Weekly Update - 12/30/2006

The Weekly Update, as promised, for your enjoyment and planning benefit!

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

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

Paramount Moore Theater
Tickets and Info
The 25th Annual Putnam County Spelling Bee >January 9 - 14, 2007

Weekly Update 12/23

Here is the weekly update of what is happening around Seattle right now for your theatrical enjoyment!

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

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

The Broadway Performance Hall
Ticket Window
A Tap Dance Christmas Carol >December 15 - 23, 2006

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).