The 39 Steps--Seattle Rep

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.

Runt of the Litter--ACT

Runt of the Litter

ACT

September 18-October 11, 2009

Tickets and Information

If ever football has been both warlike and poetic, it is in Runt of the Litter, now playing at ACT. Former NFL player turned writer/actor Bo Eason plays Jack Henry: the ultimate underdog who has battled adversity, a more talented older brother and four knee surgeries to get a chance at playing in the Super Bowl. While preparing for the playoff game before the Super Bowl, he tells stories of how his childhood dream of making it into the NFL transformed into a life-long quest of pushing the boundaries of physical possibility and outside expectation.

Photo by Chris Bennion.

Definitely not the typical athlete turned actor, Bo Eason commands the stage with confidence and determination, allowing the audience to experience both his inner primitive warrior and the shy and wide-eyed 9 year old within.

The technical elements of the production played a good supportive game to Eason’s storytelling. Martin Christoffel’s scenic design, in conjunction with Alex Berry’s lighting and Bruce Ellman’s sound design, created a space in which the mood could change from touching to menacing as quickly as Eason could run (25 miles an hour, he says repeatedly).

Like a good coach, director Larry Moss channels Eason’s brute strength and stamina into a powerhouse of a show. Bursts of energy are blended in with tender moments of emotion that keep the performance moving swiftly through its hour and a half entirety. Under Moss’ guiding hand, Eason’s heart and spirit are showcased right alongside his locker-room dance moves.

Photo by Christ Bennion.

Runt of the Litter looks at football not as “just a game” but as an almost Spartan lifestyle full of injuries in battle and a disregard for the point when human nature says no. Here, the hero is carted off the field on a stretcher and the hardworking everyman has already locked his sights on his next target.

Review by Kacey Shiflet.

Das Barbecu--ACT

Das Barbecü
ACT
July 31st-September 6th, 2009
Tickets and Information

When Richard Wagner created his operatic masterpiece The Ring series, the last thing he could have imagined was his tale of grandiose gods, heroic mortals, and mythical creatures being reincarnated into a honky-tonk Country Western soap opera, chalk full of catchy tunes and dance numbers. Alas, such a show not only exists but succeeds in entertaining audiences for the second time at ACT since its commissioning 18 years ago: Das Barbecü.

Don’t know the synopsis of The Ring? That’s alright; it’s too lengthy and involved to describe here, and it’s all laid out for you within the first minute and a half of the show. Basically, intertwined families and lovers struggle with getting what they want, whether that be love, peace and quiet, or a gold ring that has both great power and a great curse attached to whoever possesses it. All this is set somewhere in Texas where dwarves are conniving criminals, giants are kind general contractors, and barbecue is roasted in a six foot deep pit.

Photo by Chris Bennion.

The mood is quickly put in place by the uncompromisingly outrageous costumes and innovative set, both (amazingly) designed by David Zinn. Every vom is used and every inch of stage space is milked; not to mention the mechanical trapdoor is cleverly used for maximum efficiency and effect. Alex Berry's lighting design has its epic moments worthy of an operatic production.The costumes enhance the exaggerated characters but never steal the spotlight from the wonderful performances of the actors.

The dozens of characters that flitter across the stage are played amusingly by a cast of just five: Anne Allgood, Carter J. Davis, Jennifer Sue Johnson, Billie Wildrick, and Richard Ziman. All five manage to give a distinct flair to the handful of personas they each inhabit through the course of the evening (the costume changes and acting choices are so crisp, it’ll take you half of Act 1 to realize the people don’t just happen to look alike).

Photo by Chris Bennion.

With a show so jam-packed with harried costume switches and hurried exits and entrances, it takes a grounded director to keep the production train from going off the rails; Stephen Terrell (who also serves double duty as the choreographer) fits the bill impressively. For all the cheesiness that comes along with a slapstick country opera, Terrell exposes the heart and humanity lying just beneath the layers of tulle and teased hair.

Das Barbecü takes Wagner’s fifteen hour behemoth of an opera and affectionately molds it into an accessible, laugh-filled production that connects with its audience—even those who know little about The Ring, or opera in general.


Review by Kacey Shiflet

Catch Me if You Can--5th Ave

Catch Me if You Can
5th Avenue Theatre
July 23rd-August 16th
Tickets and Information

There’s something special about the opening night of a new show. Neither the waiting audience nor the frantic theater employees quite know what will happen. They bustle around in anticipation of the night’s surprises; hoping and dreaming about the possibilities. Tonight, the 5th Ave brought us this energy outside and inside the theater with the world premiere of Catch Me if You Can.

This new musical takes its story from the true life accounts of one Frank Abagnale Jr. who by the age of 21 had swindled over $2 million by impersonating a Pan Am pilot, a doctor, and a lawyer. After his parents’ divorce, Frank runs away from home in the hopes of finding the resources to reunite his family. In the process of pretending to be someone else he ends up discovering love, acceptance, and purpose. This show puts a new spin on a plot that has been told in Abagnale’s own words and a movie of the same name.

The whole production is built around the idea that the world is Frank’s own personal variety show. All the theatrical elements recreate the essence of the classic, all-out productions that peppered television in the 1960s and 70s. Though accurate in its homage to that era, the production never lost connection to its modern audience. David Rockwell’s cleverly simplistic set seamlessly propelled the audience along with Frank on his adventures. Bob Mackie, being a legend in himself, created costumes with flair and pizzazz. Holding it all together onstage, the band, under the direction of John McDaniel, becomes a supporting character in its own right.

The entire ensemble electrifies. It doesn’t matter if steps are missed or lines are lost due to microphone malfunctions; the energy vibrated through the theater. Aaron Tveit plays a captivating and honest Frank Jr., effectively balancing both the charismatic and troubled sides of a complicated teenager. As FBI agent Carl Hanratty, Norbert Leo Butz breathes charm and life into the character that brings reality to Frank’s fantasy. Kerry Butler shines as the sweet young nurse who finally slows Frank down long enough to see what is really important in his life.

Under the skilled direction of Jack O’Brien, the show dazzles and entertains while still maintaining a purposeful focus on Frank’s story. Jerry Mitchell’s inventive choreography shapes many of the memorable moments of the show. The artistic styling of both the directing and choreography, along with all other production elements, works cohesively to enhance the night’s experience.

In short, Catch Me if You Can is one of the best shows you will see all year. Buy your ticket now, and “catch” this premiere event in Seattle before it flies away to Broadway.


Review by Kacey Shiflet and Andrew Swanson

Othello - Intiman

Othello
Intiman
July 2nd - August 9th, 2009
Tickets and Information

Though presented by Intiman, this new production of Othello comes to Seattle from Theatre For A New Audience, based in New York. Directed by Arin Arbus and showcasing an all-star Broadway cast, this production takes a fairly straightforward look at Shakespeare’s tragedy of jealousy and Machiavellian trickery.

The four main actors all give strong performances, especially Kate Forbes as Emilia, who draws the audience into her tension, confusion and finally understanding. Sean Patrick Thomas, as Othello, will be a recognizable face from TV or film performances, and he does not disappoint. His Othello is a courteous general at the start, filled with adoration for Desdemona (Elisabeth Waterson), and his disintegration is swift, painful and believable, counterpointed with Waterson’s delicacy and desperate innocence. John Campion’s Iago was older than the other three and strangely humorous in his machinations, rousing the audience to laughter far more often than expected in a tragedy.

However, though Iago’s character is often seen as motiveless, his hatred of Othello should drive the plot, and in this Campion was lacking. Though his specific declarations of hatred were strong, it was difficult to see hate simmering throughout the production, or a clear throughline of Iago’s actions. Instead, Campion’s Iago seemed to be playing a particularly nasty trick, without caring much at all.

This problem stemmed from Arbus’ direction rather than the acting; Campion played out his choices strongly, but the director’s character choices themselves were odd. For other characters, however, such as Emilia, Arbus deftly created back story and motivation that were astoundingly clear and well-played. For the most part, under Arbus’ hands, the plot of the story moves along swiftly and clearly, with no unnecessary or confusing moments.

The minimal set (Peter Ksander) utilized a front playing area, two doors and a balcony to great effect, and its stone-and-wood feel coordinated perfectly with Miranda Hoffman’s costumes, full of silk and long lines. The sound design (Matt O’Hare) and composition (Sarah Pickett) sets the mood with Renaissance strings and underscored sea sounds, while Marcus Doshi’s lighting washes the stage like a painting.

Aside from a few confusing directorial choices, this production of Othello is clearly and well told; both the acting and technical elements are strong, and contribute to the fullness of the story. If you are looking for a no-frills portrayal of a classic Shakespearian play, this is the show for you.

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the break/s-- ACT

the break/s: a mixtape for the stage
ACT
June 17-July 12, 2009
Tickets and Information

“This story begins in the middle.” With the breaks, you step right into the mind and world of playwright and performer Marc Bamuthi Joseph. You hear and feel the world as it exists for him through his cross-cultural journeys in life and hip-hop. Thanks to the Hansberry Project at ACT, Bamuthi Joseph brings his unique spin and experience to the table for all to enjoy in this bountiful feast for the senses that is the breaks.

Bamuthi Joseph exudes the confidence and control of a mastermind at work. From the minute he walks out and bows at every corner onstage (is he praying or marking his territory?) he times every muscle movement and facial expression to the internal beat of the moment. He comfortably jumps in and out of the characters and emotional states that are weaved beautifully into his stories and magically related to specific people in the audience.

Photo by Bethany Hines.

But Bamuthi Joseph would be just another guy on a stage without his backup crew of Tommy Shepherd (aka Soulati) and DJ Excess. The beats and scratches that Excess and Soulati throw down are simply ‘sick’, but not as sick as how perfectly they timed their actions to invisible cues from Bamuthi Joseph. It is obvious that they rehearsed with and studied his actions to create such a fluid performance of music, soul, and story.

The technical elements (video by David Szlasa, lights by James Clotfelter, and set design by both) supported the performances exactly. Szlasa’s video clips acted alternately as the mood setter and action creator. Clotfelter’s lights created intimate scenes for Bamuthi Joseph to connect deeper with the audience.

Photo by Bethany Hines.

Michael John Garces handled fabulously what must have been the difficult task of reigning in the forces of this production. Every beat (musical and theatrical) was as tight as it could have been in this 80-minute drive-by of a show. Whether or not you particularly enjoy hip-hop, this is not an event to be missed. At the heart, Bamuthi Joseph is a master storyteller who will weave you through the delicacies and heartbreaks that come with the assumptions made about hip-hop, and human culture in general.

Review by Kacey Shiflet

The Tempest -- Seattle Shakespeare Company

The Tempest
Seattle Shakespeare Company
June 4-28, 2009
Tickets and Information

The Tempest is one of Shakespeare’s later plays—many believe it to be his last—and the themes of forgiveness, the hope of the next generation, and the cycle of life are all ripe for inspiration and interpretation. Seattle Shakespeare Company and director George Mount have created a Tempest set in a dreamscape, slightly filtered through the sorcerer Prospero’s own memory and mind, as he brings all of his friends and enemies together to his enchanted isle for revenge, and ultimately reconciliation.

Michael Winters as Prospero. Photo by Erik Stuhaug.

SSC has talked up their casting of Michael Winters as Prospero, and he does not disappoint, bringing a gravity and quiet discovery to the role that humanizes the sorcerer. Hana Lass brings a sideways sensibility to the role of Ariel, her appropriate but slightly odd reactions reminding us that this creature, however elegant, is not at all human. As the comic denizens of the isle, Kerry Ryan as Trinculo, Eric Ray Anderson as Stephano, and Peter Dylan O’Connor as Caliban form the perfect off-kilter trio, blundering their way drunkenly with spot-on comic timing. The rest of the cast also serve their characters well; from the conniving lords of Italy to the innocent young lovers, there is not a weak link in the entire ensemble.

The design for this production is striking, and guides the audience easily into the dream-like world of the play. The set designer, L.B. Morse, seems to open the small theater out and backwards, and strings the stage with sailing tackle, masts and ropes hanging at the edges of the playing space—which some actors make full use of, climbing and swinging. Roberta Russell’s lights play across the blue and white shades of the set, creating soft pools of warmer tones or harsh flashes of stormy reds, and L.B. Morse’s occasional projections on the back wall of the set add to confusion or to the spirits’ magic. Doris Black’s costumes referenced Victoriana, Steampunk, and a little Cabaret style, nevertheless creating a cohesive and striking world.

Hana Lass as Ariel. Photo by Erik Stuhaug.

The sound design (Robertson Witmer) and music (Jesse Sykes and Phil Wandscher) became an integral part of the production, showcasing the magic that Prospero and Ariel wove around the visitors to the isle. Sykes and Wandscher composed original music for this particular production, and their haunting melodies and simple guitar lines, paired with Ariel (Hana Lass)’s smooth voice, made for an otherworldly effect.

George Mount succeeded in bringing together this particular concept, the considerable talents of the cast, and the beautiful designs into a cohesive and spectacular whole; every person involved in every element embraced their tasks, and the play, wholeheartedly. That commitment, and the talent to back it up, shines through in this retelling of a tempestuous story.

Review by Kenna Kettrick & Kacey Shiflet