Cabaret - 5th Avenue Theatre

Cabaret
5th Avenue Theatre
Tickets and Information
March 25 - April 13

The events of Cabaret take place immediately before and after the rise of the Nazi Party to power in 1930’s Germany. The flow of the plot reflects this: it begins with an emphasis on decadence, particularly within the Kit Kat Club and its leading attraction, Miss Sally Bowles (Tari Kelly), but over time, there is no way for the characters to avoid the influence of the Third Reich and it inevitably changes their lives forever. The beauty of Cabaret as it has been written is that the line between the real world and the cabaret is consistently “blurred,” and it is this aspect that 5^th Avenue Theatre executes perfectly. Not only is the line between the Kit Kat Club and the rest of Berlin unclear in the storyline, the line between the audience and the show of Cabaret through a combination of many elements.

There are simply not enough kind words that can be given to the actors of this production. Led by Nick Garrison (Emcee), Tari Kelly, Louis Hobson (Cliff Bradshaw), Suzy Hunt (Fraulein Schneider), and Allen Fitzpatrick (Herr Schultz), every performer in Cabaret is extremely talented. Garrison and Kelly lead the rest of the class in song and dance, and both are gifted with great voices and stage presence. Of course, the show would be nothing without its supporting cast, who are also exceptional. The actors work well together; Kelly and Hobson’s chemistry on stage is undeniable, and Garrison consistently works with everyone, switching roles a few times and even speaking directly to the audience. Every single performer can sing, dance, and act, and they all contribute greatly to this show.

As a musical, there is more than one director involved in the process. From what has been displayed on stage, they have all worked well together. Bob Richard’s choreography is both important to the story and very entertaining to watch as he understands that standing still at times can be more powerful than movement. The set (Tom Sturge) manages to be not only adaptable, thus enabling many set changes to be done effectively and quickly, but beautiful in its own respect. Ian Eisendrath, the musical director, helps to further the “blurring” of the play with the rest of the orchestra by playing on stage during the performance in very appropriate attire. He also has done a great job of fully embracing John Kander and Fred Ebb’s unique musical flavor, which audience members will recognize from Chicago. Finally, it is all tied together by Bill Berry, whose experience with other 5^th Avenue shows, such as West Side Story and The Rocky Horror Picture Show, has served him well in helping to prepare great musicals.

Truly, this is a spectacular show. The music is addicting, the actors are charming, and truly, when you go to see this musical, “life is a cabaret.” Please hurry and watch this show before its time is done.

SPOTLIGHT NIGHT: SHREK THE MUSICAL

Broadway Creative Team, Cast & Producers Travel to Seattle

to Reveal Behind-the-Scenes of World Premiere Musical

Sunday, April 27 3:00 - 4:30 p.m.

SEATTLE – The 5th Avenue presents a Spotlight Night unlike any other when members of the Broadway creative team, cast and producers of SHREK THE MUSICAL visit Seattle to reveal the behind-the-scenes development of this world premiere on Sunday, April 27 at 3 p.m. at The 5th Avenue Theatre.

At SPOTLIGHT NIGHT: SHREK THE MUSICAL, director Jason Moore, book writer and lyricist David Lindsay-Abaire and composer Jeanine Tesori will share how this new musical is taking shape – a sneak peek at the music, casting, staging and design. Tesori, along with select cast members, will perform songs from the show. President of DreamWorks Theatricals Bill Damaschke and Neal Street Productions’ Caro Newling will discuss the development of Shrek from page to film to stage.

SPOTLIGHT NIGHT, sponsored by US Bank, is free and open to the public. To guarantee admission, register online at www.5thavenue.org/spotlight or call 206-625-1900 / 888-5TH-4TIX (584-4849). Seating is general admission. Reserved priority seating is available for donors of $250 or more. For more information, call 206-315-4681 or email devo@5thavenue.org.

Fifth Annual African-American Film Festival!

SEATTLE –Langston Hughes Performing Arts Center (LHPAC) will host its Fifth Annual African American Film Festival, featuring a powerful lineup of documentaries, narratives, film shorts and animation. The festival is thrilled to announce that Honeydripper , a film by John Sayles will be featured on Opening Night April 12^th. Audience members will get the rare opportunity to see behind the scenes footage of the film and filmmaker Donnie L. Betts will be on hand to share a retrospective of Sayles’ work. On April 20^th the festival will wrap with a special showing of Namibia: The Struggle for Liberation and the film’s director, Charles Burnett will be on hand to discuss his work.

The African American Film Festival runs nine consecutive nights from April 12^th – 20th and all the showings will take place at the Langston Hughes Performing Arts Center. The festival includes a record number of entries from emerging and established filmmakers from around the world. The selection of powerful, diverse, intelligent and evocative films will include a robust shorts program designed to give rise to the emergent filmmaking voice, and a wide array of talkbacks, panels and receptions provide a much needed bridge for artists and community patrons to engage in meaningful dialogue.

This annual event is expected to draw over 1000 people who are passionate about creating and appreciating films by and about Black people in the world. The Festival spotlights over 40 feature-length and short films by independent filmmakers, and includes panel discussions, readings, special screenings for senior & youth and the rare opportunity to chat face-to-face with prominent filmmakers, industry professionals and community leaders.

“Our goal for each year’ is to present as wide, and as honest, a variety of portrayals of Black life as possible.’ said Zola Mumford, the festival’s curator. “People of African descent are doing all sorts of interesting things all over the world; and this little gem of a festival invites audiences to learn and expand their view of the African experience.”

A few of the films & workshops currently scheduled include:

· Filmmaker Donnie L. Betts will share a retrospective of Sayles’ work before the festival’s opening night event. Honeydripper is a Rock n’ Roll fable about Guitar Sam set in 1950’s Alabama. It is directed by John Sayles, stars Danny Glover and features music by Keb Mo

· The Seattle premiere of Namibia: The Struggle for Liberation. An epic tale by legendary director Charles Burnett about the rise of Sam Nujoma, the first President of Namibia. Burnett will be on hand to discuss his work

· Seattle filmmaker Eddie Smith premieres two films, Man to Man, a psychological drama; and Behind Closed Doors, a courtroom drama exploring racial identity.

· Women Together as One is a documentary about Liberian women refugees and child soldiers

· Seattle poet and filmmaker Stacey Tolbert premieres Got Breast?

· Pariah is a coming-of-age drama about a lesbian teenager who unsuccessfully juggles multiple identities to avoid rejection from her friends and family.

· Adopted by Aliens Animators Shawnee and Shawnelle Gibbs will be in town to host an animation workshop

· Alonzo Crawford, Howard University Cinematography Professor and filmmaker will also host a film workshop

The Diary of Anne Frank - Intiman Theater

The Diary of Anne Frank

INTIMAN

Tickets and Information

March 21 – May 17, 2008

The story of Anne Frank and her companions has been told through the past half century in over seventy languages by countless schoolteachers and students. Her words have lived on stronger than any published piece of journalism from the Holocaust. There is hardly a person alive who, when asked “who is Anne Frank” couldn’t tell at least part of her story. INTIMAN now presents The Diary of Anne Frank off the page for Seattle’s theater-going audiences.

Wife-and-husband duo Frances Goodrich and Albert Hacket have brought to life classic after classic. Responsible for Seven Brides for Seven Brothers on stage and screen as well as the beloved holiday classic It’s a Wonderful Life, Goodrich and Hacket brought The Diary of Anne Frank to life in 1956 finding themselves with a Pulitzer Prize and a Tony Award for their work. Three years later, their film adaptation was awarded a Writer’s Guild of America Award. Their adaptation of Anne Frank’s diary is, without a doubt, a powerfully moving piece of historical theater. If there is any question of the degree of torment that the Franks and their friends underwent during the Holocaust, it is vehemently dispelled during the course of this play.

Sari Ketter’s direction of The Diary of Anne Frank is masterful to say the least. Granted an abundance of impressively skilled actors and designers, Ketter utilizes every resource at her fingertips and works them all together like a chef with every desired ingredient in perfect proportion. The balance of technical elements with natural skill on stage is a testament to her impressive power as a director. Similarly, the mixed levels of intensity from the performers themselves adds a variety to the show that keeps the audience hooked and keeps the almost three-hour show from feeling nearly as long.

Lucy DeVito’s work as Anne Frank is incredible. Her work in not only carrying the role of narrator and story-teller, but her skill at subtly changing her age from thirteen to fifteen is so natural that one could easily lose oneself in her performance. Similarly, Shellie Shulkin’s (Mrs. Van Daan) deterioration of her mental stability throughout the course of the show is a show in itself. Her physical work and her expression of the character’s emotional state are astounding. Additionally, the chemistry of every performer with every other character is completely natural. Connor Toms’ (Peter Van Daan) connection with DeVito stands out as their youthful story blossoms.

Surrounding all of this, the set (Nayna Ramey), lights (Marcus Dillard), costumes (Frances Kenny) and sound designs (Chris R. Walker) create a world for the audience to fully dive into. The use of each element to tell the story is subtle yet strong at every moment and never detracts from the story being told.

As an added bonus, Peter Metzelaar, a speaker from the Washington State Holocaust Education Resource Center, will be speaking after the 2pm matinee on Sunday, April 6^th. This talk will be free and open to the public. If you’d like to attend only the talk, INTIMAN asks that you arrive at 4:30 to the theater.

However, if you don’t already have tickets booked for this show, acquire them soon. It is truly a brilliant telling of the story of Anne Frank and her struggle and perseverance.

Review by Nigel Andrews (with help from Lia Morgan)

ACT Heats up Seattle Arts with an Innovative Approach: The Central Heating Lab

Raw Talent Radiates from ACT’s Kreielsheimer Place.

The Central Heating Lab Deepens the Theatre Experience

Seattle, WA – March 25, 2008 – ACT – A Contemporary Theatre launches its innovative Central Heating Lab (CHL) initiative during the 2008 season. CHL is devoted to nurturing and supporting new works, new talent, and local artists spanning not only theatre, but also cabaret, music, dance, spoken word, film, and performance and visual art. Uniquely positioned to provide the space and resources to the development of new projects in a collaborative environment, ACT will partner with emerging and seasoned local artists, and give them the heat, sustenance and pressure required to experiment, grow and transform their work and reach new audiences.

“The Central Heating Lab serves as both a catalyst and an incubator for new works, new art, and new artists,” said Director of New Works Carlo Scandiuzzi. “It thrives within ACT because ACT is a cultural engine that promotes new art, thought, and a higher degree of artistic excellence. And, aligned with our mission, The Central Heating Lab is dedicated to supporting the artistic community to which it belongs – Seattle.”

Keep up on the ACT's website for more information, tickets, shows and dates!

Weekly Update - 3/16/2008

The Broadway Hour
KSUB Seattle
NO BROADWAY HOUR THIS SUNDAY - SPRING BREAK!
**Listen in to hear Nigel Andrews, Rick Skyler and Jack Jarden**
Sunday from 10-Noon

Open Circle Theater
at Theater Schmeater
Tickets and Information
(RUR) Rossum's Universal Robots >February 22 - March 22, 2008 (Thursday through Sunday)

Seattle Shakespeare
Tickets and Information
The Miser >March 13 - April 6, 2008

Seattle Children's Theater
Tickets and Information
The Hundred Dresses >February 22 - April 6, 2008
According to Cyote >March 14 - May 11, 2008
Busytown >April 25 - June 15, 2008

Intiman Theater
Tickets and Information
The Diary of Anne Frank >March 26 - May 17, 2008

Seattle Repertory Theatre
Tickets and Information
The Imaginary Invalid >February 21 - March 22, 2008
How? How? Why? Why? Why? >March 13 - April 19, 2008
The Cure at Troy >April 3 - May 3, 2008

ACT Theater
Tickets and Information
Ilkhom Theatre Festival >March 14 - April 13, 2008
Fathers and Sons >May 1-25, 2008

Seattle Opera
Tickets and Information
Il Puritani >May 3 - 17, 2008

The 5th Avenue Theatre
Tickets and Information
Cabaret >March 25 - April 13, 2008

Dimitrou's Jazz Alley
Tickets and Information

How? How? Why? Why? Why? - Seattle Repertory Theatre

How? How? Why? Why? Why?
Seattle Repertory Theatre
Tickets and Information
March 13 - April 19, 2008

Seattle Repertory Theatre’s production of “How? How? Why? Why? Why?” is an event over seven years in the making, but it is well worth the wait. Playwright and performer Kevin Kling, known nationwide for his contribution as a commentator on National Public Radio’s “All Things Considered,” was originally set to perform his show Baseball, Dogs, and Motorcycles at the Rep in 2001. However, due to a motorcycle accident less than a month before, he was unable to make good on his commitment…until now. Kling has a new story to tell, and it is a fantastic one at that.

The driving force of this play is Kling’s strongest skill: storytelling. Using his life-experience stories, especially his accident and how that has changed his life, Kling weaves together a grand narrative that, though they start with him, contain messages that everyone can walk away with. With the help of Simone Perrin on accordion (because “you can’t go into the Underworld without an accordion,”), vocals, and filling in for other roles in Kling’s massive tale, he reminds the audience that the most potent healing power the human being has is laughter. Paired with serious moments and a couple of tear-jerkers, the audience never loses interest in what Kling has to say and will walk away at the end of the performance in peals of laughter and applause. Simultaneously, though, thinking about the deeper message that has been given to them. Perrin also adds a great deal; her songs summarize what has been said, introduce what will be next, or get the audience laughing again for no other reason than it is needed.

Kevin Kling and Simone Perrin. Photo by Chris Bennion, 2008.

Seattle Repertory Theatre is a good place for Kling to unleash his charm. He and director David Esbjornson have worked well together to create a masterful, if somewhat unorthodox, piece of theater. Esbjornson’s set is wonderful; it creates the proper mood for Kevin to tell his story by making it seem like a comfortable home with tables, chairs, and even cups for the performers to drink out of. Although the technical aspects of the show are somewhat minimal, Jessica Trundy’s lighting and Eric Chappelle’s sound work add intensity to the crucial points and enhance the overall feel.

Although not a typical play, “How? How? Why? Why? Why?” (don’t worry, the name will be explained when you watch it) is highly enjoyable.

Review by Jack Jarden

Seattle Rep - David Esbjornson Discusses Titles for Next Season

Seattle, WA - Artistic Director David Esbjornson announces today the titles under consideration for Seattle Repertory Theatre's upcoming 2008-09 season - a mix of classics and new works delving into subjects as diverse as war, architecture, immigration, apocalypse, Craigslist and body image. According to Esbjornson, "Our goal is to provide the most eclectic, imaginative and provocative programming for this community - plays that reflect the entire spectrum of what defines our amazing city"

Titles under consideration for Seattle Rep's 2008-2009 season in the Bagley Wright Theatre include a fast, funny version of the beloved Three Musketeers; George S. Kaufman and Moss Hart's classic comedy, You Can't Take it With You; Waiting for Godot which is considered by many to be the most significant English language play of the 20th century, and will star Bill Irwin; Lydia, Octavio Solis' bold and intoxicating new play; Betrayal by Harold Pinter, an unflinching look at romantic deception; John Steinbeck's American classic Of Mice and Men; and finally Henrik Ibsen's The Master Builder in a new adaptation. In the Leo K. Theatre the list includes The Night Watcher by playwright and actress Charlayne Woodard and directed by former Seattle Rep Artistic Director Dan Sullivan; Boom, a funny, slightly warped and ultimately hopeful look at the apocalypse; a wild ride from medieval Persia to modern day New York and all points in between in 1001 by Jason Grote; Ellen McLaughlin's poignant one-woman play, Penelope, which was developed as part of the 2007 Women Playwrights Festival; Fat Pig, Neil LaBute's unwavering look at body image; and finally the winner of the 2004 Pulitzer Prize for Drama and Tony Award for Best Play, I Am My Own Wife, by Doug Wright.

The nine plays selected for the 2008-2009 season will be announced shortly.

The Miser

Seattle Shakespeare Company
March 14 - April 6, 2008
Tickets online at Seattle Shakespeare Company

Currently Seattle is boasting two Moliere shows both in the ridiculous display of character absurdity and overblown humor to tickle the funny bone. At Seattle Shakespeare Company, The Miser Starring Todd Jefferson Moore as the title role swings in to full gear, bringing the world of Moliere into the face of the audience, literally accusing them for the miser’s distress. From cross-generational marriage proposals to inter-familial monetary abuse, the show pulls the audience into a hyped up world of love, hate and, in true Moliere fashion, spins around on a dime to bring pure joy and never-ending happiness to the characters.

The design team, Craig Wollam – Set, Deane Middleton – Costume, Dick Devin – Lighting, and M. Elizabeth Eller – Sound, combine their efforts to create a unique blend of period and modern styling to the show. From present day pop songs to a dilapidated living space in a grand house, the choices bring a fun, at times odd, flavor to the production.

Photo Credit: John Ulman

With Todd Jefferson Moore leading the brigade, a cast of hilarious actors light up the stage. Their consistency and quirky talent bring dynamic exuberance to this world. Though it seems to take a moment for the audience to connect up with the characters’ rhythm, the uneasiness soon gives way to moments that capture the audience in emotions of passion, pain and humor. Each character dapples the absurdity of their world in such a way as to connect well with the other members of the household and bring the audience into their lives.

Come join the destined lovers, coin mongering miser and every scheming louse present, meaning everyone in the show, as they romp across the Seattle Shakespeare stage from March 14 to April 6, 2008.

Reviewed by: Rick Skyler

Weekly Update - 3/16/2008

The Broadway Hour
KSUB Seattle
**Listen in to hear Nigel Andrews, Rick Skyler and Jack Jarden**
Sunday from 10-Noon

Open Circle Theater
at Theater Schmeater
Tickets and Information
(RUR) Rossum's Universal Robots >February 22 - March 22, 2008 (Thursday through Sunday)

Seattle Shakespeare
Tickets and Information
The Miser >March 13 - April 6, 2008

Seattle Children's Theater
Tickets and Information
The Hundred Dresses >February 22 - April 6, 2008
According to Cyote >March 14 - May 11, 2008
Busytown >April 25 - June 15, 2008

Intiman Theater
Tickets and Information
The Diary of Anne Frank >March 26 - May 17, 2008

Seattle Repertory Theatre
Tickets and Information
The Imaginary Invalid >February 21 - March 22, 2008
How? How? Why? Why? Why? >March 13 - April 19, 2008
The Cure at Troy >April 3 - May 3, 2008

ACT Theater
Tickets and Information
Ilkhom Theatre Festival >March 14 - April 13, 2008
Fathers and Sons >May 1-25, 2008

Seattle Opera
Tickets and Information
Il Puritani >May 3 - 17, 2008

The 5th Avenue Theatre
Tickets and Information
Cabaret >March 25 - April 13, 2008

Dimitrou's Jazz Alley
Tickets and Information

Weekly Update - 3/10/2008

The Broadway Hour
KSUB Seattle
**Listen in to hear Nigel Andrews, Rick Skyler and Jack Jarden**
Sunday from 10-Noon

Seattle University
STUDENT DIRECTED ONE-ACTS! >Saturday March 15th at 2:00 and 5:00
*One Performance Only!* and *FREE*
call 206.296.5360 for more information

Open Circle Theater
at Theater Schmeater
Tickets and Information
(RUR) Rossum's Universal Robots >February 22 - March 22, 2008 (Thursday through Sunday)

Seattle Shakespeare
Tickets and Information
The Miser >March 13 - April 6, 2008

Seattle Children's Theater
Tickets and Information
The Hundred Dresses >February 22 - April 6, 2008
According to Cyote >March 14 - May 11, 2008
Busytown >April 25 - June 15, 2008

Intiman Theater
Tickets and Information
The Diary of Anne Frank >March 26 - May 17, 2008

Seattle Repertory Theatre
Tickets and Information
The Imaginary Invalid >February 21 - March 22, 2008
How? How? Why? Why? Why? >March 13 - April 19, 2008
The Cure at Troy >April 3 - May 3, 2008

ACT Theater
Tickets and Information
Ilkhom Theatre Festival >March 14 - April 13, 2008
Fathers and Sons >May 1-25, 2008

Seattle Opera
Tickets and Information
Il Puritani >May 3 - 17, 2008

The 5th Avenue Theatre
Tickets and Information
Cabaret >March 25 - April 13, 2008

Dimitrou's Jazz Alley
Tickets and Information

The Imaginary Invalid -- Seattle Repertory Theatre

The Imaginary Invalid

Seattle Repertory Theatre

Tickets and Information

February 21 – March 22, 2008

If it’s pure classical theater you’re looking for, then you’d better sniff somewhere else. The Seattle Rep’s The Imaginary Invalid, cleverly adapted for today’s modern audience by Constance Congdon, is anything but out-dated.

The original play is an absolute mainstay in the canon of French drama. Moliere, a top performer and playwright from the 1600s, concluded his personal canon with The Imaginary Invalid. Being a performer and writer, he wrote the lead character, Argan, for himself to play. At the time, he was very ill with Tuberculosis and so playing an ill man onstage who never leaves his chair was relatively easy. However, on February 17, 1673, Moliere suffered a massive hemorrhage and

died. Never one to go out without a bang, however, he pushed through the final moments of that evening’s performance and when the curtain dropped, so did he.

In a new adaptation of this classic play (orginally comissioned by and performed at the American Conservatory Theater in San Francisco), the Seattle Rep brings to life one of the liveliest and most entertaining shows in Seattle. Perfectly combining all design elements along with a fantastically solid cast, The Imaginary Invalid is quite alive and well.

Riccardo Hernandez’s set design evokes a certain 1970’s—perhaps even a Goodfellas—house feeling with pinched in leather walls and floor and round open rooms, which spin on turntables to bring characters on or off, or to reveal new rooms. The practicality of the set is brilliant and seems incredibly entertaining for the actors as well as the audience. Coloring in the white leather is Alexander V. Nichols’ lighting, accenting the world wonderfully. Eyvind Kang’s composition and Wade Madsen’s choreography add a new layer to the performance. The addition of song and dance add a decidedly farcical element perfect for poking fun at the medical field, and the opening song (with the chorus, “if it ducks, then it's a quack!”) immediately introduces the audience to the bizarre and irresistible world of the play, as well as the plot. And who could forget the outlandish and beautiful costumes by David Woolard. Each costume evokes a fantastic image and never leaves the audience in any question as to who is who in the world of Invalid.

Congdon’s adaptation for the modern audience is a brilliant depiction of how a classical text can be made universal when just the jokes and references are adjusted to the modern world. Of course, David Schwiezer’s direction plays a huge role in this as well. Schwiezer’s direction combines precise choreography with magnificently eccentric movement and delivery.

It is difficult, in such a tight ensemble show, to point to any particular performers as better than others; but one cannot deny the amazing work by Rocco Sisto as Argan. On stage for almost the entire show and constantly either terribly ill or running around in panic, his levels and his composure never cracked and read perfectly as an imaginary invalid. Also, Zoë Winters as Angélique blasts forth an explosive performance in song, dance and speech, while Alice Playten, as the classic know-it-all maid Toinette, is hilariously composed, ultimately orchestrating the household and everyone's lives within it.

This is really one a top-notch show and each and every one of you should do whatever you can to make sure to see it.

Review by Nigel Andrews and Lia Morgan