"The whole world has globalized," she said. "And it seems the last place we believe in globalization is in the theatre."

Odd that Ms Whoriskey would make such a statement, when so much of the rest of the world is currently undergoing a complete re-evaluation of the very concept of globalization, and re-engaging with the long-neglected benefits of localism. Not that there is anything wrong with exposing local audiences and artists to the work and influence of outside artists, per se, but her attitude seems to reflect yet more of the reverse-provincialism we have become accustomed to here. Even more distressing when one contemplates that theatre, unlike other artistic media, relies so exclusively upon the patronage of local audiences, local artists, and local artisans for its growth, nourishment and survival.

If she has indeed no wish to "cultivate the local theatre ecology", then she will no doubt express little surprise or alarm when her abject neglect results in that same ecology turning fallow and stagnant.

Unlike, say, a Greg Falls, who recognized the efficacy of good husbandry, Ms Whoriskey seems rather to envision her role as being akin to a sort of cultural Monsanto, where her only interest is in increasing the yield, while remaining heedless (or worse indifferent) to the irrevocable damage done to the environment in the process.

Sad to say, this does not bode well, either for Intiman and its long-term prospects (which are precarious at best), or for the Seattle theatre ecology as a whole.