Most students came in for help with essay-writing or algebra who had seen her three daughters through high school and into college This is an issue both sides of the political spectrum would love to address Marian* was in her late 30s when we first met, and she asked me to help her learn to read. This was in 2007. I was the new-ish supervisor of a tutoring program in Manhattan aimed at adults who were trying to get their GED The Fred and Dinah Gretsch School of Music will present a free Faculty Violin Recital featuring internationally-acclaimed violinist Dr Carter Recital Hall on the Georgia Southern University campus The program of violin-piano masterpieces includes Johannes Brahms’s Scherzo in C minor (from "F-A-E Sonata") by Johannes Brahms and Manuel Ponce’s Estrellita (“the little star”) She has performed and taught extensively throughout Russia Elisha is Professor of Music and Coordinator of Upper String Studies at the Fred and Dinah Gretsch School of Music at Georgia Southern University violin/viola Literature and method and pedagogy she began taking piano lessons at 5 and teaching them at 11 and concerto performances across the United States and has received numerous awards for her teaching and research who is Director of Music at the Independent Presbyterian Church This website is using a security service to protect itself from online attacks The action you just performed triggered the security solution There are several actions that could trigger this block including submitting a certain word or phrase You can email the site owner to let them know you were blocked Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page but split her time between the San Francisco Bay Area Fall through Spring and spent her summers in her mother’s home town of Hesselbach (population 1,000) nestled in the farms lands of northern Bavaria working on the family farm and attending school She attended the University of California at Davis where she was in the Davis Honors Program and graduated summa cum laude with a Bachelors of Science in Animal Biology She matriculated into the Chicago Medical School at Rosalind Franklin University of Medicine and Science where she quickly grew to love general surgery and the immediate gratification it provided to not only her patients but also herself She was very grateful and honored to return to her beloved California when she matched at the University of Southern California for her general surgery residency In her year off between 3rd and 4th year she forged a new path among surgical residents and travelled abroad to Rome Italy in order to pursue a Masters in Business Administration at the Swiss School of Management She obtained said degree after writing and defending her thesis comparing the unemployment rate and healthcare costs of the COVID-19 pandemic between Germany and the United States of America she was named as one of the education co-chiefs along with one of her fellow chief residents She was excited to return to her alma mater She feels especially privileged to be welcomed to the University of Utah Burn Unit under such excellent and admirable faculty In her spare time she enjoys attending concerts Most recently she visited the Galápagos Islands and Sardinia she is a proud and dutiful cat mom to her wonderful and gigantic Maine Coon cat Copyright © 2025 University of Utah Health A new era in Mizzou Softball began in the Summer of 2018 as Larissa Anderson was named the 10th head coach to lead the tradition-rich Tiger program on Saturday As Anderson enters year seven in Mid-Missouri that new era has already gotten off to a successful start and her ability to change the culture of the program in such a short time was a big reason why Anderson has led Mizzou to a 217-115 record over her six seasons and owns a career record of 347-189-1 as a head coach Anderson has steered Missouri to five NCAA Regional appearances and a pair of Super Regionals She has led the Tigers to 35 or more wins each season at Mizzou — in all but the COVID-19 shortened 2020 season Missouri most recently hosted a Regional and Super Regional in 2024 after home postseason runs in 2021 (Regional and Super Regional) and 2022 (Regional) Anderson finished her first season in the Black & Gold with a 35-25 record the most wins for the Tigers in a single season since 2016 Anderson's squad was also stellar in her first season as part of the always elite Southeastern Conference were the most conference victories for Mizzou since 2016 The season ended with the Tigers' 13th straight regional appearance as Anderson's Tigers earned a spot in the Los Angeles Regional Her biggest test would come during the 2020 season With Mizzou Softball’s postseason ban being upheld three months prior to the season Anderson’s steady leadership guided the Tigers through what would be a turbulent year and entered the season with its roster intact Mizzou’s postseason ban would prove to be only a minor blip in a season that was ultimately canceled after 26 games due to the COVID-19 pandemic The Tigers made the most of those 26 games and being one of only two teams to be undefeated in SEC play Mizzou ended the season ranked 25th in the NFCA Coaches’ Poll – its first time finishing the season ranked since 2016 – while Cayla Kessinger was named to Softball America’s All-America team Anderson returned Mizzou Softball to the national stage in 2021 With an experienced roster but a young pitching staff she led the Tigers to a 42-17 record and a Super Regional appearance Mizzou hosted an NCAA Regional and Super Regional for the first time since 2013 The 2021 team finished among the program’s best statistically in fielding percentage (1st) Mizzou pitching led the nation in ERA at 1.37 over six games Jordan Weber and Laurin Krings combined to allow only two hits and no runs over three games at the Columbia Regional Freshman shortstop Jenna Laird earned SEC Freshman of the Year honors while senior outfielder Brooke Wilmes was recognized as an NFCA Third Team All-American 13 final ranking in the NFCA Coaches' Poll and a No the program's highest final rankings since 2015 Mizzou’s memorable 2022 season saw them host an NCAA Regional for the second-consecutive year and made the Southeastern Conference Tournament Championship game for the second time in program history The Tigers notched a 38-22 mark and went 12-11 during SEC play Mizzou’s pitching staff posted a 2.81 ERA including a 1.00 ERA in the postseason In the inaugural year of the Rawlings Gold Glove Award presented by the National Fastpitch Coaches Association Jenna Laird and Casidy Chaumont earned the award at shortstop and left field a 2022 Softball All-SEC Second Team player finished the year with a .975 fielding percentage while turning 10 double plays and did not make an error during SEC play has appeared on SportsCenter's Top Ten Plays four times over her career at Mizzou After beginning her career as an infielder at Louisiana she converted to the outfield at the start of the 2021 season and finished with a perfect 1.000 fielding percentage Chaumont has thrown out five runners on the basepaths from left field over her two seasons in the Black and Gold Kimberly Wert and Brooke Wilmes were each named First Team All-SEC performers in 2022 Wert and Wilmes were each tabbed to the National Fastpitch Coaches Association Southeast All-Region team Weber led the Tigers to the SEC Tournament final with a pair of shutouts against No She became the first Mizzou pitcher to record three wins in a single SEC series when she earned the victory in all three games against Kentucky Mizzou is coming off a 2023 season that saw the Tigers reach a 16th straight NCAA Regional finishing the season with a 35-26 record and going 7-17 against SEC foes The pitching staff proved efficient yet again Alex Honnold became the 26th All-American in program history (31 total All-American honors) after earning Second-Team honors from the National Fastpitch Coaches Association (NFCA) A Top 25 Finalist for 2023 USA Softball Collegiate Player of the Year Honnold led Mizzou and ranked top six in the SEC for on-base percentage (.539) Her slugging percentage in 2023 ranked fourth all-time in program history Honnold also earned NFCA Southeast All-Region honors and was named to the All-SEC Second Team Jenna Laird joined Honnold in representing the Tigers on the All-SEC Team her sixth postseason honor at Mizzou and third-straight appearance on the All-SEC Team The leadoff hitter paced the Tigers in SEC play with a .291 batting average to go with 14 runs Anderson led the Tigers to a top-10 finish an NCAA Super Regional appearance and the team’s second Southeastern Conference Tournament Championship appearance in three seasons their highest total in the program’s SEC era and fourth-most in program history A trio of Tigers earned National Fastpitch Coaches Association All-Region while 13 student-athletes secured Easton/NFCA All-America Scholar-Athlete honors for earning a 3.5 GPA and above Freshman Abby Hay was listed on the NFCA Southeast Second Team All-Region while seniors Laurin Krings and Alex Honnold were tabbed to the Southeast Third Team All-Region Honnold and Hay were also named to the All-SEC Second Team while Krings (pitcher) and right fielder Kayley Lenger nabbed spots on the SEC All-Defensive Team Anderson joined Mizzou after a 17-year run at Hofstra Anderson fashioned a 130-73-1 (.640) record with a pair of NCAA Tournament appearances two Colonial Athletic Association (CAA) titles and four winning seasons She picked up her 100th career win with the Pride's 7-2 win over Boston University and posted seven career wins over nationally-ranked opponents including three in 2018—a 1-0 victory over then-No 13 Florida State on March 2 and a pair at No 22 James Madison to claim the CAA Tournament crown The 2018 campaign was a historic one for Hofstra Softball as Anderson led the 24th-ranked Pride to a 41-14 record the CAA Tournament title and the NCAA Columbia Regional Hofstra earned an automatic bid to the NCAA Tournament by defeating CAA regular-season champion and 22nd-ranked James Madison to claim its 12th CAA title in the sport since joining the league in 2002 and returned to the NCAA Tournament for the first time since 2015 Anderson's 2018 squad reached the 40-win mark for the 11th time in program history (and first since a school-record 46 wins in 2013) while setting school records for runs scored (334) Hofstra owned an RPI of 19 against the nation's 29th-toughest schedule in 2018 Hofstra also garnered a league-high eight CAA postseason honors headlined by Sarah Cornell's selection as the CAA Pitcher of the Year—the Pride's 10th such honor all-time and first since 2013 Hofstra returned to the CAA championship game as the program registered its 28th-straight winning season (27-23) and earned the No Anderson picked up her first win over a Top 10 opponent as head coach with a 5-2 victory over No Cornell was named first-team NFCA All-Northeast Region as a rookie while also earning a spot on the All-CAA second team and All-Rookie team The Pride posted another winning record in her second season (24-22) and had six student-athletes earn CAA postseason honors and two garner NFCA All-Northeast Region recognition In her first season as the storied program's head coach in 2015 Anderson led Hofstra to the CAA championship and an NCAA Tournament berth guiding Hofstra to a 38-14-1 record and a spot in the NCAA Gainesville Regional Anderson and her assistants were named the NFCA Northeast Region's Coaching Staff of the Year after Hofstra posted a collective 2.05 ERA smashed 56 home runs and out-scored opponents Anderson has been part of eight NFCA Regional Coaching Staff of the Year award winners including seven as an assistant or associate head coach and one as the head coach she helped the Pride to a 610-267-2 (.695) record) Before taking over as head coach from Hall of Famer Bill Edwards Anderson spent 13 seasons on the Hofstra staff as an assistant including the last 10 as the associate head coach helping the program to 10 NCAA Tournament appearances and 10 CAA titles she helped Hofstra win 24 NCAA Tournament games and make six appearances in the regional finals Hofstra hurlers won nine CAA Pitcher of the Year awards in 10 seasons including four consecutive wins by Olivia Galati from 2010-13 and three from Kayleigh Lotti from 2007-09 Galati was twice named an All-America by the NFCA and was the program's first-ever first-team pick in 2012 after leading Division I with a 0.95 ERA and a 34-7 record Anderson helped guide Galati to a NCAA-best 40 wins and 22 shutouts in 2013 A hallmark of the Hofstra Softball program during Anderson's tenure was the Pride's stellar defense Hofstra consistently ranked among the nation's elite in fielding percentage as the Pride was among the Top 20 nationally in five of those seasons Hofstra ranked first in Division I in fielding percentage during the 2011 season and was fourth in 2008 and 2010 Her 2018 team currently ranks sixth nationally with an .979 mark she chaired its Ethics Committee from 2009-13 and previously served as the fourth Vice President on the NFCA executive board and as a member of the NFCA Recruiting Committee and the NFCA Hall of Fame Committee Anderson is currently the Vice President of the Awards Committee and was one of eight members who were voted to the NFCA’s Board of Directors for 2023 Anderson officially began her three-year term on January 1 Anderson served as an assistant coach for two seasons at LIU Post where she helped the Pioneers to a combined 75-33 record including a school-record 42 wins during the 2000 season She assisted in all facets of the program at LIU Post and was in charge of coaching the pitchers and catchers Her efforts helped the Pioneers to the 13th-best team earned run average in Division II (1.11) in 2001 Post staff that received the Northeast Region Division II Coaching Staff of the Year award from the NFCA in 2000 Anderson spent one season as an assistant coach at Gannon University in 1998 after being named a regional All-American outfielder in 1997 She graduated from Gannon in 1997 with a bachelor's of science degree in therapeutic recreation She is married to former Hofstra Baseball Coach Patrick Anderson Louis Cardinals' Class AA affiliate in Springfield Patrick Anderson spent three seasons as the head coach in Peoria MU is an equal opportunity employer © 2025 — The Curators of the University of Missouri. All rights reserved. DMCA and other copyright information. Privacy Policy An equal opportunity/access/affirmative action/pro-disabled and veteran employer. | Disability Resources Thanks for visiting The use of software that blocks ads hinders our ability to serve you the content you came here to enjoy We ask that you consider turning off your ad blocker so we can deliver you the best experience possible while you are here LaCour has been instrumental in shaping the award-winning meeting center’s growth since 2013 Larissa LaCour, who has guided the Executive Briefing Center at the Virginia Tech Research Center — Arlington to multiple national recognitions since 2013 has been named director of the award-winning executive center and meeting venue “Larissa’s strategic vision and commitment to excellence have been instrumental in establishing the Executive Briefing Center as a premier destination for professional engagement,” said Susan E. Short, associate vice president for engagement with Outreach and International Affairs “This advancement recognizes her extraordinary leadership and ongoing contributions to Virginia Tech’s presence in the greater Washington who previously served as assistant director and manager of the center building strong partnerships with industry leaders and government agencies “I’ve been working in higher education my whole career and have always worked in a department that oversaw facility operations,” LaCour said “I’ve had the good fortune of having some amazing mentors — women who had a passion for facilities and understood how they can come to life if you know what to pay attention to.” The Executive Briefing Center (EBC) features state-of-the-art conference technology including immersive visualization capabilities and advanced audiovisual systems have established the center as a leading venue for executive education and professional development for clients both internal and external to the university but it’s our team that makes the EBC great,” LaCour said “I hear it from clients all the time — it’s our absolute best asset The center’s operations team includes event operations supervisor Will Simmons and a group of international graduate students who serve as event assistants “Leading this venue and representing Virginia Tech here in the greater Washington region has always been a point of pride for me,” LaCour said ‘I have the privilege’ of managing the EBC LaCour earned a master’s degree in higher education and student affairs administration from the University at Buffalo where she also earned her bachelor’s degree in business administration with a focus on human resources Virginia Tech demonstrates impact as a global land grant – progressing sustainability in our community Get Directions  See All Locations  Contact Virginia Tech  © 2025 Virginia Polytechnic Institute and State University Land & Environment By Lael Gilbert | January 22 The Quinney College of Natural Resources (QCNR) has named Larissa Yocom executive director of the new Utah Forest Restoration Institute (UFRI) a recently established institute focused on improving forest health and reducing wildfire risk across the state Yocom brings to the role a wealth of expertise in forest management wildfire ecology and science-based restoration with a focus on helping Utah’s forest be less vulnerable to disturbances like wildfire and drought “Her science-rich background in fire ecology and forest restoration combined with her connections across the state and region will be invaluable for increasing the pace and scale of forest management treatments in Utah boosting the health and resilience of our forests,” said Linda Nagel with issues that have been building for decades,” Yocom said “It’s going to be a team effort to find a better balance We’ll have the chance to fill in existing gaps do important groundwork and partner with established agencies and organizations in the state that are already doing great work to support these landscapes.” Acres of dead wood from decades-old beetle outbreaks push wildfires in Utah to unacceptable levels of intensity and damage Trees are also quite homogeneous in their age — settlers in the late 1800s cleared much of these lands so today’s ecosystems don’t reflect the kind of age diversity they once did wildfires have been actively suppressed for much of the last century allowing natural fuels to build up on forest floors Growing populations in Utah also impact these ecosystems Utahns tend to be active users of forest lands travel and build homes in what is known as the "wildland-urban interface," where developed areas meet natural areas Natural amenities make the state an exceptional place to live but also make forest management more complex Even people that don’t live near the forest depend on them A majority of the water in the state that people rely on for everything from watering lawns to industry originates in forests “The quality of Utah’s forests has a big impact on the quality of Utah water,” Yocom said “This makes forest health disproportionately important to the state’s interests.” The new institute is designed to define what we can do better to manage the lands and where those efforts should be focused to reduce the risk for the things we can’t afford to lose One of the first goals for the organization will be facilitating the sharing of information and support for active forest management The organization is already working to make existing information about best-practices on Utah lands more easily available for managers They will also create summaries and digests of research specific to Utah forests to make it easier to find and use Another need is increased monitoring of existing forest treatments to understand how forests are responding This will allow forest managers to compare strategies and learn from each other’s experience Doing so would allow managers to increase the pace and scale of their restoration projects “We don’t want managers to have to reinvent the wheel for every project,” she said “An organization like this can be the glue that connects disparate people and projects.” Similar institutes exist in western states that have really made a difference toward better forest health “It’s time that Utah forests had the same investment,” she said Comments and questions regarding this article may be directed to the contact person listed on this page Wildfire patterns in the West are changing the trend in the Great Basin hasn't necessarily been a simple increase Extension is sponsoring Earth Day Birthday a family-friendly celebration of planet Earth at the USU Ogden Botanical Center UNIVERSITY AFFAIRS SCIENCE & TECHNOLOGY HEALTH & WELLNESS Please enable JS and disable any ad blocker I watched from the second-floor window as my boyfriend cut tiles in the backyard of our little row house in Brooklyn The saw whined sharply as it spewed tile dust into the ragged weeds I’d known we would be doing this type of hard work on the fixer-upper we’d just bought on the shaggy border of Park Slope But I’d always assumed we’d be doing it side by side he describes the time his eccentric scientist father brought home a female grad student and announced to his wife and kids that marriage was a bourgeois institution and thus henceforth Betty would be part of the family I’d sworn off the idea of ever being a wife It wasn’t only about avoiding repressive gender roles Every marriage I had known about as a child had ended in divorce My grandparents were divorced before I was even born The family weddings I went to throughout my childhood—the hippie gathering in a pine forest the one in Boston where my uncle wore a yarmulke and broke a wineglass to marry a Jewish woman—all ended in divorce I\u2019d known we would be doing this type of hard work on the fixer-upper we\u2019d just bought on the shaggy border of Park Slope But I\u2019d always assumed we\u2019d be doing it side by side I\u2019d sworn off the idea of ever being a wife It wasn\u2019t only about avoiding repressive gender roles The family weddings I went to throughout my childhood\u2014the hippie gathering in a pine forest the one in Boston where my uncle wore a yarmulke and broke a wineglass to marry a Jewish woman\u2014all ended in divorce Most of my friends\u2019 parents got divorced you have to accept that humans can’t control everything “It doesn’t matter how desperately you want to find more eggs my husband and I walked out to the sheep pasture with a .22 rifle We found the lamb in the three-sided sheep shed Its mother had moved on by then with her healthy offspring born two days earlier with a rigidly bent leg that we had been unable to massage into any kind of movement continuing to bellow as we walked along the fence line into the woods and my husband pointed the rifle toward the back of her head that a quick end to this lamb’s life was the most humane outcome when I said to my husband and our then-young children you have to accept that humans can\u2019t control everything \u201CIt doesn\u2019t matter how desperately you want to find more eggs that a quick end to this lamb\u2019s life was the most humane outcome I drove to my local firehouse to cast my vote for Joe Biden a man who has a giant billowing Trump flag on his lawn Each of us knew exactly who the other was voting for and I briefly wondered if we ought to hate each other for it I’d spent a decade as a Democrat living in Trump Country And in that time I’d slowly come to reject the political prejudice so common among my tribe I live on a small family farm in Greene County south of Albany and on the wrong side of the Hudson River for a lifelong leftist type like myself This area overwhelmingly votes Republican—in 2016 only 34 percent voted for Hillary Clinton; in 2020 I’ll hear Democrats console each other: “Well we lost by less than usual!” And at a meeting of local Democrats a few years ago several attendees discussed the open secret that working for the county in any position requires you to at least pretend to be a Republican I\u2019d spent a decade as a Democrat living in Trump Country And in that time I\u2019d slowly come to reject the political prejudice so common among my tribe This area overwhelmingly votes Republican\u2014in 2016 I\u2019ll hear Democrats console each other: \u201CWell we lost by less than usual!\u201D And at a meeting of local Democrats a few years ago Latynina made her Olympic debut at the 1956 Melbourne Games She fought off fierce competition to win gold in the all-around event In the apparatus finals she finished first in the vault second on the uneven bars and in the floor exercise She also led the Soviet Union to victory in the team event Latynina defended her all-around title and won another gold medal in the team event She also earned a second gold medal in the floor exercise picked up silver medals on the uneven bars and the balance beam Yet despite winning seven Olympic gold medals Latynina won her third Olympic team gold medal and a silver medal in the all-around event In the apparatus finals she won a silver medal in the vault bronze medals on the uneven bars and the balance beam and won the floor exercise for the third straight time Latynina’s incredible achievements make her the holder of several Olympic records Until Michael Phelps broke her record in London she was the only athlete in any sport to have won eighteen Olympic medals She is one of only four athletes to have won nine gold medals and one of only three women to have won the same event at Summer Games three times That premiere coincided with Oregon productions of plays by two other Native women playwrights that year And So We Walked by DeLanna Studi (Cherokee Nation) and Manahatta by Mary Kathryn Nagle (Cherokee Nation) Portland playwright Amber Kay Ball spoke with FastHorse about Peter Pan Her answers have been edited for clarity and continuity Larissa FastHorse: As a Native American woman I had really avoided Peter Pan for my life When the producers and the director came to me through my agent let’s just do due diligence and read it I’ll read it and then I’ll pass on Monday The version that I’m adapting is the Jerome Robbins Broadway version A lot of people know that version had Mary Martin There’s a lot of really wonderful stuff in this show and there’s a reason it’s endured for so many generations The problem was it did have things that caused harm.  and if I have the freedom and the agency to make the changes that need to be done So if the magic of Neverland is that you never grow old let’s have a reason that Indigenous people are there There’s no reason in the previous versions They are just there with magical things and we don’t know why.  there’s never a reason why the Lost Boys and the Indians are fighting It’s just assumed that if Indians are there we’ve got to fix both of those things I decided that Tiger Lily is the leader of her people She and all of her people are the last of an Indigenous culture that has gone extinct in this world When they come down to the last person of their culture so they can preserve their culture and keep it safe in hopes of bringing it back to this world one day That’s how I used the magic of Neverland to be a positive and a help for these different Indigenous peoples Then we had to come up with reasons from Neverland mythology of why these people are fighting and why they’ve had this feud They’ve been there together for an eternity The one other thing that was really important to me as a Native American person was people have always played red face in the show So I specified in the script that Tiger Lily are from ancient cultures in North America – Acoma specifically from Cahokia.  Then the rest of the tribe can be from anywhere in the world; there’s Indigenous people all over the planet everybody else can just play a version of who they are we have a young man whose ancestry goes back to Japan So we found an extinct culture from Japan that he’s portraying We have a woman who is from Eastern Europe and so we have an ancient Slavic culture that she’s portraying this becomes the licensed version everyone can do Everybody can hire people to play who they are and not have to play red face again When Lonnie Price and I were developing the show … we wanted people who loved Peter Pan to be able to come to the show and see the Peter Pan they loved we wanted to make sure the show never caused harm anymore we wanted to make sure that any people from any social racial and cultural background could look out their window and believe that Peter Pan could fly by.  they were interviewing children that came out of the show “I love Wendy because she’s both kind and smart.” A lot of children love Tiger Lily because she’s strong and fierce It is really exciting to hear the mix of love for characters beyond these two women characters didn’t sing didn’t fight – didn’t have a lot of agency They have a scene now where the two women speak to each other without Peter And that’s something that hadn’t happened before this I’m really excited to see how it’s affecting young people that come in the audience Portland has such a special place in my heart because that’s the launching [pad] of Thanksgiving Play, which is what changed my life and took me to Broadway, which ultimately took me to Peter Pan. Being there at that time with three Native American women playwrights was incredible There’s so many more Native playwrights being produced all over the place which is really exciting.  To come back with this show is an incredible full circle moment this huge Broadway production at Keller Auditorium is really exciting.  There’s such an incredible Indigenous community and appreciation of Indigenous culture in Portland this incredible art scene and the theater scene there is so rich I’m in Seattle right now and I was talking to some young folks and one is an Indigenous writer You have to keep working at it and work at your craft You have to keep networking and getting to know people and most importantly I’ve been produced all over the country for several years now There’s plenty of theaters that have no interest in working with me Because it’s just not right for them It’s not right for the sense of learning I kind of would be nervous the day that I’m right for everybody So you have to really be tenacious and be clear on who you are and what your voice is so that the people that want that if you’re trying to hide who you are if you’re trying to sound like whoever or what you think people want to be and stay true to it and give them time.  Thanksgiving Play – I remind people again and again – it’s been one of the most produced plays in America for several years now I’ve never had so much rejection from a play as I did with that one Because it had to find its people and it had to find its time So I just kept submitting and kept believing in it Success can sometimes look like four years of rejection and you just have to keep going.  I hope they get to write whatever they want I hope they’re given the resources that non-Indigenous playwrights are given I hope they’re given the benefit of the doubt That’s something I finally have where I can talk to theaters ‘This is what I want to do,’ and they say ‘we trust you to do that.’ That didn’t happen before Thanksgiving Play I always had to prove myself over and over and over again.  And I hope that they get to have trust and the benefit of the doubt in the way that they vision and dream We had that beautiful moment in Portland last time I was there I was so thrilled to share that with Mary Kathryn (Nagle) and DeLanna (Studi) But that’s the only time I’ve ever had community with other Native playwrights when I was working somewhere And I hope that becomes the norm and happens again and again.  I hope they get to write about anything they want I hope they get to write about Native stories and non-Native stories That they don’t feel that they have to represent themselves in one particular way to be considered a Native American playwright Anything we write is Native American because we are.  I hope that they get to feel that they have the agency to have an Indigenous space and process if they wish But I also hope that they don’t feel like they have to do that it’s there and they know that Indigenous audiences So they don’t have to do all that.  enjoy that part of it and be in production But I hope that our future Indigenous writers get to just focus on their art and their craft do the parts they love and that would be really exciting.  Born in Portland, Oregon, Amber Kay Ball citizen of the Confederated Tribes of Siletz Indians their people are from Southern Oregon and Northern California As a contemporary Native multi-practice artist and beadwork as mediums for sharing stories These mediums allow them to critically explore and futures in a just and liberated format Amber studied theater arts and Native American Studies at the University of Oregon Email *Your email address will not be published Δdocument.getElementById( "ak_js_1" ).setAttribute( "value" This site uses Akismet to reduce spam. 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If you prefer to make a comment privately, fill out our feedback form Tarell Alvin McCraney's poetical play at Portland Center Stage embodies memories of prison and mystical characters from the Yoruba traditions of West Africa which features many current and former Oregon Shakespeare Festival actors draws a loyal and growing audience for contemporary plays in the heart of Shakespeare territory From humble beginnings in 1947 as Wilmington College UNCW has evolved into a top doctoral and research institution with nearly 19,000 students and about 2,500 employees you’ll enjoy a powerful academic experience that stimulates creative inquiry critical thinking and thoughtful expression in a beautiful setting Find an outstanding program to fit your strengths and prepare you to excel in our changing world involvement and engagement opportunities as a current Seahawk Delve deep into your interests through applied learning where undergraduate and graduate students partner with faculty on high-quality research projects Larissa Malone, associate professor at the Watson College, is co-editor of Decolonizing Classroom Management: A Critical Examination of the Cultural Assumptions and Norms in Traditional Practices The book was published by Rowman & Littlefield in October Decolonizing Classroom Management introduces a framework for critically examining the cultural assumptions and norms embedded in traditional classroom management practices The book helps educators and teacher educators orient toward liberation through questioning assumptive language challenging popular classroom management models and offering promising practices to create positive learning environments The final section provides practices that can guide educators who aim to create thriving learning environments "The intent of the book is to ensure that all children are seen as more than something to 'manage',” Dr “It was an honor to support talented academics from around the world in this quest to spread humanity and a sense of community across classrooms through their scholarship." "In this collection of highly readable essays authors deconstruct prevailing systems that are rooted in whiteness and control authors show what decolonized classroom management looks and feels like to both students and teachers," Christine Sleeter California State University Monterey Bay wrote in a review Larissa Malone is an associate professor of Social & Cultural Foundations at UNCW’s Watson College of Education She joined WCE in 2023 from the University of Southern Maine where she was an Associate Professor and Chair of the Teacher Education Department Her research centers on the minoritized experience in schooling has worked in hundreds of classrooms across the United States as a teacher and teacher educator for over 30 years Ross currently serves as Professor and Department Chair of Teacher Education at the University of Southern Maine The Los Angeles playwright discusses nonprofit farces What’s the elevator pitch for Fake It Until You Make It It’s a farce set in the world of nonprofit organizations that highlights the absurdities of authenticity It was originally commissioned by Center Theatre Group so I wanted it to appeal to an audience that looks like Los Angeles It’s dealing with issues of race identity and the complicated world of nonprofit funding in general which affects a broad cross section of folks What’s been the biggest challenge in crafting it scary things show up—questions I don’t know the answer to or even want to think about What’s a piece of advice from a mentor that has stuck with you My directing partner in this project, Michael John Garcés “The best gift you can give me as a director is to not figure everything out.” I am carrying that with me very strongly on this piece I escaped my mother’s grasp and joined the program with the bigger kids I basically feel the same on every project since What’s a piece of art you love that you feel doesn’t get talked about enough Don’t get me started on the divide between community-engaged theatre and traditional Western theatre. People love to talk about the work I do in Native communities as something else This is an endless frustration for many community-engaged theatre companies and artists What’s a piece of art you wish you could have either created or been a part of The Lost Boys musical that’s now in development When I got on Broadway and got a chance to pitch to Warner Brothers that if his fancy book writers get too busy to finish What’s a recent moment that reminded you why you do theatre I spent a lot of time with my new version of Peter Pan on the West Coast this summer Do a show full of audiences who have never been to theatre before Hearing gasps and cheers at the magic of theatre—it’s incredible and addictive There is a tree near me right now that is over 400 years old It reminds me of how long time is and how much can be accomplished through stillness What is the “note” or piece of feedback you get most often For my work: “I didn’t understand it on the page Finish this sentence: It’s not theatre unless… Support American Theatre: a just and thriving theatre ecology begins with information for all. 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Kilbeggan-based songwriter Larissa Tormey is getting excited as the countdown begins to her departure – with the rest of the Irish delegation – for the Eurovision Song Contest spoke about the journey that led to this moment during a special ‘Sofa Sessions’ event held at Belvedere House on Friday week last organised by Kevin Lyster and supported by Westmeath County Council featured an evening of interviews and live music Larissa shared insights into her songwriting career and personal journey from Russia to Ireland: “It was a really interesting format – part interview The audience also got involved by voting on their favourite Eurovision entries during the night,” Tormey said Larissa was honoured with an Achievement Award from Westmeath County Council for her Eurovision contribution ‘Laika Party’ celebrates the memory of the street dog Laika which was sent to space in the Russian Sputnik 2 spacecraft in November 1957 the song was born at a songwriting camp in Norway organised by the MGP – the body behind Norway’s Eurovision selection Although originally intended for Norway’s national competition Larissa realised the song’s potential and submitted it for Ireland’s Eurovision selection instead utilising her Irish citizenship to make the entry eligible “It’s thanks to my being an Irish songwriter that the song could even be submitted for Ireland,” she explained Larissa’s dedication to songwriting has accelerated in recent years After beginning co-writing sessions less than two years ago under the guidance of UK-based publisher DWB Music often collaborating with other writers online “It’s intense but I absolutely love it,” she said and it’s really like having a full-time job.” Larissa said her initial experience at songwriting camps and her rapid progress in the music industry felt like finding a “golden ticket” The success of Laika Party being selected for Eurovision has already boosted her profile Having a Eurovision song in your portfolio really helps when you pitch songs to artists or publishers.” a day before the second Eurovision semi-final where Ireland’s entry will compete Despite the stiff competition – the second semi-final includes several of the year’s strongest favourites – she remains hopeful But we’re proud of what we’ve achieved already and we’ll be there waving the Irish flag proudly.” Larissa leads a busy life on the family farm at Kilbeggan where she handles much of the administrative work alongside her husband Although not directly involved in heavy farm labour Larissa says she’s deeply connected to the farming lifestyle I’m very much a farmer’s wife,” she said with a laugh Larissa’s background is as rich and diverse as her music career she grew up surrounded by nature before pursuing an extensive musical education in classical choir conducting She moved to Ireland 25 years ago after meeting her husband when he travelled to Moscow for three days for a stag party: she was at a birthday celebration in the same venue Larissa hopes Irish supporters across the world will help Laika Party succeed in the semi-final “If everyone with Irish connections abroad could ask them to vote We just need to get through the semi-final – then anything can happen.” The Eurovision second semi-final is on May 15 « Back More than 70 clergywomen from 16 church districts attended a denominational retreat traditionally offered every five years by the Ministry Office of the Church of the Brethren and treasured connections for women of all ages 10-13 at the San Pedro Spiritual Development Center in Winter Park Presentations were offered each morning by Meghan Larissa Good lead pastor of Trinity Mennonite Church in Phoenix and author of Divine Gravity: Sparking a Movement to Recover a Better Christian Story Good serves as theology chair for the Jesus Collective and amplify a movement toward a more hopeful Jesus-centered Christianity Good is also Faculty of Record for Teaching Leadership in the doctor of ministry program at Anabaptist Mennonite Biblical Seminary Following Good’s presentations on the theme “Love the World like Jesus with Courage and Healing,” women enjoyed small group and worship experiences that afforded the opportunity for intercultural fellowship across diverse cultural heritages and Haitian Creole was available throughout the retreat with equipment provided by Atlantic Southeast District The retreat enjoyed strong sponsorship from a variety of denominational agencies and programs In addition to their generous financial support Eder Financial surprised each attendee with a small gift box of chocolate truffles was joined by four other female staff who led a workshop on “Financial Wellness for Clergywomen.” Karen Duhai Bethany Theological Seminary’s director of Student Development coordinated the seminary’s support for airport transportation also provided leadership on behalf of the seminary The Part-time Pastor; Full-time Church program offered financial support and program supplies The Womaen’s Caucus supported several women’s attendance through grants from the Mary Blocher Smeltzer scholarship fund clergy sisters returned home pondering challenging questions such as “What is the shape that Jesus’ love takes in me?” “How does Jesus’ love in me enable me to love my enemies?” and “What could I do to increase the likelihood of hearing and following the voice of the Holy Spirit in my life and ministry?” May the responses to such questions bear abundant fruit in the lives of those who love the world like Jesus loves — Nancy Sollenberger Heishman is director of the Church of the Brethren’s Ministry Office. Find an online photo album from the Clergywomen’s Retreat at www.brethren.org/photos. #MissionAndMinistryBoard #StrategicPlan #RacialJustice #LoveOurNeighbors #Discipleship #NewTestamentGiving The official website of the Church of the Brethren © 2025 Church of the Brethren, Inc. 1451 Dundee Ave, Elgin, IL 60120 Tap to enable a layout that focuses on the article The world has shifted off its axis since that relatively halcyon time when identity politics ranted over and defended without fear of governmental reprisal An emboldened Donald Trump has returned to the White House on a vendetta against diversity setting in motion a new version of the Red Scare except the target color scheme now is anything nonwhite As nonprofit agencies across the land are scrambling to figure out how to respond to anti-DEI policies and threats from the new administration the delayed premiere of “Fake It Until You Make It” presents a satirical war between two rival nonprofit groups working on behalf of Native American causes Good intentions are no guarantee of good behavior. In “The Thanksgiving Play,” FastHorse skewered with merciless hilarity white woke hypocrisy she examines the way virtue signaling and moral one-upmanship have warped the nonprofit field turning public service into a competitive sport and corrupting even those who have dedicated themselves to lifting up their own communities “Fake It Until You Make It” doesn’t anticipate the dire situation unfolding in 2025 move beyond the rigid partisan categories that have clouded our thinking and made shared enlightenment seem completely out of reach FastHorse revealed that had Arena Stage not stepped in after CTG faltered there “would have been a lot of hurt and unhealed pain which would have made this process difficult.”) River (Julie Bowen of “Modern Family” fame) a white woman who runs Indigenous Nations Soaring has taken out a restraining order to prevent anyone from messing with her cat a proudly identified Native woman who leads N.O.B.U.S.H. an organization seeking the removal of invasive plants The two women work in the same office complex and are bitter enemies and River keeps planting a botanical species on workplace grounds that Wynona is on a fanatical mission to wipe out Battle lines are drawn and immediately transgressed in a play that takes farce out of the bedroom and into administrative corridors and cubicles where a good deal of time is spent scheming and counter-scheming Mistaken identity is a central conceit of the genre and FastHorse takes this charade to another intellectual level “Fake It Until You Make It” interrogates the meaning of racial identity and authenticity leaving no dogmatic position unscathed by irony FastHorse’s nonprofit universe includes a range of characters of varied ideological commitments and tactical approaches is an eco-activist who returns from clearing thousands of acres of English ivy from California wilderness to find himself conscripted into Wynona’s war against River but her conscience won’t let her start a family with a non-Native the reward of being his common-law wife if he pretends to be a Native applicant for a job at River’s organization She wants him to tank a big grant application to better her chances of being selected but his passion for Wynona overrides his scruples Two other nonprofit leaders have their headquarters in this suite of offices has launched an organization to help people transition their identities “ethically and safely.” A Native woman eager to try on other selves Brooks the opportunity to create a pageant of flamboyant international garb designed to lay unmistakable claim to new cultural identities heads an organization that advocates for the Two Spirit community shows up at the office to apologize for missing the interview with River a fellow Two Spirit soul with a lot of sex appeal The farcical math is elegantly worked out by FastHorse quickly reaches cruising speed on a vivid set by Sara Ryung Clement that is full of Native color and craft But much as I admired the playwright’s ingenious examination of identity politics through the looking glass of farce I never quite succumbed to the comedy’s demented logic My resistance wasn’t just a function of the radically changed political landscape that has made DEI concerns no laughing matter There’s a cynicism at the heart of “Fake It Until You Make It” that distances us from the characters She refuses to treat her Native protagonist as a hero But in making Wynona so belligerently flawed and River so narcissistically self-serving FastHorse diminishes our concern for the outcome of their battle and Brandon Delsid in “Fake It Until You Make It” at the Mark Taper Forum who refuses to be confined by demographic category is in many ways the most outrageously polemical of the characters Yet she gains the upper hand in the debate over identity politics with a perspective that is as compassionate and cogent as it is controversial the way she’s deployed as a sight gag makes it hard to take her seriously when it counts Perhaps the real hero of the play is the playwright But a touch more emotional reasonableness in Wynona might have paid theatrical dividends overwhelmed by situations of their own making But we need to care about them sufficiently to stay attentive and for that to happen we must believe that they are capable of self-awareness Farce is a notoriously cruel genre, as critic Eric Bentley has noted as he writes in “The Life of the Drama,” to work out our “psychic violence” through laughter We know the brutality isn’t really happening so we go along with the vicious high jinks But a corner must be preserved for affection and FastHorse spares not even River’s cat from unnatural abuse Krys and Mark arrive at a moment of tender connection The panting lust that allows them to override the lies that brought them together isn’t enough farcical compensation Bowen’s River and Carmelo’s Wynona play their characters’ shortcomings to the hilt Amy Brenneman takes over the role from a fearlessly funny Bowen when “Fake It” moves to Arena Stage in April who could incorporate a moment or two of introspective reflection in her uncompromisingly ferocious portrayal will travel with the rest of the cast to Washington Bean’s Tom bristles at the way Wynona plays the race card (“You can’t just say ‘blood money’ to win every argument,” he tells her.) But he’s carnal putty in her hands leaving the impression of a good guy with a big id and no spine The play ends with a joke that made me wonder if Center Theatre Group has it in for cats. (I had hoped to expunge the memory of the dramatized feline murder that took place in “Our Dear Dead Drug Lord” at the Kirk Douglas Theatre.) We could all use a good laugh right now in these disturbing political times Where: Mark Taper Forum, 135 N. Grand Ave., L.A.When:  8 p.m. Tuesday-Friday, 2:30 and 8 p.m. Saturday, 1 and 6:30 p.m. Sunday, through March 9. (Call for exceptions.)Tickets:  Starting at $35Info:  (213) 628-2772 or centertheatregroup.org Running time: 1 hour Charles McNulty is the theater critic of the Los Angeles Times. He received his doctorate in dramaturgy and dramatic criticism from the Yale School of Drama. World & Nation Entertainment & Arts Hollywood Inc. Television Music Subscribe for unlimited accessSite Map finalizing when exactly to slam each door and how high Tonantzin Carmelo should toss a prop for Eric Stanton Betts to catch it which begins performances Wednesday at the Mark Taper Forum in Los Angeles is set in a co-working office building for nonprofit organizations serving Native American populations Think “Noises Off” but with bows and arrows beaded curtains and big questions about who gets to rightfully claim a racial FastHorse tells The Times about opening “Fake It” at the Taper after all, questioning “pretendians” with satire and making commercially viable Native theater. This conversation has been edited for length and clarity. My new play, “Fake It Until You Make It,” commissioned by Center Theatre Group, was about to go into production at their Mark Taper Forum when the organization indefinitely “paused” Taper programming. Real damage has been done to L.A. communities. How do you feel about finally opening this show? What changed everything was that [Arena Stage artistic director] Hana S. Sharif signed on immediately, with Michael directing, with a co-production option. That put us in a place of power and choice: We could walk away from CTG and just do it at Arena. It gave us the opportunity to say, actually, it matters to us to do it in our hometown, it was created for that space, it would be the first piece of theater at the Taper by a Native playwright. I’ve known [CTG artistic director] Snehal [Desai] and [managing director] Meghan [Pressman] for a long time, and there were a lot of painful Zooms back and forth, some miscommunications that happened. We talked about it and worked through it, and because I know them well, we were able to kind of fight it out and get there. If [Arena hadn’t signed on], I think there still would have been a lot of hurt and unhealed pain, which would have made this process difficult. Now, we’re so happy to be here. We both love Snehal and wanted to be a part of his first season. Knowing it was our choice to be a part of it made a difference. “It matters to us to do it in our hometown,” playwright Larissa FastHorse said of opening her play “Fake It Until You Make It” in L.A. under the direction of Michael John Garcés. (Emil Ravelo/For The Times) This play explores the world of nonprofit organizations. Where did the idea come from? I was in the middle of fundraising for the community project Michael and I are doing in South Dakota, and I got interested in who gets funded, who doesn’t and why. The amount of times white-led organizations just suddenly get dumped millions of dollars on them is incredible, because there’s an assumption that they can scale up. But can a Native American-led organization — who is in the community, understands this community and has been doing incredible work as a nonprofit for years — scale up? Will they be responsible? Can they handle it? That difference in trust, maybe even if doing the exact same work, was really eye-opening to me and something we’ve experienced firsthand. [In this play,] we have a white-led organization that actually does good work, because there are tons that do. And honestly, I wanted to make sure my main Native woman character wasn’t doing the most amazing work because I didn’t want her to be this saint just because she’s Native American. I wanted her to be flawed. Larissa FastHorse walks through her updates to the beloved musical which now better represents its Native characters and doubles as a platform for Native actors The play also discusses the concept of race-shifting we call them “pretendians.” This country has a long history of folks wanting to be Native and there are people in academia and in organizations who are benefiting pretty greatly from a created Indigenous ancestry that isn’t there And I was surprised: I looked around Reddit threads and chat rooms and found people of color who shift between communities of color — I didn’t even know that was an option and you feel more powerful as someone else There are real advocates for race-shifting — as in does it really matter if they’re walking around and pretending to be somebody else I don’t want to just make fun of these people; I wanted a way to talk about it and where the conversation around race and identity is heading “Your comedy and your satire already lean toward farce I want to see what you’d do if you were to just let loose and go for it.” “I don’t want to just make fun of these people,” said Larissa FastHorse of race-shifting and “pretendians.” (Emil Ravelo / For The Times) As in your other work you ask big questions in this play but don’t share any answers or definitive opinions I totally don’t need people to agree with me If theater is both an entertainment and a tool it’s much more valuable to make people think for themselves and then articulate those thoughts than to just agree or disagree with me I hate going to the theater and feeling like I’m being punished they’ve got to get to freaking downtown L.A. So whatever place you occupy on the political or moral spectrum and however you end up feeling about these topics Martha Graham Dance Company reminds us that our city continually reinvents itself with or without disasters like the Palisades and Eaton fires You’ve previously said “The Thanksgiving Play” is a piece of Native theater with mostly white actors which helps to make it more producible in the white American theater Did you think about that for “Fake It” and other works-in-progress So I think about the economics and math that these theaters are doing: What’s the size of the house Are there a couple roles that the Julie Bowens and Amy Brennemans can come in and sell some more tickets selling all these seats is still really hard and it costs so much money to fill this place I think about putting in a character who can sell some tickets where most of our Native artists just haven’t been given opportunities to be that person yet CTG has done an incredible job of incorporating Native artists into all the departments hiring local Native artists and sourcing from Native vendors whenever they can Even down to the tote bags the characters wear they’re all from Native organizations and artists And our set features the work of 40 or so Native artists; there are two prominent mural pieces from River Garza [who is Tongva/Mexican] and major work by Marlena Myles [who is Spirit Lake Dakota/Mohegan/Muscogee] Jesse Calderon [who is Chumash/Tongva] created the floor’s basket weave pattern and all the frames inside these offices are by Native artists What’s really cool is that there’ll be information and merchandise from all these artists in the lobby What tip would you give to another playwright trying out the form but that’s a physical reality to the people onstage and backstage who make it happen Someone in wardrobe was talking about being in a show where they were crying because they couldn’t make a quick change that if a scene transition or something is becoming borderline dangerous I can always just write more words — that’s easy There’s no reason for people to suffer or get hurt or get a career-ending injury over this Where: Mark Taper Forum, 135 N. Grand Ave., L.A.When:  8 p.m. Tuesdays-Fridays, 2 and 8 p.m. Saturdays, 1 and 6:30 p.m. Sundays. Through March 9. (Call for exceptions.)Tickets:  Start at $35Info:  (213) 628-2772 or centertheatregroup.org Ashley Lee is a reporter at the Los Angeles Times, where she writes about theater, movies, television and the bustling intersection of the stage and the screen. She also co-writes the paper’s twice-weekly Essential Arts newsletter. Travel & Experiences Lifestyle either observed and verified firsthand by the reporter or reported and verified from knowledgeable sources Translations may contain inaccuracies—please refer to the original content A Canadian woman has told Newsweek about trying to conceive with her husband who is serving time for second-degree murder met her husband during COVID-19 while brought in casually to help supervise in the kitchen "It wasn't until after I was no longer working there … that I reached out to him," she said their relationship has weathered challenges most couples never face she was diagnosed with diminished ovarian reserve a condition that drastically reduces fertility "I started my fertility journey with my goal to actually freeze my eggs to wait for my husband to get fully released from his incarceration all of my doctors told me to start trying now," King said "During that appointment with my fertility doctor all he said to me was sorry," she recalled conjugal visits—called private family visits—offer rare opportunities of normalcy King told Newsweek that the visits are something she looks forward to every four to eight weeks "It's a much-nicer process now that my husband is in a lower-security institution; not stressful whatsoever," King said The logistics behind the visits involve arranging child care for her daughter But King told Newsweek that it used to be more complicated than that including toiletries with Dawn dish soap to avoid any potential risk of cross-contamination for various products," King said "The whole process was very stressful back then; it's a lot more simple now." King told Newsweek that she is not worried about raising a child with a man behind bars She started sharing her journey on her Instagram profile (@ttc.prison.wife) to spread awareness of not only infertility but also those who are affected by their loved one being incarcerated "I'm not here to try and make people understand anything about my decision," King said "I understand how the term 'second-degree murder' sounds—it's a heavy and serious label that brings up strong reactions but what many people don't realize is that not all crimes and she said her husband has shown remorse and accountability As she continues to share her story online King said that many women have reached out privately—some dealing with infertility and others who also have incarcerated partners her message is one of empathy and visibility I think it's time that people should try to understand that love and family don't always look the way society expects them to," she said "Just because someone is incarcerated doesn't mean they stop being a human capable of love Newsweek is committed to challenging conventional wisdom and finding connections in the search for common ground Newsweek is committed to journalism that is factual and fair We value your input and encourage you to rate this article Newsletters in your inbox See all Did her advice sound a little apocalyptic? Maybe. Is it naive to suggest that most Americans have the time and space for chickens? Sure. But as someone who once kept chickens in a backyard in New York City, and who has been proselytizing for years about how fun and easy it is, our columnist Larissa Phillips found Rollins’s suggestion quite charming she tells the story of her life-changing decision to buy a few chicks—which will inspire and guide any Free Pressers who are thinking of following in her footsteps in which Larissa explains the basics of keeping chickens Did her advice sound a little apocalyptic? Maybe. Is it naive to suggest that most Americans have the time and space for chickens? Sure. But as someone who once kept chickens in a backyard in New York City, and who has been proselytizing for years about how fun and easy it is, our columnist Larissa Phillips found Rollins\u2019s suggestion quite charming she tells the story of her life-changing decision to buy a few chicks\u2014which will inspire and guide any Free Pressers who are thinking of following in her footsteps has published a new “Editor’s Choice” and “Featured Article” in the Journal Toxins revealing that the low levels of pollutants in our waters has more of a detrimental effect on both the aquatic life living in those waters and the humans that consume that water A common flame-retardant and plasticizer in use since the Environmental Protection Agency (EPA) banned the previously utilized and highly toxic polybrominated diphenyl ethers (PBDEs) from commercial use in 2009 triphenyl phosphate (TPhP) is frequently used in such common products as hydraulic fluids and casting resins given it’s flame retardant properties TPhP is frequently detected in fresh and marine environments and in this paper is shown to adversely affect the growth of aquatic organisms The development of larval zebrafish (Danio rerio) from waters with environmental significant levels of TPhP were found to be impacted at both the molecular and phenotypic (observable) levels with a loss of body length and pericardial edema Ben is currently a research associate in the Claussnitzer Lab at the Broad Institute Mfon is a research technician at Columbia University Irving Medical Center and Gabrielle is now in veterinary school at Washington State University Environmentally-relevant concentrations of triphenyl phosphate (TPhP) impact cardiac development in zebrafish A selection of recent mentions of Bates faculty in the news including a glowing review of a exhibition at the college' Immersive Media Studio and faculty commentaries on the importance of rural education the expanding implications of AI in education how homelessness impairs people's sense of autonomy Bunting comes to Bates from Princeton University where she is senior associate director of athletics for external relations With more than two decades of leadership experience in collegiate athletics Bunting has a track record of strategic innovation and the thrill of sharing big ideas at this year's summit — and how Bates students show up for one another Larissa Kyzer is a writer and Icelandic to English literary translator Her translation of Kristín Eiríksdóttir’s A Fist or a Heart was awarded the American Scandinavian Foundation’s 2019 translation prize she was one of Princeton’s Translators in Residence She’s translated dozens of contemporary Icelandic authors Helgadóttir (Strongest Woman in the World; forthcoming) Kyzer has received grant funding and support from the European Union Prize for Literature the Icelandic Ministry of Education and Culture She is on the board of the American Literary Translators Association a member of the Translators Organizing Committee and runs the virtual Women+ in Translation reading series Jill To support the translation of the novel The Chill of the April Sun by Elísabet Jökulsdóttir from Icelandic The Chill of the April Sun is a work of autobiographical fiction based heavily on author Jökulsdóttir's real-life experiences from April 1978 to September 1979 20-year-old Védís (a stand-in for the author) loses her estranged father falls into a passionate but toxic relationship with a young man who dallies with substance abuse forms her own dependency on alcohol and drugs and works at the very mental health facility where she herself will be institutionalized in a matter of months 1958) has published more than 30 works across genres Please select what you would like included for printing: Copy the text below and then paste that into your favorite email application This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply Service map data © OpenStreetMap contributors FastHorse’s Fake It Until You Make It is having its world premiere at the Mark Taper Forum Linda Buchwald Center Theatre Group announced that for financial reasons it was canceling all shows in its 2023-24 season including the world premiere of FastHorse’s Fake It Until You Make It “If having a really well-received Broadway show doesn’t make you Teflon so I’m a lot more clear-eyed about the process and about how things can change in a moment,” FastHorse says Now the show is finally having its long-awaited world premiere at the Mark Taper Forum where it’s running through March 9 in a co-production with Arena Stage The production is directed by Michael John Garcés FastHorse’s longtime collaborator who requested that she write a farce Fake It Until You Make It has all the door slams and mistaken identities you would expect while exploring complex identity issues such as race-shifting FastHorse spoke to TheaterMania about healing from the pain of the cancellation often being the first Native American playwright to be produced in spaces This conversation has been condensed and edited for clarity This section highlights and celebrates accomplished women in the theater industry not just for Women's History Month but all year long Read their profiles and our interviews and share them far and wide The musical opens at the Imperial Theatre on April 10 Get the best deals and latest updates on theater and shows by signing up for TheaterMania's newsletter today LA-based playwright Larissa FastHorse is known for both farce and poignant drama, challenging stereotypes and celebrating modern-day Indigenous life. She became the first known female playwright of Native American descent to have a show produced on Broadway — The Thanksgiving Play in 2023. Her latest project, Fake It Until You Make It is staging its world premiere run at Downtown LA’s Mark Taper Forum until March 9 The play’s two main characters are Wynona (Tonantzin Carmelo) a Native woman who runs an environmental nonprofit and wants to eradicate the invasive Butterfly Bush; and River (Julie Bowen) who’s white and leads a nonprofit that aids Indigenous communities They’re competing for a grant to fund their organizations FastHorse tells KCRW that the women have differences around socioeconomic status and how they serve the Indigenous community “I work in the nonprofit world as a playwright much of the time even though I do commercial theater as well and seeing how the discrepancies and where you start affects where you end up … was really eye-opening for me FastHorse brings up questions: Does it matter who is in charge of these nonprofits — who gets the money and controls where that money goes “[River] thinks that she's just using the privilege and the resources she's been given … to do good in the world like many of the people that run these organizations that I've spoken to And … keeping yourself in a position of power while doing good And maybe there's another way to go about that.” Meanwhile, Wynona wants to protect her bloodline but is in a serious relationship with a white man. FastHorse, whose husband is white, brings up “the hilariously faulted science” of blood quantum which controversially measures a person’s amount of “Indian blood” — in fractions federal government imposed this on Native people then generations took it on themselves to have tribal sovereignty “For me to … talk about what it means to marry a white person and now maybe your fraction is going to be too small and your children can't be a member of the tribe that's the big thing we have to think about And that's something that government has forced on us Noah Bean and Julie Bowen perform in “Fake It Until You Make It” at the Mark Taper Forum and the characters’ feud becomes absurd — River even gets a restraining order that forbids Wynona from interacting with her cat That actually happened in the Santa Monica apartment where FastHorse lives “One woman got a restraining order on behalf of her cat against another woman because the cat liked the other woman more than her … So we're all told that we had to call the police if we saw this woman petting the cat how do you get there?’ … And then that crosses into … calling the police on women of color FastHorse points out that in many different communities people are pretending to be a race that they have no genetic connection to “Folks [are] switching to different races and saying that they think that's okay How does FastHorse balance satire with respect for her communities “That's the world I live in … well-meaning white folks … Those are the people I work with every day … I give them some tough hits [in the play] because I truly believe they want to take it … And then I am tough on my Native folks too We've adopted some colonizer ways that aren't good for us.” “I really believe that there's plenty of work and room for all of us,” says Larissa FastHorse As for representation of Indigenous people in the theater industry FastHorse says she’s seen a good shift since her career began “We do have playwrights [who] are getting produced regularly now We do have directors [who] are working a little more regularly And that's something that hadn't happened for a long time … We're just fortunate now that the mainstream American theater is starting to let us in … I do my best to open as many doors as possible you need to think of these two other Native plays or you need to think of these two other Native writers for this piece.’ Because I really believe that there's plenty of work and room for all of us.” A fraction of people in temporary shelters end up in permanent housing according to CalMatters’ year-long investigation LA Fire HEALTH is a research consortium with experts from multiple universities They intend to fill in some of the gaps in environmental and public health monitoring left.. The Trump administration’s classification of sex as either “male” or “female” erases the nearly 2% of people who are intersex Playwright Larissa FastHorse’s “Fake It Until You Make It” is a farce about two women — one Indigenous the other white — competing for a grant to fund their nonprofits FLASH SALE: Snag The OG Black Zip-Up designed by LA artist Chuy Hartman— inspired by the 24/7 service we provide to the LA community ends tonight Get the latest from KCRW in your inbox 3x a week 2025–Belgium’s Larissa Pauluis on Flambeau will be first to  go in the dressage World Cup Grand Prix Friday beginning at 13:30 Central European time/7:30 am US Eastern Charlotte Fry of Great Britain on her world champion and Olympic mount Glamourdale Patrik Kittel of Sweden on Forever Young HRH defending champion having won on Touchdown in Saudi Arabia in 2024 the most decorated equestrian in Olympic history with eight gold and six silver medals at seven Games from 1992 to 2024 and ranked sixth all-time at both summer and winter Games the top ranked Adrienne Lyle of Wellington that she competed in Paris last summer for the rider’s third Olympics for the rider’s first world championship is 6th in the starting lineup the duo having competed in their first World Cup in Saudi Arabia last year Withdrawing from the Final was Renderson Silva De Oliveira of Brazil on Fogoso Campline Larissa Pauluis Belgium Flambeau 15-year-old KWPN gelding Carina Scholz Germany Soiree d’ Amour Genay Vaughn USA Gino 14-year-old KWPN gelding Pauline Basquin France Sertorius de Rima Z IFCE Bianca Nowag-Aulenbrock Germany Florine OLD Sandra Sysojeva Poland Maxima Bella 9-year-old Oldenburg mare Corentin Pottier France Gotilas du Feuillard