The Clean House
At The ACT Theatre
March 30 - April 29
Tickets available @ 206-292-7676 or Online
Sarah Ruhl’s The Clean House is a beautiful portrayal of human emotion that rides a very fine line between absurdity and reality, and specifically and artfully portrays very basic human emotion in a captivating and true fashion. The ACT Theatre translates this complex rollercoaster in their spell-binding stage performance that captivates the audience, leaving them laughing, thinking and feeling for each and every character. Their skill in this begins at the pre-show when the audience is introduced to Matt Smucker’s stark-white set of a living room depressed into the surrounding black floor. The modern design of the furniture and the overhanging runway balcony set a mood in an outward appearing clean house. Other additional design choices, including projected phrases onto various points of the set, were used to enhance comedic moments, and add poignant information. As the play progresses, the variability of this set and the intricate interaction it has with the action is uncanny. One moment shows the clean environment of one women’s house as it is littered with the remnants from another house, represented by the balcony, in which her proposed nemesis and cause of emotional turmoil lives.
The set and the costume designs (costumes by Frances Kenny) succeed in showing the inner mechanisms of each character by how they interact with their stark white surroundings and the sharp color contrasts. In a set that lacked many vibrant colors, the lighting design by Michael Wellborn is used to delineate time passage, the focal point of the audience, and the mood of the present scene, whatever it may be. After establishing this world through design, a flexible mold is created for the actors to use as an effective tool. They wholeheartedly accept the reality of the set as an actual living room where they as the characters exist and interact and thus the audience is drawn deeper into their world. Even their private thoughts and emotions take physical form.
This complex world of raw, driven emotions, clearly evident to the audience in portrayed flashbacks and basic interactions, is skillfully carried by the cast in a way that leaves the audience entranced and part of the action. Each member, whether through humor, enclosure of inner feelings, or through love, establishes a well-understood role, and effectively develops it through the show, capturing its relation to everyone else. The relation of the characters to their world is also well understood and represented by the directing of Allison Narver, who employed great timing and blocking in pursuit of revealing the overall purpose of finding each person’s role in the house, whether clean or dirty. Catch The Clean House through the month of April at The ACT Theatre, a compelling and real story of the truths in love, whether present or past.
Review By Jack Jarden and Rick Skyler
Saturday, March 31, 2007
Friday, March 30, 2007
My Name is Rachel Corrie - Seattle Repertory Theatre
My Name is Rachel Corrie
Seattle Repertory Theatre
Tickets and Information
March 15 – April 22, 2007
Seattle Repertory Theatre
Tickets and Information
March 15 – April 22, 2007
“What would I write about if I only stayed within the doll’s house, the flower-world I grew up in?” This is the very question that started Rachel Corrie’s journey into the world of Palestinian activism in the
Edited from Rachel’s journals by Alan Rickman and Katherine Viner of the
Photo copyright Chris Bennion 2007
Directed by Braden Abraham (Seattle Rep premier) and acted by Marya Sea Kaminski, this show moves as if Rachel Corrie herself were telling the story. The naturalism of Kaminski’s speech and her ease on stage are testaments not only to her own incredible skill, but of Abraham’s eye for such efficiency. Augmented beautifully by scenic designer Jennifer Zeyl, costume designer Harmony J.K. Arnold, lighting designer L.B. Morse and sound designer Obediah Eaves, this show feels like the inside of the quickly ending mind of Rachel Corrie. The timing of lights and sounds with the action on stage combined with the versatility of the set make for a show that absolutely exudes precision and efficiency.
When going to see My Name is Rachel Corrie, do not go with a light heart. It is a show that has meaning beyond what most of us will ever experience. However, though the subject matter is heavy, the joy of the theater shines through every facet of this production. After the show concludes, follow in Rachel’s footsteps to at least remember always to “see Rachel’s mountain and walk on streets, paved over streams, where the salmon may still be swimming to daylight.”
Review by Nigel Andrews
Weekly Update - 3/30-2007
Seattle Public Theater at the Bathhouse
Tickets and Info
Stop Kiss >March 15 - April 8, 2007
Seattle Shakespeare Company
Tickets and Info
Chamber Macbeth >March 15 - April 8, 2007
The Paramount Theater
Tickets and Info
The Light in the Piazza >April 17 - 29, 2007
ACT Theater
Tickets and Info
Menopause the Musical >running through May 28, 2007
Late Night Catechism >running through August 2007
The Clean House >March 30 - April 29, 2007
Seattle Repertory Theater
Tickets and Info
My Name is Rachel Corrie >March 15 - April 22, 2007
Gem of the Ocean >April 5 – May 6, 2007
The 5th Avenue Theatre
Tickets and Info
Camelot >March 30 - April 8, 2007
Edward Scissorhands >April 26 - May 13, 2007
Tickets and Info
Stop Kiss >March 15 - April 8, 2007
Seattle Shakespeare Company
Tickets and Info
Chamber Macbeth >March 15 - April 8, 2007
The Paramount Theater
Tickets and Info
The Light in the Piazza >April 17 - 29, 2007
ACT Theater
Tickets and Info
Menopause the Musical >running through May 28, 2007
Late Night Catechism >running through August 2007
The Clean House >March 30 - April 29, 2007
Seattle Repertory Theater
Tickets and Info
My Name is Rachel Corrie >March 15 - April 22, 2007
Gem of the Ocean >April 5 – May 6, 2007
The 5th Avenue Theatre
Tickets and Info
Camelot >March 30 - April 8, 2007
Edward Scissorhands >April 26 - May 13, 2007
Seattle Police and The 5th Avenue Theatre Partner to Prevent Youth Gang Violence
SEATTLE – An unprecedented (both in Seattle and nationally) partnership between the Seattle Police Department and The 5th Avenue Theatre launches an innovative approach to youth gang violence prevention. Seattle Police Deputy Chief John Diaz, 5th Avenue Theatre Associate Artistic Director Bill Berry, Seattle Police Foundation Board President Michael Malone and 5th Avenue Board member Anna Laszlo announced the West Side Story Project – a community-wide project designed to engage middle and high school students as well as Seattle’s adult community in a series of events focusing on youth gang violence prevention.
Marking its 50th anniversary in 2007, West Side Story is the classic American musical of two rival youth gangs in New York City (Jets and Sharks) whose battle for turf and superiority provides the backdrop to an exploration of youth gangs, police relationships, prejudice and the romance of two young people caught in a violent cross-cultural struggle. The electrifying music of Leonard Bernstein and the prophetic lyrics of Stephen Sondheim hauntingly paint a picture as relevant today as it was fifty years ago.
Taking advantage of The 5th Avenue’s upcoming production of this quintessential musical, the West Side Story Project utilizes the popular musical as a backdrop for an ongoing community dialogue about the lure of gang membership, relationships between police and youth and the harsh realities of youth violence. In an effort to facilitate and broaden this conversation, several events have been planned, each with a different target audience. The project culminates with participating youth creating and performing a modern version of the classic musical as well as being provided an opportunity to attend The 5th Avenue Theatre’s production.
“Musical theatre has a long-standing history of confronting social problems head-on,” stated West Side Story Director Bill Berry. “We at The 5th are excited by the opportunity to participate in this unique collaboration and to help facilitate a community dialogue about these important issues.”
“We are constantly searching for ways to be innovative in crime prevention and intervention,” noted Deputy Chief John Diaz. “The community benefit is heightened awareness of a problem plaguing cities across the United States: gang violence.”
“The breadth and depth of this project is very exciting and truly represents a community-wide effort with the collaboration of Town Hall Seattle which will host our public policy dialogue, Seattle’s middle and high schools, Seattle Parks and Recreation, the Boys and Girls Clubs of King County and King County Parks,” added Anna Laszlo.
“One of the primary reasons behind the creation the Seattle Police Foundation (SPF) was to support unique and innovative programs that result in a safer community,” expressed Michael Malone. “SPF is proud to be a part of this ambitious partnership.”
The following list is a synopsis of events that encompass the West Side Story Project.
Teen Advisory Council Meetings
An advisory council of 33 students from Ballard, Roosevelt, Garfield and Chief Sealth high schools has been working directly with SPD officers and 5th Avenue staff for the past 4 months to frame the themes and discussions for the two West Side Story Project Youth Summits.
West Side Story Project Youth Summits – March 30th and April 17th
The summits will explore the issues of gang involvement, police relations and valuing differences using West Side Story as a springboard for the dialogue. One summit will be held for high school students and another for middle school students. The summits will be 5 hours in length with 120 attendees expected at each. Four workshops based upon particular scenes and songs from West Side Story will be co-facilitated by SPD officers, youth program specialists and the Teen Advisory Council members. The high school Youth Summit will be held on March 30th and the middle school Youth Summit will be held on April 17th. Both events will take place at Langston Hughes Performing Arts Center from 8:30 AM until 1:45 PM.
Creating the 21st Century Story – May 14th
Small groups from Ballard, Garfield, Roosevelt and Chief Sealth high schools will work with a team of teaching artists from The 5th Avenue Theatre to create their own modern version of West Side Story. Just as West Side Story was a modern adaptation of Romeo and Juliet, these students will update West Side Story and present their own 21st century version on stage to members of the Seattle Police Department, 5th Avenue Theatre staff and family and friends of the performers. This special performance will be held at Langston Hughes Performing Arts Center on May 14th. The time of the performance has yet to be announced.
Back Stage at The 5th Avenue Theatre
Any youth who attends the summits, participates on the Teen Advisory Council or the 21st Century Story Groups is encouraged to participate in the following opportunities at The 5th Avenue Theatre: rehearsals of West Side Story; meet and engage in “talk-backs” with the actors portraying the youth in West Side Story, thus providing insight for the actors and allowing youth to see how “characters” are developed in a show; and a backstage pass at the theatre, in which students get an inside look at how the show is staged.
West Side Story Project presented at National Policing Conference – April 25th through April 28th
The Annual Meeting of the Police Executive Research Forum (one of the nation’s premier law enforcement organizations dedicated to innovation in policing) will showcase the project during a 90-minute presentation focusing on this unique collaborative effort. Discussants at the panel, entitled “Responding to Gang Violence – Prevention on a New Stage,” will include: David Armstrong, Producing Artistic Director, 5th Avenue Theatre; Clark Kimerer, Deputy Chief of Police, Seattle Police Department, Kim Bogucki, Seattle Police Detective, Community Outreach Program, two youth from the Teen Advisory Council; Anna Laszlo, Circle Solutions, Inc. and West Side Story Project concept originator. Dr. Ellen Scrivner, John Jay College of criminal justice and nationally recognized community policing expert will moderate. The presentation will take place in Chicago during the Police Executive Research Forum’s Annual Meeting April 25th through April 28th.
Exploring “Officer Krupke” at Town Hall – May 22nd
An adult community dialogue will be hosted at Town Hall Seattle. The evening will begin with the cast of West Side Story performing the song “Officer Krupke” live. In this song, the Jets recount their experience of being arrested by Officer Krupke, who sends them to a judge, who decides they need to see a psychiatrist, who sends them to a social worker, who says they’re “no good” and just need to go to jail. The performance will be followed by a facilitated discussion with key Seattle policymakers, the counterparts to the characters in “Officer Krupke” (law enforcement, juvenile court, youth social services and child psychiatry), who will explore the systems’ response to at-risk youth in the Seattle community. This event will take place on May 22nd at 7 PM.
West Side Story at The 5th Avenue Theatre – May 26th - June 17th
Any youth who participated in any of the programs that were a part of the West Side Story Project will be eligible to see The 5th Avenue Theatre’s production of West Side Story. 200 tickets have been made available. The show runs at The 5th Avenue Theatre May 26th – June 17th.
West Side Story Project By The Numbers
The year William Shakespeare penned Romeo and Juliet: 1581
The year West Side Story debuted on Broadway: 1957
The number of Seattle youth participating in the West Side Story Project Teen Advisory Council: 33
The number of Seattle youth registered for the two West Side Story Project Youth Summits: 300
The number of police executives expected to attend the Police Executive Research Forum April 25th – April 28th in Chicago: 300
The number of cast members in The 5th Avenue Theatre production of West Side Story: 40
The number of Seattle youth involved in firearm assaults (as assailants, victims or both): 53 (2005 Crime Data)
The percentage of Seattle firearm assaults involving youth (as assailants, victims or both): 25% (2005 Crime Data)
The number of public schools in the Seattle School District: 97
The approximate number of street gangs in Seattle: 200
Marking its 50th anniversary in 2007, West Side Story is the classic American musical of two rival youth gangs in New York City (Jets and Sharks) whose battle for turf and superiority provides the backdrop to an exploration of youth gangs, police relationships, prejudice and the romance of two young people caught in a violent cross-cultural struggle. The electrifying music of Leonard Bernstein and the prophetic lyrics of Stephen Sondheim hauntingly paint a picture as relevant today as it was fifty years ago.
Taking advantage of The 5th Avenue’s upcoming production of this quintessential musical, the West Side Story Project utilizes the popular musical as a backdrop for an ongoing community dialogue about the lure of gang membership, relationships between police and youth and the harsh realities of youth violence. In an effort to facilitate and broaden this conversation, several events have been planned, each with a different target audience. The project culminates with participating youth creating and performing a modern version of the classic musical as well as being provided an opportunity to attend The 5th Avenue Theatre’s production.
“Musical theatre has a long-standing history of confronting social problems head-on,” stated West Side Story Director Bill Berry. “We at The 5th are excited by the opportunity to participate in this unique collaboration and to help facilitate a community dialogue about these important issues.”
“We are constantly searching for ways to be innovative in crime prevention and intervention,” noted Deputy Chief John Diaz. “The community benefit is heightened awareness of a problem plaguing cities across the United States: gang violence.”
“The breadth and depth of this project is very exciting and truly represents a community-wide effort with the collaboration of Town Hall Seattle which will host our public policy dialogue, Seattle’s middle and high schools, Seattle Parks and Recreation, the Boys and Girls Clubs of King County and King County Parks,” added Anna Laszlo.
“One of the primary reasons behind the creation the Seattle Police Foundation (SPF) was to support unique and innovative programs that result in a safer community,” expressed Michael Malone. “SPF is proud to be a part of this ambitious partnership.”
The following list is a synopsis of events that encompass the West Side Story Project.
Teen Advisory Council Meetings
An advisory council of 33 students from Ballard, Roosevelt, Garfield and Chief Sealth high schools has been working directly with SPD officers and 5th Avenue staff for the past 4 months to frame the themes and discussions for the two West Side Story Project Youth Summits.
West Side Story Project Youth Summits – March 30th and April 17th
The summits will explore the issues of gang involvement, police relations and valuing differences using West Side Story as a springboard for the dialogue. One summit will be held for high school students and another for middle school students. The summits will be 5 hours in length with 120 attendees expected at each. Four workshops based upon particular scenes and songs from West Side Story will be co-facilitated by SPD officers, youth program specialists and the Teen Advisory Council members. The high school Youth Summit will be held on March 30th and the middle school Youth Summit will be held on April 17th. Both events will take place at Langston Hughes Performing Arts Center from 8:30 AM until 1:45 PM.
Creating the 21st Century Story – May 14th
Small groups from Ballard, Garfield, Roosevelt and Chief Sealth high schools will work with a team of teaching artists from The 5th Avenue Theatre to create their own modern version of West Side Story. Just as West Side Story was a modern adaptation of Romeo and Juliet, these students will update West Side Story and present their own 21st century version on stage to members of the Seattle Police Department, 5th Avenue Theatre staff and family and friends of the performers. This special performance will be held at Langston Hughes Performing Arts Center on May 14th. The time of the performance has yet to be announced.
Back Stage at The 5th Avenue Theatre
Any youth who attends the summits, participates on the Teen Advisory Council or the 21st Century Story Groups is encouraged to participate in the following opportunities at The 5th Avenue Theatre: rehearsals of West Side Story; meet and engage in “talk-backs” with the actors portraying the youth in West Side Story, thus providing insight for the actors and allowing youth to see how “characters” are developed in a show; and a backstage pass at the theatre, in which students get an inside look at how the show is staged.
West Side Story Project presented at National Policing Conference – April 25th through April 28th
The Annual Meeting of the Police Executive Research Forum (one of the nation’s premier law enforcement organizations dedicated to innovation in policing) will showcase the project during a 90-minute presentation focusing on this unique collaborative effort. Discussants at the panel, entitled “Responding to Gang Violence – Prevention on a New Stage,” will include: David Armstrong, Producing Artistic Director, 5th Avenue Theatre; Clark Kimerer, Deputy Chief of Police, Seattle Police Department, Kim Bogucki, Seattle Police Detective, Community Outreach Program, two youth from the Teen Advisory Council; Anna Laszlo, Circle Solutions, Inc. and West Side Story Project concept originator. Dr. Ellen Scrivner, John Jay College of criminal justice and nationally recognized community policing expert will moderate. The presentation will take place in Chicago during the Police Executive Research Forum’s Annual Meeting April 25th through April 28th.
Exploring “Officer Krupke” at Town Hall – May 22nd
An adult community dialogue will be hosted at Town Hall Seattle. The evening will begin with the cast of West Side Story performing the song “Officer Krupke” live. In this song, the Jets recount their experience of being arrested by Officer Krupke, who sends them to a judge, who decides they need to see a psychiatrist, who sends them to a social worker, who says they’re “no good” and just need to go to jail. The performance will be followed by a facilitated discussion with key Seattle policymakers, the counterparts to the characters in “Officer Krupke” (law enforcement, juvenile court, youth social services and child psychiatry), who will explore the systems’ response to at-risk youth in the Seattle community. This event will take place on May 22nd at 7 PM.
West Side Story at The 5th Avenue Theatre – May 26th - June 17th
Any youth who participated in any of the programs that were a part of the West Side Story Project will be eligible to see The 5th Avenue Theatre’s production of West Side Story. 200 tickets have been made available. The show runs at The 5th Avenue Theatre May 26th – June 17th.
West Side Story Project By The Numbers
The year William Shakespeare penned Romeo and Juliet: 1581
The year West Side Story debuted on Broadway: 1957
The number of Seattle youth participating in the West Side Story Project Teen Advisory Council: 33
The number of Seattle youth registered for the two West Side Story Project Youth Summits: 300
The number of police executives expected to attend the Police Executive Research Forum April 25th – April 28th in Chicago: 300
The number of cast members in The 5th Avenue Theatre production of West Side Story: 40
The number of Seattle youth involved in firearm assaults (as assailants, victims or both): 53 (2005 Crime Data)
The percentage of Seattle firearm assaults involving youth (as assailants, victims or both): 25% (2005 Crime Data)
The number of public schools in the Seattle School District: 97
The approximate number of street gangs in Seattle: 200
Monday, March 26, 2007
Falstaff - Meydenbauer Center, Bellevue
A Fabulous Show Opening Now!
Falstaff
Seattle Opera's Young Artist Program at Meydenbauer Hall
Tickets and Information
March 30-April 7, 2007
Falstaff, directed by Peter Kazaras and conducted by Dean Williamson, brings to life William Shakespeare's The Merry Wives of Windsor as only Verdi and Boito could. After Verdi and Boito's dynamic success with their Opera Otello, Falstaff came naturally following. One of the most unrecognized operas of its caliber, one will be blown away by the music, the performances and the theatrical elements that come together in this show.
Peter Kazaras, formerly on stage in countless operas including many productions of Wagner's Ring Cycle, brings his talents to the stage from the other side of the table as director of the Young Artist Program's shows. His skill at precision and intent is incredible and will keep the audience constantly entertained with this beautiful show. Dean Williamson, Conductor, expertly leads the orchestra through the incredibly difficult music to create a flowing opera that sounds completely effortless.
Donnald Eastman's scenic design for Falstaff is, to say the least, magical. Everything about it gives Kazares' concept of meta-theatre (Falstaff is presented as actors putting on a show, not as the show being real. Come 30 minutes early to watch the actors in their pre-show!) the power to shine. With some gorgeous moments of delightful stage magic, Eastman's sets, augmented by Connie Yun's astounding lighting design, take the audience on a ride through the imagination of all those who have worked through the centuries to bring Falstaff to life.
The performers on stage are, as the name of the program suggests, Young Artists. They are all recent graduates of masters programs from a myriad of colleges in voice and are getting to know the workings of the opera world. Don't be deceived by this, however; there is no gap in talent between these unbelievable performers and those who you see on the main stage at the Seattle Opera this season. Giving the opportunity for performance to as many people as possible, the roles of Ford, Alice, Nannetta, Fenton and Falstaff are doubled (see the above link to see who performs on which nights). Not only does the Young Artist Program give the next generation of Opera Singers the chance to break into the world, but it also gives all of us the privilege to see them first and enjoy their amazing skill.
Review by Nigel Andrews
Falstaff
Seattle Opera's Young Artist Program at Meydenbauer Hall
Tickets and Information
March 30-April 7, 2007
Falstaff, directed by Peter Kazaras and conducted by Dean Williamson, brings to life William Shakespeare's The Merry Wives of Windsor as only Verdi and Boito could. After Verdi and Boito's dynamic success with their Opera Otello, Falstaff came naturally following. One of the most unrecognized operas of its caliber, one will be blown away by the music, the performances and the theatrical elements that come together in this show.
Peter Kazaras, formerly on stage in countless operas including many productions of Wagner's Ring Cycle, brings his talents to the stage from the other side of the table as director of the Young Artist Program's shows. His skill at precision and intent is incredible and will keep the audience constantly entertained with this beautiful show. Dean Williamson, Conductor, expertly leads the orchestra through the incredibly difficult music to create a flowing opera that sounds completely effortless.
Donnald Eastman's scenic design for Falstaff is, to say the least, magical. Everything about it gives Kazares' concept of meta-theatre (Falstaff is presented as actors putting on a show, not as the show being real. Come 30 minutes early to watch the actors in their pre-show!) the power to shine. With some gorgeous moments of delightful stage magic, Eastman's sets, augmented by Connie Yun's astounding lighting design, take the audience on a ride through the imagination of all those who have worked through the centuries to bring Falstaff to life.
The performers on stage are, as the name of the program suggests, Young Artists. They are all recent graduates of masters programs from a myriad of colleges in voice and are getting to know the workings of the opera world. Don't be deceived by this, however; there is no gap in talent between these unbelievable performers and those who you see on the main stage at the Seattle Opera this season. Giving the opportunity for performance to as many people as possible, the roles of Ford, Alice, Nannetta, Fenton and Falstaff are doubled (see the above link to see who performs on which nights). Not only does the Young Artist Program give the next generation of Opera Singers the chance to break into the world, but it also gives all of us the privilege to see them first and enjoy their amazing skill.
Review by Nigel Andrews
Friday, March 23, 2007
Weekly Update - 3/23/2007
Seattle Public Theater at the Bathhouse
Tickets and Info
Stop Kiss >March 15 - April 8, 2007
Seattle Shakespeare Company
Tickets and Info
Chamber Macbeth >March 15 - April 8, 2007
The Paramount Theater
Tickets and Info
Twelve Angry Men >March 20 - March 25
The Light in the Piazza >April 17 - 29, 2007
ACT Theater
Tickets and Info
Menopause the Musical >running through May 28, 2007
Late Night Catechism >running through August 2007
The Clean House >March 30 - April 29, 2007
Seattle Repertory Theater
Tickets and Info
Fire on the Mountain >February 22 - March 24, 2007
My Name is Rachel Corrie >March 15 - April 22, 2007
Gem of the Ocean >April 5 – May 6, 2007
The 5th Avenue Theatre
Tickets and Info
Camelot >March 30 - April 8, 2007
Edward Scissorhands >April 25 - May 13, 2007
Tickets and Info
Stop Kiss >March 15 - April 8, 2007
Seattle Shakespeare Company
Tickets and Info
Chamber Macbeth >March 15 - April 8, 2007
The Paramount Theater
Tickets and Info
Twelve Angry Men >March 20 - March 25
The Light in the Piazza >April 17 - 29, 2007
ACT Theater
Tickets and Info
Menopause the Musical >running through May 28, 2007
Late Night Catechism >running through August 2007
The Clean House >March 30 - April 29, 2007
Seattle Repertory Theater
Tickets and Info
Fire on the Mountain >February 22 - March 24, 2007
My Name is Rachel Corrie >March 15 - April 22, 2007
Gem of the Ocean >April 5 – May 6, 2007
The 5th Avenue Theatre
Tickets and Info
Camelot >March 30 - April 8, 2007
Edward Scissorhands >April 25 - May 13, 2007
Thursday, March 22, 2007
Camelot - The 5th Avenue Theatre
Camelot
The 5th Avenue Theatre
Tickets and Information
March 20 - April 8, 2007
Camelot, written by Alan Jay Lerner and Frederic Loewe (the artistic team behind My Fair Lady, among others) first premiered in 1960 at the Majestic Theater, with Richard Burton as Arthur, Julie Andrews as Guenevere, and Robert Goulet as Lancelot. Since then it has gone through many incarnations, including a 1967 film with Richard Harris, Vanessa Redgrave, and Franco Nero, and revivals in 1987 and 1993.
Now, well-loved Michael York plays Arthur in the production currently running at the Fifth Avenue Theater. It is fun, as it always is, to see someone as well-known as Michael York live in a play; he does a fine job, though not an outstanding one, making an affable, lovable and charming Arthur. James Barbour as Lancelot is bombastic in mannerisms, voice and presence, which suits Lancelot’s character, and makes him a delight to watch and listen to, especially the song “C’est Moi,” our introduction to him. Time Winters, as Sir Pellinore, is the comedian of the night.
The sets, lights, orchestration, choreography and costumes are all as would be expected in a show such as the revival of Camelot; they are simple and clean, with the sophistication characteristic of the Fifth Avenue.
Though clocking in at around two and a half hours, Camelot is an enjoyable and lighthearted show suitable for everyone. The young will enjoy the exciting swordfights and fun music and the more mature crowd will get a kick, as always, out of seeing Michael York bring back the loveable Arthur in his ever-loved home of Camelot.
Review by Lia Morgan and Nigel Andrews
The 5th Avenue Theatre
Tickets and Information
March 20 - April 8, 2007
Camelot, written by Alan Jay Lerner and Frederic Loewe (the artistic team behind My Fair Lady, among others) first premiered in 1960 at the Majestic Theater, with Richard Burton as Arthur, Julie Andrews as Guenevere, and Robert Goulet as Lancelot. Since then it has gone through many incarnations, including a 1967 film with Richard Harris, Vanessa Redgrave, and Franco Nero, and revivals in 1987 and 1993.
Now, well-loved Michael York plays Arthur in the production currently running at the Fifth Avenue Theater. It is fun, as it always is, to see someone as well-known as Michael York live in a play; he does a fine job, though not an outstanding one, making an affable, lovable and charming Arthur. James Barbour as Lancelot is bombastic in mannerisms, voice and presence, which suits Lancelot’s character, and makes him a delight to watch and listen to, especially the song “C’est Moi,” our introduction to him. Time Winters, as Sir Pellinore, is the comedian of the night.
The sets, lights, orchestration, choreography and costumes are all as would be expected in a show such as the revival of Camelot; they are simple and clean, with the sophistication characteristic of the Fifth Avenue.
Though clocking in at around two and a half hours, Camelot is an enjoyable and lighthearted show suitable for everyone. The young will enjoy the exciting swordfights and fun music and the more mature crowd will get a kick, as always, out of seeing Michael York bring back the loveable Arthur in his ever-loved home of Camelot.
Review by Lia Morgan and Nigel Andrews
Wednesday, March 21, 2007
Intiman Theatre Season Tickets On Sale!
Tickets for the Intiman Theatre's 2007-2008 season of shows go on sale Saturday, March 31st at 12:00 PM! Visit their website for information on purchasing, included shows, pricing and more!
Tuesday, March 20, 2007
Twelve Angry Men - Paramount
Twelve Angry Men
The Paramount Theatre
Tickets and Information
Runs March 20 - 25, 2007
Reginald Rose’s Twelve Angry Men has lost none of its gusto since its original debut in the mid 1950’s. The same political issues in the juror’s room exist today as they always have. Unqualified lawyers, prejudiced jurors and stubborn individuals deciding the fate of the accused have plagued, and have continued to infect, our courts for decades.
The fourteen actors making up the cast of Twelve Angry Men bring to life an ensemble show that defines well-balanced. As exciting as it is to watch George Wendt (Juror One / Foreman) and Richard Thomas (Juror Eight) perform live, each actor holds his own with the others on and off stage while simultaneously supporting every other man to provide the audience with a true vision of teamwork. There is no moment when one actor outshines another. At every instant, each man’s work enlivens the others to create an honest vision of a jury’s chamber.
None of this could have been possible without the phenomenal direction by Scott Ellis. The seamlessness of the production is a testament to the clarity and smoothness of his direction. When one doesn't even notice how grand it must be because of the naturalism of the play, the true splendor of the director's skill is recognized.
Allen Moyer’s set uses a slight perspective to bring the audience fully into the room; there is no empty space surrounding the walls, and no wasted space inside. Each piece of the set functions perfectly and fully as it should and brings to life one of the most realistic sets that can be created on a proscenium stage.
Review by Nigel Andrew and Lia Morgan
The Paramount Theatre
Tickets and Information
Runs March 20 - 25, 2007
Reginald Rose’s Twelve Angry Men has lost none of its gusto since its original debut in the mid 1950’s. The same political issues in the juror’s room exist today as they always have. Unqualified lawyers, prejudiced jurors and stubborn individuals deciding the fate of the accused have plagued, and have continued to infect, our courts for decades.
The fourteen actors making up the cast of Twelve Angry Men bring to life an ensemble show that defines well-balanced. As exciting as it is to watch George Wendt (Juror One / Foreman) and Richard Thomas (Juror Eight) perform live, each actor holds his own with the others on and off stage while simultaneously supporting every other man to provide the audience with a true vision of teamwork. There is no moment when one actor outshines another. At every instant, each man’s work enlivens the others to create an honest vision of a jury’s chamber.
None of this could have been possible without the phenomenal direction by Scott Ellis. The seamlessness of the production is a testament to the clarity and smoothness of his direction. When one doesn't even notice how grand it must be because of the naturalism of the play, the true splendor of the director's skill is recognized.
Allen Moyer’s set uses a slight perspective to bring the audience fully into the room; there is no empty space surrounding the walls, and no wasted space inside. Each piece of the set functions perfectly and fully as it should and brings to life one of the most realistic sets that can be created on a proscenium stage.
This, supported by Paul Palazzo’s lighting design, creates near reality. As the play progresses from late afternoon to evening and as the weather shifts from hot to a muggy rain, the lighting changes appropriately and brilliantly. The light begins by sifting in through the blinds and ever so slowly shifts to the darkness of the evening when an amazingly bright fluorescent light is turned on in the room to light the environment.
Photo by: Joan Marcus
Additionally, the sound design by Brian Ronan added a beautifully subtle touch to the realism of the play. The tense silences in the room were often quietly underscored by the sound of rain outside the windows, or of distant sirens or trains, except when poignant silence was absolutely necessary.
Twelve Angry Men shows the audience the meaning of an ensemble show. Its incredible realism, dynamic interactions and powerhouse acting sweeps you along into a compelling story of proof, doubt, and the power of one man to open the minds of many.
Review by Nigel Andrew and Lia Morgan
Sunday, March 18, 2007
Weekly Update 3/18/2007
Seattle Public Theater at the Bathhouse
Tickets and Info
Stop Kiss >March 15 - April 8, 2007
Seattle Shakespeare Company
Tickets and Info
Chamber Macbeth >March 15 - April 8, 2007
The Paramount Theater
Tickets and Info
Twelve Angry Men >March 20 - March 25
ACT Theater
Tickets and Info
Menopause the Musical >running through May 28, 2007
Late Night Catechism >running through August 2007
The Clean House >March 30 - April 29, 2007
Seattle Repertory Theater
Tickets and Info
Fire on the Mountain >February 22 - March 24, 2007
My Name is Rachel Corrie >March 15 - April 22, 2007
The 5th Avenue Theatre
Tickets and Info
Camelot >March 30 - April 8, 2007
Tickets and Info
Stop Kiss >March 15 - April 8, 2007
Seattle Shakespeare Company
Tickets and Info
Chamber Macbeth >March 15 - April 8, 2007
The Paramount Theater
Tickets and Info
Twelve Angry Men >March 20 - March 25
ACT Theater
Tickets and Info
Menopause the Musical >running through May 28, 2007
Late Night Catechism >running through August 2007
The Clean House >March 30 - April 29, 2007
Seattle Repertory Theater
Tickets and Info
Fire on the Mountain >February 22 - March 24, 2007
My Name is Rachel Corrie >March 15 - April 22, 2007
The 5th Avenue Theatre
Tickets and Info
Camelot >March 30 - April 8, 2007
Friday, March 16, 2007
Chamber Macbeth
Seattle Shakespeare Company
@ The Center House Theatre
March 16 - April 8, 2007
For Tickets: Call (206) 733-8222 or online at Seattle Shakespeare
Amid the clashes of swords, the light insinuated apparitions and the minimalist arena stage, Chamber Macbeth erupts forth in a flurry of raw human emotion encompassed by dynamic blocking and choreography that enthralls the audience from many different angles. The simplistic set, designed by Jennifer Lupton, was used to transport viewers to many different worlds. Through crafty and slight changes, a witch’s lair becomes a castle nursery room, which then moves to a forest in England. The set works intimately as a slate to enhance the creative lighting design that in turn becomes the set itself.
The lighting design (Tim Wratten) works to encapsulate the audience in a small room, filled with dim gloomy light and the insane nocturnal laments of Lady Macbeth, as well as push the audience into the middle of a forest where light surrounds each of the captivated theatre goers who each take on various roles throughout the play. From soldiers in Macduff’s army to drink toasters in Macbeth’s dining hall (in which reviewer Rick Skyler was given a goblet of a unique, delicate drink) the characters multiplied their numbers. This dynamic relationship between the set, lights, and audience, led to an eye hungry world of guilt, brutality, murder and revenge.
Photo taken by Erik Stuhaug
In continuity with the theme of brutal and primal elements, a portion of the show consists of rituals such as dancing and fighting. Although these parts do not make up the majority of the show, they certainly are among the most memorable. The fighting in particular is most impressive. Choreographed by Gordon Carpenter, the fights last for an extended period of time and yet were not uninteresting to the audience because of the extreme realism in which the characters did not simply do the same action time and time again, but rather, varied their technique depending on the ground they stood and their own strengths and weaknesses at the time. The desire of the character to win the fight for either revenge or for survival is extremely apparent and shown well by the actors. These raw human drives, enhanced by the various design elements, truly made the audience feel the passion of the characters primordial desires that are so intrinsically woven into the show, despite some weak acting portrayal, which led to some unfortunate confusion.
Chamber Macbeth is a dynamic, passionate show that keeps the audience well enthralled, not only through the performance onstage, but also through the dynamic backstage work that is so apparently beneficial onstage. Be sure to see Chamber Macbeth, you will leave gasping for words.
Reviewers: Jack Jarden and Rick Skyler
@ The Center House Theatre
March 16 - April 8, 2007
For Tickets: Call (206) 733-8222 or online at Seattle Shakespeare
Amid the clashes of swords, the light insinuated apparitions and the minimalist arena stage, Chamber Macbeth erupts forth in a flurry of raw human emotion encompassed by dynamic blocking and choreography that enthralls the audience from many different angles. The simplistic set, designed by Jennifer Lupton, was used to transport viewers to many different worlds. Through crafty and slight changes, a witch’s lair becomes a castle nursery room, which then moves to a forest in England. The set works intimately as a slate to enhance the creative lighting design that in turn becomes the set itself.
The lighting design (Tim Wratten) works to encapsulate the audience in a small room, filled with dim gloomy light and the insane nocturnal laments of Lady Macbeth, as well as push the audience into the middle of a forest where light surrounds each of the captivated theatre goers who each take on various roles throughout the play. From soldiers in Macduff’s army to drink toasters in Macbeth’s dining hall (in which reviewer Rick Skyler was given a goblet of a unique, delicate drink) the characters multiplied their numbers. This dynamic relationship between the set, lights, and audience, led to an eye hungry world of guilt, brutality, murder and revenge.
Photo taken by Erik Stuhaug
In continuity with the theme of brutal and primal elements, a portion of the show consists of rituals such as dancing and fighting. Although these parts do not make up the majority of the show, they certainly are among the most memorable. The fighting in particular is most impressive. Choreographed by Gordon Carpenter, the fights last for an extended period of time and yet were not uninteresting to the audience because of the extreme realism in which the characters did not simply do the same action time and time again, but rather, varied their technique depending on the ground they stood and their own strengths and weaknesses at the time. The desire of the character to win the fight for either revenge or for survival is extremely apparent and shown well by the actors. These raw human drives, enhanced by the various design elements, truly made the audience feel the passion of the characters primordial desires that are so intrinsically woven into the show, despite some weak acting portrayal, which led to some unfortunate confusion.
Chamber Macbeth is a dynamic, passionate show that keeps the audience well enthralled, not only through the performance onstage, but also through the dynamic backstage work that is so apparently beneficial onstage. Be sure to see Chamber Macbeth, you will leave gasping for words.
Reviewers: Jack Jarden and Rick Skyler
Saturday, March 10, 2007
Seattle Public Theater Needs You!
Seattle Public Theater Spring & Summer Productions
Seattle Public Theater seeks youth ages 9 and up for upcoming spring and summer productions, including The Phantom Tollbooth, Pride and Prejudice and The Odyssey.
Seattle Public Theater seeks youth ages 9 and up for upcoming spring and summer productions, including The Phantom Tollbooth, Pride and Prejudice and The Odyssey.
Information/appointment 206-524-1300 or www.seattlepublictheater.org
Friday, March 09, 2007
Weekly Update - 3/9/2007
Seattle University
Free!
Susan Laurie Parks 365 Days/365 Plays >March13 at 2-4pm
Seattle Public Theater at the Bathhouse
Tickets and Info
Stop Kiss >March 15 - April 8, 2007
Seattle Shakespeare Company
Tickets and Info
Chamber Macbeth >March 15 - April 8, 2007
Seattle Opera
Tickets and Info
Julius Caesar >February 24 - March 10, 2007
The Paramount Theater
Tickets and Info
Twelve Angry Men >March 20 - March 25
The Moore Theater
Tickets and Info
Trout Fishing in America >March 10, 2007
ACT Theater
Tickets and Info
Menopause the Musical >running through May 28, 2007
Late Night Catechism >running through August 2007
Seattle Repertory Theater
Tickets and Info
Fire on the Mountain >February 22 - March 24, 2007
My Name is Rachel Corrie >March 15 - April 22, 2007
University of Washington
Tickets and Info
Mad Forest >February 25 - March 11, 2007
The 5th Avenue Theatre
Tickets and Info
Camelot >March 30 - April 8, 2007
Free!
Susan Laurie Parks 365 Days/365 Plays >March13 at 2-4pm
Seattle Public Theater at the Bathhouse
Tickets and Info
Stop Kiss >March 15 - April 8, 2007
Seattle Shakespeare Company
Tickets and Info
Chamber Macbeth >March 15 - April 8, 2007
Seattle Opera
Tickets and Info
Julius Caesar >February 24 - March 10, 2007
The Paramount Theater
Tickets and Info
Twelve Angry Men >March 20 - March 25
The Moore Theater
Tickets and Info
Trout Fishing in America >March 10, 2007
ACT Theater
Tickets and Info
Menopause the Musical >running through May 28, 2007
Late Night Catechism >running through August 2007
Seattle Repertory Theater
Tickets and Info
Fire on the Mountain >February 22 - March 24, 2007
My Name is Rachel Corrie >March 15 - April 22, 2007
University of Washington
Tickets and Info
Mad Forest >February 25 - March 11, 2007
The 5th Avenue Theatre
Tickets and Info
Camelot >March 30 - April 8, 2007
Saturday, March 03, 2007
Weekly Update - 3/9/2007
Seattle Opera
Tickets and Info
Julius Caesar >February 24 - March 10, 2007
The Paramount Theater
Tickets and Info
Chita River: The Dancer's Life: The Musical >February 27 – March 4, 2007
The Moore Theater
Tickets and Info
Trout Fishing in America >March 10, 2007
ACT Theater
Home page for Ticket Info
Menopause the Musical >running through May 28, 2007
Late Night Catechism >running through August 2007
Seattle Repertory Theater
Tickets and Info
The Blue Door >February 1 - March 4, 2007
Fire on the Mountain >February 22 - March 24, 2007
University of Washington
Tickets and Info
Jane Eyre >February 11 - March 4, 2007
The Mill on the Floss >February 13 - March 4, 2007
Mad Forest >February 25 - March 11, 2007
The 5th Avenue Theatre
Tickets and Info
Buddy: The Buddy Holly Story >February 13 - March 4, 2007
Tickets and Info
Julius Caesar >February 24 - March 10, 2007
The Paramount Theater
Tickets and Info
Chita River: The Dancer's Life: The Musical >February 27 – March 4, 2007
The Moore Theater
Tickets and Info
Trout Fishing in America >March 10, 2007
ACT Theater
Home page for Ticket Info
Menopause the Musical >running through May 28, 2007
Late Night Catechism >running through August 2007
Seattle Repertory Theater
Tickets and Info
The Blue Door >February 1 - March 4, 2007
Fire on the Mountain >February 22 - March 24, 2007
University of Washington
Tickets and Info
Jane Eyre >February 11 - March 4, 2007
The Mill on the Floss >February 13 - March 4, 2007
Mad Forest >February 25 - March 11, 2007
The 5th Avenue Theatre
Tickets and Info
Buddy: The Buddy Holly Story >February 13 - March 4, 2007
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