Chronology
The Artists' Collective (TAC) was created in October of 1991, as an arts umbrella organization, one day after the demise of Los Angeles Theatre Center (LATC). Initially TAC fiscally received and co-produced four performance ensembles, two semi-professional university theatre programs, and producing directors with over twenty productions, workshops and readings: The Platform (Binnur Karaevli, Lisa Loomer, Armondo Molena, et al); The Raven Group (Shishir Kurup and Page Leong, et al); Women's Artists' Group (WAG) (Lacy Bishop and Paula Solano, et al); Indecent Exposure (Susan Rubin, Charles Degelman, et al); TheatreLife (TL) and Theatre for the 21st Century (T21C) (Theresa Larkin). Larkin has served as TAC’s Producing Artistic Director since its founding.
1991: TAC co-produced with T21C (An arts bridge professional training company on site at CSLA producing semi-professional theatre with students working with theatre professionals and union artists). Its inaugural season opened with a Cirque du Soleil-styled version of the musical Carnival; Stud Terkel’s Working; Elizabeth Bell-Haynes’s LA Talks (a devised theatre piece); and Clif Harper’s Curse.
1991: Numerous presentations were produced at LATC by The Platform.
1992: TAC co-produced with Theatrelife (dedicated to new works and one-person shows) and Oliveri Productions Oliver Mayer’s Joe Louis Blues at Los Angeles Theatre Center); Michael Arabian’s Romeo and Juliet at the CBS Studio Backlot. Previous TheatreLife productions included Richard Stayton’s After The First Death at Ventura Court Theatre; and presentations included Paul Linke’s Times Flies While You’re Alive, Lili Biti’s Greek; and Theresa Larkin’s Shakespeare’s Women.
1991: TAC co-produced with T21C (An arts bridge professional training company on site at CSLA producing semi-professional theatre with students working with theatre professionals and union artists). Its inaugural season opened with a Cirque du Soleil-styled version of the musical Carnival; Stud Terkel’s Working; Elizabeth Bell-Haynes’s LA Talks (a devised theatre piece); and Clif Harper’s Curse.
1991: Numerous presentations were produced at LATC by The Platform.
1992: TAC co-produced with Theatrelife (dedicated to new works and one-person shows) and Oliveri Productions Oliver Mayer’s Joe Louis Blues at Los Angeles Theatre Center); Michael Arabian’s Romeo and Juliet at the CBS Studio Backlot. Previous TheatreLife productions included Richard Stayton’s After The First Death at Ventura Court Theatre; and presentations included Paul Linke’s Times Flies While You’re Alive, Lili Biti’s Greek; and Theresa Larkin’s Shakespeare’s Women.
This year ushered in a second season for T21C, which produced Shakespeare's Othello; Clif Harper’s Curse; and Theresa Larkin’s Black and White and Somewhere in the Shade of Grey, a devised theatre workshop on personal perceptions of race (in response to the Rodney King verdict riots), which toured to USC, UCLA, and other local colleges, and was further workshopped during the summer repertory season. Staged readings at LATC included Lisa Loomer’s The Waiting Room.
1993: Additional notable productions premiered at LATC includes Clif Harper’s Neva’s Tale (winner of numerous awards: NAACP, Dramalogue, LA Best Bets, etc. Original autuer plays by Laurel Meade and Ken Roht were co-produced at LATC as part of a festival of new works.
1993: Additional notable productions premiered at LATC includes Clif Harper’s Neva’s Tale (winner of numerous awards: NAACP, Dramalogue, LA Best Bets, etc. Original autuer plays by Laurel Meade and Ken Roht were co-produced at LATC as part of a festival of new works.
1993 was also the year when Latino Classical Repertory (LCR) was launched. LCR was founded (after 18 months of organizational planning) by Julie Arenal, Robert Beltran, Tony Plana, and the late Ruben Sierra, with Theresa Larkin, as an on campus company-in-residence operating initially under the umbrella of TAC (LCR was later renamed East Los Angeles Classical Theatre or ELACT). LCR was a fulfillment of Tony Plana’s twenty-year long dream to realize a classical theatre company for Latino performers. TAC co-produced with LCR a fundraiser hosted by Cheech Marin, featuring the late Raul Julia, Martin Sheen, Rachel Ticotin, Andy Garcia, among others, which coincided with the opening production of a Mexican version of O'Neill's A Touch of A Poet (both events directed by the late Ruben Sierra). LCR launched this inaugural season in July 1993 in the Arena Theatre on campus at Cal State LA. Later ELACT productions would include A Midsummer Night’s Dream, The Price, and other notable productions, workshops, and educational programs, with Tony Plana serving as Executive Artistic Director.
Indecent Exposure workshopped Susan Rubin’s (with Shishir Kurup) Life and Death: The Vaudeville Show at LATC, and later toured the production to Santiago, Cuba.
In September, 1993, TAC received its determination status as a non-profit 501 (c) (3) theatre company. Neil Barclay, Esq. was TAC's incorporating attorney. Highways Performing Arts Theatre and First Impressions Performances kindly acted as our fiscal receivers for grants and donations until TAC's formal incorporation.
1995-1996 was a period for development of a devised new work that explored expanded performative and technological staging within multimedia productions, most notably, Theresa Larkin’s In A Woman’s Voice, Parts 1 & 2, which was workshopped and premiered at LATC. This work culminated in a six-hour exploration of the articulated speech acts and notable accomplishments of women from multiple eras: Goddess culture, ancient myths, medieval mystics, late 19th century and early 20th century suffragettes, mid-20th century feminists, 70’s Equal Rights activists, and postmodern neo-feminists.
1996-1997: TAC moved in a different direction to produce video shorts on Native American Indian gaming initiatives, which included Morongo Indian Reservation and Shell, with support from both the Morongo Band of Mission Indians and San Manuel Band of Mission Indians. A full-length video on the Ahakhav Tribal Preserve was also completed on the Colorado River Indian Tribes. See below for a full list of co-productions on campus.
1994 -1997: During these two years an ethnographic video was shot throughout the African island culture of Madagascar: Zanatany: Children of the Ancestors.
1997-1998: TAC's fifth season produced a culturally immersive auteur interpretation of Chekhov’s The Cherry Orchard, which was premiered at the Gascon Center Theatre. The production garnered Best Bets in the Los Angeles Times.
1999 - 2001: TAC co-produced productions on campus at CSLA in the Luckman Fine Arts Complex: Shakespeare's All's Well That Ends Well (2000) and David Hare's A Map Of The World (2001).
2003: An eclectic and prolific year of producing activity for TAC. We presented two new works at Edge of the World Theatre Festival, 2003 (Edgefest), which included Stephanie Berlanga’s As Beauty Does, an original one-person show premiered at The Attic Theatre in Los Angeles (directed by US Ford Fellow playwright Sigrid Gilmer); and Dan Pasley’s Sinclair, The Musical (in conjunction with The Living Newspaper), an original presented at the ACLU Upton Sinclair Freedom of Expression Awards (Uppies) in 2003 (honoring award recipient George Carlin), and later presented as a full workshop at the Southwest Museum in Los Angeles as part of The Los Angeles History Project.
2004: TAC continued to pursue artivist works and co-produced in conjunction with the ACLU South Bay Chapter, The Living Newspaper, The Harry Bridges Institute, and the ILWU Locals 13, 63, and 94 the 2nd Annual Uppies, 2004. Activists awarded included Amy Goodman, Greg Palast, Norman Solomon, and many other notable activists.
Continuing an ongoing study with Augusto Boal and Theatre of the Oppressed, TAC continued to engage in artivist educational programming during 2004 and co-sponsored with Center for Theatre of the Oppressed / Applied Theatre Arts / Los Angeles (CTO/ATA/LA), Fringe Benefits, UCLA, USC, Cal State LA, and Los Angeles Unified School District / LAUSD Creative Tools For Critical Times, 2004, a three-day conference held at 24th Street Theatre and USC. Numerous CTO/PTO/ATA workshops followed throughout the Southland.
Also, during this productive period, additional projects were cultivated as staged readings and works-in-progress including Dan Pasley’s and The Living Newspaper's workshop of Upton Sinclair’s Singing Jailbirds (a musical play portraying experiences of Union Organizers on the docks of San Pedro in the 1920’s). Sinclair himself was arrested in San Pedro in 1923 for reading aloud from the First Amendment. This was followed with Sinclair, The Musical, a full-length play with music and was showcased as a work-in-progress by the LA History Project on September, 2003, at the Museum of Western Heritage; and as part of the Upton Sinclair / Arts and Lectures Series (Produced monthly from January 2002, sponsored by the South Bay Chapter of the ACLU of Southern California; 9/11 Ground Zero 2004, Co-Sponsored by The ILWU, Harry Bridges Institute and The Living Newspaper)
2005: TAC continues exploring and developing artistic productions and events about San Pedro. Theresa Larkin’s activist musical San Pedro Nine, a work-in-progress was workshopped as a Living History narrative performance dealing with the motives and crises of conscience experienced by ordinary citizens who decided to engage in civil disobedience during the supermarket strike in San Pedro. This new work performed activists' life stories in song, dance, oral testimonies, historical perspectives, and was framed by historical readings from Thoreau, Hobbes and Jefferson.
2003-2007: During these years TAC produced Mine’: A Name For Herself, a biographical play that explored the life and historical art of Japanese-American artist Mine’ Okubo. Written by Mary H. Curtin and Theresa Larkin, this new work chronicled Mine’s early days in Riverside, CA., her studies at UC Berkeley, her chronicled travels throughout Europe before WWII, and fateful return to the US resulting in her forced internment in WWII camps in California and Utah. Mine documented a timeless artistic chronicle of her experience in the camps. Later, the voluminous art works she generated during her years in New York City extended the legacy of her unique life. Mine’: A Name For Herself was workshopped at Cal State LA, in conjunction with the Cross Cultural Centers and the Department of Theatre Arts and Dance. It later was presented at LATC as part of the 2005 Edge of the World Festival (Edgefest) and premiered at Performance Riverside, in conjunction with Riverside Community College (RCC), the City of Riverside, the County of Riverside, and Riverside Museum of Art. This production was the signature performance launching the naming of the street on RCC’s campus: ‘Mine’ Okubo Way’. Following this event, the Smithsonian Institution, in Washington, D.C., invited the production to perform as part of the Smithsonian’s Asian Pacific commemorative Day of Remembrance (2007). The play, co-authors, and actress portraying Mine’, Cheryl McCarthy, all were awarded a 'Proclamation of the Arts' by the County of Riverside.
1996-2017: This prolific period for TAC was also spent co-producing (with T21C) a series of collaborative productions on site at Cal State LA, where Theresa Larkin, as a tenured professor of theatre, produced sequential theatrical events. These co-productions utilized professional guest artists working with students from LACHSA and CSLA'S Department of Theatre and Dance. During this long and fruitful collaboration, numerous semi-professional productions were partially supported, which include in various innovative productions: Shakespeare’s The Tempest / Luckman Fine Arts Patio (1996); Finain’s Rainbow / Luckman Fine Arts Theatre (1998) - This was CSLA 50th Golden Year Celebration; Shakespeare’s Antony & Cleopatra (1999); Ahakhav Tribal Preserve (video shot in conjunction with CSLA International Programs (1999) in Parker, Arizona; All’s Well That Ends Well (2000); David Hare’s Map Of The World (2001); Bertolt Brecht’s The Threepenny Opera (2003); Shakespeare’s A Midsumer Night’s Dream (2004); Bram Stoker’s Dracula (2005); Goethe’s Faust, Parts 1 & 2 (2007); Rudolfo Anaya’s Bless Me, Ulitma in conjunction with NEA’s Big Read, which later toured to The Bilingual Foundation of the Arts in East LA and Dallas Latino Cultural Center (2008); Larkin's Maritare (2009); Tom Stoppard’s Arcadia (2011); Shakespeare’s The Winter’s Tale (2013); Bruce Norris's Clybourne Park (2015).
During 2016-2017, TAC launched a season of dramatic readings (35) of classics, modern plays, new works, works-in-progress, and workshops in a new dramatic reading series Performance Salon.
Due to the pandemic of 2020, TAC has postponed the 2020-2021 seasons. We hope to be producing new works in front of live audiences in 2022, or shortly thereafter. Otherwise, we will utilize Zoom for our readings as well as video shorts. Later, the goal is to create a channel for the streaming of our performative events.
In 2020-2021, TAC served as a consultant for San Diego State University (SDSU) and the College of Professional Studies and Fine Arts for a new summer program Creative Mind Academy. TAC coordinated international consultants to generate exciting new media content for this exciting international study program launching summer 2021.
Summer 2021 - In response to the growing homeless epidemic in Los Angeles, TAC is partnering with community members to launch a Citizens' Think Tank. We have received a robust response from numerous community members desperate to see some remedy for those living on the street. In response, we are hosting Zoom discussions and consulting on a proposal for a communications hub as well as the development of a non-profit to serve as a central coordination point for all the functioning governmental agencies and non profits dedicated to elimination of homelessness on our streets. A conference is planned to bring together stakeholders, elected leaders, and community members to explore how best to move forward past the many failed attempts at stopping the proliferation of homelessness in LA and beyond.
Spring 2022 - The Artists' Collective moved its home base from Los Angeles to Idyllwild, a rural mountain community nestled in the San Jacinto mountains (above Palm Springs). Although we still perform in Los Angeles, Idyllwild is where our new work will be cultivated. Performance Salon presented two plays The Vertical Hour by David Hare and Not About Heroes by Stephen MacDonald (Summer '22) at the newly built outdoor stage Big Rock Landing and premiered Penthos (Winter '22) at Lark's Chalet.
For the 2024-2025 seasons, VISMS is scheduled to launch a series of workshops and new works under the aegis of Performance Salon and in the facile genre of Performance Lectures.
Spring 2024 Performance Salon will premiere the first of four new works under the banner The Sentience Series. Food (Spring '24); Air (Summer '24); Water (Fall '24); and Sentients (Winter '24).
These following events will be performed at the Rustic Theatre and Entertainment Centre and Big Rock Landing in Idyllwild, CA. as we launch a new theatre company Idyllwild Repertory Theatre.
For more information, please go to www.performancesalon.org or www.idyrep.org.
_________________________________________________________________
2024 -The Sentience Series
Food
Air
Water
Sentients
2025 - The Healing Arts Series
Synaesthesia
Emotion
High-Risk
Mind
2026 - The Philosophers' Series
Socratic
Indigenous
Enlightenment
Positivism
2027 - The Soldiers' Series
War
Turning Points
Quantitative Calculus
Discourse
2028 - The Identity Series
Culture
Kin
Society
Individual
2029 - The Legends Series
Egyptian
Greek
Meso
Island
2030 - The Mysteries Series
Spirit
Quantum
Soul
Afterlife
________________________
Previous Performance Salons:
Homeless
Innovative Housing
Protected Class
A More Perfect Union
Restoration
Indecent Exposure workshopped Susan Rubin’s (with Shishir Kurup) Life and Death: The Vaudeville Show at LATC, and later toured the production to Santiago, Cuba.
In September, 1993, TAC received its determination status as a non-profit 501 (c) (3) theatre company. Neil Barclay, Esq. was TAC's incorporating attorney. Highways Performing Arts Theatre and First Impressions Performances kindly acted as our fiscal receivers for grants and donations until TAC's formal incorporation.
1995-1996 was a period for development of a devised new work that explored expanded performative and technological staging within multimedia productions, most notably, Theresa Larkin’s In A Woman’s Voice, Parts 1 & 2, which was workshopped and premiered at LATC. This work culminated in a six-hour exploration of the articulated speech acts and notable accomplishments of women from multiple eras: Goddess culture, ancient myths, medieval mystics, late 19th century and early 20th century suffragettes, mid-20th century feminists, 70’s Equal Rights activists, and postmodern neo-feminists.
1996-1997: TAC moved in a different direction to produce video shorts on Native American Indian gaming initiatives, which included Morongo Indian Reservation and Shell, with support from both the Morongo Band of Mission Indians and San Manuel Band of Mission Indians. A full-length video on the Ahakhav Tribal Preserve was also completed on the Colorado River Indian Tribes. See below for a full list of co-productions on campus.
1994 -1997: During these two years an ethnographic video was shot throughout the African island culture of Madagascar: Zanatany: Children of the Ancestors.
1997-1998: TAC's fifth season produced a culturally immersive auteur interpretation of Chekhov’s The Cherry Orchard, which was premiered at the Gascon Center Theatre. The production garnered Best Bets in the Los Angeles Times.
1999 - 2001: TAC co-produced productions on campus at CSLA in the Luckman Fine Arts Complex: Shakespeare's All's Well That Ends Well (2000) and David Hare's A Map Of The World (2001).
2003: An eclectic and prolific year of producing activity for TAC. We presented two new works at Edge of the World Theatre Festival, 2003 (Edgefest), which included Stephanie Berlanga’s As Beauty Does, an original one-person show premiered at The Attic Theatre in Los Angeles (directed by US Ford Fellow playwright Sigrid Gilmer); and Dan Pasley’s Sinclair, The Musical (in conjunction with The Living Newspaper), an original presented at the ACLU Upton Sinclair Freedom of Expression Awards (Uppies) in 2003 (honoring award recipient George Carlin), and later presented as a full workshop at the Southwest Museum in Los Angeles as part of The Los Angeles History Project.
2004: TAC continued to pursue artivist works and co-produced in conjunction with the ACLU South Bay Chapter, The Living Newspaper, The Harry Bridges Institute, and the ILWU Locals 13, 63, and 94 the 2nd Annual Uppies, 2004. Activists awarded included Amy Goodman, Greg Palast, Norman Solomon, and many other notable activists.
Continuing an ongoing study with Augusto Boal and Theatre of the Oppressed, TAC continued to engage in artivist educational programming during 2004 and co-sponsored with Center for Theatre of the Oppressed / Applied Theatre Arts / Los Angeles (CTO/ATA/LA), Fringe Benefits, UCLA, USC, Cal State LA, and Los Angeles Unified School District / LAUSD Creative Tools For Critical Times, 2004, a three-day conference held at 24th Street Theatre and USC. Numerous CTO/PTO/ATA workshops followed throughout the Southland.
Also, during this productive period, additional projects were cultivated as staged readings and works-in-progress including Dan Pasley’s and The Living Newspaper's workshop of Upton Sinclair’s Singing Jailbirds (a musical play portraying experiences of Union Organizers on the docks of San Pedro in the 1920’s). Sinclair himself was arrested in San Pedro in 1923 for reading aloud from the First Amendment. This was followed with Sinclair, The Musical, a full-length play with music and was showcased as a work-in-progress by the LA History Project on September, 2003, at the Museum of Western Heritage; and as part of the Upton Sinclair / Arts and Lectures Series (Produced monthly from January 2002, sponsored by the South Bay Chapter of the ACLU of Southern California; 9/11 Ground Zero 2004, Co-Sponsored by The ILWU, Harry Bridges Institute and The Living Newspaper)
2005: TAC continues exploring and developing artistic productions and events about San Pedro. Theresa Larkin’s activist musical San Pedro Nine, a work-in-progress was workshopped as a Living History narrative performance dealing with the motives and crises of conscience experienced by ordinary citizens who decided to engage in civil disobedience during the supermarket strike in San Pedro. This new work performed activists' life stories in song, dance, oral testimonies, historical perspectives, and was framed by historical readings from Thoreau, Hobbes and Jefferson.
2003-2007: During these years TAC produced Mine’: A Name For Herself, a biographical play that explored the life and historical art of Japanese-American artist Mine’ Okubo. Written by Mary H. Curtin and Theresa Larkin, this new work chronicled Mine’s early days in Riverside, CA., her studies at UC Berkeley, her chronicled travels throughout Europe before WWII, and fateful return to the US resulting in her forced internment in WWII camps in California and Utah. Mine documented a timeless artistic chronicle of her experience in the camps. Later, the voluminous art works she generated during her years in New York City extended the legacy of her unique life. Mine’: A Name For Herself was workshopped at Cal State LA, in conjunction with the Cross Cultural Centers and the Department of Theatre Arts and Dance. It later was presented at LATC as part of the 2005 Edge of the World Festival (Edgefest) and premiered at Performance Riverside, in conjunction with Riverside Community College (RCC), the City of Riverside, the County of Riverside, and Riverside Museum of Art. This production was the signature performance launching the naming of the street on RCC’s campus: ‘Mine’ Okubo Way’. Following this event, the Smithsonian Institution, in Washington, D.C., invited the production to perform as part of the Smithsonian’s Asian Pacific commemorative Day of Remembrance (2007). The play, co-authors, and actress portraying Mine’, Cheryl McCarthy, all were awarded a 'Proclamation of the Arts' by the County of Riverside.
1996-2017: This prolific period for TAC was also spent co-producing (with T21C) a series of collaborative productions on site at Cal State LA, where Theresa Larkin, as a tenured professor of theatre, produced sequential theatrical events. These co-productions utilized professional guest artists working with students from LACHSA and CSLA'S Department of Theatre and Dance. During this long and fruitful collaboration, numerous semi-professional productions were partially supported, which include in various innovative productions: Shakespeare’s The Tempest / Luckman Fine Arts Patio (1996); Finain’s Rainbow / Luckman Fine Arts Theatre (1998) - This was CSLA 50th Golden Year Celebration; Shakespeare’s Antony & Cleopatra (1999); Ahakhav Tribal Preserve (video shot in conjunction with CSLA International Programs (1999) in Parker, Arizona; All’s Well That Ends Well (2000); David Hare’s Map Of The World (2001); Bertolt Brecht’s The Threepenny Opera (2003); Shakespeare’s A Midsumer Night’s Dream (2004); Bram Stoker’s Dracula (2005); Goethe’s Faust, Parts 1 & 2 (2007); Rudolfo Anaya’s Bless Me, Ulitma in conjunction with NEA’s Big Read, which later toured to The Bilingual Foundation of the Arts in East LA and Dallas Latino Cultural Center (2008); Larkin's Maritare (2009); Tom Stoppard’s Arcadia (2011); Shakespeare’s The Winter’s Tale (2013); Bruce Norris's Clybourne Park (2015).
During 2016-2017, TAC launched a season of dramatic readings (35) of classics, modern plays, new works, works-in-progress, and workshops in a new dramatic reading series Performance Salon.
Due to the pandemic of 2020, TAC has postponed the 2020-2021 seasons. We hope to be producing new works in front of live audiences in 2022, or shortly thereafter. Otherwise, we will utilize Zoom for our readings as well as video shorts. Later, the goal is to create a channel for the streaming of our performative events.
In 2020-2021, TAC served as a consultant for San Diego State University (SDSU) and the College of Professional Studies and Fine Arts for a new summer program Creative Mind Academy. TAC coordinated international consultants to generate exciting new media content for this exciting international study program launching summer 2021.
Summer 2021 - In response to the growing homeless epidemic in Los Angeles, TAC is partnering with community members to launch a Citizens' Think Tank. We have received a robust response from numerous community members desperate to see some remedy for those living on the street. In response, we are hosting Zoom discussions and consulting on a proposal for a communications hub as well as the development of a non-profit to serve as a central coordination point for all the functioning governmental agencies and non profits dedicated to elimination of homelessness on our streets. A conference is planned to bring together stakeholders, elected leaders, and community members to explore how best to move forward past the many failed attempts at stopping the proliferation of homelessness in LA and beyond.
Spring 2022 - The Artists' Collective moved its home base from Los Angeles to Idyllwild, a rural mountain community nestled in the San Jacinto mountains (above Palm Springs). Although we still perform in Los Angeles, Idyllwild is where our new work will be cultivated. Performance Salon presented two plays The Vertical Hour by David Hare and Not About Heroes by Stephen MacDonald (Summer '22) at the newly built outdoor stage Big Rock Landing and premiered Penthos (Winter '22) at Lark's Chalet.
For the 2024-2025 seasons, VISMS is scheduled to launch a series of workshops and new works under the aegis of Performance Salon and in the facile genre of Performance Lectures.
Spring 2024 Performance Salon will premiere the first of four new works under the banner The Sentience Series. Food (Spring '24); Air (Summer '24); Water (Fall '24); and Sentients (Winter '24).
These following events will be performed at the Rustic Theatre and Entertainment Centre and Big Rock Landing in Idyllwild, CA. as we launch a new theatre company Idyllwild Repertory Theatre.
For more information, please go to www.performancesalon.org or www.idyrep.org.
_________________________________________________________________
2024 -The Sentience Series
Food
Air
Water
Sentients
2025 - The Healing Arts Series
Synaesthesia
Emotion
High-Risk
Mind
2026 - The Philosophers' Series
Socratic
Indigenous
Enlightenment
Positivism
2027 - The Soldiers' Series
War
Turning Points
Quantitative Calculus
Discourse
2028 - The Identity Series
Culture
Kin
Society
Individual
2029 - The Legends Series
Egyptian
Greek
Meso
Island
2030 - The Mysteries Series
Spirit
Quantum
Soul
Afterlife
________________________
Previous Performance Salons:
Homeless
Innovative Housing
Protected Class
A More Perfect Union
Restoration
Carnival, 1991
