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Kirby's Fremont
Kirby's FremontFremont: A Great Place for the Empty Space
By Kirby Lindsay
Louise McKinney and Rev. Samuel McKinney, civil rights activists, with Eddie Levi Lee (right), Artistic Director of Empty Space. Photo by Darrell M. Westemoreland. |
I like to think I know a great deal about "The Space." One fact I continually, and conveniently, like to forget is that for all its Fremont-like qualities and attitudes, the theater did not actually begin in Fremont.
They began in 1970, in a tiny space in Pike Place Market, while their name was officially adopted in 1971. It represents their three core values: "theater is not tied to a fixed and formal setting, theater turns on the essential link between actor and audience, and theater must be created and experienced collaboratively." Referred to as "Seattle's original alternative theater," they have held firm to those values and their motto of "uncommon theater." From the beginning, shows at The Space focused on strong ensemble acting with an energetic physical style performing an awesome range of bold new plays and a smattering of classics. Each season also includes a streak of low comedy and plays with a sense of the absurd, often created and adapted by the company.
In 1973, The Space moved "off Broadway" to a 99-seat loft space on East Pike Street on Capitol Hill under artistic director M. Burke Walker. Here they tried new ways of reaching out to audiences: midnight and "park" shows, usually classics or melodramas liberally adapted in a rambunctious comedic performing style.
Managing director Melissa Hines started as a member of the audience when the Empty Space first began. "It had long been my favorite theater," she recalls. In 1978, while finishing her dissertation, she took a job working for the theater in a booth at the top of three flights of stairs. She never became a college professor, as planned. Instead she spent time "learning theater administration from the seat of my pants."
Melissa likes to build a nest, and know where the next check is coming from. Unfortunately, the theater, as a not-for-profit enterprise, runs like a start-up business--every year. From the beginning they strove to pay actors, hire union and maintain "maximum professionalism, minimum pretense." The working atmosphere has great karma for people, including the board, according to Melissa. There are very permeable walls, allowing everyone to be included and involved. Actors are like "creative migrant workers" and the theater tries to respect that.
They never shy from trying something new--and it usually works. The Space has mounted more than 150 world, U.S. and regional premieres, introducing Northwest audiences to a stellar list of 64 contemporary writers to date and propelling Seattle's evolution into a major center for new plays and playwrights. They have championed once-little-known playwrights Sam Shepard, Lanford Wilson and David Mamet. Many of the Northwest's best-known theater talents have emerged from their company, including directors and artistic directors, actors, designers, and all sorts of behind-the-scenes talents. When they do find a successful play, they may extend a run but they rarely repeat themselves, choosing to try something new and risky over the predictable and successful. One example is The Rocky Horror Show. It was one of their rare big show musicals. "Incredible, blow-the-top-of-your-head-off fun" is how Melissa remembers it, as well as a great risk. "We never know how a show will go," especially when the movie had become a nighttime sensation.
For many years their most daunting challenge was in finding a home. After Capitol Hill, they moved into two separate spaces in Pioneer Square. It wasn't until 1993, under new artistic director Eddie Levi Lee, they made a daring move--to the Fremont Palace, in downtown Fremont.
As in every location, it is important here to keep ticket prices accessible. Fund-raisers are required, and an Empty Space fund-raiser, like any of their plays, is a singular, moving experience.
This is a delicious dinner, an auction of unique items, and the only performance of four Seattle stories. Stories written by celebrities about themselves in Seattle, then staged and directed as short plays by the talented company of The Space. Actress Pamela Reed will be on hand and, rumor has it, sharing a story of waitressing in Tacoma before her career took off. Patricia Stanford demurred at first, saying she was "just part of a great team." With a little assistance, she has written an incredibly touching and personal story. Thomas Douglas, restaurateur, and Ruth Warren, writer, also provided stories while Colby Chester will be on-hand to emcee.
It is slightly zany, very thought provoking and unlike anything you've seen before. It is also a rare fund-raiser, in my opinion, because I want to be there to see the show rather than just to help. Also, according to invites, the dress attire is "festive, but not black tie." Melissa described Fremont as "deliberately not formal." To my ears, it sounds like a perfect match. If you want to join the festivities call The Space at 547-7633.
Kirby Lindsay is thankful to Ben Keylin and Terry Healy for their help on this column--and to all the people at the Empty Space that continually force her to question notions of what theater must be. If you have questions about Fremont, you may write to her c/o The Seattle Press or e-mail to fremont@oz.net.
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