible.

There is also positive news for our operating cash crisis. We’ve received a steady trickle of donations, and with successful fundraising in Nov/Dec anticipate being able to stay afloat through March – with optimism for making it through the fiscal year.

Our plan is to continue to build on the momentum of this moment, share our story, and continue to make strategic decisions that conserve our cash and accelerate our ability to put on plays and develop meaningful work. I remain optimistic that we will pull through this fiscal year, and be able to emerge on solid footing for a healthier future.

Take good care – And thank you!

Aiyana Cunningham
Managing Director, ART

“The word theatre comes from the Greeks. It means the SEEING PLACE. It is the place people come to see the truth about life and the social situation.”

– Stella Adler

Take a look at the progress in the video below.

by Melory Mirashrafi

In May of 2023, during ART’s production of True Story by E. M. Lewis, actor Maria Porter experienced a health emergency that led to actor and writer Lolly Ward stepping into her role leading up to opening night. Director Luan Schooler, Porter, and Ward sit down with Artistic & Producing Associate Melory Mirashrafi to discuss their experiences on True Story, and what the world of theatre has learned about prioritizing actor health as a result of the pandemic.

Maria Porter, True Story by E.M. Lewis. Photo by Lava Alapai.

Melory Mirashrafi (MM): What was your experience stepping in or out of a role during True Story?

Maria Porter (MP): It was the first day of tech, and I had started to see floaters in my left eye.

I was on lunch break with two of my colleagues, and one of them said, “You know, my dad had that. It was retinal detachment and it was pretty serious.” So I reported to the stage manager, Danny Rosales, and to the director, Luan, and our associate director, Vin Shambry, drove me to the emergency room that night. Two days later I ended up having emergent retinal reattachment surgery.

It was a shock, clearly, and a trauma. What was secondarily traumatic, and I don’t mean to be hyperbolic, was that this had been my first text-based role in many years, and I had been having the time of my life. It was a company of incredibly supportive artists, and it was like… heaven. I felt like I was in heaven every day. And to be faced with the idea that I might not be able to complete the performance was heartbreaking.

We went to the doctor Monday morning after the surgery, and he said, “You have to lie face down for two weeks, 50 minutes out of every hour,” and I said to my husband, who jokingly is also my agent now, “You know how much this means to me. Can you promise that you’ll help me try to do this?” and he said yes.

So then I called you, Luan, and we navigated a solution that was generous and had me back in the room, lying face down during tech rehearsals, hearing this wonderful human and artist, Lolly, jump in and embrace this role.

Luan Schooler (LS): It was a big day.

As Maria said, it had been a dreamy process. It was such a comfortable, joyful group of people. So when Maria came and said, “I need to go to the emergency room,” it was like, “Yes. Let’s just make that happen.”

Joshua Weinstein & Lolly Ward, True Story by E.M. Lewis. Photo by Lava Alapai.

Coming into tech was an interesting experience… that’s not my favorite way to come into a show. Just as a metaphor, when I arrived, the door to the theater was locked, so I came in from backstage. So I was coming in literally through the back door into this show! But everyone was so nice, introduced themselves, and ran to get things. Luan printed up the book for me—and then printed a second book that would work a little bit better on the stage—Maria was there to answer questions, and the costume fit… it all came together in a beautiful way.

LS: I think the whole thing actually went quite smoothly because of the people involved. Maybe because of the pandemic we have all learned that it’s not the end of the world, like, “No one has died today.” But I don’t think we can overstate the importance of the generosity of the people. That’s what made it almost funny when Maria was lying face down on her little cot in front of the stage, and Lolly was walking through lines saying, “Maria, where do you put your scotch?!” It was a wonderful experience in its own weird way. I don’t wish it on anyone else… but it was.

LW: I agree that we’ve learned a lot from the pandemic. We’ve had to cancel so many things and change so many expectations, and it’s made us more flexible, to say, “This is what we’re doing now.” And I absolutely agree about the generosity of the whole team.

MP: I think I healed in the way that I healed because I was allowed to come back and continue to be a part of this community, which had become so important to me. It never felt like I stepped out of the role; it was as if we were all in it together. I just stepped aside.

MM: How else has the pandemic changed our expectations around illness and health emergencies? I think about all of the times that I’ve seen people go on while ill or injured under the pretense of “The show must go on.”

MP: I’d like to speak to that. I think the culture of scarcity, in terms of opportunity in the theatre, and especially for people who identify as female, is still prevalent for me. In me it has bred this sense of, “There are 10,000 people behind you who can replace you.” And that is really hard to shake. It is really hard to shake. There was that vestige of scarcity of opportunity bred in me from when I was a young actor that said: “If you go down now, you’re going to get a reputation; you’ll never work again.” Fortunately, I wasn’t able to give it any air.

LS: I think [before the pandemic] theatres also had an expectation, and maybe audiences had it as well, that every performance would be the same. Whereas now I think there’s a little more permission to say, “Oh well, that person has just picked up this role, and so they have a book,” without it seeming like you’re being robbed of a perfect experience. After COVID you’re just like, “Yay, I went to the theatre and the show happened! Let’s all celebrate!” So maybe there’s more space for saying, “It’s a little different tonight. It does have somebody carrying a book,” but that doesn’t have to invalidate the experience.

LW: And now I’ve heard of several people with retinal detachment, so let’s spread the word!

MP: Watch out if your eyes get dry, friends.

MM: Maria, what was your experience stepping back into the role?

MP: Yes, well, I had one eye. I was wearing an eyepatch. I remember Luan holding my hand—it was so dark for the first entrance—and saying, “Feel your hand along the desk. Just feel the edge of the desk,” and our production assistant, Riley Lozano, behind me. Riley would gently help me onto the stage up to closing night, because I didn’t want to change any of my routine. I’d become superstitious in that way of magical thinking.

I remember that first night back thinking, “Oh my God, where is the audience?” And hearing Luan in my head saying, “Just find the edge of the desk, and rest against it,” which I think is also a metaphor. As soon as that light went up and I was able to see the back of the theater, I thought, “I’m good.” I just needed to see the back of the theater from the stage.

In terms of generosity, I was also very aware when I came back that I was putting people through more rehearsal than they needed to have.

LW: I was aware of that for me too.

MP: I was deeply aware of the cost of extra labor on everybody else’s part, and feeling like, “Are you sure you want to do this for me?” And that was also something I had to put down, so that I could move forward. [Producing Director] Shawn Lee was there an extra day, the light board operator, Joel Ferraro, agreed to go through the lights with me, and then when I took the eye patch off the last week, Joel and Danny went through the light cues again and made sure that I could tolerate them with both eyes. This was the last week of performances.

I don’t know what magic ART does, I don’t know how you manage to gather such salt of the earth people, but I tell you… all of that labor on behalf of this opportunity, to see this to the end, was the most moving, generous thing that’s ever been done for me in the theatre, I think.

LS: I will add that you looked so dashing in that eyepatch.

MM: I almost hesitate to use the word “understudy” for you, Lolly, because that implies some kind of preparation–

LS: There should be a better word. Hero?

LW: I had a dream of being off book. I do a lot of staged readings, so I knew I could come off the page, but I didn’t feel 100% confident, so having that book in my hand was so great. I used every available moment to memorize: every moment in the dressing room, every walk to dinner, every walk back. I read [the lines], I wrote them, and I listened to them like a song, so that I could get every different sense working on them. And again, there was such generosity—people in the dressing rooms and in the halls would say, “Do you want to run lines?” Anytime, they were up for running them with me.

MP: Now would be a wonderful opportunity for me to express how deeply grateful I am. Of course to ART, but to you specifically, Lolly. It must have been terribly difficult, but you did it with such ease and grace, and it was an amazing act of generosity, and I am so grateful to you.

LW: Thank you. I feel the same.

MM: What advice would you have for someone who comes across a health emergency, or has to step into a show last-minute?

MP: Trust and advocate for yourself. That would be my advice for a person who’s stepping out.

LS: I think that’s important. Advocate for yourself. When you [Maria] said, “Here’s what I can do, here’s what I think will happen, and here’s our checkpoint,” it was good to know that you wanted to come back, and of course we wanted you back, but also you had clearly talked to your doctor first about a way forward.

From the producorial side, try to hold this stuff lightly. Miracles don’t come when you squeeze it too hard. Try not to catastrophize about things. Just go, “What do we need to do right now? Where can we get to? What’s the first step?” And of course, only work with super generous people who make these things possible.

LW: Understudies, if there’s budget! It sure helps. I know companies where they do a whole second cast so they can alternate; they build it into the process.

LS: Yes, understudies from the beginning who are part of the process, and have just as much love and investment in the processes as the main cast.

I think it comes too with releasing the expectation that you have for a show when something changes—part of the generosity is saying, “The show that we built may not be the show that we have now, but it is equally as valuable.”

MP: It was helpful to sit with you all. To remember what it was, and to look at everybody in both of your eyes and say thank you. Thank you.

Artists Repertory Theatre (ART) has made the difficult but necessary decision to suspend production of our 2023-24 season as planned.

This news comes as we were set to begin rehearsals for Pueblo Revolt by Dillon Christopher Chitto, which was to be mounted at both the University of Portland and the Center for Native Arts and Cultures.

Funding for the arts sector has been challenging in general, and crucial funding has not materialized for ART specifically. Most notably, House Bill 2459* was not passed by the Oregon Legislature and resulted in $250,000 not being awarded to us as part of the proposed recovery funding for the arts and cultural sector. The bill would have appropriated monies to cultural organizations in response to the negative impact of the pandemic on organizational finances.

This shortfall leaves us with insufficient cash on hand to cover critical operating expenses, necessitating immediate reduction of expenses and redirecting staff resources to operational planning and revenue generation.

The timing of this suspension is particularly difficult, as pre-production work for Pueblo Revolt had begun, and we were greatly looking forward to hosting playwright Dillon Christopher Chitto for collaboration during rehearsals. ART deeply regrets that we have been forced to suspend the production of a new play by a Native playwright, with Native actors and a culturally diverse creative team with short notice. We acknowledge the impact this decision has on Dillon, the production team, and the venue partners we were excited to work with.

All of us at Artists Repertory Theatre are actively working to address the stunning reality of this moment. Incoming Managing Director Aiyana Cunningham, and Artistic Director Jeanette Harrison are evaluating all of our options for a path forward, including the potential to present work later in the planned season. With our leadership, ART will methodically assess the multiple factors that converged to create this crisis, and the strategic options for achieving our immediate and long term goals for a sustainable future. 

The decision to suspend our season comes as the aftermath of the global pandemic continues to impact regional theaters across the country. ART, like many of our peers, has encountered several challenges, including escalating operational costs, decline in ticket sales, and reduced staffing capacity. Acknowledging these realities, Pancho Savery, ART’s Board Chair, emphasizes, “The ongoing national crisis among regional theatres has presented us with significant obstacles that require careful consideration and action. To navigate these challenges successfully, we believe it is crucial to take this strategic pause in order to focus on key areas that will shape the future of ART and ensure its sustainability.”

We’ll be sharing our progress in addressing this situation as frequently as we are able to. For now, we thank you for your continued support of the 40+ years that our company has been a home for artists and audiences. 

In deepest regret and gratitude,

Aiyana and Jeanette

*House Bill 2459 appropriates moneys to Oregon Business Development Department to distribute to Oregon cultural organizations in response to the negative impact of COVID-19 pandemic on organization finances. The proposed bill would have awarded approximately half of the proposed $50 million to arts venues directly and, using the same model under the CARES act, the other half would have been given to funding organizations such as the Oregon Arts Commission that would have then distributed those funds. ART would have been one of the recipients of the funding from the Oregon Arts Commission.

ART received $684,000 through state allocated CARES and ARPA combined. The funding for both were grants that had been distributed through local county coalitions. Funding for CARES money was distributed by OAC. Funding for ARPA was distributed through Business Oregon. Under that model we would have expected to receive funds from the passing of HB 2459 similar to what we had under the CARES and ARPA.

Under Section 3.C.2 The Oregon Business Development Department shall use $27,432,004.49 of the moneys appropriated under section 1 of this 2023 Act to develop and implement a program for awarding grants directly to Oregon cultural organizations.

HB 2459 Letter

ART’s Board of Directors approved the recommendation by the search committee for the next Managing Director

PORTLAND, OREGON – June 27, 2023  Artists Repertory Theatre is thrilled to announce the appointment of Aiyana Cunningham as its new Managing Director. Cunningham has more than 15 years experience with Portland theatre groups, bringing vast experience, deep passion for the arts, and proven leadership skills to the job. These are paramount for guiding Artists Repertory Theatre into a new era of excellence and community engagement. 

Aiyana’s wealth of local knowledge and expertise comes from holding key leadership roles at places such as Portland Center Stage and Portland Playhouse. As the Development Director at the Playhouse, Aiyana stewarded a $1M campaign to secure the purchase of the Playhouse’s space. Her impressive background in theatre administration, as well as her commitment to cultivating strong community support will serve Artists Rep’s transition well.

“I’m looking forward to having a partner in leadership who has deep roots in Portland’s theater ecosystem, as well as a successful track record and love of implementing big ideas,” says Artistic Director Jeanette Harrison. Cunningham’s understanding of the industry, combined with her dedication to fostering inclusive and diverse artistic environments, aligns perfectly with Artists Repertory Theatre’s mission.

Cunningham’s tenure as Managing Director will see her spearhead strategic planning, financial management, and operational oversight. She will work closely with the Board of Directors, staff, and the wider ART community to ensure the continued success and growth of Artists Repertory Theatre. Working alongside Artistic Director, Jeanette Harrison, Cunningham will partner to support the artistic vision and board objectives. Additionally, Cunningham will initially work closely with current Executive Director, J.S. May, who is moving out of his daily management role to focus entirely on completing the fundraising for ART’s new building.  “I couldn’t be happier to have Aiyana join Artists Rep. Her exceptional experience with capital campaigns as well as her commitment supporting local artists and excellence with promoting ambitious projects will make her a wonderful partner alongside Jeanette.” 

Artists Repertory Theatre began construction of the Morrison building. Rendering by LEVER Architecture.

Aiyana Cunningham expressed their excitement about joining Artists Repertory Theatre, stating, “I am honored and thrilled to become part of Artists Repertory Theatre. This organization has a long-standing commitment to artistic excellence and community impact, and I look forward to building upon its strong foundation. Together, we will champion the transformative power of theatre.”

The Board of Directors at Artists Repertory Theatre has expressed great confidence in Cunningham’s ability to lead the organization to new heights. Board Chairperson, Pancho Savery, said, “We are delighted to welcome Aiyana as our new Managing Director. Her vision, leadership, and commitment to equity align perfectly with ART’s values. We are confident that under her guidance, Artists Repertory Theatre will continue to thrive and evolve.”

As Artists Repertory Theatre’s new Managing Director, Aiyana Cunningham will assume her responsibilities on July 12th. The theatre community eagerly awaits her arrival and the fresh perspective she will bring to the organization’s artistic endeavors. 

ALJP Consulting led the executive search process, in partnership with a diverse search committee of stakeholders. Francesca McKenzie, Consultant at ALJP, said of the appointment, “Aiyana was the clear choice for this leadership role due to the glowing reviews and unabashed excitement we received from the ART community. Her enthusiasm and passion for the work, as well as her commitment to stewarding a culture of care, will usher in an innovative, provocative, and inclusive new chapter for Artists Repertory Theatre.” The search committee included: Pancho Savery, Jeanette Harrison, Melory Mirashrafi, Meg Schenk, Lava Alapai, Norma Dulin, Michael Szporluk, Michael Davidson, and Josie Seid; the search was led by McKenzie, supported by ALJP Principal Kim Davis. Over 100 candidates nationwide applied for the role, and the process incorporated feedback from a wide variety of board, staff, resident artists and other members of the ART community. 

About ALJP

ALJP Consulting is a black-owned, woman-owned, mission driven firm specializing in executive search, strategic planning, board coaching and development,facilitation, and equity, diversity and inclusion strategy for the arts and beyond. ALJP was founded in the Summer of 2019 to fill a need in the arts and culture field for consulting firms dedicated to creating an industry ecosystem that looks like the world in which we live. While reimagining the Arts and Culture Sector, we put inclusion and equity at the heart of our consulting practice. Current and recent clients include: Manhattan Class Company (MCC), The Field, Ronald O. Perelman Performing Arts Center (PAC), New York Theatre Workshop, Rattlestick Playwrights Theatre, The Flea, Noor Theatre, Steppenwolf Theatre Company, American Repertory Theater at Harvard University, Philadelphia Theatre Company, Penumbra Theatre, Long Wharf Theatre, Pasadena Playhouse, Orpheus Chamber Orchestra, Oregon Shakespeare Festival, Marin Theatre Company, The Broad Stage, Remy Bumppo Theatre Company, Pivot Arts, Bronx Council on the Arts, Arts Council of Greater New Haven, Visual AIDS, and Trinity Repertory Company. aljpconsulting.com

The exciting and long-awaited construction begins on the Morrison Avenue building

PORTLAND, OREGON – April 17, 2023  The long wait is over! Artists Repertory Theatre (ART) is thrilled to begin the next phase of construction on the 1515 SW Morrison Avenue location on April 17, 2023. Since 2018, ART has been in a capital campaign to revitalize its home. Upon completion of the building’s outer shell and roof, the newly-built lobby will serve as the initial performance space with seating for about 150. 

The road to reimagining the Artists Rep theatre space started with a major gift in 2018 to pay off the mortgage. That gift led to the sale of the north half of the downtown block in July of 2019. Since then, the project has been devised into a multi-phase project with phase one complete – moving utilities, making seismic upgrades, demolition, abatement, and Lever Architecture’s design of the project.

Phase two currently includes raising the roof to accommodate a higher theatrical space, completing the outer core, shell, lobby, and finishing the seismic upgrades. Subsequent phases will see the construction of two additional theatres; the Mainstage with 178 seats and the Studio with 99 seats, plus rehearsal, backstage and collaborative spaces. Some areas will offer flexible configurations, allowing the building to be activated for a full night of entertainment. Pedestrians and train commuters will be drawn to the large glass windows giving them a peek into a warm, welcoming lobby serving as a cabaret performance space. Patrons will be thrilled with the two floors of parking below with access by elevator and the commissioned mural that will add beauty to the characteristic outer red walls.

Since its founding in 1982, ART has risen to be a significant presence in American theatre with a history of producing acclaimed regional, national, and world premieres. Since 2015, ART has become an important generator of new works, commissioning twelve (12) plays by diverse playwrights, including Larissa FastHorse’s The Thanksgiving Play (Broadway debut this April at Second Stage’s Hayes Theater in New York City directed by Tony Award-winner Rachel Chavkin, with ART’s Artistic Director Jeanette Harrison as Associate Director), Hansol Jung’s Wolf Play (Off Broadway debut last year), and Kareem Fahmy’s American Fast (ART premiere in January 2023 and in the midst of a three-theatre Rolling World Premiere). Additionally, through the Mercury Project, ART supported the development of over 55 new works during the pandemic. Executive Director J.S. May explains, “Throughout its history, ART has produced groundbreaking works that have shaped the theatrical landscape. It is long overdue for our theatrical home to mirror this level of quality, providing our audience with good sightlines and comfortable seats, accessible entrances and bathrooms, and heating and air conditioning that works.” 

Moving into our space means that ART will continue to pave the way for American theatre and serve as a catalyst for producing bold new work from underrepresented voices. Larissa FastHorse expressed, “I’m so grateful to have had the support of Artists Rep in developing [The Thanksgiving Play]. The finishing commission they gave me came at the perfect time to get this script into performance shape.” ART’s Artistic Director Jeanette Harrison and Associate Director of The Thanksgiving Play, currently working alongside FastHorse and Chavkin on Broadway, shares “It’s so crucial for writers to have the opportunity to develop their work and fine tune their craft with companies like Artists Rep in order to have a wider reach with their words. And that’s especially true for writers whose stories have been traditionally marginalized by the American theatre. I’m so proud that Artists Rep has a history of supporting writers, especially BIPOC women writers, at critical moments in their careers, from Larissa FastHorse to Hansol Jung. I’m looking forward to helping catapult more writers to the next stage of their careers.”

Harrison continues, “The newly renovated building enables Artists Rep to expand on our history as Portland’s first professional theater company, and the first company to produce some of the most exciting new plays in the American theatre today.” With a goal of housing a vibrant collective of arts companies, the re-imagined space will build upon ART’s ArtsHub. In the last year of operation at the Morrison space, the ArtsHub welcomed over 1500 gatherings, 380 public events, 462 rehearsals, 500 performances, 50 nonprofits served, and 422 classes. ART plans to continue offering affordable performance and rehearsal space for a number of nonprofits all across the area. ART is reaching out to the community, asking what they need, and answering that call.

Press

Alapai will serve as Associate Artistic Director as part of DNA: Oxygen, an initiative dedicated to the development and production of new work generated by, led by, and featuring BIPOC artists.

PORTLAND, OREGON – January 23, 2023 Portland-based director and Resident Artist, Lava Alapai has been named Artists Rep’s Associate Artistic Director. This one-year artistic leadership residency is intended to prepare ART’s Black artists to lead an arts organization of comparable size. In addition to her responsibilities as Associate Artistic Director, Lava will receive mentorship with an eye toward preparing her for the next steps in her career. The Associate Artistic Director will serve as a member of the artistic team, collaborating closely with Artistic Director, Jeanette Harrison. Alapai was selected based on her breadth of directorial experience and her interest in making the transition from award-winning freelance artist to Artistic Director. “DNA: Oxygen disrupts systemic pipelines to power and creation by centering BIPOC artists as leaders, as thinkers, and as generators,” says Artistic Director Jeanette Harrison.

The residency was designed by Harrison and the original DNA: Oxygen group members whose purpose was to address inequities and provide an artistic home for Black artists within ART’s community while providing a safe space for all Black artists to share their stories. ART Resident Artist and original DNA: Oxygen member, Ayanna Berkshire said this about Alapai’s hire, “This is a wonderful step forward for DNA: Oxygen. Thank you Jeanette and ART for your commitment to this program. I am excited to witness what comes of this leadership opportunity and know that the program will take flight with Lava‘s wonderful and unique skills.” The group’s first devised project was a short film called See Me, describing a slice of life of three Black people in Portland during the pandemic.

Harrison continues, “Lava was a key part of why I was so excited to come to this community and get involved. Lava is an inspiring emerging leader, and I am so thrilled to foster her growth and have her join the Artistic leadership team. Lava will bring a deep knowledge of the community both locally and regionally, which is crucial for ART living out its promise as a community center for all.” Alapai’s work as a director includes a broad range of new plays and musicals. Alapai co-directed the highly acclaimed Artists Rep production of An Octoroon by Branden Jacobs-Jenkins. Alapai has continued to flex her remarkable director style with The Revolutionists, The Chinese Lady (Artists Rep), School Girls; Or, The African Mean Girls Play (an ART co-production with Portland Center Stage). Lava Alapai shares, “I’m excited to go on this journey with Artists Repertory Theatre, which has been my artistic home for the past few years as a Resident Artist. I look forward to connecting with the Portland community in my new role.”

This Associate Artistic Director residency, as part of the DNA: Oxygen program, allows ART to build upon the experiment in the radical transformation of a regional theatre into an institution rooted in anti-racist and anti-bias practices, allowing artists of color to find safety and community. Harrison emphasizes, “This work is ongoing, and we will eagerly learn from the past while continuing to move forward in building the future that is necessary for full equality, access, and justice for everyone in our community.”

Alapai co-directed Joseph Gibson and Alex Ramirez de Cruz in An Octoroon by Branden Jacobs-Jenkins during the 2017/18 Season. Photo by Russell J Young.

ART’s Board of Directors approved the recommendation by the search committee for next Artistic Director

Sisters Sandy (Carla Pauli, left) and Lola (Livia Gomes Demarchi, right) fight over who has to deal with their grandfather’s ashes, while their baby brother Bruno (Eduardo Soria, center) films their theatrics in AlterTheater’s world premiere of Rella Lossy Award winner Ghosts of Bogotá by Diana Burbano, now published by Stage Rights. Photo by David Allen.

Kelly’s (Cathleen Riddley, right) attempts to teach a cow to count go off the rails when Maybelle (Gwen Loeb, left) has other priorities in the world premiere of Cow Pie Bingo by Larissa FastHorse. Photo by David Allen.

Board Chair Pancho Savery, says of Harrison, “ART was the first LORT theatre in the United States to hire a Latino AD; a leading-edge decision. ART continues its commitment to break new ground and create space for extraordinary theatre from new voices by hiring Jeanette.” She believes in combating invisibility and harmful representations by telling contemporary, complex Native stories written by Native authors. Jeanette, a Native New Yorker of Onondaga descent,  will be ART’s first Native American woman named Artistic Director.  

Jeanette will harness the power of theater to create empathy and build bridges across divides of  experience, perspective, wealth, ethnicity, to build stronger, more just, more equitable, more compassionate communities. Her vision is to maintain and develop new artistic alliances with playwrights and theatres locally and nationally, including the development of a robust arts education program. One of her most significant achievements is the Arts Learning Project for Native Youth (ALP4NY) program, which offers virtual, hybrid, and in-person arts programming to Native youth, centered in Nevada and California, and serving youth from New York to Washington state. Harrison stressed, “I look forward to finding more ways for Artists Rep to be a creative problem-solver for issues facing our local community. I’m especially looking forward to building more relationships between Artists Rep and community groups working to make Portland a better, more equitable, more just, place to live and work.” 

The 2022/23  Artists Repertory Theatre season is presented by Robert & Mercedes Eichholz Foundation, James F. and Marion L. Miller Foundation, Regional Arts & Culture Council, Shubert Foundation, Arts Consulting Group, Joseph E. Weston Public Foundation/OCF, and Oregon Arts Commission/NEA/State of Oregon/Business Oregon.

Press

AGE and ART partner to present PATHWAYS: A 2-year mentorship and professional development program for emerging BIPOC gender-diverse theatre artists in Portland

PORTLAND, OREGON – February 18, 2022 Artists Repertory Theatre (ART) and Advance Gender Equity in the Arts (AGE) proudly partner to present PATHWAYS: A 2-year holistic mentorship and professional development program for emerging BIPOC gender-diverse theatre artists in the Portland area, launching this summer. 

Arriving after the success of AGE’s 2021 IGNITE mentorship program, PATHWAYS is co-created and developed by Minita Gandhi (IGNITE Founder) and Melory Mirashrafi (Associate Director of DNA: Oxygen at ART). The program uses Gandhi’s collaborative pairing model, comprised of a pairing committee representative of the community it serves and a process that prioritizes the creation and maintenance of an environment where artists have the opportunities and resources to achieve their full potential. “Mentorship is a profound arena to work in because of the powerful and transformative nature of what connection and conversation between two people can offer. As a producing house, ART can provide significant professional development opportunities for artists and greater access to the American theatre,” says Gandhi.

PATHWAYS is produced by DNA: Oxygen, ART’s BIPOC artist lab and affinity space, offering creative enrichment and community building to artists pursuing a professional career in theatre, and creating a “pathway” to professional development grounded in IGNITE’s values of shared experience, cultivation, and expansion. All participants will be paid hourly and equitably for their contributions. Gandhi continues, “IGNITE’s holistic programming model offers the creation of a space that prioritizes the needs and safety of BIPOC gender-diverse artists. To me this is more than just the beginning of a partnership. It’s a commitment to a movement that purposefully invests in intersectional artists whose voices and work need to be cultivated and supported.What is it like to truly commit to investing in an artist? Pathways explores this and will take mentorship programming to the next level.”

“I felt like I had to leave Portland to become a professional artist. The problem wasn’t lack of people or resources – Portland has always had and will always have a rich and varied community of theatre-makers – it was the gatekeeping and systems in place that said to artists of color, to gender-diverse artists, ‘You are not welcome here,’ shared Mirashrafi. The PATHWAYS program is given a deliberately long runway and flexible hours, allowing for true investment in artists as people, and honoring mentorship relationships grounded in shared experience and growth by and for BIPOC gender-diverse artists. Year one of the program will focus on mentorship and artistic enrichment, pairing cohort members with local and national theatre leaders, providing professional development, and creating a foundation layer of involvement in ART’s work. Year two will focus on hands-on experience, pairing cohort members in a guided mentor-mentee role on an ART mainstage production, and completing the “pathway” from artistic development to professional work. “PATHWAYS is designed to challenge our current systems – to say, “We have always been here, and we have the time, space, and resources for us to learn and grow together,” emphasized Mirashrafi.

PATHWAYS melds AGE’s mission to “advance equity for artists of marginalized genders through an intersectional lens,” with DNA: Oxygen’s mission to “reinvest ART with the spirit of a community center for all” through the “curation and prioritization of affinity space in a theatrical process, an ethos that begins with the safety of our brains, bodies, and stories, and an investigation into and the implementation of pathways to success for and defined by artists of color,” cultivating a space where every participant can flourish regardless of access point. The PATHWAYS program and application process celebrates multiplicity and encourages self-identification.

AGE Founder, Jane Mantiri shares, “AGE was created to change the equity landscape of American theatre. Brava to arts leaders, Melory Mirashrafi and Minita Gandhi, for transforming the power of theatre by reimagining access, mentorship, and professional development for future generations of artists and their communities. AGE is proud to partner with Artists Repertory Theatre to IGNITE ART and welcome their launch of PATHWAYS.”

ART’s Interim Artistic Director, Luan Schooler, adds, “Artists Rep is thrilled to partner with AGE on this vital program. Supporting local artists is a core value of ART, and PATHWAYS offers urgently needed access and uplift to Portland-area artists who have struggled to be acknowledged. To lose any artist because they feel they have no creative home in Portland is an unknowable loss – each one has a potentially brilliant, irreplaceable artistic vision that could illuminate and enrich Portland. PATHWAYS is an intelligent, concrete, and deeply humane plan for establishing much-needed artistic homes for emerging BIPOC gender-diverse artists.”