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She received offers from ■major producers to direct plays in New York, but instead decided to go to India and study Kathakali Theatre on a Fulbright grant. She was one of the few Westerners and one of the only women to study Kathakali in the traditional way—one artist, one student with one of the great remaining masters of the form.
When she returned from India after two years she could have stepped right hack into her career, but instead took care other sister Mary Jo and parents for the next seven years as they dealt with her sister’s schizophrenia.
Julie believed passionately in community—that story and story’s shadow, myth, are vital to creative community. She built community wherever she went—the portable communities of workshops and festivals and the more permanent one of her home here in Rappahannock.
She founded Ki Theatre in 198.r> and directed it until February of 2008 when Spark! took over and moved it in a different direction. Plays grew from her Life Stories Workshops as people wrote their own stories and turned them into theatre. All along there were Julie’s plays - “Katie Malone,” “How Dad Created the World,” “My Sister’s Sister,” “Three Roses” - that we performed throughout the country, in Asia and Africa, as well as her new play, “The Man Who Eats Books.”
It’s been a year and a half since Julie had her emergency surgery in California for stage IV colon cancer. They didn’t expect her to live more than a couple of months. She didn’t want to know. I never tol^l her. She lived fearlessly, working on her
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