The Convert: A Tribute Of Thanks To Our Donors
A HEARTFELT THANK YOU TO OUR DONORS!
Almasi Collaborative Arts would like to acknowledge the generous support of the many who made it possible for The Convert to be produced in the land of its inception. This project was a wonderful success; it provided a rich cultural exchange, mentorship, training, skills development and above all paid employment for well over 50 Zimbabweans; this is a monumental achievement at a time where Zimbabweans are struggling with up to 80% unemployment and the arts are largely underfunded. We are very grateful for the capacity building and job creation which is taking place in the Zimbabwean dramatic arts sector and it is all made possible because of your generous support. Tinotenda!
INDIVIDUAL CONTRIBUTORS
Mrs Brenda Kahari, Richard Jenkins, David Haas, Anne Mathews, Victor Williams, Stacey Sargeant, Cherise Boothe, Chiwoniso Gurira, Chris Schmidt, Zainab Jah, Ayoka Chenzira, Anteneh Belay, Itai Kaitano, Tracey Louis, Blanka Zizka, James Suskin, Tricia Brock, Carrie Hughes, Kathy Perkins, Carly Hugo, Pamela Toussaint, Michael Harris, Sanjit De Silva, Patrick McManus, Christina Cutlip, Gale Ann Hurd, Steven Reid, Tafadzwa Pasipanodya, Nyambi Nyambi, Laurie Holden.
SPECIAL THANKS
Center Theater Group Los Angeles, USA, Prince Edward School, Harare International Festival of the Arts, Phoenix Sound and Lighting, Steakout, Avondale, Arundel Rock, Reps Theatre, Book Cafe, Pariah State (Bar and Lounge), Dr and Mrs Gurira, Donna Premick, Eulyn Womble, Greg Nicotero,
Norman Reedus.
CONVERT PRODUCTION WEBPAGE & VIDEO
To assure that our donors get to catch a glimpse of the fruits of their contributions we are announcing the launch of our Convert webpage and a video of thanks from cast and crew; with post show audience thoughts and comments. Click below and enjoy!
Adam Immerwahr, Director of The Convert:
"I’ll never forget the first performance of THE CONVERT in Zimbabwe. I had seen American audiences respond to this play in Princeton, Chicago, LA, and Philadelphia. I have probably seen somewhere around 40 performances of the play, and my one night with a Zimbabwean audience was revelatory. Listening to what the Harare audience listened to, responded to, and discovered was thrilling. Scenes that in America function as exposition (where a US audience is learning about Zimbabwean history and the politics of turn of the century Zimbabwe) were transformed into character development in Zimbabwe (where the audience, knowing the history, learned something about the characters from the perspectives that they shared). It was an incredible experience to feel the play take on whole new meaning and resonance, and to watch with such pride as this extraordinary company of Zimbabwean artists brought Danai Gurira’s story to life."
