|
|
|
Collaborations with
Theatres
March 2007
by Kate Dudding
At
the 2006 Sharing the Fire, the storytelling conference presented by the League for the Advancement of New England
Storytelling, Jo Radner gave an excellent keynote challenging us to come up
with ways to raise storytelling to the same level as music and theatre.
Her keynote got me thinking. For a number of years, I've thought that
converting theatre audiences to storytelling audiences should be a pretty easy
thing to do. Theatre and storytelling are closely related art
forms. In a subsequent ‘conversation’ on the storytell listserv (a listserv
with over 500 English speaking storytellers around the world), the following
marketing slogan was developed:
If you love the theatre, you’ll love storytelling.
Storytelling combines the intensity of a play by a
solo performer with
the intimacy of a one-on-one conversation.
I
wondered if storytelling could become part of the programming at theatres. There
should be a number of ways for storytelling and theatre organizations to
collaborate. So I asked the members of the National Storytelling Network
(NSN) Producers and Organizers (PRO) Special Interest Group (SIG), via our
listserv, the following questions:
1. Have any storytelling groups established a relationship with theatre
companies which others can use as an example when contacting their local
theatre companies?
2. Do any of you have experience with theatre companies and know how to sell
this concept for storytelling in theatres which will serve their existing
theatre audience?
I
received some wonderful examples of collaboration including:
I
also found a newspaper article about such a collaboration. Here is information
about these collaborations:
·
Barbican
Centre, London, UK, and The Crick Crack Club
The Feasting in the House of Stories series
finished its tenth season with 13 days of storytelling (3 programs each offered
4 times, plus a gala performance). For the last three seasons, the
performances have been sold out. This series was started by the Barbican’s
head of education, Jillian Barker: “The Barbican prides itself in having all
the arts under one roof and the gap in the storytelling tradition stood out.
It seemed sensible to respond to the need for a professional venue.”
entertainment.timesonline.co.uk/article/0,,14929-2193450,00.html
.
See Appendix A for more information.
·
National
Arts Centre, Ottawa, CA, and Ottawa Storytellers
In their sixth season at the community black box
theatre, the Ottawa Storytellers are presenting seven evenings of storytelling
(December - June.) This series benefits through National Arts Centre’s (NAC’s)
promotion, the professional tech staff at NAC, and the fact that the community
black box theatre is a popular venue – a draw in itself. Artistic Director Jan
Andrews says, “We function like a mini-rep company and have workshops to help
us improve.”
www.ottawastorytellers.ca/concerts.htm,
www.nac-cna.ca/en/communityprogramming/index.html
See Appendix B for more information.
·
Limelight
Theatre, St.
Augustine,
FL, and Tale Tellers of St. Augustine
After eight years with 5 performances per year, the
collaboration Theater of the Mind: Storytelling at the Limelight Theatre
is still going strong. “It is definitely a win-win situation: People who
come to plays see and hear information about storytelling, and visa
versa.”
www.taletellers.org
.
See Appendix C for more information.
·
Stratford Festival of Canada, Stratford, Ontario, CA, and Mary-Eileen McClear
The goal of the education department was to get
more families to attend plays, by enhancing families’ experiences and preparing
them before attending a play. Mary-Eileen told the folk tales which were the
sources of the play, or retold the play’s themes, or told stories which
reflected on the play. An example of the last type was telling Jewish stories
in preparation for seeing “Fiddler on the Roof.” Despite having a good sized
appreciative audience (mostly adults) at each storytelling event over the five
year run, the goal of getting more families to attend the plays was not
achieved, and the series was canceled.
See Appendix L for more information.
·
Jewel
Box Theatre, Poulsbo, WA, and Bards by the Bay
An amateur company with a professional attitude,
doing "home grown theatre for the entire world," the Jewel Box
Theatre presents a year round six play mainstage season, a six event children's
season, improv comedy with "What Happens Next?", storytelling with
"Bards by the Bay",and "Writers'Haven" poetry Sundays. Still
to be added is a monthly music series.
www.jewelboxpoulsbo.org/bardsbythebay.htm
.
See Appendix D for more information.
·
Willow
Theatre, Boca
Raton,
FL, and South Florida Storytelling Project
Starting in November 2005, Willow
Theatre at Sugar Sand Park in Boca Raton presented a successful one-of-a-kind luncheon theater series,
co-sponsored by the South Florida Storytelling Project at Florida Atlantic University and fine area
restaurants. A buffet style lunch was served in the Maple Room, where
patrons will sample delicious cuisine from each culture in the series.
Performance followed in the Willow Theatre.
www.fau.edu/storytelling/events.htm
See Appendix E for more information.
·
Mercury
Theatre, St.
Marys,
Ontario
The Mercury Theatre opened about 2 years ago, right
after the first festival in St. Marys. The theatre owner is very selective
about who uses his space- he does not rent it out, but collaborates with other
producers if he is interested and is confident the quality is up to his
standards. However, he was persuaded to try a storytelling event for adults
and was impressed. A second storytelling concert has occurred and others are
planned.
See Appendix F for more information.
·
Caldwell
Theatre, Boca
Raton,
FL, and South Florida Storytelling Project
These two organizations are planning a series of
three storytelling concerts for adults in early 2007.
See Appendix G for more information.
South Florida Storytelling Project also sponsors monthly
Story Slams at restaurants -- see www.fau.edu/storytelling/presents.htm
.
·
Powerstories
Theater, Tampa, FL and Fran Powers
The story begins when
Powerstories Theatre was born in June 1998 as Fran Powers crossed the Wyoming border on a cross country
bike trip. The idea took root when she returned to Tampa and notified women of an
audition opportunity. She simply asked “Do you have a story to tell?” and women
from four counties came to her small studio to learn more. Eight local women,
ages 30 to 70, with little to no acting background were selected to perform for
the general public. An original script “Let the Stories Move You” with original
music was written to link all stories into a cohesive and inspirational theatre
piece. Powerstories Theatre debuted in November 2000 at the Friday Morning
Musicale in Tampa, Florida. By August 2001 they
performed at the Tampa Bay Performing Arts Center to sold out audiences and
continued performing locally until January 2003. In March 2003, Powerstories
Theatre of Tampa Bay, Inc. became a non-profit agency with the mission of
“staging true stories of women and girls to open minds and hearts.” A
partnership agreement was formed with TUMC’s The New Place allowing
Powerstories Theatre of Tampa Bay, Inc. to be one of their resident theatre
troupes giving Powerstories Theatre a “home” to rehearse and perform the
girl’s projects.
www.powerstories.com/
See Appendix H for more information.
·
Jungle
Theatre, Minneapolis, MN and Loren Niemi
From 1992-1998, Loren Niemi’s Two Chairs Telling
productions used the theatre’s facility, marketing, box office, and the
theater's stage and box office personnel. In effect, Loren was an
independent producer who had a "use" agreement with the Jungle in
which they acted as the fiscal agent for the grant funding. Loren selected the
performers and set the performance dates with the jungle based on their season.
TCT used whatever set was in place at the time and Loren would often try to
match tellers or themes with the sets. This successful collaboration ended
when Loren left the Twin Cities and the theatre reorganized its programming
schedule and producer relationships.
See Appendix I for more information.
Ruth
Stotter reported on two series that she produced independently, with great
effort on her part, in northern California. One, “Mill Valley Storytelling Evenings,” only
had storytellers as audience members and was a financial disaster.
See Appendix J for more information. The other, “WIVES: The Six Queens of Henry
VIII,” attracted good sized audiences during the week run. While Ruth had
wanted to continue, the cast members had too many scheduling programs.
See Appendix K for more information.
The
key to creating each collaboration has been establishing a relationship with
the theatre’s artistic director and determining how storytelling can help
accomplish the theatre company’s goals.
Next
Steps
Interested
members of the PRO SIG met at the 2006 NSN Conference to see what the PRO SIG
can do to promote storytelling and theatre collaborations across the country. Several
ideas emerged at this meeting:
1.
Find
out the theatre’s mission before you approach anyone about a collaboration with
storytelling. Focus all your proposals about collaboration to match the
theatre’s mission.
2.
During
discussions, use the theatre language as part of building a bridge from the
theatre person’s prior experience and your proposed event(s). A storytelling
production with a single storytelling in a theatre is referred to as a one
person show or a solo performance.
3.
Theatre
audiences expect one overall experience. A storytelling olio, with many
tellers sharing unrelated stories, generally would not fit their expectations
of an evening at a theatre.
As
a result of this informative but brief discussion, as part of the 2007 NSN
Conference in St. Louis, Missouri, on July 12,
2007, the following all day workshop will be offered:
Transforming Sibling Rivalry or What Theater and Storytelling
Can Offer Each Other and Our Audience
What are
successful alternatives to the Storytelling Festival model that has dominated
the American storytelling revival? How can producers craft an audience’s
journey through an event as a storyteller crafts a journey through a story?
Come take a
hands-on look at what an audience wants and expects from performance and what
makes for successful theater-based collaborations. We will balance frank
discussions of what works and what doesn't with a checklist of skills and
vision needed to develop and manage successful events. Central to the
experience: participants will inventory their organizational and geographic
strengths and weaknesses, opportunities and threats; then develop a blueprint
for building
relationships, partnerships and audience.
Presenters:
Joel Bassin,
PhD (Assistant Professor of Theater, Hunter College/CUNY, New York, Consulting Manager
for The Wooster Group ensemble theater)
Nancy Donoval,
MFA/Theater (Storyteller, Producer, Story Coach)
Loren Niemi
(Storyteller, Producer, Cultural Commentator)
Megan Wells, MFA/Theater
(Storyteller, Actress, Illinois Storytelling Inc. Board President)
If
you want to be part of this effort, please join us in St. Louis
or contact Loren Niemi (
Kate
Dudding
kate@katedudding.com
Appendix
A
|
Storyteller and/or Storytelling Group
|
Ben Haggarty, founding member of Company of
Storytellers and president of the Crick Crack Club
|
|
Theatre and contact person
|
Barbican Centre, London, England. Jillian Barker, head of education
|
|
Name of Series
|
Feasting
in the House of Stories
|
|
Extent of Collaboration: part
of theatre programming or storytelling just using the facility
|
Storytelling is fully integrated into the
theatre's programming EXCEPT that it's listed under education, and not listed
on the web site explicitly as storytelling, while theatre, art, dance, film,
and music are. Listed as one of the Education's festivals and seasons
|
|
When Series Started
|
1997
|
|
How Series Started
|
“The Barbican prides itself in having all the
arts under one roof and the gap in the storytelling tradition stood out,”
Jillian Barker, the Barbican’s head of education, says. “It seemed sensible
to respond to the need for a professional venue.”
|
|
Number of Performances per Year
|
13 days of storytelling with 3 different
programs, each offered 4 times, plus one gala performance
|
|
Programs This Year (or one year)
|
The Bedchambers of the Goddess
|
|
|
With Nick Hennessey and Xanthe Gresham
|
|
|
|
|
|
The Dynamics of Love
|
|
|
With Jan Blake, Ben Haggarty, Pamela Marre, TUUP
and Chirine El Ansary
|
|
|
|
|
|
The Rich Sounds of Stories
|
|
|
With Hugh Lupton, Sally Pomme Clayton and
musicians, Janie Armour and Chris Wood
|
|
|
|
|
|
The Tales They Tell (gala performance)
|
|
|
With Hugh Lupton, Daniel Morden, Jan Blake,
Chirine El Ansary, Pamela Marre, Ben Haggarty and music from Hassan Erraji
|
|
|
|
|
|
The Role of Traditional Storytelling in
Contemporary Society
|
|
|
Pre Show Debate with Crick Crack Club Artistic
Co-Ordinator, Ben Haggarty, and guests
|
|
Average Audience Size
|
|
|
Age Group(s) of Audience
|
Initially family and schools groups, now for ages
12 and up
|
|
Cost of Tickets:
|
£9 ($16.73)
|
|
When Series Ended
|
continuing
|
|
Why Series Ended
|
continuing
|
|
Successful Parts of Collaboration (and sound
bites)
|
Last three three seasons of performance
storytelling have each sold out
|
|
|
“Theatre requires spectators, storytelling
requires an audience,” Ben Haggarty says.
|
|
|
Scottish Arts Council's lottery fund has
contributed £1.3 million to the new Scottish Storytelling Centre in Edinburgh
|
|
Lessons Learned
|
|
|
Problems
|
People have so many preconceived ideas about
storytelling — that it’s reading aloud, that it’s for children, that it’s
done by hippies.
|
|
|
As a specific art form, storytelling is not
funded by the English Arts Council
|
|
|
|
|
News Articles
|
entertainment.timesonline.co.uk/article/0,,14929-2193450,00.html
|
|
|
|
|
Web Sites
|
www.crickcrackclub.com
|
Appendix
B
|
Storyteller and/or Storytelling Group: Jan Andrews, Artistic
Director of Ottawa Storytellers Fourth Stage series
|
|
Founded
in 1983, Ottawa Storytellers exists to promote and develop the oral tradition
of storytelling within the National Capital Region and beyond. The group has
earned a reputation for excellence and artistic daring, and its work is known
nation-wide. Personal stories, folktales, literary tales and epics are all
part of the repertoire.
The
2006-2007 season is Jan’s last year as artistic director. She wants to
concentrate on telling her own stories. Jan was the first coordinator of Storytellers of Canada/Conteurs du Canada .
|
|
Theatre and contact person: National Arts Centre,
Ottawa, CA,
|
|
|
|
Name
of Series: Ottawa Storytellers on the Fourth
Stage. The Fourth Stage is used for “community programming.” It’s
a black box theatre with café style seating for 120 and professional sound
and light. These events take place on seven Thursday evenings in the months
of December through June of each year.
Each evening includes four to six stories, with
the stories varying in length from 5 to 20 minutes or more. Including the
intermission each session lasts about one and a half to two hours.
|
|
|
|
Extent of Collaboration: Fully integrated now – tickets
are sold on NAC’s web site or via their box office, complete description on
NAC’s web site and brochures, etc. This full integration made a huge
difference in drawing audiences to this series.
|
|
|
|
When Series Started: 2001
|
|
|
|
How Series Started: Ottawa Storytellers (OS) had
been networking with the theatre outreach person at NAC. Six years ago, OS
was approached by NAC re. a community stage partnership. Various series on
community stage: OS, storytelling in French, jazz and dance. OS said YES.
The Artistic Director is paid a small honorarium: choosing themes, tellers,
and often the material (since she’s familiar with the repertoires of the OS
members.) Her artistic goal: present an evening of storytelling as good as
possible, while keeping in mind that this is a community group. She tries to
use the OS members well.
Now in their 6th season at NAC.
|
|
|
|
Number of Performances per Year: 7. Usually two out of
town tellers, who are touring their shows, are included in addition to the OS
members. $200/evening of the box office goes to the sound and light
technician.
|
|
|
|
Average Audience Size: in 2006: 75
|
|
|
|
Age Group(s) of Audience: Mostly middle-aged and
up. A few 20s and 30s.
|
|
|
|
Cost
of Tickets: $15
per show; $10 students; $90 Subscription Package for the
series
|
|
|
|
Successful Parts of Collaboration (and sound
bites): The
full integration with NAC (tickets are sold on NAC’s web site or via their
box office, complete description on NAC’s web site and brochures, etc.) made
a huge difference in drawing audiences to this series. The Fourth Stage
itself is a draw, i.e. a popular venue in the area. NAC’s Fourth Stage
Theatre works well for storytelling. Having their professional sound and
light technicians improves the storytelling experience.
|
|
|
|
When Series Ended: ongoing
|
|
|
|
Lessons Learned: Since we have had a
professional place and a regular basis of performance, our storytellers have
gotten better. This has been a learning experience which people are
enjoying. We function like a mini-rep company and have workshops to help us
improve. We now try to provide an integrated evening of stories. Sometimes
there is a musician to link the performance together.
|
|
|
|
Wish List: To have one program run for a week
|
|
|
|
Web
Sites: www.ottawastorytellers.ca/concerts.htm
www.nac-cna.ca/en/communityprogramming
|
Appendix
C
|
Storyteller and/or Storytelling Group: Tale Tellers of St. Augustine (Florida), Jane Sims PR
|
|
Theatre and contact person: Limelight Theatre in St. Augustine
|
|
Name of Series: Theater of the Mind: Storytelling at the
Limelight Theatre
|
|
Extent of Collaboration: Theatre leased by Tale
Tellers
|
|
When Series Started 1999
|
|
How Series Started
|
|
The series was started after members of the
organization decided it was time to take storytelling to the next level
and find a way to provide new and challenging performance opportunities for
members of the group AND, in the process, generate funds for the
treasury. The group already had a following because
of the concerts it had presented in the St. Augustine area, many of them to
benefit charity. (Since its inception TTSA has raised
thousands of dollars to help the homeless, disadvantaged, and
others in need.) A number of possibilities were
considered, including the regular rental of a small auditorium or
church hall. Several alternatives were also
tried: collaboration with a local restaurant: inviting the public
to enjoy dessert and coffee in an otherwise unused
banquet area to listen to stories and accepting donations for the
entertainment at the door. Initially we performed several
times in an outdoor courtyard at a small pub in St. Augustine's historic
district.
|
|
The founders of Limelight Theatre, however, were
very receptive to the idea of bringing "Storytelling" in, and once
they learned of the possibilities we were considering, a more serious
dialogue was started between representatives of each group about
developing a collaboration. This turned out to
be the best possible arrangement for both organizations, and eight
years later we are still going strong. It is definitely a win-win
situation: People who come to plays see and hear information about
storytelling, and visa versa.
|
|
Number of Performances per Year: 5 90-minute performances
|
|
|
|
Programs This Year (or one year)
|
|
4 performances per year by pairs of storytellers
whose submitted theme is approved by the TTSA board of directors. March
program, "Much Ado About Stories," always features a showcase of
tellers from the group.
|
|
|
|
Average Audience Size: 50 - 100
|
|
Age Group(s) of Audience: mature listeners
|
|
Cost of Tickets: $7 donation
|
|
When Series Ended: continuing
|
|
|
|
Successful Parts of Collaboration (and sound
bites)
|
|
St. Augustine is a small town of approximately 12,000
people. The events are well-publicized in the north Florida area, and draw
attendance from as far away as Jacksonville, Daytona Beach, Ocala and Gainesville.
|
|
|
|
This project has become a wonderful vehicle
for providing storytelling entertainment to mature listeners.
It gives tellers a marvelous opportunity to
gain experience in a theatre setting, and generates considerable
recognition and respect for the performers in the community where they
live and work -- all of which combine to enhance the success
of the series and a wider appreciation of storytelling
as a viable entertainment medium.
|
|
Lessons Learned
|
|
We enjoy the loyal support of fans and
media representatives in our community*, and we
definitely appreciate an ongoing friendship with Limelight
Theatre. These alliances enable us to meet our goals
which have always been part of our mission
statement: the development of quality storytellers and the
opportunity for them to perform. We believe that being able to live and
work in a community where people know one another and attend our
programs on a regular basis has had a lot to do with the success of the
"Theater of the Mind: Storytelling" series. We are realistic
in understanding that this sort of undertaking might have greater
difficulty achieving long-lived success in a more densely populated
area where top-dollar entertainment is also readily available and
competitive. We believe the diversity of our tellers and their
programs is the most important part of the mix. None of our tellers are
featured in the Limelight more than once a year, and many opt
for a bi-annual commitment. If any "Celebrity"
is to be had, it is equally spread among all who participate, and
our group remains strong and dedicated its individual members as well
as to its own thriving. Living in a small town for us has
definitely been a benefit!
|
|
|
|
Since St. Augustine is a Mecca for tourists, we have found that our fliers
are welcomed at area B&Bs and motels within walking distance
of the theatre.
|
|
Problems: None. We nurture a formula which
works well for TTSA, and we never hesitate to remind ourselves: "If
it ain't broke, don't fix it."
|
|
|
|
Online News Articles
|
|
staugustine.com/stories/051206/compass_3824567b.shtml
staugustine.com/stories/010705/com_2806530.shtml
|
|
staugustine.com/stories/111404/com_2693959.shtml
staugustine.com/stories/080804/com_2493000.shtml
|
|
Web Site: www.taletellers.org
|
Appendix
D
|
Storyteller and/or Storytelling Group: Kathy
Currie, Bards by the Bay
|
|
|
|
Theatre and contact person: Jewel Box Theatre, Poulsbo, WA, a community theatre
|
|
Their mission: To enhance the community through
theatre excellence in a destination setting.
|
|
100 seat theatre
|
|
|
|
Name of Series: Night Stories
|
|
|
|
Number of Performances per Year: 4 for adults
(quarterly)
|
|
|
|
Programs This Year (or one year): "Stories
for a Summer's Night"
|
|
|
|
Cost of Tickets: $10
|
|
|
|
Web Site: www.jewelboxpoulsbo.org/bardsbythebay.htm
|
Appendix
E
|
Storyteller and/or Storytelling Group: Caren
Neile
|
|
Directory,
South
Florida
Storytelling Project, Florida Atlantic University
|
|
|
|
Theatre and contact person: Willow Theatre, Boca Raton, FL, a theatre at a
community park
|
|
A new community center with a 145 seat theatre
|
|
|
|
Name
of Series: A Cultural Feast: A Deliciously Different Performance Event
|
|
A
luncheon buffet on a Saturday followed by storytelling in the theatre in the
facility
|
|
|
|
When Series Started: 2005
|
|
|
|
Number of Performances per Year: 3
|
|
|
|
Programs This Year (or one year):
|
|
Teriyaki Tales: Featuring Kuniko
Yamamoto
|
|
Bubbes & Bialys: Featuring Roslyn
Bresnick-Perry
|
|
Cuba con Carne: Featuring Lucia
Gonzalez
|
|
|
|
Age Group(s) of Audience: Senior citizens
|
|
|
|
Cost of Tickets: $22 including lunch and
performance
|
|
|
|
When Series Ended: ongoing
|
|
|
|
Web Site: www.fau.edu/storytelling/events.htm
|
|
Other
Storytelling Activities: Story Slams www.fau.edu/storytelling/presents.htm
|
Appendix
F
|
Storyteller and/or Storytelling Group: Nancy
Vermond, St. Marys Storytelling Festival
|
|
|
|
Theatre and contact person: Mercury Theatre, St. Marys, Ontario (72 seats)
|
|
|
|
Name of Series: none yet
|
|
|
|
Extent of Collaboration with Theatre: There is a rather
cooperative business arrangement with the theatre. We wait to see what we
bring in, then pay a range of $150 to $300 for the space, which includes the
owner's technical work (lighting mostly, as it is an acoustic space).
|
|
|
|
When Series Started: 2005
|
|
|
|
How Series Started: Nancy approached the theatre.
|
|
|
|
Number of Performances per Year: series planned for Winter
2006/Spring 2007 – waiting to hear about a grant
|
|
|
|
Average Audience Size: 40-50
|
|
|
|
Age Group(s) of Audience: Adults
|
|
|
|
When Series Ended: hasn't started yet
|
|
|
|
Successful Parts of Collaboration (and sound
bites)
|
|
It is a very promising relationship, and such a
perfect venue. Nancy has applied for a Canada
Council for the Arts grant for a performance series next winter/spring. There
are so many wonderful storytellers around Canada and the US (and the world) who have put a lot of work into
their art form and need places to tell. We are working on providing those
places and appreciative audiences, too.
|
|
|
|
Web Site: www.mercurytheatre.ca/
|
Appendix
G
|
Storyteller and/or Storytelling Group: Caren
Neile, Directory, S. Florida Storytelling Project, Florida Atlantic University
|
|
|
|
Theatre and contact person: Caldwell Theatre,
Boca Raton, FL
|
|
|
|
Name of Series: Perhaps it will be
called: Ladies of the Night: The Three Tellers
|
|
|
|
Extent of Collaboration with Theatre: Series will be part of
the theatre programming, in addition to plays and play readings.
|
|
|
|
When Series Started: 2007
|
|
|
|
How Series Started: Caren called the artistic
director, who was familiar with storytelling via a friend. The artistic
director came to see Carmen Deedy and then went to dinner with Carmen and
Caren. "Carmen sold him on the idea of storytelling at the Caldwell.
|
|
|
|
Number of Performances per Year: 3 are planned of
edgy/sophisticated stories for adults
|
|
Jan. 2007 Carmen Deedy
|
|
Feb. 2007 Judith Black
|
|
Mar. 2007 Beth Horner
|
|
|
|
Age Group(s) of Audience: Adults
|
|
|
|
When Series Ended: hasn't started yet
|
|
|
|
Web Site: www.fau.edu/storytelling/index.htm
www.caldwelltheatre.com/
|
Appendix
H
|
Storyteller and/or Storytelling Group: Fran Powers creator
|
|
|
|
|
|
Theatre and contact person
|
|
|
|
|
|
Name of Theatre: Powerstories Theater
|
|
|
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When Series Started 1998
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How Series Started
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The story begins when Powerstories Theatre was
born in June 1998 as Fran Powers crossed the Wyoming border on a cross country bike trip. The
idea took root when she returned to | |
