South Pacific - 5th Avenue Theatre

South Pacific

5^th Avenue Theatre

January 29 - February 21, 2010

Tickets and Information

Keala Settle as Bloody Mary and the ensemble of South Pacific. Photo by Peter Coombs, 2010.

There are very few Broadway musicals that can be considered as intimidating and challenging to produce as South Pacific. Since the original premier in 1949 it has not been revived on Broadway until Bartlett Sher’s Tony Award-winning production nearly sixty years later. There is an inherent element of trepidation associated with productions of South Pacific stemming from the rather touchy subject matter of the war and the racism prevalent at the time and in the show. It takes a very alert and trust-worthy director to bring this show to life for a modern audience and Sher does not disappoint.

Another challenge with this particular tour is the extremely high expectations regarding the quality of the show. After Sher’s production premiered in 2008 (garnering 11 Tony nominations and 7 wins including Best Revival and Best Direction) there has been nothing short of fanatic desire to see this production across the country. Fortunately for the country, we don’t have to fly to New York to see why this revival has gathered so much attention. As Bartlett Sher said before the opening performance, “the cast we have here is actually as good as the one on Broadway.” Not having seen the New York production I cannot speak to that myself, but after seeing the show here at the 5^th Avenue Theatre, I don’t doubt it for a moment.

Whereas productions across Seattle have acquired a tendency to be as big as possible (elaborate sets, intense technical elements, big stars in the lead roles, etc…) this tour of South Pacific brings a breath of fresh air. Being a naturally big show – as any Rogers and Hammerstein show will be – it would be easy to cover it in glitter and star-power before serving it up to the world. However, Sher’s direction of this play is based on a very strong trust in the text. The set (Michael Yeargan) is impressive, no doubt, but not overwhelming. Most of the transitions are met with wood-slat curtains and beautiful lighting shifts (Donald Holder). The performances, too, are extremely rich and full. There is no pretension in any of the actors’ performances. It seems that everyone involved with this production took the text, loved it, nurtured it and let it take them into the world Rogers and Hammerstein wrote, bringing the audience with them. (Photo Left: Rod Gilfry and Carmen Cusack. Photo by Peter Coombs, 2010.)

Carmen Cusack (Ensign Nellie Forbush), Rod Gilfry (Emile de Becque), Keala Settle (Bloody Mary), Matthew Saldivar (Luther Billis) and Anderson Davis (Lt. Joseph Cable) lead this extremely ensemble-driven show magnificently. The chemistry between Cusack and Gilfry from the moment the curtain rises is undeniably palpable. Every moment of the show tastes of their relationship whether or not either or both are on stage at that moment. Their honesty and openness absolutely shine. Similarly, Saldivar and Davis carry their amazingly challenging roles with grace and power. Saldivar’s candor and humanity on stage is an absolute treat to watch and Davis’ freedom in his portrayal of Lieutenant Cable’s struggle is, to put it simply, brilliant. Meanwhile, all throughout, Settle’s Bloody Mary brings a gut-punch duo of comedy and sincerity that keeps the audience as enthralled as ever, sixty-one years after the original premier.

A special spotlight goes out to the stage management team (Brian J. L’ecuyer, Production Stage Manager, and Kelly Marie Furlough and Michael Krug, Stage Managers) for shattering my theory of timing for shows. On average shows in Seattle start six minutes past the curtain time, intermission goes at least three or four minutes over the scheduled time and the end time is always a little off. However, South Pacific’s overture started exactly on time, intermission was perfectly precise and the show ended at exactly at three hours, ever minute worth-while.

Tickets are nearly sold-out, so follow the link above, and get your seats booked now for the first tour of the first Broadway revival of South Pacific because it really does make any night a very enchanted evening.

Review by Andrew J. Perez

The Great Divorce -- Taproot Theatre Company

Nathan Jeffrey, Pam Nolte, and David Dorrian (L-R). Photo by Erik Stuhaug.

The Great Divorce

Taproot Theatre Company
January 27- February 27 2010
Tickets and Information

C.S. Lewis is known to many as the author of the beloved Narnia series, but his writings extended far beyond that. Lewis, a devout Christian, wrote many treatises, fables, essays and books on religious themes, using his considerable talent with words and imagery to unfold his ideas. The Great Divorce, adapted for the stage by George Drance and the Magis Theatre, is one such book: Lewis' dreamlike adventure on a bus ride though Hell and Heaven and what he observes there.

The Great Divorce is less a straightforward story, and more a theatrical meditation, a collection of meetings and moments strung together by Lewis' narration and his constant wonder at the strange place he is now in. The play manages to be highly philosophical and fantastical, without losing what makes each vignette work: the connection between human beings, and the sincere desire of each denizen of heaven to bring everyone else up to heaven with them.

Jenny Cross and Candance Vance (L-R). Photo by Erik Stuhaug.

Director Scott Nolte's staging of the play has a measured pace, giving the audience ample time to truly understand the sometimes complex theology surrounding them. David Dorrian, as our narrator C.S Lewis, carries the backbone of the show, but it is the ensemble around him that creates the swirling energy of the piece. Each plays multiple characters ranging from gray ghosts to lively angels and every kind of human in between, and each new turn is fresh and clear.

Mark Lund's set opens backwards into archways that suggest wide spaces beyond, inviting the audience as well as the characters. Window panes play host to Jody Briggs' gorgeous light design, which conveys dawning mornings and muddy streets alike. Sarah Burch Gordon's costumes bring us a new level of the story, from her carefully nuanced grays and tweeds of the early ghost people to the bright contrasting colors of the heaven dwellers.

Taproot's swift turnaround from the fire of October 2009 is a testament to the great support offered by the community, and the theater's space now looks shiny and clean, though still as cozy as ever. But what is most important is that the caliber of theater offered by Taproot remains high, and that their 2010 season has opened well. The Great Divorce is not a play for everyone; those looking for a rollicking escape from daily life would do well to search elsewhere. But for an evening of thinking theater, of a play that presses your philosophical opinions and gently offers new ways of thought, Taproot's show never once missteps.

Review by Kenna Kettrick

Speech and Debate - Seattle Repertory Theatre

Speech and Debate
Seattle Repertory Theatre
January 15 – February 21, 2010
Tickets and Information

Plays dealing with adolescent issues are nothing new, nor are plays dealing with controversial topics like abortion, sex scandals, closeted homosexual Republicans and censorship. What makes Stephan Karam's Speech and Debate remarkable is that it manages to confront all these topics without pretension, and without trying to be provocative or to shock the audience.

Speech and Debate revolves around the lives of three outsider highschool students in semi-conservative Salem, Oregon, each of whom has secrets, like any teenager. Solomon (Justin Huertas) is determined to be a reporter, writing an all-important article about the pattern of anti-gay Republicans being outed—most recently the mayor of Salem. Diwata (Erin Stewart) yearns to be an actress, but is continually passed over for the school plays. Howie (Trick Danneker), a gay teenager from Portland, just wants to finish highschool and leave. All three students are soon tangled together by their own secrets, blackmailing and bullying each other in attempts to get what they want—a chance to perform, a real article published, or just to have a normal senior year.

(L-R) Justin Huertas, Trick Danneker, Amy Thone, and Erin Stewart in Speech & Debate. Photo by Chris Bennion.

What makes this play sing as brilliantly as it does is the tight writing, fast pace, precise use of technology, and—most of all—the acting of the three leads. Huertas, Stewart and Danneker portray the lanky physicality, verbal tics and tenacity of awkward teenagers to perfection. (“That is my private journal,” Stewart screams with outraged indignation, when Huertas bursts into her life after finding her public internet blog.) Amy Thone carries her double roles as a teacher and a local reporter quite well, but the play truly belongs to the other three. They capture complicated and varying emotions without hesitation and with an enormous amount of humor.

The design also plays a large part in making this particular production work so well. Matthew Smucker uses his characteristic straight lines and flat planes to great effect in creating a sterile-looking highschool classroom, that feels like every public school classroom in the United States. Smucker also designs the projections that begin each scene, and set the quirky tone for the entire play. Matt Starritt's sound design—incorporating everything from Lady Gaga to “Thus Spoke Zarathustra”—keeps the pace jaunty and the atmosphere lively, while Christine Meyer's costumes enunciate each character clearly and, sometimes, hilariously. Andrea Allen's direction is light and swift, incorporating her actors' talents and her design elements into an engaging whole.

By the end, Speech and Debate hasn't solved large controversial issues, or even passed judgment on any of them. The value of the play lies not in shoving problems in our faces, or trying to be provocative. Rather, what works is its straightforward and hilariously honest portrayal of Howie, Diwata and Solomon grappling with their own problems—ones that we all recognize, whether we are their age or far older.

Review by Kenna M. Kettrick

Electra - Seattle Shakespeare Company

Electra
Seattle Shakespeare Company
January 7-31 2010
Tickets and Information

In all times and places throughout history, vengeance has been and shall remain a central issue and topic of debate. How do we balance Justice with Vengeance? Which is which and how do we avoid getting lost in the grey area in between? Director Sheila Daniels tackles this rather personal struggle (as one can read in her director’s notes in the program) through Sophocles’ intensely cathartic play, Electra. Frank McGuinness’ 1998 adaptation of Sophocles’ ancient text brings the profound suffering of the characters to life through language that is both raw and lilting. Every member of the cast has great facility with McGuinness’ text, and Daniel’s direction keeps each word immediate while retaining the power of the poetical.

In playing the title character, Marya Sea Kaminski eliminates all conventional boundaries and tears through the text. Her passion becomes our catharsis as she takes the audience far beyond any comfort zone Seattle Shakes has provided in the past few months and brings forth a new beast of emotional rollercoastering to which most Seattle Theatre-goers are not yet accustomed. Orestes (Darragh Kennan), Electra’s brother who has been exiled since childhood, beautifully portrays his realization of the extent of the horror that his family has suffered while he has been raised so far away from it. Susannah Millonzi, as Electra’s sister Chrysothemis, is torn between her sister and the family that controls her and, in her struggle, brings the audience into the tempestuous pain that she feels. Also of note is John Bogar as Aegisthus, the despiséd and murdering king, whose stage time is perhaps four minutes at the most, and yet brings the audience to wish him dead within the first seconds of his entrance. Each member of the cast pours everything they have into this production; there is no weak link among them, and there is no emotional fourth wall to protect the audience from the truly Greek catharsis of this play.

Marya Sea Kaminski as Electra and Susannah Millonzi as Chrysothemis. Photo by John Ulman.

Every design element works in concert with Daniels’ directing to create a piece that feels modern while transcending any specific time period. Andrea Bryn Bush’s set, with its straight lines and chain-link fences, hints at majesty and ruthlessness not unfamiliar in our modern era of urban warfare and subversive tactics. Andrew D. Smith’s lighting design sculpts the space and the story, nearly a character of its own, as is Robertson Witmer’s sound, dissonant, chiming and thunderous. The costumes (Pete Rush) taste of ancient Greece from modern elements, and are tailored specifically to each character—for example, spotless and silky for the queen, but a dirty tank top and ripped skirt for Electra.

Electra is a story of revenge, suffering and triumph that could easily descend into melodrama, losing the honest characters within it. However, with McGuinness’ inspired adaptation, a cast of truly brilliant actors, and Daniels’ pitch perfect direction, this Electra hauls the audience through ninety non-stop minutes of tragedy at its best to the dramatic end and shows the humanity of the story all along the way.

Review by Kenna M. Kettrick and Andrew J. Perez

Black Nativity - Intiman

Black Nativity

Intiman

December 1 – 30, 2009

Tickets and Information

Choir with Sanjaya Malakar. Photo by Chris Bennion, 2009.

Ladies and gentlemen it is time to stand up and give thanks to the Intiman Theater and the people who make it what it is! For those who join the celebration that is Black Nativity this year, and every year, there is no choice but to stand up and praise whatever it is you choose. It doesn’t matter if you are Catholic, Baptist, Jewish, Hindi or you “ain’t got none” denomination or creed, Black Nativity is a moving and exciting choral event to kick off the holiday season right.

For those who have seen the show before, it is much the same as it has been in past years. Perhaps the current eco-political situations that we find ourselves in currently have made more of an impact than we imagined on the arts community, though. It seems to me that Black Nativity at the Intiman Theater hits home a little more-so this year than in the past. Something about Jacqueline Moscou’s direction and the collaboration of the performers and directors has led this production into a whole new world of joy and celebration in a time when we truly need to take a step out of ourselves in order to find any strength left to celebrate.

Not to detract from the uplifting mood thus far, but there are some rumors that must be squashed immediately. We have all heard that after twelve seasons of Black Nativity Intiman will no longer be hosting this holiday tradition. This is true in one regard and untrue in another. Though Black Nativity will conclude its twelve year run in the Intiman’s space at the end of this production’s run, Intiman will continue to produce the show in a new space yet to be determined. It has become apparent to those who bring us such wonderful shows as this that the capacity of Intiman’s space is not grand enough to host a show like Black Nativity year after year. There needs to be a larger space. One that is able to accommodate those families who realize halfway through the run that they will, in fact, be able to see it. As of now, those families are turned away because tickets are already nearly sold out for at least half of the run. However, with the plans that are in the works according to Brian Colburn, Managing Director, space will be secured for next year’s production with much more seating accommodations. And as Jacqueline Moscou said, “there isn’t another theater who could host this show.”

As far as this year’s production goes, it was fantastic. I have never had the opportunity to see Black Nativity and I can’t express enough how much fun this show is as long as you keep an open mind and a full and receptive heart. Absorbing the message of love from this show is not hard. With such fantastic soloists as – but not limited to – Sanjaya Malakar (of American Idol 2007 fame), this show is a festival of song and celebration from start to finish. The Total Experience Gospel Choir truly brings to life the heart of the celebration that is the holiday season and gives that gift of love and excitement to every person in the audience.

Through song and community, we can overcome any difference and overreach the boundaries that keep us apart. Black Nativity is the perfect way to start our quest for understanding and love in a world that desperately needs a prescription-sized dose of compassion.

Review by Andrew J. Perez

Twelfth Night - Seattle Shakespeare Company

Twelfth Night, Or What You Will
Seattle Shakespeare Company
December 3-27, 2009
Tickets and Information

Jose A. Rufino (Orsino) and Chris Ensweiler (Feste). Photo by Erik Stuhaug.

In the vast array of Shakespeare plays, Twelfth Night is many a person's favorite; the comedy contains witty scenes, a satisfying romance, and a comic subplot that nearly always takes over the main story. This newest incarnation of the play picks up on Twelfth Night's holiday theme (it was originally performed for Queen Elizabeth on the twelfth night of Christmas), and turns the play into a joy-filled holiday play, a Seattle Shakes version of the Christmas classics playing everywhere in Seattle.

The audience is greeted before they even enter the theater proper, by the actors (bedecked in splendid semi-Dickensian costumes designed by Melanie Taylor Burgess) joining them in the lobby to sing Christmas carols and play party games. They bring this festive atmosphere onto the stage, where they teach the audience to sing a “catch” (a song in a round) and play games for Christmas prizes—until they are interrupted by a lost and disheveled Viola (Susannah Millonzi), and the story begins.

Director Stephanie Shine emphasizes the optimistic and fun-filled interpretations of this play, keeping the tone light and the humor overflowing. Her staging glides easily through the space with a good balance of swift pacing and momentary pauses between text, where unspoken motivations are made crystal clear for the audience. As is often the case, Shine's direction is intertwined with live music to great success; Sean Patrick Taylor directs the music (as well as playing Curio), and he and Carter Rodriguez (Valentine) fill in moments or counterpoint longer scenes with impressive guitar and lively singing. Feste the fool (Chris Ensweiler) also plays music, though his main instrument is his versatile singing voice and his physical comedy, both of which he employs to great effect.

John Bogar (Malvolio); l-r Darragh Kennan (Aguecheek), Frank Lawler (Fabian), Ray Gonzalez (Toby). Photo by Erik Stuhaug.

The cast as a whole is a solid ensemble, all experienced Shakespeareans and all enjoying themselves in this festive show. Among the standouts is John Bogar, whose Malvolio is deep-voiced and both hilariously stuffy and oddly sympathetic; Bogar has a commanding stage presence, making it difficult to tear one's eyes away when he fully takes the stage for himself. Carol Roscoe's Maria is another character of note, especially in the later scenes when her prank on Malvolio comes to fruition; Maria's attempts to hide her un-suppressable laughter from her mistress Olivia (Brenda Joyner) make for some of the funniest moments of the show.

Andrea Bryn Bush's scenic design is simple but versatile, suggesting houses and streets at once, and decked out in boughs and bows of holiday cheer. Andrew D. Smith's lighting design is a beautiful use of the space, bringing gentle washes and specific lights and shadows to each corner of the stage, including lanterns hung cheerily from the ceiling, each decked with ribbons and mistletoe. The design as a whole leans heavily on Dickensian style, but each designer branches out to bring a little flavor of something different and exotic to the plaid-and checkered English winter, adding flair to the overall style of the show in the way that Viola and her twin Sebastian (Tim Gouran) bring spice to the land of Illyria.

Twelfth Night is one of Shakespeare's classics, and this version of it brings out all the joy and cheer that the story has to offer. In a world of repeat holiday shows, Seattle Shakes' Twelfth Night offers a festive, satisfying and buoyant alternative: something old, made bright and new again.

Review by Kenna Kettrick

Sister's Christmas Catechism - ACT

Sister’s Christmas Catechism

ACT

November 27, 2009 – January 3, 2010

Tickets and Information

Aubrey Manning as Sister in Sister's Christmas Catechism.

I’m sure that many of our readers have experience Catholic or Parochial school in some capacity or another. Whether you are a public school survivor who ended up at Seattle University for four years, or you were basically raised by ruler-wielding Nuns, most people have had a brush with the Catholic education system in some way. Well, if you are one of those readers who has experienced the trials and tribulations of a Catholic education or if you have never set foot in any remotely Catholic educational establishment (be it Church, school or tree-toting neighbor’s home), Sister’s Christmas Catechism will send you rolling down the aisles with laughter.

Sister (Aubrey Manning – Late Night Catechism at ACT, Seattle longest-running show, for over ten years) takes us on a journey back in time to the night Jesus was born in that little manger in Bethlehem. But not all was silent that night; it seems that her obsessive viewing of Forensic Files has led her to the conclusion that someone has made off with the magi’s gold! It will take a brave lot of audience members to reenact the scene of the crime dressed as the First Family, the Three Kings, the Shepherd and, of course, the sheep, ox and the loveable and fantastically graceful ass (yours truly on December 3 - see below).

Aubrey Manning and broadwayhour.com founder Andrew J. Perez in 'Sister's Christmas Catechism.' Photo provided by ACT.

As far as productions go, Sister’s Christmas Catechism is a roaring good time. Manning’s performance is unparalleled in improvisational comedy and interactive audience participation. Her presence and poise on stage is an absolute delight to experience and her unending fountain of canonical knowledge would set any Nun straight in regards to just who is the patron saint of what.

ACT’s presentation of Sister’s Christmas Catechism ties in wonderfully with their Allan Theater’s current production, A Christmas Carol. Obviously, both deal with the Christmas season and holiday, but they also touch on the more important topics of love toward our fellow women and men and embracing the holiday spirit. Whether you follow the beliefs of the Catholics, Jews, Hindus or any spiritual path (or none) under the sun, Sister’s Christmas Catechism is a hilarious production that ought not be missed.

The Live Nativity scene from Sister's Christmas Catechism. Photo provided by ACT.

Review by Andrew J. Perez

Irving Berlin's White Christmas - The 5th Avenue Theatre

Irving Berlin's White Christmas
5th Avenue Theatre
November 28th – December 30th
Tickets and Information

Irving Berlin's White Christmas was first shown at the 5th Avenue three years ago, and its newest incarnation is just as popular, sweet, and heart-warming as the first one. The story begins at the 151st division's army camp on Christmas Eve 1944, where pals Phil Davis (Greg McCormick Allen) and Bob Wallace (Michael Gruber) are singing to bring some kind of holiday cheer to their fellow troops. Fast forward ten years later, and Bob and Phil are song-and-dance sensations, bringing their charm and panache to the Ed Sullivan show and then Miami, Florida—or, in fact, Pinetree, Vermont, as the pals meet up with a sister act, Judy and Betty Haynes (Taryn Darr and Christina Saffran Ashford) and their relaxing holiday in the sun becomes anything but.

The tale is a light-hearted, optimistic and patriotic one, meant for revisiting classic songs and enjoying a spectacle on stage, and the 5th Avenue delivers on both counts. James A. Rocco's choreography highlights each song to perfection, with full use of the talented ensemble and plenty of bang-up tap dancing. The sets (Anna Louizos) and lighting (Tom Sturge) entrance the eyes, and Carrie Robbins' costumes are pitch-perfect post-war stylings, complete with high-waisted hotpants, sparkling nylons and crisp suits. David Armstrong and James A. Rocco's direction moves the story along without a hitch, keeping the style light and the pace engaging.

Greg McCormick Allen and Michael Gruber imitate the sister act. Photo by Chris Bennion.

The leads are all solid in their roles and singing in period style, and clearly having plenty of fun in this rollicking holiday tale. Both pairs of performers have their partnership and patter down well, with Darr (Judy) and McCormick Allen (Phil) joyfully picking up on each other's witty banter, while Ashford (Betty) and Gruber (Bob) move believably from awkward meeting to lover's embrace. But the scene-stealer's award is taken easily by Clayton Corzatte, whose Ezekiel garnered applause and laughter from his first painstakingly slow journey across the stage, on opening night.

White Christmas is a simple story, but a touching one, and is surrounded by 1940's glamor and Berlin's catchy, swinging music. For a charming and lively holiday tale, this one can't be beat—especially with the 5th Avenue's snowy surprise waiting for the audience at the end of the show.

Review by Kenna Kettrick

It's a Wonderful Life: A Live Radio Play - Taproot Theatre Company

It’s a Wonderful Life: a Live Radio Play

Taproot Theater Company

(at North Seattle Community College, Stage One)

November 27-December 30, 2009

Tickets and Information

As much of Seattle now knows, the Greenwood neighborhood has been hit hard by fires in the past few months, arsons which have gutted some businesses and temporarily closed others. The 85^th block was one of the hardest hit, including enough water and smoke damage to the Taproot Theater building to necessitate a massive renovation, and rendering it impossible for Taproot to stage their planned holiday show, Sherlock Holmes and the Case of the Christmas Carol.

Grant Goodeve, Candace Vance and Eric Riedman. Photo by Erik Stuhaug, 2009.

Instead, Taproot has brought back a holiday show that had a successful run in 2006: their live radio play version of It’s a Wonderful Life, adapted by Joe Landry. This play is set on the Christmas-decorated soundstage of KTTC Studios in 1947, as a small group of actors give a live radio performance of this beloved film. At North Seattle Community College’s Stage One space, a small but cozy atmosphere presides from scenic designer Mark Lund, and the actors are outfitted by Sarah Burch Gordon in period styles with holiday flair—red and green dresses, sweater vests, and holly pinned to lapels.

We are treated as the live studio audience to this radio performance (complete with “on air” and “applause” signs that light up, thanks to lighting designer Jody Briggs). Director Karen Lund uses a fluid style, with her six actors rotating as easily in and out of the standing microphones as they do between their Wonderful Life scripts and their 1947 radio personas. Grant Goodeve plays George Bailey and Candace Vance plays his friend turned wife, Martha, both with a touching balance of humor and pathos. Jesse Notehelfer, Mark Lund, Alex Robertson and Eric Riedman play all the other parts, including the other Baileys, the slimy Mr. Potter and the classic angel Clarence. Special note must be given to Eric Riedman, who as well as playing small vocal parts, presides over an impressive plaid and tinsel-draped foley table behind the microphones, armed with shoes, bells, car horns and even a match – offering a full sensory experience when we hear the sound of the match strike, see and feel the sudden warmth of the fire and smell the wisp of smoke drifting across the scene.

This show is, in fact, a perfect choice for Taproot. Like George Bailey, the theater was put in a terrible situation through no fault of its own, and like Bedford Falls, the Seattle community has – and should continue to – step up to support the theater that has given back to the Greenwood neighborhood and the city as a whole. Look for Sherlock Holmes back again next holiday season, with all the original players from this year, and for Taproot’s new season beginning in January. Like George, this theater has deep roots in the community, and is coming back strong.

(Note: Every Wednesday performance, Taproot holds a talkback with the actors after the show. December 9^th is a dinner and theater performance, where you can buy a dinner to go along with your show. For more information, please visit their website here!)

Review by Lia Morgan

A Christmas Carol - ACT

A Christmas Carol

ACT

November 27 – December 27, 2009

Tickets and Information

Kurt Beattie and Chloe Forsythe. Photo by Chris Bennion, 2009.

Charles Dickens’ A Christmas Carol is one of the most beloved stories of all time. Likewise, ACT’s A Christmas Carol (adapted for the stage by Gregory A. Falls) has become one of Seattle’s most beloved holiday traditions. The story is one we all know well. We’ve seen it performed on screen by some of the finest actors to have ever lived, we’ve seen it performed by Muppets or on a 3-D IMAX screen, we’ve had it read to us by our elementary school teachers and perhaps even delved deeper into the story in high school or college classes. However, nothing quite brings the story home like seeing Seattle’s finest perform this immortal and heartwarming story in the beautiful Allan Theatre space at ACT.

This year’s rendition of A Christmas Carol gives the audience an opportunity to take a step back from life for ninety minutes and roll back into a simpler time (covered in snow!). Kurt Beattie and R. Hamilton Wright co-directed the production and share the role of Ebenezer Scrooge on alternating performances. They are surrounded with an outstanding cast and crew of designers and technicians who all come together to bring the story to life, waking the holiday spirit in all of us.

This particular production is also much more carefree and fun-loving than the darker take that last year’s production took. R. Hamilton Wright’s performance as Scrooge is fantastically child-like. His moment-to-moment reactions and attentiveness to the action at hand is unrivaled and he takes this opportunity to shine. Similarly, the entire production this year feels as light as a snowflake on the tip of Tiny Tim’s nose. Every detail glides together to form a heart-warming and loveable show for all who take the time to enjoy it.

On behalf of broadwayhour.com and (I feel I can speak for us) the Seattle theatre and theatre-going community, we thank ACT for kicking off the holiday season right. Happy holidays!

Review by Andrew J. Perez

R. Hamilton Wright. Photo by Chris Bennion, 2009.