The Thin Place - Intiman Theatre

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

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

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

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

Henry V

Seattle Shakespeare Company

April 15 - May 9, 2010

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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

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

An Iliad
Seattle Repertory Theatre
April 9-May 16, 2010
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“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

Fences
Seattle Repertory Theatre
March 26-April 18, 2010
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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

Paradise Lost
Intiman Theater
March 19-April 25, 2010
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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

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