Laura Chrisman
Laura Chrisman is an author, critic and scholar.
She is Nancy Ketcham Endowed Chair of English at the University of Washington, where she teaches African, black diaspora, and postcolonial studies, as well as modern literatures in English. She is President of the Black World Foundation, a non-profit organization that founded The Black Scholar Journal and now publishes it in conjunction with Routledge. She has interests in all of the arts, and in their intersections. As a cultural critic, archivist and granddaughter, Laura runs the Byron Randall Project, which curates, preserves and promotes the work of West Coast visual artist Byron Randall. She is on the Board of Directors of The Seagull Project, a Seattle theatre company dedicated to the works of Anton Chekhov. From an African American, Ashkenazi Jewish and Anglo family of artists, social activists and teachers, Laura grew up in San Francisco, Scotland and England, and has lived in Seattle since 2005. She is currently working on an academic study of black South African/black American relationships, and on a memoir.
Critiques
Catherine Blake Smith identifies shortcomings and successes in The Williams Project’s venture to challenge our current circumstances in their outdoor production of Marisol.
Laura Chrisman and the review team find Oregon Shakespeare Festival's production of The Copper Children bluntly abandons and alienates the audience, leaving them without a clear narrative or purpose.
Lydia Heberling and the review team bring essential context, highlighting the necessity of Native stories coming to Seattle stages, beginning with Larissa Fasthorse's satire about the complexity of the Thanksgiving Holiday and performing whiteness.
Laura Chrisman and the review team examine the source and purpose of the title character's ennui and transformation in The Seagull Project's terminal production of Uncle Vanya.
Washington Ensemble Theatre's B brings up questions about anarchy, revolution, propaganda, critical history, and violence for Becs Richards and the review team.
Steph Hankinson and the review team examine the wildness, wickedness, and wokeness of Intiman Theatre's production of Karen Zacarías's political comedy Native Gardens.
Steph Hankinson and the review team examine how Brandon Jacobs-Jenkins's An Octoroon rides the line between critiquing melodrama and exploiting its emotional devices.
Laura Chrisman review’s AJnC director and choreographer Amy Lambert’s Young Manic/I Wanted to Be On Broadway, which proves through its diverse and visual absurdity that “you can be an adult and enjoy yourself too.”
Jenny Van Houdt and the review team query and answer the questions brought up by Strawberry Theatre Workshop's timely production of Frost/Nixon: Why This Play? Why Women? Why Here and Now?
Anthony Reynolds and the review team highlight how Juliette Carrillo’s production of August Wilson’s Two Trains Running emphasizes the diverse and positive history of the shared Black experience “without the influence of white perspective to heavily mask their stories.”
Kate Forster and the review team uncover the possibilities of the "unrealized potential" in Desdemona Chiang's "puzzling interpretation" of The World of Extreme Happiness.
Laura Chrisman and the review team compare ACT Theatre's failings and Kaitlin McCarthy's successes with their contemporary and concurrent adaptations of Arthur Miller's The Crucible.
Anthony Reynolds and the review team examine Intiman's Barbecue, an engrossing discussion of what is reality and how it is manufactured.
Laura Chrisman and the review team applaud Pratdihwani's lively and engaging production of the feminist 19th-century dance drama featuring a large and multigenerational cast.
Laura Chrisman and the review team question the in/visibility of immigrants and American citizens in Donald Byrd’s (Spectrum Dance Theater) ‘The Immigrants’.
Andrea Iaroc and the review team highlight the sociopolitical commentary of Markeith Wiley’s experimental talk show It's Not Too Late at On the Boards.
Laura Chrisman examines attempts to stage race in several new Seattle productions with Seattle Repertory Theatre, On the Boards, ACT, and New City Theatre.
Emily George and the review team analyze Annex Theatre's production of Courtney Meaker's horror comedy The Lost Girls and its feminist queer energy.
Sara Porkalob asks "who let this happen" of Jim Leonard's Bad Apples—a semi-fictional rock musical account of the 2003 prisoner abuse scandal at Abu Ghraib prison in Iraq at ACT Theatre.