tag:blogger.com,1999:blog-90748582024-03-07T11:15:39.062-08:00The Broadway Hour SeattleAll the theatre in town in one place. Tell us about your show and we'll be there and, as always, have the review up before dawn!Nigel Andrewshttp://www.blogger.com/profile/15585536205507864850noreply@blogger.comBlogger430125tag:blogger.com,1999:blog-9074858.post-2343287943739450492010-11-30T17:07:00.000-08:002010-11-30T17:16:51.285-08:00Indefinite Suspension of OperationsDear Readers,<div><br /></div><div>It is with sadness and regret that I write to inform you of an indefinite suspension of operations of BROADWAYHOUR.COM.</div><div><br /></div><div>I moved back to California in March for familial reasons and have since found the added work of maintaining broadwayhour.com too much. I knew it would be a challenge to manage the website and team from eight hundred miles away, but when it became apparent that even keeping up with news stories and updating the news blog was too much for me to handle, I realized that it is no longer fair to you, the readers, or myself to continue to stretch the limited time I have only to post information late and miss shows. I had hoped that, perhaps, someone on the current team may have the time amidst full class-loads or full-time work to take on the managing of broadwahour.com, but unfortunately it does not seem to be the case.</div><div><br /></div><div>Perhaps, sometime in the future, broadwayhour.com could be relaunched. But who knows? For now, I write to thank you all for your support and comments through the last four years. I started this website as a Sophomore Theatre major at Seattle University and it blossomed into something I never could have imagined at the time: a full team of reviewers, our own ".com," several blogs as well as a homepage. It has been a privilege and an honor to review the shows and update you readers on news about the Seattle Theatre scene. This has truly been a defining endeavor for me and I hope that you have enjoyed reading our reviews at least half as much as we've enjoyed writing them.</div><div><br /></div><div>Thank you, Seattle.</div><div><br /></div><div>Happy Holidays,</div><div>Andrew J. Perez (aka. Nigel Andrews)</div>Andrew J. Perezhttp://www.blogger.com/profile/18321347783806169789noreply@blogger.com16tag:blogger.com,1999:blog-9074858.post-9582695245733577022010-10-30T02:19:00.000-07:002010-11-01T11:07:48.356-07:00Hamlet<div style="TEXT-ALIGN: left"><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">Hamlet</span></span></i></div><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">Seattle Shakespeare Company</span></span><br /><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">October 27-December 5, 2010</span></span><br /><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"><a href="http://www.seattleshakespeare.org/">tickets and information</a></span></span><br /><br /><p style="MARGIN: 0px; FONT: 12px Helvetica"><span style="LETTER-SPACING: 0px"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></span></p><p style="TEXT-ALIGN: left; MARGIN: 0px; FONT: 12px Helvetica"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></p><p style="TEXT-ALIGN: left; MARGIN: 0px; FONT: 12px Helvetica"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">No other play better depicts the calamitous downfall to insanity than William Shakespeare’s </span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">Hamlet</span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">. To understand the emotions that follow treachery, loss, and vengeance, is difficult enough,</span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">but to perform Shakespeare’s poetically tragic story of </span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">H</span></span></i><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">amlet </span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">is a challenge on its own. Seattle Shakespeare Company was no fault to the task however. T</span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">he theater performed the play with such tenacity, it was a stupendous performance to celebrate their 20th year anniversary.</span></span></p><p style="MARGIN: 0px; MIN-HEIGHT: 14px; FONT: 12px Helvetica"><span style="LETTER-SPACING: 0px"><span style="WHITE-SPACE: pre" class="Apple-tab-span"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"></span></span></span></span></p><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 320px; DISPLAY: block; HEIGHT: 214px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5533772314170935554" border="0" alt="" src="http://3.bp.blogspot.com/_Up4UR7iLJi0/TMvomb4MyQI/AAAAAAAAAFo/XoJXHaBGUIA/s320/cast.jpg" /> <p style="TEXT-ALIGN: center; MARGIN: 0px; FONT: 12px Helvetica"><span style="LETTER-SPACING: 0px"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><i>Cast of Hamlet. Photo by John Ulman</i></span></span></span></p><p style="TEXT-ALIGN: center; MARGIN: 0px; FONT: 12px Helvetica"><span style="LETTER-SPACING: 0px"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><i><br /></i></span></span></span></p><p style="MARGIN: 0px; FONT: 12px Helvetica"><span style="LETTER-SPACING: 0px"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">Hamlet (Darragh Kennan) is the young prince of Denm</span></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">ark who is trying to cope with the recent death of his father, King Hamlet (Charles Leggett). Not only has his father just died, but within a few months after his fathers death his mother, Queen Gertrude (Mary Ewald), marries his uncle Claudius (Richard Ziman) who becomes the next king of Denmark. Hamlet is both in a state of depression of his father’s death and deeply disturbed at his mother’s hasty marriage to his uncle. It isn't until Hamlet sees the ghost of his late father that he begins to quickly plummet into madness; especially after the ghost reveals that he was murdered by Hamlet’s own kin. The rest of the story slowly unravels as Hamlet plots a number of schemes to avenge his father’s death. It doesn't take long for </span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">Hamlet’s dark state to deepen as he attempts to both process his revenge and the many calamities in his life.</span></span></p><p style="MARGIN: 0px; MIN-HEIGHT: 14px; FONT: 12px Helvetica"><span style="LETTER-SPACING: 0px"><span style="WHITE-SPACE: pre" class="Apple-tab-span"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"></span></span></span></span></p><p style="MARGIN: 0px; MIN-HEIGHT: 14px; FONT: 12px Helvetica"><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"></span></span></i></p><p style="MARGIN: 0px; MIN-HEIGHT: 14px; FONT: 12px Helvetica"><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">Hamlet </span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">is considered one of the best tragedies written in the English language. At the Seattle Shakespeare Company, director John Langs intensified Shakespeare’s dramatic tale even more with loud, booming sound effects that made the seats shake. The use of lighting was also a creative touch to the performance.The lighting was used to shift the scenes between Hamlet's crazed soliloquies and back to the play. What also gave epic depth to the play was the cast who performed </span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">phenomenally. Each line was spoken with such passion and diligence that the audience forgot to breathe or even shift in their seats.</span></span></p><p style="TEXT-ALIGN: center; MARGIN: 0px; MIN-HEIGHT: 14px; FONT: 12px Helvetica"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"><br /><span style="LETTER-SPACING: 0px"></span></span></span></p><p style="MARGIN: 0px; MIN-HEIGHT: 14px; FONT: 12px Helvetica"><span style="LETTER-SPACING: 0px"><span style="WHITE-SPACE: pre" class="Apple-tab-span"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"></span></span></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">Although Shakespeare did write </span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">Hamlet</span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"> as a tragedy, it doesn't hold a solum tone for the entire performance. It also maintains Shakespeare’s famous, witty humor. Darragh Kennan, who plays Hamlet, is one actor in particular who received a standing ovation for his performance. His portrayal of Hamlet’s sinking depression was heartbreaking as he gave emotional insight to his character, but also revealed the humorously, intelligent madness that Shakespeare holds within the character of Hamlet.</span></span></p><p style="TEXT-ALIGN: center; MARGIN: 0px; MIN-HEIGHT: 14px; FONT: 12px Helvetica"><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></i></p><p style="TEXT-ALIGN: center; MARGIN: 0px; MIN-HEIGHT: 14px; FONT: 12px Helvetica"><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 214px; DISPLAY: block; HEIGHT: 320px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5533770969497809922" border="0" alt="" src="http://3.bp.blogspot.com/_Up4UR7iLJi0/TMvnYKlJNAI/AAAAAAAAAFg/kHjjqCdqMFI/s320/tragic.jpg" /></span></span></i></p><p style="TEXT-ALIGN: center; MARGIN: 0px; MIN-HEIGHT: 14px; FONT: 12px Helvetica"><span class="Apple-style-span" style="font-family:arial;"><i>Darragh Kennan as Hamlet and Mike Dooly as Horatio. Photo by: John Ulman</i></span></p><br /><p></p><p style="TEXT-ALIGN: left; MARGIN: 0px; MIN-HEIGHT: 14px; FONT: 12px Helvetica"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">If the performance and the dramatizing effects are not enough to make this play impressive, so is the hidden symbology.The Seattle Shakespeare Company’s costume designer, Pete Rush, had the cast wear black and white clothing. White symbolized happiness or innocence and black symbolized depression or madness. Hamlet was decked in black throughout the play while the rest of the cast wore brightly white clothing. As the story unfolds however, some of the character's clothing begins to change color. Apart from the clothing, Shakespeare has symbology in his words alone. If you listen carefully, the characters will foreshadow some of the future events that occur within the storyline.</span></span></p><p style="MARGIN: 0px; MIN-HEIGHT: 14px; FONT: 12px Helvetica"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"><span style="LETTER-SPACING: 0px"></span><br /></span></span></p><p style="MARGIN: 0px; MIN-HEIGHT: 14px; FONT: 12px Helvetica"><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">Hamlet</span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"> is a famous play that has been successfully re-produced for hundreds of years all over the globe. The Seattle Shakespeare Company has now taken a chance for their own unique production of </span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">Hamlet.</span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"> The theater has again proved that through their creative talent they have the ability to turn any Shakespeare play into their very own</span></span><span class="Apple-style-span" style="font-size:medium;">. </span></p>Anonymousnoreply@blogger.com2tag:blogger.com,1999:blog-9074858.post-15284012848445752372010-10-07T00:55:00.000-07:002010-10-18T13:04:35.806-07:00God of Carnage<div style="TEXT-ALIGN: left"><span class="Apple-style-span" style="font-family:Helvetica;font-size:12;"><b><span class="Apple-style-span" style="font-size:medium;">God of Carnage</span></b></span></div><p style="MARGIN: 0px; FONT: 12px Helvetica"><span style="LETTER-SPACING: 0px"><span class="Apple-style-span" style="font-size:medium;">Seattle Repertory Theater</span></span></p><p style="MARGIN: 0px; FONT: 12px Helvetica"><span style="LETTER-SPACING: 0px"><span class="Apple-style-span" style="font-size:medium;">October 1-24, 2010</span></span></p><p style="MARGIN: 0px; FONT: 12px Helvetica"><span style="LETTER-SPACING: 0px"><span class="Apple-style-span" style="font-size:medium;"><a href="http://www.seattlerep.org/">tickets and information</a></span></span></p><p style="TEXT-ALIGN: center; MARGIN: 0px; FONT: 12px Helvetica"><span style="LETTER-SPACING: 0px"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></p><p style="MARGIN: 0px; FONT: 12px Helvetica"><i><span class="Apple-style-span" style="font-size:medium;"><br /></span></i></p><p style="MARGIN: 0px; FONT: 12px Helvetica"><i><span class="Apple-style-span" style="font-size:medium;">God of Carnage</span></i><span class="Apple-style-span" style="font-size:medium;">. The title of the play explains it all. No matter how hard people try to behave civilly something is always bound to set them off. For the Novaks and the Raleighs, it happened to be simply meeting each other. </span></p><p style="MARGIN: 0px; FONT: 12px Helvetica"><span class="Apple-style-span" style="font-size:medium;"><br /></span></p><p style="MARGIN: 0px; FONT: 12px Helvetica"><span class="Apple-style-span" style="font-size:medium;"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 320px; DISPLAY: block; HEIGHT: 214px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5525323637686161810" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzfaBSbPM8xA-sz6sSd5VD48grDMk-uDyH8ibDIsQ3tctgN9Ja0rtBg1Bc2YNa9VbAmMX9-mrVDD4e9GTcGT4eCHEMNcXbtmdPDc4J9hR8RFDZpco8_eMZkVSo-m87reZQMe5vyA/s320/GodGroup2.jpg" /></span></p><p style="TEXT-ALIGN: center; MARGIN: 0px; FONT: 12px Helvetica"><span style="LETTER-SPACING: 0px"><i><span class="Apple-style-span" style="font-size:x-small;">(L-R) Hans Altwies, Amy Thone, Bhama Roget, and Denis Arndt in God of Carnage. Photo by Keri Kellerman.</span></i></span></p><p style="TEXT-ALIGN: center; MARGIN: 0px; FONT: 12px Helvetica"><span style="LETTER-SPACING: 0px"><i><span class="Apple-style-span" style="font-size:medium;"><br /></span></i></span></p><p style="MARGIN: 0px; FONT: 12px Helvetica"><span style="LETTER-SPACING: 0px"><i><span class="Apple-style-span" style="font-size:medium;">God of Carnage</span></i><span class="Apple-style-span" style="font-size:medium;"> (directed by Wilson Milam) is the sophistically humorous play that takes place when Michael (played by Hans Altwies) and Veronica Novak (played by Amy Thone) invite Alan (played by Denis Arndt) and Annette Raleigh (played by Bhama Roget) to their home for a parent meeting regarding a fight between their children. Annette and Alan’s 11-year-old son had hit Michael and Veronica’s son with a stick while they were playing in the neighborhood park. Both parents meet to discuss the fight, but it is apparent that no one is concerned about the brawl and neither want to be in each other’s presence. Everyone acts in a civil manner though; awkwardly polite while sipping espresso and discussing art. Alan, however, who is a workaholic lawyer, doesn’t play along and continuously answers business calls and speaks bluntly. It doesn’t take long for the rest of the characters to join in on their true feelings as they begin to make snarky comments about who’s son was a “snitch” and which boy really started the brawl. Finally, the animalistic nature is released! One argument about their children turns into a huge uproar of marital disputes, an argument regarding the ethical murder of a hamster, and a philosophical quarrel regarding the nature of human emotions and actions. </span></span></p><p style="MARGIN: 0px; FONT: 12px Helvetica"><span style="LETTER-SPACING: 0px"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></p><p style="MARGIN: 0px; FONT: 12px Helvetica"><span style="LETTER-SPACING: 0px"><span class="Apple-style-span" style="font-size:medium;">Written by French playwright Yasmina Reza, this Tony Award winning comedy deserves its award for best play. Reza created an outstanding play that is cold, but hilarious. The key to her comedic talent is that there is no over-exaggeration. She simply bases her characters and script off of true human nature and circumstances, making it something that everyone can relate to. </span></span></p><p style="MARGIN: 0px; FONT: 12px Helvetica"><span style="LETTER-SPACING: 0px"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></p><p style="MARGIN: 0px; FONT: 12px Helvetica"><span style="LETTER-SPACING: 0px"><span class="Apple-style-span" style="font-size:medium;">As for the cast, its pure pleasure watching amazing actors behaving absolutely horrible towards one another. The chemistry between the actors is so well played I had to keep on reminding myself that its just a play and no one is really going to tear each other to pieces (even though things get pretty heated during each debate). </span></span></p><p style="MARGIN: 0px; FONT: 12px Helvetica"><span style="LETTER-SPACING: 0px"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></p><p style="MARGIN: 0px; FONT: 12px Helvetica"><span style="LETTER-SPACING: 0px"><span class="Apple-style-span" style="font-size:medium;">What also made this theatrical masterpiece so creative and well produced is how the play was slightly arranged to be set in Seattle. <em>God of Carnage</em> has been produced by many theaters all over the globe so interestingly, tiny changes are made according to what country or city the play is produced in. While gazing out the window in the Novak home, Alan declares that he can “see the Space Needle” and there are even a few Northwestern terms and Seattle neighborhood names hidden in the dialogue. </span></span><span style="LETTER-SPACING: 0px"><i><span class="Apple-style-span" style="font-size:medium;"><br /></span></i></span></p><i></i><p style="MARGIN: 0px; FONT: 12px Helvetica"><span style="LETTER-SPACING: 0px"><i><span class="Apple-style-span" style="font-size:medium;"><br /></span></i></span></p><p style="MARGIN: 0px; FONT: 12px Helvetica"><span style="LETTER-SPACING: 0px"><i><span class="Apple-style-span" style="font-size:medium;">God of Carnage</span></i><span class="Apple-style-span" style="font-size:medium;"> is a great opener for the Seattle Repertory Theater this 2010-2011 season. Its wildly entertaining to watch how Reza managed to write parts that ravenous actors can sink their claws into. The play will have you realize that <em>your </em>family might actually be human.</span></span></p>Anonymousnoreply@blogger.com1tag:blogger.com,1999:blog-9074858.post-33625568365423625052010-10-01T01:01:00.000-07:002010-10-01T01:11:32.175-07:00In the Heights - 5th Ave<span style="font-family: georgia;">The 5th Avenue Theatre</span><br />September 28-October 17, 2010<br /><a href="http://www.5thavenue.org/show/intheheights1011/">Tickets and Information</a><br /><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:trackmoves/> <w:trackformatting/> <w:punctuationkerning/> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:donotpromoteqf/> <w:lidthemeother>EN-US</w:LidThemeOther> <w:lidthemeasian>X-NONE</w:LidThemeAsian> <w:lidthemecomplexscript>X-NONE</w:LidThemeComplexScript> <w:compatibility> 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{mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; font-family: georgia;"><span style=";font-size:100%;" >Catharsis: an expe</span><span style=";font-size:100%;" >rience or feeling of spiritual release and purification brought about by an intense emotional experience.<span style=""> </span>This w</span><span style=";font-size:100%;" >ord could be the alternate title to <i style="">In the Heights</i>, of which the national tour re</span><span style=";font-size:100%;" >miered tonight at the 5<sup>th</sup> Avenue Theatre.<span style=""> </span>This fairly new musical, with music and lyrics by the up-and-</span><span style=";font-size:100%;" >coming genius Lin-Manuel Miranda and book by Quiara Alegria Hudes, snatched up four Tony Awar</span><span style=";font-size:100%;" >ds in 2008 for Best Musical, Best Score, Best Choreography and Best Orchestrations.</span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; font-family: georgia;"><span style=";font-size:100%;" > </span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; font-family: georgia;"><span style="font-size:100%;"><i style=""><span style="">In the Heights</span></i></span><span style=";font-size:100%;" > rev</span><span style=";font-size:100%;" >olves around the lives and events of a community of Latin Americans in Washington Heights, New Y</span><span style=";font-size:100%;" >ork City during the hottest days of summer.<span style=""> </span>There is a lot of struggle toward goals, a lot of celebration of cul</span><span style=";font-size:100%;" >ture, and a lot of dancing.<span style=""> </span>We are led through it all by Usnavi, a twenty-something bodega owner who raps</span><span style=";font-size:100%;" > to us about his people and their stories.<span style=""> </span>What threatens to break them apart—and </span><span style=";font-size:100%;" >what saves them in the end—is everyone’s dream to find home and happiness.</span></p><p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; font-family: georgia;"><span style=";font-size:100%;" ><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtyVt642mEfzsy5huukC13svWo51eI1aaeagcLrRS3-luS8uiyqyPmWd-kH3uMjs-LnWFYTG38DAyJc9cH7_5IAF6y3-sE_1GoeYltDwAtDtSKMfKcf_Ssa9L9KcKUcQtlB9ZlXQ/s1600/HeightsTour65.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtyVt642mEfzsy5huukC13svWo51eI1aaeagcLrRS3-luS8uiyqyPmWd-kH3uMjs-LnWFYTG38DAyJc9cH7_5IAF6y3-sE_1GoeYltDwAtDtSKMfKcf_Ssa9L9KcKUcQtlB9ZlXQ/s320/HeightsTour65.jpg" alt="" id="BLOGGER_PHOTO_ID_5522985791571948082" border="0" /></a></span></p><p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; font-family: georgia; text-align: center;"><span style="font-size:85%;">Photo by Joan Marcus.</span><br /></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; text-align: center; font-family: georgia;"><span style=";font-size:100%;" > </span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; font-family: georgia;"><span style=";font-size:100%;" >What this show does well is showcase a culture and population traditionally ignored or marginalized by musical theatre by tweaking and revamping standard musical theatre conventions to fit the hip-hop and Latino beats.<span style=""> </span>Much like the characters within, it praises its background and identity while recognizing and embracing its predecessors. Just look for yourself at the similarities between the opening number “In the Heights” and “Anatevka” from <i style="">Fiddler on the Roof</i>.</span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; font-family: georgia;"><span style=";font-size:100%;" > </span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; font-family: georgia;"><span style=";font-size:100%;" >Thomas Kail’s direction, along with Andy Blankenbuehler’s choreography, was inspiring and unrivalled in attention to detail.<span style=""> </span>Every moment and every movement was carefully and tenderly crafted toward the message of the piece.<span style=""> </span>Extensive light effects and intense dance sequences only served to elaborate on the vulnerability and talent being showcased in performance.<span style=""> </span>Each actor performed as if nothing else mattered, which is a quality highly sought after and rarely achieved.</span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; font-family: georgia;"><span style=";font-size:100%;" > </span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; font-family: georgia;"><span style="font-size:100%;"><i style=""><span style="">In the Heights</span></i></span><span style=";font-size:100%;" > is the perfect way to start off a stellar season—the exuberant “paciencia y fe” reflecting these hopeful and forward-looking times.<span style=""> </span>It is the catharsis that we all need from time to time to connect us to what is truly important: family, friends and embracing who you are.<span style=""> </span>No wonder it won the Tony for Best Musical.</span></p><p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; font-family: georgia;"><br /></p><p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; font-family: georgia;"><span style="font-size:85%;">Review by Kacey Shiflet.</span><br /></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9074858.post-34624506372048141942010-09-25T00:10:00.000-07:002010-09-26T18:38:45.216-07:00Wedding Belles - Taproot Theatre<div style="text-align: center;"><br /></div><p style="margin-bottom: 0in">Wedding Belles<br />Taproot Theatre<br />September 24 – October 25 2010<br /><a href="http://taproottheatre.org/wedding-belles/">Tickets and Information</a></p> <p style="margin-bottom: 0in">In 1942 Texas, the four ladies of the Eufala Spri</p><p style="margin-bottom: 0in">ngs Garden Club are coming together for a meeting in one member's somewhat bedraggled backyard. From the very beginning, it is clear that these women have a long history of friendship and bickering, and also that there are some subjects too sore to be spoken of.</p><p style="margin-bottom: 0in">Their plans for the day are entirely interrupted, however, when Laura Lee (Karen Nelsen) arrives bringing Ima Jean (Charissa Adams) from the bus stop—a young woman waiting to meet her solider fiance to get married, and immediately the four women jump into creating the perfect wedding. The action of the play revolves around these five women: the four elder have stagnated in their lives and relationships with each other, but the fresh Ima Jean, despite being an orphan, brings a new hopefulness and openness to them and their relationships.</p><p style="margin-bottom: 0in"><br /></p><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkALMNRsusyDL-bEVfjS6A9m4F4IMLfwDnmCZZE5bMr43F46Vx3ImB7Hp25ROQlMMuPOQoduKDfGg_Mh5q1LSEMux3TS20kmpAt9v0wv7c61Peefi90jW35PbEn4bDUlTps2d_/s320/WBH348.jpg" style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 229px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5521401239711198370" /> <p style="text-align: center;margin-bottom: 0in; "><span class="Apple-style-span" style="color: rgb(66, 54, 39); line-height: 19px; "><span class="Apple-style-span" ><i><span class="Apple-style-span" style="font-size: x-small;">L to R: Karen Nelsen, Charissa Adams and Kim Morris. Photo by Erik Stuhaug.</span></i></span></span></p><p style="margin-bottom: 0in">Director Karen Lund has pulled together a sweet and warm regional premiere. The acting ensemble solidly highlights the long-term relationship among the four women, and all five actors bring out unique characters, including Kim Morris' Violet, who has many of the funniest moments of the show, and particularly Karen Nelsen, who carries both humor and melancholy with grace. The show is supported by satisfying technical elements, especially Richard Lorig's scenic design, which plants a back porch and garden onto the stage with a burst of color and brilliant use of space. Sarah Burch Gordon's costumes vividly recreate wartime dresses and smocks, and Mark Lund's sound design pipes in the crooning tunes of the 1940s.</p> <p style="margin-bottom: 0in">The script itself, by Alan Bailey and Ronnie Claire Edwards, is light; there is not much substance beyond the immediate events onstage, and the war effort, while mentioned often, doesn't have the impact that it seems it should on these five lives. However, it is well-produced at Taproot with plenty of heart, and if you are looking for a sweet confection of a play with humor and fun, then <i>Wedding Belles</i> is for you. </p><p style="margin-bottom: 0in">(Photo coming soon!)</p><p style="margin-bottom: 0in"><i><span class="Apple-style-span" style="font-size: small;">Review by Kenna M Kettrick</span></i></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9074858.post-87273199259036359222010-08-05T22:54:00.000-07:002010-08-06T10:56:22.312-07:00Yankee Tavern<div align="left">Yankee Tavern</div><div align="left">ACT Theater</div><div align="left">July 30-August 5, 2010</div><div align="left"><a href="http://www.acttheatre.org/">Tickets and information</a><br /></div><div align="left"></div><br /><div align="left"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 320px; DISPLAY: block; HEIGHT: 214px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5502353605546222034" border="0" alt="" src="http://2.bp.blogspot.com/_Up4UR7iLJi0/TFxJc5csIdI/AAAAAAAAAEw/w7zGaovAFDo/s320/yankee.jpg" /></div><div align="center"><em><span style="font-size:85%;">Shawn Telford (Adam), Charles Leggett (Ray), R. Hamilton Wright (Palmer), and Jennifer Lee Taylor (Janet) </span></em><em><span style="font-size:85%;">photo by: Chris Bennion</span></em> </div><div align="center"><br /></div><div align="left"></div><div align="left"></div><div align="left"></div><div align="left">We all<i> </i>have questions about the horrific events that took place on that early morning of September 11, 2001. <i>Who is truly responsible? Why was this act of terror committed? Could we have prevented it? </i>In Steven Dietz's play, <i>Yankee Tavern</i>, Dietz is able to answer all of these questions about the conspiracies surrounding 9/11 by creating a few of his own.<br /><br /><i>The Yankee Tavern</i> (both directed and written by <b>Steven Dietz</b>) is set in a bar in New York City in the year 2006; five years after the 9/11. The play is surrounded by the near college graduate Adam (<b>Shawn Telford</b>), young owner of the <i>Yankee Tavern Bar</i>, his fiancée Janet (<b>Jennifer Lee Taylor</b>)<b> </b>and two Tavern locals-the radical, but hilarious Ray (<b>Charles Leggett</b>)<b> </b>and the mysterious Palmer (<b>R. Hamilton Wright</b>). Ray, who is also an old family friend of Adam's, if filled with extreme conspiracy theories about America and he expresses them comically each night in the bar where the other three characters tease and ignore his crazy ideas. One topic in particular though, strikes everyone's interest. The terrorist attacks of 9/11. Ray has a theory that the American government committed these malicious attacks and, surprisingly, has evidence and a strong case to prove it. While this conspiracy is discussed, night after night in the bar not only are secrets of the American nation revealed, but secrets each character's life as well.</div><div align="left"></div><div align="left">Dietz (<i>Becky's New Car, Fiction)</i> is a playwright that has, yet again, brought the ACT theater another play that is both outstanding and mind boggling. The research that was done for the play is impressive, considering the fact that each claim the character, Ray, makes to back up his 9/11 theories are all true. Also, the dark humor and intellectual depth inside the script provokes the mind of each audience member and provides plenty of moments for great, comic relief. </div><p>Other than having an outstanding director/playwright, the actors deserve a stupendous round of applause as well for the creation of <i>The Yankee Tavern</i>. Charles Leggett is one actor in particular who really takes the stage with his radical character Ray. He delivers each line with comedic genius, but also manages to reveal the emotional depth underneath his character's "funny man" persona. Of course, the rest of the cast is a group of extremely talented individuals who worked together in perfect chemistry on stage. So well played it feels as if you are actually an observer in the <i>Yankee Tavern</i> <i>Bar</i> instead of watching a theatrical performance. </p><i>Yankee Tavern</i> is a play full of entertaining twists and facts that will give it's audience members something to contemplate long after the play is over. Even though it is a politically filled "dramedy" (mixture of comedy and drama), the play is open to all interests and view points; making it enjoyable for all. Whether you want to take part in the political mysteries or sit back and appreciate the wonderful art of theater, it is entirely up to you and definitely a play worth seeing.Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-9074858.post-88977630919181956482010-07-25T22:09:00.001-07:002010-07-25T22:19:02.952-07:00The Yellow Wood - Contemporary Classics<div style="text-align: center;"><span class="Apple-style-span" style="font-size: small;"><br /></span></div><span class="Apple-style-span" style=" ;font-family:arial;font-size:small;"><p style="margin-bottom: 0in; "><span class="Apple-style-span" style="font-size: small;">The Yellow Wood<br />Contemporary Classics<br />July 23 – August 1, 2010<br />Tickets and Information</span></p><p style="margin-bottom: 0in; "><span style="font-style: normal; "><span class="Apple-style-span" style="font-size: small;">It could be said that the new musical </span></span><i><span class="Apple-style-span" style="font-size: small;">The Yellow Wood</span></i><span class="Apple-style-span" style="font-size: small;"> has a very simple plot: Adam Davies (Daniel Berryman)'s one goal for the day at highschool is to memorize Robert Frost's “The Road Not Taken” before 7</span><sup><span class="Apple-style-span" style="font-size: small;">th</span></sup><span class="Apple-style-span" style="font-size: small;"> period English class. But Adam forgoes his Ritalin that morning, in hopes of proving that he can function like a normal kid all day and manage to understand the poem—and without his drugs, Adam's day spirals into a surreal daydream-laden journey through his own bizarre mind, his heritage and his relationships with friends and family.</span></p><p style="margin-bottom: 0in; "><span class="Apple-style-span" style="font-size:small;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8mtIrBSHfwDKUY1QSYrEU2B3Fx7FK3SthElGN7fgEpEkv-P8dBBwjR3v3LrPFiNu3ES3wtgq4xD4uQWEkM1MfKaklwIyOLfYAcv8qzx6xjhLQz9WtbN26UORlLhNWO8KnmFsP/s320/YWweb2-Daniel_Berryman_and_company-photo_by_Victoria_Lahti.jpg" style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 252px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5498078884305276530" /><span class="Apple-style-span" style="font-size: small;"></span></span></p><span class="Apple-style-span" style="font-size:small;"><div style="text-align: center;"><i>Daniel Berryman & ensemble. Photo by Victoria Lahti</i>.</div></span><p></p><p style="margin-bottom: 0in; "><span class="Apple-style-span" style="font-size: small;">Michelle Elliott (book and lyrics) and Danny Larsen (lyrics and music) have written a show that uses the fantastic possibilities of the musical genre to full effect; the songs mirror Adam's mental journey and allow the story to stretch much further than it might otherwise. Larsen and Elliott pull influences from not only Frost's poem but from musical genres across the spectrum, from 60s girl groups to traditional Korean music to classic Broadway tunes, which they somehow spin into a consistent and engaging confection of earnest, genuine storytelling.</span></p><p style="margin-bottom: 0in; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">Every actor and singer onstage is a boon to the show, both leads and ensemble alike. Berryman carries Adam's journey with just the right balance of endearing and awkward. Sarah Davies plays Willis, the girl who identifies with Adam's strange ADD brain, with an ardent enthusiasm; her song “Yellow” is a joyful anthem to creativity and difference. Diana Huey is a standout as Adam's little sister Gwen; she mixes bratty know-it-all moments with a genuine desperation for her distracted older brother's attention, and her songs, especially “Debris” and “Wall,” are among the most powerful of the show.</span></span></p><p style="margin-bottom: 0in; "><span class="Apple-style-span" style="font-size: small;">The technical elements are as solid as every other aspect of the show. Andrea Bush's set design is classrooms, hallways, and homes all in one, with clever use of windows and blinds, and Annie Murphy has costumed highschool students and teachers alike in stylish and fitting outfits. Robert J Aguilar's lighting design is nothing short of gorgeous, washing the stage in color and shade and heightening the story perfectly.</span></p><p style="margin-bottom: 0in; "><span class="Apple-style-span" style="font-size: small;">Brandon Ivie's production of this new musical is compact musical storytelling—an imaginative adventure of one individual boy's quest to, ultimately, come to terms with himself. It's an old story, but one that is given a fresh and fantastical twist here; The Yellow Wood is contemporary musical theater at its best, and a show well worth seeing. </span></p><p style="margin-bottom: 0in; "><span class="Apple-style-span" style="font-size: small;"><br /></span></p><p style="margin-bottom: 0in; "><i><span class="Apple-style-span" style="font-size: small;">Review by Kenna Kettrick</span></i></p></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9074858.post-90211169629797473252010-07-18T12:39:00.000-07:002010-07-18T13:19:06.302-07:00The 25th Annual Putnam County Spelling Bee - Contemporary Classics and RK Productions<div style="text-align: center;"><br /></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYE9SbjS1PvspbWmIbpSOzYw5sjJ6BZHJ30lVYG4IhbCrN8jtOnqiu8W4QpwQCYaAfikpK2D48dEfjgw9GL7Xrfx8iD3kxAONhExN3QuDSPB_luTJCER9ZTV2kHNnRBKb-6pZf/s1600/Beegroupweb.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 133px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYE9SbjS1PvspbWmIbpSOzYw5sjJ6BZHJ30lVYG4IhbCrN8jtOnqiu8W4QpwQCYaAfikpK2D48dEfjgw9GL7Xrfx8iD3kxAONhExN3QuDSPB_luTJCER9ZTV2kHNnRBKb-6pZf/s200/Beegroupweb.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5495341863975976786" /></a><br /><p class="MsoNormal"><i style="mso-bidi-font-style:normal">The 25<sup>th</sup> <st1:place st="on"><st1:placename st="on">Annual</st1:placename> <st1:placename st="on">Putnam</st1:placename> <st1:placetype st="on">County</st1:placetype></st1:place> Spelling Bee<br /></i>Contemporary Classics and RK Productions<br />(at the Ballard Underground Theatre)<br />July 14 – August 14, 2010<br /><a href="http://contemporaryclassics.org/">Tickets and Information</a></p><p class="MsoNormal" style="text-align: right;"><i><br /></i></p> <p class="MsoNormal">The popular Tony award-winning musical <i style="mso-bidi-font-style: normal">The 25<sup>th</sup> Annual Putnam County Spelling Bee</i> is a quirky, off-beat story of six spellers competing for the chance to move on to Nationals, in a small county spelling bee run by a former champion.<span style="mso-spacerun:yes"> </span>While the story is simple, the show is not: the book and score (William Finn and Rachel Sheinkin) are complex and lively, revolving around wordplay the entire time; the misfit characters are all hilarious and affecting—and the show itself changes each night with the input of (willing) extra spellers pulled from the audience to join in the fight for the championship, which is sometimes the best fodder for the comic improv that the show is peppered with.</p><p class="MsoNormal">The show is based on ensemble work, with no featured leads, each character and voice adding to the whole, and as such demands a good deal from any group of actors.<span style="mso-spacerun:yes"> </span>Never fear, though: this production has assembled an excellent cast.<span style="mso-spacerun:yes"> </span>Each character is crisply and touchingly drawn, and every actor onstage shines during their solo turns while blending beautifully during the many ensemble numbers.<span style="mso-spacerun:yes"> </span>This includes several actors who step out of their kid-characters to play parents during flashbacks and other small moments, each time making the transition clearly and without fuss.<span style="mso-spacerun:yes"> </span>With such a tight and talented group of actors it is hard to pick standouts—though Olive Ostrovsky (Ashley FitzSimmons)’s heartbreaking ballad yearning for her parents’ love is particularly memorable.</p><p class="MsoNormal"><br /></p><p class="MsoNormal"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYA4-_NArnes5dlI7y05jdpdF5p3HCXL1kiN9jui5LwFQ76fkqrJ6M-YT6vyQMqjkZpffvXibshuNNMEOQUXRUw4koSOw6fL6sLTXnnoZTv5cn1gcRpdn5LfwKdqO1DkFaqYKh/s320/BeeOliveBarfeyweb.jpg" style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 214px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5495342353739835922" /></p> <p class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="font-size: x-small;"><i>Olive Ostrovsky (Ashley FitzSimmons) and William Barfee (Robert Scherzer). <br /></i></span><span class="Apple-style-span" style="font-size: x-small;"><i>Photo credit: Danielle Barnum</i></span><span class="Apple-style-span" style="font-family: Arial; border-collapse: collapse; "><span class="Apple-style-span" style="font-size: x-small;"><i>/</i></span><a href="http://dbinspiredarts.com/" target="_blank" style="color: rgb(51, 51, 204); "><span class="Apple-style-span" style="font-size: x-small;"><i>dbinspiredarts.com</i></span></a><span class="Apple-style-span" style="font-size: x-small;"><i>.</i></span></span></p><p class="MsoNormal">Stage direction (Kate Jaeger, who also plays Rona) and music direction (Kimberly Dare) are incredibly precise in both quiet and comic moments, and the choreography manages to showcase the spellers’ child characters while never becoming cheesy or condescending; all aspects of the performance—the singing, speech, acting, movement and the tiny but first-rate band—work together with no trouble and quite a bit of polish.<span style="mso-spacerun:yes"> </span></p> <p class="MsoNormal">Colin Connors’ scenic design transplants the corner of a school gym into the small underground space, complete with gleaming gym floors, championship pennants and a working climbing rope.<span style="mso-spacerun:yes"> </span>Kathryn Dawson’s heightened costume design (along with Michael Ledezma’s hair styling) accentuates each misfit student and offbeat adult, helping the actors to portray fully realized and often bizarre characters.<span style="mso-spacerun:yes"> </span>Robert Aguilar makes full use of the color palette, crisp transitions, and judicious spotlights to make the stage feel larger than it really is, and to take us along on each character’s internal journey.<span style="mso-spacerun:yes"> </span></p> <p class="MsoNormal">The 25<sup>th</sup> Annual Putnam County Spelling Bee is a solid show in itself, and one enjoyed by theatergoers across the country.<span style="mso-spacerun:yes"> </span><st1:city st="on"><st1:place st="on">Seattle</st1:place></st1:city>’s premiere is an admirable, heartfelt and polished production of this show, and one entirely worth seeing if you enjoy musicals, wordplay or simply a well-told story. </p> <p class="MsoNormal"><o:p> </o:p></p><p class="MsoNormal"><i><span class="Apple-style-span" style="font-size:small;">Review by Kenna Kettrick</span></i></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9074858.post-25735864024379059882010-07-11T20:58:00.000-07:002010-07-12T17:15:40.616-07:00The Man of La Mancha - Taproot Theatre Company<div style="text-align: left;"><a href="http://www.taproottheatre.org/">Taproot Theatre Company</a></div><div style="text-align: left;">July 7th - August 7th</div><div style="text-align: left;">Tickets and Information: Call 206-781-9707 or online at <a href="http://www.taproottheatre.org/">Taproot's Main Site</a><span class="Apple-style-span" style=" color: rgb(66, 54, 39); line-height: 19px; font-family:Arial, Helvetica, sans-serif;font-size:13px;"></span></div><!--StartFragment--> <p class="MsoNormal">Step into the theatre, step into the story, step into the tale and listen to the words and wisdom of the story teller.<span style="mso-spacerun: yes"> </span>That is the atmosphere that Taproot creates with this production of <i style="mso-bidi-font-style:normal">The Man of La Mancha,</i> a classic tale of honor, chivalry and passion.<span style="mso-spacerun: yes"> </span>The characters on stage may be the active players in the story being told by Cervantes (<i style="mso-bidi-font-style: normal">Jeff Berryman</i>) but the audience becomes part of the story circle in the way they are positioned around the stage, in the small intimate space they are seated in, and in the artful direction (<i style="mso-bidi-font-style:normal">Scott Nolte</i>) that includes them in the story.<span style="mso-spacerun: yes"> </span>Ultimately, that is one of theatre art’s main missions, to have effect on the viewer, to illusion the dreamer, and to create a world in search of meaning, and Taproo</p><p class="MsoNormal">t does a great job of envisioning this mission, which is also written into their mission as a company.</p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">This musical takes the audience to a prison in late 16<sup>th</sup> century Spain during the Spanish Inquisition and follows the defense of Miguel de Cervantes as he proves to his fellow prisoners the strength of hope, vision and value on life.<span style="mso-spacerun: yes"> </span>He does this through a play enacted in the prison cell with the help of the prison mates.<span style="mso-spacerun: yes"> </span>His method is song, and his leading character is Don Quixote de La Mancha, an individual whose technically medical insanity teaches those around him the lessons mentioned above, and the power of following one’s most passionate dreams.</p> <p class="MsoNormal"><o:p> </o:p></p> <img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 229px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJzDW0A3T4qSWi_jDms5SgkTzZggR08lOtTBYL25Rus-S5CT0u8luRt27t66e0SzSvTW-aVoHCLpzP9lQVuZl49wCMYCo9DWedAi3JgEKRqbMM_iZeTP41K2NNwHbZHdM29Sk-/s320/MLM267.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5492864746404675490" /><p class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style=" color: rgb(66, 54, 39); line-height: 19px; font-family:Arial, Helvetica, sans-serif;font-size:13px;"><i>Left to right: Faith Russell, Don Darryl Rivera, Mike Oliver, Jeff Berryman. </i></span></p><p class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style=" color: rgb(66, 54, 39); line-height: 19px; font-family:Arial, Helvetica, sans-serif;font-size:13px;"><i>Photo by Erik Stuhaug.</i></span></p><p class="MsoNormal">The tale is told with acute skill in this production, with the story telling motif translating into the use of common props in the prison cell, and versatile costumes (<i style="mso-bidi-font-style:normal">Sarah Burch Gordon</i>) that transition effortlessly from the clothes of prisoners in the cell to the outfits of priests, peasants and soldiers in Cervantes’ play.<span style="mso-spacerun: yes"> </span>This coupled with effective light changes (<i style="mso-bidi-font-style:normal">Andrew Duff</i>) on a simplistic, yet realistic, stone prison set (<i style="mso-bidi-font-style: normal">Mark Lund</i>), increases the ability of the audience to dive into the multiple stories being presented on one set.<span style="mso-spacerun: yes"> </span>Throw in a dash of humor, especially portrayed through Sancho Panza (<i style="mso-bidi-font-style:normal">Don Darryl Rivera</i>), and you have an entrancing tale.</p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">Besides some timing problems during fight sequences, the ensemble work of the production was dynamic, well rehearsed and well executed.<span style="mso-spacerun: yes"> </span>The precision with which the team worked together really allows the audience permission to get lost in the action, and make their own place in the story.<span style="mso-spacerun: yes"> </span>Each number had a very strong blocking sequence and artfully executed each line.<span style="mso-spacerun: yes"> </span></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">I would like to present this opportunity to you as a reader; come see this show, get lost in the tale as I did.<span style="mso-spacerun: yes"> </span>It is a beautiful work that has been executed with such strong vision and understanding of the musical’s mission.<span style="mso-spacerun: yes"> </span>Catch <i style="mso-bidi-font-style: normal">The Man of La Mancha</i> running through August 7<sup>th</sup> at Taproot Theatre in Greenwood.</p><p class="MsoNormal"><br /></p><p class="MsoNormal">Reviewed by: Andy Swanson</p> <!--EndFragment-->Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9074858.post-79343539162350539512010-06-24T23:34:00.000-07:002010-06-25T09:12:58.774-07:00The Female of the Species-ACT Theater<div style="TEXT-ALIGN: left"><span style="FONT-STYLE: italic;font-family:'times new roman', serif;" class="Apple-style-span" ><span class="Apple-style-span" style="font-size:medium;">The Female of the Species</span></span></div><div style="TEXT-ALIGN: left"><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;">ACT Theater</span></span></div><div style="TEXT-ALIGN: left"><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;">June 18th-July18th, 2010</span></span></div><div style="TEXT-ALIGN: left"><a href="https://www.acttheatre.org/"><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:medium;">tickets and information</span></span></a></div><div style="TEXT-ALIGN: left"><span class="Apple-style-span" style="font-size:medium;"><br /></span></div><div style="TEXT-ALIGN: left"><span class="Apple-style-span" style="font-family:'times new roman', serif;"><span class="Apple-style-span" style="font-size:medium;">Pride is such a destructive characteristic. It can make you arrogant, unable to admit to your own mistakes, it can cost you the love of your closest friends and family members, and it can even ruin your career. The characters in </span><i><span class="Apple-style-span" style="font-size:medium;">The Female of the Species</span></i><span class="Apple-style-span" style="font-size:medium;">, a play directed by Allison Narver, are the perfect example of what pride can do to a person. Joanne Murray-Smith, the Australian author of this play, sets the audience in to the life of Margot Mason (played by Suzy Hunt). Mason is a famous author, extremely well known for her feminist writings and ideas.</span><span style="font-size:+0;"><span class="Apple-style-span" style="font-size:medium;"> </span></span><span class="Apple-style-span" style="font-size:medium;">Mason is a strong, but stubborn woman that believes in no other point of view, but her own, until she meets Molly Rivers (played by Renata Friedman)</span></span></div><span class="Apple-style-span" style="font-family:'times new roman', serif;"> <div style="TEXT-ALIGN: center"><br /></div><p style="TEXT-ALIGN: left" class="MsoNormal"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 320px; DISPLAY: block; HEIGHT: 249px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5486604152858900594" border="0" alt="" src="http://1.bp.blogspot.com/_Up4UR7iLJi0/TCRVaGJWeHI/AAAAAAAAADg/YTtW3LT1MOE/s320/gun.jpg" /></p><p style="TEXT-ALIGN: center" class="MsoNormal"><i><span class="Apple-style-span" style="font-family:'times new roman';">Margot Mason (Suzy Hunt) and Molly Rivers (Renata Friedman) </span></i></p><p style="TEXT-ALIGN: center" class="MsoNormal"><i><span class="Apple-style-span" style="font-family:'times new roman';">photo by: Chris Bennion</span></i></p><p class="MsoNormal"><span style="font-family:';"><span class="Apple-style-span" style="font-size:medium;">Rivers is a deranged college dropout that shows up at Mason’s house one day while the author is desperately trying to finish her latest book. Rivers has been obsessed with Mason since she was a child; studying her books and taking college writing courses that Mason had taught. Rivers obsession is odd though and not like Mason’s typical fans. Rivers doesn’t admire Mason’s works, she obsessively despises it. Rivers believes that Mason’s feminist advice leads women astray so she shows up at Mason’s house so that she could hold Mason hostage in her own home. Throughout the play, Mason is pressured to apologize to Rivers, in which she is too proud to do. On the other hand, River’s is too prideful to accept herself and instead, blames others why she had a tough childhood. With more characters that come in to play throughout this scandalous farce, including Mason’s unappreciated daughter Tess Thorton (played by Morgan Rowe) and an overly sensitive taxi driver named Frank (played by Tim Hyland) this play contains characters that are full of destructive, but comical pride.</span></span></p><p class="MsoNormal"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 320px; DISPLAY: block; HEIGHT: 214px; CURSOR: pointer" id="BLOGGER_PHOTO_ID_5486606599950981314" border="0" alt="" src="http://1.bp.blogspot.com/_Up4UR7iLJi0/TCRXoiRkWMI/AAAAAAAAADw/pTl7PBYfuhk/s320/act.jpg" /></p><p style="TEXT-ALIGN: center" class="MsoNormal"><i>Molly Rivers (Renata Friedman), Tess Thorton (Morgan Rowe), Paul Morgan Stetler (Bryan Thorton), and Margot Mason (Suzy Hunt)</i></p><p style="TEXT-ALIGN: center" class="MsoNormal"><i>Photo by: Chris Bennion</i></p><p class="MsoNormal"><i><span class="Apple-style-span" style="font-size:medium;">The Female of the Species</span></i><span class="Apple-style-span" style="font-size:medium;"> is a sassy and outrageous comedy that pokes humor at the Feminist movement. The Feminist movement, which has been growing since it began to flourish in the 1960’s, strives for all women to be treated as equals to men. The humor in this play is ironic though, because it stands for equality among the sexes, but contains both over exaggerated feministic and masculinist jokes. The various genres in humor, however, make the play enjoyable and understandable for everyone. Also, while poking fun at the battle between the sexes, it also shows the truth in humanity. Like stated above, pride is a characteristic in which every human holds and this play shows how damaging it can be if one doesn’t learn how to accept their mistakes and admit to their true identity. The actors throughout the show give an amazing performance that is very funny, but also reveals the emotional depth in each of Smith’s characters. Even though </span><i><span class="Apple-style-span" style="font-size:medium;">The Female of the Species</span></i><span class="Apple-style-span" style="font-size:medium;"> is considered a comedy, it is very impressive that the cast maintained the main theme of the play, but also revealed the emotional and psychological depth within the story. This is what brings a play to life; it expresses reality. </span><span style="font-size:+0;"><span class="Apple-style-span" style="font-size:medium;"></span></span><span class="Apple-style-span" style="font-size:medium;">Bravo to the cast of the </span><i><span class="Apple-style-span" style="font-size:medium;">The Female of the Species</span></i><span class="Apple-style-span" style="font-size:medium;"> and the ACT Theater for bringing such a great show to the community of Seattle.</span></p><p class="MsoNormal"><i><span class="Apple-style-span" style="font-size:medium;">Review by: Darsha Squartsoff</span></i></p></span><br /><div style="TEXT-ALIGN: left"><span class="Apple-style-span" style="font-family:'Times New Roman', serif;"><span style="LINE-HEIGHT: 32px; -webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2pxfont-size:medium;" class="Apple-style-span" ><!--EndFragment--><!--EndFragment--></span></span></div>Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-9074858.post-84766642798801890032010-05-28T01:06:00.000-07:002010-05-28T01:12:29.089-07:00Candide - The 5th Avenue Theatre<div><i>Candide</i><br />5th Avenue Theatre<br />May 25 – June 13, 2010<br /><a href="http://www.5thavenue.org">Tickets and Information</a><br /><br />Leonard Bernstein's musical version of Voltaire's satire has had a long and varied history; its book has been written, re-written, revised and updated since its 1956 debut, in myriad attempts to make a book that matches Bernstein's witty and soaring score. This version is the 1999 adaptation with a book by John Caird, which director David Armstrong believes is the best balance of each part of the show; and indeed, watching the 5th Ave's production, it is easy to agree.<br /><br />Armstrong's direction lets Bernstein's score lead the way, and in the capable voices of the cast the story unfolds. Veteran Seattle actor David Pichette portrays Voltaire himself, narrating and shaping Candide's story throughout the musical, with a spry sense of humor and unflagging energy. Candide (played with boyish charm and sincerity by Stanley Bahorek) lives in the “best of all possible castles” in the province of Westphalia, in love with the princess Cunegonde (the liquid-voiced Laura Griffith) and tutored in the philosophy of Optimism by Dr. Pangloss (also David Pichette, who easily slips in and out of the two roles).</div><div><br /></div><div><br /></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEdkpI_LdMZcp0dmnP9wbDLLzs_9fdcSIiao1a_4Hs5dJ6Lh3kWUmde9exSo2kxhpO7fGQcB7Ct9qZ2OHORT_QwEOp2SqlTSTShKxW-UD8YAujtb_mTEwo6EtzXUdxBu6Z0RzI/s1600/Candide_328.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 213px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEdkpI_LdMZcp0dmnP9wbDLLzs_9fdcSIiao1a_4Hs5dJ6Lh3kWUmde9exSo2kxhpO7fGQcB7Ct9qZ2OHORT_QwEOp2SqlTSTShKxW-UD8YAujtb_mTEwo6EtzXUdxBu6Z0RzI/s320/Candide_328.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5476229682522331666" /></a><br /><div style="text-align: center;"><i><span class="Apple-style-span" style="font-size:small;">Cunegonde (Laura Griffith), Voltaire (David Pichette) and Candide (Stanley Bahorek.) </span></i></div><div style="text-align: center;"><i><span class="Apple-style-span" style="font-size:small;">Photo by Curt Doughty.</span></i></div><br />Pangloss' philosophy of Optimism holds that this world, by logic, must be the best of all possible worlds, and nothing could be better than what it is already. Nearly instantly, this philosophy is tested when the Baron of Westphalia kicks Candide out of the castle to wander in the snow. Candide's harsh entry to the world outside Westphalia, his madcap adventures across the globe, his over-the-top encounters with suffering and everyone he meets eventually cause him to create his own philosophy, a surprisingly uplifting ending to Voltaire's snappy satire. However, that satire is present throughout and offers fodder for both beautiful music—such as Griffith's operatic turn in “Glitter and be Gay”—and comic acting, such as Anne Allgood's darkly hilarious story of her character's long and completely ridiculous suffering. Every actor takes on Bernstein's notoriously difficult music and masters it beautifully, particularly in the large ensemble choral moments, as well as giving Caird's book the justice it deserves.<br /><br />Matthew Smucker's set provides strong lines and simple but versatile spaces, framing the story well for the actors and for Tom Sturge's light design. Ken Travis' sound design meshed easily with the orchestration, and Lynda L Salsbury's costumes managed to portray myriad countries and styles while staying consistent throughout.<br /><br /><i>Candide </i>is not a fluffy, easy show—either for the performers, or the audience. Bernstein's score is full of clever lyrics and twisting music, and the subject matter as well as the storyline demands intellectual participation from the listeners. However, this production is well worth it; an audience member who offers time and attention to this sparkling and legendary musical will be well rewarded.<br /><br /><i>Review by Kenna M Kettrick</i>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9074858.post-64658947963153660312010-05-22T00:30:00.000-07:002010-05-22T00:50:10.645-07:00The Thin Place - Intiman Theatre<div><br /></div><div><i>The Thin Place</i><br />Intiman Theatre<br />May 21 – June 13, 2010<br /><a href="http://www.intiman.org/">Tickets and Information</a><br /><br />Intiman's new play, <i>The Thin Place</i>, was created deliberately as an exploration of both Seattle and faith. Artistic Director Kate Whoriskey and Associate Producer Andrew Russell commissioned KUOW reporter Marcie Sillman to interview Seattle residents about God, religion and faith. Interviewees included a young Muslim girl, a gay Christian man from South Africa, a priest defrocked for being both Christian and Muslim, and a survivor of the shooting at the Seattle Jewish Federation, among many others. Playwright Sonya Schneider shaped the interviews into a theatrical narrative following one fictionalized character and involving ten others.<br /><br />The result is a surprisingly compelling play that offers relatable moments for everyone, regardless of your beliefs. <i>The Thin Place</i> revolves around Isaac, the son of a Pentecostal minister, and his personal discovery and questioning of faith. Isaac is played by Gbenga Akinnagbe, who also portrays the ten other characters—lightly (if at all) fictionalized versions of people Sillman interviewed. Each character is unique, each has something different to say about faith and their relationship with God, and each one opens Isaac's eyes a little further, or gives him a new direction to take.</div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_SKXlpEI1pPlnS1KrMehky8kGhDGVGUEDKLsEzzZ3Mx1loR1-g76bIEOgtTVtQlAj5OhNAvkwegKsEUZ_mlqzXHAzZnTsZ_PjPJflVXXh4SF7Hq7FoPhafJF6h10rbzNtwn9V/s1600/The+Thin+Place+2.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_SKXlpEI1pPlnS1KrMehky8kGhDGVGUEDKLsEzzZ3Mx1loR1-g76bIEOgtTVtQlAj5OhNAvkwegKsEUZ_mlqzXHAzZnTsZ_PjPJflVXXh4SF7Hq7FoPhafJF6h10rbzNtwn9V/s320/The+Thin+Place+2.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5473997041726579442" /></a><div style="text-align: center;"><span class="Apple-style-span" style="font-size:small;"><i>Gbenga Akinnagbe. Photo by Chris Bennion</i></span>.</div><br />Although one or two transitions are a little confusing, overall Akinnagbe proves adept at embodying each of the ten other people he meets, both as characters in their own right and as they relate to Isaac's spiritual journey. Akinnagbe, with movement/choreography help from Donald Byrd, has precise control over his physicality; he uses it, and his voice, to great effect, in both humorous and touching moments.<br /><br />Andrew Russell's direction keeps the pace steady and the story clear, and uses Etta Lillienthal's open, breezy set well. Ben Zamora's precise lighting assists the story indispensably, and Matt Starritt's sound design offers aural atmosphere as well as incorporating the real voices of the original interviewees into the play itself.<br /><br />In the final piece, Seattle initally seems almost incidental. Isaac arrives in the city about halfway through his story, and although we hear about it several times, the play is really more about a spiritual journey, and the beliefs of people who happen to live in Seattle, rather than about the city itself. However, Seattle, and the Seattleites this play was based on, underlie the entire narrative of The Thin Place. Intiman deserves much credit for cultivating locally-based theatrical work, for involving so many local writers, journalists, and citizens, and for boldy creating a world premiere that reaches out to its hometown.<br /><br /><span class="Apple-style-span" style="font-size:small;"><i>Review by Kenna M. Kettrick</i></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9074858.post-19389477278197415262010-05-18T08:28:00.000-07:002010-05-24T12:38:17.418-07:00Charley's Aunt - Taproot Theatre Company<div><span class="Apple-style-span" style="font-family: 'times new roman', 'new york', times, serif; "><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0.0001pt; margin-left: 0in; "><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">Charley's Aunt</span></span></p><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0.0001pt; margin-left: 0in; "><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">Taproot Theatre Company</span></span></p><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0.0001pt; margin-left: 0in; "><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">May 12 - June 12, 2010</span></span></p><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0.0001pt; margin-left: 0in; "><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"><a href="http://www.taproottheatre.org/">Tickets and Information</a></span></span></p><div><span class="Apple-style-span" style="font-family:arial;"><br /></span></div></span></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaDkBTNpFSAQK8Z_RkH5DUK2e-vO06wXH_ZIG94REMtg0TiQRSZb3JuOudDj-xeyY77DF2oR3OhSOfuAsxC98uZNaA6N5ygWPJOAFp1F7ba2WWmzy6Ws-0zRpiluyAYLRSmyZnzA/s1600/CAH185.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 229px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaDkBTNpFSAQK8Z_RkH5DUK2e-vO06wXH_ZIG94REMtg0TiQRSZb3JuOudDj-xeyY77DF2oR3OhSOfuAsxC98uZNaA6N5ygWPJOAFp1F7ba2WWmzy6Ws-0zRpiluyAYLRSmyZnzA/s320/CAH185.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5474922906279927170" /></a><div style="text-align: center;"><span class="Apple-style-span" style="color: rgb(66, 54, 39); line-height: 19px; "><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: small;">Steve West, Eric Riedmann, Nolan Palmer and Anne Kenned. Photo by Erik Stuhaug.</span></span></i></span></div><span class="Apple-style-span" style=" ;font-family:'times new roman', 'new york', times, serif;"><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0.0001pt; margin-left: 0in; "><span class="Apple-style-span" style="font-family:arial;"><br /></span></p><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0.0001pt; margin-left: 0in; "><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">It’s an age old story. Two boys try to get girls. Girls won’t meet boys without a chaperone. One boy’s aunt, who is to chaperone, cancels at the last minute. Third boy happens to be playing an old woman in some amateur theatricals, puts on his costume, and assumes the role of chaperone. Hilarity ensues.</span></span></p><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0.0001pt; margin-left: 0in; "><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"> </span></span></p><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0.0001pt; margin-left: 0in; "><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">Well, it’s an age old story in British farce, anyway. Charley’s Aunt, by </span></span><span class="yshortcuts" id="lw_1274196345_0"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">Brandon Thomas</span></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">, debuted in 1892 and has been produced countless times since then, including its original </span></span><span class="yshortcuts" id="lw_1274196345_1"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">London</span></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"> run of more than 1,400 performances. This incarnation, produced by Greenwood’s Taproot Theatre Company, is directed by TTC </span></span><span class="yshortcuts" id="lw_1274196345_2"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">Associate Artistic Director</span></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"> Karen Lund. She writes in her director’s notes that “[Taproot] chose this play because we wanted to give you an evening of lighthearted fun and full-throttle laughs”. There is no doubt that they succeed in that goal. Despite clocking in at 2 ½ hours including two intermissions, the evening doesn’t feel long, and you will leave the theatre with a smile on your face.</span></span></p><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0.0001pt; margin-left: 0in; "><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"> </span></span></p><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0.0001pt; margin-left: 0in; "><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">This production of Charley’s Aunt is dominated by two women: first, the director Lund, and later, actress Llysa Holland. Lund knows her way around a farce, and the first half of the show is carried by her crisp and energetic staging. The show’s leads are young, and as of opening night were still finding the rhythm of the show with the added element of riotous laughter. But Lund has given them all the tools, and after a few performances they should look like old pros. Speaking of pros, the show reaches a </span></span><span class="yshortcuts" id="lw_1274196345_3"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">turning point</span></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"> when Llysa Holland, playing Donna Lucia D’Alvadorez, arrives midway through the second act. She sweeps in, takes charge of the show, and guides the cast through to the hilarious finale. Although her character is not necessarily the star of the show, Holland gives by far the outstanding performance of the evening.</span></span></p><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0.0001pt; margin-left: 0in; "><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"> </span></span></p><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0.0001pt; margin-left: 0in; "><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">The rest of the cast are all capable in their roles, and the obvious fun they are having adds to the audience’s enjoyment of the evening. The designs are also solid, though a period play like this unfortunately does not offer much in the way of boundless creativity for designers. All turned in quality designs that do not detract from the language and the action, which should be and are the stars of this farce. The only difficulty posed to a designer is the complicated set that farce generally requires. Mark Lund, Taproot’s resident</span></span><span class="yshortcuts" id="lw_1274196345_4"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">scenic designer</span></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">, is very adept at using Taproot’s unique </span></span><span class="yshortcuts" id="lw_1274196345_5"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">thrust stage</span></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"> to serve a wide variety of shows, and Charley’s Aunt is no exception.</span></span></p><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0.0001pt; margin-left: 0in; "><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"> </span></span></p><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0.0001pt; margin-left: 0in; "><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">Plays do not generally last more than a hundred years if they aren’t that good. Taproot’s production of Charley’s Aunt shows why the show is still alive and kicking all these years later. There are not a lot of comedies playing on Seattle stages right now, so for an “evening of lighthearted fun and full-throttle laughs,” you can do no better than Charley’s Aunt at Taproot Theatre Company.</span></span></p><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0.0001pt; margin-left: 0in; "><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></p><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0.0001pt; margin-left: 0in; "><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">Review by Patrick Lennon</span></span></p></span>Andrew J. Perezhttp://www.blogger.com/profile/18321347783806169789noreply@blogger.com0tag:blogger.com,1999:blog-9074858.post-84286390059803726872010-05-14T08:05:00.000-07:002010-05-14T10:30:44.554-07:00The Trip to Bountiful - ACT<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqMicy4_MwCtDHhmMHFD0ujjTRJ-q49k8adLKl48IYbhlQxQ5iveO_JN72C17eX2xGjCmkXD-y9X_vSJXKRWH-AZGtO6Z7hnY7tdH8A5icF4TX65NeG5COcfOCItXYGkLggouayg/s1600/ACT-TripToBountiful+Prod+1.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 214px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqMicy4_MwCtDHhmMHFD0ujjTRJ-q49k8adLKl48IYbhlQxQ5iveO_JN72C17eX2xGjCmkXD-y9X_vSJXKRWH-AZGtO6Z7hnY7tdH8A5icF4TX65NeG5COcfOCItXYGkLggouayg/s320/ACT-TripToBountiful+Prod+1.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5471179134170204946" /></a><br /><p class="MsoNormal"><span style="color:black;"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"><b>The Trip to Bountiful</b></span></span></span></p><p class="MsoNormal"><span style="color:black;"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">ACT</span></span></span></p><p class="MsoNormal"><span style="color:black;"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">May 7 - June 6, 2010</span></span></span></p><p class="MsoNormal"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"><a href="http://www.acttheatre.org/">Tickets and Information</a></span></span></p><p class="MsoNormal"><span class="Apple-style-span" style="font-family:arial;"><br /></span></p><p class="MsoNormal"><span style="color:black;"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">ACT’s production of</span></span><span class="apple-converted-space"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"> </span></span></span><span class="yshortcuts"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">Horton Foote</span></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">’s The Trip to </span></span><st1:city st="on"><st1:place st="on"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">Bountiful</span></span></st1:place></st1:city><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"> is difficult to criticize. Nearly every aspect of the show is spot on. And yet somehow the production as a whole doesn’t feel quite right. It’s almost as if the show is happening in the wrong theatre. This isn’t a show that shows what ACT is all about.</span></span></span></p><p class="MsoNormal" style="text-align: right;"><span style="color:black;"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></span></p><p class="MsoNormal" style="text-align: right;"><span style="color:black;"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: x-small;"><i>Marianne Owen, Mary Kae Irvin, Paul Morgan Stetler.</i></span></span></span></p><p class="MsoNormal" style="text-align: right;"><span style="color:black;"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: x-small;"><i>Photo by Chris Bennion 2010.</i></span></span></span></p><p class="MsoNormal"><span style="color:black;"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">Individually, each part of the show is commendable. The acting ensemble is packed full of </span></span><st1:city st="on"><st1:place st="on"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">Seattle</span></span></st1:place></st1:city><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">’s best talent, and they rise to the occasion. Standouts are Mary Kae Irvin as Jessie Mae, who brings in a punch of life and energy just when the show needs it (several times), and the fresh-faced</span></span><span class="apple-converted-space"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"> </span></span></span><span class="yshortcuts"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">Jessica Martin</span></span></span><span class="apple-converted-space"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"> </span></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">as Thelma. But the true star of the show, deservedly so, is Marianne Owen as Carrie. Ms. Owen turns in a heart wrenchingly beautiful performance, so strong that at times that it almost feels like a one-woman show. It is a difficult journey that Carrie goes on throughout the performance, and we are blessed that Owen is willing to go on that journey with us night after night.</span></span></span></p><p class="MsoNormal"><span style="color:black;"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">On the technical side, ACT’s usual prowess was in evidence.</span></span><span class="apple-converted-space"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"> </span></span></span><span class="yshortcuts"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">Christopher Walker</span></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">’s</span></span><span class="apple-converted-space"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"> </span></span></span><span class="yshortcuts"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">sound design</span></span></span><span class="apple-converted-space"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"> </span></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">was sparse but fitting, and Matthew Smucker’s set was clever and effective. Costumes by Frances Kenny capture the period perfectly, especially those worn by Jessie Mae. And special kudos must be given to dialect coach Alyssa Keene; Marianne Owen in particular sounded like she’s lived in</span></span><span class="apple-converted-space"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"> </span></span></span><st1:state st="on"><st1:place st="on"><span class="yshortcuts"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">Texas</span></span></span></st1:place></st1:state><span class="apple-converted-space"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"> </span></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">her whole life.</span></span></span></p><p class="MsoNormal"><span style="color:black;"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">So why, if all the individual elements were up to par, did the show not soar? The pace of the production is slow and mellow, but the staging is not to blame. The show’s energy is exactly right for the setting; it ebbs and flows gently like warm air on a lazy </span></span><st1:state st="on"><st1:place st="on"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">Texas</span></span></st1:place></st1:state><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;"> afternoon. It is not so much that the energy of the show feels wrong, but that it feels out of place at ACT. This is an old-fashioned show, with a story that slowly unfolds over nearly two hours with no intermission. It doesn’t have the vibrant, youthful quality that has characterized ACT’s recent history.>>>This isn’t to say that the show shouldn’t be produced anymore. On the contrary, Horton Foote’s explorations of longing and the concept of home are gorgeous and timeless. But this American classic would feel more at home at a company like Intiman, or in a larger space where the epic nature of the story and the setting can wash over you. ACT’s theatres are better suited to the work they have been doing the past few years: intimate productions of dynamic contemporary plays. This production of The Trip to </span></span><st1:city st="on"><st1:place st="on"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">Bountiful</span></span></st1:place></st1:city><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:medium;">, although well-done and enjoyable, unfortunately misses that mark.</span></span></span></p><p class="MsoNormal"><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;">Review by Patrick Lennon</span></span></i></p>Andrew J. Perezhttp://www.blogger.com/profile/18321347783806169789noreply@blogger.com0tag:blogger.com,1999:blog-9074858.post-74470479176795401992010-05-04T11:21:00.000-07:002010-05-04T11:26:12.225-07:00Keefee's House of Cards - Printer's Devil TheaterKEEFEE'S HOUSE OF CARDS<br />April 30 - May 28, 2010<br />Printer's Devil Theater @ The Rendezvous Jewelbox Theater<br /><a href="http://www.printersdevil.org/">Tickets and Information</a><br /><br /><br /><em>Note: No one under 21 admitted to the Jewelbox Theater.</em><br /><br /><br /><br /><br /><br /><br /><br /><br />Come for a drink and a laugh and enjoy Keefee’s House of Cards, a spontaneous and interactive blackjack showcase of hysterics, staring Stephen Hando and directed by Jennifer Jasper. Visit the Jewel box Theatre at Rendezvous in Belltown and be transported to Shenanigans Casino in Las Vegas. Shenanigans hutlike Irish Casino may be far from the Las Vegas strip but it’s the perfect place for a night out with Keefee. Enjoy the vegas experience as waitress bring you food and drinks to any seat in the house. And never fear, the refills keep coming – even if you’re on stage.<br /><br /><br /><br /><br /><p align="center"><img id="BLOGGER_PHOTO_ID_5467482646448554994" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 234px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSTFVnaYUhWx-oRCD1R0qyUy5zrO5Q1gEUG-sDwTQFdcRe9i2BTWwLqAQHJC2u3kBdSvOjq0li3P8_Gjl-ew_G6b-Kc1H_k_1RyGqTdXA7H3Bo2vjcSr6wtJlVYUQtfKpnIuWh/s320/keefee.jpg" border="0" /><span style="font-size:85%;"><em>Stephen Hando as Keefee. Photo by Kelly O.</em></span></p><p><br /></p>In this one man show, Keefee (Stephen Hando) plays a sassy and spunky blackjack dealer who enjoys himself, a little booze, and the company of others. Hando is flashy and mouthy as Keefee, the loveable dealer with a heart of gold. Four people are invited from the audience to Keefee’s table, where they then become part of the show. No real money is exchanged – its just for fun. And even if you have never played blackjack before, Keefee explains as you go. Not only does Keefee inform the audience, he says all the things you wish that you could say at a table but never do. But he may put you on hold while one of his wacky friends rings his cell.<br /><br /><br /><br />Hando and Jasper set out to create a unique alternative theatre experience where you don’t just view the show, you feel like you’re part of it. The production in itself is very much like a blackjack game. The cards are always different, but the house is always the same. Even though it plays in the same venue every night, it is a different show because of the people in the seats and the cards on the table.<br /><br /><br /><br /><em>Guest Reviewer: Jessie Portlock</em>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9074858.post-41090900411616861572010-04-20T21:26:00.000-07:002010-04-20T22:04:37.925-07:00Henry V - Seattle Shakespeare Company<div><i><span class="Apple-style-span" style="font-family:'times new roman';">Henry V</span></i></div><div><div><div><span class="Apple-style-span" style="font-family:'times new roman';">Seattle Shakespeare Company</span></div><div><span class="Apple-style-span" style="font-family:'times new roman';">April 15 - May 9, 2010</span></div><div><a href="http://www.seattleshakespeare.org/"><span class="Apple-style-span" style="font-family:'times new roman';">Tickets and Information</span></a></div><div><span class="Apple-style-span" style="font-family:'times new roman';"><br /></span></div><div><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size: medium;">Shakespeare’s </span></span><i><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size: medium;">Henry V</span></span></i><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> is a famous play, and rightly so; it contains some of Shakespeare’s most rousing speeches, and is—especially in this production—a subversive portrayal of both the glories and sacrifices of war.<span></span>From the moment the opening speech by Artistic Director Stephanie Shine is under way, the audience has already been unknowingly swept into the play. Russ Banham’s smart, specific direction encourages the play’s inherent intention for the audience to actively participate in thought and imagination along with the actors.</span></span></div><div><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:'times new roman';"><br /></span></span></div></div></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXlfzLqKI_UOOMpzXpNtzrWMqfeLq4PMzxoI6e1-wkR8yqyxRfRQ06pXuwRaGkWK09re_UF3InzqpHS4knzE6ZeWxnGmVYbJzi-yMBP5vYOwSCqth9OFiApIl2pum4oy85k5nP/s1600/KatherineAlice-L.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 214px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXlfzLqKI_UOOMpzXpNtzrWMqfeLq4PMzxoI6e1-wkR8yqyxRfRQ06pXuwRaGkWK09re_UF3InzqpHS4knzE6ZeWxnGmVYbJzi-yMBP5vYOwSCqth9OFiApIl2pum4oy85k5nP/s320/KatherineAlice-L.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5462451055376890114" /></a><div><br /><div style="text-align: center;"><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size:small;"><i>Alexandra Tavares as Katherine and Jerick Hoffer as Alice. Photo by John Ulman.</i></span></span></div><div><span class="Apple-style-span" style="font-size:small;"><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0pt; margin-left: 0in; "><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size: medium;"><br /></span></span></p><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0pt; margin-left: 0in; "><span style="font-size:100%;"><span><span class="Apple-style-span" style="font-family:'times new roman';"><span></span></span></span></span></p><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0pt; margin-left: 0in; "><span><span><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size: medium;">This macho world of war is enhanced by transporting this Shakespearean history to the 1960’s: an atmosphere created partly through the use of stylish suits and ornate military uniforms by costume designer Pete Rush, which encompasses a modern world that the audience can connect to.</span></span><span><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span></span><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size: medium;">The minimal but versatile set (Jason Philips) nevertheless gives the feeling of immense distance through Andrew D. Smith's subtle lighting design and Matt Starritt's exquistite sound design—ranging from the shocking rattle of guns to atmospheric sounds that affect the audience almost without their notice.<span></span></span></span></span></span></p><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0pt; margin-left: 0in; "><span><span><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size: medium;"><br /></span></span></span></span></p><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0pt; margin-left: 0in; "><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size: medium;"><span></span></span></span></p><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0pt; margin-left: 0in; "><span><span><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size: medium;">Throughout this political battle between France and England, the actors examine the human experience, and poignantly and powerfully engage the audience in this discussion of human understanding.</span></span><span><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span></span><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size: medium;">Evan Whitfield’s King Henry was skillfully executed, in particular his growing vulnerability, discoveries and moral questioning during the long nighttime scene at Agincourt. Truthfully, positive comments could be lavished on every player in this piece; but particularly it was the tight ensemble work and vivid connections among every character that created such a display of realism and such a strong connection to the audience.</span></span></span></span></p></span></div></div><div><span class="Apple-style-span" style="font-family:'times new roman';"><br /></span></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir4V4FGduYdOM5-t7O43zXV7JBwa9USYkRdxeE_IU018FPu0t8v8Kra89yf-ZJgy6M9D_fjLMBPJtSeXNrVKcE-St4IGbuy71nR6ArcKDIiGlrxG4vU0JLuAneycyLmUJtG5F-/s1600/BedfordHenry-L.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 256px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir4V4FGduYdOM5-t7O43zXV7JBwa9USYkRdxeE_IU018FPu0t8v8Kra89yf-ZJgy6M9D_fjLMBPJtSeXNrVKcE-St4IGbuy71nR6ArcKDIiGlrxG4vU0JLuAneycyLmUJtG5F-/s320/BedfordHenry-L.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5462449387503869122" /></a><div><div><div style="text-align: center;"><span class="Apple-style-span" style="font-family:'times new roman';"><i><span class="Apple-style-span" style="font-size:small;">David S Hogan as Bedford and Evan Whitfield as Henry. Photo by John Ulman.</span></i></span></div><span class="Apple-style-span" style=" ;font-family:arial;font-size:small;"><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0pt; margin-left: 0in; "><span style="font-size:100%;"><span><span class="Apple-style-span" style="font-family:'times new roman';"><br /></span></span></span></p><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0pt; margin-left: 0in; "><span style="font-size:100%;"><span class="Apple-style-span" style="font-family:'times new roman';"> </span></span></p><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0pt; margin-left: 0in; "><span><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size: medium;">The moments of deep realism are also balanced well with the humor in this play, which was could easily have been downplayed in favor of the tragedy and struggle. However, Banham’s direction accentuates the funny moments as much as the most deeply introspective moments in the play, in interactions such as Katherine (Alexandra Tavares)’s attempts to learn English from her maid Alice (Jerick Hoffer)’s or Fluellen (Tim Hyland)'s use of leeks as a dueling weapon. This balance of introspection and humor enforces the audience’s involvement in the lives of all the characters.</span></span></span></p><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0pt; margin-left: 0in; "><span><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size: medium;"><br /></span></span></span></p><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0pt; margin-left: 0in; "><span><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span></span></p><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0pt; margin-left: 0in; "><span><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size: medium;">The only shortcoming to the production comes at the last moment, which is a slideshow of iconic images of war (many from the audience’s own lifetime). It emphasizes the brutality of war, yet at the same time overkills the idea to an audience which has already understood this tragedy, more deeply, through the story told by the actors.</span></span><span><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span></span><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size: medium;">However, this is a minor weakness, made noticeable by the power and imagination of the past two hours.</span></span><span><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span></span><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size: medium;">Banham’s direction, every actor’s skill, and the top-notch design and production team all support the audience’s emotional and active interest, and challenges the individual journey through the tragedy of war and, ultimately, personal life decisions.</span></span></span></p><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0pt; margin-left: 0in; "><span><span class="Apple-style-span" style="font-family:'times new roman';"><span class="Apple-style-span" style="font-size: medium;"><br /></span></span></span></p><p class="MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-bottom: 0pt; margin-left: 0in; "><span><span class="Apple-style-span" style="font-family:'times new roman';"><i><span class="Apple-style-span" style="font-size: medium;">Review by Andy Swanson and Kenna Kettrick</span></i></span></span></p></span></div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9074858.post-59800663222537174312010-04-16T08:50:00.000-07:002010-04-16T08:57:55.348-07:00On The Town - 5th Avenue Theatre<p class="MsoNormal"><span class="apple-style-span"><i><span style="color:black;">On The Town<o:p></o:p></span></i></span></p><p class="MsoNormal"><st1:street st="on"><st1:address st="on"><span class="apple-style-span"><b><span style="color:black;">5<sup>th</sup> Avenue</span></b></span></st1:address></st1:street><span class="apple-style-span"><b><span style="color:black;"> Theatre<o:p></o:p></span></b></span></p><p class="MsoNormal"><span class="apple-style-span"><span style="color:black;">April 13 – May 2, 2010<o:p></o:p></span></span></p><p class="MsoNormal"><span class="apple-style-span"><span style="color:black;"><a href="http://www.5thavenue.org/">Tickets and Information</a></span></span></p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXSye2EMu2pxJt36fTpT2dA1d-xCsFvC6jXPzSkTVoZQOLUwtbqZGQ1jIL90HbpM2NiBWprlXEXq22EPtHs9vGRIrdmeahPnw1XYvasdAuJOWXdCMkUWWEvQHCenLeeVYuJPwNQA/s1600/OTT_3.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 229px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXSye2EMu2pxJt36fTpT2dA1d-xCsFvC6jXPzSkTVoZQOLUwtbqZGQ1jIL90HbpM2NiBWprlXEXq22EPtHs9vGRIrdmeahPnw1XYvasdAuJOWXdCMkUWWEvQHCenLeeVYuJPwNQA/s320/OTT_3.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5460764800619643810" /></a><div style="text-align: center;"><i><span class="Apple-style-span" style="font-size: x-small;">Joe Aaron Reid, Matt Owen, Greg McCormick Allen. Photo by Curt Doughty 2010.</span></i></div><p class="MsoNormal"><span class="apple-style-span"><span style="color:black;">With only 24 hours to spend for a vacation, what better place to be than in the city that never sleeps? Then again, having only 24 measly hours to spend in the humongous city of New York may not sound like a full vacation at all, but wait until you see the</span></span><span class="apple-converted-space"><span style="color:black;"> </span></span><span class="yshortcuts"><span style="color:black;">5th Avenue Theater</span></span><span class="apple-style-span"><span style="color:black;">’s production of <i style="mso-bidi-font-style:normal">On the Town</i>. <i style="mso-bidi-font-style: normal">On the Town</i> is a musical comedy that tells its audience that when in</span></span><span class="apple-converted-space"><span style="color:black;"> </span></span><st1:place st="on"><st1:city st="on"><span class="yshortcuts"><span style="color:black;">New York City</span></span></st1:city></st1:place><span class="apple-style-span"><span style="color:black;">, you can never prepare yourself for the characters you will meet and the quirky adventures that you can encounter in the city that never calms down.</span></span></p><p class="MsoNormal"><span style="color:black;"><br /><span class="apple-style-span"><i style="mso-bidi-font-style:normal">On the Town</i>, directed by</span><span class="apple-converted-space"> </span><span class="yshortcuts">Bill Berry</span><span class="apple-converted-space"> </span><span class="apple-style-span">(</span><span class="yshortcuts">West Side Story</span><span class="apple-style-span">,</span><span class="apple-converted-space"> </span><span class="yshortcuts">The Wizard of Oz</span><span class="apple-style-span">), tells the story of three young American sailors who are on a 24-hour shore leave in New York City during</span><span class="apple-converted-space"> </span><span class="yshortcuts">WWII</span><span class="apple-style-span">. The three sailors Gabey (Joe Aaron Reid), Ozzie (Greg McCormick Allen) and Chip (Matt Owen) know they only have one night to kill in the</span><span class="apple-converted-space"> </span><span class="yshortcuts">Big Apple</span><span class="apple-converted-space"> </span><span class="apple-style-span">so they are excited to make it a night worth living for. It isn’t too long after the sailors get off the ship and start off for their daily adventures in</span><span class="apple-converted-space"> </span><st1:state st="on"><st1:place st="on"><span class="yshortcuts">New York</span></st1:place></st1:state><span class="apple-converted-space"> </span><span class="apple-style-span">when Gabey finds himself enamored with a poster of the beautiful “Miss Turnstile” (Courtney Iventosch) during a ride of the subway. Gabey vows that he will find Miss Turnstile before his 24 hours in <st1:city st="on"><st1:place st="on">New York City</st1:place></st1:city> is over and his friends Ozzie and Chip agree to help. While all three sailors split up to search the city for Miss Turnstile, both Ozzie and Chip end up enduring a few love encounters on their own. Ozzie gets “Carried Away” with Claire (Billie Wildrick) the anthropologist in the American Museum of National History, and Chip meets the rambunctious Hildy (</span><span class="yshortcuts">Sarah Rudinoff</span><span class="apple-style-span">) who is a</span><span class="apple-converted-space"> </span><span class="yshortcuts">taxi driver</span><span class="apple-converted-space"> </span><span class="apple-style-span">that demands Ozzie to” Come Up to My Place” before he helps Gabey find his lovely Miss Turnstile. </span><span class="apple-converted-space"> </span><br /><br /><span class="apple-style-span">With political war posters plastered along the stage and costumes fashionably created for the 1940’s, the set creates an atmosphere that brings the audience back to New York City in the mid 1900s.The music, written by the </span><span class="yshortcuts">infamous</span><span class="apple-converted-space"> </span><span class="yshortcuts">Leonard Bernstein</span><span class="apple-style-span">, is what really gives the flair of the mid 1900’s New York City with its classical, jazzy beats. Of course, it is important to mention that even though the set was cleverly created and the music was undeniably catchy, the talented actors are what really bring this entire production to life. The performances were phenomenal, where the actors did a variety of dancing including ballet, tap, jazz and more. Also, the singing from each cast member made the audience roar with applause after each catchy number was complete. Lastly, the casting choice was pure chemistry as well; especially the three sailors who played off each other perfectly. Chemistry is one of the most important factors in creating a successful</span><span class="apple-converted-space"> </span><span class="yshortcuts">theatrical production</span><span class="apple-style-span">, and the cast of</span><span class="apple-converted-space"> </span><span class="yshortcuts"><i style="mso-bidi-font-style:normal">On the Town</i></span><span class="apple-converted-space"> </span><span class="apple-style-span">could not have been selected more perfectly for each other to make this one of the best musicals that the <st1:street st="on"><st1:address st="on">5th Avenue</st1:address></st1:street> Theater has given to the theater scene of</span><span class="apple-converted-space"> </span><st1:city st="on"><st1:place st="on"><span class="yshortcuts">Seattle</span></st1:place></st1:city><span class="apple-style-span">.</span><span class="apple-converted-space"> </span><br /><span class="apple-style-span"> </span><span class="apple-converted-space"> </span><br /><span class="apple-style-span">On the Town is a show that everyone can enjoy. Though the musical doesn’t follow the same story line of the famous 1940’s movie On the Town (</span><span class="yshortcuts">Frank Sinatra</span><span class="apple-style-span">,</span><span class="apple-converted-space"> </span><span class="yshortcuts">Gene Kelly</span><span class="apple-style-span">) it is just as catchy and entertaining. It is a musical that will give you a heart warming, but comical look on the mysteries of love and how it can hit you out of no where and in within any amount of time. All in all, the phrase “only in <st1:state st="on"><st1:place st="on">New York</st1:place></st1:state>” now fully makes sense. It’s the city where anything can happen; no matter the time frame or age. </span><span class="apple-converted-space"> </span></span></p> <p class="MsoNormal"><span class="apple-converted-space"><span style="color:black;">Review by Darsha Squartsoff</span></span></p>Andrew J. Perezhttp://www.blogger.com/profile/18321347783806169789noreply@blogger.com0tag:blogger.com,1999:blog-9074858.post-29066312725312353782010-04-15T00:36:00.000-07:002010-04-15T00:48:56.422-07:00An Iliad--Seattle Rep<span style="font-style: italic;">An Iliad</span>
<br />Seattle Repertory Theatre
<br />April 9-May 16, 2010
<br /><a href="http://www.seattlerep.org/Tickets/?prod=2593">Tickets and Information</a>
<br />
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mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <p class="MsoNormal" style="margin-bottom: 0.0001pt;font-family:georgia;"><span style="font-size:100%;">“The first impression is everything,” I wrote last October about the Seattle Rep’s season opener <i style="">The 39 Steps</i>.<span style=""> </span>Just as important—it seems—is going out with a bang, which is exactly what occurred tonight in the Leo K. Theater with the world-premiere presentation of <i style="">An Iliad</i>, the Rep's final show of the season.
<br /></span></p><p class="MsoNormal" style="margin-bottom: 0.0001pt;font-family:georgia;"><span style="font-size:100%;">
<br /></span></p><p class="MsoNormal" face="georgia" style="margin-bottom: 0.0001pt;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKCJe7b7x7hBhwknuR01N98gZntYgFa94zl6Yj9x3Fjek1sEvx4zYgU8Qv35qu61GV78jyqNo83QUINHVCpvZwYJmkr3IRncUqACpkku3fL4-D-m9Cm0GIEj4cIJ1vsw7vZj-_YA/s1600/IL06.gif"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 200px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKCJe7b7x7hBhwknuR01N98gZntYgFa94zl6Yj9x3Fjek1sEvx4zYgU8Qv35qu61GV78jyqNo83QUINHVCpvZwYJmkr3IRncUqACpkku3fL4-D-m9Cm0GIEj4cIJ1vsw7vZj-_YA/s320/IL06.gif" alt="" id="BLOGGER_PHOTO_ID_5460266970296066274" border="0" /></a></p><p class="MsoNormal" style="margin-bottom: 0.0001pt; font-family: georgia; text-align: center;"><span style="font-size:78%;">Photo by Christ Bennion.</span>
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<br /></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; font-family: georgia;"><span style="font-size:100%;"><o:p> </o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; font-family: georgia;"><span style="font-size:100%;">Two years ago, Denis O’Hare and Lisa Peterson set out to create a dramatic retelling of Homer’s <i style="">The Iliad</i>.<span style=""> </span>The result is a minstrel-like evening of swapped stories that might seem commonplace in an old dive bar if it weren’t for the fact that they tell of the iconic Trojan War.<span style=""> </span>The travel-weary Poet (Hans Altweis) shares tales of Achilles and Hector and Agamemnon—stories that he has memorized, told and retold for over a thousand years to anyone who would listen.<span style=""> </span>Periodic references and comparisons to modern-day warfare serve to remind us of the production’s relevance and magnitude.</span></p><p class="MsoNormal" style="margin-bottom: 0.0001pt; font-family: georgia;"><span style="font-size:100%;">
<br /></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; font-family: georgia;"><span style="font-size:100%;"><o:p> </o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; font-family: georgia;"><span style="font-size:100%;">Seattle’s own Hans Altweis displays the skill and finesse necessary to capture and captivate the audience for the entire 90-minute journey.<span style=""> </span>His Poet has seen the world many times over, both happily and painfully remembering every detail of every important event in history.<span style=""> </span>Altweis gives weight and meaning to each anecdote, as if there is a hidden message somewhere within.</span></p><p class="MsoNormal" style="margin-bottom: 0.0001pt; font-family: georgia;">
<br /></p><p class="MsoNormal" face="georgia" style="margin-bottom: 0.0001pt;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP4xnNP6HXahsHspIWeNY7VTj0JGFvfzDPnS7YeE9lTCRhjsxpzxidIsPl7D-CokZOcqcEeTYZMf4LsFXXyXq2qrrwMN8DgL4piwsgxD04ilm817fLAU6UQlClhjcxbk-SyzsVeQ/s1600/IL04.gif"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 200px; height: 297px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP4xnNP6HXahsHspIWeNY7VTj0JGFvfzDPnS7YeE9lTCRhjsxpzxidIsPl7D-CokZOcqcEeTYZMf4LsFXXyXq2qrrwMN8DgL4piwsgxD04ilm817fLAU6UQlClhjcxbk-SyzsVeQ/s320/IL04.gif" alt="" id="BLOGGER_PHOTO_ID_5460267362331094354" border="0" /></a></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; font-family: georgia; text-align: center;"><span style="font-size:78%;">Photo by Chris Bennion.</span>
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<br /></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; font-family: georgia;"><span style="font-size:100%;"><o:p> </o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; font-family: georgia;"><span style="font-size:100%;">Altweis’ performance is framed beautifully by the design teams’ creations.<span style=""> </span>Rachel Hauck’s abandoned theatrical set gives weight to the idea that the weary Poet is here with us by accident, as if to hide from the outside elements.<span style=""> </span>Marcia Dixcy Jory’s costume tells a story of its own with every tatter and worn elbow.<span style=""> </span>Scott Zielinski’s lighting adds tension and mood in the right amounts at the right moments.<span style=""> </span>Paul James Prendergast’s sound design extends the mood and motion into epic proportions.<span style=""> </span>The polish and seamlessness of the production is owed to Lisa Peterson’s direction.<span style=""> </span>Having co-authored the production herself, Peterson brings a purity of vision and imagination to a show that could have too easily become too epic to control.<span style="">
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<br /></span></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; font-family: georgia;"><span style="font-size:100%;"><o:p> </o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; font-family: georgia;"><span style="font-size:100%;"><i style="">An Iliad</i> is much more than a recitation of the story we all remember from high school Lit. class; it is a reminder that while times may change, the beauty and tragedy of the human narrative never do.<span style=""> </span>The Poet is the immortal audience, forever blessed (and doomed) to hold the stories worth telling.<span style=""> </span>A story worth seeing.</span></p><p class="MsoNormal" style="margin-bottom: 0.0001pt; font-family: georgia;">
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<br /></p><p class="MsoNormal" style="margin-bottom: 0.0001pt; font-family: georgia;"><span style="font-size:100%;"><span style="font-size:85%;">Review by Kacey Shiflet.</span>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9074858.post-61988546157788810912010-04-02T18:16:00.000-07:002010-04-02T18:30:57.840-07:00Fences - Seattle Repertory TheatreFences<br />
Seattle Repertory Theatre<br />
March 26-April 18, 2010<br />
<a href="http://www.seattlerep.org/">Tickets and Information</a><br />
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25 years ago, August Wilson's <i>Fences</i> opened for the Yale Repertory Theatre. In 2005, August Wilson, a resident of Seattle and a good friend of the Seattle Repertory Theater for 15 years, died of cancer. Five years later, Seattle Rep, the only theater in the country to have produced all of his plays, has honored the memory of Wilson and his play in this wonderful production.<br />
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Director Timothy Bond, a friend of Wilson's, has done a fantastic job bringing to life the world that Wilson created with his words. The curtain is left open before the play begins and the audience cannot help but soak up the atmosphere before the first character appears. Between William Bloodgood's set of broken-down buildings and a dying yard with bits of grass clinging to life and an unfinished fence and the bluesy music (some originally composed by Michael G. Keck), the audience is given much metaphorical and literal information on the state of the world in the play, yet they still yearn for more. The anticipation grows until the lights dim and the first words are spoken. As each scene progresses into the next (sometimes being only a night apart, other times having years of separation), Geoff Korf's subtle lighting cues does much to enhance the story; before Troy Maxson (James A. Williams) reveals to his wife Rose (Kim Stauton) that he has been cheating on her with another woman who is now pregnant with his child, the soft white and red light of previous scenes is replaced with a harsher red tone, indicating the fury of what is to come and what has happened in the past.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIBbqxpptpL7ieEmGqQxZU4LbBpQe2gvY7IedvUVwHHoolgFNZDrBENhrAQUk59WazrCN0zUB3fy0tofV-otxyJOpdUyK6cap0TXZT0uvYp4CUE1h7ETMNtq02o7aNhi3ZGlDndw/s1600-h/27.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIBbqxpptpL7ieEmGqQxZU4LbBpQe2gvY7IedvUVwHHoolgFNZDrBENhrAQUk59WazrCN0zUB3fy0tofV-otxyJOpdUyK6cap0TXZT0uvYp4CUE1h7ETMNtq02o7aNhi3ZGlDndw/s320/27.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">James A. Williams as Troy Maxson in <em>Fences</em>. Photo by Chris Bennion.</td></tr>
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The acting, as is to be expected from Seattle Rep, is fantastic and helps to move the play along at a good clip (which is important for an almost three hour affair at the theater). Williams' portrayal of Troy leaves the audience haunted and unsure of whether they are to pity the man who did the best he could considering his circumstances or hate him for how he treats his wife and son and impedes their own growth. Stauton does an equally fantastic job of playing a strong yet dependent woman who wants the best for her and her family at almost any cost. William Hall Jr. (an actor this reviewer has had the pleasure of seeing before at Seattle Rep in <i>Birdie Blue</i>) plays Troy's best friend and male conscience, Jim Bono. Though perhaps not as outspoken as Rose, Bono tries time and time again to keep Troy on the right path and reminds him when he veers. Where much of the conflict in Troy's life occurs is through his two sons, Lyons and Cory, and his mentally-disabled older brother, Gabriel, played by Jose A Rufino, Stephan Tyrone Williams, and Craig Alan Edwards, respectively. All do a great job of playing not only the obvious side of their characters such as grifter and football player but also emphasizing the multiple dimensions with Gabriel's love for his brother and Cory's desire to overcome his fear of his father while making his own way through the world.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjqD1eOZOObj9DkGWGfcEUnNruBVgJg7CcuwlBIkZY3VtFljmd1ZaQpet3BdCO0VA7xpfTuM6AhQ-5DBsc1RsIXqVRpkxL7Y_fe-Kc01WbNaKRQ6qNdqd7mf61OZYlNM7MJUQ9fA/s1600-h/131.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjqD1eOZOObj9DkGWGfcEUnNruBVgJg7CcuwlBIkZY3VtFljmd1ZaQpet3BdCO0VA7xpfTuM6AhQ-5DBsc1RsIXqVRpkxL7Y_fe-Kc01WbNaKRQ6qNdqd7mf61OZYlNM7MJUQ9fA/s320/131.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(L-R) James A. Williams, Kim Staunton, Craig Alan Edwards, and William Hall Jr. in <em>Fences</em>. Photo by Chris Bennion.</td></tr>
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As to be expected with an August Wilson story, the portrayal of African American life is complicated and difficult, yet there is hope at the end. Seattle Repertory has accomplished much with this production and it is safe to say much of their achievement has to do with their history with the writer himself. Wilson's legacy lives on at the Seattle Rep and you would be amiss to pass up the opportunity to see this play. Catch it before it moves onto Syracuse.<br />
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<i>Review by David Dukart</i>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9074858.post-22937505916561602092010-03-27T00:59:00.000-07:002010-03-28T13:28:44.753-07:00Paradise Lost - Intiman Theatre<div><br />Paradise Lost<br />Intiman Theater<br />March 19-April 25, 2010<br /><a href="http://www.intiman.org/2010Season/paradise/default.aspx">Tickets and Information</a><br /><br /><br />Playwright Clifford Odets is perhaps best known for his explosively powerful one-act play<i>Waiting for Lefty</i>, a short show that packs an obvious political punch. <i>Paradise Lost</i> is a very different play, but equally powerful, and—in a less severe way—just as political. This play has three full acts, each one a slice of time within the Gordon household in the early 1930s, as we see the effects of the Great Depression hitting hard on a family—two parents, two brothers and a sister—and their friends and enemies who come in and out of the house and their lives.<br /><br />Director Dámaso Rodriguez, in a rare move, lets the play move as slowly and gently as it needs to. In a couple places, moments lag; but overall, the realism of the pace adds to the weight of the play, and gives a better balance to the heightened instances of anger or passion. Every member of the large ensemble cast delivers precision performances, tuned to each other and the quiet urgency of the story unfolding onstage. One standout is Lori Larsen as Clara, the mother and wife of the Gordon family; Larsen's resigned practicality offers some of the most humorous and also most touching moments of the play.</div><div><br /></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnFXHuXsIws5e1lJZW_YimKJalfCIRDobkG_PUxc7iYmVdexd5Iej4rn04OuHANBZthAUjOwz_vNEecJ5W9PhGSV2lrw6_xVJvoTH35mYXfU0q31wY5OleY4UxQdQlBXJxBE8q/s1600/Paradise+Lost+2.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnFXHuXsIws5e1lJZW_YimKJalfCIRDobkG_PUxc7iYmVdexd5Iej4rn04OuHANBZthAUjOwz_vNEecJ5W9PhGSV2lrw6_xVJvoTH35mYXfU0q31wY5OleY4UxQdQlBXJxBE8q/s320/Paradise+Lost+2.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5453783813481962322" /></a><span class="Apple-style-span" style="font-family: Arial; border-collapse: collapse; "><span style="font-family: 'Trebuchet MS'; "><span class="Apple-style-span" style="font-size: small;">Michael Mantell</span></span><span style="font-family: 'Trebuchet MS'; "><span class="Apple-style-span" style="font-size: small;"> (Leo Gordon), Lori Larsen (Clara Gordon), Eric Pargac(Julie Gordon), Elise </span></span><span style="font-family: 'Trebuchet MS'; "><span class="Apple-style-span" style="font-size: small;">Karolina </span></span><span style="font-family: 'Trebuchet MS'; "><span class="Apple-style-span" style="font-size: small;">Hunt</span></span><span style="font-family: 'Trebuchet MS'; "><span class="Apple-style-span" style="font-size: small;"> (Libby Michaels), Shawn Law (Ben Gordon) and Matt Gottlieb (Gus Michaels) in </span><i><span class="Apple-style-span" style="font-size: small;">Paradise Lost. Photo by Chris Bennion.</span></i></span></span><br /><br />Tom Buderwitz's scenic design takes advantage of Intiman's high ceilings and large space; what begins as a fully realistic living room moves upward into abstract shapes and hanging pianos past the second floor, opening the Gordons' story outward toward the rest of the world. L.B. Morse' lighting is, as always, subtle and evocative; afternoons move slowly into evenings, and—like the set—light is used to widen the reach of the story, spreading it out toward us.<br /><br />This is, perhaps, an obvious choice of play, given the subject matter—the Great Depression—and our current economic situation, which many fear is far too close to the 1930s. It is unsurprising and yet still disquieting to hear characters written seventy years ago voicing economic fears and philosophies we could hear today on any news channel in the country. Obvious or not, the play is undoubtedly timely, perhaps disturbingly so. For that reason alone it would be worthwhile to see this rarely produced classic by an American master playwright, and the excellence of this production makes it especially rewarding.<br /><br />As new Artistic Director Kate Whoriskey steps into Bart Sher's shoes, Seattle will be waiting to see what directions she takes the theater in. This reviewer hopes that <i>Paradise Lost</i> is an indication of what is to come; Intiman is at its best when producing large but intimate American classics like this play, and I hope to see many more of its kind in the coming seasons.<br /><br /><i><span class="Apple-style-span" style="font-size:small;">Review by Kenna Kettrick</span></i>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9074858.post-27070042752908589972010-03-20T07:12:00.000-07:002010-03-20T07:24:11.808-07:00Two Gentlemen of Verona - Seattle Shakespeare Company<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi50Bn6SCcoRMTRZ1o4YoBSw23EoDt0aT4WdVfZorOqDR7nwPnDXozEdiAwphN-BbvKDNfnUPLT2Pj-eMfSG_YIK1xRjSp44bKIGmcqeYudXCEmvDU8NCSl-bgxR3Dz6VyRaWYOqA/s1600-h/CrabLance-l.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 214px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi50Bn6SCcoRMTRZ1o4YoBSw23EoDt0aT4WdVfZorOqDR7nwPnDXozEdiAwphN-BbvKDNfnUPLT2Pj-eMfSG_YIK1xRjSp44bKIGmcqeYudXCEmvDU8NCSl-bgxR3Dz6VyRaWYOqA/s320/CrabLance-l.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5450721272006823954" /></a><div><div style="text-align: left; "><b>Two Gentlemen of </b><st1:city st="on"><st1:place st="on"><b>Verona</b></st1:place></st1:city></div><div><p class="MsoNormal">Seattle Shakespeare Company</p><p class="MsoNormal">March 18 – April 11, 2010</p><p class="MsoNormal"><a href="http://www.seattleshakes.org/">Tickets and Information</a></p><p class="MsoNormal">Love is like a drug; one experience can engulf your entire body and mind. It can make you numb from reality and embark on adventures that you never would have dreamt of enduring on your own. Love, according to William Shakespeare, can even make you dress like the opposite sex and betray your best friend. This is the message that was brought from the Seattle Shakespeare’s production of <i>Two Gentlemen of Verona</i>. The Seattle Shakespeare Company delivered this classic tale with such passion and comical energy that it was given an impressive standing ovation even before the final scene finished.<span class="Apple-style-span" style="font-size:small;"> [</span><i><span class="Apple-style-span" style="font-size:small;">Right: Russ as Crab and Chris Ensweiler as Lance. Photo by Erik Stuhaug.</span></i><span class="Apple-style-span" style="font-size:small;">]</span></p><p class="MsoNormal"><i>Two Gentlemen of Verona,</i> directed by Marcus Goodwin (author of <i>House of Mirth, Howard’s End, Pride and Prejudice</i> – Book-it Repertory Theatre),<i> </i>tells the story of two best friends, Valentine and Proteus (Connor Toms and Daniel Brockley), who travel abroad to Milan, Italy in hopes of gaining more life experience than continuing to live in their hometown, Verona. Valentine takes on this opportunity with enthusiasm, while Proteus is more obligated; not only because his father forces him to go, but because Proteus doesn’t want to leave his fair lady, Julia (Hana Lass), behind in Verona. It doesn’t take long for Proteus to find a new love interest in <st1:city st="on"><st1:place st="on">Milan</st1:place></st1:city>, when he meets the charming Silvia (Emily Grogan), who happens to be Valentine’s love interest as well. This show is filled with witty bantering between the two best friends along with some hilarious characters that give the show a vibrant take on the philosophy of love and friendship.</p></div></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYiAGScsdalsttO47NOej5kP6qAd3OZtYboUhqnel1t9Tes0WKsvLw2inUOc2jRq2dguPhlG47ZqkDJFURpnsSeJL18QzAfcvqaY5nFmlBAtYZT9ZGD4eb6xG8Fkp_X7fIjcZM-A/s1600-h/LucettaJulia-L.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYiAGScsdalsttO47NOej5kP6qAd3OZtYboUhqnel1t9Tes0WKsvLw2inUOc2jRq2dguPhlG47ZqkDJFURpnsSeJL18QzAfcvqaY5nFmlBAtYZT9ZGD4eb6xG8Fkp_X7fIjcZM-A/s320/LucettaJulia-L.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5450720372959667010" /></a><div style="text-align: center;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="Apple-style-span" style="font-size:small;">Samie Detzer as Lucetta and Hana Lass as Julia. Photo by Erik Stuhaug, 2010.</span></span></b></div><div> <p class="MsoNormal" style="tab-stops:right 6.0in">What makes this production of <i style="mso-bidi-font-style:normal">Two Gentlemen of Verona</i> so unique is Goodwin’s modern twist. For example, instead of letters, the characters pass their thoughts to-and-fro using cell phones and text messaging. The costumes consisted of 21<sup>st</sup> century fashion and the set (Jason Phillips), especially the arrangement of Julia’s bedroom with its shrine of <i style="mso-bidi-font-style:normal">Twilight</i> posters, gave the show the chance to relate to the trends of the modern world.<span style="mso-spacerun:yes"> </span>Also, it is important to note how the creative modernization affected Shakespeare’s characters themselves. For example, Proteus’s jester, Launce (Chris Ensweiler), was portrayed as a “stoner” who had deep, humorous conversations with his dog, Crab, and walked around with marijuana joints in his sling bag. <span style="mso-spacerun:yes"> </span>Also, Silvia’s father, Antonio (Michael Patten), Duke of Milan is played as a powerful businessman of Milan, displaying his power, wealth and high status, but relating to the modern thought of what a potent, rich individual is today. By modernizing the set, but still using Shakespeare’s script and language, it helped the show relate to all audiences. Shakespeare can be a bit intimidating, but Goodwin’s creativity helped make it easily enjoyable for any audience member.</p> <p class="MsoNormal" style="tab-stops:right 6.0in">The production of <i style="mso-bidi-font-style:normal">Two Gentlemen of Verona </i>expressed the extraordinary talents of the Seattle Shakespeare Company. The performance was magnificent; it is a show that must be bragged about to the entire theater scene of <st1:place st="on"><st1:city st="on">Seattle</st1:city></st1:place>.</p> <p class="MsoNormal" style="tab-stops:right 6.0in">Review by Darsha Squartsoff</p></div>Andrew J. Perezhttp://www.blogger.com/profile/18321347783806169789noreply@blogger.com2tag:blogger.com,1999:blog-9074858.post-2140559390693248842010-03-20T06:43:00.000-07:002010-03-20T06:49:14.256-07:00Flying with Color - Solo Performance Festival / Best in Shorts<p class="MsoNormal"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: medium;"><b>Solo Performance Festival</b></span></span></p><p class="MsoNormal"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: medium;"><b>Best in Shorts performed 3/23/2010</b></span></span></p><p class="MsoNormal"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: medium;">It starts with the sound of a car – maybe a bus – whizzing by. Then the sound of a chicken chatting away takes over… We are in the dark. More sounds of what seems like a quiet, rural town stream in and now we just need to figure out where exactly we are in the world. Finally, a little boy calling for his “Papa” begins to sing a song, and the lights eventually come up on Ben Gonio, who begins to tell the story of a man’s journey to </span></span><st1:country-region st="on"><st1:place st="on"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: medium;">America</span></span></st1:place></st1:country-region><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: medium;"> from The Philippines.</span></span></p><p class="MsoNormal"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: medium;"> Flying with Color, written by Ben Gonio, at first seems like just another story of a man’s immigration from a third world country to the “land of opportunity”. You expect to hear about his struggle; his discoveries; maybe the sacrifice he makes going away from the love of his life. But it’s more than that, and yet so very simple. Flying with Color is ultimately about the never-ending relationship between a boy and his Father. And without giving away its poignant ending, we are able to appreciate this immigrant story we may have all heard before from all the </span></span><span class="yshortcuts"><i><span style="cursor:hand" id="lw_1269092388_2"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: medium;">Kitchen God</span></span></span></i></span><em><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: medium;">’s Wives</span></span></em><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: medium;"> and </span></span><em><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: medium;">Hannah is my Names</span></span></em><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: medium;"> through a window: the bond a boy made with his Father, even after two years of separation…oh - and a hat. (You just have to go see the play.) [<i>editor's note: since the play has concluded its short run, you can find more info about Gonio and his productions at <a href="http://www.bengonio.com/">www.bengonio.com</a></i>]<o:p></o:p></span></span></p> <p class="MsoNormal"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-family: Georgia, serif; font-size: 16px; "><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: medium;">Aside from some minor sound level issues that may have drowned out some of the dialogue if it wasn’t for Gonio’s projection adjustment, this show was well produced, theatrical, and very touching. His ability to seamlessly go back and forth from the charming, “machismo”, but later somewhat frail character of his Father to the sweet, challenged, and feminine character of his Mother is what tops this actor’s performance in this year’s </span></span><em><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: medium;">Best in Shorts</span></span></em><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: medium;">. Gonio somehow, with his wonderful story-telling, improvisational, and multimedia skills takes us on an emotional journey from the </span></span><st1:country-region st="on"><span class="yshortcuts"><span id="lw_1269092388_3"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: medium;">Philippines</span></span></span></span></st1:country-region><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: medium;"> to </span></span><st1:country-region st="on"><st1:place st="on"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: medium;">America</span></span></st1:place></st1:country-region><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: medium;">, from fear to triumph, and from loss to legend, in just </span></span><span class="yshortcuts"><span id="lw_1269092388_4"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: medium;">fifteen minutes</span></span></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: medium;">.</span></span></span></span></span></p> <p class="MsoNormal"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: medium;">Guest Review!</span></span></p><p class="MsoNormal"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size: medium;">Anonymous</span></span></p>Andrew J. Perezhttp://www.blogger.com/profile/18321347783806169789noreply@blogger.com1tag:blogger.com,1999:blog-9074858.post-67692597281568458132010-03-17T09:28:00.000-07:002010-03-17T09:32:39.776-07:00Solo Performance Festival: Monologue SlamSolo Performance Festival<br />Monologue Slam!<br /><a href="http://www.theatreoffjackson.org/spf4.html">Tickets and Information </a><br />March 13th, 2010<br /><br />I arrived ten minutes after ten, thinking I was late. Hardly. The doors were still locked. But within a few moments, someone opened it, and the other waiting guests and I were welcomed warmly. Despite having no proof of my free press ticket, I was ushered in for free. The first thing I did was order a Sodo Brown at the bar and settle on one of the cushy couches for a front row seat. At this point, I was one of only a dozen or so attendees, and the number barely doubled the rest of the night. But the hostess, Babette, did not seem in the least bothered by the small turnout. Babette was a woman dressed in a French maid costume of sorts, with a bad black wig, heavy makeup, and a gorilla-like way of stomping around and making noises. Using lettered signs, Babette began the monologue slam without the main hostess herself, Fou Fou.<br /><br />I learned that a monologue slam goes a bit like this: the host calls for contestants. Contestants are called on stage and then must respond to a command of sorts by the host--such as tell a story using a title someone in the crowd makes up, or develop a character with only the name of someone’s great-aunt for inspiration. The contestants this night seemed drawn to participate less out of enthusiasm than out of resignation- like well, since no one else is here, I guess I might as well. That said, they gave a number of entertaining performances. In total, there were four monologue slammers- oddly, all of them blonde (including the short balding gay man). They began their rounds, when in walked Fou Fou herself- wearing little else but a leotard, some fishnet, and high heels. Fou Fou was a drag queen of supreme elegance, with a voice dripping like honey and oozing with high praise for the participants. Fou Fou and Babette did a fine job leading the slammers through the rest of their turns.<br /><br />Some highlights included a team monologue, where two of the female participants created a story about two women who, angry about the reaction of their bosses at Hooters to their recent weight gain, come up with a plan that they think is clever indeed. Their plan is to open up a competing restaurant called “Bootie” in which the lower, rather than the upper part of the woman’s body is flaunted. Other highlights were the story of a farmer who invented the idea of a milking carousel, and a traffic accident where the offender was a giant crawfish. When the night concluded, I had gained a new hefty respect for monologue slams. Contestants are gutsy, and the good ones can think on the spot, whip numerous stories and accents out of their pockets, and have magical timing to get to a punch line before the host calls “time.” Congrats to the winner, who won two tickets to Teatro Zinzanni. I encourage all of you to get yourself to the next monologue slam- and to compete.<br /><br />Guest review by Megan Horst<br /><br />CURIOUS? The next Monologue Slam is March 27th. Get down there and show 'em what you got!<br /><br />For more information and tickets to the festival, check it out here: http://www.theatreoffjackson.org/spf4.htmlUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-9074858.post-70138361691273776212010-03-09T11:49:00.000-08:002010-03-09T11:51:26.220-08:00Solo Performance Festival: The Dwellers & Samson<em>The Dwellers</em> and <em>Samson</em><br />Solo Performance Festival<br />March 8th, 2010<br /><br />The breadth and depth of Seattle’s solo performance talent pool is remarkable, and the Solo Performance Festival brings many of them under one roof. Monday night’s billing matched an experienced solo performer, and his story of an apartment building “where the floors are thinner than the walls,” with a talented musical actress going solo for the first time as she explores a new form of musical theater.<br /><br /><em>The Dwellers</em>, written and performed by Jonah Von Spreecken, is not quite a mystery, but writing too much about it runs the risk of ruining some delightful surprises. To keep it simple: Yerda, who is a sort of manager of an urban apartment building, has brought most of the tenants together. We in the audience are in fact “the dwellers” of the building. With the help of some recorded conversations which he plays on his phonograph, Yerda tells us his story. Von Spreecken as Yerda is a very engaging performer. Every expression and action is very specific, including a catalogue of repeated hand gestures that provide some of the funniest bits of the evening. You feel a part of this world before the show even begins, and long after it ends, just what a successful solo performance hopes to achieve.<br /><br />Billie Wildrick’s <em>Samson</em> is an entirely different animal. She admits this candidly when she breaks the fourth wall and introduces her “plus one, even though you’re supposed to go stag in a solo performance,” Josh Carter, who provides live musical accompaniment. <em>Samson</em>, she tells us, is a work in progress. Her aim is to take musical theater in a new direction, where intimate spaces and acoustic music take the place of enormous sets and flashy dance numbers. Rather than interrupting the story occasionally, music is to be a constant throughout the narrative, coming in and being a part of the story when necessary. This piece, a re-telling of the story of Samson and Delilah, is her first foray into a new world and it is an excellent start. When the piece hits its mark, and her beautiful voice intertwines with Josh Carter’s haunting music, it soars. She asks for audience feedback in her introduction, and she deserves it, to help her fine-tune the work. It sounds like she will be working on the show throughout the festival, so repeat viewings would not be amiss. The final product, for this festival anyway, on March 29th could be significantly different than what was on display Monday night.<br /><br />You have three more chances to see each of these works, including one more chance to see this same double-billing. Monday night’s audience was disappointingly small, and both of these performers are deserving of full houses. For the full festival lineup, visit <a href="http://www.theatreoffjackson.org/spf4.html">http://www.theatreoffjackson.org/spf4.html</a><br /><br />There are still three more weekends of shows to go—enjoy solo performance!<br /><br /><em>by Guest Reviewer Patrick Lennon</em>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9074858.post-26804742852300638372010-03-08T11:34:00.001-08:002010-03-08T11:40:00.284-08:00Solo Performance Festival: Pipa & Frontier: Valley of the ShadowsSolo Performance is back in Seattle! The Solo Performance Festival #4: Can you Get My Back? is up and running at the Theater off Jackson in the international district. Curator Keira McDonald has brought together acts from across North America in a huge variety of genres: storytelling, stand-up, dance, burlesque, and much much more.<br /><br />To view the full festival lineup and buy tickets, visit <a href="http://www.theatreoffjackson.org/spf4.html">http://www.theatreoffjackson.org/spf4.html</a><br /><br />All this month, BroadwayHour.com reviewers and some new guest reviewers will be writing short pieces about various shows thoughout the run of the festival. Ever wanted to be involved in BroadwayHour, or see what reviewing a show is like? Now's your chance! Send an email to broadwayhour AT sbcglobal.net and let us know what shows you're interested in reviewing, and you too can be a reviewer for an evening.<br /><br />Below, read the first review, from this past Friday night:<br /><br /><em>Pipa</em> and <em>Frontier: Valley of the Shadows</em><br />Solo Performance Festival<br />March 5th, 2010<br /><br /> One of the best parts of Seattle's Solo Performance Festival is the sheer amount of variety in the acts brought to the stage. Curator Keira McDonald pairs performers that otherwise might never share the stage, and that pairing brings out nuances in each act. Such was the case with Friday night's show, which paired Tamera Ober's <em>Pipa</em> and Ki Gottberg's <em>Frontier: Valley of the Shadows.<br /></em> Ober opens <em>Pipa</em> by rushing onto the stage and bumping straight into the microphone. Adorably sheepish, she makes her way down to the mic—pointed close to the floor—and begins to narrate her story. With a mixture of live storytelling, voice overs, music and dance, Ober shows us the story of Pipa, a girl who sees the world slightly differently from the rest of us. Ober's movements are beautifully controlled, whether she is carefully measuring herself out on the floor, or catapulting around the stage. Ober's control extends to her set as well, as she both climbs and carries a velvet-covered stool and a long bench. Her quirky and charming choreography takes us through her house and on a journey to the supermarket that quickly turns fantastical. <br /> Ki Gottberg's <em>Frontier</em> is a ride from India to Germany to the United States, from parents to children, about taking in the fullness of life and facing the hardships. She tells the story of her parents, one a German knife-seller, the other an Anglo-Indian woman, and their journey to meet and move together to America. Gottberg is a master storyteller, able to change her voice and body at a moment's notice to imitate her father's gruff German accent, or her mother's wispy Indian voice. Interspersed with this—and the true driving force of this tale—is Gottberg facing her daughter's diagnosis of cancer. Though the story has a happy ending, Gottberg does not shy away from baring her grief to the audience, and bringing us close to her.<br /> Though <em>Pipa</em> never mentions the word “frontier,” the character within it faces many frontiers, and finds her way around various boundaries, both physically and metaphorically. And though Gottberg standing center stage with a music stand may not seem a likely pair with a lively dance act, her story of family generations beautifully complements Pipa's solo journey.<br /> Unfortunately, Tamera Ober performs this weekend only, but Seattle audiences have one more chance to catch Gottberg's show, on March 13th. For the full festival lineup, visit <a href="http://www.theatreoffjackson.org/spf4.html">http://www.theatreoffjackson.org/spf4.html</a><br /><br />There are still three more weekends of shows to go—enjoy solo performance!<br /><br /><em>Reviewed by Kenna Kettrick</em>Unknownnoreply@blogger.com0