Lydia Heberling
Lydia Heberling is an instructor and doctoral candidate in the English department at the University of Washington, Seattle.
Her research focuses on the formal and aesthetic innovations in 20th and 21st American Indian literatures. Before moving to Seattle, Lydia lived in San Diego, CA where she completed her MA in English at San Diego State University and worked for the San Diego Natural History Museum’s education department. During her undergraduate studies Lydia studied abroad in London, which is where her interest in theater began, and she’s been attending plays at her convenience ever since.
Critiques
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.
Stevi Costa and the review team critically examine the complexity, ambiguity, and socio-political/cultural contexts of veterans and the impacts of war on the homefront in Steven Dietz's Last of the Boys.
Viewing Seattle Children's Theatre's production of The Journal of Ben Uchida: Citizen 13559, Steph Hankinson and the review team remind readers that we can be "challenged (both emotionally and intellectually) by encountering the ugliest, most complicated parts of history" through the powerful tool of performance.
Lydia Heberling and the review team highlight Jihae Park's success at "capturing the complexity of claiming and expressing Indigeneity" in Peerless along with potential decolonial narratives, performing on unceded Duwamish territory.
Lydia Heberling and review team highlight WET's commitment to bridging the gap between Ibsen's “progressive feminist plot” and the plurality of postmodern feminism in Cherdonna's A Doll's House.
Steph Hankinson and the review team recognize the passion and dedication of UW Drama's Orlando (adaptation by Sarah Ruhl) and how its thematic nuance of Virginia Woolf's classic on gender and desire.
Laura Chrisman and the review team question the in/visibility of immigrants and American citizens in Donald Byrd’s (Spectrum Dance Theater) ‘The Immigrants’.