On a sunny afternoon last May, a Seattle mother had a perplexing conversation with her 6-year-old daughter at the Olympic Sculpture Park.
Much of the buzz surrounding Seattle Repertory Theatre's controversial spring 2007 production, My Name Is Rachel Corrie, centered around a singular question: How to define its real-life title character's refusal to settle for the status quo?
KT Niehoff isn't normally the life of a party. Throw her into a roomful of strangers, she says, and she feels deeply uncomfortable.
If the Seattle Art Museum had sat in psychotherapy five years ago, its diagnosis would have been simple: Patient suffered from severe identity crisis.
It's common knowledge that Seattleites rarely bother to dress up for anything, not even the symphony. But retirees in jeans and Tevas are nothing compared to the unorthodox audience at a recent Sunday afternoon concert at Benaroya Hall.