A Tap Dance Christmas Carol

The Broadway Performance Hall
December 15 - 23, 2006
For Tickets: Ticket Window

Surely you have been told about Charles Dickens, the famous writer notorious for his classical literature, but did you also know he is a musical playwright? This premise opens up A Tap Dance Christmas Carol, a morphing production now in its 7th year of annual Christmas Cheer. This show finds its roots in the minds and feet of Cheryl Johnson and Anthony Peters, renowned tap dancers, owners of the Johnson & Peters Tap Studio in Greenlake, and directors, choreographers, and stars of this show. This year’s production continues their tradition of intriguing dance, unique twists on the classic tale, a jazzy orchestra, and an overall ambience of warmth, humor and Christmas spirit.

The cool, bluesy and upbeat arrangements from the talented three piece orchestra (directed by Clayton Murray) weave their way through solo performances, scene changes, and dance after dance in their intimate role with the action onstage. The intricate involvement of the orchestra onstage and in the show helps to compliment the feelings and emotions expressed by the characters. Instruments even take center stage to stimulate the audience with unique arrangements of classic favorites, making the show not only a musical, but a mini concert of three very talented musicians.

With the band occupying upstage and a great deal of action and dance tapping through the foreground, a minimal set by Seattle Scenic Studios is used to compliment the emphasis on lighting design by Richard Schaefer. The crafty use of lighting shows detailed changes from narration to action, and specifically depicts atmospheric emotion, from warm, as in the Cratchit household, to cool, as in the solo orchestra numbers throughout the show, to dark and deadly in the graveyard. Each skillfully lighted moment helps to aid in the development of plot, character and atmosphere.

From the moment the first actor speaks, humor becomes a central motif. Through overly corny jokes (specifically a traditional reference to Geico auto Insurance), script writing (playing off the original Dickens’ story), and even costume design (a light up tux at the top of the 2nd act) a lighter, comedic attitude is taken towards the story.

Tying the show together is the beautiful footwork of the tap dancers as they perform newly choreographed pieces and old classics, modified and seasoned from years past. Besides the shear enjoyment of the art of tap, its role went beyond this to take on specific roles in the show. Whenever Ebenezia Scrooge was destined to learn something from the ghosts, it was through joining the visions in dance. It is also through dance that she experienced the truth of Christmas by sharing a gorgeous, moving tap piece with her niece, Frieda (Jessie Sawyers). A Tap Dance Christmas Carol offers a unique way to experience the holidays, through the 23rd,with a cast of talented and energetic tappers.

Review By Rick Skyler

All Shook Up -Paramount Theater

The Paramount Theater
December 12-17
206-467-5510

Begin with the upbeat music of Elvis Presley and the ridiculous plotlines of Shakespearian comedy, throw in a good helping of Bye, Bye, Birdie and The Music Man, followed by a generous portion of Footloose, mix it artfully together and All Shook Up blasts from the oven. This vibrant show not only takes corniness to a new level, but also does it in such a well thought out and strategic way that its ridiculous chain of events will amuse any viewer.

The beginning is somewhat abrupt, opening with a variety show-like atmosphere that is perpetuated in subsequent numbers, in which songs are forcibly introduced by awkwardly posed scenes. As we coast through the blast out number “C’mon Everybody,” with its intense energy and electrifying choreography, the corniness starts to take on the style of a musical rather than a variety show. However, it isn’t until “Teddy Bear/Hound Dog” that its form as a musical really takes shape, and one becomes immersed in the story of people in a topsy-turvy world where every one is “All Shook Up” in so many ways.

Stephen Oremus’ song arrangements are masterful, keeping the fun, upbeat feeling of timeless Elvis songs while suiting them to a musical style; either combining songs into duets (as in “Teddy Bear/Hound Dog,” an argument in song), expanding the song with harmonies (a prime example being the finale “Burning Love”), or by running themes throughout the show (such as “One Night With You,” which literally blasted forth from characters whenever they fell in love).

The crafty use of satiric comedy in this over the top world also emanated from its explosive choreography and specific design elements. The lighting and set design, directed by Donald Holder and David Rockwell, respectively, aid in creating a dynamic world in which both the most cozy and intimate scenes can take place, and expansive scenes extend off into the wings. Some lighting cues bring the hilarity of moments into focus, and leave many audience members throwing their heads back in laughter. The “roustabout” Chad (Joe Mandragona) uses his magic touch to electrify the town jukebox, and Natalie/Ed’s (Jenny Fellner) singing in “A Little Less Conversation” brings the conveniently abandoned fairgrounds to glitzy, electric life, in a physical touch that is illustrated by the flamboyant but specific lighting. Amid its quirky, overblown atmosphere All Shook Up is an enjoyable comedy with the intention of pleasing its audience; and so poignantly succeeded.

Review By Rick Skyler and Lia Morgan

Weekly Update 12/15

I will now start updating this post weekly with news of what is happening in the Seattle Theater scene. I will try to do this in the morning, but it will definitely be on Fridays. That way, you can make your weekend plans right here, right now! So, with no further verbage:

The Paramount Theater
Tickets Info
All Shook Up >December 12-17, 2006

Intiman Theater
Tickets and Info
Black Nativity >November 29 - December 27, 2006

ACT Theater
Home page for Ticket Info
A Christmas Carol >November 24 - December 24, 2006
Menopause the Musical >running through May 28, 2007
Late Night Catechism >running through August 2007

A Christmas Carol -ACT Theater

ACT Theater
206-292-7676
Runs Through December 24, 20006

The classic Charles Dickens' novel, adapted for the stage by Gregory A. Falls, brings to life one of the most timeless and beloved stories of redemption and rebirth that our world has ever known. Margaret Layne, the ACT Theater's Artistic Associate and Casting Director, states quite eloquently in her short piece "Keeping Christmas Well: How Charles Dickens Invented Christmas" included in the program that Dickens' story truly created Christmas as we know it today. Long ago there was a time when there would be a 12-day celebration of Christmas during which all of London would celebrate together in solidarity and joy. The Industrial Revolution blotted out that time-taking along with the blue sky in its ever-darkening cloud of soot and work. However, Dickens' "A Christmas Carol," written, unusually, not primarily for financial compensation in printed publications, brought back that spirit of old; that loving spirit in which all women and men came together to celebrate a year past and a new year to begin.

This production of "A Christmas Carol" brings ever more charm and magic to the time-worn story. R. Hamilton Wright's direction brings sense of life and vividness to each character whether they are speaking or simply walking by in the bustling crowd of London. Each person and each piece of the set has a purpose and an artistic realism that brings the audience into the world of Dickens' imagination and pulls on the audience's emotions until Tiny Tim's (Langston Guettinger, DeLancey Grace Zeller Lane) overwhelming innocence and Scrooge's (Terry Edward Moore, David Pichette) eventual redemption boil up the most heartwarming joy the theater and classic literature have to offer.

The design team created a spectacular world for the characters to roam. Trap doors lead to new worlds and imaginary buildings bringing the audience inside the world of the play. One is, however, snapped back to reality any time imaginary drinks are poured and consumed. Regardless of the lack of liquids, the world is absorbing and wonderful and a creation for which to be proud.
Terry Edward Moore and Langston Guettinger, "A Christmas Carol" Photo: Chris Bennion. (2006)

Memory House -Seattle Repertory Theater

Seattle Repertory Theater
(206) 443-2222
Runs Through December 17th

On New Year’s Eve, with three hours before the deadline for a postmark on her application essay to her top choice college, Katia (Sharia Pierce) and her mother, Maggie (Jeanne Paulsen) struggle to find each other through each other’s eyes. Throughout the course of this 80-minute rollercoaster, one will struggle to decide who is right and who is deluded. Kathleen Tolan’s Memory House portrays the showdown between teenage angst for identity and middle-age identity crisis in such an eloquent manner that the audience gains a glimpse into the true-to-life anxiety of the night before the application essay is due. The dialogue is piercingly painful and will have each viewer rethinking what memories are the ones to hang on to.

Paulsen’s performance is an absolute phenomenon. Every viewer will see a mother from life in Paulsen’s character. Maggie’s overwhelming love for her daughter boils forth from Paulsen into the world of Memory House. Equally outstanding is Pierce’s presentation of Katia. Her physical awkwardness encapsulates the feeling of those last minutes as fully high school student before the world of College crashes through the gates of her life with blinding force. Both Paulsen and Pierce bring these characters to life on the stage and light up each viewer’s own memory house.

Sharia Pierce and Jeanne Paulsen

Matthew Smucker’s set is another work of artistic splendor. His attention to detail in filling every shelf with trinkets and books and accuracy in a fully functioning kitchen give the audience the feeling of intruding upon someone’s home. Dominic CodyKramers’ sound design is also a feat at which to be marveled. His precision and subtlety with pointed car alarms and sirens bring the Memory House to reality.

Allison Narver’s direction of Memory House brings out the best in all of the elements of this production. Every bit of Tolan’s story and purpose comes through Paulsen and Pierce in the world created for them by their outstanding design team. This is a fantastic production that every Mother-Daughter pair and family dealing with the struggle of prospective colleges should see and discuss. “You have a choice. That’s a big deal” (Maggie, Memory House).

Native Son -Intiman

Intiman Theater
Through September 19th

Richard Wright's classic piece of African-American literature struggled through many trials and tribulations to come to life for audiences of Seattle at the Intiman Theater. After losing the rights to the originally planned script, director Kent Gash gained rights to the original Richard Wright and Paul Green play and adapted it for the current run in under three weeks. Bringing together an amazing cast surrounded by a beautiful set and lifted up by incredible music, this play will have everyone examining the foundations of our culture.

Kent Gash's direction and adaptation of this book made play are a testament to his skill. Though much of the tension of the novel is lost due to time constraints in a stage form of this story, the fear, flight and fate (the three main themes of the novel) are clearly present. Every vital event, character and interaction is present in this adaptation. Gash's direction of the play comes together beautifully and naturally. The scary thing is that there is nothing unnatural about this play. Every event and action seems completely feasible and factual.

Ato Essandoh (Bigger Thomas) brings to life a magnificent character. His stage presence shines above the play as a personal torch to light the way of Wright's meaning through his story. He is supported by strong cast including Richard Kline (Mr. Max) and Felicia V Loud (Vera Thomas and Bessie).

Chic Street Man's musical composition is a subtle and impressive addition. Bringing a new almost cinematic perspective to the play, his musical stylings augment the time period, emotion and plot of the play.

Though not a must-see, definitely a recommended production. Though it only runs for the remainder of this week, I highly suggest seeing it if possible.

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.