Podcast appearances and mentions of nataki garrett

Five Black and Latino teenagers were wrongfully convicted of raping and brutally assaulting a white woman in 1989. The boys’ legal case gripped and divided the nation, and symbolized systemic injustices within the legal system for communities of color. All five men were exonerated over a decade later. Detroit Opera brings the Pulitzer Prize-winning opera The Central Park Five to audiences on May 16 and 18. Award-winning director Nataki Garrett talked about bringing this powerful piece to the stage, and why it’s so relevant for audiences right now. “I love that we're doing this opera in Detroit, which has a significant black population, because there are parts of this story that are a part of our collective consciousness, both through memory but also through experience,” Garrett told Stateside.See omnystudio.com/listener for privacy information.

"Artists must be at the center of decision-making, shaping policies and funding structures that directly impact their work and their communities” - Nataki GarrettShow GuestsTiara AmarTitle: Advocate for Art Workers' RightsKey Points:Advocates for fair pay and professional protections for musicians.Highlights the Fair Play Initiative for setting pay minimums.Showcases transformative impact through grassroots campaigns and fellowship programs.Nurit SmithTitle: Executive Director, Music Forward FoundationKey Points:Stresses the importance of aligning education with industry needs.Advocates for holistic creative economy education, including entrepreneurship and business skills.Explores solutions for workforce development and advocacy.Nataki GarrettTitle: Keynote Speaker and Arts Policy AdvocateKey Points:Discusses sustainable funding models for arts organizations.Emphasizes access and inclusivity in creative spaces.Highlights the transformative role of artists in policy and advocacy.Three Ways You Can Support the Work of our Guests:Advocate for fair pay and professional protections for artists by engaging with local policymakers and supporting initiatives like the Fair Play Campaign.Partner with organizations championing creative economy education to help bridge the gap between education and industry.Support place-keeping initiatives by investing in community-based projects and amplifying the voices of local artists.For more information, guest details, and resources from this episode, visit our episode web page. Dive deeper into these vital discussions and access the California Arts & Culture Summit Resource Guide todayMake a Donation: Support Voices of the Community, fiscally sponsored by Intersection for the Arts, a 501(c)(3) nonprofit, and enjoy tax deductions for your contributions. Newsletter: Sign up to stay updated on future episodes and events  Delve deeper into Voices of the Community Series on Arts & Culture, Making the Invisible-Visible, Covid-19's impact on nonprofits, small businesses and local government, City of Stockton's rise from the ashes of bankruptcy and our archives: You can explore episodes, speakers, organizations, and resources through each series web page. Watch and learn from all five series now!

 "Together we can create a world where arts and culture are recognized and invested in as essential to society, embedded in community life, and intersecting with broader policy change to reshape systems towards equity and justice." - Julie BakerJoin us as we kick off our second season, celebrating the vibrant and resilient arts and culture scene that shape our community. This season, we bring you highlights from the second annual California Arts & Culture Summit, organized by our partner California for the Arts, with the theme "Art Work is Real Work."In our premiere episode, don't miss the inspiring opening ceremony and keynote sessions with Nefesha Yisra'el the Director of Programs from California for the Arts, Leticia Rhi Buckley, the CEO for LA Plaza de Cultura y Artes, Julie Baker, the CEO for both California for the Arts and California Arts Advocates along with keynote speaker Nataki Garrett the Co-Artistic Director of One Nation / One Project Arts for Every Body. They delve into the critical topics of advocacy, cultural equity, artist support, and the transformative power of the arts in promoting health and empathy.Tune in and discover the economic significance of the arts and the urgent need for sustained funding. Be inspired by stories of how art addresses societal issues and fosters a more empathetic world.To find out more information about our guests and their respective organization's programs, and services, how to volunteer and make a donation please visit our episode landing page with links to resources for the arts and culture sector. And if you have been enjoying the show, please leave us a rating and review on the podcast platform of your choiceWe welcome your participation in our next virtual and live in-person community dialogue event. You can also watch this episode on our YouTube Channel and please Sign Up for our Newsletter to stay up to date on future episodes and to participate in our next live show. We would love to hear from you with feedback and show ideas, so send us an email to george@georgekoster.comPlease consider donating to Voices of the Community - Voices of the Community is fiscally sponsored by Intersection for the Arts, a 501(c)(3) nonprofit organization, that allows us to offer you tax deductions for your contributions. Please consider making a donation to help us provide future shows just like this one. Delve deeper into our Voices of the Community Series: explore episodes, speakers, organizations, and resources on our dedicated page. Watch and learn from all five series now!

How are institutional leaders navigating the warring tides of politics and public opinion—tides that may steer them toward uncertain futures? Can organizations help artists, patrons, and the public find common ground, or productive ways to discuss their differences, in this moment of deep democratic and cultural conflict? And, even as they themselves struggle to stay afloat, how do arts institutions serve as spaces of civic engagement, community, and inclusion? MOCA director Johanna Burton, Center Theatre Group artistic director Snehal Desai, former Oregon Shakespeare Festival executive artistic director Nataki Garrett, and Whitney Museum director emeritus Adam D. Weinberg discuss how the culture wars have impacted their work, and where they see institutions, and the arts at large, going next. Moderated by Kristin Sakoda, Director of the Los Angeles County Department of Arts and Culture. This program was co-presented with the Thomas Mann House and Los Angeles Review of Books as part of “Arts in Times of Crises: The Role of Artists in Weakened Democracies,” on November 18, 2023. Follow Zócalo: X: twitter.com/thepublicsquare Instagram: www.instagram.com/thepublicsquare/ Facebook: www.facebook.com/ LinkedIn: www.linkedin.com/company/z-calo-public-square

Tim Bond will become Oregon Shakespeare Festival’s newest artistic director at the end of this week.  He takes over at a time of turmoil for the company, which is still fundraising millions of dollars to cover the costs of the 2023 season. OSF’s executive director left in January. The previous artistic director, Nataki Garrett, left in April after leading the organization through the pandemic and multiple fires, and facing death threats for her play choices. Bond joins us to talk about what comes next for the nearly 100 year old organization. 

This week on the show we welcome Nataki Garrett and Scarlett Kim of Oregon Shakespeare Festival and Latoya Peterson of Glow Up Games to talk about Hella Iambic the collaboration between the famed theatre company and the game studio that has previously worked with the likes of HBO on creating original games based on existing works.The existing work in this case is Shakespeare's best known play Romeo & Juliet, and the Hella Iambic app is adding a whole new dimension later this month to OSF's currently running production of the play. SHOW NOTESRomeo & Juliet at OSFNataki GarrettScarlett KimGlow Up GamesThe Next Stage Immersive Summit Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

To Be Heard, To Be Seen, To MatterShaunda McDill is the newly appointed Managing Director of the Pittsburgh Public Theater. She is a rare type of new leader coming of age in the modern American Theater – black women who are ascending to top roles in major theatrical institutions across the country. She joins the ranks of theatrical trailblazers like Nataki Garrett, Artistic Director at the Oregon Shakespeare Festival; Dominique Morisseau, Executive Artistic Producer at Detroit Public Theater; Patricia McGregor, Artistic Director at New York Theater Workshop; and Hana Sharif, the Augustin Family Artistic Director at Repertory Theater of St. Louis. All wrestling with that question of how do we create space within the canon of the theater to make as much room as possible for a multitude of voices, perspectives, and stories to emerge that are as diverse and as expansive as is the landscape of the country today. Because in the final analysis, it comes down to Representation. And whose stories get to be heard, to be seen and to matter.For Shaunda, her answer to that question has its roots in her nontraditional journey to the Pittsburgh Public Theater. As a young girl her life as an artist began by performing in skits at the local Red Cross to highlight HIV/AIDS for kids, and reciting Bible verses in the Easter Pageants at her church. Along the way, she was mentored by such theater and literary luminaries as Ntozake Shange and August Wilson, and influenced by the words of Langston Hughes, James Baldwin, and Toni Morrison. She formed her own theater company called Demaskus – that unapologetically creates space for the underserved and underrepresented people in the theater to have the artistic license to succeed and fail, and to explore freely their artistry on their own terms. For as Shaunda says, “It is necessary for us to tell our own stories if they are going to be told. We must bear witness to what happens and what has transpired in our lives.” She has built a life buttressed by her strong, unshakeable faith and her belief that her approach to creativity isn't about struggling to convince others of her humanity, but rather a struggle to produce work and art that reflects her vision of the world. Her life and her career are not exercises in looking outward, rather they are the result of Shaunda looking inward into her innermost soul.At the Podium WebsiteAt the Podium on IGPatrick on IGFor more information contact Patrick at patrick@patrickhueyleadership.com

Oregon Shakespeare Festival's Nataki Garrett talks about OSF returning to the stage this year, and some of the high and low points along the way.

Racial justice advocates and Ashland City Council members go on record condemning death threats that prompted the hiring of security detail for OSF Artistic Director

A conversation with Oregon Shakespeare Festival's artistic director Nataki Garrett and playwright Dominique Morisseau about Confederates.

After weeks of canceled shows due to COVID-19, the Oregon Shakespeare Festival had to pivot once again to move shows indoors due to smoke from the McKinney fire. Nataki Garrett, artistic director of the Oregon Shakespeare Festival, tells us about how they're handling the challenges they face. Meanwhile, the McKinney fire blazed north of Karuk tribal homelands in Northern California and destroyed a building in Oak Knoll that housed the tribe's archives. Josh Saxon, Executive Director of the Karuk Tribe, reflects on the fire's impact on the land and people who live there.

A conversation with Oregon Shakespeare Festival's artistic director Nataki Garrett and playwright Dominique Morisseau about Confederates.

This week we talk to the leader of the West Coast powerhouse about the tough years just page and what lies ahead.

The Oregon Shakespeare Festival will resume its first in-person production since closing in March 2020. On July 1st, OSF will open the musical, “Fannie,” which recounts the life of civil rights activist Fannie Lou Hamer. It will be performed in the outdoor Allen Elizabethan Theatre. Artistic director Nataki Garrett tells us more about the musical and about what theatre goers can expect this summer.

Originally recorded via Zoom for Oregon Shakespeare Festival’s digital platform O!, this special edition of our podcast brings that conversation to you, imbued with excerpts from the CNP world premiere production of The Carolyn Bryant Project. For a full list of creative credits, visit https://centerfornewperformance.org/projects/carolyn-bryant/.

When Nataki Garrett was named the artistic director of Oregon Shakespeare Festival (OSF) in Spring 2019, people took notice for multiple reasons: Garrett is only OSF's sixth artistic director and its first woman of color to hold that position. She also became one of few women of color in the country to lead a major theater. Because of OSF's history, reach, prestige, and $44 million budget, and Garrett's track record in developing new work and her commitment to diversity, equity, and inclusion, her appointment seemed to herald an important moment in not-for-profit theater. But just as Garrett was launching her first full season as artistic director, OSF was forced to shutdown because of the pandemic—closing five productions only six days after opening. Since then Nataki Garrett has focused her efforts on keeping OSF vital, sustainable, and accessible to new and old audiences alike. In this podcast, she talks about OSF's 2020 journey through the pandemic,  the country's racial reckoning, and the challenges and opportunities presented by both, OSF's 2021 season, and her vision of creating strategies to support artists. As we celebrate Women's History Month this March, the National Endowment for the Arts will shine the light on some phenomenal women, past and present, through the agency's blog, podcast, and social media channels. While the stats may continue to be disappointing in terms of equity, we believe that as we work to address those disparities it's also important to celebrate the impact women have made and continue to make in the arts. From Phillis Wheatley, an enslaved woman who was also one of the best-known poets in pre-19th-century America to dancer and choreographer Martha Graham, whose work lives on not only through her dancers but through the company's venture into mixing dance with technology, we're celebrating women who, to borrow from Maya Angelou's famous poem “Phenomenal Woman” have fire in their eyes and joy in their feet.

When Nataki Garrett was named the artistic director of Oregon Shakespeare Festival (OSF) in Spring 2019, people took notice for multiple reasons: Garrett is only OSF’s sixth artistic director and its first woman of color to hold that position. She also became one of few women of color in the country to lead a major theater. Because of OSF’s history, reach, prestige, and $44 million budget, and Garrett’s track record in developing new work and her commitment to diversity, equity, and inclusion, her appointment seemed to herald an important moment in not-for-profit theater. But just as Garrett was launching her first full season as artistic director, OSF was forced to shutdown because of the pandemic—closing five productions only six days after opening. Since then Nataki Garrett has focused her efforts on keeping OSF vital, sustainable, and accessible to new and old audiences alike. In this podcast, she talks about OSF’s 2020 journey through the pandemic,  the country’s racial reckoning, and the challenges and opportunities presented by both, OSF’s 2021 season, and her vision of creating strategies to support artists. As we celebrate Women’s History Month this March, the National Endowment for the Arts will shine the light on some phenomenal women, past and present, through the agency’s blog, podcast, and social media channels. While the stats may continue to be disappointing in terms of equity, we believe that as we work to address those disparities it’s also important to celebrate the impact women have made and continue to make in the arts. From Phillis Wheatley, an enslaved woman who was also one of the best-known poets in pre-19th-century America to dancer and choreographer Martha Graham, whose work lives on not only through her dancers but through the company’s venture into mixing dance with technology, we’re celebrating women who, to borrow from Maya Angelou’s famous poem “Phenomenal Woman” have fire in their eyes and joy in their feet.

When Nataki Garrett was named the artistic director of Oregon Shakespeare Festival (OSF) in Spring 2019, people took notice for multiple reasons: Garrett is only OSF’s sixth artistic director and its first woman of color to hold that position. She also became one of few women of color in the country to lead a major theater. Because of OSF’s history, reach, prestige, and $44 million budget, and Garrett’s track record in developing new work and her commitment to diversity, equity, and inclusion, her appointment seemed to herald an important moment in not-for-profit theater. But just as Garrett was launching her first full season as artistic director, OSF was forced to shutdown because of the pandemic—closing five productions only six days after opening. Since then Nataki Garrett has focused her efforts on keeping OSF vital, sustainable, and accessible to new and old audiences alike. In this podcast, she talks about OSF’s 2020 journey through the pandemic,  the country’s racial reckoning, and the challenges and opportunities presented by both, OSF’s 2021 season, and her vision of creating strategies to support artists.  

Nataki Garrett, the artistic director of the Oregon Shakespeare Festival, on getting the theater industry the support it deserves during the pandemic.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Robert and Nataki share their experiences directing stories of enslavement, transitioning from performance to leadership, and being an artist during the paradigm shift we’re experiencing today. Nataki Garrett is Oregon Shakespeare Festival’s sixth artistic director. As the former associate artistic director of CalArts Center for New Performance, Garrett has been hailed as a champion of new work as well as an experienced, savvy arts administrator. 2019 was Garrett’s first season at OSF, where she directed How to Catch Creation. At CalArts, Garrett oversaw all operations of conservatory training and produced mainstage, black box, developmental projects, plays, co-productions and touring productions. She is currently on the nominating committee for The Kilroys, and she recently served on the Harold and Mimi Steinberg Charitable Trust Distinguished Playwright Award nominating committee and the Fox Foundation Resident Actor Fellowship panel.

The Oregon Shakespeare Festival in Ashland has been devastated by the pandemic, on top of major setbacks in recent years due to wildfires. We hear from OSF artistic director Nataki Garrett about the festival's plans, and from the Ashland Chamber of Commerce about the economic hit from the loss of tourism and how the festival — and the region —can move forward.

OSF Artistic Director Nataki Garrett discusses “Confederates,” playwright Dominique Morisseau’s world-premiere American Revolutions co-commission with Penumbra Theatre, which Garrett will direct at OSF in 2020. #ConfederatesOSF osfashland.org/2020

Oregon Shakespeare Festival’s new artistic director, Nataki Garrett, started her new job at the beginning of August. She’s also directing a play called “How To Catch Creation.” Garrett takes over from Bill Rauch who directed the festival for 12 years.

OSF’s incoming and outgoing artistic directors, Nataki Garrett and Bill Rauch, discuss their brief period of leadership intersection before Bill heads to New York and Nataki fully takes the artistic reigns as the 84-year-old Festival’s fifth artistic director.

Today's Midday on the Arts concludes with theater critic J. Wynn Rousuck joining Tom with her review of Christina Anderson's new play, How to Catch Creation, now getting its regional premiere at Baltimore Center Stage.In this latest work by Anderson, a winner of the prestigious Lorraine Hansberry Award, we meet a wrongly convicted man who is released from prison after 25 years. As he sets about rebuilding his life, he begins a quest to become a father. The play spans more than four decades as it explores intersecting lives, family, parenthood, and the power of new beginnings.How to Catch Creation is directed at Center Stage by Nataki Garrett, and stars Tiffani Barbour as G.K. Marche, Shauna Miles as Natalie, Shayna Small as Riley, Lindsay Smiling as Griffin, Stephanie Weeks as Tami, and Jonathan Bangs as Stokes.Content Advisory: The play includes some adult language and topics more appropriate for middle schoolers and older audiences.How to Catch Creation continues at Baltimore Center Stage through Sunday, May 26.

Show-Score is branching out of NYC. I got a discounted ticket to see The Gods of Comedy at McCarter Theatre in Princeton for tomorrow and I can't wait. In today's news: Season Announcements: 2 summer theatres announced Adirondack Theatre Festival & Berkshire Theatre Group. Who's In & Who's Out: there's a lot happening in Chicago at Remy Bumppo, Chicago Dramatists & Steppenwolf Theatre Company. Articles & Interviews: an interview with Oregon Shakespeare Festival's incoming artistic director and There's Something I Had to Share With You. TO JOIN THE MAILING LIST, TEXT TREADINGTHEBOARD TO 22828 SEASON ANNOUNCEMENTS Adirondack Theatre Festival (NY) Berkshire Theatre Group (MA) WHO'S IN & WHO'S OUT Remy Bumpoo welcomes Ian Frank as the new Associate Artistic Director Chicago Dramatists names Carson Grace Becker as the new Artistic Director Steppenwolf Theatre Company has a new Associate Artistic Director, Leelai Demoz ARTICLES & INTERVIEWS American Theatre Magazine interviews Nataki Garrett about her new position as Artistic Director of Oregon Shakespeare Festival SOMETHING I HAD TO SHARE WITH YOU... THEATER: All the Moving Parts   To buy your own copy of Treading the Boards, click here THANKS FOR LISTENING & HAVE A CREATIVE DAY

HOW TO CATCH CREATION runs July 23 to Oct. 26, 2019, in the Thomas Theatre. Tickets & info: osfashland.org/HowToCatchCreation

This is a black arts and culture site. We will be exploring the African Diaspora via the writing, performance, both musical and theatrical (film and stage), as well as the visual arts of Africans in the Diaspora and those influenced by these aesthetic forms of expression. I am interested in the political and social ramifications of art on society, specifically movements supported by these artists and their forebearers. It is my claim that the artists are the true revolutionaries, their work honest and filled with raw unedited passion. They are our true heroes. Ashay! 1. Karel Sloane-Boekbinder, Ashe Cultural Arts Center's Programs Assistant, Theatre, Visual Art and Education along with guest curator Gason Ayisyin, join us to talk about the current exhibit: MAAFA: Creativity, Faith, Tradition and Resilience through August 23 at the Power House. 2. Cheryl Patrice Derricotte's Ghost Ships  3. Britney Fraizer (God, Understanding) joins us to talk about Everybody, by Branden Jacobs-Jenkins, currently at Cal Shakes (Tues.-Sun., Aug. 5) dir. by Nataki Garrett. Visit calshakes.org Thursday 8/2- Public Viewing 1-4 pm Fuller Funeral Home 4647 International Blvd Oakland, CA 94601   Friday 8/3- Funeral Service 11am Acts Full Gospel COGIC 134 66 Ave Oakland, CA   

“Risk is here, so you’ve gotta move through it.” – Nataki Garrett, 2018. Hosted by M. Graham Smith, we are delighted to bring you the twelfth episode of our podcast series – Masters of the Stage: Regional Originals with M. Graham Smith – a series of interviews with some of the most exciting Directors and Choreographers working in America’s regional theatres today. Today M Graham Smith is with Nataki Garrett, Artistic Associate Director with Theatre Company at Denver Center for Performing Arts (DCPA) and -Artistic Director at Blank the Dog Productions. Moving to New York City with just ‘$500 and a hole in her shoe’, Nataki has since established herself as a #director in many different regional communities and now in Denver. Nataki’s work looks to provide opportunities and platforms for silenced voices to be heard. Her whisper through the megaphone is that  “there is going to be a convergence of 'Black Lives Matter' the #MeToo movement, and Time’s Up" and that "the boards [of our regional theatres] have to be ready to listen to the next generation.” #SDCFaccess #SDCFconnectivity