I will now start updating this post weekly with news of what is happening in the Seattle Theater scene. I will try to do this in the morning, but it will definitely be on Fridays. That way, you can make your weekend plans right here, right now! So, with no further verbage:
The Paramount Theater
Tickets Info
All Shook Up >December 12-17, 2006
Intiman Theater
Tickets and Info
Black Nativity >November 29 - December 27, 2006
ACT Theater
Home page for Ticket Info
A Christmas Carol >November 24 - December 24, 2006
Menopause the Musical >running through May 28, 2007
Late Night Catechism >running through August 2007
Friday, December 15, 2006
Wednesday, December 06, 2006
A Christmas Carol -ACT Theater
ACT Theater
206-292-7676
Runs Through December 24, 20006
The classic Charles Dickens' novel, adapted for the stage by Gregory A. Falls, brings to life one of the most timeless and beloved stories of redemption and rebirth that our world has ever known. Margaret Layne, the ACT Theater's Artistic Associate and Casting Director, states quite eloquently in her short piece "Keeping Christmas Well: How Charles Dickens Invented Christmas" included in the program that Dickens' story truly created Christmas as we know it today. Long ago there was a time when there would be a 12-day celebration of Christmas during which all of London would celebrate together in solidarity and joy. The Industrial Revolution blotted out that time-taking along with the blue sky in its ever-darkening cloud of soot and work. However, Dickens' "A Christmas Carol," written, unusually, not primarily for financial compensation in printed publications, brought back that spirit of old; that loving spirit in which all women and men came together to celebrate a year past and a new year to begin.
This production of "A Christmas Carol" brings ever more charm and magic to the time-worn story. R. Hamilton Wright's direction brings sense of life and vividness to each character whether they are speaking or simply walking by in the bustling crowd of London. Each person and each piece of the set has a purpose and an artistic realism that brings the audience into the world of Dickens' imagination and pulls on the audience's emotions until Tiny Tim's (Langston Guettinger, DeLancey Grace Zeller Lane) overwhelming innocence and Scrooge's (Terry Edward Moore, David Pichette) eventual redemption boil up the most heartwarming joy the theater and classic literature have to offer.
The design team created a spectacular world for the characters to roam. Trap doors lead to new worlds and imaginary buildings bringing the audience inside the world of the play. One is, however, snapped back to reality any time imaginary drinks are poured and consumed. Regardless of the lack of liquids, the world is absorbing and wonderful and a creation for which to be proud.
Terry Edward Moore and Langston Guettinger, "A Christmas Carol" Photo: Chris Bennion. (2006)
206-292-7676
Runs Through December 24, 20006
The classic Charles Dickens' novel, adapted for the stage by Gregory A. Falls, brings to life one of the most timeless and beloved stories of redemption and rebirth that our world has ever known. Margaret Layne, the ACT Theater's Artistic Associate and Casting Director, states quite eloquently in her short piece "Keeping Christmas Well: How Charles Dickens Invented Christmas" included in the program that Dickens' story truly created Christmas as we know it today. Long ago there was a time when there would be a 12-day celebration of Christmas during which all of London would celebrate together in solidarity and joy. The Industrial Revolution blotted out that time-taking along with the blue sky in its ever-darkening cloud of soot and work. However, Dickens' "A Christmas Carol," written, unusually, not primarily for financial compensation in printed publications, brought back that spirit of old; that loving spirit in which all women and men came together to celebrate a year past and a new year to begin.
This production of "A Christmas Carol" brings ever more charm and magic to the time-worn story. R. Hamilton Wright's direction brings sense of life and vividness to each character whether they are speaking or simply walking by in the bustling crowd of London. Each person and each piece of the set has a purpose and an artistic realism that brings the audience into the world of Dickens' imagination and pulls on the audience's emotions until Tiny Tim's (Langston Guettinger, DeLancey Grace Zeller Lane) overwhelming innocence and Scrooge's (Terry Edward Moore, David Pichette) eventual redemption boil up the most heartwarming joy the theater and classic literature have to offer.
The design team created a spectacular world for the characters to roam. Trap doors lead to new worlds and imaginary buildings bringing the audience inside the world of the play. One is, however, snapped back to reality any time imaginary drinks are poured and consumed. Regardless of the lack of liquids, the world is absorbing and wonderful and a creation for which to be proud.
Terry Edward Moore and Langston Guettinger, "A Christmas Carol" Photo: Chris Bennion. (2006)
Friday, December 01, 2006
Memory House -Seattle Repertory Theater
Seattle Repertory Theater
(206) 443-2222
Runs Through December 17th
(206) 443-2222
Runs Through December 17th
On New Year’s Eve, with three hours before the deadline for a postmark on her application essay to her top choice college, Katia (Sharia Pierce) and her mother, Maggie (Jeanne Paulsen) struggle to find each other through each other’s eyes. Throughout the course of this 80-minute rollercoaster, one will struggle to decide who is right and who is deluded. Kathleen Tolan’s Memory House portrays the showdown between teenage angst for identity and middle-age identity crisis in such an eloquent manner that the audience gains a glimpse into the true-to-life anxiety of the night before the application essay is due. The dialogue is piercingly painful and will have each viewer rethinking what memories are the ones to hang on to.
Paulsen’s performance is an absolute phenomenon. Every viewer will see a mother from life in Paulsen’s character. Maggie’s overwhelming love for her daughter boils forth from Paulsen into the world of Memory House. Equally outstanding is Pierce’s presentation of Katia. Her physical awkwardness encapsulates the feeling of those last minutes as fully high school student before the world of College crashes through the gates of her life with blinding force. Both Paulsen and Pierce bring these characters to life on the stage and light up each viewer’s own memory house.
Sharia Pierce and Jeanne Paulsen
Matthew Smucker’s set is another work of artistic splendor. His attention to detail in filling every shelf with trinkets and books and accuracy in a fully functioning kitchen give the audience the feeling of intruding upon someone’s home. Dominic CodyKramers’ sound design is also a feat at which to be marveled. His precision and subtlety with pointed car alarms and sirens bring the Memory House to reality.
Allison Narver’s direction of Memory House brings out the best in all of the elements of this production. Every bit of Tolan’s story and purpose comes through Paulsen and Pierce in the world created for them by their outstanding design team. This is a fantastic production that every Mother-Daughter pair and family dealing with the struggle of prospective colleges should see and discuss. “You have a choice. That’s a big deal” (Maggie, Memory House).
Tuesday, November 14, 2006
Native Son -Intiman
Intiman Theater
Through September 19th
Richard Wright's classic piece of African-American literature struggled through many trials and tribulations to come to life for audiences of Seattle at the Intiman Theater. After losing the rights to the originally planned script, director Kent Gash gained rights to the original Richard Wright and Paul Green play and adapted it for the current run in under three weeks. Bringing together an amazing cast surrounded by a beautiful set and lifted up by incredible music, this play will have everyone examining the foundations of our culture.
Kent Gash's direction and adaptation of this book made play are a testament to his skill. Though much of the tension of the novel is lost due to time constraints in a stage form of this story, the fear, flight and fate (the three main themes of the novel) are clearly present. Every vital event, character and interaction is present in this adaptation. Gash's direction of the play comes together beautifully and naturally. The scary thing is that there is nothing unnatural about this play. Every event and action seems completely feasible and factual.
Ato Essandoh (Bigger Thomas) brings to life a magnificent character. His stage presence shines above the play as a personal torch to light the way of Wright's meaning through his story. He is supported by strong cast including Richard Kline (Mr. Max) and Felicia V Loud (Vera Thomas and Bessie).
Chic Street Man's musical composition is a subtle and impressive addition. Bringing a new almost cinematic perspective to the play, his musical stylings augment the time period, emotion and plot of the play.
Though not a must-see, definitely a recommended production. Though it only runs for the remainder of this week, I highly suggest seeing it if possible.
Through September 19th
Richard Wright's classic piece of African-American literature struggled through many trials and tribulations to come to life for audiences of Seattle at the Intiman Theater. After losing the rights to the originally planned script, director Kent Gash gained rights to the original Richard Wright and Paul Green play and adapted it for the current run in under three weeks. Bringing together an amazing cast surrounded by a beautiful set and lifted up by incredible music, this play will have everyone examining the foundations of our culture.
Kent Gash's direction and adaptation of this book made play are a testament to his skill. Though much of the tension of the novel is lost due to time constraints in a stage form of this story, the fear, flight and fate (the three main themes of the novel) are clearly present. Every vital event, character and interaction is present in this adaptation. Gash's direction of the play comes together beautifully and naturally. The scary thing is that there is nothing unnatural about this play. Every event and action seems completely feasible and factual.
Ato Essandoh (Bigger Thomas) brings to life a magnificent character. His stage presence shines above the play as a personal torch to light the way of Wright's meaning through his story. He is supported by strong cast including Richard Kline (Mr. Max) and Felicia V Loud (Vera Thomas and Bessie).
Chic Street Man's musical composition is a subtle and impressive addition. Bringing a new almost cinematic perspective to the play, his musical stylings augment the time period, emotion and plot of the play.
Though not a must-see, definitely a recommended production. Though it only runs for the remainder of this week, I highly suggest seeing it if possible.
Wednesday, November 01, 2006
Thom Pain (based on nothing) - Seattle Repertory Theater
Seattle Repertory Theater
October 5 - November 5, 2006
See website and box office for tickets
Thom Pain (based on nothing) is the closest approximation that anyone could make to what this play entails. Quite literally, there is Thom Pain on stage and the play is based on nothing. However, nothing becomes much deeper when Thom begins to alter our perceptions about the world and imagination. He takes us on a journey that doesn't conclude until he feels like he's done talking and when he's done, he's done.
Will Eno's play Thom Pain (based on nothing) is an interesting investigation of introspection and perceptions about the world. Once the play has concluded, the audience is left wondering about every aspect of the world and wanting to reach out and grab life by the horns. Despite its inspirational overtones, it pushes these emotions too forcefully. Eno seems to be throwing all of his psychological and introspective thought into the audiences face as fast as possible and with no continuity. Though a play with "based on nothing" in the title should be somewhat disjointed, Eno seems more confused than artistically and pointedly disjointed. Therefore, the play is somewhat hard to follow and certainly seems to have its own agenda that the audience is not entirely a part of.
Todd Jefferson Moore puts forth a forceful and impressive performance in this short one-man production. He carries all of the emotional and social insecurities and baggage of a naive child bewildered by death and puberty, a forlorn lover lost in the world and an aspiring conversationalist with a passionate dislike for magic. Moore, as has been proven in the past, holds audiences captive in the palm of his hand for the entire performance and never once lets them down.
Jerry Manning's direction for this production is impressive to say the least. To push a one-man existentialist introspection on stage into an entertaining spectacle with no effects or stage magic, or even a set for that matter, is an incredible feat. Manning pulls it off with grace and dignity along side with Moore's unmatchable acting prowess.
Thom Pain (based on nothing) is an entertaining show but somewhat difficult to follow and certainly takes a lot of energy on the audience's part in order to catch even a drift of Eno's intent.
October 5 - November 5, 2006
See website and box office for tickets
Thom Pain (based on nothing) is the closest approximation that anyone could make to what this play entails. Quite literally, there is Thom Pain on stage and the play is based on nothing. However, nothing becomes much deeper when Thom begins to alter our perceptions about the world and imagination. He takes us on a journey that doesn't conclude until he feels like he's done talking and when he's done, he's done.
Will Eno's play Thom Pain (based on nothing) is an interesting investigation of introspection and perceptions about the world. Once the play has concluded, the audience is left wondering about every aspect of the world and wanting to reach out and grab life by the horns. Despite its inspirational overtones, it pushes these emotions too forcefully. Eno seems to be throwing all of his psychological and introspective thought into the audiences face as fast as possible and with no continuity. Though a play with "based on nothing" in the title should be somewhat disjointed, Eno seems more confused than artistically and pointedly disjointed. Therefore, the play is somewhat hard to follow and certainly seems to have its own agenda that the audience is not entirely a part of.
Todd Jefferson Moore puts forth a forceful and impressive performance in this short one-man production. He carries all of the emotional and social insecurities and baggage of a naive child bewildered by death and puberty, a forlorn lover lost in the world and an aspiring conversationalist with a passionate dislike for magic. Moore, as has been proven in the past, holds audiences captive in the palm of his hand for the entire performance and never once lets them down.
Jerry Manning's direction for this production is impressive to say the least. To push a one-man existentialist introspection on stage into an entertaining spectacle with no effects or stage magic, or even a set for that matter, is an incredible feat. Manning pulls it off with grace and dignity along side with Moore's unmatchable acting prowess.
Thom Pain (based on nothing) is an entertaining show but somewhat difficult to follow and certainly takes a lot of energy on the audience's part in order to catch even a drift of Eno's intent.
Saturday, October 28, 2006
The Compendium of Nastiness - The Womb
Check out Brown Paper Tickets for information about the show.
In the style of Classical Gothic Melodrama seen through the visionary eyes of director and creator Ki Gottberg, we see a new way in which the good of innocence and virtue will triumph over evil. "The Compendium of Nastiness" takes ideas from "The Devil's Elixer" (1825) and "The Castle Spectre" (1797) and converts them to Ki's very special long-nail tickle [see show for details!]. It is the classic struggle of good versus evil where good will triumph and virtue will be saved with a few bumps and turns and convulsions along the way.
Creator and Director Ki Gottberg has gone past the point of no return into a world of fantastical and spectacular visual and experiential perception. Her work reaches out to a mature and intellectual audience through the lens of the bizarre and amazing. The puppetry that is used is beautiful, adorable, clever and extraordinary. Her simplistic set and environment draw one into her world.
Actress Elizabeth Kenny puts forth a valiant effort that is most certainly not in vain. Her performance and story telling ability are forces to be reckoned with. The story she tells and the manner in which she tells it is complex and straightforward for a cast of six. She holds all six in her hands and performs better than six together.
Simplicity and complexity meet in this extraordinary performance piece. Find a babysitter and experience "The Compendium of Nastiness."
In the style of Classical Gothic Melodrama seen through the visionary eyes of director and creator Ki Gottberg, we see a new way in which the good of innocence and virtue will triumph over evil. "The Compendium of Nastiness" takes ideas from "The Devil's Elixer" (1825) and "The Castle Spectre" (1797) and converts them to Ki's very special long-nail tickle [see show for details!]. It is the classic struggle of good versus evil where good will triumph and virtue will be saved with a few bumps and turns and convulsions along the way.
Creator and Director Ki Gottberg has gone past the point of no return into a world of fantastical and spectacular visual and experiential perception. Her work reaches out to a mature and intellectual audience through the lens of the bizarre and amazing. The puppetry that is used is beautiful, adorable, clever and extraordinary. Her simplistic set and environment draw one into her world.
Actress Elizabeth Kenny puts forth a valiant effort that is most certainly not in vain. Her performance and story telling ability are forces to be reckoned with. The story she tells and the manner in which she tells it is complex and straightforward for a cast of six. She holds all six in her hands and performs better than six together.
Simplicity and complexity meet in this extraordinary performance piece. Find a babysitter and experience "The Compendium of Nastiness."
Thursday, October 26, 2006
Upcoming Shows
Seattle Shakespeare Company
206-733-8222
The Winter's Tale >October 26 – November 19, 2006
The Comedy of Errors >January 4 - Januray 28, 2007
Seattle Repertory Theater
(206) 443-2222
Thom Pain (Based on Nothing) >October 5 – November 5, 2006
The Great Gatsby >November 2 – December 10, 2006
ACT Theater Seattle
206.292.7676
The Underpants >October 13 - November 12, 2006
Waiting for Godot >November 8 - 12, 2006
Seattle Opera
(206) 389-7676
L'Italiana in Algeri >October 14 - 28, 2006
Don Giovanni >January 13 - 27, 2007
206-733-8222
The Winter's Tale >October 26 – November 19, 2006
The Comedy of Errors >January 4 - Januray 28, 2007
Seattle Repertory Theater
(206) 443-2222
Thom Pain (Based on Nothing) >October 5 – November 5, 2006
The Great Gatsby >November 2 – December 10, 2006
ACT Theater Seattle
206.292.7676
The Underpants >October 13 - November 12, 2006
Waiting for Godot >November 8 - 12, 2006
Seattle Opera
(206) 389-7676
L'Italiana in Algeri >October 14 - 28, 2006
Don Giovanni >January 13 - 27, 2007
L'Italiana in Algeri - Seattle Opera
October 14-28, 2006
McCaw Hall
(206) 389-7676 for tickets
If Rossini, Moliere and Sondheim and collaborated on an Opera-comedy, Seattle Opera's production of "L'Italiana in Algeri" (The Italian Girl in Algiers) is what would happen. This story-book telling of the forlorn love story brings to life the imagination of an innocent mind seeing, for the first time, deceit, lust and love.
As Isabella (Stephanie Blythe or Helene Schneiderman) searches the deserts of Algiers for her lost lover Lindoro (William Burden or Lawrence Brownlee), she is captured by the lusty Mustafa (Simone Alberghini or Kevin Burdette) so that he can satisfy his desire for an Italian Girl. He throws out his wife, Elvira (Sally Wolf), by thrusting her upon Lindoro. When Isabella finds this situation, she uses her feminine whiles and complete and total power over all men to rectify the situation so that, in the end, the good guys will win and the bad guys will "see but not see" what exactly has happened to them.
The entire cast is extremely strong. Those carrying intense roles such as Lindoro, Isabella and Mustafa have an amazing stage presence and overwhelm the audience with their power and potency. Meanwhile the support behind the heavy-hitters is completely indispensable. From Taddeo (Earle Patriarco) to Vlad the Impaler (David Smith-Larson), every cast member carries their role with poise and technical skill that could make the best performers rethink their abilities.
Director Chris Anderson along with Conductor Edoardo Muller bring this production together in a very efficient and acute manner. With a show as Wiley as "L'Italiana," one can easily get lost and confused with seemingly arbitrary or overly lengthy portions. However, Anderson's direction of the blocking and actions keep the audience involved and on their toes. David Woolard's costumes are a wonderful introduction for him to the Seattle Opera. His color schemes match perfectly with Robert Innes Hopkins' sets. Meanwhile, Duane Schuler's lights compliment every moment of the production perfectly.
Overall, this production is extremely enjoyable and thrilling. It will keep you entertained and laughing throughout the entire show and begging for more during intermission and on the way home.
McCaw Hall
(206) 389-7676 for tickets
If Rossini, Moliere and Sondheim and collaborated on an Opera-comedy, Seattle Opera's production of "L'Italiana in Algeri" (The Italian Girl in Algiers) is what would happen. This story-book telling of the forlorn love story brings to life the imagination of an innocent mind seeing, for the first time, deceit, lust and love.
As Isabella (Stephanie Blythe or Helene Schneiderman) searches the deserts of Algiers for her lost lover Lindoro (William Burden or Lawrence Brownlee), she is captured by the lusty Mustafa (Simone Alberghini or Kevin Burdette) so that he can satisfy his desire for an Italian Girl. He throws out his wife, Elvira (Sally Wolf), by thrusting her upon Lindoro. When Isabella finds this situation, she uses her feminine whiles and complete and total power over all men to rectify the situation so that, in the end, the good guys will win and the bad guys will "see but not see" what exactly has happened to them.
The entire cast is extremely strong. Those carrying intense roles such as Lindoro, Isabella and Mustafa have an amazing stage presence and overwhelm the audience with their power and potency. Meanwhile the support behind the heavy-hitters is completely indispensable. From Taddeo (Earle Patriarco) to Vlad the Impaler (David Smith-Larson), every cast member carries their role with poise and technical skill that could make the best performers rethink their abilities.
Director Chris Anderson along with Conductor Edoardo Muller bring this production together in a very efficient and acute manner. With a show as Wiley as "L'Italiana," one can easily get lost and confused with seemingly arbitrary or overly lengthy portions. However, Anderson's direction of the blocking and actions keep the audience involved and on their toes. David Woolard's costumes are a wonderful introduction for him to the Seattle Opera. His color schemes match perfectly with Robert Innes Hopkins' sets. Meanwhile, Duane Schuler's lights compliment every moment of the production perfectly.
Overall, this production is extremely enjoyable and thrilling. It will keep you entertained and laughing throughout the entire show and begging for more during intermission and on the way home.
Thursday, September 21, 2006
Wicked - Paramount Theater
Wicked has graced the stages of countless cities and theaters across the nation, and now has arrived in Seattle. It is the story of the Wicked Witch of the West as told through they eyes of Gregory Maguire (author of Confessions of an Ugly Stepsister, mirror mirror and Son of a Witch) then adapted by Stephen Schwartz (creator of Godspell, Pippin and Children of Eden). Since Wicked's debut in San Francisco in mid-2003 it has moved its way straight to the top of every chart. When it hit Broadway in late 2003, it captured the hearts of the entire nation, winning ten major awards including Best Actress in a Musical (Idina Menzel), Best Scenic Design (Eugene Lee) and Best Costumes (Susan Hilferty).
Now the tour has found its way to Seattle, and what a tour it is! This production can easily boast some of the most impressive designs and performances that I've seen yet in Seattle. The cast carrying the show are as tight as can be. Megan Hilty and Shoshana Bean as Glinda ("the Gaaa is silent") and Elphaba (The Wicked Witch) carry their roles and each other with such grace and power that the audience can hardly remain seated or be capable of standing. The characters come to life so readily that one feels one is in Oz. Surrounding the poster witches are a cast of incredibly talented actors including, but of course not limited to, Sebastian Arcelus as the love interest, Fiyero, Josh Lamon as the love interested, Boq, and Jennifer Waldman as Elphaba's sister, Nessarose. The power of these characters comes through the actors in such a real way that it is hard to believe they aren't them, themselves.
Joe Mantello, the director of Wicked, has proved himself once again after many past awards and grand successes. His direction of this tour of Wicked along with the production staff's capable designs and the abilities of the actors and orchestra have created a wonderful work of theatrical art. Eugene Lee's scenic design has stuck with the show through all of its tours and mounts. His adaptation of the Time Dragon Clock gives the audience who knows the Gregory Maguire novel an added level in the show.
All things considered, this show embodies what musical theater truly is. It is an escape from the mundane reality of life, it is a celebration of music and acting and it is truly a Wonderful Wizard of Art.
Wicked will be running through October 1 at the Paramount Theater.
Now the tour has found its way to Seattle, and what a tour it is! This production can easily boast some of the most impressive designs and performances that I've seen yet in Seattle. The cast carrying the show are as tight as can be. Megan Hilty and Shoshana Bean as Glinda ("the Gaaa is silent") and Elphaba (The Wicked Witch) carry their roles and each other with such grace and power that the audience can hardly remain seated or be capable of standing. The characters come to life so readily that one feels one is in Oz. Surrounding the poster witches are a cast of incredibly talented actors including, but of course not limited to, Sebastian Arcelus as the love interest, Fiyero, Josh Lamon as the love interested, Boq, and Jennifer Waldman as Elphaba's sister, Nessarose. The power of these characters comes through the actors in such a real way that it is hard to believe they aren't them, themselves.
Joe Mantello, the director of Wicked, has proved himself once again after many past awards and grand successes. His direction of this tour of Wicked along with the production staff's capable designs and the abilities of the actors and orchestra have created a wonderful work of theatrical art. Eugene Lee's scenic design has stuck with the show through all of its tours and mounts. His adaptation of the Time Dragon Clock gives the audience who knows the Gregory Maguire novel an added level in the show.
All things considered, this show embodies what musical theater truly is. It is an escape from the mundane reality of life, it is a celebration of music and acting and it is truly a Wonderful Wizard of Art.
Wicked will be running through October 1 at the Paramount Theater.
Return to Seattle
Dear Readers,
I am now back in Seattle and back on the hunt for good theatre. I have begun my quest (see next post) and will continue through the beginning of December when I will take a one-month leave of absence and return in January until early June. Until then, read on and enjoy the wonderful world of Theatre!
Sincerely,
Nigel Andrews
I am now back in Seattle and back on the hunt for good theatre. I have begun my quest (see next post) and will continue through the beginning of December when I will take a one-month leave of absence and return in January until early June. Until then, read on and enjoy the wonderful world of Theatre!
Sincerely,
Nigel Andrews
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