A Short History of Mirror Stage
Mirror Stage was originally founded as Looking Glass Theatre in Los Angeles, CA in 1991. Managing Artistic Director Suzanne M. Cohen and former Producing Director Mona Al-Haddad met at the University of Southern California, where their work with Professor John Edw. Blankenchip in Los Angeles and Edinburgh, Scotland had a profound influence in shaping their theatre ethic and vision.
LGT's Los Angeles productions include BEYOND THERAPY by Christopher Durang and SEASCAPE WITH SHARKS AND DANCER by Don Nigro. Looking Glass Theatre made the move to Seattle in 1992 and incorporated in the State of Washington in 1993 as nonprofit fringe theatre company using no professional actors.
Looking Glass Theatre's 1994 Seattle Fringe Theatre Festival hit production of the West Coast premiere of MISSISSIPPI NUDE by John Reaves was hailed as "one of the best the Festival has to offer." The West Coast premiere of MOE'S LUCKY 7 by Marlane Meyer was produced for the 1996 Seattle Fringe Theatre Festival and a three week extension run at Brown Bag Theater drew small but enthusiastic audiences.
In 2001, Looking Glass Theatre re-incorporated as a professional theatre company, and began using an Equity SPT-LOA contract to hire professional actors. In March 2002, Looking Glass Theatre received its 501(c)(3) tax-exempt status from the IRS. In June 2002, the company registered the trade name and started doing business as Mirror Stage Company. In February 2006, the board of directors changed the corporate name to Mirror Stage.
In October 2002, Mirror Stage kicked off its Season of Premieres with the West Coast premiere of THE KNEE DESIRES THE DIRT by Julie Hébert. In February 2003, MSC presented the Northwest Premiere of FAR EAST by A.R. Gurney. Both audiences and critics collectively praised the artistry of the productions. Mirror Stage concluded its Season of Premieres in November 2003 with the Northwest Premiere of ABSTRACT EXPRESSION by Theresa Rebeck, named “Best Play of 2003” by Seattle Gay News.
Mirror Stage’s most recent artistic activities focused upon its innovative Feed Your Mind (FYM) series of staged readings. FYM highlights new voices, and examines topical issues from different perspectives. The plays are presented simply: no costumes or sets—just the actors and the text. Following the reading, a discussion with the audience and artists focuses on the text and explores the relevance of issues raised to our community, nation, world and selves in more depth.
Mirror Stage launched Feed Your Mind in May 2004 with the first public reading of HIDING HANNAH by Joy McCullough-Carranza, followed by SAINT LUCY’S EYES by Bridgette Wimberly in June 2004. In FY 04-05, Mirror Stage presented eight FYM readings at the Richard Hugo House in Seattle, plus one special performance on campus of Pacific Lutheran University in Tacoma.
In FY 05-06, Mirror Stage presented a season of eight Feed Your Mind readings, plus one special performance of THE HEIDI CHRONICLES, in honor of playwright Wendy Wasserstein. The 05-06 FYM season added Sunday matinees on campus of Seattle University, and the 05-06 audience more than tripled that of the previous season.
For the 06-07 FYM season, nearly half (47 percent) of the actors hired were people of color, including African-Americans, Asian Americans, Latino/Hispanics, and Native Americans. In addition to its season of six Feed Your Mind readings, Mirror Stage produced a special reading for the Puget Sound chapter of the Fulbright Association. In January 2007, Mirror Stage partnered with the Central District Forum for Arts & Ideas on the Martin Luther King, Jr. Nobel Peace Prize Acceptance, presented to more than 1,650 people across Seattle.
The 07-08 Feed Your Mind season included the West Coast premiere of Mia McCullough's SPARE CHANGE, as Stage Left Theatre in Chicago simultaneously presented the world premiere. In October 07, Mirror Stage presented week #49 of the world premiere of Suzan-Lori Parks' 365 DAYS/365 PLAYS. April 08 featured GRIFFIN’S GARDEN by Nate Lessler, a high school junior who participated in ACT Theatre’s Young Playwrights Program. Nearly 40 percent of the actors hired were people of color.
The 2009 season of Feed Your Mind staged readings was a Season of Reflections. Two pairs of scripts illuminated different
perspectives on similar themes. The 2009 Feed Your Mind season performed at ACT Theatre, from February through June.
