Media Archive

“‘It’s been so wonderful to be in a creative room that thrives on stepping into the darkness instead of avoiding it,’ [Tory] Trowbridge said.”

The first time I saw the movie of Black Swan, I was a grad student in a small theater in Iowa City. I remember the dismayed joy of the audience as Nina pulled a black feather out of her shoulder, how other moments of body horror (that hang-nail!) unleashed a collective visceral groan.

“There’s something about Black Swan in the context of a theater,” [playwright Jen] Silverman says, “where an audience is gathered live…with the people really pushing themselves to the furthest limit. And it isn’t a trick of photography—it’s actually happening right in front of you.”

“We’re asking questions about all the kinds of pressure that come to bear on a human…,” [playwright Jen] Silverman said.

“The body can do so much to tell a story,” [director and choreographer Sonya Tayeh] says. “So, [Black Swan] has dancing from this traditional point of view, and it morphs into another world.”

“I want people to leave the show taking the things that they felt, the empathy that they experienced,” [Jules McNally] said. “I want them to go out into their own communities and do what they need to do to make people feel safe and accepted and welcome.”

“The morals and messages of this story play to every experience I’ve had as a human being, and it’s the kind of energy and message I want to be a part of telling and sharing,” [shared Javier Muñoz].

“[The book] immediately spoke to us with its message of kindness and empathy and keeping that childlike wonder, for lack of a better term, and imagination, alive. It was a story that we wanted to be part of.”