William Esper Studio


"The healing power of the theatre consists in its bring the place where we can finally recognize and remember, often through laughter, our own dreams and desires on stage. It seems that by acknowledging the wild cut-off parts of ourselves, we remove their power to commit uncontrolled violence, we become more integrated, and somehow more compassionate."
- Jean-Claude van Itallie



Rose Bruford College of Theatre and Performance - London’s International Drama School

Washington, D.C.'s Studio Theatre

San Francisco Ballet

Grand Ball in the Belle Epoch - Edwardian Period Style Salon Workshop

Keegan Theatre

Pan Asian Repertory Theatre Celebrates its 39th Anniversary

MetroStage Theatre

Swine Palace Theatre

Asolo Repertory Theatre

Ontological-Hysteric Theatre

Amelia Community Theatre

Discovering Lunt & Fontanne

Harlem Repertory Theatre

Santa Fe Playhouse

Opera Colorado

National Hispanic Cultural Center

Red Eagle Soaring Native Youth Theatre

Lorraine Hansberry Theatre

Coatlicue Theater Company

London's Finborough Theatre

New Repertory Theatre in Boston

The Work of Yat Malmgren: Christopher Fettes’ New Book “A Peopled Labyrinth”

Terry Knickerbocker Studio in New York City

Ronald Rand in Let It Be Art







Red Eagle Soaring Native Youth Theatre

Since its formation almost twenty-five years ago, Red Eagle Soaring has mentored hundreds of Native youth, staged over one hundred fifty productions, and supported youth access to the healing power of Native cultural traditions, promoting social, physical, and intellectual engagement.

Red Eagle Soaring Native Youth Theatre is committed to bringing together Native youth to learn about the technical aspects and process of theatre, and build a community of people interested in learning about, sharing, promoting, and supporting Native arts and culture.

Empowering Native youth to express themselves, to take creative action on the issues that affect their lives, and sustain their cultural heritage, Red Eagle Soaring Native Youth Theatre serves the Seattle community, bringing to Native American youth free programming integrating contemporary theatre and traditional Native performing arts.

Engaging Native youth and their families in critical discussions about the issues affecting their lives, they continue to provide a cultural peer group, building confidence, identity, and community through a year-round cycle of programming including a touring Spring Play; summer theatre workshops held in Tribal settings bringing together urban and reservation Indian youth; a two-week summer camp; and fall performance workshops focused on traditional music and storytelling.

Red Eagle Soaring is empowering Native youth to express themselves, take creative action on the issues that affect their lives, and sustain their cultural heritage.

Red Eagle Soaring programming supports the ‘Since Time Immemorial’ Washington state tribal history and sovereignty curriculum developed by the Office of Superintendent of Public Instruction. They are committed to teaching youth about their Native tradition, history, and culture that reflects the diversity of tribal origins in Seattle’s urban multicultural setting. 

Red Eagle Soaring collaborates with and receive in-kind support from organizations like the Seattle Indian Health Board; Teatro ZinZanni; Seattle Antioch University; the University of Washington School of Education; the United Indians of All Tribes Foundation; Longhouse Media; and the Seattle Public School District’s Huchoosedah Indian Education Program.

In collaboration with City of Seattle Human Services Department, Red Eagle Soaring presented the unique performance: “We Are: An Urban Youth Celebration of Indigenous Peoples”

Red Eagle Soaring Native Youth Theatre is lead by Managing Director Sisseton Wahpeton, with Melissa Woodrow (Wuksachi Band of Western Mono), as Program Coordinator. The Board of Directors include Jeff Barehand-Board President (Navajo and Gila River); Martha Brice (adopted Tlingit); Yvette Pinkham-Secretary (Southern Cheyenne), community organizer, Social Worker for DSHS/Office of Indian Child Welfare, and mentor to Native youth; Hannah Franklin; Colleen Echohawk (Pawnee), Executive Director of the Chief Seattle Club; Petaki Cobell (Blackfeet); Pah-Tu Pitt-Gallagher-Treasurer (Warm Springs), a Tribal Canoe Journey paddler.

Red Eagle Soaring current Teaching Artists include: Jake Hart (Blackfeet), Lily Gladstone (Blackfeet), Roger Fernandes (Lower Elwha Klallam), Curtis Ahenakew (Cree), Drew Hobson, (Pamunky), Becca Kirk (Klamath, Ojibwe), Dallas Pinkham (Southern Cheyenne, Yakama, Nez Perce, and Grande Ronde, (Potowanamee).

Pidamaya… Gunalcheesh… Nitsiniiyi’ taki… Kleco… kleco… Miigwech… Ah-sheh’heh.
For info: Admin. office: Northwest Film Forum, Capitol Hill, 1515 12th Ave., Seattle, WA. Performances at Daybreak Star Indian Cultural Center, (206) 390-2603, redeaglesoaring.org, info@redeaglesoaring.org

"It is a law of life that man cannot live for himself alone. Extreme individualism is insanity. The world's problems are also our personal problems. Health is achieved through maintaining our personal truth in a balanced relation of love to the rest of the world. No expression is more emblematic of this relation than the creative act which we call art. No art by its very constitution typifies the social nature of that creative act more than the theatre. The theatre, to be fully understood and appreciated, must be seen as a manifestation of this process of interchange between society and the individual. It must be judged as a continuous development of groups of individuals within society, a development which becomes richer, acquires greater force and value as it grows with the society in which it originates. Only in this way can the theatre nourish us.  - Harold Clurman

The Soul of the American Actor Newspaper