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Who's Who: The Cast of She Stoops to Conquer
October 1, 2018 UncategorizedAlexis Davis
Mr. Hardcastle … Ron Heneghan*+
Ron Heneghan (Mr. Hardcastle), a CSC Resident Acting Company Member, has appeared with CSC in Julius Caesar, Red Velvet, The Taming of the Shrew (2017), Richard III (2017 and 2012), Anne of the Thousand Days (2016), Much Ado About Nothing (2015), Uncle Vanya, and Our Town. In this area, other credits include Olney Theatre Center; Everyman Theatre; Ford's Theatre; and Alliance for New Music Theatre. Regional credits include Pennsylvania Shakespeare Festival, Philadelphia Shakespeare Festival, Seattle Repertory Theatre, Empty Space Theatre, Idaho Repertory Theatre, Lyric Stage Company of Boston, Huntington Theatre Company, Merrimack Repertory Theatre, Utah Shakespearean Festival, and PCPA Theatrefest in California. His TV and film credits include Sally Pacholok, Better Living Through Chemistry, VEEP, and House of Cards. Ron holds a MFA from the University of Washington and a BS from the University of Maryland. He is a member of Actors' Equity Association and SAG/AFTRA. Ron is also CSC's Director of Education.
Mrs. Hardcastle, Tony Lumpkin and Mr. Hardcastle
Mrs. Hardcastle … Lesley Malin+
Lesley Malin (Mrs. Hardcastle) is a founder of the Chesapeake Shakespeare Company, and has served as its Managing Director since 2003. She managed CSC's building renovation of an 1885 bank into our modern Shakespeare playhouse as well as the associated $6.7 million capital campaign. Her acting credits at CSC include Paulina in The Winter's Tale, Lady Macbeth in Macbeth, Amelia in Wild Oats, Lady Bracknell in The Importance of Being Earnest, Mrs. Fezziwig in A Christmas Carol, Beatrice in Much Ado About Nothing (2010), Mrs. Bennet in Pride and Prejudice, Mistress Page in The Merry Wives of Windsor, the Queens in Richard III (2012, 2017) and Cymbeline, and Titania in A Midsummer Night's Dream (2005). Previously, she performed in New York. She has, for 15 years, been Vice President of the Board of Trustees of The Lark, a new play development center in New York City, where she once served as Managing Director. She served for five years on the Executive Committee of the international Shakespeare Theatre Association and organized its annual conference that CSC hosted in Baltimore in 2017. She is a graduate of Washington University in St. Louis, NYU's Arts Management program, and Leadership Howard County, and is a 2018 LEADERship Baltimore member.
Tony Lumpkin … Elliott Kashner+
Elliott Kashner (Tony Lumpkin) is a CSC Associate Company member. He has appeared as Fred in A Christmas Carol (2017), Roderigo in Othello, Benvolio in Romeo and Juliet (student matinee: 2016), and Lamp in Wild Oats. Regional credits include Everyman Theatre: Book of Joseph (Craig); Signature Theatre: Pride in the Falls of Autrey Mill (Chad U/S); Local credits include: Adventure Theatre MTC: Junie B Jones is Not a Crook (Handsome Warren); Keegan Theatre: Golden Boy (Roxy); Molotov Theatre Group: Nightfall with Edgar Allen Poe (Poe); Quotidian Theatre Company: Doubt: A Parable (Father Flynn); WSC Avant Bard: The Bacchae (Pentheus); Elliott is Institutional Giving Manager at Everyman Theatre and holds a Bachelor of Science in Economics.
Kate Hardcastle and Constance Neville
Kate Hardcastle … Anna DiGiovanni
Anna DiGiovanni (Kate Hardcastle) is making her CSC debut. Recent DC highlights include, Marina in Pericles with Academy for Classical Acting and Salisbury in King John with 4615 Theatre Company. Anna is an MFA graduate of the Shakespeare Theatre Company's Academy for Classical Acting at George Washington University. www.annadigiovanni.com
Constance Neville … Elana Michelle+
Elana Michelle (Constance Neville) is a CSC Resident Acting Company member and CSC Teaching Artist. She has performed with CSC as Hippolyta and Titania in A Midsummer Night's Dream (2018), Time, Rogera and Mopsa in The Winter's Tale, Jane Seymour in Anne of the Thousand Days, Juliet in Romeo and Juliet, (movable production and school matinee: 2016), and in A Christmas Carol (2015-2017). She appeared as King of France in All's Well That Ends Well with CSC's Blood & Courage under-30 company. Other roles include Titania in Midsummer Night's Dream with Maryland Renaissance Festival, Candace in Project Run-A-Way with Annapolis Historical Society, Katherine in Henry 5×7 with Barabbas Theatre, and Abby in the 2016 film, The Spirit of the Staircase.
Mr. Hardcastle, Hastings and Marlow
George Hastings … Gerrad Alex Taylor*+
Gerrad Alex Taylor (George Hastings) is a CSC Associate Artistic Director and Resident Acting Company member, and Teaching Artist. He was Director of A Midsummer Night's Dream (2018) and Assistant Director of Othello and Titus Andronicus (2015). He has appeared in The Three Musketeers as Aramis, Macbeth as Malcolm, Much Ado About Nothing as Claudio, Romeo and Juliet (student matinees) as Romeo (2017 and 2014) and Mercutio (2016), and A Christmas Carol (2014) as Young Scrooge. He appeared as Narrator #2 in Great Expectations with Everyman Theatre, Telegraph Bay in The Skin of Our Teeth with Constellation Theatre Company, Joshua Moore in Alabama Story with The Washington Stage Guide and Proteus in The Two Gentlemen of Verona at the Shakespeare Festival St. Louis. He holds a BA in Neuroscience from Johns Hopkins University and an MFA in Performance from the University of Nevada, Las Vegas. He is a member of Actors' Equity Association. Gerrad is also the Director of The Studio at CSC.
Marlow … Brendan Edward Kennedy
Brendan Edward Kennedy (Marlow) has appeared with CSC as Flute in A Midsummer Night's Dream (2018), Dion and Autolycus in The Winter's Tale, Trinculo in The Tempest, and d'Artagnan in The Three Musketeers. He has also appeared with Brave Spirits Theatre in A King And No King as Arbaces, and 'Tis Pity She's A Whore as Bergetto and Cardinal, as well as Shakespeare Theater Company in Othello. Brendan holds a double degree in Vocal Performance (BM) and English (BA) from the University of Maryland College Park. He is an Equity Membership Candidate. www.BEKennedy.net
Tony Lumpkin and Stingo
Sir Charles Marlow and Stingo, the landlord … Brendan Murray
Brendan Murray (Stingo and Sir Charles Marlow) is making his CSC debut. Previous credits include Rabbit Hole with Peter's Alley Theatre Productions, Tangles with New Theater of Medicine, Caroline or Change (U/S) with Round House Theatre, Water by the Spoonful (U/S) with Studio Theatre, and Doubt: A Parable with Greenbelt Arts Centre. He has also performed in multiple productions at Silver Spring Stage, including A Bright New Boise, The Emperor of North America, Frost/Nixon, The Last Days of Judas Iscariot, Coyote on a Fence, and The Pavilion.
Maggie, a maid and Molly, a barkeep … Abigail Funk
Abigail Funk (Molly and Maggie) appeared with CSC as Cobweb in A Midsummer Night's Dream (2018) while she was a CSC acting intern. She also appeared in the CSC intern company's production of Macbeth (summer: 2018). Abigail is a recent graduate of UMBC where she directed Far Away for Studio 3. She is from Westminster, Maryland.
Tony Lumpkin and Drinking buddies
Jack Slang, a drinking buddy and Diggory, a servant … Gregory Atkin
Gregory Atkin (Jack Slang and Diggory) was last seen as the Mock Turtle in CSC's Alice in Wonderland. Other credits include How I Became a Pirate with Adventure Theatre MTC; A Dream Within A Dream: A Madness with Through the Fourth Wall Productions; Twelfth Night with Prince George's County Shakespeare in the Park; and Featured in the Source Festival with the Source Theatre. He holds a BFA in Theatre Performance from Ohio University.
Roger, a servant and Dick Muggins, a drinking buddy … Tim Neil
Tim Neil (Dick Muggins and Roger) appeared as Snug and was the sound designer for CSC's A Midsummer Night's Dream (2018). While he was a CSC acting intern, he also appeared in the CSC intern company production of Macbeth (summer: 2018). Other acting credits include Cassio in Othello and Mr. Bingley in Pride and Prejudice with Towson University and Henry Drummond in Inherit the Wind with American University.
Fiddler and ensemble … Carol Spring
Carol Spring (Fiddler and ensemble) is making her CSC debut. She has performed with dog & pony dc (Peepshow, Party On), GALA Hispanic Theatre (Tum Tica, Fábulas Mayas), HalfMad Theatre (A Winter's Tale, As You Like It, Twelfth Night), Folger Theatre (u/s Henry V), The Puppet Company, Encore Stage & Studio, and Blue Sky Puppet Theatre. She is a proud graduate of the National Conservatory of Dramatic Arts.
Musicians: Carol Spring (fiddle), Tim Neil (guitar), Brendan Murray (mandolin), Gregory Atkin (tambourine)
+ CSC Company Member
* Actors' Equity Member
All show photos by C. Stanley Photography.
Constance Neville photo and Group Cast Photo by K. Rudgers.
Click here for tickets and details about our production of She Stoops to Conquer.
A Letter from Oliver Goldsmith
She Stoops to Conquer was originally rejected by both Covent Garden and Drury Lane theaters because it didn't conform to the theatrical fashion (for sentimental comedy and melodrama) of the times. Covent Garden Theatre's manager, George Coleman, was persuaded by Goldsmith's creditable friend Samuel Johnson (the poet and playwright). Below is a copy of the thank you letter Goldsmith wrote to Samuel Johnson.
Five Fun Facts about She Stoops to Conquer
August 27, 2018 UncategorizedAlexis Davis
1. INSPIRED BY TRUE EVENTS She Stoops To Conquer may be based on playwright Oliver Goldsmith's personal life experience. According to a letter written by his sister, on his way home from college, Goldsmith stumbled into a bar and demanded a man tell him directions to "the best inn in the neighborhood." Unfortunately for Goldsmith, he was talking to the local trickster Cornelius Kelly, who directed him to Squire Featherstone's country house. When Goldsmith arrived, he was just as insulting and demanding as the aristocratic character Marlow is in the play. Like Marlow, Goldsmith didn't realize his mistake until he requested the bill and was embarrassed to discover that the host was a friend of his father's.
2. BEYOND RESTORATION COMEDY She Stoops to Conquer appeared in the late 18th century (1773) as a comedy of manners that mocks its predecessors. With this play, Goldsmith achieved a parody of the melancholy, moralistic, and sentimental plays produced in backlash to the previous decades' sexually frank Restoration plays. Many scholars consider She Stoops to Conquer a gateway to a new era of popular comedy, influenced by a changing society: Goldsmith challenges the accepted hierarchies of the time period by blending wit with "low" humor, but still submits to them at the end. Women may speak freely, and engage in repartee and intrigue, but in the end they consent to marry and confirm patriarchal values.
3. DANGEROUSLY FUNNY She Stoops to Conquer was originally rejected by London's famous Covent Garden and Drury Lane theatres because it didn't conform to the theatrical fashion of the times for sentimental comedy and melodrama. Covent Garden Theatre's manager, George Coleman, was persuaded by Goldsmith's creditable friend Samuel Johnson (the poet and playwright) to stage the play, but Coleman demanded many revisions. Goldsmith later sent thanks to Johnson in a letter describing his anxiety about the script. Click here to read the letter.
4. TRY, TRY AGAIN The play was born out of financial necessity. Oliver Goldsmith was a very generous man who liked to have a good time. He was a lavish gambler and would give to others, beyond his financial means. His first play, The Good Natur'd Man, was only moderately successful. She Stoops to Conquer, his second attempt at play writing, was a critical and financial success, finally getting Goldsmith out of debt. Published in London in 1773, its first print run of 4,000 copies sold out in three days.
5. BACKSTAGE DRAMA The opening night of She Stoops to Conquer started as a train wreck. The leading ladies Mrs. Green (playing Mrs. Hardcastle) and Mrs. Bulkely (playing the daughter, Kate Hardcastle) got into a fight over who would perform the Epilogue (a feminized parody of Shakespeare's famous Seven Ages of Man monologue from As You Like It). Meanwhile, Goldsmith decided seconds before the curtain speech to change the title of the play from the simplistic, laughable Mistakes of a Night to the more intriguing She Stoops to Conquer. Despite the drama behind the scenes, the comedy She Stoops to Conquer was a triumph when it opened March 15, 1773. Since that time, the play has been one of the most staged and printed English comedies; there have been more than 300 editions since the 1770s.
Sources: British Library, Kate Moncrief (Dramaturg for our production); Diane Maybank's essays, An Introduction to She Stoops to Conquer, and An Introduction to Restoration Comedy.
An Introduction to She Stoops to Conquer
August 6, 2018 UncategorizedAlexis Davis
Oliver Goldsmith published several critiques of audiences and playwrights before writing a laughing comedy that was the triumph of its season and that continues to be performed today. Diane Maybank introduces She Stoops to Conquer, which uses satire to explore divisions between city and countryside, men and women, and rich and poor. Source: The British Library (June 2018)
By Diane Maybank
Did Oliver Goldsmith once mistake a gentleman's house for an inn and use the experience to shape the comic mayhem at the heart of She Stoops to Conquer?
His biographers accept the story as told by his sister Catherine, even though she wrote it down some 40 years after the event. Catherine's account has a rather gauche Goldsmith riding in style to his home in Lissoy, Co Westmeath, Ireland. He is tasting freedom at the end of a long school term and burning to spend the guinea in his pocket. He soon tires on the badly rutted roads and loses his way. On reaching the outskirts of Ardagh he unknowingly falls in with a local trickster, Cornelius Kelly, and demands to be directed to 'the best inn in the neighbourhood'. Kelly takes great satisfaction in directing the high-handed youth to Squire Featherstone's rambling country house. Goldsmith is a very demanding guest, every bit as officious and insulting as Marlow, who is one of the play's main characters. When he calls for the bill next morning he is deeply embarrassed to discover his mistake. To make matters worse, Goldsmith realizes that his host is an old friend of his father, and word of his behaviour is bound to get back to his parents sooner than he will.
Staging She Stoops to Conquer
In early 1772, many years after the Ardagh incident, Goldsmith presented George Coleman, manager of Covent Garden Theatre, with a challenge – the script of She Stoops to Conquer. Coleman's mission was to stage sentimental comedies, make a handsome profit and avoid offending critics and the Lord Chamberlain. All his professional instincts told him that this new play would fail. Its 'low' features and clever parody of sentimental comedy were completely out of touch with the latest trends. He returned the script and suggested 'improvements'.
Goldsmith grew desperate; he had debts to pay off and was looking for a quick profit. There were only two official theatres in London at the time, leading to fierce competition and risk-averse production choices. Coleman was especially reluctant to stage a new play because Goldsmith would have to be paid out of the profits and might be entitled to a benefit night where he could scoop all the takings.
Although poor and something of an Irish outsider, Goldsmith could call upon the support of powerful friends from London's literary elite. Samuel Johnson, among others, pressed Coleman to accept the script, and by March 4, 1773 the play was in rehearsal, with a date set for its premiere within two weeks.
Coleman had difficulty casting the play. Actors sensed the manager's lack of faith and did not want to be associated with the 'low' Tony Lumpkin or Kate, the squire's daughter who liked playing the barmaid. On the opening night the leading ladies squabbled over who should speak the Epilogue, and the indecisive Goldsmith took until just before curtain-up to change the play's title from the simply farcical Mistakes of a Night to the more intriguing She Stoops to Conquer.
Despite the tussles behind the scenes, She Stoops to Conquer was a triumph when it opened on March 15th, quickly becoming the season's favourite play. Critics heaped on praise, even though the audience hissed at the 'vulgar manner' in which Mrs. Hardcastle emerged from the horsepond. No matter – the witticisms sounded fresh, and the piled-on misunderstandings were deemed a gift for comic actors.
Coleman relented as profits grew, and the play became his 'go to' choice whenever he felt his company needed a boost or rival productions at Drury Lane were exciting too much interest. The king and queen attended on May 5th, and Goldsmith got not one but three benefit nights, for which he received the handsome sum of £502 18s 6d.
There was more to this moment of theatrical triumph than the emergence of a hit play. She Stoops to Conquer had broken the bonds of sentimental comedy and shown how superior laughing comedy could be. For Goldsmith, it was the crowning moment of an all too short career. His comic genius received the public recognition and rewards he craved, but he died a year later.
In the last quarter of the 18th century, some 12,000 Londoners attended a play or opera every week. This was a socially mixed and very demanding clientele with strong ideas about how they wanted to be entertained. Goldsmith had a low opinion of theatre audiences, a view which he expressed in a series of satirical letters written under the penname Lien Chi Altangi, a Chinese philosopher visiting London.
In Letter XXI Lien Chi complains that the upper gallery crowd was too noisy and given to interrupting the actors by calling for music or some other diversion. He portrays the middle gallery 'eating oranges or making assignations'. He disliked the pit crowd most of all because they sat in judgement over 'poet and the performers'. As for the aristocrats in the side boxes, they were not interested in the play at all, being engrossed in their fashionable clothes, fans and flirtations. This diverse and unruly audience would hiss, clap, cheer and shout insults, creating a din which left Lien Chi 'quite dizzy'.
'Low' or laughing comedy
Writing 'low' or laughing comedy came naturally to Goldsmith, because it gave him free reign to express his contempt for the hypocrisy of polite society. In January 1773 he published "An Essay on the Theatre"; or, "A Comparison between Laughing and Sentimental Comedy", in which he made the case for the superiority of laughing comedy.
Goldsmith argued that the proper target of satire should be human folly in characters from all social classes. Comedy should concentrate on exposing vice and gulling fools, rather than lamenting the plight of genteel folk in distress. If playwrights only allowed wholesome characters on stage, who uttered emotional platitudes, audiences would be weepy, unamused and none the wiser. Goldsmith used the Constance/Hastings subplot to expose all the clichés of sentimental comedy. At the same time, he provoked thoughts about personal liberty, women's agency and parental responsibility that revitalized a tired storyline. There is laughter, but there are also bruised emotions, sad partings and anxiety for the audience to contend with.
Like his heroine Kate, Goldsmith was brave enough to stoop to expose hypocrisy. He took risks with 'low' features: Tony's glee at his mother's drenching in the horsepond, barmaid Kate's flirtatious ways, Marlow's frank disclosure of his sexual adventures. To these he added the gulling of gentlemen and an interest in scripting rural dialect. He presented the Three Pigeons alehouse as a world of vigorous, authentic experience, unshackled from the concerns with outward appearance, social class and inheritance that beset the manor house. Goldsmith's most daring idea was to place Tony and Kate in lowly positions where they suffer abuse but find ways to achieve their personal goals. By giving Tony equal prominence with the lovers, he fostered an acting style that was more natural and forthright than Georgian etiquette would normally have tolerated.
The city versus the countryside
She Stoops to Conquer was written during a time when England was going through rapid, unstoppable social and economic change, fueled by the Industrial Revolution. Cities increased in importance, and the size and power of the middle classes grew. If you were a factory owner, merchant or banker you prospered; if you lived in the countryside you felt your traditional way of life was under threat. The play put its finger on the pulse of change by holding up a destabilizing mirror to all that was considered enduring in family, courtship, marriage, class and wealth. A lot of unease must have piqued the laughter at Covent Garden.
Explicitly political content in plays had been effectively banned since the Licensing Act of 1737, yet the theatre was still a place where new ideas and subversive opinions could be aired. When Hardcastle calls his home 'Liberty Hall' (2.1.178) and Marlow's servant shouts out 'liberty and Fleet Street forever! Though I'm but a servant, I'm as good as another man' (4.1.135–36), it is possible that Goldsmith was evoking the rallying cry of radical politician John Wilkes, whose supporters would have been in the audience. Wilkes had been elected to Parliament but prevented by law from taking his seat in 1768–69. His followers circulated pamphlets calling for an end to corrupt government.
Meanwhile, within the squire's house other kinds of liberties are being sought and taken amidst a general subversion of the status quo. Parents are disrespected, ancient property rights are challenged, wives and servants disobey their masters, sons and daughters make free with the class structure and family heirlooms are passed around like highwaymen's booty.
The play presents the values of city life and the countryside as deeply at odds with each other. Hardcastle's house is 'old-fashioned' and 'rambling' (1.1.22, 16), because he lacks the wealth to invest in it. Had he been more enterprising he could have opened his home as an upmarket inn and got a share of the fortunes being made in the liquor trade (2.1.230–34). Instead, he despises London's modernizing trends and outward shows of gentility, preferring 'everything that's old' (1.1.23). Mrs. Hardcastle has a huge appetite for London fashions, but her understanding is flawed, and her desires are ludicrous and superficial.
The pair preside over a manor house muddled by the fog of deception and misunderstanding, where attempts to be genteel give way to farce and burlesque. Hardcastle does not perceive that his house has been recast as a wayside inn by a pair of city blades on the make. He fails to take proper care of Tony and Constance, allowing them to be trapped by his wife's snobbery and greed. Goldsmith was taking a considerable risk in making this dysfunctional family the butt of his humour. For the previous 100 years country squires had been counted upon as the backbone of England. They owned much of the land and wielded considerable local power.
Class and social mobility
New wealth made in manufacturing was making social mobility possible, however. She Stoops to Conquer welcomes that possibility in its very title and takes the bold step of making a woman its chief exponent. Kate relishes playing women from three classes in her quest for a husband. Her mobility may be temporary and risky, but its effects are liberating. Hardcastle and Tony, meanwhile, are more comfortable with servants and rustics than with their social equals.
When Marlow and Hastings first appear at the Three Pigeons (2.1.82) the stage falls silent as both sides of the class divide take in a powerful sense of difference. Their travelling attire indicates their social status but also their vulnerability; they are coach travelers who have wandered into a situation where they could be gulled by rustics. Their upper-class sense of entitlement at first asserts itself. They whine, they judge, they show contempt for everything; but the manor house slowly emasculates them. Marlow becomes everybody's fool, and Hastings's plans are continually thwarted. Meanwhile, the London audience is teased with talk of a countryside full of confusion and menace, with its gibbets (from which the bodies of executed criminals were hung on public display) and bloodcurdling place names (such as 'Crackskull Common', 1.2.142 and 5.2.70–71).
Georgian England was a place where strict rules of etiquette and dress defined your class identity. There was a growing feeling that too much attention paid to genteel behaviour risked trapping men in an overly feminized world where women, had the upper hand. For Marlow and Hastings, the masculine world of warfare has been replaced by the pursuit of women and fashionable clothing has become their battle garb (2.1.173–208). Hardcastle's tales of military campaigns are simply an irrelevance to a city-bred generation who recoil at country fare, rough roads and makeshift beds.
Marlow and Kate: Gender and marriage
Audiences admired Goldsmith's characterization of Marlow, finding in him a complexity that rang true. He is deeply conflicted by the dictates of the society he is born into, finding it hard to settle on his true nature. Gentlemen were expected to live a life bound by codes of class, manliness and honour. They were always on show and some clearly struggled with what was expected of them. For Marlow the marriage market holds only terror (2.1.118–32), yet he feels pressured to acquire a wife. The double standards he operates – deference towards ladies and lechery towards barmaids – were standard for the time, but change is in the air and the old certainties let him down badly. The advantages of class, gender and wealth should be enough to get Kate into bed, but she laughs at his efforts and, turns lust into love and finally, respect.
Kate persists with Marlow because she is a woman of complex desires. For young women such as Kate and Constance the best marriage was one that combined love with sound financial advantage. Both argue for some agency in the matter of courtship, something not always available to women in the late 18th century when, within the upper classes, arranged marriages were the norm. In their decisive and intelligent participation in the play's love intrigues, Goldsmith makes their choices an inspiration for the increasing number of women in the audience.
She Stoops to Conquer continues to be performed to audience delight and critical acclaim because it is extremely funny and while deeply probing into the vagaries of our social nature.
Written by Diane Maybank
Diane Maybank BA. MA. taught English Language and Literature for over 35 years in schools and colleges in France, New Zealand and the UK. She now works as a freelance editor specializing in seventeenth and eighteenth-century drama. Her editions for the "Oxford Student Texts" series include Aphra Behn's The Rover, William Congreve's "The Way of the World", George Farquhar's "The Beaux Stratagem", Oliver Goldsmith's "She Stoops to Conquer" and Richard Brinsley Sheridan's "The Rivals".
Source: British Library
Click here for original article, which include links to additional images.
Click here for info on CSC's production of She Stoops to Conquer.
July 25, 2018 UncategorizedAlexis Davis
Pages of the original red checkered diary of Anne Frank © Anne Frank House / Photographer: Cris Toala Olivares
By Arthur Hirsch
for Chesapeake Shakespeare Company
Through the pages of her diary written in hiding in Nazi-occupied Amsterdam, Anne Frank made a powerful first impression on Shelly Mintz. The mere existence of a book about a Jewish girl like herself was striking to Mintz, at a time when characters who shared her background were hard to find in literature, movies, and theater. Across decades and miles, a girl in Paramus, N.J., connected with a girl who experienced the Holocaust.
That was in the mid-1960s, as Anne Frank posthumously was emerging as a global pop culture phenomenon. After The Diary of a Young Girl first appeared in English translation in 1952 – eventually becoming one of the most widely read books ever published – there followed a Broadway play, a movie, a museum in Amsterdam, TV productions, an array of Anne Frank-inspired musical compositions, fiction, biography, poems, dance performances, a Broadway revival with a revised script starring Natalie Portman, and who knows how many other theatrical productions.
In Spring 2019, the Chesapeake Shakespeare Company will perform the revised script of the play, The Diary of Anne Frank. Mintz, who is president of B'Nai Israel Congregation in Baltimore, will be there. She has revisited the diary many times since her first encounter, and the more she has learned, the more compelling Anne Frank seems. The more time that passes since World War II and the Holocaust, the more urgent seems the need for people to hear Frank's words.
"It's an eternal story that never stops being relevant," said Mintz. "These days it seems more relevant than ever. There's been such a rise in xenophobia, there's been a rise in anti-Semitism. There's so much happening in the world that seems to be separating people and sorting them into groups."
The Chesapeake Shakespeare Company production will run from April 26 through May 26, 2019, ending just a few weeks before Anne Frank would have turned 90 years old. She died at age 15, in the late winter or early spring of 1945, at the Bergen-Belsen concentration camp in northern Germany. Her father Otto Frank was the sole Holocaust survivor among the eight people who hid in the rooms above his spice business between late spring 1942 and their arrest in August 1944. He arranged the publishing of her diary. He died at age 90 in 1980.
Visitors view copies of the book from around the world. © Anne Frank House / Photographer: Cris Toala Olivares
Chesapeake Shakespeare Company's Founder and Artistic Director Ian Gallanar said he chose The Diary of Anne Frank for a few reasons, one being the theatre company's mission to stage at least one classic work each season that is not just for adults.
"I'm very interested in theatre that families can see together, multigenerational theatre," Gallanar said.
He also said that the story of the Holocaust "is maybe the most important 20th century historical story to keep alive. I take it to heart when people say how important it is to keep this story alive so people don't forget."
Indeed, members of B'Nai Israel and some who have taught the Holocaust say The Diary of Anne Frank only gains significance with the passing of time. A generation of survivors, military servicemen who liberated the camps, and other witnesses is passing on.
"If we don't expose people to this, we are risking greater and greater chances for it to happen again," said Louise Geczy, Senior Project Coordinator at the John Carroll School, a Catholic high school in Bel Air, Md., where she organizes a Holocaust education program.
Those concerned about fading historical memory could point to the results of a survey released this spring by the Conference on Jewish Material Claims Against Germany. The sample of 1,350 American adults recruited by telephone and online found that two-thirds of millennials and 41 percent of respondents overall could not correctly identify Auschwitz as either a concentration camp or an extermination camp.
The merits of The Diary of Anne Frank as a way to tell part of the story of the Holocaust, and as a work of dramatic literature, have been debated since it first appeared on Broadway in 1955. The play by Frances Goodrich and Albert Hackett was a commercial and critical success at the time, winning a Tony Award and the Pulitzer Prize for Drama.
First print of "The Diary of Anne Frank" in Dutch, 1947 © Anne Frank House
Over the years, though, the original play has been much maligned. Critics have called it sentimental, its title character idealized from the complex person who emerges in the diary, its characters' Jewish identity nearly removed. The play's uplifting closing note of belief in humanity's decency has been called unsuited to a story of people hiding from a genocidal campaign that slaughtered millions.
"One might wish that a happy ending could emerge from the Holocaust," said Samuel Spinner, the Zelda and Myer Tandetnik Assistant Professor of Yiddish Language, Literature, and Culture at Johns Hopkins University, who recently taught a course on the Holocaust in literature and film. Given the magnitude of the calamity, however, and the deeply disturbing revelations about the human spirit that emerge from this history, Spinner said there is the point of view that "telling a story with a happy ending is not telling a Holocaust story."
Jeanette Parmigiani, who directs Holocaust programs for the Baltimore Jewish Council, said she's aware of the many critiques of The Diary of Anne Frank, but she still thinks it's an effective way to introduce the subject to young people who might not be ready to confront the most horrifying aspects of the Nazi extermination program that targeted Jews and other minorities. Historians estimate that between 4.5 million and 6 million Jews were murdered.
"The students can identify with this girl," said Parmigiani, adding that the book and the play are usually taught in middle school. "It doesn't get into the graphics."
The version of the play Chesapeake Shakespeare Company will perform is given credit for improving on the original in several ways. In her 1997 adaptation of the Goodrich and Hackett play, playwright Wendy Kesselman put more stress on the fact that the characters are Jewish, including scenes in which they sing or pray in Hebrew. Kesselman also included a passage that does not appear in the original play, in which Anne Frank talks directly to the audience about her sexual curiosity about another girl.
The uplifting line from the diary that appears as the original play's next to last line –"In spite of everything, I still believe that people are really good at heart"–appears in the adaptation, but not at the very end.
Instead, the new version ends with Otto Frank telling the audience what happened after the arrests, the deaths of the other seven people at several concentration camps, Anne Frank last seen by a friend at Bergen-Belsen "through the barbed wire, naked, her head shaved, covered with lice. 'I don't have anyone anymore,' she weeps."
The adaptation is one of several darker and more complex versions that have emerged after the diary was first published in Europe in 1947 under the direction of Otto Frank, who insisted that his daughter's sexual thoughts and critical musings on other characters be edited out.
These complexities, said Mintz, makes Anne Frank, and the play, more interesting.
"Over the years she's become less the icon and more real," said Mintz. "Not just more Jewish, but more of a real girl."
Museum presentation with photos of Anne Frank © Anne Frank House / Photographer: Cris Toala Olivares
Arthur Hirsch is a writer, teacher, and editor based in Baltimore. He is an adjunct faculty member at Goucher College, and formerly worked as a writer for The Baltimore Sun and in media relations at Johns Hopkins University. All images are © Anne Frank House, Netherlands, Photographs by Cris Toala Olivares, used by permission.
Click here for info about CSC's production of the The Diary of Anne Frank.
A Christmas Carol – with a Baltimore Twist
November 28, 2016 UncategorizedJean Thompson
A Christmas Carol – on stage now through December 23, 2016
BALTIMORE (November 27, 2016) – Catch the holiday spirit: Chesapeake Shakespeare Company's original adaptation of A Christmas Carol delights kids of all ages as it celebrates Baltimore's heritage.
Spiced with local history, joyous carols, and dazzling special effects, A Christmas Carol is a best-seller and crowd-pleaser. Reservations are strongly recommended: Performances close to Christmas tend to sell out.
This isn't a "hon" Christmas Carol. Founding Artistic Director Ian Gallanar brings the play's timeless message home by setting it in Victorian Baltimore. The script closely follows the plot of Charles Dickens' novella: Scrooge awakens to visits from the Ghosts of Christmas Past, Present, and Yet to Come. They spirit the lonely miser away from his bedroom to help thaw his frozen heart and teach him a lesson about the importance of giving.
Scrooge & Marley's counting house has the address of the 1885 Mercantile Safe Deposit & Trust Company building in Baltimore's old financial district. Chesapeake Shakespeare Company converted this bank building into a gorgeous theatre for the classics in 2014.
"We placed the story in the Baltimore business district of the 19th Century in honor of this magnificent building housing our theater, and this amazing city in which we perform," says Gallanar. The script includes references to familiar streets, watermen, and the diverse cultures of the early port city.
Gregory Burgess, a Chesapeake Shakespeare Company resident company member known for his great warmth, returns for his third season portraying the irascible and ultimately redeemable Scrooge. Associate Artistic Director Scott Alan Small directs a professional cast of local artists, including company members and 11 child actors from area schools.
A Christmas Carol runs December 2 through December 23, 2016, at the Chesapeake Shakespeare Company, 7 South Calvert Street (at Redwood Street), Baltimore, MD 21202.
There will be two public preview performances, on November 30 and December 1.
Ticket prices range from $25 – $65 for adults, $25 – $59 for seniors, and $19 – $33 for children and students.
Group discounts are available for parties of 10 or more.
For a complete schedule and tickets, visit ChesapeakeShakespeare.com or call the Box Office at 410.244.8570.
Box office hours: Tuesdays-Fridays, 11am-3pm, and 45 minutes before every performance.
MEDIA CONTACT: Jean Thompson, Communications Manager, 410.244.8571, ext. 116, or 443-845-6130 or Thompson@chesapeakeshakespeare.com
October 17, 2016 UncategorizedJean Thompson
A Legendary Queen
The fiery courtship of Anne Boleyn and King Henry VIII rends their nation in the splendid and surprisingly topical play Anne of the Thousand Days by Maxwell Anderson, October 21 through November 13 at Chesapeake Shakespeare Company.
Anderson gives Boleyn her due, capturing her duality as both a victim of the womanizing Henry VIII and as a leader of a changing England. Audacious, sparkling, intelligent, obstinate Anne refuses the advances of the most powerful man in England, gambling everything in her bid to be more than a mistress. At great cost, she becomes Henry VIII's second and most legendary queen.
Anne of the Thousand Days is about Henry and Anne's passionate and ultimately tragic love story. Though written in 1948, its theme of women and power is surprisingly current.
"When I chose Anne six months ago, I could not have predicted the recent headlines of the political campaigns," says Lesley Malin, Managing Director at the theatre company and producer of the play. "Those issues are powerfully reflected in this particular play, with its protagonist declaring, 'I, too, can say no,' to a predatory and controlling monarch."
Award-winning director Kasi Campbell leads a cast that includes the theatre's Resident Acting Company Members Lizzi Albert and Ron Heneghan as the royal couple.
The production also features Chesapeake Shakespeare Company's first all-women design and technical team, chosen to showcase local talent in theatre trades and bring their insights to the design of a nuanced story about a powerful woman. The result is a period-piece blockbuster, a re-creation of the Tudor court for the eyes and ears. The music of the play will include compositions by Henry VIII and sound designer Sarah O'Halloran.
Anne of the Thousand Days will be performed Thursdays-Sundays, from October 21 through November 13, 2016, at Chesapeake Shakespeare Company's downtown theater at 7 South Calvert Street, Baltimore, 21202. Tickets are $19 – $49 adults, and $15 -$25 students. Click here for tickets and details.
Two community events are scheduled with Anne of the Thousand Days.
DESIGNING WOMEN On Saturday, October 29, at 6:30pm, meet the women of our design and technical team who have helped bring this tale to life. Admission to a pre-show panel discussion is free. The designers will discuss their contributions to the play and career opportunities for women. Audience members are welcome, as are college professors and students interested in theatre tech and design fields. Combine the free event with a paid ticket to the 8pm performance for an evening of insights and entertainment. Get details here.
SEDUCTIVE TEMPTRESS or RELIGIOUS AND POLITICAL CHANGEMAKER? On Saturday, November 5, at 6:30pm, learn all about the real Anne Boleyn. Join us for a conversation with Professor Amy M. Froide, a historian of women in early modern England. She'll help us separate the fact from the legends about the fascinating Anne Boleyn. Admission to the pre-show conversation is free. Combine it with a paid ticket to the 8pm performance. Get details here.
For tickets, visit ChesapeakeShakespeare.com or call the Box Office at 410-244-8570.
SEASON ANNOUNCEMENT: Our 15th Anniversary Season
April 7, 2016 UncategorizedJean Thompson
SEASON ANNOUNCEMENT:
Chesapeake Shakespeare Announces its 15th Anniversary Season
BALTIMORE (April 6, 2016) — Innovation and imagination are cornerstones of Chesapeake Shakespeare Company and hallmarks of the theatre company's 15th season, coming in 2016-2017.
Founding Artistic Director Ian Gallanar announces today a richly diverse 15th Anniversary Season with bold firsts and imaginative stagings of classic plays that build on its record of success. Highlights include the company's first mounting of Shakespeare's great tragedy, Othello, and its first musical, a revival of off-Broadway's 20th century romance by Tom Jones and Harvey Schmidt, The Fantasticks.
"There is a momentum here at our theater. You can feel it," Gallanar says, celebrating the company's continuing expansion of its artistic, education, and community outreach programming. The plays this coming season will feature members of the CSC Resident Acting Company and a growing roster of Baltimore-area talent recruited since the theater moved here from Howard County in 2014.
"We've always prided ourselves on the variety of the work we present," Gallanar said. "In our first 14 seasons, we have presented quite a diversity of styles and content. Like our namesake Shakespeare, we believe in big themes freshly presented in a wide range of styles. This season reflects that."
Chesapeake Shakespeare Company's 15th season will open with its first production of Shakespeare's Othello. While the company's production history includes 55 productions mounted over 14 seasons, "Othello is the most famous Shakespeare play we haven't yet presented," says Gallanar, who will direct it. This monumental tragedy, with its potent and timely themes of jealousy, power, and racism, is "a tough play, about some of humanity's darkest qualities," he says. "We are in the heart of a community that sometimes suffers as a result of some of those qualities, so we are anxious to explore this play with our audiences."
Turning the focus to historical drama, Chesapeake Shakespeare will produce Maxwell Anderson's Anne of the Thousand Days. It's the story of King Henry VIII's pursuit of bewitching young Anne Boleyn with a scandalous love that betrays his Queen and rends his country. Anne's point of view is spotlighted, making the play a showcase for talented actresses. "This is a great historical drama that, like Shakespeare's work, often concerns itself more with drama than history," Gallanar says. "Some people might be familiar with the 1969 Richard Burton movie that was loosely based on the play but eliminated Maxwell Anderson's blank verse. Much like Thornton Wilder's Our Town, the play asks for little or no scenery, but relies on the skills of the actor and his or her words."
Chesapeake Shakespeare's holiday tradition, A Christmas Carol presented with a Baltimore twist, will return in December 2016. Gallanar's adaptation of the Charles Dickens classic has Ebenezer Scrooge living and working in the heart of Victorian Baltimore. It has become a family favorite.
Taking the stage next is one of Shakespeare's best-known and most-reviled villains. Richard III is the playwright's concluding chronicle of the Wars of the Roses. As fascinating as he is horrifying, Richard III marries and murders his way to take the crown of England. Gallanar will direct an innovative staging that sets the story in World War One, and was first produced outdoors in Ellicott City in 2012. "Complete with gas masks and barbed wire, this delightfully frightening production is one of the most popular from our first 14 seasons," Gallanar says. "It's fun to bring back one of our favorites for this special anniversary season."
Is any man worthy of razor-tongued Kate? A spring offering will be Shakespeare's The Taming of the Shrew, a rollicking send-up of marital power struggles, as topical as it is comical. "The Taming of the Shrew is one of the most popular comedies in the history of the theater," Gallanar says. "Why? Because we can all relate to the bumpy road love takes us on. Our company has a special knack for comedy, and we look forward to sharing one that the whole family can enjoy."
"Try to remember the days of September when life was slow and oh, so mellow." Even if you don't know the play, you probably have heard this song from The Fantasticks, off-Broadway's longest-running musical. The Fantasticks, with its universal themes and sentimental book and lyrics by Tom Jones and music by Harvey Schmidt, tells of a boy and girl next door and their meddling, matchmaking fathers. Chesapeake Shakespeare has incorporated original and live music in its productions since its first production in 2002, which was Shakespeare's Twelfth Night. For Season 15, the company is poised to take the next step and mount its first musical. "We've been immersed in recent years in live music," Gallanar says. "It's become an important part of our aesthetic. Our Christmas Carol includes almost 20 live songs. A musical seems a natural step forward." The director will be Curt L. Tofteland, who from 1989 to 2008 was producing artistic director of the Kentucky Shakespeare Festival and who is the founder of the much-acclaimed Shakespeare Behind Bars.
On its summer stage in the PFI Historic Park in Ellicott City in 2017, Chesapeake Shakespeare will present The Tempest, Shakespeare's magnificent tale of storm and shipwreck, mystery and magic. It will be directed by Lizzi Albert, a CSC Resident Acting Company member. "We love creating an island at the PFI in our beautiful outdoor home," Gallanar says. "The Tempest is a play with a little bit of everything — drama, romance, wildly comic characters, spirits, creatures, magic. It's Shakespeare's last great play."
Subscription renewals begin today. Subscription sales for new subscribers will begin May 6, online at ChesapeakeShakespeare.com/subscriptions or by phone at 410-244-8570. The Box Office is open Tuesdays-Fridays, 11am to 2pm, at the Baltimore theater, 7 South Calvert Street, Baltimore 21202.
Chesapeake Shakespeare Company's
15th Anniversary Season, 2016-2017
Othello September 16 – October 9, 2016
Anne of the Thousand Days October 21 – November 13, 2016
A Christmas Carol December 2 – 23, 2016
Richard III February 10 – March 5, 2017
The Taming of the Shrew March 17 – April 9, 2017
The Fantasticks April 21 – May 21, 2017
The Tempest June 16 – July 23, 2017
Encouraging Young Artists at Chesapeake Shakespeare
January 19, 2016 UncategorizedJean Thompson
"You are their heir; you sit upon their throne;
The blood and courage that renowned them
Runs in your veins; and my thrice-puissant liege
Is in the very May-morn of his youth,
Ripe for exploits and mighty enterprises."
-Henry V, by William Shakespeare
Blood & Courage:
Chesapeake Shakespeare's Under-30 Company Starts 2016
with a New Name — and an Exciting Original Production
BALTIMORE (January 14, 2016) – Blood & Courage, a Baltimore-based ensemble of emerging artists launched by Chesapeake Shakespeare Company, challenges the notion that there is only "one right way" to perform the classics.
This month, Blood & Courage members will present UNSCENE, an original adaptation of scenes typically cut from productions of Shakespeare's plays. UNSCENE will feature a cast of seven women using performance techniques associated with commedia dell'arte, including masks, clowning skills, improvisation, and audience involvement.
Click here to learn more about UNSCENE.
"I launched the Blood & Courage company to provide an educational opportunity for early career professional artists," says Ian Gallanar, Founding Artistic Director of Chesapeake Shakespeare Company. "In theatre, the craft and business are learned by practicing, and I worry that there are not enough professional opportunities for young artists to get that experience. So we created an environment where they can experiment, stretch their skills, take pride in their achievements, and learn from their mistakes – in other words, a place where they can grow."
Blood & Courage productions are mounted entirely by artists who are in their 20s, from the scripting, costuming, and performing to the fund-raising, promoting, and ticket-selling. They receive mentoring and encouragement from Chesapeake Shakespeare Company staff and professionals.
Last year, the group debuted as the Under-30 Company with a performance of Shakespeare's All's Well That Ends Well. Now with a new name inspired by a line from Henry V — Blood & Courage, and the confidence that comes with some experience, the ensemble is taking on a more experimental work. UNSCENE is being adapted and directed by Seamus Miller, 26, a Baltimore actor who studied Theatre Arts and English at Cornell University. He has had several professional roles on stages in the region and appeared with Chesapeake Shakespeare Company in Titus Andronicus in 2015.
Four performances of UNSCENE are scheduled: January 29 and 30 and February 5 and 6, 2016, at 9pm, in the Chesapeake Shakespeare Company Theater, 7 South Calvert Street at Redwood Street, Baltimore, 21202. Tickets are $10 (cash only) at the door.
For details about UNSCENE and Blood & Courage, click here, or contact Amanda Bennett, the ensemble's spokesperson, at amandabennett@gmail.com or Robby Rose, production manager, at robroseCSC@gmail.com.
For more information about Chesapeake Shakespeare Company, contact Jean Thompson at 410-244-8571, ext. 106, or Thompson@chesapeakeshakespeare.com.
Photo by Seamus Miller.
Ian Gallanar has been welcomed into the National Theatre Conference
December 4, 2015 UncategorizedJean Thompson
BALTIMORE (December 4, 2015) – This morning in New York City, Chesapeake Shakespeare Company's Founding Artistic Director, Ian Gallanar, was inducted into the distinguished National Theatre Conference.
The National Theatre Conference, founded in 1925, is comprised of executives, artists, and scholars who are leaders in American theatre. Membership is by invitation only. The members exchange ideas about major issues affecting the nation's theatres. Also, the National Theatre Conference initiates, encourages, and supports projects intended to strengthen and broaden the influence of theatre in this country. It has been a leader in national theatre diversity initiatives including a movement to celebrate and perform plays by American women.
"It's an honor to spend time with so many people I've admired for so long in my career," Gallanar said.
At the organization's annual meeting today, Jim Volz, former National Theatre Conference president, and current president of Consultants for the Arts, introduced Gallanar to the members.
"The National Theatre Conference is thrilled for Ian Gallanar to join our national theatre think tank and advocacy group that has been supporting artists since 1925," Volz said. "NTC is comprised of theatre leaders nationwide and Mr. Gallanar will fit right in as a noted Shakespeare producer and champion of all things Baltimore."
During the induction festivities this morning at The Players club in New York, Gallanar delivered an address, "Theatre as a Bridge," about the vital role of theatre arts in city renaissance. He discussed Chesapeake Shakespeare Company's response to unrest in Baltimore this spring, and the company's continuing outreach and education programs. Chesapeake Shakespeare Company welcomed Frederick Douglass High School to the theatre for a matinee performance of Romeo and Juliet immediately after the uprising in the school's neighborhood. In addition, the theater opened its doors to the city for a free matinee performance when imposed curfews interrupted the evening performance schedule.
Gallanar has directed more than 120 professional productions during his 30 years in the profession. His original adaptation of Charles Dickens' A Christmas Carol sets Ebenezer Scrooge in Baltimore on German Street, the original address of the landmark bank building that the theater company has transformed into a theatre for the classics. The play debuted in Baltimore in December 2014 and returns for the 2015 season, opening tonight.
He founded Chesapeake Shakespeare Company in 2002 with a mission to create innovative performance and education programs that bring the works of William Shakespeare and other classics to life. Ian has been Artistic Director of The Repertory Theater of America, the National Theatre for Children, and the Minnesota Shakespeare in the Park. He is a recipient of the Telly, Helen Hayes, and Howie (of the Howard County Arts Council) Awards, and has written a number of plays for children. He lives in Silver Spring, Md.
MEDIA CONTACT: Jean Thompson, Communications Manager, 443-845-6130 (cell) Thompson@chesapeakeshakespeare.com


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Why am I in the ELCA?
November 14, 2016 November 19, 2016 Brian Foulks
The road to integration is an unforgiving assault on the hearts and minds of black clergy that serve in predominately white denominations. The continuous reshaping to make one's authenticity fit into another's warped shape of the Gospel becomes a perpetual task that tries to hijack one's sense of being. The tragedy of being present, in spaces, where my humanity is only confirmed by my acceptance to assimilation is a solidarity to injustice, which I refuse to accept.
It is clear that the many within the ELCA camp voted for Donald Trump. (Lenny Duncan wrote a good piece about it) I am left to wrestle with this problem, "Why I am in the ELCA?" Why do I continue to connect with people who are so opposed to equality, equity, and justice? I used to say it was a sense of calling to the mission fields of whiteness but now I stand bewildered beyond reasonable thought. The constant awareness of having to explain your presence is insulting. I was assisting with the officiating of a funeral at the church. It was a very small funeral so there were no ushers. I took the liberty to greet friends and family as they arrived. Well, as I was opening the door, a lady comes to the door and says, "I almost ran when I saw this big, black man standing at the door." Why am I in the ELCA?
Every day, it feels like the very essence of my being is sucked out of me. There are a lot of good people in the ELCA but there is no emotional safety. The task of naming and eradicating racism has been co-opted as racial reconciliation: the place where Black and Brown must become like us (white) instead of us becoming like them.
There were moments, when I thought that being in the ELCA was an honorable journey. I understood that it would be a hard road ahead, but I never considered the theological racism that masks itself as legacy and doctrine to be such a high mountain to climb. My faith has run out of faulty forgiveness that amounts to more opportunities to be dehumanized. I am tired of hearing that this is just how Lutherans are…The truth is that a Lutheranism that is still steeped 1517 rhetoric and liturgy never really had me in mind from the beginning.
Why am I in the ELCA? Well….
Posted in Lutheranism, Racism, UncategorizedTagged ELCA, Lenny Duncan, Lutherans, racism
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9 thoughts on "Why am I in the ELCA?"
Benjamin Wright says:
James Thomas says:
Some years ago, while pastor of St. Paul's Church (ELCA) in the Bronx, I attempted to visit a member who lived a few blocks from the building. I had not met Heidi Z. before, so I had the secretary phone ahead. Heidi Z. was waiting at the door. Dressed in clerics, I rang the bell and heard movement behind the door. Yes, Heidi Z. was there, but she was not letting me in. I identified myself as pastor of St. Paul's, but still no answer. When I returned to the church office, the secretary told me that Heidi Z. had called and reported that a Black man was trying to get into her apartment. This breach was never repaired, as no White or Black person in the congregation would accompany the new pastor on a visit to an elderly White woman's apartment who was terrified by my blackness.
Many are the indignities and humiliations visited upon me serving as a pastor in the ELCA, while being black. I am never surprised at the manifestation of white racial animus toward Blacks who serve in this church. As a young pastor serving at Advent Church (ELCA) on the Upper West Side of Manhattan, I answered a knock on the door one morning, and a gentleman introduced himself as a Minolta salesperson. He asked to speak to the pastor. I told him that I was the pastor. He asked to speak to the senior pastor. I told him that I was the only pastor. He asked me was I just "playing" He expressed surprised to see a Black man in such a position in a Manhattan Church. This was 1983-84.
I am not surprised by the reception I have received. There is a "always-ness" about some of this. The presence of Blacks in White churches in America has always been difficult for many. I was reminded of this recently when my class at Lutheran Theological Southern Seminary on African Descent Religious Traditions reviewed the experience of former African slaves at St. George Methodist Episcopal Church in Philadelphia in 1786. As black attendance at that church increased due to the preaching of Richard Allen, so too did race prejudice. When the ruling body at St. George decided that blacks should be segregated and seated in a newly constructed balcony, Allen and his followers decided it was time to leave and start a new church.
Brian, Richard Allen and those who formed Bethel Church did not keep their all their focus on White people. Nor did they allow what White Christians were doing to obscure their view of God. Today, we can speak of Richard Allen and those who went with him as a liberated company, who by the grace of God came to terms with situations that had destructive potential.
I have been thinking about the churches they built, the boys and girls their educated in the schools, the colleges and the universities they established, the intellectuals sent forth, the lawyers, doctors and politicians they raised up. Their experiences were not easy. They came to symbolize courage, determination and strength. One other thing, those men and woman met Jesus in a most intimate way.
Brian, I read your posts regularly in an attempt to understand the plight of living as a black man in white America. I don't always engage in your posts, but I'm listening. I am building relationships with minorities where I live, not in an effort to be understood, but in an effort to understand.
Tell me why you think it's fair to characterize any white evangelical who voted for Trump as someone who is "opposed to equality, equity, and justice" (for the record, I did not vote for Trump or Clinton [voted third party]. Neither are fit for office and both lack the moral integrity to serve in the highest office of the United States). Your statement makes many assumptions, the greatest of which is the fact that you seem to believe a vote cast for Donald Trump is the same thing as a vote cast against equality, equity, and justice. That's as unfair as saying that the person who voted for Hillary Clinton is an advocate for for murder (due to her extreme views of abortion).
I believe the reasons people voted for Trump are complex, but that you would find that the many of the "evangelical" (a term now stripped of any meaning in my mind) voters who supported Trump did not do so because they support racism and misogyny.
Donald Trump and Hillary Clinton were the only "electable" candidates in this election cycle. I do not believe either of them really care about minorities or equality. They care about themselves. I do believe its uncharitable to demonize people who voted for either candidate, and it's unfair to assign motives for their choices. We may not understand their choices, but I cannot see any path towards racial understanding where we constantly label one another in the worst possible terms.
aaronandemilymartin says:
I believe the reasons people voted for Trump are complex, but that you would find that the many of the "evangelical" (a term now stripped of any meaning in my mind) voters who supported Trump did not do so because they support racism and misogyny. At least not any more than those who voted for Hillary support the brutality of partial-birth abortion (don't get me started on how Clinton's support for Margaret Sanger [a racist] and Planned Parenthood is implicit support for the genocide of black people).
Brian Foulks says:
Aaron, let's be clear, that a vote for Trump was a vote for opposing equality, equity and justice. the man is unjust ,much the same as Hillary. That is a non-debatable with me. I do life with black, brown and white people not in a effort to understand but simply because it is the what we should do. it is not a systematic case study but the call of the Gospel.
As you see that the reason is complex, I see as the exact opposite. It registers as a sing that we may not be racist, misogynist, or homophobic but we are alright with a president that is.
There is nothing charitable in or with that decision. Even through your post, the people's response was more about what they saw or see, discounting the very voice of those who believe that white evangelicals do not care. See therein is the missing of the intent of the Gospel. Also, therein lies the distrust. I have meet people who are terrified that their families will be deported. I am terrified for my children and friend's children. This is real life scenarios playing out before their eyes. My friends are pastors and they are buying guns because they feel unsafe in a world that would elect a man with no political experience and displayed hatred for black, brown, and LGBTQI folks.
I hear you, Brian, and I continue to listen and pray. I am trying to learn from my black and brown friends and colleagues and to take responsibility for my own blindness, while I pray for racial justice in this church and in this country. I admire your courage in staying with an impossible situation, and I pray that you will continue to preach the gospel to all of us who need to hear you.
Janny [Yani] says:
Thank you! We need you, your perspective and voice in the ELCA!
Javetta says:
Thank you for writing this post. So, I'm just going to ask the question that everyone wants to know the answer to…are you going to stay in ELCA?
Honestly, I do not know. But, while I am there…I am all in, regardless.

redpajama_set_name: RedPajamaCommonCrawl


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Human Spaceflight
Robotic Spacecraft
An artist's conception of Deep Space 1
Image courtesy of NASA
More information from the Deep Space 1 Homepage
Other Comet Missions
NASA Tests New Technologies with Deep Space 1
We are far too quick to report disasters when it comes to space exploration...but here's a definite success!
NASA launched a spacecraft called Deep Space 1 on October 15, 1998. Deep Space 1 tested twelve new technologies, including a different type of engine and a smart navigation system. The spacecraft tested the equipment while it flew to a nearby asteroid, called Braille.
The engines on Deep Space 1 used xenon gas as a propellant. Solar panels collected the Sun's energy and used it to give the xenon gas an electric charge. The gas was then accelerated through an electric field to speeds around 65,000 mph (miles per hour). The thrust that was produced was less than the weight of a piece of paper but it still accelerated the spacecraft about 20 mph each day. Its speed continued to build up because there isn't any air resistance in the vacuum of space. Ion-propulsion engines are ten times more efficient than regular rocket engines.
Deep Space 1 also had an onboard navigation system. It kept track of a number of stars and could calculate its own position. Normally, spacecraft have to rely on people at NASA to tell them where they are.
Things went so well in the first two years of the mission, that NASA decided to send Deep Space 1 to visit comet Borrelly in September 2001. It took really great pictures of this comet!
The Deep Space mission ended on December 18, 2001.
Last modified January 9, 2002 by Jennifer Bergman.
The Hubble Space Telescope (HST) was one of the most important exploration tools of the past two decades, and will continue to serve as a great resource well into the new millennium. The HST found numerous...more
Driven by a recent surge in space research, the Apollo program hoped to add to the accomplishments of the Lunar Orbiter and Surveyor missions of the late 1960's. Apollo 11 was the name of the first mission...more
Apollo 12 was launched on Nov. 14, 1969, surviving a lightning strike which temporarily shut down many systems, and arrived at the Moon three days later. Astronauts Charles Conrad and Alan Bean descended...more
Apollo 15 marked the start of a new series of missions from the Apollo space program, each capable of exploring more lunar terrain than ever before. Launched on July 26, 1971, Apollo 15 reached the Moon...more
Deep Impact Mission
NASA chose Deep Impact to be part of a special series called the Discovery Program on July 7, 1999. The Discovery program specializes in low-cost, scientific projects. In May 2001, Deep Impact was given...more
The Galileo spacecraft was launched on October 19, 1989. Galileo had two parts: an orbiter and a descent probe that parachuted into Jupiter's atmosphere. Galileo's main mission was to explore Jupiter and...more
Lunar Orbiter
During 1966 through 1967, five Lunar Orbiter spacecrafts were launched, with the purpose of mapping the Moon's surface in preparation for the Apollo and Surveyor landings. All five missions were successful....more


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Climate-neutral mobility not without e-fuels: eKKon conference in Vienna
By elsenmedia1. January 2023January 17th, 2023No Comments
Experts agree that, alongside electricity and hydrogen, e-fuels are indispensable for a sustainable energy supply around the world. For example, numerous international experts recently got together at the eKKon conference in Vienna to discuss exactly this topic. The various solutions for climate-neutral mobility were discussed. Mobility experts, CEOs and climate experts were among the guests here in order to be able to make an important contribution to the international discourse.
Different solutions are needed for climate-neutral mobility
The keynote of the conference already shows that there can be no one-off solution for everything in order to meet the challenges of the future. According to the well-known expert for sustainable mobility Josef Rademacher, there must be an energy and climate strategy that is compatible with prosperity and offers a wide range of solutions.
Martin Cames, climate expert at the Berlin Öko-Institut, sees it the same way. He also emphasizes the use of e-fuels in aviation and shipping. Here, e-kerosene is already seen as a fuel by almost all stakeholders, but a different approach is conceivable in seafaring. In his opinion, e-fuels are an integral part of climate-neutral mobility, but politics must allow open technology unity and provide clear technology specifications in order to arrive at the best possible solution. In addition, eFuels must be subsidized from the start so that substitution can pick up speed, according to Cames.
Achieve climate-neutral mobility through e-fuels in existing fleets
The climate-neutral synthetic fuels are indispensable for the global fleet of 1.3 billion vehicles with combustion engines. Rademacher assumes that the combustion engine fleet in Africa will grow significantly, but is also focusing on trucks or shipping and air traffic.
"I am pleased that we have succeeded in winning over the pioneer of climate-neutral mobility, Prof. Franz Josef Radermacher, to open the first major Vienna eFuel Congress. also dr Cames sees eFuels as part of the solution." Stephan Schwarzer, organizer of the conference and managing director of eFuel Alliance Austria.
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LINH-TRAN DO
Linh-Tran Do is a graphic designer and illustrator based in Houston, Texas. She strives to communicate stories through visuals and words as a cross-disciplinarian artist, practicing at the intersection of design, illustration, and fine arts. Though she draws inspiration from many sources, her work often explores the duality of being Vietnamese-American as well as the importance of cultural representation and mental health awareness. She graduated from Rice University with a B.A. in Visual Arts and received the Visual Arts Chairman's Award. She was the first recipient of the Darra Keeton Award in Painting and Drawing established in 2014.
In 2013, she created as part of the duo VILD Art Collaborative an art installation called Submerged: Origins of a Species, immersing the viewer with abstract representations of DNA made from test tubes and lights, first at Matchbox Gallery and later at Fresh Arts Houston. In 2014, she and her team ranked Top 8 in Disney's Imaginations Competition with their project, "Selvestra." Since 2015, she participates in Inktober every year and has self-published a collection of Inktober drawings, available on Amazon. Most recently, her illustration "Queen of Hearts" was selected as one of 20 new designs chosen to represent Houston in Discovery Green's upcoming exhibit House of Cards by OGE Group in April 2020.
Follow her work on Instagram at @linhtran_do.
Buy prints and more at Society6.
Support her work on Ko-fi.


text:
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Sauna Sauna
Two thousand years ago, the first saunas were said to be seen in Finland. In those days, they were used to protect people from the cold by digging pits in the ground. Stones in the pit were made to become hot due to a fire that was lit. Once these hot stones were arranged around the pit, they gave warmth. With the passage of time, this concept of using heated stones was utilized by primitive people living in the northern hemisphere to provide their dwellings with warmth during severe winters. At some point in history, it was discovered that water poured on heated stones was converted into steam, thus increasing the temperature of the interiors. As a result, the inhabitants could remove their insulating winter wear and experience the heat trapped inside their houses. With the increase in quality of construction material, the dwelling structures retained more heat within them, and the indoor temperatures began to rise high enough to make the inhabitants sweat in the most severe winters. As a result of sweating, they felt refreshed and energized. This prompted them to build a number of separate structures just to experience the pleasure of sitting in the steamed-up environment, which enabled them to enjoy the benefits of sweating. This is how a heat pit evolved into a sauna, as it is popular today.
The skin, being the largest organ in the human body, helps to regulate heat besides performing other physiological functions. The skin produces sweat in response to heat, and this sweat has a dual purpose: to cool the skin when the sweat evaporates, and to flush out toxins collected in the body. The liver and the kidneys are the organs mainly responsible for excretion. The liver filters out toxins into the urine and bile and the kidneys excrete them. There is great pressure on the liver, and this pressure can be eased-off when the skin does its part of producing sweat, in order to flush the toxins out. The skin thus helps the kidneys and the liver to function efficiently.
We live in a world that is highly polluted. Many of these pollutants are ingested or externally absorbed by the body. Polychlorinated biphenyls (PCBs), which are categorized as 'persistent organic pollutants', are known to cause cancer in a vast majority of cases. Pesticides and dioxins are highly toxic; and phthalates, which are used in the manufacture of plastics, can cause a number of long-term disorders. According to experts, a sauna is the most effective way of detoxifying the body among other methods. Saunas are used in hyperthermia (sweat producing therapy). This therapy facilitates the flushing out of toxins and also has a soothing effect on the autonomous nervous system, thus making the muscles feel relaxed. It reduces blood pressure and is beneficial to the digestive system. When the core body temperature is raised by using a sauna, the immune system is boosted and its ability to fight diseases increases.
Individuals that have been regularly exposed to toxins can be benefitted by sauna therapy. They include farmers, drug addicts, firefighters and pilots who fly pesticide-spraying planes. American veterans, who suffered the ill-effects of being exposed to Agent Orange during the Herbicidal Warfare in the Vietnam War, are known to have benefitted from sauna therapy. Those who cannot tolerate medications, either for removal of toxins or for treatment of medical problems, can also be benefitted by the use of saunas.
A beneficial treatment such as the sauna treatment faces a paradoxical situation. This is because it sometimes becomes unsuitable for exactly those people who could actually benefit from it. For example, saunas may produce adverse effects in heart patients. Fortunately, technology has found an answer.
The answer to raising the core body temperature without overheating the surroundings lies in the infrared technology. Infrared or radiant heat is easily absorbed by human tissue without being absorbed by the surroundings. Infrared saunas operate at temperatures of 110 - 130 degrees Fahrenheit compared to the wide range of 108 - 230 degrees Fahrenheit of the steam sauna. Infrared saunas raise the body's internal temperature while keeping the external temperature at tolerable levels, since the external environment does not absorb more than 20 percent of this heat emanating from an infrared source. This infrared sauna not only penetrates deeper for more sweat production, but is also safe and does not produce adverse effects.
The uses of infrared saunas are not limited to just making a person sweat, but they are used in soothing muscular pain caused by sports, chronic fatigue and arthritis. They are also used in treating fibromyalgia, a chronic condition characterized by severe pain in the muscles. Infrared saunas generate enough heat to facilitate the elimination of chemicals and metallic toxins dissolved in fatty tissues. Once these toxins are out of the fatty tissues, they can be carried out of the body by sweat. This has a two-fold benefit: alleviating the pain, and removing the toxins that cause these conditions.
Apart from providing relief from various conditions with its heating abilities, infrared saunas are also used to treat people who suffer from eczema, acne, psoriasis and cellulite deposits. As a result of the internal heat, dead cells of the skin are shed, bringing to the surface the new, elastic and well-toned skin. The appearance of the skin is also improved as the deep heat melts the cellulite deposits. The infrared heat increases growth hormones and facilitates weight loss. Under standard conditions, infrared saunas can help burn as much as 600 calories in just 30 minutes.
Although conventional saunas have a wide range of benefits, infrared saunas are more efficient and effective, and ideal for therapeutic use, since they speed up the elimination of toxic substances from the body. As a result of the detoxification process, those who use infrared saunas, end up feeling energized and rejuvenated.
While saunas do not provide a miracle cure for various physical ailments, they have an extensive history of being widely beneficial to those who have regularly used them. In case you are suffering from a medical problem, and you are doubtful regarding the benefits of a sauna, or you are wondering if it is suitable for you, it is best that you consult your health professional before beginning its use.
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Managing complex application environments can be made even harder by the complex organizations in which we work. Multiple stakeholders may be interested in different applications or services, or even applications in different stages of deployment. Wouldn't it be great if everyone could view apps and servers from their own point of view?
The screenshot reveals the number of applications each team has in staging and the applications' status. This is a view of well over 100 applications, filtered down to just the 20 we're interested in, rolled up by the teams we're interested in. How can you do this yourself?
Let's start on the APM home page. First thing you'll notice is the new search box on the left and the "Show Labels" toggle to the right. All your applications and servers load at once, with sorting and filtering occurring on the entire set. Paging is lightning fast.
But even if you can page through all your applications or servers, you probably want to narrow them down to the set you're interested in. That's where labels and rollups come in. If we turn on "Show Labels," we'll see that the folks in New Relic engineering have started to organize New Relic's own applications.
A label has two attributes: a category and a value. A category is used as an organizer for rollups. You can roll up by category, and all the different label values for a category will be organized together. Let's see how that works.
The label category "Environment" has four label values: Dev, Production, Staging, and Test. All the applications for each of those values are "rolled up" together, giving us aggregate health indicators. All the applications missing labels of type "Environment" are filtered out, so we can easily see what we're interested in. If we were to look at the address bar in our browser, we would see that this rollup is reflected there, so it can be bookmarked. We can always return to this view.
When we click in the search field and scroll, we see the top five selections for each rollup, label category's values, and applications. If we type, it'll automatically start narrowing the list. In the screenshot below, we've started typing "Service" and it's started narrowing the list for us.
You can automate this process. New Relic has an API for listing, creating, and deleting labels. The next releases of the Ruby, PHP, and server monitoring agents allow you to specify categories and labels in their configuration file, with other language agents adding the feature in future releases. Likewise, you can use the API for filtering server lists by labels.
New Relic labels and rollups are designed to help you focus on what you need to worry about, giving you easy access to your application and server performance information. We hope you like it! Please tell us what you think in our Community Forum.
John Karabaic is the product manager for New Relic Platform. His past lives were spent at NeXT, AvantGo and KACE. View posts by John Karabaic.


Food52 founders Amanda Hesser and Merrill Stubbs launched their now-renowned website based on the notion of "genius" recipes—recipes that "change the way you think about cooking." Recipes that are elegant, easy, original, and translate from kitchen to kitchen, coast to coast. Readers alert genius editor Kristen Miglore to their finds, and post comments on the weekly selection. The Wild Mushroom Cookbook offers several such genius recipes from a passionate community of resourceful, woodsy Californian mushroom hunters. We, too, are resourceful and woodsy—two out of three—which was enough to discover some of the book's genius recipes that worked spectacularly in our Iowa kitchens.
This extensive collection is the result of years cooking and sharing successes. The back cover of The Wild Mushroom Cookbook claims it offers "the most comprehensive collection of wild mushroom recipes ever assembled." Indeed, it would take years to make the 299 recipes in the book. Not only do the mushrooms featured in the book span the west coast collection season, the mushrooms and recipes that the authors have collected span years. Gardner and Winslow met in a mushroom identification class at the College of the Redwoods; their professor, Teresa Sholars, wrote the book's foreword. Several recipes in the book were created by students in Sholars' 1981 class for a booklet called "Gathered Mushroom Recipes." Other recipes come from friends and acquaintances in the Mendocino region.
With so many recipes to choose from, it was easy to find dishes that appealed to our tastes. And unlike any other mushroom cookbook we've seen, The Wild Mushroom Cookbook has extensive chapters on drinks and desserts, courses that we rarely neglect. Most of the recipes we tried withstood the book's test of time and distance. Some of the recipes, however, such as the "Vegan Hedgehog Sandwich Spread," felt slightly old school in their ingredients, techniques, and taste. Likewise, some recipes we tried seemed too light-handed on spices—especially pepper and fresh herbs—which required a re-seasoning at the end. This doesn't bother us; we're confident cooks who like to play around and compare notes. But if you prefer to follow recipes exactly, keep your eyes peeled for the ones that list familiar levels of herbs and spices.
That doesn't mean some of the less-spiced recipes didn't dazzle. One of our favorites was the super simple "Mushroom Ratatouille" (though we doubled the marjoram and added fresh parsley and basil). It never ceases to amaze us how delicious mushrooms can be in the simplest surroundings; here: sautéed with onions, eggplant, green peppers and tomato sauce. Because it's difficult to get fresh cauliflower mushrooms in Iowa, we used fresh Chicken of the Woods from a recent monster haul. The result: easy, hearty, and delicious.
The recipe for "V9 juice" was a Eureka moment; it turned V8 juice, already a favorite savory drink, into a umami shot. It smoothed the acidic edge of V8 and was good warm or chilled. The next time we make it, we'll introduce it to some ice cubes and a lonely bottle of pepper vodka in the back of the cupboard. This concept will also work well with local wild mushrooms: in the fall, we can find puffballs as big as goats and make a quart of puffball powder overnight. This powder is shockingly intense and will surely be as marvelous an addition to the V8 as dried porcinis from the grocery store.
Because of the oily blandness of most of salad dressings, we often skip them and just eat our veggies the way rabbits do. But in "Mushroom Soy Vinaigrette," mushroom powder transformed oil and vinegar as it did V8 juice. (We used dried matsutake). The powder also acted a great thickening agent, giving the dressing a more bold substance. It was delicious on a bowl of fresh pea shoots and flavorful enough to transform rabbit food into a civilized salad. Shrimp will be next. The instructions say to make the dressing a day in advance. Do it. An overnight rest sets it right.
Another intriguing technique was smoking mushrooms, as used in "Smoky Eggplant Dip." Smoking the mushrooms for twenty minutes away from direct heat imbued them with a rich, mellow flavor you could eat without any additions. The dip itself incorporated sour cream which gave it a smooth, cool, but slightly 80s note. We added fresh herbs, salt and pepper to the finished product, but it was well worth the fix to experience the pleasure of smoked 'shrooms. We wondered the effect that different wood chips would have of different species of mushrooms. Now there's a cookbook.
The bright, vibrant Asian flavors of Salmon and Matsutake Oriental Salad stood out. We'd double the dressing and add something crunchy like nuts, water chestnuts (talk about old school), or (gasp) crumbled Ramen noodles. Black trumpet cream of nettle soup was good and practical — homely even, given the color that results when you blend black with the green drab of cooked nettles. As the headnote observes, black trumpets and nettles are a "winter forager's delight." Nettle is out here anytime but winter so it does coincide with black trumpets and any other mushroom you'd find. Even better, it called for only 2 cups of nettle; has anyone ever managed those recipes that call for 2 pounds? "Mushroom Bread" was a great accompaniment, but it would've been superb if the filling had been doubled. We opted for sundried tomatoes instead of the Kalamata olives, which gave the bread a tangy robustness.
Mendocino is candy cap land: the book is full of wonderful sounding recipes using them: candy cap glazed nuts, candy cap upside down cake, candy cap ice cream soda . . . Luckily, we can find them on the internet—but at prices that inspire restraint. We chose the candy cap cornbread with bacon fat and crumbled bacon. Sweet and salty almost always spices things just right. This bread also had a fine crumb that distinguished it from most corn breads; perhaps the 1/4 cup of powdered candy caps absorbs some of the liquid in the batter.
The Wild Mushroom Cookbook contains genius recipes for every cook—no matter where you live—that will help you discover wild mushrooms' ingenious potential. It's a joy to see what a thriving community of mycophiles can cook up!
Put all ingredients in a jar and shake well to blend or mix in blender until smooth.
Best if made a day in advance of using to allow flavors to meld.


I would like to ask (don't know if that has been answered in other place. Sorries in advance being that the case) about the "not-exactly-main-books" products. Like the audio-drama or even the Jumpstart. Are they still coming? How are they going? I imagine the delay have made things difficult. I suppose they are going live when Scion is officially launched, what I believe is not yet the case. I suppose we just consider "Scion officially launched" when we have the books (Origin and Hero and extra stuff from KS) shiped, right?
Can such things as the meta-physical reversal of Titans exist - Gods completely subsumed by a specific Calling, making them pure archetype, the way Titans are subsumed by a specific Purview?
Thank you for contributing. I'm going to avoid questions about the state of the Kickstarter deliverables. That's largely outside the hands of the line developers and will really only be relevant for a short period of time.
Is there any really obscure mythology (or piece thereof) that you're personally really keen on seeing in the game?
This is a good one, and made me think of it's 'opposite:' is there any very popular piece of mythology you don't care for including, or perhaps want to include in a particularly a-typical manner?
Has Zeus shown his face in the World since #MeToo started trending?
Huh,I once called Zeus a sexual assaulted,but after doing a bit more research,I didn't find any evidence his affairs were non consensual. Did I miss something?
He turned into Alcmene's husband Amphitryon to sleep with her, fathering Heracles. There was the whole Hera and the cuckoo event. Off the top of my head.
Thank you all for the questions you've contributed. We'll cover as many of these as possible during our interview, which is now scheduled! You have until the end of October to add additional questions to the list.
A bit late but will Satyrs be included in the Bestiary despite not meeting the Stretch goal?
OK, I'm consolidating the question list now since the interview is tomorrow. I can't promise I'll get to all of the questions, but I'll get to as many as possible during our time.
Do you know yet when it'll be posted?
We're still working out the exact release schedule, but it will either be 12/17 or 12/31. We just release the final episode in the last series today (an actual play of Masks), and will star the release of the Scion series with our overview episode of Origin in two weeks. I'll post to the forum as we release the Scion episodes.