Weekly Update - 2/23

Seattle University - Lee Center for the Arts
Tickets and Info
As You Like It >February 15 - 25, 2007

Seattle Opera
Tickets and Info
Julius Caesar >February 24 - March 10, 2007

The Paramount Theater
Tickets and Info
Chita River: The Dancer's Life: The Musical >February 27 – March 4, 2007

ACT Theater
Home page for Ticket Info
Menopause the Musical >running through May 28, 2007
Late Night Catechism >running through August 2007

Seattle Repertory Theater
Tickets and Info
The Blue Door >February 1 - March 4, 2007
Fire on the Mountain >February 22 - March 24, 2007

University of Washington
Tickets and Info
Jane Eyre >February 11 - March 4, 2007
The Mill on the Floss >February 13 - March 4, 2007
Mad Forest >February 25 - March 11, 2007

The 5th Avenue Theatre
Tickets and Info
Buddy: The Buddy Holly Story >February 13 – March 4, 2007

As You Like It - Lee Center for the Arts at Seattle University

As You Like It
Lee Center for the Arts At Seattle University
February 15-25, 2007
Call (206) 296-2244 for Tickets and Information

When an actor or director decides to take on a William Shakespeare play, it is not without some thought. The "Ye Olde English" dialog that is often made fun of in old Billy's plays is double edged-sword, scaring away the more skittish theater goers whilst enticing the die-hard and poetic souls of the dramatic world. It can be a difficult feat to make such a play accessible to all. Yet this is what happens in the Seattle University's Fine Arts Program's rendition of As You Like It.

The acting within the play is stellar. Even with the rather odd mirror of women playing men's roles (in Shakespeare's days, all women roles were played by men), the audience is ever swept into the world that is created for them. They believe it when Orlando (Damian Peterson) and Rosalind (Cozy Josephson) talk about their mutual love and when Duke Frederick (Katherine Manteca) punishes Oliver (Colleen Egan). A good percentage of the cast plays double roles, each with their own distinctive personality. By far not an easy feat, it comes off flawlessly and with little question on the part of the audience. Some of the As You Like It actors are also talented singers and their voices add a sweet sound to the show.

Concerning the technical aspects, the key word seems to be "surprise". Whether it's the lighting (D.M. Moon) or the music (Dominic CodyKramers), As You Like It likes to keep it's audience members on their toes. Unfortunately, this can not be described without potentially ruining the fun for any person reading this review who has yet to see the show. Just remember; nothing is exactly as it appears. From beginning to end, the audience is left second guessing most every part of the show. Director Jon Kazanjian did a wonderful job with his resources.

So whether the theater goer is steadfast or completely new to the scene, As You Like It should delight them.

Review by Jack Jarden

Buddy, The Buddy Holly Story - The 5th Avenue Theatre

Buddy, The Buddy Holly Story
The 5th Avenue Theatre
February 13th-March 4th, 2007
Tickets and Information

The ending of Buddy Holly's life, along with that of the Big Bopper and Ritchie Valens, is tragic and comes rushing back into people's memories whenever the song "American Pie" by Don McLean is played. Yet the music that Holly played, his love of rock and roll...that's the true story of his life. He may not have been able to write any more songs after that day in February of 1959, cutting what could have been a very long and prosperous career down to less that two years, but his music certainly did not die; it lives on in the hearts of people, young and old.

Certainly, this is the theme that is being played on in 5th Avenue Theatre's and director David Bennett's take on Buddy, The Buddy Holly Story, written by Alan James and Rob Bettinson. By not adding any original music, it seems as if Holly has indeed risen from the dead to put on a show for his adoring fans. Even if an audience member hasn't heard of his music, there is no doubt a certain energy that is put behind every single note of rock and roll that is played on stage. All of the actors who play instruments on stage, with a special nod toward Billy Joe Huels (Buddy Holly), Matt Weiner (Joe B. Mauldin, a Cricket) and Mike Daugherty (Jerry Allison, a Cricket), are real musicians and can play very well.















Photo by Chris Bennion


However, with all of these elements, something is indeed lost. Buddy does not feel so much a musical or even a piece of theater as much as a revival concert for the late Buddy. The lighting (Tom Sturge), along with the choreography(Karthryn Van Meter) and the costumes(Taylor Burgess), simply are more in the vein of a live rock and roll show rather than a piece of theater. The set design (James Wolk) is very simple and comes to life, as does the rest of the show, most when song after song are played in succession and the actors on stage are talking to the audience much in the same way a conductor or any other live musician would. The acting was sub-par compared to other high-quality works.

Yet this is still a fun show. By dredging through the tragically unimpressive biographical portions of the show, the audience is treated to thrilling musically numbers that will have them tapping their feet and clapping their hands, and that is truly how Buddy Holly is best remembered.

Review by Jack Jarden

Weekly Update - 2/9/2007

Seattle University - Lee Center for the Arts
Tickets and Info
As You Like It >February 15 - 25, 2007

The Moore Theater
Tickets and Info
Altar Boyz >February 6 - 11, 2007

ACT Theater
Home page for Ticket Info
Menopause the Musical >running through May 28, 2007
Late Night Catechism >running through August 2007

Seattle Repertory Theater
Tickets and Info
The Lady from Dubuque >January 11 -– February 10, 2007
The Blue Door >February 1 - March 4, 2007

University of Washington
Tickets and Info
The Bacchael >January 28 - February 11, 2007
Jane Eyre >February 11 - March 4, 2007
The Mill on the Floss >February 13 - March 4, 2007

The 5th Avenue Theatre
Tickets and Info
Buddy: The Buddy Holly Story >February 13 – March 4, 2007

Seattle Public Theater
Tickets and Info
Travesties >through February 18, 2007

Blue Door - Seattle Repertory Theatre

Blue Door
Seattle Repertory Theatre
February 1 – March 4^th, 2007
Tickets and Information
206-443-2222

Is it possible for society or people to “beat the black out of you?” Tanya Barfield explores this notion in her play Blue Door. Bravely dealing with the social issues surrounding African-American culture in the United States from Pre-Civil War times though our modern day, Barfield’s play expresses the different sides of the issues from submission to success. With its use of music and subtle visual changes, Blue Door is a play to be experienced by all of the senses.

Directed by Leigh Silverman, Blue Door features the talents of Narelle Sissons (Set Design), Mary Louise Geiger (Lighting Design) and Daryl Waters (original music). Sisson’s simple and extreme open set gives the two actors enough room to open themselves up to the audience and each other while not feeling lost in an overabundant space. Augmented by Geiger’s lighting, the set and coloring come across poignantly to accentuate specific plot points and time or location changes. Waters’ music brings a sense of culture and tradition to the play in a manner that only as accurate music could.

On stage, Hubert Point-Du Jour, playing a myriad of roles from Lewis’ (Reg E. Cathey) family tree, does a phenomenal job at balancing his characters and mannerisms through his rapid changes in personality. His transformations are clear and precise yet seamless enough to go almost unnoticed as a change in one person. His characters’ influence on Lewis is apparent as the play progresses and his message comes through loud and clear.

Photo by Chris Bennion. Reg E. Cathey and Hubert Point-Du Jour

Though the show is a bit difficult to follow throughout much of the time, Blue Door offers a very powerful message of self-awareness and acceptance. While it can be troublesome to keep track of the direction of the emotion of the show and, again, the plotline through the different characters played by Point-Du Jour and Cathey, it is certainly a potent evening of theatre.

Review by Nigel Andrews

Altar Boyz - The Moore Theater

Altar Boyz
The Moore Theatre
Runs Through February 11, 2007
Tickets and Information

No matter where you stand in the wide plethora of religious affiliations, Altar Boyz is the show to see this weekend! For those of you with Christian upbringings and Jewish backgrounds, you’ll appreciate the use of symbols, jargon, cultural references and catchy take-offs of many of the musical themes of the liturgy. For those of you without the aforementioned religious affiliations, you’ll appreciate the modern pop-culture, the amazing showmanship and simple yet mind-strikingly catchy lyrics of each and every song. For every one of all ages, the flashing lights, the pop music and the eye-catching costumes will tantalize the senses of everyone in the audience. Taken seriously enough to portray its message, yet directed toward comedy enough to find the humor in its sincerity, Altar Boyz effectively walks the line between inoffensive religious humor and a wholesome message received willingly by the audience.

Stafford Arima’s direction of Altar Boyz is a fabulous portrayal of the loosely plotted yet exceedingly attention-grabbing show. He succeeds in orchestrating a unique blend of energetic choreography and ironically overdone character acting. Writer, Kevin Del Aguila’s, stereotype play comes across to the audience through Arima’s direction in a manner that, again, is unobtrusive yet poignant in exposing the different sides of the issues that come to many minds when discussing religion in our world today.

Anna Louizos’ simple set (augmented by Natasha Katz’ pop-concert-style lighting design) is effective in evoking the boy-band pop concert feeling while elaborately allowing the orchestra room to play and the Boyz plenty of dance space. Andy Grobengieser, conductor, and the orchestra play an integral role in not only the explosive orchestration but also in the support of the Boyz and even, at times, help to advance what little plot there is. Christopher Gattelli’s choreography, which hearkens back to the 1990s boy band generation yet still has a pop-culture Broadway feel, is to be envied by all pop band dance captains. If any pop group is in need of a better choreographer, and we all know that they all are, then he’s your man!

Photo by Carol Rosegg. From Left to Right: Jesse JP Johnson, Ran J Ratliff, Matthew Buckner, Nick Blaemire , Jay Garcia

On stage, Ryan J Ratliff (Mark) shines as brightly as the Nativity star and a glamorously as one of Liza Minnelli’s Halston dresses. His comedic timing and gestural precision are wildly entertaining and had the audience buckled over with laughter at every turn. Nick Blaemire also stands out not only for his character’s singularity among the other Boyz, but also for his incredible vocal power and stylings. His use of different tonalities and vocal characterizations complimented the cast’s talents and surprising puppetry.

With a mix of fun choreography, catchy song and dance numbers and overt yet ironically comedic dealings with modern religious issues, Altar Boyz is a great show for audiences of all ages. It will leave you refreshed, up on your feet and dancing out the door in search of the soundtrack.

Review by Nigel Andrews and Rick Skyler

Weekly Update - 2/2/2007

Seattle University - Lee Center for the Arts
Tickets and Info
As You Like It >February 15 - 25, 2007

The Moore Theater
Tickets and Info
Altar Boyz >February 6 - 11, 2007

ACT Theater
Home page for Ticket Info
Menopause the Musical >running through May 28, 2007
Late Night Catechism >running through August 2007

Seattle Repertory Theater
Tickets and Info
The Lady from Dubuque >January 11 -– February 10, 2007
The Blue Door >February 1 - March 4, 2007

University of Washington
Tickets and Info
The Bacchael >January 28 - February 11, 2007
Jane Eyre >February 11 - March 4, 2007

The 5th Avenue Theatre
Tickets and Info
Buddy: The Buddy Holly Story >February 13 – March 4, 2007

Seattle Public Theater
Tickets and Info
Travesties >through February 18, 2007

The Bacchae - University of Washington at Meany Theater

The Bacchae
University of Washington at Meany Theater
Tickets and Info or (206) 543-4880
January 31st - February 11th

In light of the world of Greek tradition, UW’s performance of Euripides’ The Bacchae invites the audience into its world using modern tools to uphold the classical tradition. As the lights dim and the story unfolds, a processional introduction of characters invites the audience to join the story. Dionysus (Elana Wright) then lays out an introductory premise to create a basic mindset, which slowly morphs into a ritualistic ceremony embodied in the play yet also very indicative of the Greek presentational spectacle.

The audience soon discovers that this ceremonial rite is a ritual of the Bacchae, a group of women who have left their homes in Thebes to follow a religious life at the outskirts of the town. Their practices are much opposed by Pentheus, the king of Thebes (Christopher McKeon), who tries to reason with the one who he thinks is their leader, the powerful Dionysus. Through folds of trickery and deceit, Dionysus seeks revenge on the people for turning away from him, resulting in a powerful dawning of realization that shakes the people of Thebes.

The intricate weavings of the tale embody strong issues of religion and the ultimate power it can have over humans. It shows them as possessed creatures in a state of blind frenzy due to the power they follow. In addition, gender roles are switched, presenting women as the dominating power over men who can do nothing to harm them. One more very prevalent relationship addresses the reality of humanity in connection to the divine, in which the divine walks and breathes among humans. All three of these relationships are well signified in the character direction and unique twists. The god Dionysus, a male deity, is here portrayed as a female, whose power is represented in seduction onstage. To increase the interest of such a relationship, the male pronouns are kept, creating an even more dynamic masculinity vs. femininity dichotomy.

With such powerful issues taking form in a passionate performance, the design elements have the potential to greatly complement the actors’ performances; in this production, the design and technical elements are outstanding. The set, designed by Stephen Dobay, is composed of several levels and large doorways, giving an impression of depth and an inability to see exactly what goes on beyond the front presentation. It is industrial, but sparse, and used to great effect; the large metal gate over the stage left doorway is used as an entrance, as a scrim for light effects, as a sound instrument, and, in falling, as a symbol for Dionysus’ destruction of the palace. The lighting, by Melinda M. Short, as well was superb; even before the play begins, the light spots and dapples across the set giving the feeling of entering a shattered world, a feeling that is borne out by the rest of the play. During the show as well the lights sweep along with the story highlighting emotions and actively engaging in the actor/stage dynamic. At the climax of the tale, a ravenous killing was accompanied by a strobe light, and beams of light accentuated the fog clouding the depressed upstage. Mairi Helena Chisholm’s costumes also assist the story and bring out character and meaning. There is a split between light and dark, with the Bacchae and their supporters in darker costumes, Pantheus in blinding white, and others in shades of gray, torn between the two sides. As the play continues, parts of costumes were shed, revealing more and more of the actors as the play reveals more and more of the characters, their actions, and their final destiny. Dionysus’ costume as well is fascinating, an amorphous, diaphanous shape that nearly shows the actor’s body beneath, but not ever completely, just as Dionysus’ motivations are shadowed and hidden for most of the play.

The actors all work as a faultless ensemble, each supporting the other, and each fully committed to their actions and the play. Agave (Maythinee Washington) in particular is fearless on stage, both within her Bacchic frenzy and the grief that follows it. Despite the fact that she is nude for the entire last scene, she remains unaware of this fact and stays committed; she is a person without a shirt rather than a woman showing her breasts. The Maenads, the three women that follow Dionysus and assist him, work as a perfect ensemble within the ensemble, performing intricate dances and movements while talking or singing.

By the end of the show, Dionysus’ motivations have been revealed, and his revenge wreaked upon the city of Thebes and the family at the center of the play. While at the beginning of the play the audience’s sympathies lie with the oppressed Bacchae, Dionysus’ awful revenge brings in a note of questioning and uncertainty; our sympathies shift, and we are left entranced, caught between the power of a god, and pity for a tragic loss.

Review by Rick Skyler and Lia Morgan

Travesties - Seattle Public Theater

Travesties
Seattle Public Theater at the Bathhouse
Runs Through February 11, 2007
Tickets and Information

What is art? What is an artist? And what does it mean to be an artist in wartime? Tom Stoppard’s wittily profound play Travesties tackles this pertinent question through the somewhat confused memories of Henry Carr, an elderly man who served as a British government official in Zurich, Switzerland in 1917. His memories of the political and historical events of that time, however, are irrevocably intermixed with his memories of playing “the other one” (that is, Algy), in Oscar Wilde’s Importance of Being Ernest.

Cecily and Gwendolen appear of course, a little different from their roles in Wilde; Gwendolen is Henry’s sister, and is helping James Joyce, the limerick writer from Dublin, compose his masterpiece. Cecily is the communist librarian at the Zurich library, intent on assisting Lenin with his own research. Henry’s friend Tristan Tzara, the Dadaist, is courting Gwendolen, though pretending to be his older brother Jack when at the library, because Lenin hates Dada. Henry, in disguise as “Jack’s” younger brother Tristan, attempts to seduce Cecily into giving up political secrets on Lenin. The plot of Ernest, clearly, is used liberally, but always with Stoppard’s own twist, that adds layers of meaning. Shakespeare is quoted and alluded to with abandon, as is Dada, Marx, Joyce, and postmodern theory, to name just a few.

It is a complex play, not only for the language and ideas, but for the impeccable timing needed, both onstage and off, to make it work. Although Seattle Public Theater is small, it is always up to the task of challenging theater, and this is no exception. The technical aspects of the play need to support the script faultlessly, and they do. Sean P. Begley’s colorful light design, and Evan Middlesworth’s sound design and composition, play into the production exactly as they should—to support and help tell the story. (A kudos should also be thrown in for the people who run the lights and sound during the shows, who are a vital part of it.) Pete Rush’s costume design and Richard Lorig’s set design are not too detailed, but are evocative (to the right extent; too much detail would overwhelm in such a small space).

The actors are a talented group, every one of them throwing themselves into the play with gusto under Susanna Wilson’s capable and sharp direction. Gavin Cummins, as Henry Carr, leads the audience through the play as a bumbling but loveable character, the perfect foil for the rest of the odd group. Cecily (Tracy Repep) and Gwendolen (Hana Lass), particularly during the play’s oddly fitting musical number (parodying Ernest’s tea scene), create full, crisply acted characters; and Repep’s commitment to her character shows during Cecily’s striptease in the library, to a recitation of Marxist ideals—it could easily become ludicrous, but Repep keeps it within the admittedly hilarious bounds of the play. Frank Lawler as Tristan Tzara and Jon Lutyens as James Joyce argue constantly about the nature of art—from completely different positions, but so convincingly that one wants to believe both. Therese Diekhans, as Lenin’s wife Nadya, lightens up Dennis Kleinsmith’s stern but impassioned Lenin. Kleinsmith also plays Carr’s butler Bennett, a completely different character—crisp, scornful, and hilarious, a perfect parody of, and homage to, every all-too-knowing butler in English literature.

Ultimately it is a play about the veracity of memory (and whether it matters); about what things mean, and whether we, using language, can change that meaning; and about the place of the artist in the world. To get full enjoyment out of the evening you may want to not only brush up on your Shakespeare, but also your Wilde, and possibly your World War One history. Stoppard writes very witty plays for highly literate people; he demands attention and awareness from an audience, but if you give that attention, you will be amply rewarded with a cleverly written and admirably acted play.

Review by Lia Morgan

Weekly Update 1/26/2007

The Moore Theater
Tickets and Info
Altar Boyz >February 6 - 11, 2007

ACT Theater
Home page for Ticket Info
Menopause the Musical >running through May 28, 2007
Late Night Catechism >running through August 2007

Seattle Shakespeare Company
Tickets and Info
The Comedy of Errors >January 4 - January 28, 2007

Seattle Repertory Theater
Tickets and Info
The Lady from Dubuque >January 11 -– February 10, 2007
The Blue Door >February 1 - March 4, 2007

Seattle Opera
Tickets and Info
Don Giovanni >January 13 - 27, 2007

University of Washington
Tickets and Info
The Bacchael >January 28 - February 11, 2007