Posts Tagged Stephanie Lein Walseth

The Empathy Project comes to Park Square Nov 12-21

Park Square Theatre Presents A Full Circle Production of

The Empathy Project

by Stephanie Lein Walseth Directed by Claribel Gross
at Park Square Theatre in the Historic Hamm Building in Downtown Saint Paul Andy Boss Thrust Stage
November 12 – 21, 2021

MEDIA CONTACT: Quinci Bachman
Press@fullcircletheatermn.org | 612-799-0641 Fullcircletheatermn.org

This will be Full Circle’s first live, in-person and fully-staged production since 2019!

After two years in development and two online readings, The Empathy Project by Stephanie Lein Walseth is finally hitting the stage. Directed by Claribel Gross, this fully staged production of The Empathy Project features a cast of nine: Song Kim, Dominique Jones, Shanan Custer, Oogie_Push, Siddeeqah Shabazz, Kim Vasquez, Peter Colburn, Marci Lucht, and Joshua C. Larson.

It also features original compositions by Paul Damico-Carper, and choreography by Mary Harding. Designers include: Tom Mays (lighting design), Mina Kinukawa (set design), Khamphian Vang (costume design) and Quinci Bachman (sound design).

Come see it November 12 – 21, 2021 at Park Square Theatre’s Andy Boss Thrust Stage.

The Empathy Project explores empathy across geographic, political, and racial divides based on interviews of rural and urban Minnesotans—people like your neighbors, your friends, or even yourself. Our production investigates the power and limits of empathy in a deeply fractured world.

Safety Precautions: There will be limited seating for your safety. COVID-19 vaccination or negative test results are required to attend performances. All patrons, staff and volunteers will be required to wear masks inside the venue. We will be following Park Square Theatre’s health and safety protocols. To learn more about them, click HERE.

Tickets available HERE.

The cast of The Empathy Project. Photo credit: Stephen Hage. Mural Credit: DeAnne Parks.

About Playwright/Story Weaver Stephanie Lein Walseth: Stephanie Lein Walseth is a Full Circle Theater Core Artistic Leadership Group Member. With Full Circle she was one of the co-writers for the company’s debut production of Theater: A Sacred Passage, one of the directors for 365 Days/365 Plays: A 2017 Remix, the dramaturg for Under This Roof, and a frequent panel discussion and post-show moderator. As an actor, director, dramaturg, stage manager, theater administrator, and educator she has worked with Penumbra Theatre Company, Theater Mu, Mixed Blood Theatre, Sod House Theater, the Playwrights’ Center, Guthrie Theater, Theatre Unbound, Starting Gate Productions, Theater in the Round, Frank Theatre, CLIMB Theatre, Native Voices at the Autry (CA), and Portland Stage Company (ME).

 

About Director Claribel Gross: Claribel Gross is a theater maker and teaching artist currently based in Chicago. She has a passion for new work and works in development. Most recently, Claribel has worked collaboratively to devise an audio play, Women Like a River Falling from the Sky, for the BorderLight Festival in Cleveland and she created a solo show, Gasp for the 17 Minute Story Festival with Macha Theatre in Seattle. She’s currently working on a bi-lingual touring show for young audiences and dreaming up ways to take it on tour through Latin America. Claribel holds an MFA in Theater Arts from Sarah Lawrence College and is inspired by the work of theater artists and companies like Full Circle Theater that use the tools of the arts to create lasting, positive change in communities.

What’s That Got To Do With Jamil Jude?

Jamil Jude
(Photo by Connie Shaver)

Last month, I attended a friend’s graduation at the University of Minnesota. Only two years before, I’d read her application essay explaining her motivation to pursue a Master’s in Public Affairs, despite her already heavy load of a full-time job and parenting as well as the economic and time sacrifices for the family. What drove her all boiled down to a personal value instilled in her by her father: “Always leave it better.”

Today I was involved in a brief discussion about the concept of transformational leadership with the sisters and consociates of the Order of St. Joseph of the Carondelet in St. Paul. Such leaders are change makers; they inspire, motivate and empower followers toward making lasting change through a common vision, and they do so by changing expectations, perceptions and motivations. Unlike traditional transactional leaders who are more concerned with processes and foster compliance through rewards and punishment, transformational leaders challenge the status quo to build a personally and collectively meaningful and productive environment for the common good. The transactional style is less apt to make lasting change, though effective in getting specific projects or tasks done and in dealing with crisis and emergencies

Recently I saw Full Circle Theater Company’s 365 Days/plays by Suzan-Lori Parks: A 2017 Remix. This is a company that I’ve been following since it fell under my radar last year when I saw its inaugural production, Theater: A Sacred Passage. It is a forward-looking multiracial, multicultural and multigenerational company that “artfully addresses issues of human nature and social justice for 21st century audiences.” Led by five highly experienced theatre professionals (Rick Shiomi, co-founder and former artistic director of Mu Performing Arts; Martha B. Johnson, co-founder of Mu Performing Arts; James A. Williams, co-founder of Penumbra Theatre; Lara Trujillo, seasoned vocalist, actor and music educator; and Stephanie Lein Walseth, longtime theatre scholar, artist, educator and administrator), this company does the hard work of “walking the talk” in its commitment to intentional diversity that will impact the Twin Cities theatre community of artists and audience well into the future.

What do any of these seemingly random reflections have to do with Jamil Jude, Park Square Theatre’s Artistic Programming Associate since December 2015? Well, everything.

Find out more in an upcoming post about Jamil!

Going Full Circle and Beyond

The circle is a universal symbol of unity, wholeness, inclusivity and cyclical movement. During both the first rehearsal and opening night of Flower Drum Song at Park Square Theatre, members of Mu Performing Arts reflected on how Mu itself has come full circle on its 25th anniversary. Its once newest core performers, such as Randy Reyes, Sherwin Resurreccion, Katie Bradley and Eric “Pogi” Sumangil, are now the elders as another generation of artists stream through. In fact, when Mu first staged Flower Drum Song about eight years ago, Sherwin had played the young man Ta and Randy his father, Wang. And just four years ago, Randy Reyes inherited the Artistic Director role from co-founder Rick Shiomi, who has since co-found a new company called Full Circle Theater.

First rehearsal of Flower Drum Song (Photo by T. T. Cheng)

First rehearsal of Flower Drum Song
(Photo by T. T. Cheng)

Recently I asked Rick Shiomi to go back down memory lane to Mu’s beginnings, then return us to where it is now and, in conjunction, where he is now. My first surprise on this journey was that then University of Minnesota graduate student Dong-il Lee, not Rick, had initiated the founding of Theater Mu (the organization’s original name).

“I actually came here from Canada for personal reasons,” Rick admitted, “and I didn’t think it was even possible to do. I only knew one or two Asian Americans acting in the Twin Cities. I thought it would be too monumental a task.” Yet Rick agreed to go along for the ride.

However, Dong-il graduated within a year and moved to the East coast for a teaching position and, later, back to South Korea. Rick suddenly found himself heading Mu as interim, and ultimately permanent, Artistic Director.  But why didn’t he just stop then and go on with his life?

“By now, I saw that my future would be in the Twin Cities,” Rick said. “I had already committed my life to Asian American theater, and there was nothing here. I could certainly have worked with another theater, like Mixed Blood, that would do maybe one Asian American play in five years. I preferred to put in the hard work to develop Mu instead.”

The work was, indeed, hard. Rick compared the first five to ten years to “digging trenches to lay a foundation.” People came and went as Mu gradually built its first major wave of core performers to take it to the next level. In its 2003/4 season, Mu reached a new high with an all-Asian American casting of the Sondheim musical Pacific Overtures at Park Square Theatre, followed in 2005/6 with its landmark production of Shakespeare’s A Midsummer Night’s Dream. Those were exciting times for Mu.

In Rick’s opinion, “Mu has completed one cycle and is now starting on another, almost like a spiral. There is a certain circular sensation, especially for the actors who have grown up and now play the elders, but it’s a different place and time and their roles have changed.”

Rick, too, has let go of a cycle to begin a new one. He and four other longtime stalwarts of the Twin Cities theater community–Martha B. Johnson, James A. Williams, Lara Trujillo and Stephanie Lein Walseth–founded Full Circle Theater in 2013. By doing so, they are going full circle in the sense of experiencing and implementing some of the same growth challenges and strategies faced by any startup, such as Mu in its younger days. However, this time around, they have all been “around the block” with collective knowledge to their advantage as well as a focus beyond Asian American theater. Listed as one of Full Circle’s core values is theater that “is multiracial and multicultural in its representation of life.”

Full Circle’s upcoming production, 365 Days/365 Plays by Suzan-Lori Parks: A 2017 Remix, will run at the Penumbra Theatre from May 26 to June 11. It will feature 46 of a collection of 365 plays written by Parks in 2002 (one play per day). In its 2007 premiere, 365 Days/365 Plays was lauded as “a national phenomenon….crossing ethnic, racial and economic boundaries.” Flower Drum Song patrons can take advantage of Full Circle’s special offer of $10 tickets by inputting the code FDS at brownpapertickets.com.

With regard to Flower Drum Song, Rick has strong memories of the powerful scene, in Mu’s earlier staging at the Ordway, between Ta and Linda Low–then played by Sherwin Resurreccion and Laurine Price, respectively–when she leaves to make it big in Hollywood. He also recalls the emotional father-son reconciliation dance between Randy and Sherwin as Wang and Ta. Another high point came when Sara Ochs, as Mei-Li, so movingly sang “Love, Look Away.”

“What were you feeling and thinking,” I asked, “as you watched Flower Drum Song to commemorate Mu’s 25th anniversary?”

“What a great evolution/revolution all of us have created!” Rick replied. “I felt great pride in the work of our veterans Sherwin and Katie, leading the cast, and Randy leading the company. And excited by the new talent coming!”

 

Martha B. Johnson, Rick Shiomi, David Henry Hwang and Stephanie Bertumen at opening night for Flower Drum Song (Photo by Connie Shaver)

Martha B. Johnson, Rick Shiomi, David Henry Hwang and Stephanie Bertumen at opening night of Flower Drum Song
(Photo by Connie Shaver)

 

Flower Drum Song – Park Square Theatre’s Proscenium Stage until February 19

 

Tickets

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Please call 651.291.7005.

For service other days of the week, please email tickets@parksquaretheatre.org.

Tickets can be purchased online at anytime.

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