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Plus: âThe FoolâŚis replaced in this production by a turtleâ
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Nataki Garrett Directing The Central Park Five at Detroit Opera
Felicia Curry as Susannah| Jefferson's Garden|Ford's Theatre Society
Playwright Timberlake Wertenbaker explores the contradictions between our founding fathersâ ideals and the realities of freedom in America.
Christian, a Quaker pacifist, defies his family to fight in the American Revolution. Susannah, an enslaved woman, is tempted to fight for the British when they promise her liberty. On their travels, Christian and Susannah cross paths with Thomas Jefferson, George Mason and Sally Hemings.
These encounters force them to confront the compromises America makes after the promise of equality. Wertenbaker takes us from Revolutionary battlefields to Paris to Thomas Jeffersonâs home, Monticello.
Director: Nataki Garrett (Woolly Mammothâs "An Octoroon")
At Oregon Shakespeare Festival, securing a future means focusing on the stuff that most audience members don't see, much less think about: overhauling systems behind the scenes.
At a recent company meeting, interim executive artistic director Nataki Garrett explained how Oregon Shakespeare, founded in 1935, planned to correct years of deficits and declines in revenue.
"I have to change the way we do development, the way we market, the way we do finance, the way IT functions, instead of sort of plugging in the holes and filling in the gaps, which is what we've been doing," Garrett said at an all-staff meeting recently. "We didn't want to disturb the art. We have to disturb the art now."
After two years of pandemic closures, audiences are back at the Oregon Shakespeare Festival, to find a season of diverse plays. But for many, change has come too soon.
That's partly why she's focused on putting on stage both new works and new approaches to older works â because attracting and reflecting younger and more diverse audiences is fundamental to the entire ecosystem's survival.
But not everyone likes the new approach.
"My concern is that they have decided to essentially remake the OSF into something it wasn't ... instead of building on their strengths,âŻreally turning their back on its strengths," said Herbert Rothschild, a longtime OSF subscriber and local columnist, told NPR. "If so, I think they're going to drive it into the ground."
Rothschild said in a column this summer that he admired OSF's diversity efforts, but thought the drop in the number of Shakespeare plays it produced showed that the theater no longer trusted Shakespeare to draw audiences. In a second column, he added that he thought programming so many diverse, contemporary plays didn't make business sense, because the majority of the Ashland audience is white.
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'We don't want to disturb our patron base by telling them that they'll have to share the space with other people. What I want to do is disturb the notionâŚ
Itâs never fun to announce retrenchments; Oregon Shakespeareâs annual budget is $4 million to $6 million shy of its pre-pandemic $44 million, with a staff of 200, 125 fewer workers than it had in March 2020. But this year, Garrett has weathered more than economic challenges; in September, NPR reported that the theater hired security staff to escort her in public after she received death threats.
Q: Youâre about to start rehearsals for âRomeo and Juliet.â Tell me about your approach.
A: I think Shakespeare uses the romance as a way to get us to reflect on the actions of the adults. Heâs like, âYouâre going to care about what happens to these kids, and then maybe youâll take a look at how these adults set these rules. Then youâll also see yourselves reflected in these adults, in their behavior, and youâll do something about it.â The real impact of that story is: Is this the world you want to create for your progeny?
A director and administrator known for championing new work, she is poised to lead one of the nationâs leading theatres.
OSF has really beefed up its new-play producing, and thatâs also your focus. But it has Shakespeare in the name, and itâs still in many ways a classical rep company. Is it going to stay that way?
It has to. Shakespeare brought us to new places in all of his plays, so I think of Shakespeare as a model for how you develop new work. Itâs not just Shakespeareâs plays but his ideas which we can apply to exploring new voices. What weâre really doing is providing a platform for new voices to continually develop, to deepen their ideas and impact. The playwrightâs voice is extremely important to me and to my practice. The work of the theatre is to listen to the playwright. Sometimes thatâs an OâNeill play that was written 100 years ago; sometimes itâs an Ibsen play; sometimes itâs a Quiara Hudes play or a Branden Jacobs-Jenkins play. I think we stoke the fire for all our work through the new work.
It cannot be said definitively why Oregon Shakespeare Festival Nataki Garrett announced her resignation on Friday, but what is known is that she has been under intense pressure since she took the helm as the sixth artistic director in the organizationâs history in 2019.
