Seattle Repertory Theatre Teams with Local High Schools for TeenSpeak: The Playwriting Project

Roosevelt High School Students - Friday, January 18 at 7:30 p.m. Woodinville High School Students - Tuesday, January 22 at 7:30 p.m. Leo K. Theatre at Seattle Rep

Seattle, WA - Seattle Repertory Theatre's Teenspeak: Playwriting Project, in collaboration with Roosevelt and Woodinville High Schools, presents two evenings of staged readings featuring nine ten minute plays written and performed by Roosevelt and Woodinville High School students and directed and produced by Seattle Rep staff and Teaching Artists. Tickets are free, however, reservations are necessary. Please call Seattle Rep's box office to reserve seats at 206-443-2222. Each year, Seattle Rep's Education Department works with high school students to develop short plays, which Seattle Rep staff and Teaching Artists direct. This highly successful program has generated more than 50 plays in the past four years. This year's program will add nine more plays to the roster. The general theme of the Roosevelt performances are "Peril," in particular, women in peril, and how they rescue themselves from such dangerous antagonists as flesh eating aliens and their younger sisters. Woodinville's general theme is "Morals," where at least one character must make a decision that puts their morals into question. The names of Roosevelt's plays this year are Pigeon Platter, The 17th Floor, Death and the American Family, Flight of the Generation T-Bird: Episode 52 "Attack of the Glarbons." Woodinville plays this year are Some Kind of Joke, Good Reasoning, How Does That Make you Feel?, Medicated, and The Other Side of the Fence. Seattle Repertory Theatre creates extraordinary productions and programs that excite, entertain and engage our community and nourish a lifelong passion for theater. As an essential part of the organization's mission, Seattle Rep's education programs nurture the artist within young people and support teachers in bringing theatre into their classrooms. The Theatre builds and sustains relationships with teachers and schools, and serves as a resource for arts integration and theatre-based curriculum. The theatre believes strongly that theatre can be accessible and engaging to all students if connections with their individual voices are made. To this end, the theatre respects all students as artists and promotes theatre as an alternative educational method. ____________________________________________________________________ Seattle Repertory Theatre's Education sponsors are The Paul G. Allen Family Foundation*, William Randolph Hearst Endowment for Education Programs*, The Peter Donnelly Fund*, National Endowment for the Arts, WaMu, Washington State Arts Commission, Islands Fund, The Chisholm Foundation, KeyBank, PONCHO, U.S. Bancorp Foundation, ArtsFund/WaMu Cultural Education Teacher Training Excellence Fund, ArtsFund/Wells Fargo Cultural Education Enhancement Fund, Target, Organic to Go, Green Diamond Resource Company, QFC, McKinstry Company, Compton Lumber & Hardware, and Stuhlbergs, Inc. (*denotes endowment funding). Seattle Repertory Theatre, founded in 1963, is led by Artistic Director David Esbjornson and Managing Director Benjamin Moore. One of America's premier nonprofit resident theatres, Seattle Repertory Theatre has achieved international renown for its consistently high production and artistic standards, and was awarded the 1990 Tony Award for Outstanding Regional Theatre. With an emphasis on entertaining plays of true dramatic and literary worth, Seattle Rep produces a subscription season of plays along with educational programs, new play workshops and special presentations.

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For More Info: www.seattlerep.org

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TeenSpeak: The Playwriting Project Fact Sheet WHAT: Seattle Repertory Theatre teams with local high school, Roosevelt High School and Woodinville High School to present its annual program: TeenSpeak: The Playwriting Project WHEN: Roosevelt: January 18, 2008 at 7:30pm Woodinville: January 22, 2008 at 7:30pm WHO: Roosevelt Playwrights: Mandi Bossard Death and the All American Family Arman Mohazzabfar Flight of the T-Bird: Episode # 54 "Attack of the Glarbons" Alice Roth Pigeon Platter Emma Staake The 17th Floor Roosevelt Directors: Chris Dewar, Scott Koh, Michaela Murphy, Amber Wolfe Woodinville Playwrights: Austin Bridges: Some Kind of Joke Alex Honjiyo: Good Reasoning Alyssa Powell: How Does that Make you Feel? Rin Romao: Medicated Christina Weidner: The Other Side of the Fence Woodinville Directors: Michael Cruz, Chris Dewar, Michaela Murphy, Jess Smith, Beverly Ann Thompson WHERE: Seattle Repertory Theatre is located in the Seattle Center at the corner of Second Ave. and Mercer St., Seattle, Washington. TICKETS: Tickets for TeenSpeak: The Playwriting Project are free, however reservations are required. For ticket reservations, call the box office at (206) 443-2222. PR: Jacquelyn Gallagher, Communication Intern, Seattle Rep. (206) 443-2210, ext: 1109 or jacqueg@seattlerep.org. (This phone number and e-dress are not for publication.)

Seattle Repertory Theatre To Provide Opportunities for Public Debate Surrounding Performances of The Breach

January 10 - February 9, 2008 (Opening Night: Wednesday, January 16)

Seattle, WA - Seattle Repertory Theatre will provide numerous opportunities for public debate and discussion using performances of The Breach as a catalyst for dialogue. The phenomenon of a natural calamity like Hurricane Katrina creates chaos, pain and confusion on a mythic scale. In The Breach, playwrights Catherine Filloux, Tarrell McCraney and Joe Sutton weave together three unique and separate stories of those who survived the storm. In its exploration of the impacts of Katrina, this powerful and surreal play taps the conspiracy theories, loss and nascent hope of this devastated American region. The Breach had its world premiere in New Orleans at Southern Rep. Now as it arrives at Seattle Repertory Theatre, which hopes to provide a variety of opportunities for public debate on the broader issues of poverty, patriotism and the responsibility we have to one another. Most importantly, in connection with the playwright's initial impulse, Seattle Rep seeks to "keep the light on New Orleans" by reinvigorating conversations about the devastation, our nation's response, and the long road to recovery that still lies ahead. Unique programs include an appearance by Chris Rose, the Times-Picayune journalist and author of 1 Dead in Attic on January 10 at 6:00 p.m., a reading with Chris Rose and the playwrights of The Breach at Elliott Bay Book Company on January 13 at 2:00 p.m., a discussion with the playwrights about their unique creation of the script on January 15 at 6:00 p.m., Seattle Rep's program entitled Breaking the Fourth Wall, a pre-show interactive workshop on this unique playwriting process will be held on January 26 at 12:00 p.m., post play discussions will take place after the performances on January 27 at 2:00 p.m., January 31 at 7:30 p.m., February 3 at 2:00 p.m., Seattle Rep's program entitled Humanities Forum will be held on February 9, following the 2:00 p.m. performance and will include a panel discussion around making art in response to political and current events, two student matinees will be held, Seattle Rep will be selling artwork before each performance and during intermission from New Orleans artists and proceeds will directly benefit artists and photos by Chris Jordon from In Katrina's Wake: Portraits of Loss from an Unnatural Disaster will be on display in the lobby.

Ain't Misbehavin' at Jazz Alley

Ain't Misbehavin'

Jazz Alley

Tickets and Information

Dimitriou's Jazz Alley has been a Seattle institution since 1979, bringing jazz greats and newcomers alike to perform in its sophisticated atmosphere. The stage at Jazz Alley is small (and for now, festively decorated with greens), with just enough room for a piano, drum set, bass and trumpet player, plus a few square feet for the singers to strut their stuff. Tables for two or more spread out on the main floor and the mezzanine above, all lit by candlelight, while waiters glide through the room, serving food and drink without disturbing one's enjoyment of the performance.

On Tuesday night, that performance was Ain't Misbehavin', a famous Broadway musical which won several Tonys, including that for Best Musical, when it debuted in 1987. The show is a revue of thirty songs by Thomas “Fats” Waller and others, ranging from toe tapping swing numbers to soulful blues ballads. This cast shifts easily from one to the next, with clean transitions and well-rehearsed, showy patter; all five of the singers are natural performers.

For this show, they want that talent to extend beyond the stage—audience participation became a large part of the festivities. It began simply, when A. Curtis Farrow began talking directly to the audience, and when greeted with cautious laughter, warned us, “Oh yes, we're breaking the fourth wall tonight!” This included, soon after, bringing a woman on stage to serenade her, or bringing three men (well, two men and a small boy) on to sing that their “feet too big;” or such simple things as getting the audience to clap along (slightly harder that night, when people were both tentative and eating dinner).

Every one of the five singers had voices worthy of the careers they had in Broadway history; many of them have been in original musicals, won awards, and toured the country or the world, and deservedly so. The cast were mostly older, and in the first act some songs, particularly ones about partying on the town or searching for a girl or boy, would have been more appropriate performed by a younger singer. By the second act, however, that discrepancy was not noticeable. Sandra Bonitto, by far the youngest of the cast, was particularly good at the quick pattering songs, such as “Handful of Keys,” and humorous additions, while M. Martine Allard and Vivian Jett both let loose with slower songs that showed off their vocal styles. Ron Lucas' talents were showcased in “The Viper Drag,” in which he sang about getting high, while pretending to get high, and still singing well. A mention should also be made of the musicians (three of whom are local), who had equal talent and showmanship, and were impressive in their own right.

Ain't Misbehavin' runs until December 23^rd; for more information and tickets, please visit www.jazzalley.com.

Review by Lia Morgan & Roy Oros

5th Avenue Update for National Happenings

Tuesday, January 1, 2008 9:30-11:00pm ET
Watch as PBS gives a behind-the-scenes special on the life and music of Mame composer and lyricist Jerry Herman. Featuring an all-star cast (including Angela Lansbury, Carol Channing and Michael Feinstein, among others) and never-before-seen footage, this broadcast charts Herman's rise from witty, Off-Broadway revues to his smash-hit Broadway musicals.

Weekly Update - 12/18/2007

Dimitrou's Jazz Alley
Tickets and Information
Ain't Misbehavin' >December 18-23, 2007

Seattle Shakespeare
Tickets and Information
Julius Caesar >January 3-27, 2008

Intiman
Tickets and Information
Black Nativity >November 28 - December 28, 2007

Seattle Repertory Theatre
Tickets and Information
Birdie Blue >November 15 - December 16, 2007

ACT Theatre
Tickets and Information
Late Night Catechism >Through December 30, 2007
Christmas Carol >November 23 - December 24, 2007

Seattle Opera
Tickets and Information
Pagliacci >January 12 - 26, 2008

The 5th Avenue Theatre
Tickets and Information
Jersey Boys >December 5, 2007 - January 12, 2008

Intiman Theatre Managing Director Laura Penn Named Executive Director of Society of Stage Directors and Choreographers; Intiman Will Open National Search to Identify Her Successor

SEATTLE— Intiman Theatre announces that its longtime Managing Director, Laura Penn , has accepted the position of Executive Director of the Society of Stage Directors and Choreographers, succeeding Barbara Hauptman. Penn, who leaves Intiman after 14 seasons, will relocate to New York and assume her new position in the spring of 2008.

“Laura has been a valued partner, and our collaboration over the past eight years has been a highlight of my career,” says Artistic Director Bartlett Sher. “She has managed some really remarkable and challenging world premieres—and she’s a genius at community work and looking at how theatre impacts and connects with people. The foundation of what we have built is very strong and stable, both artistically and in our financial and business operations, and there is real opportunity here for Intiman to build on her legacy—even as SSDC and all its constituents benefit from her expertise and creativity.”

“I am excited about this new opportunity to advocate for the work of artists on a national level, and to guiding SSDC’s vision and priorities into the future,” says Penn. “At the same time, the people I have had the joy to work with in Seattle and especially at Intiman—artists, our Board, the staff, and many, many colleagues in our community over the years—will always inform my personal sense of mission about our field.”

Intiman received the 2006 Tony Award for Outstanding Regional Theatre. During Penn’s tenure, the Theatre has served as an advocate and catalyst for civic dialogue and community building in the Puget Sound region and nationally. Recent world premieres under her leadership include Kent Gash’s adaptation of Richard Wright’s Native Son, which premiered as part of Intiman’s American Cycle series of classic stories and community programs; Craig Lucas’s Prayer for My Enemy and Singing Forest; The Light in the Piazza by Lucas and Adam Guettel , based on the novel by Elizabeth Spencer; and Joan Holden’s adaptation of Nickel and Dimed, based on the nonfiction book by Barbara Ehrenreich.

“Intiman’s Board has, throughout its history, done a great job of hiring and supporting strong leaders,” says Phyllis J. Campbell, President and CEO of the Seattle Foundation. “The Board has had great success in identifying some of the field’s best talent locally and nationally, and is well positioned to continue to do that—it’s a great moment for opportunity.”

The Intiman Board of Trustees has engaged Greg Kandel of Management Consult for the Arts to consult on a national search to hire Penn’s successor. The search committee will be co-chaired by Intiman Trustee Cynthia Huffman and administered by Kate Godman , Intiman's former associate director.

“Laura leaves big shoes to fill and we will miss her audacious, dynamic leadership,” says Susan J. Leavitt, President of the Intiman Board of Trustees. “We are also proud of Intiman’s track record. After the great achievements of Laura and Bart’s partnership and our recent financial successes, she leaves Intiman poised for its next big leap forward, and we are looking forward to an extremely competitive search at this exciting time for the Theatre.”

Intiman recently completed the first phase of a critical fundraising initiative to stabilize its financial position for its 2008 season. Ahead of deadline, the Theatre secured $1.3 million in cash gifts from individuals, corporations and foundations. It is currently on track to successfully complete the second phase of the initiative, which will allow it to meet its year-end goals and complete its Dramatically Different fundraising campaign on an accelerated schedule.

To arrange interviews or for more information: contact Stephanie Coen, Director of Communications, at 206.269.1901 ext. 208 or stephanie@intiman.org.

Intiman Theatre

Intiman’s legacy is defined by the boldest vision in the production of classics and new plays. Our Theatre is rich with talent and amazing people—artists who have made their homes in Seattle and nationally recognized artists, all of whom are dedicated to engaging our community in conversation, and to having an impact on our culture locally and nationally. Winner of a Golden Apple Award, Intiman serves more than 10,000 students annually through the flagship arts-in-education program Living History and special initiatives that empower young people. Intiman is dedicated to fostering opportunities for our audiences and larger community to gather within the intersections of art and civic dialogue. www.intiman.org

The Society of Stage Directors and Choreographers (SSDC)

SSDC is an independent labor union for stage directors and choreographers. Member representatives of the organization collectively bargain contracts with producer organizations, thus creating the national standards for professional stage direction and choreography. The organization has an office in New York City that services approximately 1700 members and 300 associates in the US and abroad.

The Stage Directors and Choreographers Foundation, founded in 1965, exists to foster, promote and develop the creativity and craft of stage directors and choreographers. SDCF’s goals are to provide opportunities for exchange of knowledge among directors and choreographers; to provide opportunities to practice the crafts of directing and choreography; to promote the profession to emerging talent; to gather and disseminate craft and career information; and to increase the awareness of the value of directors’ and choreographers’ work. www.ssdc.org

Intiman Theatre gratefully acknowledges the following for their institutional support: The Paul G. Allen Family Foundation, Ameriprise Financial, Norman Archibald Charitable Foundation, ArtsFund, The Boeing Company, Doris Duke Charitable Foundation, Fales Foundation Trust, Humanities Washington, Intiman Theatre Foundation, Kreielsheimer Remainder Trust, The Andrew W. Mellon Foundation, Microsoft Corporation, Nesholm Family Foundation, The Norcliffe Foundation, PONCHO, Pride Foundation, The Shubert Foundation, The Seattle Foundation, Theatre Communications Group, U.S. Bancorp Foundation, WaMu and Wells Fargo Bank. Additional funding is received from Office of Arts & Cultural Affairs, City of Seattle ; 4Culture; Metropolitan King County Council and Washington State Arts Commission.

Two Plays, One Stage, Every Day, All Month

Seattle Shakespeare Company presents

rotating repertory of Chamber Julius Caesar

and West Coast Premiere of Swansong

during January 2008

SEATTLE – Seattle Shakespeare Company’s stage will be well-used as the company will present two plays in rotating repertory seven days a week during January. Chamber Julius Caesar and the West Coast Premiere of Swansong will share the Center House Theatre stage and split the week for a month-long theatrical event. Adapted and directed by Gregg Loughridge, Chamber Julius Caesar opens on Friday, January 4 (low-priced preview on January 3) and will run through January 27. Chamber Julius Caesar is Shakespeare’s dazzling political thriller that explores the complexities of power as one man’s death causes a community to descend into violence and instability.

Swansong, written by Northwest native and Broadway star Patrick Page, will be directed by Artistic Director Stephanie Shine and will open Tuesday, January 8 and run through Wednesday, January 23. Swansong is the comic and remarkable story of the friendship and rivalry between two towering artists in their prime: William Shakespeare and poet/playwright Ben Jonson. (Please see attached calendar for complete performance schedule)

Support for Chamber Julius Caesar and Swansong is provided by 4 Culture, ArtsFund, the Paul G. Allen Family Foundation, TPS, Seattle Weekly, and 94.9 KUOW.

The idea to present Chamber Julius Caesar and Swansong in rotating repertory and in counterpoint to one another was conceived by Artistic Director Stephanie Shine when she heard a reading of Swansong for the first time at the home of friend and actor David Pichette. “I knew I wanted our audiences to be a part of this play. But how?” says Shine. “Because of our shared theatre situation, there was no room within the calendar year to expand our four play season, unless we worked on what are our traditionally off nights. And that’s when the idea arrived. We could, with two separate casts, perform two plays in rotating rep 7 days a week.” Chamber Julius Caesar will perform for the public Thursday through Sunday afternoon (the company’s traditional performance schedule) and Swansong will perform at 7:30 Sunday through Wednesday. Swansong will also have general admission $20 tickets for the run.

Director Gregg Loughridge takes a unique approach to Chamber Julius Caesar. “ Rome ” won’t be the Rome of togas and sandals, but more akin to a cross between a martial arts dojo and a utopian/spiritual community. Within this republic of Rome a new kind of leader has emerged, but his charisma and compassion threatens the rigid discipline of the old order. Under the rallying cry of “freedom” and “the common good,” two factions vie for the attention of the citizenry. As the community’s spiritual/religious practices of martial arts and swordplay blend with the political machinations, trouble ensues and the spiritual practices spin out of control and into war. In the aftermath, one man struggles with his choices and must figure out how to save the republic from crumbling into dictatorship.

The cast of Chamber Julius Caesar features Peter A. Jacobs (Julius Caesar), David Quicksall (Brutus), Hana Lass (Cassius), Brandon Simmons (Casca/Chorus), David S. Hogan (Antony), Kelly Kitchens (Portia), Gordon Carpenter (Cinna/Messela), Kate Witt (Calpurnia/Octavius), Gavin McLean (ensemble), Jessica Hatlo (ensemble).

In Swansong, the Bard of Avon has been dead for seven years and the public has all but forgotten him. On orders from King James, poet Ben Jonson must compose a poem introducing the first collection (First Folio) of his friend’s great plays while wrestling with feelings of guilt, envy, and the fear that history will forget his own work. Swansong is a story of love, loss, and regeneration that allows us to imagine one of the most extraordinary friendships of all time. Swansong was nominated by the American Critics Association for Best New Play.

Swansong playwright Patrick Page was born in Spokane and raised primarily in Monmouth , OR . As a young child, he watched his father perform Shakespeare at the Oregon Shakespeare Festival in Ashland , and the theatre bug took hold. Patricks Broadway acting credits include Scar in The Lion King and three years as Lumiere in Beauty and the Beast. Other Broadway credits include Decius Brutus in Julius Caesar (starring Denzel Washington), Scrooge in A Christmas Carol (standby for Roger Daltrey) and multiple roles in The Kentucky Cycle. He has appeared at The Shakespeare Theatre Company in Washington, DC; Long Wharf; Pioneer Theatre Company, The Utah Shakespeare Festival, The Oregon Shakespeare Festival, Seattle Repertory Theatre, Arizona Theatre Company, ACT, Indiana Repertory Theatre, Missouri Repertory Theatre, and Cincinnati Playhouse, among many others. Patrick is married to actress and former Trading Spaces host Paige Davis.

The cast of Swansong features Tim Gouran (Will Shakespeare), Brandon Whitehead (Ben Jonson), and Ian Bell (John Heminges).

To purchase tickets to Chamber Julius Caesar and/or Swansong, call the Seattle Shakespeare Company box office (206) 733-8222 or go online at www.seattleshakespeare.org. Regular box office hours are Tuesday through Friday 1:00-6:00 PM. During performance weeks, in addition to regular hours, the box office opens one hour prior to curtain. Seattle Shakespeare Company performs at the Center House Theatre at Seattle Center .

A Christmas Carol - ACT

A Christmas Carol
ACT Theatre
December - 24, 2007
Tickets and Information

Charles Dickens' A Christmas Carol has been a classic story since its first appearance in 1843. Clocking in as Dickens' shortest story - A Christmas Carol captured the hearts of all who read it, not only for its beautiful imagery and story of love and the holiday spirit, but also for the heartfelt nature of the writing. Being the only story Dickens ever wrote that he wasn't paid for word count by a publisher, it ended up being just thick enough without overly expositing or carrying-on.

Year after year in the holiday spirit theaters across the country put up productions of this story. Seattle is one of those incredibly lucky cities with the ACT producing an incredible show each and every December.

Allen Fitzpatrick as Marley and David Pichette as Scrooge. Photo by Chris Bennion

David Pichette starring as Ebenezer Scrooge in this year's production brings a fantastic portrayal of the crotchety old bugger. Coming just from Twelf Night at the Rep where he performed as Feste, Pichette is one of Seattle's most diverse actors. Surrounding him are many regulars to this production - one of ACT's most valuable assets. Each year, many of the same actors come to perform as their consistent characters in the production. The set and costumes stay consistent and yet, somehow, every performance, every year, year after year, it is always fresh and new. There is always a truly loving energy, one that draws the audience further into this production than any other show in town.

In the spirit of the holidays, it is absolutely the best show to see. There are many shows in the holiday season, but only ACT's A Christmas Carol fuses one of the most classic of literary classics with modern staging technology and creates a show specifically designed to be a mainstay in Seattle.

Review by Nigel Andrews

Weekly Update - 12/7/2007

KSUB Seattle
Listen In Online Here
The Broadway Hour >Sunday 10AM - Noon

Seattle Shakespeare
Tickets and Information
Julius Caesar >January 3-27, 2008

Intiman
Tickets and Information
Black Nativity >November 28 - December 28, 2007

Seattle Repertory Theatre
Tickets and Information
Birdie Blue >November 15 - December 16, 2007

ACT Theatre
Tickets and Information
Late Night Catechism >Through December 30, 2007
Christmas Carol >November 23 - December 24, 2007

Seattle Opera
Tickets and Information
Pagliacci >January 12 - 26, 2008

The 5th Avenue Theatre
Tickets and Information
Jersey Boys >December 5, 2007 - January 12, 2008

ACT – A Contemporary Theatre Hires

New Managing Director

Kevin M. Hughes Joins Staff December 1, 2007

Seattle, WA – November 28, 2007 – Brad Fowler, president of the Board of Trustees for ACT – A Contemporary Theatre, announced today the appointment of Kevin M. Hughes as the managing director of the 43-year-old regional theatre. Mr. Hughes, who has led his own public affairs firm since 1998, has represented businesses, government jurisdictions, grassroots efforts and nonprofit organizations, including many cultural organizations, at the state, county, city and federal levels for 22 years. He has worked on a variety of issues including the arts, education, health care, land use, environment, budget and tax policy. Mr. Hughes will begin his new position on December 1, 2007.

Kevin Hughes began his career in the theater. He was managing director of the Empty Space Theatre from 1981 to 1985. He started his career in Seattle at A Contemporary Theatre, first in the box office and then as assistant controller. He was a member of the acting ensemble at the Hedgerow Theater in Pennsylvania for five years, and also served as the theater’s general manager for three years.

Mr. Hughes is a past member of the Seattle Arts Commission and chaired the Seattle Arts Commission’s Executive Director Search Committee in 2002. From 1986 to 1990, he was executive director and lobbyist for the Washington State Arts Alliance. He received the Corporate Council for the Arts Pyramid Award in 1990 in recognition of his many years working on behalf of the arts in Washington State.

Prior to starting his own firm, Mr. Hughes was director of public affairs and major gifts for Pacific Science Center, one of the largest science museums in the country. He represented the institution in government affairs and in all relations with city, county, state and federal governments, and oversaw fundraising for the institution’s largest-ever capital campaign. Under his leadership, more than $40 million was raised for both capital and operations.

Mr. Fowler said, “This is great news for ACT and for the local cultural community. Kevin Hughes brings a wealth of fundraising experience to the theatre, a broad perspective of the community and a strong grounding in the industry.”

“I couldn’t ask for a better partner,” said ACT Artistic Director Kurt Beattie. “Kevin understands the challenges of today’s arts organization; that, combined with his passion for the art form and for ACT, will strengthen our ability to generate revenue that supports the mission of this theatre.”

“I am thrilled to be returning to the theatre and, specifically, to ACT,” said Mr. Hughes. “Kurt Beattie is an extraordinary artist, the staff is equally talented and ACT’s multi-faceted building is one of the best arts facilities in our region.”

Board of Trustees Vice-President and search committee chair Kristin Olson said, “We received an excellent response to our call for applications, reviewing more than 50 applications submitted from around the U.S. It is clear that ACT is highly regarded in the regional theatre industry and the search attracted a range of strong candidates.”

The search committee included Ms. Olson and trustees Brad Fowler, Robert Howie, John Jacobsen, and Chuck Sitkin, and ACT staff Kurt Beattie (artistic director) and Joan Toggenburger (producing director). Also on the committee were Peter Donnelly (former president and CEO, ArtsFund) and Marilyn Sheldon (managing director, 5th Avenue Musical Theatre). Susan Trapnell, (former managing director and now executive director of endowment fundraising) served as an advisor to the search committee.

SHEILA DANIELS JOINS INTIMAN THEATRE AS ASSOCIATE DIRECTOR

Acclaimed Seattle director will join Intiman’s artistic staff and stage A Streetcar Named Desire, newly announced for the 2008 season

Seattle— Intiman Theatre announces that Sheila Daniels will join its staff as Associate Director, effective December 10, 2007. As Associate Director, Daniels will direct A Streetcar Named Desire by Tennessee Williams in the 2008 season. Additional information about the production, including the performance run and casting, will be announced at a later date.

As a member of Intiman’s artistic staff, Daniels will be responsible for casting and literary management. She will also work closely with Artistic Director Bartlett Sher on the 2008 season productions and artistic planning for the development of future projects.

“I have been following Sheila’s work for many years,” says Sher. “As a director, she brings great facility in working with actors and language, and experience with new writing, the classics and cross-disciplinary collaborations. She also has a real understanding and knowledge of the Seattle theatre community. I’m thrilled to have her join our artistic team, and to fill the open slot in our season with her production of A Streetcar Named Desire.”

“I am deeply honored and thrilled to begin working at Intiman with its exceptional staff, under the excellent and inspired leadership of Bart Sher and Managing Director Laura Penn ,” says Daniels.

Daniels has been creating theatre as a director, actor, teacher and producer in Seattle since 1994. She is Co-Artistic Director and Co-Founder of both Theater Under Ground and Baba Yaga Productions, and recently served as the Associate Artistic Director at Capitol Hill Arts Center (CHAC). From 1999-2002, she was Artistic Director of Theater Schmeater. Since 1998, she has taught Acting and Cross-Disciplinary Collaboration at Cornish College of the Arts, where she serves as a Resident Director.

Her recent directing credits include Pericles (Seattle Shakespeare Company), Crime and Punishment (Theater Under Ground/CHAC), Rhoda: A Life in Stories (Book-It), God’s Country, Waiting for Lefty, Arcadia (CHAC), The Bridge of San Luis Rey (Strawberry Theatre Workshop), Burning Bridget Cleary (Ladykiller Productions), Macbeth (Wooden O), The Last State (On the Boards), Shock Brigades: Women in Combat (Baba Yaga). In addition to Intiman’s production of A Streetcar Named Desire, she will direct According to Coyote for Seattle Children's Theatre in February 2008.

Orkestar Zirkonium New Year's Eve!

What: The Bad Things New Year's Extravaganza

Where: The Rendezvous, 2322 2nd Avenue

When: December 31st, doors open at 9pm

$10, $12 at the door

Tickets!: http://www.brownpapertickets.com/event/24896

Featuring The Bad Things (Seattle's junkyard cabaret band), Michele Francis (aerialist extraordinaire), and the ever-lovable Orkestar Zirkonium in the Jewelbox Theatre. In the Grotto, DJ Darek Mazzone of KEXP's "Wo-Pop" will be spinning tunes and Miss J9 Fierce will perform "cabaret danse du ventre". Readings by Faye, the Tattooed Psychic, and Miss Oblivious with her incredible Paynecreation Dolls in the Velvet Lounge. And the MC for the night will be the amazing Vincent Drambui of The Atomic Bombshells. What a night!

Weekly Update - 11/29/2007

KSUB Seattle
Listen In Online Here
The Broadway Hour >Sunday 10AM - Noon

Seattle Shakespeare
Tickets and Information
Julius Caesar >January 3-27, 2008

Intiman
Tickets and Information
Black Nativity >November 28 - December 28, 2007

Seattle Repertory Theatre
Tickets and Information
The Cook >November 1 - December 1, 2007
Birdie Blue >November 15 - December 16, 2007

ACT Theatre
Tickets and Information
The Women >October 5 - December 2, 2007
Late Night Catechism >Through December 30, 2007
Christmas Carol >November 23 - December 24, 2007

Seattle Opera
Tickets and Information
Pagliacci >January 12 - 26, 2008

The 5th Avenue Theatre
Tickets and Information
Whistle Down the Wind >November 13 - December 2, 2007
Jersey Boys >December 5, 2007 - January 12, 2008

Theater Schmeater
Tickets and Information
Mamet Schmamet >November 2 - December 1, 2007
American Buffalo >October 26 - December 1, 2007

Awesome Happening at the REP

Humanities Forum at Seattle Repertory Theatre

Saturday, December 1 at 4:30 p.m., immediately following matinee performance of The Cook in Seattle Rep's lobby (155 Mercer St).

Humanities Forum is a panel discussion which focuses on themes and ideas relating to the play. The theme of this panel will be "Connecting with Cuba: A Discussion of The Cook and By the Waters of Babylon at Seattle Repertory Theatre" Panelists include author Flor Fernandez Barrios, By the Waters of Babylon playwright Robert Schenkkan and cast members of The Cook, moderated by Education Director Andrea Allen.

Humanities Forum is free and open to the public.

Two Updates from the Intiman!

INTIMAN THEATRE HONORS LOCAL ORGANIZATIONS AT OPENING NIGHT BENEFIT PERFORMANCE OF BLACK NATIVITY: A GOSPEL SONG PLAY ON SATURDAY, DECEMBER 1

Tickets are on sale at www.intiman.org or 206.269.1900 for the 10th anniversary production, featuring Pastor Patrinell Wright and the Reverend Dr. Samuel B. McKinney, running November 28-December 28

SEATTLE— Intiman Theatre announces the three nonprofit programs that will be honored on the opening night performance of the holiday classic Black Nativity: A Gospel Song Play on Saturday, December 1 at 8:00 pm. Through this annual tradition, Intiman dedicates funds to grassroots, community-based organizations in Puget Sound that share a commitment to social change and address the needs of underserved communities, particularly youth and families. This season’s 10^th anniversary production is sponsored in part by Safeco Insurance, with additional support from The Boeing Company, Starbucks Coffee Company and U.S. Bank.

The beneficiaries of the opening night performance are:

• Storyteller/educator Delbert Richardson takes visitors on a journey through the “American History” Exhibit, a collection that displays symbol of slavery, including slave shackles and branding irons; “Jim Crow” era signs and documents; and authentic artifacts and relics from the continent of Africa . Mr. Richardson also honors and recognizes the many contributions of African Americans by displaying an extensive collection of inventors and inventions.
• The Latino Community Fund of Washington State, a new organization that seeks to improve the well being of Latinos in Washington state, especially those most in need, by supporting local organizations that improve the health, education, community and economic development of Latinos. www.latinocommunityfund.org
• The Somali Community Services of Seattle, which works for the success of Somali and Oromo refugees to undergo a smooth transitional process and attain a self-sustainable status in their new country. It provides case management and referrals, race and social justice leadership development, education programs for youth and adults, nutrition programs and job-readiness classes, among other services. www.somalicss.org.

The opening night beneficiaries are selected by the Black Nativity Community Committee, co-chaired by Charles Rolland and Louise J. McKinney. The performance also benefits Intiman’s ongoing Mary Helen Moore Scholarship Ticket Fund. Members of the Black Nativity Community Committee are Marie Brooks, Dr. James Gore, Soya Jung Harris, Dorothy H. Mann, Georgia S. McDade, Paul Mitchell, Chris Nishiwaki, Steve Sneed and Paul Toliver.

Directed by Jacqueline Moscou and choreographed by Kabby Mitchell III, Black Nativity is a celebration of faith, expressed through exuberant performances of song, story and dance, and reaching audiences of all ages, backgrounds and beliefs. Black Nativity will run November 28-December 28 at the Intiman Playhouse, 201 Mercer Street at Seattle Center . Tickets, ranging in price from $10 to $42, are available for purchase from www.intiman.org or over the phone from the Ticket Office at 206.269.1900.

The first act of Black Nativity retells the Christmas story through the words of the great American poet, Langston Hughes. In the second act, Intiman is transformed into a joyous “nondenominational church” presided over by Pastor Patrinell Wright and the Reverend Dr. Samuel B. McKinney. The production features gospel performances by the Total Experience Gospel Choir and the Black Nativity Choir, modern and traditional choreography performed by an ensemble of dancers, and an on-stage band.

INTIMAN THEATRE HOSTS PERFORMERS FROM ‘AMERICAN IDOL’ AT BLACK NATIVITY

Karma Johnson, Sanjaya Malakar and Leah Vladowski, all alumni of the Total Experience Gospel Choir, to join the cast for 2 pm and 7:30 pm shows on Sunday, December 2

SEATTLE— Intiman Theatre announces that three former contestants from American Idol will join the Black Nativity cast as special guests for the 2 pm and the 7:30 pm performances on Sunday, December 2. Karma Johnson (from American Idol’s first season in 2002), Leah Vladowski (who competed as Leah LaBelle in the 2004 season) and Sanjaya Malakar (a fan favorite in the 2007 season) will each sing a solo during the two performances of Intiman’s annual holiday production.

All three singers are alumni of the Total Experience Gospel Choir, founded and directed by Pastor Patrinell Wright. Pastor Wright has performed in Black Nativity: A Gospel Song Play, as well as created the musical direction and arrangements, since its first production in 1998. Karma Johnson performed in Black Nativity in 2001; Leah Vladowski performed in the production for its first five years, from 1998-2002, making her debut appearance at age 12.

Television crews are welcome at both performances; a limited number of press tickets are available.

The 10^th anniversary production of Black Nativity is sponsored in part by Safeco Insurance, with additional support from The Boeing Company, Starbucks Coffee Company and U.S. Bank.

Directed by Jacqueline Moscou and choreographed by Kabby Mitchell III, Black Nativity is a celebration of faith, expressed through exuberant performances of song, story and dance, and reaching audiences of all ages, backgrounds and beliefs. Black Nativity will run November 28-December 28 at the Intiman Playhouse, 201 Mercer Street at Seattle Center . Tickets, ranging in price from $10 to $42, are available for purchase from www.intiman.org or over the phone from the Ticket Office at 206.269.1900.

Intiman Theatre gratefully acknowledges the following for their institutional support: The Paul G. Allen Family Foundation, Ameriprise Financial, Norman Archibald Charitable Foundation, ArtsFund, The Boeing Company, Doris Duke Charitable Foundation, Fales Foundation Trust, Humanities Washington, Intiman Theatre Foundation, Kreielsheimer Remainder Trust, The Andrew W. Mellon Foundation, Microsoft Corporation, Nesholm Family Foundation, The Norcliffe Foundation, PONCHO, Pride Foundation, The Shubert Foundation, The Seattle Foundation, Theatre Communications Group, U.S. Bancorp Foundation, WaMu and Wells Fargo Bank. Additional funding is received from Office of Arts & Cultural Affairs, City of Seattle ; 4Culture; Metropolitan King County Council and Washington State Arts Commission.

Weekly Update - 11/25/2007

KSUB Seattle
Listen In Online Here
The Broadway Hour >Sunday 10AM - Noon

Seattle Shakespeare
Tickets and Information
Julius Caesar >January 3-27, 2008

Intiman
Tickets and Information
Black Nativity >November 28 - December 28, 2007

Seattle Repertory Theatre
Tickets and Information
The Cook >November 1 - December 1, 2007
Birdie Blue >November 15 - December 16, 2007

ACT Theatre
Tickets and Information
The Women >October 5 - December 2, 2007
Late Night Catechism >Through December 30, 2007
Christmas Carol >November 23 - December 24, 2007

Seattle Opera
Tickets and Information
Pagliacci >January 12 - 26, 2008

The 5th Avenue Theatre
Tickets and Information
Whistle Down the Wind >November 13 - December 2, 2007
Jersey Boys >December 5, 2007 - January 12, 2008

Theater Schmeater
Tickets and Information
Mamet Schmamet >November 2 - December 1, 2007
American Buffalo >October 26 - December 1, 2007

Whistle Down the Wind - 5th Avenue Theatre

Whistle Down the Wind by Andrew Lloyd Webber

5th Avenue Theatre

Ticket Office: 206.625.1900

Online Tickets Office

5th Avenue Website

1308 5th Avenue Seattle, WA 98101

Whistle Down the Wind is Andrew Lloyd Webber’s “new” dramatic musical. New to America, that is; I’m going to assume that the number of Seattle residents who went to the West end of London for its premier in 1998 and revival in 2006 are few enough to ignore. This touring company gave the show its American premier at the 5th Avenue Theater on November 16 and will be running through December 2nd. It’s the story of a sixteen year old girl, Swallow (Andrea Ross) who finds a man hiding in her father’s barn. She and the other children of the town become convinced that the man is Jesus Christ come down to earth to wash away their sins and usher in a new age of joy and light. Set that against the backdrop of a small town obsessed with sin and searching for an escaped convict, and you’ve got a premise that is sure to impress. There will be moments of tear jerking intimacy, personal revelation, the powers of sin and redemption. It’s all here. So what else are you expecting out of such a big name production? Are you yearning for a Cats inspired spectacle of costume and dance? The touching and introspective depth of Jesus Christ Superstar? Or maybe just some catchy tunes to stick in your head and hum on the way out of the theatre... at Whistle Down the Wind on 5th you’ll get a touch of the first two and a heaping helping of the third.

The first thing an audience member might notice is a loose handout detailing the 15 member strong “children’s ensemble” cast from local sources. This might make alarm bells go off in any theatre-goers head. If there is anything that can ruin a show, it’s poor acting on the children’s parts, and unfortunately, their acting doesn’t astonish. However, they are great singers, and hearing the pure tones of a child layered against the complex and throaty sounds of adults makes for a stunning contrast, particularly important to this show where innocence and evil clash. Continuing the theme of innocent and evil, the two leads, Andrea Ross and Eric Kunze (The Man), carry the show with their voices. Eric plays the tortured and generally sexy escaped convict, and really brings all of the emotion one could hope for to songs like “So Many Cries” and anything he sings with Andrea Ross. The title song “Whistle Down the Wind” is excessively catchy and eminently whistleable, but there are some forgettable numbers caught up between the stand outs. Matt Skrincosky gives us an admirable performance of Amos, the love struck leather jacket-wearing motorcycle riding teenager. He sings a powerful duet with Candy, his girlfriend (Carol Denise Jones) about halfway through the show in “Tire Tracks”, one of the few stand out pieces not starring either of the two leads. One of the few concerns I have about the story and characters, besides the two main leads, is that it seems to be undeveloped and you had better not be looking for any resolution in regards to their little side stories; this is all about Swallow and the unnamed Man, unabashedly so.

Technically the play is a bit of a letdown. The fanciest thing you will see on stage is the large and impressive “curtain” made of wooden boards and shaped and slatted to look like the side of a barn. Simple sets might be acceptable at a small limited run show, but from a nationally touring company the audience should expect better. There are really only four sets used for the performance: the house, the barn, the town, and the bar. And there isn’t much else to be said about them. If you imagine a house or a barn, you have probably imagined something more interesting to look at than the set designer of Whistle Down the Wind has (Paul Farnsworth). Also, costumes are hit and miss. The Man looks great in his bloodstained white t-shirt, but one has to wonder who chose to put Andrea Ross in a full body smock for the entire play. Because she is not very tall to begin with, and surrounded by an ensemble cast of 6-11 year olds, sometimes it can be hard to remember that she is supposed to be sixteen years old. One might concede, however, that perhaps it was a conscious choice on the part of the costumer (Paul Farnsworth), to remind us that she is just on the cusp of womanhood, not quite a woman and not quite a girl. Finally, the lighting was the last sub-par piece of the play. The action takes place during the Christmas season; could we have a clue that it is cold out? Or snow? Or anything that hints at the show’s Americana roots? The association between mood lighting and southern Americana should be so strong that I am taken out of the moment when a pure white spotlight glaringly points out who is talking.

To sum it all up, Whistle Down the Wind is a blast. Ignore that nit-picky third paragraph, because this play could be done in a black box with no set lights or costume and I would still recommend going to see it. The orchestra is superb, the songs stick in your mind, and that central premise which explores redemption and innocence and the power of belief is moving to the point of tears. I know I cried, even while admonishing the sets and costumes and lights in my mind. The story moved me to tears. And when actors can do that with all the technical handicaps, I know it’s a play worth seeing.

Guest Writer: George White

Edited and posted by: Jack Jarden