The Broadway Hour Seattle

Indefinite Suspension of Operations

2010-11-30T17:07:00.000-08:00

Dear Readers,

It is with sadness and regret that I write to inform you of an indefinite suspension of operations of BROADWAYHOUR.COM.

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.

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.

Thank you, Seattle.

Happy Holidays,

Andrew J. Perez (aka. Nigel Andrews)

Hamlet

2010-10-30T02:19:00.000-07:00

Hamlet

Seattle Shakespeare Company
October 27-December 5, 2010
tickets and information

No other play better depicts the calamitous downfall to insanity than William Shakespeare’s Hamlet. To understand the emotions that follow treachery, loss, and vengeance, is difficult enough,but to perform Shakespeare’s poetically tragic story of Hamlet is a challenge on its own. Seattle Shakespeare Company was no fault to the task however. The theater performed the play with such tenacity, it was a stupendous performance to celebrate their 20th year anniversary.

Cast of Hamlet. Photo by John Ulman

Hamlet (Darragh Kennan) is the young prince of Denmark 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 Hamlet’s dark state to deepen as he attempts to both process his revenge and the many calamities in his life.

Hamlet 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 phenomenally. Each line was spoken with such passion and diligence that the audience forgot to breathe or even shift in their seats.

Although Shakespeare did write Hamlet 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.

Darragh Kennan as Hamlet and Mike Dooly as Horatio. Photo by: John Ulman

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.

Hamlet 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 Hamlet. The theater has again proved that through their creative talent they have the ability to turn any Shakespeare play into their very own.

God of Carnage

2010-10-07T00:55:00.000-07:00

God of Carnage

Seattle Repertory Theater

October 1-24, 2010

tickets and information

God of Carnage. 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.

(L-R) Hans Altwies, Amy Thone, Bhama Roget, and Denis Arndt in God of Carnage. Photo by Keri Kellerman.

God of Carnage (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.

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.

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).

What also made this theatrical masterpiece so creative and well produced is how the play was slightly arranged to be set in Seattle. God of Carnage 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.

God of Carnage 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 your family might actually be human.

In the Heights - 5th Ave

2010-10-01T01:01:00.000-07:00

The 5th Avenue Theatre
September 28-October 17, 2010
Tickets and Information

Catharsis: an experience or feeling of spiritual release and purification brought about by an intense emotional experience. This word could be the alternate title to In the Heights, of which the national tour remiered tonight at the 5^th Avenue Theatre. This fairly new musical, with music and lyrics by the up-and-coming genius Lin-Manuel Miranda and book by Quiara Alegria Hudes, snatched up four Tony Awards in 2008 for Best Musical, Best Score, Best Choreography and Best Orchestrations.

In the Heights revolves around the lives and events of a community of Latin Americans in Washington Heights, New York City during the hottest days of summer. There is a lot of struggle toward goals, a lot of celebration of culture, and a lot of dancing. We are led through it all by Usnavi, a twenty-something bodega owner who raps to us about his people and their stories. What threatens to break them apart—and what saves them in the end—is everyone’s dream to find home and happiness.

Photo by Joan Marcus.

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. 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 Fiddler on the Roof.

Thomas Kail’s direction, along with Andy Blankenbuehler’s choreography, was inspiring and unrivalled in attention to detail. Every moment and every movement was carefully and tenderly crafted toward the message of the piece. Extensive light effects and intense dance sequences only served to elaborate on the vulnerability and talent being showcased in performance. Each actor performed as if nothing else mattered, which is a quality highly sought after and rarely achieved.

In the Heights is the perfect way to start off a stellar season—the exuberant “paciencia y fe” reflecting these hopeful and forward-looking times. 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. No wonder it won the Tony for Best Musical.

Review by Kacey Shiflet.

Wedding Belles - Taproot Theatre

2010-09-25T00:10:00.000-07:00

Wedding Belles
Taproot Theatre
September 24 – October 25 2010
Tickets and Information

In 1942 Texas, the four ladies of the Eufala Spri

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.

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.

L to R: Karen Nelsen, Charissa Adams and Kim Morris. Photo by Erik Stuhaug.

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.

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 Wedding Belles is for you.

(Photo coming soon!)

Review by Kenna M Kettrick

Yankee Tavern

2010-08-05T22:54:00.000-07:00

Yankee Tavern

ACT Theater

July 30-August 5, 2010

Tickets and information

Shawn Telford (Adam), Charles Leggett (Ray), R. Hamilton Wright (Palmer), and Jennifer Lee Taylor (Janet) photo by: Chris Bennion

We all have questions about the horrific events that took place on that early morning of September 11, 2001. Who is truly responsible? Why was this act of terror committed? Could we have prevented it? In Steven Dietz's play, Yankee Tavern, Dietz is able to answer all of these questions about the conspiracies surrounding 9/11 by creating a few of his own.

The Yankee Tavern (both directed and written by Steven Dietz) 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 (Shawn Telford), young owner of the Yankee Tavern Bar, his fiancée Janet (Jennifer Lee Taylor) and two Tavern locals-the radical, but hilarious Ray (Charles Leggett) and the mysterious Palmer (R. Hamilton Wright). 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.

Dietz (Becky's New Car, Fiction) 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.

Other than having an outstanding director/playwright, the actors deserve a stupendous round of applause as well for the creation of The Yankee Tavern. 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 Yankee Tavern Bar instead of watching a theatrical performance.

Yankee Tavern 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.

The Yellow Wood - Contemporary Classics

2010-07-25T22:09:00.001-07:00

The Yellow Wood
Contemporary Classics
July 23 – August 1, 2010
Tickets and Information

It could be said that the new musical The Yellow Wood 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^th 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.

Daniel Berryman & ensemble. Photo by Victoria Lahti.

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.

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.

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.

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.

Review by Kenna Kettrick

The 25th Annual Putnam County Spelling Bee - Contemporary Classics and RK Productions

2010-07-18T12:39:00.000-07:00

The 25^th Annual Putnam County Spelling Bee
Contemporary Classics and RK Productions
(at the Ballard Underground Theatre)
July 14 – August 14, 2010
Tickets and Information

The popular Tony award-winning musical The 25^th Annual Putnam County Spelling Bee 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. 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.

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. Never fear, though: this production has assembled an excellent cast. Each character is crisply and touchingly drawn, and every actor onstage shines during their solo turns while blending beautifully during the many ensemble numbers. 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. 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.

Olive Ostrovsky (Ashley FitzSimmons) and William Barfee (Robert Scherzer).
Photo credit: Danielle Barnum/dbinspiredarts.com.

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.

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. 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. 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.

The 25^th Annual Putnam County Spelling Bee is a solid show in itself, and one enjoyed by theatergoers across the country. Seattle’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.

Review by Kenna Kettrick

The Man of La Mancha - Taproot Theatre Company

2010-07-11T20:58:00.000-07:00

Taproot Theatre Company

July 7th - August 7th

Tickets and Information: Call 206-781-9707 or online at Taproot's Main Site

Step into the theatre, step into the story, step into the tale and listen to the words and wisdom of the story teller. That is the atmosphere that Taproot creates with this production of The Man of La Mancha, a classic tale of honor, chivalry and passion. The characters on stage may be the active players in the story being told by Cervantes (Jeff Berryman) 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 (Scott Nolte) that includes them in the story. 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

t does a great job of envisioning this mission, which is also written into their mission as a company.

This musical takes the audience to a prison in late 16^th 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. He does this through a play enacted in the prison cell with the help of the prison mates. 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.

Left to right: Faith Russell, Don Darryl Rivera, Mike Oliver, Jeff Berryman.

Photo by Erik Stuhaug.

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 (Sarah Burch Gordon) that transition effortlessly from the clothes of prisoners in the cell to the outfits of priests, peasants and soldiers in Cervantes’ play. This coupled with effective light changes (Andrew Duff) on a simplistic, yet realistic, stone prison set (Mark Lund), increases the ability of the audience to dive into the multiple stories being presented on one set. Throw in a dash of humor, especially portrayed through Sancho Panza (Don Darryl Rivera), and you have an entrancing tale.

Besides some timing problems during fight sequences, the ensemble work of the production was dynamic, well rehearsed and well executed. 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. Each number had a very strong blocking sequence and artfully executed each line.

I would like to present this opportunity to you as a reader; come see this show, get lost in the tale as I did. It is a beautiful work that has been executed with such strong vision and understanding of the musical’s mission. Catch The Man of La Mancha running through August 7^th at Taproot Theatre in Greenwood.

Reviewed by: Andy Swanson

The Female of the Species-ACT Theater

2010-06-24T23:34:00.000-07:00

The Female of the Species

ACT Theater

June 18th-July18th, 2010

tickets and information

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 The Female of the Species, 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. 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)

Margot Mason (Suzy Hunt) and Molly Rivers (Renata Friedman)

photo by: Chris Bennion

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.

Molly Rivers (Renata Friedman), Tess Thorton (Morgan Rowe), Paul Morgan Stetler (Bryan Thorton), and Margot Mason (Suzy Hunt)

Photo by: Chris Bennion

The Female of the Species 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 The Female of the Species 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. Bravo to the cast of the The Female of the Species and the ACT Theater for bringing such a great show to the community of Seattle.

Review by: Darsha Squartsoff

Candide - The 5th Avenue Theatre

2010-05-28T01:06:00.000-07:00

Candide
5th Avenue Theatre
May 25 – June 13, 2010
Tickets and Information

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.

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).

Cunegonde (Laura Griffith), Voltaire (David Pichette) and Candide (Stanley Bahorek.)

Photo by Curt Doughty.

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.

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.

Candide 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.

Review by Kenna M Kettrick

The Thin Place - Intiman Theatre

2010-05-22T00:30:00.000-07:00

The Thin Place
Intiman Theatre
May 21 – June 13, 2010
Tickets and Information

Intiman's new play, The Thin Place, 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.

The result is a surprisingly compelling play that offers relatable moments for everyone, regardless of your beliefs. The Thin Place 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.

Gbenga Akinnagbe. Photo by Chris Bennion.

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.

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.

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.

Review by Kenna M. Kettrick

Charley's Aunt - Taproot Theatre Company

2010-05-18T08:28:00.000-07:00

Charley's Aunt

Taproot Theatre Company

May 12 - June 12, 2010

Tickets and Information

Steve West, Eric Riedmann, Nolan Palmer and Anne Kenned. Photo by Erik Stuhaug.

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.

Well, it’s an age old story in British farce, anyway. Charley’s Aunt, by Brandon Thomas, debuted in 1892 and has been produced countless times since then, including its original London run of more than 1,400 performances. This incarnation, produced by Greenwood’s Taproot Theatre Company, is directed by TTC Associate Artistic Director 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.

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 turning point 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.

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 residentscenic designer, is very adept at using Taproot’s unique thrust stage to serve a wide variety of shows, and Charley’s Aunt is no exception.

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.

Review by Patrick Lennon

The Trip to Bountiful - ACT

2010-05-14T08:05:00.000-07:00

The Trip to Bountiful

ACT

May 7 - June 6, 2010

Tickets and Information

ACT’s production of Horton Foote’s The Trip to Bountiful 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.

Marianne Owen, Mary Kae Irvin, Paul Morgan Stetler.

Photo by Chris Bennion 2010.

Individually, each part of the show is commendable. The acting ensemble is packed full of Seattle’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 Jessica Martin 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.

On the technical side, ACT’s usual prowess was in evidence. Christopher Walker’s sound design 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 Texas her whole life.

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 Texas 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 Bountiful, although well-done and enjoyable, unfortunately misses that mark.

Review by Patrick Lennon

Keefee's House of Cards - Printer's Devil Theater

2010-05-04T11:21:00.000-07:00

KEEFEE'S HOUSE OF CARDS
April 30 - May 28, 2010
Printer's Devil Theater @ The Rendezvous Jewelbox Theater
Tickets and Information

Note: No one under 21 admitted to the Jewelbox Theater.

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.

Stephen Hando as Keefee. Photo by Kelly O.

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.

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.

Guest Reviewer: Jessie Portlock

Henry V - Seattle Shakespeare Company

2010-04-20T21:26:00.000-07:00

Henry V

Seattle Shakespeare Company

April 15 - May 9, 2010

Tickets and Information

Shakespeare’s Henry V 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.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.

Alexandra Tavares as Katherine and Jerick Hoffer as Alice. Photo by John Ulman.

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. 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.

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. 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.

David S Hogan as Bedford and Evan Whitfield as Henry. Photo by John Ulman.

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.

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. However, this is a minor weakness, made noticeable by the power and imagination of the past two hours. 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.

Review by Andy Swanson and Kenna Kettrick

On The Town - 5th Avenue Theatre

2010-04-16T08:50:00.000-07:00

On The Town

5^th Avenue Theatre

April 13 – May 2, 2010

Tickets and Information

Joe Aaron Reid, Matt Owen, Greg McCormick Allen. Photo by Curt Doughty 2010.

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 5th Avenue Theater’s production of On the Town. On the Town is a musical comedy that tells its audience that when in New York City, 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.

On the Town, directed by Bill Berry (West Side Story, The Wizard of Oz), tells the story of three young American sailors who are on a 24-hour shore leave in New York City during WWII. 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 Big Apple 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 New York 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 New York 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 (Sarah Rudinoff) who is a taxi driver that demands Ozzie to” Come Up to My Place” before he helps Gabey find his lovely Miss Turnstile.

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 infamous Leonard Bernstein, 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 theatrical production, and the cast of On the Town could not have been selected more perfectly for each other to make this one of the best musicals that the 5th Avenue Theater has given to the theater scene of Seattle.

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 (Frank Sinatra, Gene Kelly) 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 New York” now fully makes sense. It’s the city where anything can happen; no matter the time frame or age.

Review by Darsha Squartsoff

An Iliad--Seattle Rep

2010-04-15T00:36:00.000-07:00

An Iliad
Seattle Repertory Theatre
April 9-May 16, 2010
Tickets and Information

“The first impression is everything,” I wrote last October about the Seattle Rep’s season opener The 39 Steps. 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 An Iliad, the Rep's final show of the season.

Photo by Christ Bennion.

Two years ago, Denis O’Hare and Lisa Peterson set out to create a dramatic retelling of Homer’s The Iliad. 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. 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. Periodic references and comparisons to modern-day warfare serve to remind us of the production’s relevance and magnitude.

Seattle’s own Hans Altweis displays the skill and finesse necessary to capture and captivate the audience for the entire 90-minute journey. His Poet has seen the world many times over, both happily and painfully remembering every detail of every important event in history. Altweis gives weight and meaning to each anecdote, as if there is a hidden message somewhere within.

Photo by Chris Bennion.

Altweis’ performance is framed beautifully by the design teams’ creations. 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. Marcia Dixcy Jory’s costume tells a story of its own with every tatter and worn elbow. Scott Zielinski’s lighting adds tension and mood in the right amounts at the right moments. Paul James Prendergast’s sound design extends the mood and motion into epic proportions. The polish and seamlessness of the production is owed to Lisa Peterson’s direction. 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.

An Iliad 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. The Poet is the immortal audience, forever blessed (and doomed) to hold the stories worth telling. A story worth seeing.

Review by Kacey Shiflet.

Fences - Seattle Repertory Theatre

2010-04-02T18:16:00.000-07:00

Fences
Seattle Repertory Theatre
March 26-April 18, 2010
Tickets and Information

25 years ago, August Wilson's Fences 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.

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.

James A. Williams as Troy Maxson in Fences. Photo by Chris Bennion.

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 Birdie Blue) 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.

(L-R) James A. Williams, Kim Staunton, Craig Alan Edwards, and William Hall Jr. in Fences. Photo by Chris Bennion.

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.

Review by David Dukart

Paradise Lost - Intiman Theatre

2010-03-27T00:59:00.000-07:00

Paradise Lost
Intiman Theater
March 19-April 25, 2010
Tickets and Information

Playwright Clifford Odets is perhaps best known for his explosively powerful one-act playWaiting for Lefty, a short show that packs an obvious political punch. Paradise Lost 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.

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.

Michael Mantell (Leo Gordon), Lori Larsen (Clara Gordon), Eric Pargac(Julie Gordon), Elise Karolina Hunt (Libby Michaels), Shawn Law (Ben Gordon) and Matt Gottlieb (Gus Michaels) in Paradise Lost. Photo by Chris Bennion.

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.

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.

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 Paradise Lost 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.

Review by Kenna Kettrick

Two Gentlemen of Verona - Seattle Shakespeare Company

2010-03-20T07:12:00.000-07:00

Two Gentlemen of Verona

Seattle Shakespeare Company

March 18 – April 11, 2010

Tickets and Information

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 Two Gentlemen of Verona. 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. [Right: Russ as Crab and Chris Ensweiler as Lance. Photo by Erik Stuhaug.]

Two Gentlemen of Verona, directed by Marcus Goodwin (author of House of Mirth, Howard’s End, Pride and Prejudice – Book-it Repertory Theatre), 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 Milan, 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.

Samie Detzer as Lucetta and Hana Lass as Julia. Photo by Erik Stuhaug, 2010.

What makes this production of Two Gentlemen of Verona 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^st century fashion and the set (Jason Phillips), especially the arrangement of Julia’s bedroom with its shrine of Twilight posters, gave the show the chance to relate to the trends of the modern world. 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. 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.

The production of Two Gentlemen of Verona 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 Seattle.

Review by Darsha Squartsoff

Flying with Color - Solo Performance Festival / Best in Shorts

2010-03-20T06:43:00.000-07:00

Solo Performance Festival

Best in Shorts performed 3/23/2010

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 America from The Philippines.

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 Kitchen God’s Wives and Hannah is my Names 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.) [editor's note: since the play has concluded its short run, you can find more info about Gonio and his productions at www.bengonio.com]

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 Best in Shorts. Gonio somehow, with his wonderful story-telling, improvisational, and multimedia skills takes us on an emotional journey from the Philippines to America, from fear to triumph, and from loss to legend, in just fifteen minutes.

Guest Review!

Anonymous

Solo Performance Festival: Monologue Slam

2010-03-17T09:28:00.000-07:00

Solo Performance Festival
Monologue Slam!
Tickets and Information
March 13th, 2010

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.

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.

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.

Guest review by Megan Horst

CURIOUS? The next Monologue Slam is March 27th. Get down there and show 'em what you got!

For more information and tickets to the festival, check it out here: http://www.theatreoffjackson.org/spf4.html

Solo Performance Festival: The Dwellers & Samson

2010-03-09T11:49:00.000-08:00

The Dwellers and Samson
Solo Performance Festival
March 8th, 2010

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.

The Dwellers, 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.

Billie Wildrick’s Samson 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. Samson, 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.

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 http://www.theatreoffjackson.org/spf4.html

There are still three more weekends of shows to go—enjoy solo performance!

by Guest Reviewer Patrick Lennon

Solo Performance Festival: Pipa & Frontier: Valley of the Shadows

2010-03-08T11:34:00.001-08:00

Solo 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.

To view the full festival lineup and buy tickets, visit http://www.theatreoffjackson.org/spf4.html

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.

Below, read the first review, from this past Friday night:

Pipa and Frontier: Valley of the Shadows
Solo Performance Festival
March 5th, 2010

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 Pipa and Ki Gottberg's Frontier: Valley of the Shadows.
Ober opens Pipa 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.
Ki Gottberg's Frontier 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.
Though Pipa 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.
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 http://www.theatreoffjackson.org/spf4.html

There are still three more weekends of shows to go—enjoy solo performance!

Reviewed by Kenna Kettrick

Legally Blonde: The Musical - 5th Avenue Theatre

2010-02-26T09:19:00.000-08:00

Legally Blonde the Musical

5^th Avenue Theatre

February 25 – March 14, 2010

Tickets and Information

Oh my god, omigod, you guys—Legally Blonde The Musical is here! Based on the popular movie that made blonde the new pink, this Tony-nominated Broadway hit is touring the country and makes its Seattle stop at the 5^th Avenue Theatre. With music and lyrics by Laurence O’Keefe and Nell Benjamin and book by Heather Hach, this adaptation is both faithful to its source and freshly entertaining.

The entire cast (right down to the highly trained canines that perform as Bruiser and Rufus) is packed with talent. Becky Gulsvig plays Elle Woods with just the right amount of perky naiveté to charm the audience entirely. Jeff McLean as Warner Huntington III exhibits some of the best pop-vocal control that has ever come to Seattle. As Vivienne Kensington, Elle’s erstwhile rival, Megan Lewis goes from uptight conservative to impressive belting pop soprano in the drop of a magazine. And we can all look forward to the next production in which J.B. Bonds (Emmett Forrest) comes to town as well. His stage presence is captivating and I only hope that he is given more freedom in the future to really let loose the power he clearly has.

Cast of Legally Blonde the Musical. Photo by Joan Marcus, 2010.

Jerry Mitchell’s direction is light but precise, and his choreography splashes across the stage, full of cheerleading inspired moves as well as classic Broadway stylings. The dancing is fully playful enough to keep up with O’Keefe and Benjamin’s clever songs, which make use of word play and pop references to keep the audience laughing. The design team behind Legally Blonde pulls out all the stops; Gregg Barnes’ costumes run the gamut from colorful California girls to corduroy-clad law students, and David Rockwell’s scenic design transports the audience between two coasts without a hint of jetlag.

Legally Blonde: The Musical joyfully takes stage in Seattle for the next three weeks. Big, sassy and glitzy, this production is the epitome of a Broadway musical, and possibly the most purely entertaining thing you will see all year.

Review by Kenna M. Kettrick

Glengarry Glen Ross - Seattle Repertory Theatre

2010-02-11T11:56:00.000-08:00

Glengarry Glen Ross

Seattle Repertory Theatre

February 5 – 28, 2010

Tickets and Information

Glengarry Glen Ross’s commentary on American economics in the 1980s was undeniably brilliant. It’s no wonder it won the 1984 Pulitzer (serendipitous year, no?). However, the most thrilling and terrifying aspect is how a 1980s play about the 1970s economic scandal regarding land scams can speak so blatantly about our own 2010 national fiscal situation—not only in terms of dollars and cents, but political mores and socio-economic regulations.

All politics aside, however (though it would be impossible to take Glengarry Glen Ross without a basket full of political salt-grains), Wilson Milam’s production of David Mamet’s 1984 play at the Seattle Rep is, to say the least, gripping. The biggest challenge this production faces is the loss of momentum in the last several minutes. The staging begins to slowly pull the audience’s focus from the heart of the action to the outlying limbs before the lights go down. Perhaps this is intended, perhaps not. Either way, though an unfortunate loss in the locomotion, the play up to that point is unstoppable. Bringing together the design team from last year’s production of Connor McPherson’s The Seafarer, the Rep’s production takes a much more humorous approach to the dark and neurotic piece that is Glengarry Glen Ross. Milam’s direction uses his actors’ finely-honed comedic skills to bring to life every potential comic bit. Mind you this is not slap-stick; this is not a play that would be called “funny” like dogs in clothes are “funny,” but compared to the 1990s film adaptation it’s an absolute laugh-fest.

It’s useless to try to point out one or two actors from a cast in which the raw man-power (and I mean MAN power) took a two hour play and made it feel like the audience’s entire life flashed by in twenty-minutes. Therefore, a hearty slap-on-the-back to each and every man on stage for the chair-throwing, desk-kicking, man-shoving, spit-flinging performance put forth.

A special shout-out, as well, to Eugene Lee’s set design which – when you see this show (which you ought to do) – will be spectacularly self-evident.

There are many people who believe they’ve seen Glengarry Glen Ross because they’ve “watched the movie.” They’ve heard the words, they’ve seen people act out the scenes, but to truly see Glengarry Glen Ross, go see this production at the Seattle Rep—it brings this play to life.

Review by Andrew J. Perez

South Pacific - 5th Avenue Theatre

2010-02-01T16:01:00.000-08:00

South Pacific

5^th Avenue Theatre

January 29 - February 21, 2010

Tickets and Information

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

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

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

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

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

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

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

Review by Andrew J. Perez

The Great Divorce -- Taproot Theatre Company

2010-01-30T23:20:00.000-08:00

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

The Great Divorce

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

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

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

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

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

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

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

Review by Kenna Kettrick

Speech and Debate - Seattle Repertory Theatre

2010-01-21T00:24:00.000-08:00

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

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

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

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

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

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

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

Review by Kenna M. Kettrick

Electra - Seattle Shakespeare Company

2010-01-09T11:04:00.000-08:00

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

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

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

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

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

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

Review by Kenna M. Kettrick and Andrew J. Perez

Black Nativity - Intiman

2009-12-05T13:13:00.000-08:00

Black Nativity

Intiman

December 1 – 30, 2009

Tickets and Information

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

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

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

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

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

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

Review by Andrew J. Perez

Twelfth Night - Seattle Shakespeare Company

2009-12-05T01:40:00.000-08:00

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

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

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

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

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

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

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

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

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

Review by Kenna Kettrick

Sister's Christmas Catechism - ACT

2009-12-04T10:12:00.000-08:00

Sister’s Christmas Catechism

ACT

November 27, 2009 – January 3, 2010

Tickets and Information

Aubrey Manning as Sister in Sister's Christmas Catechism.

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

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

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

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

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

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

Review by Andrew J. Perez

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

2009-12-04T00:39:00.000-08:00

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

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

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

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

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

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

Review by Kenna Kettrick

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

2009-12-03T09:59:00.000-08:00

It’s a Wonderful Life: a Live Radio Play

Taproot Theater Company

(at North Seattle Community College, Stage One)

November 27-December 30, 2009

Tickets and Information

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

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

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

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

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

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

Review by Lia Morgan

A Christmas Carol - ACT

2009-11-29T20:18:00.000-08:00

A Christmas Carol

ACT

November 27 – December 27, 2009

Tickets and Information

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

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

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

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

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

Review by Andrew J. Perez

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

Equivocation - Seattle Repertory Theatre

2009-11-24T09:30:00.000-08:00

Equivocation

Seattle Repertory Theatre

November 18 – December 13, 2009

Tickets and Information

The play opens with the question we ask ourselves every day: “Why me?” In this case, the questioner is a man named Shag—short for Shagspear, yes, William. He is standing in the office of Sir Robert Cecil, the man who put the Scottish King James I on the throne of England, and who is now commissioning William Shag to write a play: The True History of the Powder Plot. Through protests that he doesn’t write propaganda or current events, and that his “cooperative venture” of a theater company won’t vote to do it, Shag accepts the money with raging doubts as to the possibility that the play can be written at all.

Shag’s doubts lead him on a quest to find the truth behind the true history of the Powder Plot which leads him to innumerable questions as to the loyalty and faith of his dearest friends and what price he is willing to pay to speak the truth.

The Cast of Equivocation. Photo by Jenny Graham, 2009.

Bill Cain’s script is tightly written, based solidly on fact (or at least well documented conjecture) without being a slave to the time period. Cain’s dialogue never tries to be Elizabethan, but flows seamlessly from modern dialogue to Shakespeare’s own words.

Four of the six actors play multiple roles, while Anthony Heald and Christine Albright anchor the play as Shag and his dark-minded daughter Judith. The other four men (Richard Elmore, Jonathan Haugen, John Tufts, and Gregory Linington) play actors in Shag’s company, as well as Cecil, King James, accused traitors and other characters of the story. They continuously shift from one character to the next with no pretense, creating a complete world in which all characters can exist in the bodies of six actors. When the company performs their final play for King James, John Tufts takes this shifting to a new level, portraying both the king and a player within the performance, jumping from throne to stage with naught but a crown and a flick of his cape to mark the change.

Director Bill Rauch brought this production to us fresh from the Oregon Shakespeare Festival. His work with Cain’s text and the expertise on the stage presented to him is, without a doubt, fantastic. There are, as with most productions, some elements of forced theatricality that can detract from the skill on display. However, overall, Rauch’s direction is taut enough for such a precise and delicate piece while still leaving room for the considerable humor throughout the play.

In regards to the elements of design, Christopher Akerlind’s lighting design not only shines out among the rest for its sharpness, but also gets special recognition as the only design element to be native to Seattle for this production. The Ashland designers who accompanied this production, transplanted from the Festival, similarly are among the top of their fields and do not disappoint.

Equivocation has obvious, and occasionally explicit, parallels to our own time, in themes of torture, terrorism, sociopolitical dealings and the conflation of religion and politics.

However, the play gets us thinking about our time without ever taking us out of the 17^th century in England. It is a period play that is surprisingly modern, and like Shakespeare’s own work, discusses a specific time period and is, at the same time, timeless.

Review by Kenna Kettrick & Andrew J Perez

HONK! - Seattle Musical Theater

2009-11-14T01:09:00.000-08:00

Honk!
Seattle Musical Theater
November 13-29, 2009
Tickets and Information

The onomatopoeically named Honk! is the story of the Ugly Duckling of Hans Christen Andersen fame, retold in a modern musical style by George Stiles (music) and Anthony Drewe (book and lyrics). The musical had its big break ten years ago, when it somewhat surprisingly won England's Olivier award, over more currently well-known shows such as The Lion King and Mamma Mia. Since then, it has been produced all over the world, and is currently showcased by Seattle Musical Theater at their stage in Magnuson Park.

The cast of local actors ably handles the light-hearted ensemble songs, the mournful moments, and the occasional quite complex harmony, conducted by musical director Paul Linnes and his small orchestra. The cast is led by Jeremy Adams as a delightfully awkward Ugly Duckling and is solidly anchored by Dawn Brazel playing Ida, Ugly's mother. Brazel shifts believably from scolding wife to surprised but loving mother, and she is at her best when the pure adoration of her strange son shows through in her singing, whether teaching him to swim or discovering he is missing from the farmyard. Also of note is a jazzy Cat (Jesse Smith), who sports a marvelous mustache and slinky footwork, and shamelessly, but hilariously, hams it up during his songs (especially “Play With Your Food,” as he becomes increasingly frustrated while trying to eat Ugly for lunch).

The entire musical is peppered with in-jokes and animal puns (“come on down and don't be strangers / in our duckyard of free rangers” is only one example). This could get old quickly, but for the fact that director and choreographer Ann Arends never hits too hard with the jokes, keeping the pace light during the humorous moments and not taking the puns seriously. While it shifts in mood and has its share of mournful moments, the play keeps continuously moving and never loses its audience.

Deane Middleton's costume designs are wonderful representations of the animals in the English farmyard and beyond: bustled skirts or tailed jackets imitate the back tail of poultry, wide-rimmed bonnets show beaks, and fluffy white skirts and sleek white suits give us the splendor of the swans, without ever a glimpse of a literal animal costume. Jason Philips' set design is a plethora of cat-tails and a movable bridge, allowing for smaller set pieces to move in and designate places on Ugly's journey with a minimum of fuss, and Richard Schaefer's lighting ably guides the action in each scene.

Honk! is a sweet story, with an almost too-pat ending for the teasing that Ugly endured as a duckling. But the play, and this production, is witty, warm-hearted and sincere, and imparts a lesson we could all stand to learn again: don't judge by appearances, because that awkward duckling just might turn out to be a beautiful swan someday.

Help Fight Prostate Cancer One Moustace at a Time!

2009-11-08T10:39:00.000-08:00

Gentlemen, start your moustaches! Ladies, help them out! We're fighting Prostate and Testicular Cancer with the best weapon our natural creation has given us: Facial Hair! Welcome to:

MOVEMBER!

http://www.us.movember.com/mospace/232837

Movember is a a month-long donation-raising expedition raising money that will go directly to the Prostate Cancer Foundation and LIVESTRONG, the Lance Armstrong Testicular Cancer foundation.

Andrew J. Perez of Broadwayhour.com has shaved off his handlebars to regrow whatever moustache he can while raising money to fight Prostate and Testicular Cancer. Kenna M. Kettrick of Broadwayhour.com is supporting his moustache growing with donation-getting of her own!

This is where you, our loyal readers and friends, come in.

We need donations. We are trying to reach a goal of $1500.00. It's a modest goal considering some of the amazing fundraising that is happening around us, so help us smash it and blast forward with as much as we can muster. Prostate Cancer affects one in six men in their lifetimes and Testicular Cancer is the most common cancer affecting men ages 18 to 35.

Help us raise awareness by growing a moustache! Help us fight back by donating! Join our team (The Illyirans) and raise money as well! Every cent counts. When I sent out a facebook invitation I've tried to get people to understand that if every person who received that invitation had donated $2.00, we would have hit our goal in one shot. Help us get there and help us go the extra mile. Fight Cancer, look hot with a moustache and be part of the newest craze that's sweeping the Nation and the World: MOVEMBER!

To donate, join or track our progress, follow any of the links above or this one right here:
http://www.us.movember.com/mospace/232837

Opus - Seattle Rep

2009-11-04T23:27:00.000-08:00

Opus

Seattle Repertory Theater

October 30 - December 6, 2009

Tickets and Information

Michael Hollinger’s Opus begins with the four original members of the Lazara String Quartet, in separate pools of light, each holding their instrument. They speak to us as though each is alone, but their words overlap, come one after another with perfect tempo, and occasionally are spoken in unison—their words played together in concert like their music will be just a moment later.

When the lights return to full stage, the profoundly talented but “unpredictable” violist Dorian (Todd Jefferson Moore) is gone, replaced by Grace (Chelsea Rives), who is auditioning for the empty spot. Opus is the story of that quartet, their ambitions and characters, like their music, distinct but entwined.

Carl, the cellist (Charles Leggett) is the low note, attempting to anchor the group, but with difficulties of his own; Leggett is a master at both subtle gravitas and drought-dry humor, both of which he brings to bear on Carl. Alan, the second violinist (Shawn Belyea) is the most normal of the four, punctuating Grace’s nerves with jokes and a little flirting. Elliot, the first violinist (Alan Fitzpatrick) is high-strung, ambitious and stubborn—and not-so-secretly Dorian’s lover. It is this relationship that is the beginning of the group’s breakdown, and newcomer Grace becomes the catalyst for both revisiting their past and their attempts to move forward. Moore, in his flashback and present-time scenes, invests Dorian with physical grace, slight awkwardness, and a pitch-perfect touch of melancholy, stemming from his “buggy” mind and his deep connection to the music.

Director Braden Abraham uses the Rep’s Leo K. stage and his actors’ talents to great effect. Etta Lilienthal’s simple but versatile set has the pale wood and clean lines of a concert hall, and Abraham’s staging gets the most out of it. L. B. Morse’s light design is a symphony in itself, using deep pools of light, gentle washes, or, perhaps most effectively, a color-tinted scrim against which the actors, swaying to their own music, are silhouetted at the end of scenes. In a play that revolves so closely around music, the sound designer is vastly important, and Matt Starritt rises to the challenge. All the music from the Lazara Quartet is recorded, but it sounds different in each scene, if they are in a house rehearsing or in a vast concert hall. Most impressively, during a rehearsal scene in which the quartet restarts the same five measures three times, those three recordings are subtly but clearly different (an obvious act for a sound designer, perhaps, but one much appreciated by this reviewer and her companion).

Nods must also be given to Michael Jinsoo Lim and Melia Watras, music consultants; their work showed in the obvious reverence each character had for their instrument, the movements of each actor while they “played” those instruments, and the clear understanding the actors had when they spoke of music.

Opus is a one act, but it packs a wallop in those 90 minutes; the scenes and dialogue move at a fast clip, and only slow down for the music itself—like the characters themselves, which occasionally seem to be moving too fast or in the wrong direction, and yet are able to, with their music, create something complex, intimate and beautiful in its mortality.

(Image coming soon!)

Review by Kenna Kettrick

Rock n' Roll - ACT

2009-10-16T01:32:00.000-07:00

Rock n’ Roll

ACT – A Contemporary Theatre

October 15 – November 8, 2009

Tickets and Information

As an American city born and bred for musical explosions and dissension, Seattle holds the torch high for her citizens who understand the sentiment of the sixties and seventies. The anti-war demonstrations, the concerts in any available space, the free love and rebellion wave that crashed on the shores of the west coast and soaked every city in one way or another from Seattle to Nantucket. However, take Czechoslovakia and England at the same time and you might tend to overlook the surf of the American wave in the tsunami crashing down on Europe. Total social upheaval, the founding of a politically and socially new way of thinking, let alone living, and all of it encapsulated in some way by the music. Ladies and gentlemen, Tom Stoppard’s Rock n’ Roll.

Matthew Floyd Miller and Jessica Martin. Photo by Chris Bennion, 2009.

Kurt Beattie’s production of Stoppard’s astoundingly philosophical and political drama is a thick production that ought to be seen, read, seen again and discussed if at all possible. The play spans thirty years in the lives of several rebels and philosophers in Europe from the sixties to the early nineties in just ten minutes shy of three hours. Make no mistake: this is a challenging play that cannot be taken lightly and, incidentally, should not be missed.

Rock n’ Roll, as the title suggests, is driven by the music that drove the thinkers in their time. Matthew Floyd Miller brilliantly embodies the character Jan (pronounced like YAWN) in this essential manner. On the other side of the coin, Anne Allgood plays Eleanor and the adult Esme (pronounced like S-MET) with such heartbreaking passion as would make the stones weep. Along with Miller and Allgood is an absolutely outstanding cast of some of Seattle’s finest actors.

Behind the scenes, much work must be done on a show such as this. With a full half-page of the program dedicated to music credits, Brendan Patrick Hogan (sound design) had his work cut out for him and excels beyond expectation. Similarly, Kurt Beattie had no easy task laid out for him in directing such an ambitious piece. Not to put too fine a point on it, the script can easily read as an historical account of opposing philosophies that happens to be written in intensely passionate and clever dialogue. It takes a strong director with an energetic, intelligent and intensely dedicated cast to take a piece like Rock n’ Roll and bring it to life as Beattie and the cast and crew of this production do.

Rock n’ Roll truly is a spectacular show that will not come around often. Its relevance to our current political and socio-economic situation is irrefutable and, therefore, lends itself well to the zeitgeist we all currently share. Brush up on your Marx and Pink Floyd and put your thinking caps on because it is, very much so, a wild ride.

Review by Andrew J. Perez

Joseph and the Amazing Technicolor Dreamcoat--5th Ave

2009-10-16T00:13:00.000-07:00

Joseph and the Amazing Technicolor Dreamcoat
The 5th Avenue Theatre
October 10-November 1, 2009
Tickets and Information

The 5th Ave offers a night of care-free entertainment with the opening of Joseph and the Amazing Technicolor Dreamcoat, the musical brainchild of Tim Rice and Andrew Lloyd Webber. Though the story is straight from the Bible it is told quite untraditionally through a pastiche of musical styles and references, with everything from western hoedowns to reggae.

Photo by Christ Bennion.

Joseph is clearly the favorite son of Jacob, much to the chagrin of his 11 brothers. Born with the gift of interpreting dreams, Joseph is lavished with gifts and praise by his blissfully oblivious father. The brothers have had enough, so they sell Joseph into slavery and tell Jacob his favorite is dead. Through a series of unfortunate events, Joseph ends up imprisoned by the Egyptian Pharaoh, but Joseph successfully interprets the Pharaoh's dreams and quickly rises to second in command. When his 11 brothers unknowingly come begging for mercy and food, Joseph works his way arounf to forgiveness.

Anthony Federov, a former American Idol finalist, does respectably as the ever-optimistic dreamer Joseph (singing is clearly his gift; acting, not so much). Jennifer Paz commands attention as the Narrator with crystal-clear vocals and personality galore. But the stand-out performances go to Joseph's 11 brothers (too many to name--just go see them!) who strike the perfect balance between comedy and earnestness, especially in the cigarette-filled wails of "Those Canaan Days". Rounding out the cast is a chorus of children (finely tuned and obviously excited to be onstage--Seattle theatre is in no short supply of young talent).

Photo by Christ Bennion.

A show as technically heavy as this one takes a production team with lots of skill and drive. The set, designed by Martin Christoffel, provides an efficient use of space that serves all the action and foot traffic well. mark Thompson's costumes sparkle with appropriately bright colors and are rightly influenced by the endless party that was the 1970s (or so I'm told). Tom Sturge's lights are a powerful force, gently and not-so-gently coaxing the audience into the dance party atmosphere. At the helm of this technical disco extravaganze is James Rocco, the director. Rocco showcases the performers' heart and effort, which makes the cheesiness and good-natured fun worthwhile. Jayme McDaniel's choreography is creative and entertaining.

Joseph and the Amazing Technicolor Dreamcoat is much like cotton candy. There isn't much need for it all the time, but it is a fun and welcome addition to any diet--not to mention its's kid-friendly. Word to the wise: those who are sensitive to strobe lights should be wary!!!

Review by Kacey Shiflet.

Abe Lincoln in Illinois - INTIMAN

2009-10-10T11:49:00.000-07:00

Abe Lincoln in Illinois

INTIMAN

Tickets and Information

October 2 – November 15, 2009

When American citizens think of common men, Abraham Lincoln is probably the furthest thing from anyone’s mind. As the sixteenth president of our country, the man who ended slavery and a man who was gunned down by a disgruntled actor who, to this day, no one is quite sure of all of his motives, Lincoln is, by all accounts, a true American Hero. However, what of the man behind the beard? What struggles did he have as a young man and how on earth did he end up in the White House? Robert E. Sherwood answers the call in this fantastically engaging epic play.

Erik Lochtefeld and R. Hamilton Wright. Photo by Chris Bennion 2009.

No smoke and mirrors here: Abe Lincoln in Illinois is a long play. With three acts, two intermissions and clocking in as (with intermissions included) a three hour adventure, it’s a long play. However, never once does it drag and never once does it bore. Sherwood’s script is highly entertaining and, though we all know how the story will eventually end, the bumps along the way keep the audience engaged every minute of the show.

Sheila Daniels takes this seventy-year old, Pulitzer Prize winning play and runs with it. Her direction and staging with her nineteen-member cast is very effective and the vaguely-metatheatrical script lends itself well to Daniels’ somewhat presentational staging tactics. Along with Daniels is a creative team to make any theatre veteran swoon. From the highly evocative set design (Mikiko Suzuki MacAdams) to the moving original compositions (Gretta Harley, Music Direction by John Ackermann) to the gentle suggestions from the lighting design (L.B. Morse), the creative team is, in and of itself, an all star cast.

Similarly, the knock-out cast of performers is one to get any Seattle theatre-goer giddy with recognition. R. Hamilton Wright as Stephan A. Douglas, Mary Jane Gibson as Mary Todd Lincoln (the Todd with two D’s), and other outstanding performances from Hans Altwies, Kate Wisniewski and many more create a every exciting world. Erik Lochtefeld, not unfamiliar to Seattle’s theatre scene (Seattle Rep’s Metamorphoses and The Secret in the Wings) presents Abe Lincoln as no one knows him: simply a man. Born at the bottom of the barrel and working his way up, mostly against his will, from private lessons with a generous school teacher in the wee hours of the night to the front steps of the White House, Lochtefeld’s Lincoln is the kind of guy with whom no one is unfamiliar. He has no trouble entertaining a crowd but is deeply troubled by challenges with women. He is a great pacifist but will lay a man out if the need arises. He’s the kind of guy you want to have a beer with but if he gets going, you may need to find a new table. He’s fully human.

In an age when our African-American President – who is trying desperately to get our country back on track with what is important to us all, who is presented with an extremely generous Nobel Peace Prize and who is swimming completely against the wake left by his predecessor – is in office during Lincoln’s Bicentennial year, Sherwood’s play could not come at a better time.

Review by Andrew J. Perez

The 39 Steps--Seattle Rep

2009-10-01T00:21:00.000-07:00

The 39 Steps
Seattle Repertory Theatre
September 25-October 24, 2009
Tickets and Information

The first impression is everything. As far as theatre goes, the first production in a season sets the tone for the rest of the year. This considered, Seattle audiences are in good hands this year at the Seattle Rep who began their season tonight with The 39 Steps.

Photo by Craig Schwartz.

Brought to the stage in conjunction with the La Jolla Playhouse, The 39 Steps is a fast-paced comedy based on Alfred Hitchcock’s film and the book, both of the same name. Richard Hannay (Ted Deasy) is a lonely yet charmingly handsome type who suddenly finds himself accused of a murder, on the run from police and in pursuit of unknown foreign spies who have “the answers”. Along the way he meets Irish farmers, possible love interests, and curious men standing under lampposts in trench coats, all played hilariously by Claire Brownell, Eric Hissom and Scott Parkinson. As if that weren’t recipe enough for mayhem, the play embraces every single characteristic of Hitchcock’s filmmaking in a refreshingly self-deprecating and yet reverent way.

The stellar cast of four (with a special cameo by a ninth hand in the final scene) has obvious fun blasting through this whirlwind of a play. With so much going on non-stop, it takes a lot of chemistry and trust to pull it off. Deasy is schmoozy, charismatic and daring in all the right ways as Richard Hannay. Brownell is captivating as Hanney’s various love crossings. Working in tandem, Hissom and Parkinson steal every scene with lightning-fast quick changes (some you see, some you don’t) and endless bursts of energy.

Photo by Craig Schwartz.

For all of the accents and grand gestures, the ensemble would be nothing without the support of a spot-on technical team. Peter McKintosh’s sets and costumes stand up to the beating they take through the course of the production in a stylish, 1930s fashion. The lighting, done by Kevin Adams, is a creative homage to classic noir cinema. Mic Pool’s sound design uses only period and Hitchcock film music in a soundtrack that quickly takes the audience back to another time. In the center of the controlled chaos is director Maria Aitken. Every moment is choreographed and shaped perfectly to garner maximum laughs.

The 39 Steps is a golly good choice for an evening out on the town, especially during this time where laughs are much needed. It will entertain and thrill even those who live under a rock and have never enjoyed a classic suspense thriller. Hitchcock would be pleased.

Review by Kacey Shiflet.