OLD Whidbey Life Magazine

Author: Katie Woodzick

In Their Own Words: Burlesque Performers Tell Tales of Transformation

BY KATIE WOODZICK
PHOTO ESSAY BY DAVID WELTON
Whidbey Life Magazine Contributors
July 13, 2016

“To me the entire process of getting ready for a show is for that moment on stage,
no matter how long or short it may be. And it’s worth it every time.”
— Mallory Langer, Burlesque Teacher

On Friday, June 24, the Wild Island Performers graced the stage at Bayview Hall in Langley, presenting a show in the fashion of an American Burlesque show from the 1920s. Langley Mayor and Master of Ceremonies Tim Callison guided the audience through acts ranging from strongman feats, belly dancing and even striptease.

Whidbey Life Magazine photographer David Welton captured the magic of the performers getting ready. We asked each of the performers to describe their personal process in preparation for the show.

MALLORY LANGER
Producer and Dancer

“When it comes time to ‘put on face’ for a show, there’s a lot of excitement for me. It’s like putting on a pair of your favorite perfectly worn-in pants, or even a pair of overly loved comfy shoes. They are old and feel like, well, home.

Mallory Langer “puts on face” as she anticipates “show-time, go-time.”

I’ve been performing since I was a kid. Dance performances, talent shows and even sports, really. So when it comes time to get ready before a show, it’s a natural easy thing. It’s something old but new, oddly enough. I’m excited and the anticipation is grand! Nerves don’t really exist—not in the way you’d think. It’s more like this high of the body, where you feel that very moment you live in so keenly.

During this time and putting on face, I like to enjoy myself, put music on and interact with my fellow performers, getting everyone around me just as excited. Living in that moment and just being well—me—goofy, silly, very sassy and maybe even a little too loud at times.

But there’s no other moment like that moment before a show, when everything is so real, you can be you. And it’s great. It’s probably one of my favorite things about performing, if not the actual act of performing itself.

“Curtains open and then…then it’s like you breathe for the first time. You LOVE for the first time,” Langer said.

After stretching, warming up my body and putting on makeup and costumes, it’s show time…‘go time.’ That moment you’ve been working so hard for. Putting all your love and passion, sweat and tears, bruised and sore body, happiness and frustrations into. To show ‘the world’ what you’re made of.

That moment is a beautiful moment to me. The anticipation is that much more high, the moment is that much more real.

And for a split second you feel nerves. Then you take a deep breath, smile and feel that happiness of what you love come over you. Curtains open and then—then it’s like you breathe for the first time. You love for the first time. You are ‘you’ for the first time. Like you’ve never lived before until that very moment.

Wow what a feeling!” —Mallory Langer

TIM CALLISON
Master of Ceremonies

“When I agreed to be Master of Ceremonies for the Wild Island Performers, I thought all I would have to do was introduce each act. Simple, right?

Then I sat down with Mallory and Siobhan to go over the running details and they kept adding minutes between the acts that I’d have to fill. It added up to more than half an hour of time that I’d have to tell jokes and/or perform stunts.

Tim Callison, in his white tuxedo, reviews off-color vaudeville jokes.

Well, I told every corny vaudeville joke I could find. Thank goodness for the internet. I came up with some filler skits as well.

The saving grace was that the performers themselves were so good that the audience quickly forgot my amateur efforts. I was amazed, myself, as we went through the dress rehearsal and then at the show—how good everyone was.

The night of the show the performers were very loose and were having fun getting prepared backstage. You could tell they were ready and that they loved being there.” — Tim Callison

GWENDOLYNN
Belly Dancer

“When I start to apply my stage makeup, I feel an internal transformation taking place as well. It is the signal to me that I’m stepping out of my everyday life and into the magical moment of a performing dancer. At this stage, I’ve given my all—to physically and mentally prepare for the performance. Getting into costume is when I let go of all that’s come before and I embrace the joy of what I’m about to do. It helps that belly-dance costuming and makeup is so beautiful too; I can’t help but feel radiant once I’m in full costume!

Gwen Sipes prepares for her belly dance performance and said she feels radiant once she’s in full costume.

Getting ready with the Wild Island Performers was a great time, too. We all have very different acts and talents and we all got along really well. There was a strong feeling of ‘We’re all in this show together—so let’s make it a great one!’” — Gwen Sipes

ROXIE RHOLL-HER
Steampunk Stagehand and Assistant to the Producer

Carol Wisman, as “Roxie,” said she found it liberating to be in costume, hiding her “somewhat shy persona” and freeing her to be as gregarious as she dared.

“Since I was in costume, the somewhat shy persona that is me was hidden, so I was free to be as gregarious as I dared. My biggest issue was to make sure I didn’t have any ‘costume malfunctions’ as that would have left me exposed in more ways than I care to think about. I have to admit, it was actually more fun for me to play a supportive role—helping set up, greeting people at the door, working the curtain and helping with prop changes. I’d enthusiastically do it again!” — Carol Wisman

SIOBHAN
Fan Dancer

“It’s the costumes for me…

If I know a performance is coming I start putting a costume together in my head, way in advance—eventually gathering things together as I develop my character. For me that’s the most exciting part of preparing. It’s like planning a trip!

I can’t escape anxiety before a performance, but dressing in a costume gives me something to focus on. It puts me in the world of my character.

Siobhan Wright rehearses her fan dance before the show. “It’s the costumes for me,” she said. “The way the costume looks and feels puts me in performance mode.”

For example, belly-dance costumes are beautiful. The way they are built also serves a purpose. They accentuate the dancer’s specific hip movements. They camouflage the anatomy; that works to make the movements look effortless and amazing. They have to be built tough to withstand many rehearsals and performances.

The way the costume looks and feels puts me in performance mode, mentally and physically.

It’s all about playing dress-up!” — Siobhan Wright

MISS MATILDA
Drag Queen

“Getting into the character of Matilda the drag queen requires a number of things, starting with the costume and makeup. Next, I considered her ‘job’ today, in the chorus line singing ‘Big Spender.’ She’s an aging hooker, pushing 50, a dominatrix, a lady of the night, trying to get a man’s attention. She wears a corset, fishnet stockings and a garter belt, clothing that modern women do not wear in daily living. I parody what men think sexy women should look like, then work on imitating her walk, mannerisms and speech patterns.

Matt Hoar as “Miss Matilda”—an “aging hooker, pushing 50″—tries to get a man’s attention.

Her hyper-feminized appearance and accessories contrast with her beard and chauffeur hat, masculine symbols, forcing the audience to do a ‘double take’ and question gender roles.” — Matt Hoar

TOO TALL BILLY
Strongman Assistant and Straight Man for the Chorus Line

“Shaking off the willies and not being nervous prior to and during a show is pretty easy for me. I’ve been performing in front of audiences of all sizes and types since I was about 16—10 years—not as an actor, but as a musician, so intrinsic stage fright has all but left me. What I’ve learned is that confidence on stage comes with confidence in what you do. The more practiced [I am] with a skill or routine, the less nervous I am on stage. I practice until it all becomes muscle memory.

Billy Piepenbrienk contemplates the upcoming show in his dressing room backstage.

Getting into character is the easy part. Being a right-brained individual, creativity is a natural part of my thought process. It’s a simple matter of putting myself in the mindset of another character and saying, ‘If I were Abraham Lincoln, how would I feel if I sat on a whoopie cushion?’ The thing to keep in mind is that, when on stage, everything needs to be exaggerated: movements, facial expressions, gestures, etc. in order to get the full affect.” — Billy Piepenbrink

Miss Matilda’s corset, garter belt and fishnet stockings parody what men think sexy women should wear,” she said.

Wright rehearses “Big Spender” with Miss Matilda.

Piepenbrienk, dressed as Mad Matt the Strongman’s assistant, relaxes by hanging out with friends behind Bayview Hall.

Image at top: Vintage lighting effects, provided by Tim Leonard, transform matronly Bayview Hall into a burlesque palace

Katie Woodzick has lived on Whidbey Island for the last nine years and is moving to Boulder, CO in August to begin Naropa University’s MFA in Contemporary Performance program. “Katie Woodzick: The Farewell Concert” is Saturday, July 23 at Whidbey Children’s Theater. For more information, go to: http://www.brownpapertickets.com/event/wlm/2569933.

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CLICK HERE to read more WLM stories and blogs. Have a great story idea? Let us know at info@whidbeylifemagazine.org.

WLM stories and blogs are copyrighted and all rights are reserved. Linking is permitted. To request permission to use or reprint content from this site, email info@whidbeylifemagazine.org.

July 13, 2016
First Date: Seattle Fringe Theatre Comes to Whidbey

BY KATIE WOODZICK
Whidbey Life Magazine contributor
April 13, 2016

Clayton Weller has produced over 700 shows at The Pocket Theater in Greenwood. An actor and sketch comedy performer, Weller saw the need in Seattle for low-cost performance spaces where first time producers could get experience.

Three years ago, he launched a crowd-funding campaign with a goal of $8,000 in hopes of opening a new space for local performers. Seattle theatre artists were incredibly enthusiastic about the campaign, and Weller raised over $30,000.

The many faces of Clayton Weller. (photo courtesy of Clayton Weller)

In 2014, The Pocket Theatre opened its doors. The small incubator venue soon drew a strong and loyal following. Weller produces 25-40 unique performances a month. He focuses on shows and groups who don’t fit traditional performance molds. Performers are never charged for performance rentals.

The view of the lobby of The Pocket Theater in Greenwood.

“We’ve been running sustainably in our own venue for almost two years and have expanded enough that we’ve needed to take over a second venue,” Weller said. “We have dance, comedy, music, burlesque, drag, storytelling and a bunch of stuff that defies genre. All under one friendly roof. It’s a labor of love, and we love every minute of it.”

OutCast Productions, known for producing “theatre with a social conscience” on Whidbey Island, shares many of Weller’s views. OutCast Productions Founding Co-Artistic Director Ned Farley was first introduced to Weller and The Pocket Theatre earlier this year. Farley decided to discuss a possible collaboration of bringing Seattle performers from The Pocket Theater up to the OutCast Black Box stage.

Promotional photo from Illuminati: The Musical

“We here at OutCast believe we have an amazing patron base who appreciate the kinds of theater we produce – theater that makes you think, asks us to consider some of the hard questions that face us at this particular time in the world,” Farley said. “In addition, our audiences also enjoy laugh-out-loud (even as we blush) theater. As such, we think there is a niche that is untapped in terms of entertainment from a wider group of performers who produce new, creative and edgier material. We believe that The Pocket Theater can provide just that, and we hope our patrons will come out to support this new venture.”

Day Job performs at Seattle’s Comedy Underground.

Weller worked with Farley to choose seven different Seattle groups who will perform six times over the weekend of April 15-17. The performers were selected based on quality and variety.

“All of these groups and shows have had successful runs at The Pocket,” Weller said. “They’re some of my absolute favorite performers to grace our stage.”

Woody Schticks prepares for his new solo performance, Shlong Song.

An example of such a performer is Woody Schticks, a Seattle-based actor, choreographer and performance artist. Schticks is premiering his brand-new solo extravaganza, Shlong Song, on Saturday at 7:30 p.m. He describes the show as filled with “sexual misadventures and hanky-panky hijinks.”

Schticks grew up with no shortage of slot machines and showgirls in Atlantic City, New Jersey. Training first in ballet, he danced as a company member of the Atlantic Contemporary Ballet Theatre (now the Atlantic City Ballet). While studying classical music, competing as a championship handbell ringer, and attending Bible college, Schticks performed throughout New Jersey, then moving to New York City to continue his training in Acting and Drama Therapy before moving to Seattle.

Other productions include “Illuminati the Musical,” the stand-up of Wisecrack, the short form comedy of Day Job and the dark comedic storytelling of Bill Bernat.

Tickets are $10 per performance and can be purchased online: http://www.brownpapertickets.com/event/2525317, reserved by emailing ocp@whidbey.com or purchased by check or cash at the Black Box theatre prior to each performance.

“Who doesn’t get excited by a First Date? Our patrons get the envious opportunity to be voyeurs in this new venture,” Farley offered. “OutCast + Pocket…perhaps it’s a match made in heaven?”

Katie Woodzick works at Hedgebrook as an External Relations Manager. Katie is also an actor and director who can be seen on local stages and the host of the Theatrical Mustang Podcast: theatricalmustang.podbean.com.

April 12, 2016
Behind the Scenes || ‘The Addams Family: A Musical’

BY KATIE WOODZICK
Whidbey Life Magazine Contributor
Dec. 9, 2015

On Friday, Dec.4, we opened “The Addams Family: A Musical” at Whidbey Island Center for the Arts. During tech week, I snapped some photos backstage and in the dressing rooms.

We arrive at the theatre at 10:30 on Sunday morning. First order of business is the cue to cue, where we walk through the show with no costumes or makeup. We jump around in the show to hit the parts that have technical cues: shifts in lighting, sound effects and pulling the grand curtain open or shut. Our cue to cue went from 11 to 4 p.m.

It’s time for a break! Cast members bring dishes for a potluck, which is set up in Zech Hall.

After eating, we go back to the dressing room and get into full hair, makeup and costumes. I took some time to review my lines and music.

At 5:30, we do a full run of the show. This is the first time we’ve incorporated lights, sound, costumes, makeup, all together. We’ll keep doing full dress rehearsals Monday through Wednesday.

On Thursday evening, we have an invited dress rehearsal. Yay! Our first audience members! The show is a comedy and it’s extremely helpful to start learning where the laughs will come so we can adjust our timing. We warm our voices up together 40 minutes before each performance.

We had a packed opening night house on Friday! They were very warm and enthusiastic. Most of the women in the show are wigged, and there is a great feeling of relief each evening when we can release our hair from beneath our wig caps.

Oh, the joys of live theatre—during the final performance of the weekend, I slammed the chalice prop down so hard on the dining table that it cracked! I almost forgot the lyrics to my song because I was so surprised! Luckily, I was able to recover and the prop is salvageable!

One of my favorite theatrical traditions is the ghost light. It’s a light that stands alone and gets placed on the stage after everyone has left. The purpose is mainly practical—if someone comes into the darkened theatre, the ghost light offers them light by which they can see.

There’s something emotional about the ghost light as well—I like to think of it as a benevolent guardian of the theatre. It watches over the space while the actors go home to rest between performances. During performances, it stands in a backstage corner and quietly observes the actors, the musicians and the audience.

And, because it’s The Addams Family, perhaps it even acts as a beacon for ancestors who want to come and watch the show from the wings.

We hope you’ll join us for the remaining two weekends of “The Addams Family: A Musical.” We’ll keep the ghost light on for you!

Read more about the director Lani Brockman in this WLM feature “Beyond the Crypt: Lani Brockman Directs ‘The Addams Family: A Musical.‘” For tickets and showtimes go to http://www.wicaonline.org/.

Photo by Tyler Raymond

All photos except the last are by Katie Woodzick.

Katie Woodzick works at Hedgebrook as an External Relations Manager. She is also an actor and director who can be seen on local stages and the host of the Theatrical Mustang podcast: theatricalmustang.podbean.com.

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CLICK HERE to read more WLM stories and blogs. Have a great story idea? Let us know at info@whidbeylifemagazine.org.

WLM stories and blogs are copyrighted and all rights are reserved. Linking is permitted. To request permission to use or reprint content from this site, email info@whidbeylifemagazine.org.

December 9, 2015
Beyond the Crypt: Lani Brockman Directs ‘The Addams Family: A Musical’

BY KATIE WOODZICK
Whidbey Life Magazine contributor
December 2, 2015

“They’re creepy and they’re kooky,
Mysterious and spooky,
They’re all together ooky,
The Addams Family.”

The Addams Family first appeared in 1938 as a single-panel cartoon in The New Yorker. Over 100 more cartoons appeared in The New Yorker and other publications until creator Charles Addams’ death in 1988.

The cartoons focused primarily on the glamorous matriarch, Morticia, and her husband, Gomez, and featured their children, Wednesday and Pugsley, as well as Uncle Fester, Grandma and their butler, Lurch. What distinguished the family was their love of the macabre.

Whidbey’s “Addams Family” – Left to right: Erica Major (Wednesday), Austin Morehouse (Pugsley), Jennifer Bondelid (Morticia), Kevin Lynch (Lurch), Jim Castaneda (Gomez), Kent Junge (Fester) and Melanie Bacon (Grandma) recreate the iconic Addams Family portrait. (photo by David Welton)

In 1964, The Addams Family was developed into a live-action television series for ABC, shot in black and white. Caroline Thompson and Larry Wilson wrote a feature-length film in 1991 that featured Angelica Huston as Morticia, Raúl Juliá as Gomez and Christopher Lloyd as Uncle Fester.

Composer and lyricist Andrew Lippa began developing a musical inspired by The Addams Family in 2007. It premiered on Broadway in 2010, starring Bebe Neuwirth as Morticia and Nathan Lane as Gomez. The plot of the musical centers on Wednesday, who has just turned 18 and has fallen in love with a “normal” young man. The ensemble is comprised of ghosts of the Addams Family’s ancestors, who are banned from returning to their crypt unless they help Wednesday and her new boyfriend.

When the rights became available for non-professional performance, Lani Brockman, the Founding Artistic Director of Studio East in Kirkland, secured them for her students. She directed the musical at Studio East in March of this year.

Lani Brockman directs Austin Morehouse (Pugsley) in a scene while Kevin Lynch (Lurch) looks on. (photo by David Welton)

Starting with one theater program for teens in 1992, Studio East has become one of the largest children’s theater training programs in the Seattle area. Today, between the Studio’s camps and classes and its professional, adult touring arm, StoryBook Theater, Studio East serves over 70,000 people annually.

Brockman said she was drawn to the dark, silly humor of the musical. When she was younger, she enjoyed the television series, particularly Cousin It and Morticia’s dry sense of humor.

Finding a passion for storytelling at an early age, Brockman wrote, directed and acted in fractured versions of fairy tales, inviting neighbors to be the audience. Her talents blossomed into a life-long passion for training youth actors, which inspired her to found Studio East.

“I believe that youth are capable of doing just about anything if given support, parameters, tools and constructive criticism,” she said emphatically. “I had that experience as a teen and became passionate about creating a place where other young people might have that opportunity.”

Jennifer Bondelid (Morticia) gets ready in the dressing room. (photo by David Welton)

No stranger to Whidbey Island, Brockman has directed four shows at Whidbey Children’s Theater over the last 10 years: two productions of “Quilters,” “I Never Saw Another Butterfly” and “Last Exit.” She was presented with the opportunity to direct “The Addams Family” again this December at Whidbey Island Center for the Arts.

Some of her students who played leading roles in the Studio East production have joined the cast of the Whidbey Island Center for the Arts production. The young actors often carpool with Brockman, running lines and singing music from the show in her car.

Erica Major, who played Grandma at Studio East, portrays Wednesday Addams in this production. She has worked with Brockman for three years.

“Lani is absolutely wonderful to work with, “ Major said. “She is incredibly encouraging and gives you space to learn your character, but provides enough support so that you challenge yourself.”

Jennifer Bondelid (Morticia) and Jim Castaneda (Gomez) prepare to rehearse the tango. (photo by David Welton)

Brockman’s students go on to work with Seattle theatres. John Han, who played Uncle Fester in the Studio East production, is a soldier in the ensemble and is slated to play Mr. Twimble and Wally Womper in 5^th Avenue’s upcoming Rising Star production of “How to Succeed in Business without Really Trying.”

“Lani encourages you to go out and pursue your passions professionally,” Han said. “Studio East not only provides a safe environment for students to learn, but also to express yourself creatively without judgment.”

Brockman is excited to share this show with Whidbey audiences. She believes that audiences will delight in the fun, feel-good nature of the musical.

Wednesday (Erica Major) gives her fiance Lucas (Marshall Link) an ultimatum accompanied by her crossbow. (photo by David Welton)

“This is a really complex show with moving walls that represent different locations, both inside the Addams mansion as well as outside in Central Park. The ancestors move them from location to location and these actors need to know their stuff!” Brockman said, giving praise. “I am amazed at the professionalism this cast has shown.”

“The Addams Family: A Musical” opens Friday, Dec. 4 through Sunday, Dec. 19 at Whidbey Island Center for the Arts in Langley. For more info and tickets, go to http://www.wicaonline.org/events-calendar-view/2015/12/4/the-addams-family

Learn more about Studio East here: http://studio-east.org/.

Katie Woodzick works at Hedgebrook as an External Relations Manager. She is also an actor and director who can be seen on local stages and the host of the Theatrical Mustang podcast: theatricalmustang.podbean.com. Next up: Alice in “The Addams Family: A Musical.”

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CLICK HERE to read more WLM stories and blogs. Have a great story idea? Let us know at info@whidbeylifemagazine.org.

WLM stories and blogs are copyrighted and all rights are reserved. Linking is permitted. To request permission to use or reprint content from this site, email info@whidbeylifemagazine.org.

December 2, 2015
Real Meals Whidbey: Rio Rayne Brings Whidbey’s Bounty to your Doorstep

BY KATIE WOODZICK
Whidbey Life Magazine contributor
November 25, 2015

It all started with pancakes.

As a little girl, Rio Rayne would watch eagerly as her mother made yeast pancakes on the weekends. After adding the yeast, the batter had to sit before frying the pancakes in butter.

“I was a kid so the wait felt like an eternity,” she said, smiling. “I remember them fluffy, yeasty and with plenty of butter and maple syrup.”

Rayne’s emerging interest in cooking only got stronger as she grew up. “When I was seven years old, I made my first full meal from a kid’s cookbook my aunt gave me,” Rayne said. Chicken enchiladas quickly became her specialty and remain a favorite for her to cook to this day.

Rio Rayne chops fresh vegetables in the Hedgebrook kitchen. (photo by David Welton)

In high school, Rayne created a cookbook of original recipes and took cooking classes as part of her senior project. She attended a Vancouver, BC culinary school in her mid-twenties, with aspirations to work in restaurant kitchens. After school, she moved to Napa, Calif. with her husband, Alvero, where they both worked in fine dining restaurants.

While she valued her restaurant experience and the skills it taught her, Rayne said she longed for a more personal connection with those for whom she was cooking. A local winery provided an employment opportunity for Rayne to make more rewarding personal connections with customers, as opposed to a fast-paced restaurant kitchen.

While the young chef transitioned into working for the local winery, her husband took a position in wine production. They found themselves so immersed in the world of wineries that they started plans to run their own winery. When land on Whidbey became available in 2008, the couple moved north to pursue Rayne’s dream of running a farm and winery.

A freshly baked peach almond tart baked by Rayne (photo by Rio Rayne)

Her childhood passion for cooking blossomed once again in 2013 when she was hired as a guest chef at Hedgebrook, the local literary non-profit and retreat that supports women writers. Cooking in Hedgebrook’s Farmhouse kitchen with the abundance of produce from the garden was a perfect fit for Rayne and inspired her to start a new business—Real Meals Whidbey.

After weeks of planning, Rayne finally launched the cooking and food delivery service earlier in November. Her customers include Hedgebrook alumnae as well as South Whidbey community members passionate about local, sustainable food she met through farming.

Rayne’s customers receive weekly emails that include a menu and ordering instructions. The menu changes and includes dishes like lamb curry, roasted beet and fennel soup, scalloped potatoes and double chocolate brownies. All menu items are gluten-free and Rayne works with Deep Harvest Farm, SkyRoot Farm and 3 Sisters Family Farms to source local, sustainable, organic ingredients.

“Real Meals is the sweet spot between the skills I feel I have to offer and a need I see in the community,” Rayne explained. “Cooking at Hedgebrook has provided me with some real insights into the challenges many people face when it comes to feeding themselves. I’ve witnessed how transformational it can be for people to not have to worry about cooking, and the spaciousness it creates in their lives. Through Real Meals, I want to provide a little slice of what Hedgebrook offers in taking care of people’s meals so they can dedicate their lives to the work they need to do in the world.”

Customers are already raving about Real Meals Whidbey. Hedgebrook alumna and Board Member and Founder of Giraffe Heroes Ann Medlock had this to say: “I knew Rio was a marvelous cook from enjoying her dinners at Hedgebrook. To have her using local, organic ingredients to make beautiful meals and bring them to my own door is kind of a dream come true.”

A sample of a weekly Real Meals Whidbey menu (designed by Rio Rayne)

Rayne has found that customers not only want to order food for themselves, but also for their friends to keep them warm in the cold winter months. She has worked with customers to set up food funds for their friends and neighbors. Even though Real Meals Whidbey has just started, Rayne has clearly found her culinary niche on Whidbey.

“It’s such a privilege and a joy to cook with the abundance and beauty of our local produce,” she said.

To order from Real Meals Whidbey, email Rio at rio@realmealswhidbey.com. Visit https://www.facebook.com/realmealswhidbey to see photos of Rio’s cooking and get weekly menu updates.

Image at top: Rayne pulls cookies out of the oven. (photo by David Welton)

Katie Woodzick is an actor and director who can be seen on local stages and is the host of the Theatrical Mustang podcast: theatricalmustang.podbean.com. She can be seen next as Alice in “The Addams Family,” running at Whidbey Island Center for the Arts, Dec. 4 through Dec. 19.

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CLICK HERE to read more WLM stories and blogs. Have a great story idea? Let us know at info@whidbeylifemagazine.org.

WLM stories and blogs are copyrighted and all rights are reserved. Linking is permitted. To request permission to use or reprint content from this site, email info@whidbeylifemagazine.org.

November 25, 2015
We’d Like to Thank the Academy: Susannah Rose Woods and Suzanne Kelman Advance to the Final Round of the Nicholl Fellowships

BY KATIE WOODZICK
Whidbey Life Magazine contributor
Sept. 9, 2015

Susannah Rose Woods and Suzanne Kelman first met through creative endeavors at Whidbey Children’s Theater. Kelman had just finished work on Thoroughly Modern Millie, and Woods was about to begin directing productions of Into the Woods.

Kelman asked Woods to read some of her screenplays. Soon after, the pair started writing screenplays together, co-founding Goody 2 Productions.

Suzanne and Susannah at the CA Film awards 2013.

They’ve developed a unique routine for writing together: Woods will type while Kelman suggests ideas. If they ever hit a creative wall, they’ll play Harry Belafonte’s Jump in the Line and dance around Kelman’s writing studio. In conversation, the two writers seem to share a brain, often finishing each other’s sentences.

“I’ve been a writing partner with other people, but nothing like this,” Woods said.

“We have a really unique way of writing together,” Kelman explained. “We have this ability to not only pick up the other person’s thought but add on to it.”

More than fifteen years ago, Woods visited a Holocaust survivor museum. She came across a small plaque that told the story of an anonymous Dutch man living under Nazi occupation who decided to intentionally contract a deadly disease in order to get the medicine needed to save the life of a Jewish man in hiding.

When Woods told Kelman about the story, Kelman found that it kept her up at night. She told Woods it was a story that needed to be written as a screenplay. The two set about researching the story before writing a draft of the script. The first draft was written in less than a week at Kelman’s kitchen table.

“Held” poster

“It normally takes me three months to write a script,” Kelman said. “This story wrote itself.”

They titled the script “Held,” which is the Dutch word for hero. Earlier this year, they submitted Held to the Academy of Motion Pictures and Sciences as an entry into the Nicholl Fellowship Award competition, a program meant to encourage new voices in screenwriting. This year, a record 7,442 screenplays were submitted.

Earlier this month, Kelman and Woods were notified that Held had advanced to the final round of twelve scripts.

“I was outside Kalakala in downtown Langley when I got the call and I screamed, fell to my knees and started crying,” Woods remembered.

In the next month, Academy-Award-nominated and winning artists will read the twelve scripts and decide which six to eight scripts will receive fellowships. The winners will be given $35,000 to help them write a new screenplay in the next year, and will likely be featured in industry publications like The Hollywood Reporter, Variety and Indiewire.

“Held” script

Woods expressed gratitude for the community that supports her writing: “Whidbey Island is such an incredible place that nurtures artists.”

September has been a particularly successful month for Kelman. She recently found out that her book, The Rejected Writers Book Club, has been picked up by Lake Union Publishing, a women’s fiction imprint of Amazon. Readers can expect a new edition to be released in the spring of 2016.

In other award-winning writing news, Kelman’s play, Over My Dead Body, was a winner in the Writer’s Digest playwriting competition. Kelman is grateful for her recent successes, which are the result of the dedication to her writing craft.

“I’ve been working twelve hours a day for five years, and it’s just all come together right at this moment.” Kelman said. “I feel blessed and overwhelmed that I’ve been given these stories to tell. I have the best life.”

All photographs courtesy of Suzanne Kelman and Susannah Rose Woods.

Katie Woodzick works at Hedgebrook as an External Relations Manager. She is also an actor and director who can be seen on local stages and the host of the Theatrical Mustang podcast: theatricalmustang.podbean.com.

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September 23, 2015
A Generous Gay Spirit: Charlie Murphy Leads the Second Annual Whidbey Queer Pride Parade on Sunday, Aug. 2

BY KATIE WOODZICK
Whidbey Life Magazine contributor
July 29, 2015

It’s a gay spirit singing in our hearts
Leading us through these troubled times
It’s a gay spirit moving round this land
Calling us to a time of open love.
—“Gay Spirit” by Charlie Murphy

Charlie Murphy has always been a progressive firebrand. When he was performing as a singer/songwriter in the 70s, audiences would often have to cross lines of demonstrators to get to his concerts. His song, “Gay Spirit,” became an anthem for the Gay Rights movement.

“My history is really steeped in the gay movement and the feminist movement,” Murphy said.

Murphy during his “performing” days (photo by Jami Sieber)

He remembers playing in front of 300,000 people at one of the first San Francisco Gay Pride Parades. Recordings of his songs are documented in the Smithsonian Folkways archives, in the album “Walls to Roses: Songs of Changing Men.”

Murphy was living in Seattle in the 80s when he decided to rent a cabin on the south end of Whidbey Island so he could focus on his songwriting. He liked the island so much that, in 1999 when he co-founded the organization, Power of Hope, with Peggy Taylor, he bought a house in Langley.

“I fell in love with the community here,” Murphy remembered.

Soon after, he met the love of his life. Murphy received an email from Eric Mulholland, a former student of a friend who had taught in California-Irvine’s theatre department. Mulholland had just moved to the area and was looking to make new connections.

Murphy (right) and Mulholland at his surprise 60th birthday party (photo by Dorit Zingarelli)

“I remember calling Peggy and asking her: ‘How much time do I have to spend with this person to be polite?’”

But when Mulholland walked through his door, Murphy said he was stunned. “I took one look at him and thought to myself, ‘I could spend the rest of my life with him,’” he recalled, grinning.

Lunch turned into a dinner at the Whidbey Institute and, one week later, Mulholland proposed that the pair start dating.

“He proposed relationship,” Murphy said, “so I knew it was up to me to propose marriage.”

Four years after they started dating, the couple was traveling in Portugal. Murphy was going to propose on the first night, but was too nervous. For the next two weeks, he tried to build up the courage to pop the question. After Murphy knocked a jar of olives onto a tile floor, Mulholland finally asked him why he was acting so strangely.

Murphy took him to the top of a hill near a windmill and proposed. Mulholland promptly accepted.

People embrace love! A spontaneous kiss, captured at one of the P.Y.E. gatherings (photo by Peggy Taylor)

“He’s a lovely man,” Mulholland said, smiling. “He’s my guy and I love him.”

Although the couple married in 2006, Murphy insists that deep connection was there from the start: “I always felt married to him since I met him.”

The day after they were married, the couple traveled to Uganda for a “Honeymoon of Service,” working with youth who had HIV. Murphy and Mulholland have continued their international facilitation work with youth with the organization PYE Global: Partners for Youth Empowerment.

Mulholland leading a theatre game in Uganda (photo by Autumn Preble)

Queer Pride Parade organizers Bonnie Stinson and Kathryn Morgen knew that Murphy was the ideal choice to helm the second annual Whidbey Queer Pride Parade as Grand Marshal.

“Charlie is our local bodhisattva meets Apollo. When I first moved to Whidbey Island, I heard people speak Charlie’s name with incredible joy and reverence,” Stinson said. “Those who have met Charlie know that he is a true visionary. His work in youth empowerment and facilitation has changed so many lives, both here on Whidbey and around the world. I’m delighted to join our community in honoring Charlie as this year’s Queer Pride Parade Grand Marshal.”

Recently, Murphy was diagnosed with Amyotrophic Lateral Sclerosis, a progressive neurodegenerative disease known more commonly as ALS. The day after the Queer Pride Parade, Murphy and Mulholland are flying to China for at least three months to work with a hospital that offers hopefulness in managing ALS. Murphy will receive daily massages, acupuncture and herb adjustments.

“We’re embarking on the greatest adventure of our lives,” Murphy mused.

No matter where the couple travels, they will always consider Whidbey home.

“What keeps us here is the depth and vibrancy of the community,” Murphy said. “We have a pocket of wonderfulness here.”

A few of the marchers (yes, shamelessly, we used a photo of ourselves…) at the first parade (photo by David Welton)

The second annual Queer Pride Parade is at 2 p.m. on Sunday, Aug. 2 in downtown Langley. For more information about the parade and the conference from 6 to 9 p.m. on Saturday, Aug.1, featuring Sharon Shoemaker’s documentary on LGBTQ youth, go to http://www.queerparade.com.

For more information about the Charlie Murphy Healing Fund and how you can contribute, please visit: http://www.youcaring.com/charlie-murphy-361893.

Image at top: Charlie Murphy (photo by Charles Steinberg)

Katie Woodzick works at Hedgebrook as an External Relations Manager. She is also an actor and director who can be seen on local stages and the host of the Theatrical Mustang podcast: theatricalmustang.podbean.com.

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CLICK HERE to read more WLM stories and blogs. Have a great story idea? Let us know at info@whidbeylifemagazine.org.

WLM stories and blogs are copyrighted and all rights are reserved. Linking is permitted. To request permission to use or reprint content from this site, email info@whidbeylifemagazine.org.

July 29, 2015
Prospero and the Playwright: Amy Wheeler Takes the Stage

BY KATIE WOODZICK
Whidbey Life Magazine contributor
July 15, 2015

As a young actress in New York City, Amy Wheeler found it challenging to find the kind of roles she wanted to play.

“The kinds of roles women were able to audition for were not fulfilling to me,” she said. “I looked like an ingénue but, inside, I wasn’t an ingénue. I felt roles were demeaning to women. It was a different time in the 80s and 90s and I kind of left acting.”

Her journey from actor to playwright and back again has come full circle this summer. Her play, “Wizzer Pizzer” is running in Seattle; meanwhile, she prepares to take the stage as Prospero in Island Shakespeare Festival’s production of “The Tempest,” opening this Friday, July 17.

Amy Wheeler as Prospero in The Tempest. (photo by Kim Tinuviel)

The daughter of a Methodist minister and an actress, Wheeler started performing at an early age, taking part in church Christmas pageants in various towns in Oklahoma. But it wasn’t until high school that she became truly passionate about the craft of acting.

Wheeler as Agnes in “Agnes of God,” University of Kansas (photo courtesy of the actor)

A high school drama teacher took a small group of students on a field trip to New York, where they watched “Sweeney Todd” on Broadway and “The Fantasticks” off-Broadway. Wheeler was strongly impacted by the difference in the range of emotions she felt—watching the huge production of “Sweeney Todd”—in sharp contrast to the more intimate production of “The Fantasticks.” She went on to portray the character of Louisa in “The Fantasticks” in her senior year of high school.

Studying theater at University of Kansas, Wheeler’s favorite roles were Agnes in “Agnes of God,” The Chorus in “Antigone” and Cordelia in a Kabuki version of “King Lear.” After graduating from college, she moved to New York and found a job in fundraising at the Paul Taylor Dance Company.

Production still from the first professional production of Wheeler’s first play “Intersection” at New York’s Greenwich Street Theatre. (photo courtesy of the playwright.)

Frustrated by auditioning in the big city, Wheeler eventually signed up to take a playwriting class. Before attending her first class, she introduced herself as a playwright to the Artistic Director of the newly founded New Georges Theater Company. Her first play was produced within weeks and, within the year, she had been accepted into the prestigious MFA in Playwriting program at University of Iowa.

Wheeler moved to the Seattle area in 2000, teaching playwriting at Cornish College of the Arts. She joined the board of Hedgebrook and later took on the role of Executive Director, a position she still holds. In 2007, she moved to Whidbey Island and now lives in a 100-year-old dance hall renovated by her wife, Kate Buzard.

Last summer, Wheeler and Buzard saw “Richard III” at Island Shakespeare Festival. Inspired by the dynamic performances of the actors, Wheeler approached Founding Artistic Director Rose Woods after the play.

“I told her ‘You made me want to act again!’” Wheeler remembered. “‘But I want to play Richard; I want to play the male roles.’” Two months later, Woods approached her about playing Prospero in “The Tempest.”

Katrina Christiansen as Miranda, Amy Wheeler as Prospero and Valerie Huntington as Caliban in “The Tempest” (photo by Kim Tinuviel)

Woods raved about working with Wheeler. “Amy has this incredible inquisitive mind, coupled with her fiercely passionate heart,” she said. “Never content to settle for the easy or the obvious, Amy will continue to delve deeply into character work to find the most intricate details. She’s a true joy to work with.”

As she prepares to tread the boards once again, Wheeler reflected on her connection to Shakespeare’s final play.

“Working on ‘The Tempest,’ and it being supposedly the last play that Shakespeare ever wrote—his farewell to his life as a playwright—I’m so aware of him as I go through the play,” she said. “He had to let go of parts of himself, or reckon with parts of himself, and that’s really inspired me as a writer.”

* * *

Wheeler’s play, “Wizzer Pizzer” opened on July 10 at the 12^th Avenue Arts theater in Seattle, produced by Theatre22. The production features Wheeler’s good friend and local actor, Eric Mulholland, in the leading role.

Wheeler saw Mulholland in Theatre22’s production of “The Lisbon Traviata” last year. She introduced herself to Producing Artistic Director Corey McDaniel after the show and let him know she had written a comedy that might be a good match for their Pride Series. McDaniel read “Wizzer Pizzer” and found it to be a perfect fit for the company’s July slot, which is dedicated to magnifying LGBT voices.

“Amy is one of the most compatible collaborators I’ve ever worked with,” McDaniel raved. “We both share the same love of artists and the process and I feel as though we’re absolutely made of the same cloth. She is such a positive and radiant personality—so much so that everyone who meets her immediately feels drawn to her.”

Mulholland agreed that Wheeler has artistic magnetism.

Eric Mulholland as Adrian in Wizzer Pizzer (photo by Robert Falk)

“Amy writes smart plays and characters who are struggling with some of life’s big questions like identity, loss and love,” Mulholland said. “The character of Adrian confronts these issues head on in this kaleidoscopic tale of one man’s journey toward self-love. I feel blessed to know Amy and to work with her creatively. We seem to speak the same language artistically and it’s been a great partnership between playwright and actor.”

Whether acting on the stage or penning a new scene, Wheeler holds a firm belief that theater has the power to inspire and change lives.

“We have to have places as a culture where we can be in dialogue and wrestle with our demons and figure stuff out. And I really do believe that theater has the potential to change people in an evening, in one experience.”

“Wizzer Pizzer” runs through Friday, August 1 at 12th Avenue Arts in Seattle. Learn more and purchase tickets at http://www.theatre22.org/.

“The Tempest” runs through Sunday, September 13 at Island Shakespeare Festival. Learn more at http://islandshakespearefest.org/.

Katie Woodzick works at Hedgebrook as an External Relations Manager. She is also an actor and director who can be seen on local stages and is the host of the Theatrical Mustang podcast: theatricalmustang.podbean.com. She is currently directing “The Pillowman” at OutCast Productions, running through Saturday, July 25.

Image at top: Amy Wheeler (photo by Kim Tinuviel)

Wizzer Pizzer poster (graphics by Theatre22)

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CLICK HERE to read more WLM stories and blogs. Have a great story idea? Let us know at info@whidbeylifemagazine.org.

WLM stories and blogs are copyrighted and all rights are reserved. Linking is permitted. To request permission to use or reprint content from this site, email info@whidbeylifemagazine.org.

July 15, 2015
Acting and the Art of Construction: Jim Scullin

BY KATIE WOODZICK
Whidbey Life Magazine Contributor
July 8, 2015

Little did Jim Scullin know, when he came to Whidbey Island, that he would act in dozens of plays and become a fixture of the South Whidbey community.

He and his family moved to Whidbey Island in 1992. They had visited the island before to see his wife Gay’s family.

“I was drawn to the silence and the stillness of this place,” Scullin said.

He had long built interiors for homes, specializing in cabinets and finished carpentry. It was a natural shift for him to help build the sets for the plays in which his son Michael participated at Whidbey Children’s Theater.

Scullin saw how much fun Michael was having and decided he wanted to try acting himself.

Jim Scullin as Michael Rowan, Laura Persaud as Morning Star in “The Kentucky Cycle” at WICA April 2009 (photo courtesy of WICA, by Tyler Raymond)

Martha Murphy, founder of Whidbey Children’s Theater, spoke fondly of helping Scullin make the transition from “behind the scenes” to onstage.

“He built sturdy set pieces that offered versatility and ease of handling and he always offered his help with a big smile!” she said. “I cast him alongside his son, Michael, for a cameo in the musical, “Huckleberry Finn,” on stage at the Clyde Theater. He was a stand out and the rest is history!”

In the mid-nineties, Scullin saw an audition notice for Martha Fury’s play “An Evening at the Crossroads.” Being of Irish heritage, he wanted to be part of the production.

“That really excited me. It was important to me because of my Irish roots,” he recalled. “I dared myself to audition and I got a role.”

Scullin as Michael in “God of Carnage” at WICA October 2011 (photo courtesy of WICA, by Tyler Raymond)

He experienced a ripple effect of being in that show. People saw him in “An Evening at the Crossroads” and started asking him to participate in other productions, such as “The Miracle Worker” and “The Diary of Anne Frank,” for which he also built the set.

Tom Harris cast Scullin as part of a small ensemble cast in “Accomplice,” that played at WICA in 2004.

“If ever there was a breakout role, that was it,” Scullin said. “People would come up to me and say ‘I didn’t know you had that in you. You’re such a quiet guy.’”

Scullin has continued to act, both to entertain himself and because he enjoys collaborating with other community members.

“For me, acting is an exercise in being in the present…I like working with people on a shared challenge.”

Scullin pairs his love of collaboration and his carpentry skills to work for Hearts and Hammers. He has worked with the organization for over 15 years, recently serving as the board president. Similar to the community building of theatre, he enjoys that Hearts and Hammers helps people locally.

“We’re so effective at achieving our goals,” he said proudly. “There’s no end to the good.”

Scullin also used his flair for performing when he competed in the Mr. South Whidbey Competition; he imitated a horse race announcer’s voice to call the different stages of a person’s life. He found the text in the magazine “The Sun” and looks forward to reprising the performance at the 10-year anniversary of the competition later this year.

Scullin as Frost, Ken Church as Nixon in “Frost/Nixon” at WICA June 2012 (photo courtesy of WICA, by Tyler Raymond)

In 2012, Scullin took on the iconic role of David Frost in the play “Frost/Nixon,” directed by local filmmaker and playwright Richard Evans. He had worked with Evans previously on three of his films shot on Whidbey Island: “Harry Monument,” “Shadow of Rain” and “Shuffle and Cut,” as well as his play called “Club Dead,” produced at the Clyde.

“More than anything, I love the rehearsal process,” Scullin explained. “I love discovering the chemistry with other actors and discovering the character. The process is so life-affirming.”

Scullin is currently working on the role of Ariel in the Pulitzer Prize-nominated dark comedy, “The Pillowman,” written by Martin McDonagh at OutCast Productions. When he first read the play, he wasn’t sure that he had it him to play the role. Ultimately, he decided to take on the challenge.

“My character is so subtly complex,” he said. “What you finally learn about this guy is that he’s endless. If I do my job well, I will allow people to accompany Ariel on this nightmare.”

Scullin as Ariel in “The Pillowman” currently at the Black Box Theater in Langley (photo by Andrew Grenier)

Scullin is grateful to his family for being so supportive of this avocation he has found later in life. He usually participates in one or two plays a year. The rehearsal process for a show can go on for six to eight weeks, which means he’s rarely home during that time. Luckily, he says that he and his wife both have their pursuits about which they’re passionate.

“My wife Gay and I have an agreement,” he chuckled. “She’s an enthusiastic baseball fan—she’s had season tickets for 25 years. During baseball season, she’s gone, and during theatre season, I’m gone.”

“The Pillowman” runs July 10-25 at the Island Fairgrounds Black Box Theater located at 819 Camano Avenue. Visit www.outcastproductions.net for more information. Tickets can be purchased online at http://www.brownpapertickets.com/event/wlm/1726326 or reserved by emailing ocp@whidbey.com.

Featured photo at the top: Jim Scullin in Our Town, WICA June 2014 (photo courtesy of WICA, by Tyler Raymond)

Katie Woodzick works at Hedgebrook as an External Relations Manager. She is also an actor and director who can be seen on local stages, and she is the host of the Theatrical Mustang podcast: theatricalmustang.podbean.com. She is currently directing “The Pillowman” with OutCast Productions.

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CLICK HERE to read more WLM stories and blogs. Have a great story idea? Let us know at info@whidbeylifemagazine.org.

WLM stories and blogs are copyrighted and all rights are reserved. Linking is permitted. To request permission to use or reprint content from this site, email info@whidbeylifemagazine.org.

July 8, 2015
Embracing the Geek Within: Jennifer Stuller Uses her Power for Good

BY KATIE WOODZICK
Whidbey Life Magazine Contributor
June 24, 2014

Growing up, my favorite game to play was Power Rangers. I eschewed Barbies, except to cut off all their hair and make them villains in my Power Rangers games. I would climb up into the tree in my backyard, pretending it was the yellow Power Ranger’s sabre tooth tiger vehicle.

When I got a little older, I became fascinated with the character of Rogue in the X-Men cartoon series. I reveled in this universe, where the most powerful woman in the world was a busty, curly redhead who spoke her mind.

As a young woman growing up in in the Midwest, I didn’t consider myself a geek. That was a title I reserved for my male friends who could quote every line from the Star Wars movies and played the card game of Magic the Gathering.

My backstory feeds into why I devoured Jennifer K. Stuller’s presentation this last Saturday, titled “Using Their Powers for Good: Geektivists, Geek Grrls, and Gaymers.” The presentation came to the Langley Library through Humanities Washington.

Jennifer Stuller (photo by Nate Watters Photography, from Jennifer Stuller’s website)

Stuller is a Feminist pop culture historian, critic and co-founder of GeekGirlCon, an organization dedicated to the recognition, encouragement and support of women in geek and pop culture and STEM (science, technology, engineering and mathematics.)

The stereotypical image most people have of geeks is that of the comic book guy from The Simpsons or a man in a button down white short-sleeve shirt with tape wrapped around the black plastic frames of his glasses. In recent years, geek culture expanded and become mainstream, with popular television shows like “The Big Bang Theory” and “Game of Thrones.” The buying power of geeks is now recognized and respected.

“We’re in a period of peak geek,” Stuller said, quoting Rob Salkowitz, the author of “Comic-Con and the Business of Pop Culture: What the World’s Wildest Trade Show Can Tell Us About the Future of Entertainment.”

The internet provides many avenues of connection for like-minded geeks. What is exciting about this is the potential for positive political change through geeks uniting around a common cause. “Geektivism” has the power to build libraries, combat bullying and empower the voices of those who feel marginalized.

GeekGirlCon, which celebrates the female geek, started with twenty people meeting at a café and talking about how to change the climate of geek conventions like Comic-Con to welcome geeks of all ages and gender identities. The warm, inclusive environment of GeekGirlCon inspires attendees.

“GeekGirlCon is only one aspect of the Geek Girl movement, and organizations, sites, and initiatives like Black Girl Nerds, League of Extraordinary Ladies, The Mary Sue, Womanthology, Legion of Leia, GaymerX, and so on are also fomenting changes to the culture,” Stuller explained. “…the most positive influence is seeing women and girls, en masse, finding a place to be their geeky selves in a way that is celebratory and rooted in community….The positive effect of that radiates out in ways yet to be measured.”

These cultural changes are not without uphill battles. Stuller gave an overview of #GamerGate, a negative campaign driven primarily by male gamers who coordinate cyber attacks on female game designers and cultural critics. Targets of #GamerGate have been the victims of death threats, harassment and attempts to drive them out of the gaming industry.

_____________________________________

“If nothing we do matters,

then all that matters

is what we do.”

_____________________________________

Stuller also cited a scene from Avengers: Age of Ultron, where the female character of Black Widow rides a motorcycle off a jet onto the road below. Toy makers replaced the Black Widow character with Captain America or Iron Man when selling the movie’s motorcycle set, assuming boys wouldn’t want to play with a female action figure. This decision sparked a #WeWantWidow campaign on social media, asking for more merchandise and representation of the character.

Stuller closed her presentation with a clip from The Daily Show. A reporter traveled to Russia last year to cover anti-gay legislation in the country. He interviewed a woman waving a rainbow flag who told him she found inspiration from Joss Whedon’s television series Angel, where the title character says, “If nothing we do matters, then all that matters is what we do.”

I emailed Stuller after the presentation asking what are the best ways to support the Gamer Girl/geek girl movement.

“Gamer girls, geek girls and, frankly—any fans who aren’t straight, white, male gatekeepers—can help geek culture thrive by continuing to support initiatives that make our spaces safer,” she answered. “This can be anti-harassment and anti-bullying campaigns that affect online and physical places where geeks connect (social media, schools, conventions, comic book stores, gaming events), and in creating or otherwise supporting media, merchandise, platforms, and events that are committed to representing diverse identities, bodies, and fandoms.”

As an adult, I proudly claim the titles of feminist, podcaster and geek. I was grateful to listen to Stuller’s presentation and for the reminder that geek culture amplifies a diverse culture of voices.

What we do does matter. We should celebrate our inner geeks and use the enthusiasm we have for characters and stories that continue to change our culture for the better.

To learn more about Jennifer Stuller, please visit her website: http://ink-stainedamazon.com/. Learn more about GeekGirlCon, held in Seattle on Oct. 10 and 11 at http://geekgirlcon.com/.

Katie Woodzick works at Hedgebrook as an External Relations Manager. She is also an actor and director who can be seen on local stages, and the host of the Theatrical Mustang Podcast: theatricalmustang.podbean.com. She’s directing “The Pillowman” at OutCast Productions, running June 10-25: http://www.brownpapertickets.com/event/wlm/1726326.

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CLICK HERE to read more WLM stories and blogs. Have a great story idea? Let us know at info@whidbeylifemagazine.org.

WLM stories and blogs are copyrighted and all rights are reserved. Linking is permitted. To request permission to use or reprint content from this site, email info@whidbeylifemagazine.org.

June 24, 2015