![]() It is important to me, however, that we do not simply call the story “universal”- because that sounds like a move to ignore all cultural specificity and differences. The power of this story is that it transcends everything that divides us, culturally, historically, politically. All these themes are not culturally specific. This, to me, is a story of love, friendship (friendship that may even be greater and more profound than romantic love), and about seeing someone and recognizing not only who they are but who they can be. The White Snake is based on an ancient Chinese fable-how do you make this story relevant to audiences today? I can tell her everything without ever worrying about her judging me-she knows my deepest and darkest secrets! Mary is the White Snake to my Greenie, who says to White Snake in the play: “I have hundreds of years before I reach your level.” I admire her and love her, and at the same time she is my best friend. The story of Mary and myself is like the story of White Snake and Green Snake. How does your relationship with Mary influence your work on The White Snake? Most of our interactions have been as friends who miraculously share the same values and sentiments about a lot of things, despite our differences in background. Ironically, I haven’t really worked with her in a professional context. She is someone I always turn to if I have any kind of personal, professional, or artistic dilemma. She knows me better than most people in the world she has known me since I was 20 years old. What is it like to work with her? What have you learned most? Mary Zimmerman-recipient of a 1998 MacArthur Fellowship, the 2002 Tony Award for Best Director of a Play, and numerous Jeff Awards-is a mentor of yours. One thing that’s important is that we don’t make it precious or entirely exotic. I just want to serve this beautiful play. Here, Natsu discusses her approach to directing The White Snake and her relationship with Mary Zimmerman. White Snake soon falls passionately in love with a poor pharmacist’s assistant, but their relationship is reviled by a conservative monk and tragedy lurks behind their newfound happiness. Originating from the ancient Chinese fable and adapted for the stage by Mary Zimmerman, The White Snake tells the story of animal spirits White Snake and Green Snake, who take human form as a beautiful woman and her sly servant. ![]() As the first production in the re-designed Head Theater, the show marks the grand re-opening of the historic building after a $28 million renovation. Taking the Director’s Chair in a Brand New TheaterĪt Baltimore Center Stage, Natsu is directing The White Snake. She is also the author of God of Comics: Osamu Tezuka and the Creation of Post World War II Manga. She recently directed Wind Me Up, Maria! A Go-Go Musical at Georgetown University The T Party (which she also wrote) at Forum Theatre and Company One Theater Boston A Trip to the Moon (which she wrote and illustrated) at Synetic Theatre and the Elliot Norton Award-winning Astro Boy and the God of Comics (which she wrote) at Studio Theatre and Company One Theatre.Īs an associate professor in Georgetown’s Theater and Performance Studies program, she has staged adaptations of non-dramatic texts, such as War with the Newts by Karel Capek, On the Origin of Species by Charles Darwin, The Omnivore’s Dilemma by Michael Pollan, and Madness and Civilization by Michel Foucault. The Washington, DC-based artist is an author, playwright, adapter, director, designer, illustrator, and professor. Natsu Onoda Power Discusses The White Snake and Mary Zimmermanįebru-Natsu Onoda Power is a creative force who is hard to classify.
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