nataki garrett

On May 5th, 2023, at the height of a Scorpio Full Moon Eclipse, it was announced that Nataki Garrett would be resigning from her post as Artistic Director of Oregon Shakespeare Festival after four long years. This is a watershed moment in the history of the American Theatre. There will be news. What I have for you is my raw, artists’ response, as a Black, trans artistic leader, and an artist who participated in the Shakespeare festival last year. A letter to you, a letter to me, a letter to Nataki. I hope it soothes.

A Titan has been lost.
No. Not lost.
She can still be found.
A Titan has been displaced.
Still not right. She left of her own volition.

A Titan has shed her skin.
Yes. That’s right.
What happens when a Titan must move?
A Titan on whose back rested a village that worshiped her daily? Continue reading “Shedding Skins: An Artists’ Response to Nataki Garrett’s Departure”

This review is written by Logan McCullom, an alumni of The Key: Young Critics Mentorship Program.

Stumbling through the seemingly unending crowds and stairs that make up Steppenwolf’s theatre, I was frazzled and bewildered by how many folks I saw waiting to be seated for the opening night of BLKS. At first glance I found the title to be easy and not very enticing at all, but it was quickly redeemed as I saw the set. Like the title would prove to be, it was comprised of… well… everything. There was no shortage of couches, there were even couches on the walls! Set designer Sibyl Wickersheimer draped long blue curtains on the stage, making distinct isolations that served as different rooms within the same stage. It was messy, chaotic, a perfect representation of life on your own, and I loved it. Continue reading “Aziza Barnes’ ‘BLKS’ Gets Up Close and Personal”