Event Details
  • Town Hall Open Discussion: Accessibility
    June 27, 2024
    6:30 pm - 8:30 pm
Details Price Qty
TRU Member Ticket - in person $0.00 (USD)  
TRU Member Ticket - virtual $0.00 (USD)  
LPTW, Polaris, LPTW courtesy - in person $5.00 (USD)  
LPTW, Polaris, LPTW courtesy - virtual $5.00 (USD)  
Non-member basic ticket - in person $15.00 (USD)  
Non-member basic ticket - virtual $15.00 (USD)  
TRU Friend (ticket plus $10 donation) $25.00 (USD)  
TRU Supporter (ticket plus $25 donation) $40.00 (USD)  

Town Hall (live) – Barely Visible: Native American Theater Artists

Thursday, June 27th - networking at 6:30 pm, open forum starts at 7:00pm ET
Polaris North Studio, 245 W. 29th Street, 4th floor, NYC

Our return to our live monthly panels/discussions, with a simultaneous streaming for our friends outside of New York City. (Everyone should receive the zoom link when you register. If you don't receive it, email TRUnltd@aol.com to request link.)

Co-hosted by actor-writer Shaun Taylor Corbett (mixed-race artist of Amskapi Pikunni (Blackfeet), Scandinavian, and Black heritage and a member of the Kaa Nux Im mii Taaks (Blackfoot Crazy Dog Society); Danielle Jagelski (Oneida Nation of Wisconsin, Red Cliff Band of Ojibwe), a composer, music director and creative producer; John Scott Richardson (enrolled Haliwa-Saponi (Tutelo)/Tuscarora lineage), actor, public speaker and cultural educator; Julia Keefe (Nez Perce), internationally acclaimed actor, recording artist, educator, jazz singer and band leader for the Julia Keefe Indigenous Big Band. Co-facilitated by Nicolette Blount (enrolled Chickasaw with Seminole ancestry),  writer, composer, lyricist, performer, and producer at Take My Shot Productions, and TRU executive director Bob Ost.

TRU monthly conversations continue about issues of current cultural significance, with a particular focus on diversity, equity, inclusion and accessibility. This month we consider the uncomfortable irony that theater's least visible representation of the American population is Native Americans. For theater (and all of the arts) to truly reflect the human experience and represent our populations fully, it is just common sense that we need to open the doors and let First American artists have their voice and tell their stories. A step forward was made last season when Larissa FastHorse (enrolled member of the Rosebud Sioux Tribe, Lakota Nation) saw her play The Thanksgiving Play finally make it to Broadway, although this may have been the first work of a native American to be welcomed into the commercial theater since Lynn Riggs (part Cherokee) back in the 1930's; and it is definitely the first play by an indigenous woman. And though it did not find a Broadway audience to keep it running, it is now one of the most produced plays in the United States. Fine. Now how about all the other Native artists in our country? Where in our business are they being overlooked, and where are they being welcomed? And most importantly, can they tell their stories authentically, or is there pressure for them to conform to traditional theater norms? 

TRU offers this as an opportunity for everyone to learn from actual experiences and find ways to support each other while exploring initiatives that might bring us closer to genuine respect and acceptance. All attendees are welcome to participate in this conversation.

Doors open at 6:30pm for networking and roundtable introductions of everyone in the room ‚Äď come prepared with your best 20-second summary of who you are, and what you need. The Open Forum will start at 7:00pm. Free for members of TRU, Polaris North and members of LPTW; $15 for non-members (with a $5 ticket option available to anyone who needs it).¬†Please use the bright red reservation box here on our web page, or email or phone at least a day in advance (or much sooner): e-mail TRUStaff1@gmail.com


    (Oneida/Ojibwe/Polish), a composer, conductor, orchestrator, and creative producer based in Lenapehoking (New York City). At home in both concert and theatrical realms, she is the Artistic Director of Renegade Opera, Lead Producer for First Nation Performing Arts, Associate conductor at PROTESTRA, and faculty at the Manhattan School of Music Pre-college division. A fierce advocate for equity in artistic spaces, Danielle is especially passionate about Decolonization through collective creation and performance. An active composer, her recent premieres have been at New Native Theatre, Voices of Ascension | Voices of the New, Hear Us Hear Them Ensemble, MUSE Cincinnati Women’s Choir, American Patriots Project, and Artemis Singers. She is the orchestrator for The Carlisle Project by Ronee Penoi (Laguna Pueblo/Cherokee) and Annalisa Dias (Guahan) and works as music copyist for Jerod Tate’s (Chickasaw) upcoming works. As a conductor she has worked with companies such as Opera Theatre Saint Louis, Anchorage Opera, and City Lyric Opera. Recent conducting engagements include Missing by Brian Current and Marie Clements (Métis) at Anchorage Opera, Scalia/Ginburg at Opera Ithaca, and the US premieres of Never to Return by Karen Sunabacka (Métis) and Adam’s Run by Ruby Fulton. She is a recipient of grants from The Plimpton Foundation, Foundation for Contemporary Arts, and Native Arts and Cultures Foundation, as well as earning a distinction award from the National Opera Association. 


    (Nez Perce) is an internationally acclaimed Native American jazz vocalist, bandleader, actor, and educator currently based in New York City. Her professional career has spanned over two decades, and she has headlined marquee events at the Smithsonian Museum in Washington D.C., NMAI-NY, as well as opened for the likes of 20-time GRAMMY Award winner Tony Bennett and 4-time GRAMMY Award winner Esperanza Spalding. Her life’s work is the revival and honoring of the legendary Coeur d’Alene jazz musician Mildred Bailey and is leading the campaign for Bailey’s induction into the Jazz Hall of Fame at Lincoln Center. She is also the director of the Julia Keefe Indigenous Big Band, a new project highlighting the history and future of Indigenous people in jazz, and the Mildred Bailey Project will be releasing its first studio recording in 2024. Julia grew up in Kamiah, Idaho on her tribe’s reservation before moving to Spokane, WA. It was in Spokane that she began studying music and competing at the Lionel Hampton Jazz Festival each year. In 2007, she won Outstanding Vocal Soloist in the alto division at the festival. She earned her bachelor’s in music from the University of Miami’s Frost School of Music in 2012, graduating with honors. She taught jazz voice at Gonzaga University and was a guest clinician at North Idaho College and Lionel Hampton Jazz Festival before deciding to relocate to New York City. She earned her master’s in music from Manhattan School of music in 2019, under the tutelage of Theo Bleckmann, Kate McGarry, Jo Lawry, Stefon Harris, Dave Liebman, and Phil Markowitz. 


    Maternal and paternal lineage is (Saponi/Tuscarora) and is an enrolled member Haliwa-Saponi Nation of North Carolina. John received his Bachelor of Arts in Psychology with minor in Art Design, and Business from Atlantic Christian College. He began a¬†¬†theatrical and performing arts career by writing/directing two youth advocacy plays through North Carolina Commission of Indian Affairs (2008). As a cultural presenter John has worked with the North Carolina Department of Public Instruction, United Nations Environmental Awards 2016, NY Children‚Äôs Museum, Raritan Community College, New Jersey, Lotus Music and Dance, Whitney Museum, Park Avenue Armory, Long Island Children‚Äôs Museum, Historic Richmond Town, Staten Island, NY, NY Department of Culture and Arts, and various public schools in New York City. John most recently presented at the National Museum of American Indian, NY, and served as a panelist for the Ford Foundation indigenous arts forum.¬†Recent performance training includes Asst. Director of Soledad written by Dr. Carolyn Dunn, stage manager and assistant producer for Reflections of Native Voices 2020. He was formerly the Artistic Director with Amerinda Inc. in NYC.¬†¬†He was the Production Manager for ‚ÄúConversations‚ÄĚ, a docu series with Native American knowledge keepers. John presented culture competency at Disability Rights of New York annual conference.¬†John‚Äôs training in acting began at North Raleigh Community Theater followed by training with Safe Harbors NYC, and Amerinda Inc. NY. His Film/TV credits include Comedy Central Awards, Banshee (Cinemax), Vice Principals (HBO), The American West (AMC), Jamestown (Sky1BBC), The ReunionNY; The Heart Stays (Amerinda) The Politician (Netflix) and is SAG union member. Theatrical work includes Powwow Highway (Amerinda) New Circle Theater (Broadway), Dvorak in America (La Mama), Don‚Äôt Feed the Indians (Safe Harbors), Mangled Beams (Amerinda), Ajijaak On Turtle Island (New Victory/Ibex Puppetry) and The Pendleton Blanket (Amerinda). John currently serves on the board of Amerinda NYC org, and Image for Inclusion. John‚Äôs passions are working with the youth, Native American culture and educating the next generation. He¬†continues the legacy of his ancestors by continuously sharing a voice and sharing a varied perspective and a more in-depth narrative about American Indian culture.¬†¬†


    I’Pyooksisstsiiko’om was in the original production of In the Heights on Broadway and closed the show in the role of Sonny. He played Frankie Valli in the 2nd National Tour of Jersey Boys, Juan in Altar Boyz Off-Broadway, and Usnavi/Sonny in In the Heights on the First National Tour. Shaun was an Oregon Shakespeare Company member from 2017-2019 and is also a Bedlam Theatre Company member (Crucible, The Winter's Tale, Bedlam: the Series, Arcadia). His original Indigenous musical Distant Thunder received its first production in 2022 with Lyric Theatre of Oklahoma at First Americans Museum, and is being produced Off-Broadway in NYC this Fall by Amas Musical Theatre! For more information go to www.distantthunderthemusical.com. Shaun is proud to be an artist of Amskapi Pikunni (Blackfeet), Scandinavian, and Black heritage as well as being a member of the Kaa Nux Im mii Taaks (Blackfeet Crazy Dog Society). He is the voice of Coyote on the Netflix series Spirit Rangers, second season premiering on May 8th! You can also hear his voice on over 100 audiobooks, including Tommy Oranges There There, and Rebecca Roanhorse’s series Between Earth and Sky as the voice of Serapio.


    is a proud voting tribal member of the Chickasaw Nation, a musical theatre composer, lyricist, writer, performer, producer, investor, mother to three girls, and starbucksaholic who doesn't sleep. As a creative, she is a classically trained vocalist, but often performs in local musicals and loves singing jazz and blues. Some of her music she has written was recently performed at Women of the Wings Vol 4 at 54 Below and she has performed at Ben Cameron's Broadway Sessions. She is the co-writer, composer and lyricist for Savage the Musical that recently received honorable mention in the American Playwriting Foundation's Relentless Award. She is also currently working with an all female team on, Red, the story of the Queen of Hearts. As a producer, she started producing in 2005 while living in Hawaii when she started a nonprofit that put on yearly arts festivals featuring artists, musicians, actors, and dancers with all original work. She started the LLC Take My Shot Productions and through that she produced Savage the Musical's first developmental production (Ja'Duke Theater, MA). The show received standing ovations to packed houses at each of the 4 productions, received 11 Broadway World Boston Regional Nominations and won several runner ups including first runner up in Best New Musical, only losing first by 1%!  In addition, she self produced Savage the Musical 's Original Cast EP and has received 39K streams to date. The EP has no record label or Broadway singers. Nicolette co-produced A Commercial Jingle for Regina Comet with Jo-Ann Dean. She is an investor for the upcoming Off Broadway show, Millennials are Killing Musicals and soon will be joining the co-producing team. She is also an investor for the Museum of Broadway. Nicolette started the company Underground Demos to help composers and writers early in their process record quality demos with great talent and economical prices. In her spare time, she is in charge of all of Savage the Musical's social media on FB, IG, and Tik Tok that currently has a total of 9K followers and counting. Nicolette is a member of Dramatist Guild, ASCAP, Maestra, Beyond Music, Songwriters Guild of America, and the Parents Advocacy League for Performing Arts and Media. She continues to write, perform, songwrite, and continues to look for important original works by females and marginalized people to champion, uplift and help move forward to the next step.