The Magic 25: Gary O'Brien & the "color-blind" tradition
“When the IFCC was established in 1982, the vision was revolutionary. It was truly pioneering work to create an arts center that actually practiced cultural inclusion. As the original Artistic Director, Gary O’Brien was a driving force behind this vision. During his first stint at the IFCC, Gary crafted theatrical seasons that introduced Portland audiences to cutting edge scripts challenging prevailing assumptions about race, culture, gender and disability – The Colored Museum, Children of a Lesser God, Tea, Staring Back and Miss Minidoka 1943 came to mind. Gary also established a resident company relationship with NW Theatre of the Deaf, and produced the popular Multi-cultural Dance Festival that drew community to the park next door for several seasons. His commitment to showcasing the formidable talents of theatre artists from a variety of cultural communities planted the seeds for real cultural inclusion in the broader Portland theatre scene. Gary took an hiatus and when he returned to the IFCC, he once again made his mark – this time using his resident company, Oregon Stage Company – as a vehicle for color-blind casting.”
by Judith Yeckel
IFCC Managing Director, 1990~1992, 1997~2001
“The IFCC holds a very special place in my heart as one of the few spaces in town that embraces and nurtures the experimental-multi-culti- new work-outside-the-box aesthetic I so love!
The first time I walked into the IFCC was for an audition for Shall We Dance, a play about Frida Kahlo, directed by Michael Griggs as part of the 10th Anniversary season, (I’m pretty sure – Sue Busby was still around in those days.) The IFCC immediately felt like home.
Since that first show, it was always a joy to return and work again in the wonderfully creative space that is the IFCC. Over the years, I directed and produced several shows in the space including Lady Buddha, Janie Bigo, Tongue of a Bird and The Time Between, all with MediaRites and I Think About Life with Bump In the Road. With each of these shows, we honored the IFCC vision and our own by actively recruiting actors, designers and crew from across the cultural map in an effort to reflect the many faces of our Portland audiences and to embrace the rich diversity of our world.
Through the years, there have been so many ups and downs at the IFCC -sometimes right in the middle of one of our shows – I’ll always remember the mobile made of guns that was hanging prominently in the lobby that for the opening of one of the shows—Making for a very … interesting disconnect—- but the spirit of the place always overcomes whatever torments it encounters. I am delighted that Adrienne and Kimberly are at the helm and keeping the place vibrant and exciting! Congratulations IFCC! Here’s to another 25 years!”
by Carmela Lanza-Weil
Artistic Director, Bump In the Road Theatre
“The IFCC produced my first professionally staged original play “Mei Mei” in 1991 directed by Julie Akers. It was one of the first productions I believe in Portland with an all Asian American cast. The IFCC offered an opportunity for training and experience to actors who would have had a difficult time getting cast in other productions. I then taught and directed a couple summer youth programs at the IFCC. Then in 1997, MediaRites produced the another of my plays “Lady Buddha” featuring an all Asian cast. A year later, in 1998 the IFCC Artistic Director Judith Yeckel decided to produce my next play, “Tell Me, Janie Bigo” a romantic comedy with music that offered Asian American actors a chance to sing and play roles normally the sole domain of white actors.
Finally in 2001, MediaRites produced two plays directed by Carmela Lanza-Weil featuring a multicultural cast in The Grief Project. “Tongue of a Bird” by Ellen McGlaughlin included one Asian and two African American actors. “The Time Between” an original play featured two Asian and one Latino actor.
Through the years, without IFCC‘s mission to encourage and nurture multicultural works, opportunities for actors, writers, directors of color in Portland theatre would have been bleak indeed. The IFCC paved the way for color-blind and multicultural casting now enjoyed by many local theatres.”
by Dmae Roberts
USA Rockefeller Fellow
and
Executive Producer of MediaRites
and Peabody-award-winning Crossing East
“I would personally and publicly like to thank the IFCC for producing “Yankee Dawg You Die” and for asking me to direct this fine play by Phillip Kan Gotanda. The support and dedication to the showcasing of ethnic playwrights, directors, and actors has been appreciated by Seattle artists and audiences. There are few opportunities in the northwest for people of color to practice their craft and develop their creativity through actual performance. Every play produced by an ethnic playwright is heard about, and talked about in our hungry artistic communities. The IFCC has established an important link in the artistic chain for Asian-Americans that runs from Vancouver B.C. to San Diego. You are making a difference. Thanks.”
by Bea Kiyohara
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