the elaborate entrance of - Woolly Mammoth Theatre Company
the elaborate entrance of - Woolly Mammoth Theatre Company
the elaborate entrance of - Woolly Mammoth Theatre Company
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WELCOME<br />
MY ROOTS, MY REVOLUTION – this powerful rallying cry is <strong>the</strong> <strong>the</strong>me<br />
<strong>of</strong> our 2012-13 season. It says, in effect: I claim who I am, where I<br />
come from, all <strong>the</strong> things that are packed inside me, my ethnicity,<br />
heritage, culture, upbringing, values. And I claim my own vision <strong>of</strong> a<br />
world I want to bring about, even if it requires struggle and sacrifice.<br />
Above all, it says <strong>the</strong>se two things are connected: my inner being and<br />
my personal revolution are fused, and I could no more deny one as<br />
deny <strong>the</strong> o<strong>the</strong>r.<br />
Our season is filled with tremendous humor, colorful locales, a rainbow<br />
<strong>of</strong> perspectives, and great depth <strong>of</strong> feeling. Its characters trace <strong>the</strong>ir<br />
roots to Puerto Rico, India, Korea, Africa, Russia, Maine, California,<br />
and outer space. But all <strong>of</strong> <strong>the</strong>m contribute to <strong>the</strong> melting pot that is<br />
America. Their revolutions may be as tiny as a family vacation or as<br />
big as a whole new form <strong>of</strong> art.<br />
We begin with a play set in <strong>the</strong> unlikeliest <strong>of</strong> places: a wrestling ring.<br />
Krist<strong>of</strong>fer Diaz’s hip hop-inspired The Elaborate Entrance <strong>of</strong> Chad Deity<br />
uses <strong>the</strong> larger-than-life world <strong>of</strong> pr<strong>of</strong>essional wrestling as a metaphor<br />
for <strong>the</strong> marketplace <strong>of</strong> America. When we buy a ticket or a video game<br />
or album, <strong>the</strong> play asks, what values and images and stereotypes<br />
are we buying into? Who is on top and who is on <strong>the</strong> bottom in <strong>the</strong>se<br />
stereotypes? Is <strong>the</strong>re any way to change this and still satisfy <strong>the</strong><br />
hungry crowd?<br />
<strong>Woolly</strong>’s brilliant artists will pour <strong>the</strong>ir hearts and souls into questions<br />
like <strong>the</strong>se throughout <strong>the</strong> coming season. But you complete <strong>the</strong><br />
process. Our work onstage, beyond its sheer entertainment value,<br />
is intended to raise timely questions; and we encourage you to<br />
pick up <strong>the</strong> conversation. There are post-show discussions after<br />
every performance <strong>of</strong> Chad Deity. There are provocative activities<br />
in <strong>the</strong> lobby, in-depth forums in our House Lights Up series, lively<br />
perspectives on woollymammothblog.com, and opportunities to<br />
express your views via e-mail, Facebook, and Twitter.<br />
Your involvement and support gives meaning to everything we do<br />
at <strong>Woolly</strong> <strong>Mammoth</strong>. Thanks for being here, and we look forward to<br />
seeing you throughout this <strong>Woolly</strong> season.<br />
Howard Shalwitz Jeffrey Herrmann<br />
Artistsic Director Managing Director<br />
What Makes <strong>Woolly</strong> Unique?<br />
For 32 seasons, <strong>Woolly</strong> <strong>Mammoth</strong> has built<br />
a reputation as “Washington’s most daring<br />
<strong>the</strong>atre company” (The New York Times) and<br />
has become one <strong>of</strong> <strong>the</strong> most influential new<br />
play <strong>the</strong>atres in <strong>the</strong> nation. By throwing <strong>the</strong> full<br />
might <strong>of</strong> our producing power behind risky new<br />
work, we’ve helped launch <strong>the</strong> careers <strong>of</strong> major<br />
American playwrights including Sarah Ruhl,<br />
Nicky Silver, Amy Freed, and Danai Gurira. We<br />
maintain our own company <strong>of</strong> artists, and we<br />
frequently collaborate with o<strong>the</strong>r companies<br />
to expand our skills and our impact. Most<br />
importantly, we work in partnership with our<br />
audience to try new <strong>the</strong>atrical innovations and<br />
explore <strong>the</strong>ir relevance to our city and our world.<br />
Your response—in person or online—helps<br />
shape <strong>the</strong> future <strong>of</strong> American <strong>the</strong>atre. Please<br />
email us at discussion@woollymammoth.net.<br />
connect with us!<br />
For additional content connected to <strong>Woolly</strong>’s<br />
productions, check out:<br />
• <strong>Woolly</strong> Blog: woollymammothblog.com<br />
• Twitter: @woollymammothtc #<strong>Woolly</strong>Chad<br />
• Facebook: facebook.com/woollymammothtc<br />
• Email: discussion@woollymammoth.net<br />
special thanks<br />
Actors <strong>Theatre</strong> <strong>of</strong> Louisville<br />
Al Snow<br />
Jamin Olivencia<br />
KJ Sanchez<br />
Ohio Valley Wrestling<br />
Karen Evans<br />
Black Women Playwrights Group<br />
Paige Hernandez<br />
Thomas Little and Kerry Choe, FUNRGaming