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a few precious moments from Karinne Keithley Syers’ Your Ghost Body just a month ago this past March. A stunning video game turned live luminary radio play Created by @molecabal with collaborators @katelemonkate @ground_hum @avivajaye @saracwalsh @bestmadeline
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This social media-shy elder millennial has been trying to figure out how to tell you all the big news: I’M DIRECTING THIS INCREDIBLE MUSICAL!!! Thank goodness the Times took care of it for me. NOW GET THOSE TICKETS!!!!!
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I discovered @manual_cinema in grad school. My prof @saracwalsh had our cohort go see their adaptation of Frankenstein before an in-class workshop with them @uwdrama . I distinctly remember walking to The Moore through a glittering, misty evening in downtown Seattle, thinking, “A puppet show? Really?!” And then… Manual Cinema reached into my chest, pressed all the childhood-fear buttons, and somehow made me grateful for it as I wept, newly inspired, in my seat. I’ve always loved stories that explore darkness through a child’s eyes — A Series of Unfortunate Events, Bridge to Terabithia, Because of Winn-Dixie, A Monster Calls — all that beautifully spooky, heart-heavy magic that makes you wonder if you’ve actually outgrown your childhood fears or if they’ve just taken insidious root in your heart… revealing themselves more plainly as anxiety, depression, insecurity. Manual Cinema lives right in that world. The incredible design, puppetry, sound, and HEART in The 4th Witch, Manual Cinema’s newest adaptation of Macbeth (told now through the eyes of a young girl), is unreal — spooky and tender all at once. The perfect, vulnerably-makeshift balm to the AI slop that is beginning to creep its way into our theatrical spaces, whether in design or development. Manual Cinema cuts no corners… but doesn’t labor under a desire for perfectionism. Yet it’s so intentional and focused. If you ever get the chance to see them, please do it. Your inner child (and maybe your therapist) will thank you.
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Last week was one of the best artistic experiences of my entire life, thanks to the @oneill_center and their invitation to join the National Puppetry Conference this year. As somebody who’s never left the US (I hope to change that soon!), I was able to meet artists from France, Germany, Japan, Czechia, Trinidad, China, Mexico, New Zealand, Bulgaria, South Africa, Canada, and all over the United States. It was a veritable United Nations of puppetry! I was able to make my dreams and the dreams of others come true thanks to @maikokikuchi_nyc and her brilliant workshop, Bipedal Walking in a Crocodile Skin (no, I will not explain what that title means!). I want to thank everyone who helped me get there, including the generous scholarship I received from the O’Neill, all of the amazing artists I worked with, and my brother for driving me and picking me up! If you’re reading this, you probably helped me get there too — thank you 🙏 Puppetry is for all people, regardless of age, income, gender, geography, race, or religion. I’m honored to be a part of an artistic tradition that has been part of us (and I mean all of us) from the very beginning. I haven’t felt this inspired in a long time, and I’m so grateful for the people I met this last week on this strange and beautiful Island of Misfit Toys. They were truly the most creative, kind, and silly people I’ve ever worked with — and don’t worry — there will definitely be more puppets to come!
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After a week of creation during my workshop at National Puppetry Conference at @oneill_center Bipedal Walking in a Crocodile Skin is finally open to the public—tonight and tomorrow! In this workshop, we explored the question: How can a dream be artificially constructed? On the first day, twelve participants shared their personal memories. Using those, I created three original dream-stories. Over the course of six days, together with this incredible group, we transformed them into puppetry performances.So—who is it that walks around wearing the skin of a crocodile called “dream”? Our beloved gang of twelve dreamers is here to show you.
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Laughs in Spanish by Alexis Sheer Seattle Rep 2025 Production Photos by Bronwen Houck, courtesy of Seattle Rep Directed by Dámaso Rodriguez CAST Mari - Beth Pollak Juan - Gabriell Salgado* Caro - Diana Garle* Estella - Diana Burbano* Jenny - Cheyenne Barton Scenic Design: Sara C Walsh Costume Design: Danielle Nieves Lighting Design: Robert J Aguilar Sound Design: Rodolfo Ortega Asst. Sound Design: Josh Valdez Associate Director: Zeina Salame Choreography: Vanessa Villalobos Intimacy Consultant: Kate Drummond Stage Manager: Shaina Pierce* Assistant Stage Manager: Jeffrey K Hanson Directing Apprentice: Joi Elise Green Stage Management Apprentice: Sophie Tull Production Production Management Apprentice: Lauren Porter Head Crafts Artisan/Dyer: Brent Roberts* Wigs and Hair Supervisor: Shelby Rogers CREW Head Audio: Nathan Kahler* A2: Conor Fortner Wigs and Hair: Bek Harvey Wardrobe: Scott F. Arend, Sidney Kelly, Charles Trowbridge Head Properties: Jeremiah Foglesong Head Flyperson: Tony Smith Head Carpenter: Noel Clayton Electrician: Britt Lawerence, Jordan Bliese Company Manager: Ariel Bui Casting Director: Shawna Grajek Artistic Programs Manager: Aaron Alonso Production Manager: Brendan Healy Production Associate: Yuko Ariga Education and Community Programs: Deanna Martinez Costume Director: James Goodrich Associate Costume Director: Erica Manzano Costume Design Associate: Isabella Harris Ticketing and Box Office: Nathan Smith Patron Relations: Danielle Reinkens There were so many more people behind the scenes that made this show possible. Thank you all for letting me be a part of your work and artistry! #recap #productionphotos #LaughsinSpanish #laughsinspanishsrep #CarolinaFernandez #SeattleRep #Miami #Wynwood #ArtBasel #AlexisSheer #dianagarle #workingactor #latinosonstage #latinosontherise #latinosenwashington #theatermagic
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Pero like, what do you mean it’s literally our last day?! This has the potential to be a really long post but I’m already crying and I don’t wanna make everyone (Beth) cry *even though Cheyenne might?* I will keep it short-ish. If you’ve been following me a long time you know that the past year and a half has been one of the toughest in recent times. This contract, this show, these people, this city — it’s been medicine for the soul. A healing I didn’t even realize I needed so deeply. Shout out to all the new friends I made in this beautiful rainy corner of the world, and to every single person who came to see us bring the laughs. I can’t thank Dámaso and Shawna enough for believing in me enough to fly me across the country. Dámaso, our Jéfe Super Troll and the anchor of our piece, leading us with corazón, humor, and straight up boss energy. It’s been amazing to work with you and learn from you. My Super Troll cast, Gabe, Diana, Beth, Cheyenne, what can I say? Thank you for being the people that my life needed right now to laugh with (in Spanish) cry with (in Spanish) and be vulnerable with (in Spanish, coño) I love you so much, I am honored to have played alongside your talents making tens of thousands of people laugh and for the friendships we’ve created off stage. To the backstage crew, production/creative team and everyone involved at Seattle Rep y’all are the real MVPs. The warmth, the excellence, the vibes — unmatched. Thank you for YOUR artistry and welcoming me like family. I will miss you all. Happy Closing mi gente y gracias por todo ✨😭🤍💃🏻 (I said “short-ish”) *production photos by Bronwen Houck, courtesy of Seattle Rep*
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@scheer_madness's "Laughs in #Spanish " #comedy #play by @seattlerep. Starring @bethanneclaire & @ladianaburbano. Loved @gabriellsalg's charismatic frat boy-like appeal. Scene transitions pop with fun dance breaks. Perfect for #mothersDay. Extended thru 5/17/25. #Review: showsiveseen.com/12751 Director: damaso_rod Scenic Design: @saracwalsh Light Design: @fake_robert Choreo: @balorico_ Also Starring: @chey.barton, @dianagarle #showsiveseen #theatre #jaja #jajaja #hispanic #latin #mothers #mother #mom
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THE GENTLEMAN CALLER. 2018
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by Philip Dawkins
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Abingdon Theatre Company (@abingdontheatrecompany) [at Cherry Lane Theater] - Off Broadway.
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director: Tony Speciale (@tonyspeciale)
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scenic: Sara C. Walsh (@saracwalsh)
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costumes: Hunter Kaczorowski (@hunterpants)
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lights: Zach Blane (@zachblane)
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sound: Christian Frederickson (@cefmusic)
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psm: Lily Perlmutter
. asst ld: Joe Naftal (@joenaftal) .
asst dir: Deven Kolluri (@devenkolluri)
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assoc dir: Chad Austin (@chadaustinnyc)
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starring: Daniel K Isaac (@danielkisaac), Juan Francisco Villa (@juanempanadavilla)
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#lighting #lightingdesign #lightingdesigner #gentlemancaller #tennesseewilliams #williaminge #broadway #broadwayplay #philipdawkins #playwright #danielkisaac #juanfranciscovilla #stagedesign #scenedesign #theaterdesign #theatredesign #theater #theatre #theatre #theater #livetheatre #livetheater #stage #offbroadway #abingdontheatre #cherrylanetheater
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Take the time to mend the holes in things you love. #love #handmade #stitches #needleandthread #getoutside #slowdown #farm #farmstay
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Let’s give it up for our INCREDIBLE design team and crew!!! LIV AT SEA at the Boston Center for the Arts is now open, featuring the work of these amazing artists. 4 more chances to go out to sea, ticket link in bio 🌊 #bostontheatre #newplay #localartists #livatseabca
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Did you get your tickets? Liv at Sea at the Boston Center for the Arts. January 24-28. One Week Only. Ticket link in bio. #livatseabca #bostontheater #newplay 🌊 (📸 Credit : @edwardboches )
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