An award-winning, internationally known performer and recording artist, as well as a monologist, playwright and teacher of her craft, Milbre Burch is a storyteller in every sense of the word. Bridging the mythic and the personal, Milbre creates original works that bring the power of story into contemporary performances of power and grace.
Milbre Burch’s ten-minute play, “Washing Up” will have a concert reading at the Mizzou New Play Series at the Corner Playhouse (on the corner of University and Hitt Streets) on the campus of the University of Missouri in Columbia on Monday, February 3rd at 7:30 pm. “Washing Up” was one of four finalists in the Ten Minute Play Festival sponsored by the Kennedy Center American College Play Festival last April in Washington, DC.
The Women of Lockerbie
Storyteller Milbre Burch is directing Deborah Brevoort’s play, The Women of Lockerbie, for the Columbia Entertainment Company (CEC). The show runs January 17-20 and 24-27 at the theatre located at 1800 Nelwood Drive in Columbia. Tickets are available online or by calling the box office at (573) 474-3699. The CEC production is a timely one, as 2013 marks the 25th anniversary of the bombing of Pan Am 103 over Lockerbie Scotland on December 21, 1988.
Outreach activities related to the play will include post-show talkbacks with the audience throughout the run, and public appearances by special guest, author and activist Helen Engelhardt from January 26-29. Engelhardt is the widow of Anthony Lacey Hawkins, killed in the Pan Am 103 bombing.
As Kerri Allen wrote in her New York Times review of the play, The Women of Lockerbie is an exploration of “the many pathways of grief — from a patrician American stoicism to a mad Medea-like pathos to a spiritual Celtic worldview.” Structured like a Greek tragedy, The Women of Lockerbie is a fictionalized treatment of the real-life Lockerbie Laundry Project: following the terrorist bombing that downed Pam Am 103 — killing all 259 people aboard and 11 people on the ground — the women of Lockerbie washed, dried and ironed all 11,000 items of clothing found in the crash. The clothing was then returned to victims’ families who wanted them.
Post-show talk-back discussions between the cast, crew, local scholars, and audience members will be scheduled after every show, and on January 26 and 27, the talkbacks will feature a special guest: Helen Engelhardt, educator, activist, independent audio-producer, and author of The Longest Night – A Personal History of Pan Am 103.
Prior to her visit to Columbia, Engelhardt has been featured on several local radio programs: Click on the links below to listen to the interviews.
- Columbia Morning with David Lile (KFRU-AM) Jan. 4th
- “Chris and Monica in the Morning” (KPLA-FM) Jan. 4th
- “The Women’s Show” (KPLA-FM) Jan. 4th
- “The So-Called Good Life” (KOPN-FM) with Kevin Walsh on Jan. 23rd
A two-part interview with Helen Engelhardt and Milbre Burch by KBIA-FM radio host Darren Hellwege was broadcast on Tuesday, January 8 and Tuesday, January 15 at 6:30 pm CST. The shows will be streamed (and eventually archived) via the station’s website.
A two-part interview with The Women of Lockerbie director Milbre Burch about the influence of Helen Engelhardt’s friendship on her staging of the show at CEC will appear in the Art Axis blog written by Columbia Daily Tribune features editor Aarik Danielson during the run of the play.
Once Engelhardt arrives in Columbia, she will offer a reading from her memoir The Longest Night – A Personal History of Pan Am 103, followed by a book signing at 2 pm on Saturday, January 26th, in Jesse Wrench Auditorium at the Memorial Union on the University of Missouri campus. The talk is free and open to the public.
On January 27th, Engelhardt will tell a story in the 10:30 am service at the Unitarian Universalist Church of Columbia, 2615 Shepard Blvd. in Columbia. All are welcome.
Finally Engelhardt will be featured in post-show talkbacks following performances of The Women of Lockerbie at CEC on Saturday, January 26th at 7:30 and Sunday, January 27th at 2:00 pm. On Monday and Tuesday she will visit high school and college classrooms as well.
Milbre Burch who says: “I’ve known Helen Engelhardt since 2004, and am grateful to her for sharing her lived experience, as the widow of a Pan Am 103 bombing victim. A peace-maker in the face of heart-breaking loss, she opened the door that led me to The Women of Lockerbie. From the start, my proposal to direct the play included a desire to bring Helen to Columbia. Like the women of Lockerbie’s determination to counter an act of hatred with a ritual of love, Helen’s endeavors offer a model of civic engagement as an act of grace.”
In the wake of her husband’s death, Engelhardt joined Victims of Pan Am 103, Inc., to seek solace, lobby for justice, and promote peace. Since the group’s first press conference in February 1989, she has been a spokesperson to the media about the Lockerbie bombing, working withNewsday, the New York Times, USA Today, Al Jazeera, Stern Magazine, Berliner Zeitung, WBAI Radio in California and WNYC Radio on Long Island.A member of the Board of Victims of Pan Am 103, Inc., she served as editor of its newsletterTruth Quest from 1995 to 2001. Engelhardt is not only author of The Longest Night: A Personal History of Pan Am 103, but also producer of the two-CD spoken word album, Coming Home to Us – A Trilogy of Love, Loss, and Healing which includes “Yesterday and Forever – Recollecting Lockerbie.”
Other Recent Work by Milbre
Sometimes I Sing
Milbre Burch premiered her original monologue, inspired by Susan Glaspell’s celebrated one-act play Trifles, in Columbia, Missouri in March, 2012. Next, she presented it at the International Conference on American Drama and Theater in Seville, Spain in May, 2012. This fall she is taking the monodrama to Georgia State College and University in Milledgeville, GA.
Growing out of her research on Pulitzer-Prize-winning playwright Susan Glaspell’s 1916 one-act play, Trifles, Milbre spearheaded a collaborative production entitled Justice Served: three short plays about women confronting violence. With Glaspell’s play as the centerpiece, Justice Served included an adaptation of a Zora Neale Hurston short story and Burch’s own Sometimes I Sing, an original monodrama written in the voice of Glaspell’s unseen protagonist, Minnie Wright.
Reviews of Sometimes I Sing
“Milbre Burch gives an inspired performance in Sometimes I Sing, as she recreates the voice and the inner life of an abused woman imprisoned for the murder of her husband. Her monodrama is a theatrical tour de force that moved me to tears.”
Patricia Bryan, Glaspell scholar and author of Midnight Assassin: A Murder in America’s Heartland, a nonfiction book about the murder trial that inspired Susan Glaspell’s play Trifles.
Thank you so much for making Minnie Wright come alive in Sometimes I Sing. Through your wonderful voice her voice rang forth. It’s a voice that can be heard in all Susan Glaspell’s plays: that of a woman who struggles to be heard. You actualized that need so beautifully.
Linda Ben-Zvi, Professor of Theatre, Tel Aviv University, author of Susan Glaspell, Her Life and Times, and co-editor with J. Ellen Gainor of Susan Glaspell: The Complete Plays.
Justice Served, a trio of short plays about women confronting violence is absolutely mesmerizing. Milbre Burch will hold you spellbound in the finale, Sometimes I Sing.
Bill Clark, Columbia (Missouri) Daily Tribune
Your performance last Thursday night of your brilliant script was so lovely and so moving. It made Susan Glaspell’s one-act play Trifles so much richer and deeper.
Jim Miller, Professor of Theatre, University of Missouri, director/designer for over 100 musicals and plays.
Milbre Burch is perfect in the role of Minnie Wright. I have seen her perform maybe a dozen different roles. Every time, she transports me into the world she is creating. Her acting/storytelling ability seems supernatural to me.
Steve Weinberg, author of Taking on the Trust: The Epic Battle of Ida Tarbell and John D. Rockefeller, and Professor Emeritus at the School of Journalism of the University of Missouri, offering courses related to covering the criminal justice system as part of an innocence project.
I was fortunate enough to have been in the audience last Saturday for the Justice Served plays… It brought home once again of power of story. Thank you for all your hard work and creative vision on behalf of our friends and neighbors who continue to suffer in the shackles of violence.
Heather Harlan, Phoenix Programs, Columbia, Missouri
Brilliant research and writing… a seamless weaving of history, hardship, suffering, redemption.
Mary Kay Blakely, contributing editor to Ms. magazine since 1981, former “Hers” columnist for The New York Times, member of National Advisory Board for the National Writer’s Union.
Changing Skins: Folktales about Gender, Identity, and Humanity
Changing Skins: Folktales about Gender, Identity, and Humanity premiered in Columbia, Missouri in June, 2010. Since then, it has toured to Atlanta (2010), Austin (2010), Nashville (2010), New York City (2011), SUNY-Binghamton (2011), and SUNY-Plattsburgh (2012) and finally at the Women and Theatre Program Pre-conference prior to the 2012 Association of Theatre in Higher Education conference in Washington, D.C. in August.
Drawing on science, scholarship and story — Changing Skins is intended to widen the range of possibilities for “happily ever after.”
Changing Skins: Folktales about Gender, Identity and Humanity draws from a pastiche of oral tradition stories including: creation stories highlighting the ambiguous nature of gender roles and identities; a tale of a young woman who shuns her suitors because she has fallen in love with the moon; folktales of female-to-male and male-to-female transformation; interspecies family units; a boy who gives birth, and the tale of a Djinn and a Princess who trade anatomical parts.
Changing Skins is performed research on the wealth and persistence of gender-bending folktales and cultural expressions around the world. These riveting tales are interwoven with personal observations of the social construction of gender, and notes on historical and contemporary thinking about the diversity of human and animal gender expressions.
What’s clear from Burch’s research is that people have been musing about the impact of societal constructs on individual lives, and the possibility and meaning of gender — and interspecies — border crossings for over two millennia.
“Our bodies are the landscapes in which we live. The culture of our birth embroiders its rules upon that embodied landscape. The stories that the culture offers us are meant to teach us how to be human in the particular ways that culture knows how. The stories we find for ourselves may reinforce or subvert the rules by which we are expected to live. These stories are as old as humanity and as new as yesterday’s gossip.” Milbre Burch