THE BEHNKE CENTER FOR CONTEMPORARY PERFORMANCE
DEC 2019 — MAR 2020
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DEC 11 DEC 19–20 JAN 15
JAN 23–26
Performance Lab co-curated with Matt Aguayo Taylor Mac: Holiday Sauce Presented by Seattle Theatre Group at the Moore Theater Performance Lab co-curated with HATLO Jaha Koo: Cuckoo
FEB 1
In-progress showing: Tim Smith-Stewart & Jeffrey Azevedo: Salvage Rituals
FEB 14
Dani Tirrell: Black Bois Presented by Seattle Theatre Group at the Moore Theater
FEB 20–23
Solo: A Festival of Dance
MAR 19–22
Timothy White Eagle: The Violet Symphony Commissioned by On the Boards
info & tickets: ontheboards.org
UP NEXT APR 9–12
Markeith Wiley: Working (Undecided Title) Commissioned by On the Boards
APR 22–26
Festival for Small Humans. Partnership with Thingyverse Productions (Susie Lee & collaborators)
APR 29
Performance Lab co-curated with Dakota Camacho
MAY 7–10
BOXOFFICE@ONTHEBOARDS.ORG
COVER PHOTO: TIMOTHY WHITE EAGLE (SEE PP. 14–15)
Ahamefule Oluo: Susan Commissioned by On the Boards
206-217-9886 EXT.1019 (TUE-FRI, 12-4 PM)
On the Boards is beginning to engage in conversations to deepen our practices in a way that reflects and honors Coast Salish protocol. Part of our understanding of the protocol is making material gifts to the Indigenous peoples of this land as a way of recognizing their genealogical responsibility to the well-being of the territory and all beings who make a home here. We encourage you to donate online at realrentduwamish.org.
DEC 5–8
DEC – MAR 2019
BOX OFFICE
We begin by acknowledging this land is the ancestral home of the Duwamish and many other Indigenous peoples recorded and unrecorded, who have been the custodians of this land since time immemorial. As guests and — in many of our cases — as settlers on this land, we extend our deepest gratitude and respect to their ancestors and elders past, present, and future.
19/20 SEASON
AT-A-GLANC
Tina Satter/Half Straddle: Is This A Room: Reality Winner Verbatim Transcription
MAY 16
Spectacle Spectacular #15
JUN 4–7
Pat Graney: ATTIC Commissioned by On the Boards
= Performance included in the 19/20 Subscription Series
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DEAR ART LOVER, We’re deep into the 19/20 season. By now we’ve seen Ligia Lewis, Autumn Knight, and Ten Tiny Dances. OtB’s 40th birthday party was an epic commemoration of just how many incredible humans are part of our history. Coming up I’m excited for the world premiere of Ahamefule Oluo’s SUSAN. Plus Taylor Mac is back at the Moore in December — I can’t wait to laugh, cry, rage, slow dance with strangers, and marvel at judy’s glittery finery with you. These artists open our eyes, minds, and hearts in ways that are completely unpredictable. What I can’t predict are the conversations and connections that their ideas and performances will spark. We’re here for the surprises. Are you? On the Boards would not exist without this adventurous audience. This audience would not be so adventurous without On the Boards. The creators who have worked here over the past 40 years have truly shaped the way Seattle experiences contemporary performance. I’m grateful to them, and to you. I’m thankful for my co-conspirator in this work, Rachel Cook. She created a stellar season — AND she’s cooking up NEXT season, and the next — and together, we’re dreaming what’s possible in the next five, ten, or forty years. Dream with us — there has never been a better time. Betsey Brock Executive Director RIGHT:ALYZA DELPAN-MONLEY IN THE 2018 SOLO: A FESTIVAL OF DANCE PHOTO: NAOMI ISHISAKA
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ON THE BOARDS 19/20 SEASON
IN THE FUTURE’S WAKE: RITUALS, CEREMONIES, AND HAPPENINGS I grew up in a protestant household where we went to church most Sundays. The rituals in my household came in the form of a Tex-Mex meal on Sunday evenings (with Willie Nelson or Patsy Cline playing in the background), art classes on Saturdays, and trips to New Mexico every summer. These familiar seasonal and weekly rhythms provided a sense of grounding that I now realize were critical for developing my own creativity and ability to experiment. It’s only recently that I’ve been paying closer attention to these childhood rituals and the ones I experience now in my professional life. As a curator, I’m still searching for what that identity means to me, and how it can and should be embodied in the field of contemporary performance. I have programmed this season at On the Boards so we may consider the ritual of coming together in real time to watch, witness, experience, and feel a moment of live art. Contemporary performance is a form of ritual whether the event happens outside, inside a theater or gallery space, is free or ticketed, is meant for one performance or over 500. People gather in all parts of the country and all over the world to watch, learn, discuss, and argue about these live contemporary performances. These performance rituals happen frequently with individuals you know and people you have just met that evening. Does the rhythm of a performance season, these regular gatherings to see live art, create a new space of grounding and creativity for other parts of our lives? In this 40th Season at On the Boards, I look forward to joining you in the ritual of coming together and finding out. LEFT: TIM SMITH-STEWART & JEFFREY AZEVEDO: SALVAGE RITUALS
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Rachel Cook Artistic Director
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SUSAN SUBSCRIPTI
AHAMEFULE J. OLUO
AHAMEFULE J. OLUO
THU, DEC 5 8 PM
FRI, DEC 6 8 PM
SAT, DEC 7 8 PM
DEC 5 – 8
ON SERIES
SUN, DEC 8 5PM
SUSAN is a darkly comic musical portrait of Oluo’s mother and builds one story out of many. Oluo explores two intertwining narratives: his mother’s life as the white Midwestern wife of a Nigerian chief and later a destitute single mother; and his own journey to Nigeria as an adult to visit his late father’s village and discover a family on the other side of the world. SUSAN, the follow-up to Oluo’s acclaimed musical Now I’m Fine, is a story about the failings of men and the endurance of women. It is a crystalline slice of American life; a collision of class, race, bodies, love, and men with bad intentions; a tragedy about the most comically optimistic person on earth. Through decades of chaos and catastrophe, one thing was always consistent: Susan loved her children. She loved them so much. SUSAN is a story about doing what it takes. AHAMEFULE J. OLUO is a Seattle-based musician, composer, writer, and stand-up comedian. Oluo is a founding member of and trumpet player in the Stranger Genius Award-winning jazz-punk quartet Industrial Revelation, as well as being one of Seattle’s most promising artists on City Arts Magazine’s 2013 Future List. Oluo has collaborated with diverse acts such as Das Racist, Macklemore, Hey Marseilles, and TacocaT. In 2015 he appeared on This American Life and received a Creative Capital Award. In 2016 Oluo received an Artist Trust’s Arts Innovator Award, and his autobiographical musical Now I’m Fine was presented at the Public Theater, NY. It was called “dizzying,” “engaging,” and “grand” by the New York Times. In 2018, production wrapped on Thin Skin, a feature film adaptation of Now I’m Fine, co-written by Oluo, Charles Mudede, and Lindy West. Oluo both stars in and scored the film, which will premiere in 2020. SUSAN is a Creative Capital Project and was supported by the 2018-2019 Artist-in-Residence Program and commissioned by On the Boards.
FROM LEFT: OKANOMODÉ, AHAMEFULE J. OLUO, & TIFFANY WILSON. PHOTO: NAOMI ISHISAKA
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JAHA KOO
CUCKOO
JAHA KOO
THU, JAN 23 8 PM
FRI, JAN 24 8 PM
JAN 23 – 26
SAT, JAN 25 8 PM
SUN, JAN 26 5PM
SUBSCRIPTI
ON SERIES
IN KOREAN WITH ENGLISH SUBTITLES
Cuckoo gives touching insight into a lonely life lived in a thoroughly technologized society — all through a sequence of dialogues between South Korean artist Jaha Koo and three rice cookers. One day, when his electric rice cooker informed him that his meal was ready, Koo experienced a deep sense of isolation. Golibmuwon (고립무원) is an untranslatable Korean word expressing the feeling of helpless isolation that characterizes the lives of many young people in Korea today. In the late ‘90s, South Korea experienced a major economic crisis, which had a huge impact on the young generation. Koo witnessed widespread problems, including youth unemployment and socio-economic inequality. Symptoms included rising suicide rates, isolation, acute social withdrawal, and a fixation on personal appearance. Koo and his clever rice cookers take you on a journey through the last 20 years of Korean history, combining personal experience with political events and reflections on happiness, economic crises, and death. JAHA KOO is a South Korean theatre/performance maker and music composer. His artistic practice oscillates between multimedia and performance, all of which include his own music, video, text, and installation. His performances closely interweave politics, history and his own personal issues. Since 2014, Koo has been developing his Hamartia Trilogy which focuses on the inescapable past that tragically affects our lives today. The first part of the trilogy, Lolling and Rolling, was premiered by Zürcher Theater Spektakel in 2015. The second piece, Cuckoo, premiered at Steirischer Herbst Festival in 2017. The final part of the trilogy, The History of Korean Western Theater (working title), will premiere in 2020 (executive producer: CAMPO). Koo majored in theatre studies (BFA) at Korea National University of Arts and studied at DasArts (MA) in Amsterdam. GuJAHA is the pseudonym of JAHA KOO as a music producer. His most recent EP was Copper and Oyster in 2015. CAMPO, STUK, BUDA, DAS, SFAC & Noorderzon/Grand Theatre. Cuckoo was realized with the support of de Vlaamse Gemeenschapscommissie. This presentation of Cuckoo is part of the North American tour, which includes On the Boards, Seattle; Living Things Festival, Kelowna; PuSH International Performing Arts Festival, Vancouver; Progress Festival/The Theatre Centre, Toronto; Usine C, Montreal.
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FEB 20 – 23
SOLO
A FESTIVAL OF DANCE
Solo: A Festival of Dance explores the form of the solo — a methodology that is consistently taught and learned, and which can be identified throughout various dance languages and backgrounds. There is an art to composing a dance, a specificity to the arrangement of movement, a technique of representing various
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movements, and a notation system. The solo as a fundamental building block of dance is particularly critical at this moment when much of what dance is and how it is taught and performed is being called into question.
This year’s festival will include an evening-length program with 2030 minute performances by Jade Solomon Curtis, Allie Hankins, Jumatatu Poe, Adrienne Truscott, and Marianna Valencia, as well as day-time and late-night programming co-curated with Dani Tirrell ABOVE: TYISHA NEDD. PHOTO: NAOMI ISHISAKA
that will happen all over our building. The festival will also include masterclasses and a series of artist conversations centered around how we define dance as a medium and discipline. Visit ontheboards.org/solo-a-festival-ofdance for complete schedule.
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SUBSCRIPTI
TIMOTHY WHITE EAGLE
MAR 19 – 22
ON SERIES
THE VIOLET SYMPHONY THU, MAR 19 8 PM
FRI, MAR 20 8 PM
SAT, MAR 21 8 PM
SUN, MAR 22 5PM
Timothy White Eagle’s creative process stems from Indigenous circles as a form of intuitive healing work through transformational rituals. His art practice and spiritual practice are woven together. The Violet Symphony is a story about a personal connection to addiction and addicts. The performance centers around the recent loss of a loved one to addiction and explores the idea of holding up a society that values all life including addicts. The Violet Symphony is the story about Violet, who died of a drug overdose behind a dumpster the day after Christmas seven years ago. Violet was a truly glorious person, who infused a performance art sense into life as a homeless drug addict. Her panhandling often took on the feeling of durational performance art; her creative impulse pushed through addiction and scarcity, or perhaps it was powered by it. The Violet Symphony is an imagined swan song she never got to sing. TIMOTHY WHITE EAGLE was born in Tucson, AZ. His mother was White Mountain Apache. He was given up for adoption at birth and raised by a working-class white family in Washington. He graduated from University of Utah with a BFA in Theater. White Eagle has worked extensively exploring Native American, Pagan, and other earth-based Spiritual practices. His work sits at a unique crossroad between art and ritual. In 1995, he began an ongoing mentor/protégé relationship with Shoshone Elder Clyde Hall. In 2006 White Eagle began collaborating with photographer Adrain Chesser. Their work together has been displayed and published nationally and internationally. In 2014, they released a book, The Return. In 2015, he was the indigenous advisor for Taylor Mac during the creation of A 24-Decade History. In 2016, White Eagle was one of the Dandy Minions as well as their Artistic Director in A 24-Decade History. He has toured nationally and internationally performing with Taylor Mac. The Violet Symphony was supported by the 2018-2019 Artist-in-Residence Program and commissioned by On the Boards.
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TAYLOR MAC
DEC 19 – 20
M GRA PRO ER N T ON SERIES PAR SUBSCRIPTI ITE OFF - S
DANI TIRRELL
Christmas as calamity — 2017 MacArthur Fellow and Pulitzer Prize finalist Taylor Mac takes on the holidays to celebrate the season in all its dysfunction. For this new production, Taylor Mac is joined by longtime collaborators, designer Machine Dazzle, Music Director Matt Ray, and a spectacular band to reframe the songs you love and the holidays you hate.
TAYLOR MAC is a playwright, actor, singer-songwriter, and performance artist. Mac’s work has been performed around the world, including at Lincoln Center, London’s Hackney Empire (with the LIFT Festival), the Sydney Opera House, Minneapolis’s Guthrie Theater, and Chicago’s MCA and Steppenwolf Theater. Mac is the author of 17 full-length plays and performance pieces and the recipient of a Guggenheim Award, The Doris Duke Award, and an Obie Award (for The Lily’s Revenge), among many others.
On the Boards is thrilled to partner with Seattle Theatre Group to present multiple performances and public programs, including Taylor Mac: Holiday Sauce and Dani Tirrell: Black Bois, presented in partnership with Central District Forum.
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FRI, FEB 14 - ONE NIGHT ONLY 8 PM
PHOTO: NAOMI ISHISAKA
FRI, DEC 20 8 PM
ITE
OFF - S
M OGRA ER PR NT L EVE IA C E SP
N PART
BLACK BOIS
HOLIDAY SAUCE THU, DEC 19 8 PM
FEB 14
After sold-out shows at OtB in 2018, Black Bois returns for a one-night-only performance at The Moore Theatre. Artist Dani Tirrell and a large cast of local artists/performers invite you to enter a world where Black bodies tell their own stories, a world where Black love and expression prevail. A love letter to Black bodies, minds, and spirits, this acclaimed performance project celebrates Black bodies in space and an emotional engagement with movement. Featuring original music by Benjamin Hunter and written word by J Mase III.
DANI TIRRELL creates movement pieces inspired by Dani’s queer, gender non-conforming, and Black experience. Dani has danced with Jazz and Spirit Dance Theater of Detroit, Monroe Ballet Company, and Dani Tirrell Dance. Dani has performed and shown work at Black Choreographers Festival (San Francisco), Showing Out: Black Contemporary Choreographers (Seattle), Young Tanz Sommer (Austria), Northwest New Works Festival: On the Boards (Seattle), and Erased (Color Lines Dance Ensemble) as part of Nights at the Neptune (Neptune Theatre, Seattle), among many others.
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BODY HOME FAT DANCE
WED, DEC 11
Application deadline: Oct 20 Co-curated with Matt Aguayo MATT AGUAYO, alternatively known as Angel Baby Kill Kill Kill in Seattle’s thriving drag scene, believes in the myriad possibilities of dynamic gender expression. A graduate of Cornish College of the Arts, Matt’s work seeks to unify both the professional theatrical and nightlife communities through investigating the limits and benefits of each space. Utilizing training in clown, burlesque, and biomechanics, they hope to blur the line between uncanny performance and irreverent entertainment.
PERFORMANCE LAB Since its founding, On the Boards has hosted various series for local artists to showcase new works and works-in-progress. The name of these programs has evolved over time — from Choreography, Etc. to Second Sunday Series to 12 MINUTES MAX, a Performance Exhibition to Open Studio — but the idea has remained the same: a chance for artists to show their work, test a new idea out, be able to discuss their work with an audience, and receive feedback. The philosophy was to provide a unique opportunity for regional artists to experiment in an informal performance setting. Performance Lab is a new quarterly series co-curated by local artists and Charles Smith, the Producer of Performance Lab. Each series will have facilitated artist feedback along with an opportunity for artists to discuss their performances with the audience. This quarterly series is presented in both the Merrill Theater and the Studio Theater.
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WED, JAN 15
Application deadline: Dec 1 Co-curated with HATLO HATLO is a queer process babe, co-conspirator, and wildcat who creates and facilitates new performance. They are a writer, director, performer, and dramaturg in collaborative relationships that develop unruly original performance experiments. Their performance and process work is a practice of love, survival, and community that
spans performance art, theater, dance, and community organizing. Recent and upcoming collaborations include: Markeith Wiley, Shontina Vernon, Timothy White Eagle, Brandon Simmons, stephanie lavon trotter, and Fox Whitney/Gender Tender.
WED, APR 29
Application deadline: Mar 11 Co-Curated with Dakota Camacho Born and raised in Coast Salish Territory, DAKOTA CAMACHO (Ancestral Lineages: Matao/ CHamoru, Ilokano, European) creates activations of indigenous knowing, life ways, and spiritual connection. As a multi-disciplinary artist-researcher, the work spans the realms of ritual activation, performance art, installation, contemporary indigenous movement, traditional chant, culturally convergent music, and ancestral responsibility. The work aims to proliferate inafa’maolek — unifying human consciousness with the natural world, restoring balance with the elements, and living with life force.
To apply, visit ontheboards.org/ performance-lab 19
TIM SMITH-STEWART & JEFFREY AZEVEDO FEB 1
SALVAGE RITUALS
T L EVEN
SPECIA
(WORK-IN-PROGRESS SHOWING)
This work-in-progress showing invites the audience into the first iteration of an ongoing community practice and dance party. Born from a private ritual to mourn friends very much alive but lost to unsupported neurodivergence and addiction, Salvage Rituals is interested in the potential of communal ritual intersecting with DIY engineering as an embodied practice of mutualism/mutual aid. A rigorous movement score takes place on a hexagonal platform constructed of piezoelectric tiles, which transforms the mechanical stress from the performers’ bodies into electrical current, actively powering the stage lights. Performers/collaborators include Alyza DelPan-Monley, Sophie Franco, Alice Gosti, Alexandra Harding, Erin McCarthy, Stefan Richmond, Charles Smith-Stewart, and Paul Smith-Stewart. The performance culminates in a dance party featuring DJ Alice.
SAT, FEB 1 7-9PM $10
TIM SMITH-STEWART is a queer interdisciplinary artist who uses text as his primary medium for creating installations and performances. JEFFREY AZEVEDO is a theater artist and the managing director of Washington Ensemble Theatre (WET). In 2017, Smith-Stewart and Azevedo premiered Awaiting Oblivion... at On the Boards and The Perpetual Insurrection of Claude Cahun at the Henry Art Gallery. Other presentations include On the Boards’ NW New Works Festival, Risk/ Reward (Portland), Velocity Dance Center, and Fresh Oysters Performance Research (Minneapolis), as well as installations at New Tomorrow, Erasure (curated by Lion’s Main Art Collective), and the Lo-Fi Arts Festival. timandjeffmakeart.com
Salvage Rituals was supported by the 2018-2019 Artist-in-Residence Program and commissioned by On the Boards.
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SUPPORT OtB
SAT, MAY 16
ontheboards.org/support
JOIN THE 3 YEAR CLUB
The 3 Year Club is an inner circle of art enthusiasts who help give us the sustainability to support our programs for multiple years. Each member commits to supporting OtB with an annual donation of at least $500 a year for three years. 3 Year Club benefits include: invitations to exclusive events, special access to tech rehearsals, sneak peeks of works-in-progress and discussions with artists, and your own personalized drinking glass behind the FUBAR. To get started, email Director of External Relations Samie Detzer at samie@ontheboards.org or call 206-217-9886.
We want to party with you! Spectacle Spectacular features a thematic cocktail reception, 3-course dinner, entertainment, and a paddle-raise to support the creation of the thrilling art and ideas presented at On the Boards. Make the art happen and join us this spring for the best party of the year!
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We are grateful for the support of the following organizations Doris Duke Charitable Foundation, ArtsFund, the National Endowment for the Arts (NEA), New England Foundation for the Arts (NEFA), National Performance Network (NPN), 4Culture, The Kreielsheimer Remainder Foundation, The Morgan Fund, The Seattle Office of Arts & Culture, WESTAF, PayPal, Totokaelo, The Norcliffe Foundation, Tyler Engle Architects, Facebook, Washington State Arts Commission (ArtsWA), Nordstrom, Tulalip Tribe Charitable Fund, DowBuilt, Hoedemaker Pfeiffer, Mama Group, Prairie Underground, The Ostara Group, Tomlinson Linen Service, Mutuus Studio, Wyman Youth Trust, Kremwerk, The Cloud Room, and Artefact
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PHOTO: JONATHAN VANDERWEIT
CURRENT SUPPORTERS
206-217-9886 EXT.1019 (TUE-FRI, 12-4 PM)
You are the kind of person who keeps the On the Boards magic alive by putting your money toward the art you love! Your donations are responsible for 1/3 of the costs of presenting our seasons. Your support helps keep tickets affordable, and we work hard to make sure that your generous gift goes to the heart of what we do — put art on the stage and support the artists who make it. Thank you for making sure we can keep bringing the art and the fun all year long!
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SAVE THE DATE
In-Kind and Media Sponsors Caffe Vita Roasting Co., Dave Holt, Fleurish, Aesop, Jones & Associates LLC, The Inn at Queen Anne, The Marqueen Hotel, Sprezza, Hot Cakes, Cupcake Royale, Fortunate Orchard Botanical Design, The Stranger, The Evergrey, Odin Brewing Company, OOLA Distillery, K Vintners, Greenroom Decor, Brothers & Co. Catering, Champion Party Supply
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BOXOFFICE@ONTHEBOARDS.ORG 206-217-9886 EXT.1019 (TUE-FRI, 12-4 PM)
AHAMEFULE J. OLUO
DEC 19–20
TAYLOR MAC
JAN 23–26
JAHA KOO
FEB 20–23
SOLO: A FESTIVAL OF DANCE
MAR 19–22
TIMOTHY WHITE EAGLE
APR 9–12
MARKEITH WILEY
MAY 7–10
TINA SATTER/HALF STRADDLE
JUN 4–7
PAT GRANEY
Please note: The Pick-5 subscription DOES NOT include Seattle Theatre Group performances. Pick-5 subs will receive a discount code to STG presentations of Taylor Mac: Holiday Sauce (Dec 19-20) and Dani Tirell: Black Bois (Feb 14, 2020, presented in partnership with Central District Forum).
SA
MAKE
AY HOLID T A E GR
GIFT! BOXOFFICE@ONTHEBOARDS.ORG
ontheboards.org/ subscribe
BOX OFFICE
— Free and easy ticket exchanges — Complimentary ticket to bring a friend — Discounts on additional tickets to off-site performances and public programs — Discounted parking in the OtB lot — Priority access to special events
DEC 5–8
206-217-9886 EXT.1019 (TUE-FRI, 12-4 PM)
Create your own subscription for $135! The Pick-5 Subscription includes tickets to five Subscription Series performances of your choosing plus all subscriber benefits. Your subscription provides vital support for our programming, and subscribers receive the lowest available ticket price, plus all sorts of exceptional benefits including:
REMAINING PERFORMANCES IN THE SUBSCRIPTION SERIES
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CREATE YOUR OWN SUBSCRIPTION TO THE 19/20 SEASON
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MAKING ROOM FOR MORE ART RENTALS AT THE BEHNKE CENTER FOR CONTEMPORARY PERFORMANCE ontheboards.org/rentals
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Need space for a rehearsal, a meeting, or a performance? The need for affordable and professional spaces to create art is palpable in Seattle, and On the Boards wants its spaces used by members of the community more of the time! Rentals at the Behnke Center for Contemporary Performance are a service of OtB and they are not curated, but priority is given to shows and events that align with our mission and values. For shows, events, or projects that are socially or civically inclusive — if are rental rates are prohibitive, contact us to discuss partnerships, co-production, or subsidized rental.
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BY PHONE (Tue-Fri, 12-4 pm)
206-217-9886 EXT. 1019
NON-PROFIT ORG US POSTAGE PAID SEATTLE, WA PERMIT NO. 2785
TICKETS
The Lobby Box Office opens 1 hour before performances for will call and walk up sales (subject to availability). Single tickets for performances will go on sale 6-8 weeks ahead of scheduled dates. ADVANCE
WEEK OF SHOW
General Admission
$28
$32
Seniors (65+)*
$24
$28
Under 25*
$12
$16
TeenTix Member
ALWAYS $5
*Must show ID. Cannot be combined with other discounts. SLIDING SCALE TICKETS
Tickets to all Sunday performances in our Subscription Series are available on a sliding scale, $10-75. TICKET BANK
We know that ticket price can be a barrier to attending OtB, so we created a Ticket Bank to make our art experiences more accessible. The Ticket Bank encourages patrons to buy and "bank" extra tickets for other audience members, and allows potential audience members to claim those tickets for free. Help us make it work: To contribute, find out more, or sign up to receive tickets, please visit ontheboards.org/ticket-bank or contact the Box Office.
THE BEHNKE CENTER FOR CONTEMPORARY PERFORMANCE 100 WEST ROY STREET SEATTLE, WA 98119
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