Thom Pain (based on nothing) - Seattle Repertory Theater

Seattle Repertory Theater
October 5 - November 5, 2006
See website and box office for tickets

Thom Pain (based on nothing) is the closest approximation that anyone could make to what this play entails. Quite literally, there is Thom Pain on stage and the play is based on nothing. However, nothing becomes much deeper when Thom begins to alter our perceptions about the world and imagination. He takes us on a journey that doesn't conclude until he feels like he's done talking and when he's done, he's done.

Will Eno's play Thom Pain (based on nothing) is an interesting investigation of introspection and perceptions about the world. Once the play has concluded, the audience is left wondering about every aspect of the world and wanting to reach out and grab life by the horns. Despite its inspirational overtones, it pushes these emotions too forcefully. Eno seems to be throwing all of his psychological and introspective thought into the audiences face as fast as possible and with no continuity. Though a play with "based on nothing" in the title should be somewhat disjointed, Eno seems more confused than artistically and pointedly disjointed. Therefore, the play is somewhat hard to follow and certainly seems to have its own agenda that the audience is not entirely a part of.

Todd Jefferson Moore puts forth a forceful and impressive performance in this short one-man production. He carries all of the emotional and social insecurities and baggage of a naive child bewildered by death and puberty, a forlorn lover lost in the world and an aspiring conversationalist with a passionate dislike for magic. Moore, as has been proven in the past, holds audiences captive in the palm of his hand for the entire performance and never once lets them down.

Jerry Manning's direction for this production is impressive to say the least. To push a one-man existentialist introspection on stage into an entertaining spectacle with no effects or stage magic, or even a set for that matter, is an incredible feat. Manning pulls it off with grace and dignity along side with Moore's unmatchable acting prowess.

Thom Pain (based on nothing) is an entertaining show but somewhat difficult to follow and certainly takes a lot of energy on the audience's part in order to catch even a drift of Eno's intent.

The Compendium of Nastiness - The Womb

Check out Brown Paper Tickets for information about the show.

In the style of Classical Gothic Melodrama seen through the visionary eyes of director and creator Ki Gottberg, we see a new way in which the good of innocence and virtue will triumph over evil. "The Compendium of Nastiness" takes ideas from "The Devil's Elixer" (1825) and "The Castle Spectre" (1797) and converts them to Ki's very special long-nail tickle [see show for details!]. It is the classic struggle of good versus evil where good will triumph and virtue will be saved with a few bumps and turns and convulsions along the way.

Creator and Director Ki Gottberg has gone past the point of no return into a world of fantastical and spectacular visual and experiential perception. Her work reaches out to a mature and intellectual audience through the lens of the bizarre and amazing. The puppetry that is used is beautiful, adorable, clever and extraordinary. Her simplistic set and environment draw one into her world.

Actress Elizabeth Kenny puts forth a valiant effort that is most certainly not in vain. Her performance and story telling ability are forces to be reckoned with. The story she tells and the manner in which she tells it is complex and straightforward for a cast of six. She holds all six in her hands and performs better than six together.

Simplicity and complexity meet in this extraordinary performance piece. Find a babysitter and experience "The Compendium of Nastiness."

Upcoming Shows

Seattle Shakespeare Company
206-733-8222
The Winter's Tale >October 26 – November 19, 2006
The Comedy of Errors >January 4 - Januray 28, 2007

Seattle Repertory Theater
(206) 443-2222
Thom Pain (Based on Nothing) >October 5 – November 5, 2006
The Great Gatsby >November 2 – December 10, 2006

ACT Theater Seattle
206.292.7676
The Underpants >October 13 - November 12, 2006
Waiting for Godot >November 8 - 12, 2006

Seattle Opera
(206) 389-7676
L'Italiana in Algeri >October 14 - 28, 2006
Don Giovanni >January 13 - 27, 2007

L'Italiana in Algeri - Seattle Opera

October 14-28, 2006
McCaw Hall
(206) 389-7676 for tickets

If Rossini, Moliere and Sondheim and collaborated on an Opera-comedy, Seattle Opera's production of "L'Italiana in Algeri" (The Italian Girl in Algiers) is what would happen. This story-book telling of the forlorn love story brings to life the imagination of an innocent mind seeing, for the first time, deceit, lust and love.

As Isabella (Stephanie Blythe or Helene Schneiderman) searches the deserts of Algiers for her lost lover Lindoro (William Burden or Lawrence Brownlee), she is captured by the lusty Mustafa (Simone Alberghini or Kevin Burdette) so that he can satisfy his desire for an Italian Girl. He throws out his wife, Elvira (Sally Wolf), by thrusting her upon Lindoro. When Isabella finds this situation, she uses her feminine whiles and complete and total power over all men to rectify the situation so that, in the end, the good guys will win and the bad guys will "see but not see" what exactly has happened to them.

The entire cast is extremely strong. Those carrying intense roles such as Lindoro, Isabella and Mustafa have an amazing stage presence and overwhelm the audience with their power and potency. Meanwhile the support behind the heavy-hitters is completely indispensable. From Taddeo (Earle Patriarco) to Vlad the Impaler (David Smith-Larson), every cast member carries their role with poise and technical skill that could make the best performers rethink their abilities.

Director Chris Anderson along with Conductor Edoardo Muller bring this production together in a very efficient and acute manner. With a show as Wiley as "L'Italiana," one can easily get lost and confused with seemingly arbitrary or overly lengthy portions. However, Anderson's direction of the blocking and actions keep the audience involved and on their toes. David Woolard's costumes are a wonderful introduction for him to the Seattle Opera. His color schemes match perfectly with Robert Innes Hopkins' sets. Meanwhile, Duane Schuler's lights compliment every moment of the production perfectly.

Overall, this production is extremely enjoyable and thrilling. It will keep you entertained and laughing throughout the entire show and begging for more during intermission and on the way home.

Wicked - Paramount Theater

Wicked has graced the stages of countless cities and theaters across the nation, and now has arrived in Seattle. It is the story of the Wicked Witch of the West as told through they eyes of Gregory Maguire (author of Confessions of an Ugly Stepsister, mirror mirror and Son of a Witch) then adapted by Stephen Schwartz (creator of Godspell, Pippin and Children of Eden). Since Wicked's debut in San Francisco in mid-2003 it has moved its way straight to the top of every chart. When it hit Broadway in late 2003, it captured the hearts of the entire nation, winning ten major awards including Best Actress in a Musical (Idina Menzel), Best Scenic Design (Eugene Lee) and Best Costumes (Susan Hilferty).

Now the tour has found its way to Seattle, and what a tour it is! This production can easily boast some of the most impressive designs and performances that I've seen yet in Seattle. The cast carrying the show are as tight as can be. Megan Hilty and Shoshana Bean as Glinda ("the Gaaa is silent") and Elphaba (The Wicked Witch) carry their roles and each other with such grace and power that the audience can hardly remain seated or be capable of standing. The characters come to life so readily that one feels one is in Oz. Surrounding the poster witches are a cast of incredibly talented actors including, but of course not limited to, Sebastian Arcelus as the love interest, Fiyero, Josh Lamon as the love interested, Boq, and Jennifer Waldman as Elphaba's sister, Nessarose. The power of these characters comes through the actors in such a real way that it is hard to believe they aren't them, themselves.

Joe Mantello, the director of Wicked, has proved himself once again after many past awards and grand successes. His direction of this tour of Wicked along with the production staff's capable designs and the abilities of the actors and orchestra have created a wonderful work of theatrical art. Eugene Lee's scenic design has stuck with the show through all of its tours and mounts. His adaptation of the Time Dragon Clock gives the audience who knows the Gregory Maguire novel an added level in the show.

All things considered, this show embodies what musical theater truly is. It is an escape from the mundane reality of life, it is a celebration of music and acting and it is truly a Wonderful Wizard of Art.

Wicked will be running through October 1 at the Paramount Theater.

Return to Seattle

Dear Readers,

I am now back in Seattle and back on the hunt for good theatre. I have begun my quest (see next post) and will continue through the beginning of December when I will take a one-month leave of absence and return in January until early June. Until then, read on and enjoy the wonderful world of Theatre!

Sincerely,
Nigel Andrews

Home for the Hollidays

Dear readers,

I'm in Sacramento for the Summer and will not be able to see a lot of theater. However, there may be some small posts throughout the summer. At any rate, check back in late September for more posts to come! Thanks for reading!

Dr. Dolittle - California Musical Theater, Sacramento

The classic tale of the animal-loving Dr. Dolittle done as only Tommy Tune could do it is brought to life for all to enjoy in this finale to the 2005-2006 Broadway Series Season. Song, dance and puppetry are brought together in a festive and exciting show in this production of Dr. Dolittle. Dr. Dolittle's search for innocence from the accusations of murder and the famous Great Pink Sea Snail lead the audience on a 90 minute, intermissionless adventure.

Dr. Dolittle is the show to see if you want to bring your children to the theater this season. The fast-paced nature of the show and short run-time are ideal for children. The plot is easy to follow and is rapidly pushed forward at the speed of a child's imagination. This can lead to some confusion for adults, but as has been proven time and again, when it comes to imaginative adventures children are clearly much more agile and fit for the challenge! The entire show is based on fun, love and open-heartedness. There is not a single moment that does not exude these qualities.

Patti Colombo's and Joel Blum's choreography is the shining star of this production. The exciting tap numbers keep the audience tapping their toes and are very clearly extremely fun for the actors. Kenneth Foy's sets and Ken Billington's lighting designs are elegant and impressive from start to finish. And of course, Tommy Tune's performance shines just as brightly now as it did when he started his career in 1965. Dee Hoty (Lady Emma Fairfax) is an able match for Tune's stage presence and the two compliment each other's styles very well. One of the more entertaining and endearing qualities of this show is the puppetry. All of the animals in their elegance and liveliness come to life by their talented puppeteers.

Though this show isn't any profound piece or incredible score, the show is fantastically fun and a wonderful hour and a half of enjoyment.

The Complete Works of William Shakespeare Abridged - Absurd Reality Theater at the Northwest Actors Studio

Is is possible for three men to perform all thirty-seven of William Shakespear's plays in one hour and a half performance? Apparently it is! The Complete Works of William Shakespeare Abridged combines modern rap, classical theatre, improvisation, all of Shakespeare's plays and Chuck Taylor All-Stars. This production, managed by Amanda Stoddard and created by the artistic team as a whole, takes the skeleton of a play that has been laid down by writers Adam Long, Daniel singer and Jess Winfield and gives it it's guts and skin. However, the guts and skin don't hold together too strongly. In this short play, timing and delivery are painfully important and difficult to control. Neither of these elements are as solid as they need to be. For the most part, the deliveries seemed a bit forced and inauthentic. Aside from the acting elements, the technical aspects also seemed a bit off kilter. The sound cues all seemed to be having volume difficulties, either too loud or much too quiet to fit with the action on stage.

Though there are some pitfalls to the production, it is extremely entertaining! Though the sound cues are somewhat troublesome, what they are are hilarious. The song choices and use are fantastic. Also, the simplicity of the set with the humorous and fun swirl design on the curtains add the aspect of whimsicalness to the set that exists in the play itself. Brandon Ryan, one of the three actors, does an outstanding job in his roles and Tracie Owens (Light Operator) is as precise as the lights themselves.

This is a fantastically fun production to see and experience and even participate in. Enjoy the couches and the wacky fun of the show!

King John - Upstart Crow Productions at Capitol Hill Arts Center

Though King John's soul may have elbow room, there is certainly no room for anything to be lacking in Upstart Crow's production of King John at the Capitol Hill Arts Center. The story of King John is a bloody and treacherous slippery slope of war and murder. From King to warrior to corpse, King John fights his way to the top then clamors down the other side of the mountain, taking everyone he can down with him - or should I say her? Rosa Joshi's (director) production of King John is comprised of a fully-female cast attired in the powerful suits of the Twenty-First Century mixed with the crests and skins of the Twelfth. This lends an interesting slant and interpretation to this ancient history. The succession implications that are readily apparent in our war-stained world today are dealt with through the writing of William Shakespeare in the telling of the story of this King John. With the costumes - by Melanie Taylor Burgess - transcending any specific time restraint, the set, too, has to go beyond any specifics. This is fantastically accomplished by the set team originally led by Jennifer Zeyl. The blood spattered metal-plated floors and walls give the audience a feeling of an abandoned meat locker in a butcher's shop with the crests of England and France on either end of the long refrigerator. The simplicity and subtleness of the set is wonderfully complimented by the lighting design of Pattie West. The fades and spots that match the action and sound cues by M. Elizabeth Eller keep the audience perpetually on seat's edge. Rosa Joshi's direction of this production is phenomenal. Her interpretation of modern implications an the ways in which the actors deliver these centuries-old lines and still make them part of our own time are very precise and meticulous which gives the audience the ability to sit up and enjoy the rollercoaster ride. The cast is, overall, extremely strong. Amy Thone's portrayal of King John is incredible and Peggy Gannon's work as Philip the Bastard is equally impressive. Their stage presence is undeniably captivating and their emotions are felt by each member of the audience.

This production is an incredible work of art and I regret not having a chance to see it until the closing performance. However, look for more from Upstart Crow productions in the future!