Thursday, May 31, 2007

West Side Story - The 5th Avenue Theatre

West Side Story
The 5th Avenue Theatre in Association with Spectrum Dance Theater
May 26 – June 17, 2007
Tickets and Information

Stephen Sondheim and Leonard Bernstein’s classic retelling of Shakespeare’s Romeo and Juliet comes back to life for its 50th anniversary at the 5th Avenue Theatre. The 1957 musical has captivated audiences from Broadway to London, from professional theaters to high school productions and now finds its home in Seattle for its half-century birthday. In association with The 5th Avenue Theatre, Spectrum Dance Theater lends its style, flare and name to this incredible production. No better gift could these theaters have given than this spectacular show.

With an ensemble show such as West Side Story, the audience relies on the combined talents and skills of all the performers at all times in order to create the breathtaking numbers. Bob Richard’s recreation of the original choreography brings back to life the original emotion and power of West Side Story. With incredible dance sequences in ‘Cool,’ ‘America’ and ‘Officer Krupke,’ the skill of the choreographer and dancers is readily apparent. Additionally, the various choreographic styles show off the originality and the perpetual freshness of the dances, augmenting the skills of the performers.


Photo by Chris Bennion

Ian Eisendrath’s conduction and musical direction of this production summons up all of the power and skill of each performer. Numbers such as ‘The Tonight Quintet’ gather the audience to the edge of its communal seat. ‘A Boy Like That’ is one of the most heart-wrenching pieces of music in the show and is executed perfectly. Augmenting the music and dance is Bill Berry’s direction. Adding a bit of extra feistiness to such a well-known show, Berry’s directorial skill shines in this show. Capturing the essence of the emotion and action, West Side Story is as vivacious as ever, if not even more so.

Martin Christoffel’s set design is a tangible painting for the stage. His juxtaposition of industrial warehouse-like levels and a variety of Shakespearean catwalk balconies with supple drapery and backings creates a complete and vibrant world. Living within Christoffel’s sets, Lynda Salsbury’s subtle costumes allow the show to carry itself while softening the distinctions between gangs and characters. Without such harsh color differentiation as can often be used in a production of West Side Story, Salsbury’s costumes are strong but not overpowering allowing the show to speak for itself. Meanwhile, Tom Sturge’s lighting design flows forth from the vaulted warehouse ceilings to the world of the play. Using a combination of classic stage lighting with unnatural halogen lighting (for Doc’s Drugstore) and a palpable filling of the stage with the deepest possible color, Sturge’s design fully adds the final piece to this remarkable puzzle.

After half a century of running throughout the world, West Side Story comes to Seattle for its silver anniversary. This production brings back the magic that has always been, is, and will always be Sondheim and Bernstein’s West Side Story.

Review by Nigel Andrews and Phoebe Linea

An Intimate Evening with Phylicia Rashad

in an "Inside the Actor's Studio"-style interview, career retrospective and informal Q&A led by renowned Broadway director Kenny Leon

Monday, June 11, 2007 8:00pm

Proceeds to benefit Seattle Rep education programs

Leo K Theatre

Seattle, WA - Tickets are now on sale for An Intimate Evening with Phylicia Rashad, in an "Inside the Actor's Studio"-style interview and career retrospective, with an informal Q&A led by renowned Broadway director Kenny Leon. This one-night-only benefit will raise funds for Seattle Repertory Theatre's education programs. The event will take place on Monday, June 11, 2007 at 8:00 pm at the Leo K Theatre. Tickets are available by calling the Seattle Rep Box Office at 206-443-2222 or online at www.seattlerep.org.

Phylicia Rashad, star of stage and TV, is best known for her role as Dr. Claire Huxtable on "The Cosby Show" and was the first African-American woman to win the Tony Award for Best Actress in a Play. She recently enjoyed her directorial debut with Seattle Rep's production of Gem of the Ocean. Kenny Leon is a leading director of August Wilson's plays and is best known for his lauded Broadway productions of Gem of the Ocean and A Raisin in the Sun, both starring Phylicia Rashad. He is the founder and artistic director of True Colors Theatre Company in Atlanta.

All proceeds from An Intimate Evening with Phylicia Rashad support Seattle Rep's education and outreach efforts for young people. For more than 20 years, Seattle Rep has offered a wide variety of educational programs throughout the community. Through its arts education programs, Seattle Rep serves over 60 schools, which might not otherwise have access to theatre. Seattle Rep offers in-school artist residencies, provides subsidized tickets, and encourages young people to express themselves through its TeenSpeak programs. Seattle Rep also provides resources to public school teachers through workshops and seminars. Community support and subsidy are vital to ensure the continued success of these important programs.

Tickets to An Intimate Evening with Phylicia Rashad range from $75 (includes post-show champagne celebration) to $250 and up (including opportunities to meet Phylicia Rashad). Bring a child! One complimentary youth ticket with each full-price adult ticket. To make reservations or for further information, please contact the Seattle Rep Box Office at (206) 443-2222.

Tuesday, May 29, 2007

Intiman's 35th Anniversary

INTIMAN CONTINUES ITS 35th ANNIVERSARY SEASON WITH CHEKHOV’S UNCLE VANYA, NEWLY ADAPTED BY CRAIG LUCAS AND DIRECTED BY BARTLETT SHER

Chekhov’s most intimate play, Uncle Vanya will feature music by composer Adam Guettel and an ensemble led by Kristin Flanders, Tim Hopper, Samantha Mathis and Mark Nelson

Performances: June 12 – July 18 at Intiman Playhouse, Seattle Center

Opening Night: Saturday, June 16 at 8 pm

SEATTLE— Intiman Theatre, recipient of the 2006 Tony Award for Outstanding Regional Theatre, continues its 35th season with Anton Chekhov’s Uncle Vanya, newly adapted by Associate Artistic Director Craig Lucas and directed by Artistic Director Bartlett Sher. Uncle Vanya opens at the Intiman Playhouse, 201 Mercer Street at Seattle Center , on Saturday, June 16 at 8 pm and runs through Wednesday, July 18 at 7:30 pm. Low-price preview performances are June 12, 13, 14 (pay-what-you-can) and 15. For a complete schedule of performances and special events, please see the Fact Sheet at the end of this release.

Tickets range in price from $10 to $48, with discounts available for students and groups. Patrons aged 25 and under can purchase tickets to any performance for $10, pending availability. A limited number of $20 rush tickets may be available for purchase 15 minutes before curtain time, pending availability. Tickets are available for purchase from www.intiman.org or 206.269.1900. This production is sponsored by ArtsFund, 4Culture and the INTIMAN Theatre Foundation.

The most intimate of Chekhov’s plays, Uncle Vanya is set on a country estate outside of Moscow at the turn of the 20th century. The play’s characters rebel against their own thwarted desires, and act on their passions in ways that are alternately heartbreaking and hilarious.

“There are people who say Uncle Vanya is about despair and frustration, and others who say it is about hope and courage. In fact, it’s about all of those things,” says director Bartlett Sher. “This might be my favorite play on earth, because its basic themes are the things I care most about: love and work.”

Uncle Vanya is the second Chekhov play adapted and directed by Lucas and Sher, following Intiman’s production of Three Sisters in the 2005 season, and their fifth collaboration since 2001. This production will feature music composed by Adam Guettel, a Tony winner and Grammy nominee for The Light in the Piazza.


The cast includes Allen Fitzpatrick (Professor Serebriakov), Kristin Flanders (Sonya), Tim Hopper (Astrov), Lori Larsen (Maria), Samantha Mathis (Elena), Todd Jefferson Moore (Telegin), Mark Nelson (Vanya) and Paula Nelson (Nanny).

Kristin Flanders was most recently seen as Sabina in The Skin of Our Teeth and Queen Elizabeth in Richard III at Intiman, and in The Lady from Dubuque at Seattle Rep. Her other Intiman credits include Three Sisters, Singing Forest and Homebody/Kabul, and she has been a company member at both The Guthrie Theater and the American Repertory Theatre.

Tim Hopper is an Ensemble member of Chicago ’s Steppenwolf Theatre. His New York credits include Bartlett Sher’s production of Pericles at the Brooklyn Academy of Music, The Dying Gaul by Craig Lucas, the title role of Steve Martin’s Picasso in the Lapin Agile, and More Stately Mansions, for which he won a 1998 Obie Award and the 1998 Edinburgh Festival Herald Angel Award.

Samantha Mathis appeared on Broadway in Arthur Miller’s The Man Who Had All the Luck. She played Lisa Morrison in Collected Stories by Donald Margulies at the Geffen Playhouse in Los Angeles , and recreated her role for the “PBS Hollywood” film adaptation. Her film credits include The American President, Little Women, The Thing Called Love and Pump Up the Volume.

Mark Nelson has recently acted in two one-man plays, Underneath the Lintel at Long Wharf (Connecticut Critics Circle Award) and I Am My Own Wife at George Street Playhouse and Coconut Grove (2007 Carbonell Award). His Broadway credits include Stoppard’s The Invention of Love and Neil Simon’s trilogy Brighton Beach Memoirs, Biloxi Blues and Broadway Bound. He played Einstein in Picasso at the Lapin Agile in New York (Obie Award) and on the national tour, including Seattle ’s Moore Theatre.

The creative team for Uncle Vanya includes scenic designer John McDermott, costume designer Deb Trout, lighting designer Brian MacDevitt and sound designer Joseph Swartz. The stage manager is Claire E. Zawa.

For bios of the company and the creative team please visit www.intiman.org.

On Thursday, June 7 at 6 pm, patrons are invited to attend Spotlight Supper, a behind-the-scenes look at a technical rehearsal with director Bartlett Sher.

On Monday, June 11 at 7 pm, the Intiman Book Club will discuss Chekhov’s Ward No. 6 and Janet Malcolm’s Reading Chekhov; this discussion is free and open to the public.

On Sunday, June 17, Intiman will offer a Father’s Day Brunch before the 2 pm performance, beginning at 12 noon. Cost for the show and brunch is $54 per adult and $22 for youth 16 and under. For required advance reservations, patrons should call 206.269.1900.

Friday, May 25, 2007

West Side Story Extended Run!

WHAT: Due to overwhelming demand for WEST SIDE STORY tickets, The 5th Avenue Theatre has added two performances at the end of the run.

A modern retelling of Shakespeare’s Romeo and Juliet, WEST SIDE STORY maps the collision course of two feuding New York City street gangs – the Jets and the Sharks – and the young lovers caught in the crossfire. Winner of two Tony Awards and 10 Academy Awards, WEST SIDE STORY is an American theater masterpiece, with explosive dancing and some of the most electrifying music ever written for the Broadway stage, including “Maria,” “Tonight” and “Somewhere.”

WHEN: New Extended Performance Dates: May 26 – June 19, 2007

Added Performances: Monday, June 18 at 7:30 p.m. & Tuesday, June 19 at 7:30 p.m.

WHERE: The 5th Avenue Theatre, 1308 5th Avenue , Downtown Seattle

TICKETS: $20 - $75

  • www.5thavenue.org
  • (206) 625-1900 / (888) 5TH-4TIX
  • In person at The 5th Avenue Theatre Box Office at 1308 5th Avenue

Wednesday, May 23, 2007

5th Avenue Awards

Follow this LINK for information regarding the Awards Nominations, Ceremony and details of the 5th Avenue 2007 Awards.

Two Weeks Left for In The Kafka Colony - Open Circle Theater

This Sunday is the final pay-what-you-will show for IN THE KAFKA
COLONY at Open
Circle Theater. Don't miss the show that has taken the critics and Seattle by
storm! (Check out the reviews at www.OCTheater.com)

This world premiere by local playwright Dustin Engstrom merges Franz Kafka's
life with his writings. At the end of his life, the line between reality and
fiction blurs and we find ourselves walking amongst rhinos and storks in the
ghetto of Prague. A magical evening of astounding theater.

IN THE KAFKA COLONY runs
through June 2
Thu. - Sat. @ 8pm / Sun. 2/27 @ 3pm

Thu. are 2-for-1
Sun. are P/W/Y/W

Reservations: (206) 382-4250 - or - wow.OCTheater.com

Open Circle Theater - 429 Boren Avenue North

Monday, May 21, 2007

The Paramount's New Season!

Follow this link to see the Paramounts extensive new season!

Saturday, May 19, 2007

Weekly Update - 5/19/2007

KSUB
www.seattleu.edu/ksub
The Broadway Hour > Sunday, April 8, 2007 from 10am-12noon

Open Circle Theater*
Tickets and Information
In The Kafka Colony >May 11 - June 3, 2007

Seattle University
Tickets and Information
The Nice and the Nasty >May 10 - 20, 2007**

Seattle Opera
Tickets and Info
La Boheme > May 5 - 19, 2007

The Intiman Theatre
Tickets and Info
The Skin of Our Teeth > April 28 - June 2, 2007

The Paramount Theater
Tickets and Info
Broadway Bound: Disney's High School Musical >May 31 - June 17, 2007

ACT Theater
Tickets and Info
Menopause the Musical >running through May 28, 2007
Late Night Catechism >running through August 2007
Souvenir >May 11 - June 10, 2007

Seattle Repertory Theater
Tickets and Info
Souvenir >May 11 - June 10, 2007
Moscow Cat Theatre >June 2 - 3, 2007 BUY TICKETS NOW!!

The 5th Avenue Theatre
Tickets and Info
West Side Story >May 25 - June 17, 2007

*Costumes by Andrew Perez: AKA, Nigel Andrews
**With Andy Swanson: AKA, Rick Skyler

Monday, May 14, 2007

In The Kafka Colony - Open Circle Theater

In The Kafka Colony
Open Circle Theater
May 11 - June 2, 2007
Tickets and Information

Any fan of Kafka could be well entertained by just one of his strangely intriguing stories put to stage; yet what would happen if multiple stories were laced together? In The Kafka Colony explores that possibility as Kafka’s stories taken from The Blue Octavo Notebooks and are intertwined to create a full-length stage production.

Eric Yates’ set immediately sets the show up to depend upon Andrew Perez’ costumes and the talent of the actors to tell the story. The set is very simple with few movable pieces creating an adventure to for the audience to see how they are integrated into each scene. The costumes do a fantastic job of setting the tone of the play and fill in for minimal set d├ęcor to set the location and mood for the audience. Ashley Born’s lighting also plays an integral role in the show as it is used to create sets without having to clutter the stage.

Photo by Andrew Perez

The highlight of the show by far is the acting. The show calls for many characters and with a small cast it seems that all the different personalities would mix, creating a disaster; yet the cast finds no trouble in keeping their various identities separate. An equally impressive segment of the show is its use of puppets. The puppetry is quite a bizarre addition to the show yet one will finds oneself waiting for the next scene that includes the mouse, cat or even birds as they provide much comedic relief.

So what would one have to do in order to prepare for an evening In The Kafka Colony? If you’re feeling studious, perhaps brush up on your Kafka; yet it isn’t required to ensure a good time. As long as you bring an open mind and are willing to suspend reality for a couple of hours; the show is not one to miss.

Review by guest writer Cat Aurelio

Sunday, May 13, 2007

The Nice and the Nasty - Seattle University's Lee Center for the Arts

The Nice and the Nasty
Seattle University
May 10 – May 20, 2007
Tickets and Information

There is a war on that is tearing through shopping malls and diners. With who this war is being fought is the big question, though. And what about issues and politics within the company? Has the world gone from peace to the nice versus the nasty, Food Technology versus someone or everything versus itself? That is the premise of The Nice and the Nasty presented by Ki Gottberg and Rosa Joshi at Seattle University. In the food corporation of the future, the styles and the daily activities are all heightened and advanced. When Junius Upsey (Aaron Orheim) invents a device that could solve world hunger and create peace, the already topsy-turvy world goes on its head.

A fantastic ensemble performance, The Nice and the Nasty combines incredible bravado with meek ploys to create a wonderfully juxtaposed show. Aaron Orheim’s performance as the brilliant and mild Junius Upsey is fabulously contrasted with Molly Tomhave’s (Cathexa Heights) and Keith Hazen-Dheim’s (Blade Crevis) power and force.

Directed by Ki Gottberg, this production is an absolute stunner. Her work at Seattle University and off-campus is always exciting and vibrant; this is no exception. Breaking new ground in brightness and action, this show is a wonderful capper to the season which has also included Three Sisters by Anton Chekhov and As You Like It by William Shakespeare. Assisted by Rosa Joshi in the creation of this production, The Nice and the Nasty has elements of everyone involved in it included in the performance.

Standing out especially is the music and sound design used in this production. Dominic CodyKramers’ sound design and Lindsay Smith’s associate work create an unbelievable feel for the show. Completely setting the mood with runway model music and apropos sound effects, the sound design element is fabulous. The costumes, as well, by Harmony J.K. Arnold are spectacular. Straight off of the racks of the most modern fashion and with such vivid colors, the costumes are blindingly beautiful.

This is a fantastic production of The Nice and the Nasty and should not be missed. All of the elements influence each other and play off of each other wonderfully in this ensemble show.

Saturday, May 12, 2007

Weekly Update - 5/12/2007

KSUB
www.seattleu.edu/ksub
The Broadway Hour > Sunday, April 8, 2007 from 10am-12noon

Open Circle Theater*
Tickets and Information
In The Kafka Colony >May 11 - June 3, 2007

Seattle University
Tickets and Information
The Nice and the Nasty >May 10 - 20, 2007

Seattle Opera
Tickets and Info
La Boheme > May 5 - 19, 2007

The Intiman Theatre
Tickets and Info
The Skin of Our Teeth > April 28 - June 2, 2007

The Paramount Theater
Tickets and Info
RENT now! >May 8 - May 13, 2007

ACT Theater
Tickets and Info
Menopause the Musical >running through May 28, 2007
Late Night Catechism >running through August 2007
Souvenir >May 11 - June 10, 2007

Seattle Repertory Theater
Tickets and Info
Souvenir >May 11 - June 10, 2007
Moscow Cat Theatre >June 2 - 3, 2007 BUY TICKETS NOW!!

The 5th Avenue Theatre
Tickets and Info
Edward Scissorhands >April 26 - May 13, 2007
West Side Story >May 25 - June 17, 2007

*Costumes by Andrew Perez: AKA, Nigel Andrews

Thursday, May 10, 2007

5th Avenue Rearranges Season

5th Avenue Rearranges 2007-2008 Season
to Accommodate Upcoming Project

Into the Woods and Mame Change Performance Dates

SEATTLE – The 5th Avenue Theatre announces new dates for two of its 2007-2008 season musicals. INTO THE WOODS moves earlier in the season to October 20 – November 10, 2007, and MAME moves up to February 12 – March 2, 2008. The complete new season lineup is as follows: the new Broadway-bound musical comedy LONE STAR LOVE, September 11 – 30, 2007; just in time for Halloween Stephen Sondheim’s popular fractured fairy tale INTO THE WOODS, October 20 – November 10, 2007; the national tours of Andrew Lloyd Webber’s WHISTLE DOWN THE WIND, November 13 – December 2, 2007, and Broadway’s 2006 Tony Award-winning smash hit JERSEY BOYS, December 11, 2007 – January 2, 2008; the irresistible musical comedy MAME, February 12 – March 2, 2008; and the landmark musical masterpiece CABARET wrapping up the season March 25 – April 13, 2008.

“We’re rearranging next season to accommodate an exciting upcoming project,” explains Producing Artistic Director David Armstrong . “We anticipate being able to announce this project within the next couple of months, and when we do, I’m confident our patrons will be delighted.”

Subscribers who need to adjust their season ticket package because of the date changes should call (206) 625-1900 or stop by The 5th Avenue Theatre box office at 1308 5th Avenue in downtown Seattle . Subscription packages are available now and prices range from as little as $82 (4 shows, previews) to $383 (6 shows, weekend). The Second Sunday Talkback, 30-Or-Under and Q Club ticket packages remain popular season packages.

The 5th Avenue Theatre is Seattle ’s premier musical theater. In 1980, the non-profit 5th Avenue Theatre began producing and presenting top-quality live musical theater for the cultural enrichment of the Northwest community. The 5th Avenue Theatre maintains a subscription audience of more than 24,000 and an annual attendance of over 225,000. It ranks among the nation’s largest and most respected musical theater companies. The Theatre is committed to encouraging the next generation of theatergoers through its Educational Outreach Program which includes: The Adventure Musical Theatre Touring Company, The 5th Avenue High School Musical Theatre Awards, the Student Matinee Program and Spotlight Nights. Unique in its Chinese-inspired design, the exquisite theater opened in 1926 as a venue for vaudeville and film. Today, under the leadership of Managing Director Marilynn Sheldon and Producing Artistic Director David Armstrong , The 5th Avenue Theatre continues to achieve the highest standards in all aspects of artistic endeavors and facility operations, while preserving its artistic, architectural and historic legacy. Visit www.5thavenue.org.

Tuesday, May 08, 2007

RENT - The Paramount

RENT
The Paramount
May 8, 2007 – May 13, 2007
Tickets and Information

Jonathan Larson’s hit musical, RENT, is a classic in its own time. Since its premier in early 1996, RENT has captivated America’s attention with its rock-opera style and its apropos subject matter. Dealing with issues all-too prevalent in Larson’s own life, his musical tackles the issues of AIDS, homophobia, bohemianism, homelessness and the constant struggle to pay rent while never selling out and betraying one’s ideals. Larson himself never saw his musical come to full fruition. He died in his apartment on January 25, 1996; ten days before his birthday and only days from the premier. His autobiographical musical, Tick-Tick…BOOM!, chronicles the trials and tribulations he went through while trying to write RENT including his best friend and roommate being diagnosed with AIDS. In RENT, Larson’s vision of a modern adaptation of Giacomo Puccini’s La Boheme comes to life with a vivaciousness rarely attempted on stage.

As an ensemble, this cast in incredibly tightly-knit. The excitement and power they provide and elicit is spectacular. Harley Jay (playing Mark Cohen) provides an unbelievable performance. His originality and his energy shine through and visibly energize everyone on stage. Warren G Nolan, Jr. (playing Tom Collins) also stands out, bringing up in himself emotions strong enough to draw them out of each audience member.

Joan Marcus, 2006

Michael Greif’s direction of RENT brings forth originality hard to come by with such a well-known musical only in its eleventh year of existence. Keeping true to Larson’s vision yet creating his own vision as well, Greif finds a middle ground on which to walk, allowing some movement in inspiration and flow. Augmented in this by Tim Weil (Music Supervision and Arranger) and Jared Stein (Keyboard and Conductor), Larson’s music takes on a life of its own. Bringing the tempo up substantially from the original conduction, one can feel overwhelmed by it but not in an extreme. The speed and flow is consistent and keeps the audience on its toes. Also making its presence known and welcomed, Blake Burba’s lighting design is an absolute work of art. The precision of each transition and the magic of each effect are captivating.

As popular as it is and as quoted as it is by high schoolers and adults alike, RENT still has the power to move an audience. Jonathan Larson’s message is as readily received as ever, if not even more so today. Bringing modern rock, Broadway-styled lyrics and music and the updated adaptation of Puccini’s classic operatic story, RENT, quite literally, has something for everyone.

Review by Nigel Andrews

Saturday, May 05, 2007

Skin of Our Teeth - Intiman

Skin of Our Teeth
Intiman
April 28 – June 2, 2007
Tickets and Information

The much beloved and recognized Thorton Wilder (Our Town, The Matchmaker and Shadow of a Doubt) brings to life Skin of Our Teeth, an intricate analysis of the human existence through the eyes of historical figures and modern-day men and women. The Intiman’s production of Wilder’s classic play utilizes every resource available to create a stimulating and captivating experience for the audience. An original Intiman element to the widely known play is the character Mr. Antrobus played by Howie Seago’s, a deaf actor, director, producer, teacher and performer.

Seago’s work in the Seattle area includes the co-founding of the Deaf Youth Drama Program at the Seattle Children’s Children in 1993 and countless performances. Additionally he has taken part in theatrical and cinematic creations internationally and off-Broadway. His work has been recognized though a myriad of awards including, but not limited to, the Helen Hayes Award for Outstanding Actor and the Dramalogue Award. On screen his work has included the co-creation of Rainbow’s End, an Emmy Award-Winning PBS television series for deaf children in addition to countless other works. In Skin of Our Teeth, his use of American Sign Language while his fellow actors express his character’s spoken dialogue, Seago brings a very unique story-telling element to the Intiman’s production. Taking on the majority (though not all) of Mr. Antrobus’ spoken lines, Laurence Ballard does an amazing job of playing along side Seago’s skillful portrayal of the character.

Photo by Chris Bennion

Also standing out were Anne Scurria (Mrs. Antrobus) and Kate Wisniewski (Fortune Teller and others). Scurria’s aria-like monologues and commanding stage presence bring dynamism to the performance that is not to be missed. Meanwhile, Wisniewski’s comic timing and dramatic precision are not only potent enough for themselves, but also to the degree of carrying several of Mr. Antrobus’ lines.

Bartlett Sher’s direction of Skin of Our Teeth is ambitions to say the least yet extremely effective in its execution. The sheer size and grandeur of his conceptualization is breathtaking from the audience’s perspective. The depth of Wilder’s story and its relevance to our current world is eerily accurate while remaining under its ever-so post-modern lens. Also using Michael Yeargan’s brilliant set design, every element came together effortlessly on the stage giving each aspect its own opportunity to shine and come together in a seamless collaboration.

Thorton Wilder’s Skin of Our Teeth is a classic in its own right and ever more unique in the Intiman’s production. Bringing together all of the design elements with a strong ensemble and Seago’s exhilarating talents, this show is not to be missed.

Review by Nigel Andrews and Rick Skyler

Friday, May 04, 2007

Additional Sign-Interpreted Performances of Skin of Our Teeth

ADDITIONAL SIGN-INTERPRETED PERFORMANCE OF THE SKIN OF OUR TEETH, DIRECTED BY BARTLETT SHER AND FEATURING ACCLAIMED DEAF ACTOR HOWIE SEAGO AS MR. ANTROBUS, ADDED TO INTIMAN THEATRE’S SCHEDULE

Run of Thornton Wilder’s play, which continues through June 2 at Intiman Playhouse, includes four sign-interpreted performances, followed by interpreted post-play discussions

SEATTLE— Intiman Theatre has added an additional sign-interpreted performance of its current production, The Skin of Our Teeth, on Tuesday, May 22 to accommodate audience demand. The previously announced sign-interpreted performances on May 5, May 9 (student matinee) and May 10 are sold out of the allocated seats for the Deaf community.

Each of the four performances will be followed by a sign-interpreted post-play discussion in the Intiman lobby. In addition, at these performances the interpreters will offer pre-show introductions to key signs used during the play beginning 30 minutes prior to curtain in the Intiman lobby.

The Skin of Our Teeth features Howie Seago, a Deaf actor, director, producer and teacher, who acts the role of Mr. Antrobus in sign language. His credits include a 1986 production of Ajax (the story of the Greek hero of the Trojan War, set by director Peter Sellars after an American military victory in Latin America), for which he received the Helen Hayes Award and the Dramalogue Award. He first met director Bartlett Sher, who was featured as a member of the ensemble, during this production.

“Howie Seago is unquestionably one of the finest actors in America ,” Sher says. “His performance in Ajax was without equal and remains one of the greatest I have ever seen. Howie is both an actor and a dancer simultaneously, and through American Sign Language he brings a special poetry to the craft of acting. When it came to choosing an artist to play George Antrobus, the impossibly imaginative and powerful American father at the center of The Skin of Our Teeth, he was my only choice for the role.”

Seago and an interpreter will attend all of Intiman’s scheduled post-play discussions to answer questions from the audience. In addition to the sign-interpreted performances on May 5, 9, 10 and 22, discussions open to the public are scheduled for May 11 (Conversations with Bart) and May 24 (AfterWords).

Tickets for The Skin of Our Teeth range in price from $10 to $48, with discounts available for students and groups. Patrons aged 25 and under can purchase tickets to any performance for $10, pending availability. A limited number of $20 rush tickets may be available for purchase 15 minutes before curtain time, pending availability. Tickets are available for purchase from www.intiman.org or 206.269.1900.

For bios of the full company and the creative team please visit www.intiman.org.

This production is sponsored by the Kreielsheimer Remainder Trust, the Shubert Foundation, the Mayor’s Office of Arts & Cultural Affairs and the Washington State Arts Commission.

Intiman Theatre gratefully acknowledges the following for their institutional support: The Paul G. Allen Family Foundation, Ameriprise Financial, Norman Archibald Charitable Foundation, ArtsFund, The Boeing Company, Doris Duke Charitable Foundation, Humanities Washington, Intiman Theatre Foundation, Kreielsheimer Remainder Trust, The Andrew W. Mellon Foundation, Microsoft Corporation, Nesholm Family Foundation, The Norcliffe Foundation, PONCHO, The Shubert Foundation, The Seattle Foundation, Theatre Communications Group, U.S. Bancorp Foundation, Washington Mutual and Wells Fargo Bank. Additional funding is received from Office of Arts & Cultural Affairs, City of Seattle ; 4Culture; and Washington State Arts Commission.

Tuesday, May 01, 2007

Tickets on Sale for Intiman Interview Series

ACTORS DAVID PICHETTE AND R. HAMILTON WRIGHT WILL KICK OFF INTIMAN THEATRE’S 2007 INTERVIEW SERIES ON MONDAY, MAY 21; TICKETS ARE ON SALE NOW

SEATTLE— Intiman Theatre announces the initial schedule of guests for its annual interview series, now in its sixth season. To celebrate Intiman’s 35th Anniversary, this year’s series will feature pairs of artists who will engage in conversation with each other, as well as with Intiman communications director Stephanie Coen. Tickets for each program are $10 and can be purchased at www.intiman.org or by phone at 206.269.1900. The series is presented on Monday nights at 7 pm on the stage of Seattle Center ’s Intiman Playhouse, and includes a reception following each interview.

The series kicks off on May 21 with David Pichette and R. Hamilton Wright, who will discuss “Comedy and Other Pursuits,” including insights into the art of acting comedy and their many years of collaboration on stage. Two of the most accomplished and admired actors in Seattle, Pichette and Wright have worked together in numerous productions at ACT, The Empty Space, Seattle Rep and Intiman, where they perhaps most memorably appeared as the title characters in Rosencrantz and Guildenstern Are Dead in 1989.

The series will continue on June 25 with guests Karen Gjelsteen, a scenic designer, and actor Timothy McCuen Piggee. In a conversation about “Making Choices,” they will discuss their ways into the creative process and the interaction between their different disciplines.

Clayton Corzatte and Michael Winters will be the guests on July 16 for a program titled “Acting the Classics,” focusing on Shakespeare, Chekhov, Shaw and other great writers.

The final interviews in the series, scheduled for August 20 and October 15, will be announced later this season.

Intiman Theatre gratefully acknowledges the following for their institutional support: The Paul G. Allen Family Foundation, Ameriprise Financial, Norman Archibald Charitable Foundation, ArtsFund, The Boeing Company, Doris Duke Charitable Foundation, Humanities Washington, Intiman Theatre Foundation, Kreielsheimer Remainder Trust, The Andrew W. Mellon Foundation, Microsoft Corporation, Nesholm Family Foundation, The Norcliffe Foundation, PONCHO, The Shubert Foundation, The Seattle Foundation, Theatre Communications Group, U.S. Bancorp Foundation, Washington Mutual and Wells Fargo Bank. Additional funding is received from the Office of Arts & Cultural Affairs, City of Seattle ; 4Culture and the Washington State Arts Commission.