ACT Theater
Home page for Ticket Info
Menopause the Musical >running through May 28, 2007
Late Night Catechism >running through August 2007
Seattle Shakespeare Company
Tickets and Info
The Comedy of Errors >January 4 - January 28, 2007
Seattle Repertory Theater
Tickets and Info
The Lady from Dubuque >January 11 -– February 10, 2007
The Blue Door >February 1 – March 4, 2007
Seattle Opera
Tickets and Info
Don Giovanni >January 13 - 27, 2007
Paramount Moore Theater
Tickets and Info
The 25th Annual Putnam County Spelling Bee >January 9 - 14, 2007
Thursday, January 11, 2007
Wednesday, January 10, 2007
Don Giovanni - Seattle Opera
Seattle Opera at McCaw Hall
January 13 - 27, 2007
Tickets Online
or by Phone at: Local: (206) 389-7676 or Toll-Free (out of area only): (800) 426-1619
The classic story of Don Juan, the sexcapading prankster of lore, comes to life in a myriad of manners in Seattle Opera's Don Giovanni. Mozart's operatic creation brings four complete opposing love stories together to challenge and devour each other in a lustful and ongoing battle. Don Giovanni, Mozart's Don Juan, continues his molestation of the women of the world while his servant, Leporello, keeps tracks of the thousand plus women with whom Don Giovanni has made love. After a thrilling turn of events, Don Giovanni is chased by a forlorn past lover, Donna Elvira, still in love with her runaway bridegroom. Add into the equation Donna Anna, the broken-hearted daughter of one of Don Giovanni's slain victims, and her one-track-minded fiance, Don Ottavio, the story gets wild. It's not done there, though. After crashing a wedding, Don Giovanni and Leporello now have Masetto, the jealous husband of Don Giovanni's new attraction, Zerlina, and Zerlina after Don Giovanni's head. How can it all end? Only the powers that be can, and will, tell.
As has been proven to be expected in the past, the set for Don Giovanni is absolutely outstanding. Robert A. Dahlstrom's construction keeps the foreboding darkness of the Don's sexual reign overshadowing the stage throughout the performance. With glimmers of light, whether for show or for poignancy, the set brings the characters and the arena in which they are held to life. Marie-Therese Cramer's costume design augments the gorgeous set remarkably well. The way the colors all blend and burst illuminates each and every character in a fully caricaturized and yet realistic manner.
Chris Alexander's direction of the cast brings the third point to the trifecta of creators mentioned here who collaborated on this production. The subtleties of certain lines and the overbearing sexual visuals given to the audience repeatedly and blatantly balance the show in an unexpected way. With such a strong sexual theme in the plot and libretto, one need not necessarily put it on stage. However, Alexander does not hold back for prudence's sake . He allows the audience to see the terror that Don Giovanni inflicts upon his lust's targets, adding an increased sense of urgency and violence to the mood of the play, much to the delight of the audience.
With talent on stage to be celebrated with "Brava's!" and ovations lifted, every element of this production comes together. Although, at times, a duet may loose its fire or an aria may fall momentarily emotionally flat, the vibrancy and life of these characters is a marvelous spectacle.
Review by: Nigel Andrews
January 13 - 27, 2007
Tickets Online
or by Phone at: Local: (206) 389-7676 or Toll-Free (out of area only): (800) 426-1619
The classic story of Don Juan, the sexcapading prankster of lore, comes to life in a myriad of manners in Seattle Opera's Don Giovanni. Mozart's operatic creation brings four complete opposing love stories together to challenge and devour each other in a lustful and ongoing battle. Don Giovanni, Mozart's Don Juan, continues his molestation of the women of the world while his servant, Leporello, keeps tracks of the thousand plus women with whom Don Giovanni has made love. After a thrilling turn of events, Don Giovanni is chased by a forlorn past lover, Donna Elvira, still in love with her runaway bridegroom. Add into the equation Donna Anna, the broken-hearted daughter of one of Don Giovanni's slain victims, and her one-track-minded fiance, Don Ottavio, the story gets wild. It's not done there, though. After crashing a wedding, Don Giovanni and Leporello now have Masetto, the jealous husband of Don Giovanni's new attraction, Zerlina, and Zerlina after Don Giovanni's head. How can it all end? Only the powers that be can, and will, tell.
As has been proven to be expected in the past, the set for Don Giovanni is absolutely outstanding. Robert A. Dahlstrom's construction keeps the foreboding darkness of the Don's sexual reign overshadowing the stage throughout the performance. With glimmers of light, whether for show or for poignancy, the set brings the characters and the arena in which they are held to life. Marie-Therese Cramer's costume design augments the gorgeous set remarkably well. The way the colors all blend and burst illuminates each and every character in a fully caricaturized and yet realistic manner.
Chris Alexander's direction of the cast brings the third point to the trifecta of creators mentioned here who collaborated on this production. The subtleties of certain lines and the overbearing sexual visuals given to the audience repeatedly and blatantly balance the show in an unexpected way. With such a strong sexual theme in the plot and libretto, one need not necessarily put it on stage. However, Alexander does not hold back for prudence's sake . He allows the audience to see the terror that Don Giovanni inflicts upon his lust's targets, adding an increased sense of urgency and violence to the mood of the play, much to the delight of the audience.
With talent on stage to be celebrated with "Brava's!" and ovations lifted, every element of this production comes together. Although, at times, a duet may loose its fire or an aria may fall momentarily emotionally flat, the vibrancy and life of these characters is a marvelous spectacle.
Review by: Nigel Andrews
Teenspeak: Please Hold
Seattle Repertory Theatre & Roosevelt High School
Four Shows. One night. This is what the enthusiastic audience of students, parents and faculty experienced. However, for a group of students at Roosevelt High School, this show meant a great deal more. Beginning in October, four students applied and were chosen to join the Rep in a playwright program. This collaborative project between the Seattle Repertory Theatre and Roosevelt (now in about its 7th year) gives talented students the opportunity to write plays, see them through the rehearsal process and then watch their fellow students actualize their works onstage.
The plays performed, each very unique and artistically different, successfully used minimal set, effective lighting, and clever scriptwriting to convey their story. For one play, the humor of Hades as a compassionate soul and his eventual ejection from hell was effectively presented using a table, chairs, bench and specific props. Lighting took emotional and narrative form in a dramatic portrayal of a family’s dealings with the father’s death. In a play about a women’s fight with her conscious, a set consisted of partitioning the stage into two distant rooms, which instituted an interesting character dynamic and creative space use as she and she traveled between the office and her therapist. Unique and thought provoking scripting techniques were used in the fourth play where deep life issues were influenced by media in the form of TV and literature. In so many ways these dynamic playwrights (Elizabeth Snyder, Lilli Cantwell, Nicky Davis, Hannah Hoffmeyer), the 17 talented actors, and the many others involved in directing, stage-managing, and completing the technical aspects of the show, created a hilarious and moving production.
After the months they spent on Please Hold, and the long, final day at the Rep, beginning at noon, a post show interview expressed the pride and accomplishment that the writers felt having experienced their work produced, onstage, by such a respected theatre. This program is a testament to Roosevelt’s dedication to theatre and will hopefully continue for years to come. Sadly, the 9th was the only chance to see this show; however, the performers from Roosevelt look forward to their spring musical, Thoroughly Modern Millie, which runs May 24th – June 3. Be sure to check it out.
Review By Rick Skyler
Four Shows. One night. This is what the enthusiastic audience of students, parents and faculty experienced. However, for a group of students at Roosevelt High School, this show meant a great deal more. Beginning in October, four students applied and were chosen to join the Rep in a playwright program. This collaborative project between the Seattle Repertory Theatre and Roosevelt (now in about its 7th year) gives talented students the opportunity to write plays, see them through the rehearsal process and then watch their fellow students actualize their works onstage.
The plays performed, each very unique and artistically different, successfully used minimal set, effective lighting, and clever scriptwriting to convey their story. For one play, the humor of Hades as a compassionate soul and his eventual ejection from hell was effectively presented using a table, chairs, bench and specific props. Lighting took emotional and narrative form in a dramatic portrayal of a family’s dealings with the father’s death. In a play about a women’s fight with her conscious, a set consisted of partitioning the stage into two distant rooms, which instituted an interesting character dynamic and creative space use as she and she traveled between the office and her therapist. Unique and thought provoking scripting techniques were used in the fourth play where deep life issues were influenced by media in the form of TV and literature. In so many ways these dynamic playwrights (Elizabeth Snyder, Lilli Cantwell, Nicky Davis, Hannah Hoffmeyer), the 17 talented actors, and the many others involved in directing, stage-managing, and completing the technical aspects of the show, created a hilarious and moving production.
After the months they spent on Please Hold, and the long, final day at the Rep, beginning at noon, a post show interview expressed the pride and accomplishment that the writers felt having experienced their work produced, onstage, by such a respected theatre. This program is a testament to Roosevelt’s dedication to theatre and will hopefully continue for years to come. Sadly, the 9th was the only chance to see this show; however, the performers from Roosevelt look forward to their spring musical, Thoroughly Modern Millie, which runs May 24th – June 3. Be sure to check it out.
Review By Rick Skyler
Tuesday, January 09, 2007
The 25th Annual Putnam County Spelling Bee - Paramount
The Paramount Theater
Runs through 1/14
Tickets Online or by Phone: 206-292-ARTS (2787)
If you've seen Spellbound, then you know the extreme stress and intense competition of spelling bees. But what if the spellers were suddenly to break into song? Then you'd have William Finn's (with Rachel Sheinkin and Rebecca Feldman) The 25th Annual Putnam County Spelling Bee. With a cast of children ranging from chronically congested to chronically arrogant, Spelling Bee, brings out the best and worst in all of the competitors. This show is so much more than spelling words; each word and the bee itself has such powerful significance in each of the childrens' lives - very poignantly illustrating their growth within as people. The emotional rollercoaster of this show takes the audience for a ride in which everyone can relate to many of the unscheduled stops.
However, this show sticks vehemently to no script. Though it is mostly scripted, there is enough ad libbing to keep any improv artist working for days. Every night is a different show with different audience members spelling along side the actors, some even outshining the dictionary itself!
On stage, there are no weak links in this ensemble production. Each character's arc comes through loud and clear to each audience member, occasionally, directly to some audience member or another. Lauren Worsham's work as Olive Ostrovsky brings forth such emotion as the shy, trusting individual that her character embraces that she elicits from the audience the utmost sympathy. Meanwhile, Alan H. Green's performance as Mitch Mahoney the Comfort counselor brought a sense of true enjoyment in doing his work as a performer. One can easily see that he has a lot of fun with this role and especially with the music, allowing the audience to have as much fun as he does.
(from left to right, top to bottom: Sarah Stiles, Miguel Cervantes, Eric Petersen, Katie Boren, Michael Zahler, Lauren Worsham.) Photo Credit: Joan Marcus
James Lapine's directing, as is to be anticipated, is incredible. The subtleties and minutiae of his direction allows the characters to be as real as any person in the audience and yet as pristine and pointed as Jean Valjean's soliloquies. He is supported, of course, by an orchestra led by such a conductor that the orchestra is a second show itself. Jodie Moore's tireless conducting and playing are a feat to be envied by any musician.
Seeing this show is not simply watching players on stage, but experiencing with them the trials with which they struggle and the feats that they must accomplish to live up to expectation, or in some cases, not. The roulette of audience participation adds a great deal to this show and the actors onstage carry the weight of the ad-libbing and their roles with panache. This show is definitely a worthwhile one to espy.
Review By: Nigel Andrews and Jack Jarden
Runs through 1/14
Tickets Online or by Phone: 206-292-ARTS (2787)
If you've seen Spellbound, then you know the extreme stress and intense competition of spelling bees. But what if the spellers were suddenly to break into song? Then you'd have William Finn's (with Rachel Sheinkin and Rebecca Feldman) The 25th Annual Putnam County Spelling Bee. With a cast of children ranging from chronically congested to chronically arrogant, Spelling Bee, brings out the best and worst in all of the competitors. This show is so much more than spelling words; each word and the bee itself has such powerful significance in each of the childrens' lives - very poignantly illustrating their growth within as people. The emotional rollercoaster of this show takes the audience for a ride in which everyone can relate to many of the unscheduled stops.
However, this show sticks vehemently to no script. Though it is mostly scripted, there is enough ad libbing to keep any improv artist working for days. Every night is a different show with different audience members spelling along side the actors, some even outshining the dictionary itself!
On stage, there are no weak links in this ensemble production. Each character's arc comes through loud and clear to each audience member, occasionally, directly to some audience member or another. Lauren Worsham's work as Olive Ostrovsky brings forth such emotion as the shy, trusting individual that her character embraces that she elicits from the audience the utmost sympathy. Meanwhile, Alan H. Green's performance as Mitch Mahoney the Comfort counselor brought a sense of true enjoyment in doing his work as a performer. One can easily see that he has a lot of fun with this role and especially with the music, allowing the audience to have as much fun as he does.
(from left to right, top to bottom: Sarah Stiles, Miguel Cervantes, Eric Petersen, Katie Boren, Michael Zahler, Lauren Worsham.) Photo Credit: Joan Marcus
James Lapine's directing, as is to be anticipated, is incredible. The subtleties and minutiae of his direction allows the characters to be as real as any person in the audience and yet as pristine and pointed as Jean Valjean's soliloquies. He is supported, of course, by an orchestra led by such a conductor that the orchestra is a second show itself. Jodie Moore's tireless conducting and playing are a feat to be envied by any musician.
Seeing this show is not simply watching players on stage, but experiencing with them the trials with which they struggle and the feats that they must accomplish to live up to expectation, or in some cases, not. The roulette of audience participation adds a great deal to this show and the actors onstage carry the weight of the ad-libbing and their roles with panache. This show is definitely a worthwhile one to espy.
Review By: Nigel Andrews and Jack Jarden
Saturday, January 06, 2007
The Comedy of Errors -Seattle Shakespeare Company
Seattle Shakaespeare Company
@ The Center House Theatre
January 4 - 28, 2007
For Tickets: 206-733-8222 or Online
An enjoyable classic erupts in a pirate-oriented world of absurd comedy amid a myriad of talented actors, unique music and complementing technical aspects. Seattle Shakespeare Company’s portrayal of The Comedy of Errors does exactly what its title implies, creating a world in which characters tumble and stumble through ridiculous situations, much to the delight of the audience. Within the first ten minutes of the play, the exposition is presented. Two sets of twin brothers, separated during a childhood shipwreck, are now inadvertently present in the same town of Ephesus where mistaken identity creates confusion and mayhem for the populace.
This chaos manifests itself in the hilarity of many stylistic choices, beginning with the entrance of the actors in a clamor of music, swords and unique lighting. The original music (Don Darryl Rivera) also brings an air of humor to situations, complimenting the actors and enhancing the story. This music is joined with the actor’s uniquely exaggerated facial expressions and specific movements to leave the audience in a roll of laughter, notably the hilarious moments captured by Adriana (Deborah Fialkow). Each scene finds a way to work simultaneously and artfully with the audience’s reactions.
Photo by John Ulman
The Caribbean style set (Jason Phillips), with its numerous entrances and vantage points, has as many quirks and characteristics as the actors themselves. Many scenes are reminiscent of a Hanna Barbara cartoon, with characters running to and fro, crashing into each other, and peeking out of balcony windows. At the same time, the lights (Tim Wratten) are used to enhance moments, such as Aegeon’s (Gregg Loughridge) storytelling, in which lights dim and flash, complemented by crashing sounds, to give the illusion of stormy night. All of these elements are used to enhance the comedic timing of the piece.
Inherent in every aspect is the unmistakable absurdity of the characters’ circumstances, which bring a hilarity that ties the events together. From a slap-stick chase scene to perfectly timed movements the characters present a world of mayhem culminating in an even more shocking and absurd finale. Join the merriment in the Center House Theatre through January 28th, and don’t miss a special late night cabaret performance in which the actors sing popular songs completely in character.
Reviewed By Jack Jarden and Rick Skyler
@ The Center House Theatre
January 4 - 28, 2007
For Tickets: 206-733-8222 or Online
An enjoyable classic erupts in a pirate-oriented world of absurd comedy amid a myriad of talented actors, unique music and complementing technical aspects. Seattle Shakespeare Company’s portrayal of The Comedy of Errors does exactly what its title implies, creating a world in which characters tumble and stumble through ridiculous situations, much to the delight of the audience. Within the first ten minutes of the play, the exposition is presented. Two sets of twin brothers, separated during a childhood shipwreck, are now inadvertently present in the same town of Ephesus where mistaken identity creates confusion and mayhem for the populace.
This chaos manifests itself in the hilarity of many stylistic choices, beginning with the entrance of the actors in a clamor of music, swords and unique lighting. The original music (Don Darryl Rivera) also brings an air of humor to situations, complimenting the actors and enhancing the story. This music is joined with the actor’s uniquely exaggerated facial expressions and specific movements to leave the audience in a roll of laughter, notably the hilarious moments captured by Adriana (Deborah Fialkow). Each scene finds a way to work simultaneously and artfully with the audience’s reactions.
Photo by John Ulman
The Caribbean style set (Jason Phillips), with its numerous entrances and vantage points, has as many quirks and characteristics as the actors themselves. Many scenes are reminiscent of a Hanna Barbara cartoon, with characters running to and fro, crashing into each other, and peeking out of balcony windows. At the same time, the lights (Tim Wratten) are used to enhance moments, such as Aegeon’s (Gregg Loughridge) storytelling, in which lights dim and flash, complemented by crashing sounds, to give the illusion of stormy night. All of these elements are used to enhance the comedic timing of the piece.
Inherent in every aspect is the unmistakable absurdity of the characters’ circumstances, which bring a hilarity that ties the events together. From a slap-stick chase scene to perfectly timed movements the characters present a world of mayhem culminating in an even more shocking and absurd finale. Join the merriment in the Center House Theatre through January 28th, and don’t miss a special late night cabaret performance in which the actors sing popular songs completely in character.
Reviewed By Jack Jarden and Rick Skyler
Friday, January 05, 2007
Weekly Update 1-5-2007
Happy New Year to all and welcome back to the Seattle Reviews at The Broadway Hour! Here's the weekly update of shows in the Seattle Area coming up soon!
ACT Theater
Home page for Ticket Info
Menopause the Musical >running through May 28, 2007
Late Night Catechism >running through August 2007
Seattle Shakespeare Company
Tickets and Info
The Comedy of Errors >January 4 - January 28, 2007
Seattle Repertory Theater
Tickets and Info
The Lady from Dubuque >January 11 – February 10, 2007
Seattle Opera
Tickets and Info
Don Giovanni >January 13 - 27, 2007
Paramount Moore Theater
Tickets and Info
The 25th Annual Putnam County Spelling Bee >January 9 - 14, 2007
ACT Theater
Home page for Ticket Info
Menopause the Musical >running through May 28, 2007
Late Night Catechism >running through August 2007
Seattle Shakespeare Company
Tickets and Info
The Comedy of Errors >January 4 - January 28, 2007
Seattle Repertory Theater
Tickets and Info
The Lady from Dubuque >January 11 – February 10, 2007
Seattle Opera
Tickets and Info
Don Giovanni >January 13 - 27, 2007
Paramount Moore Theater
Tickets and Info
The 25th Annual Putnam County Spelling Bee >January 9 - 14, 2007
Saturday, December 30, 2006
Weekly Update - 12/30/2006
The Weekly Update, as promised, for your enjoyment and planning benefit!
ACT Theater
Home page for Ticket Info
Menopause the Musical >running through May 28, 2007
Late Night Catechism >running through August 2007
Seattle Shakespeare Company
Tickets and Info
The Comedy of Errors >January 4 - January 28, 2007
Seattle Repertory Theater
Tickets and Info
The Lady from Dubuque >January 11 – February 10, 2007
Seattle Opera
Tickets and Info
Don Giovanni >January 13 - 27, 2007
Paramount Moore Theater
Tickets and Info
The 25th Annual Putnam County Spelling Bee >January 9 - 14, 2007
ACT Theater
Home page for Ticket Info
Menopause the Musical >running through May 28, 2007
Late Night Catechism >running through August 2007
Seattle Shakespeare Company
Tickets and Info
The Comedy of Errors >January 4 - January 28, 2007
Seattle Repertory Theater
Tickets and Info
The Lady from Dubuque >January 11 – February 10, 2007
Seattle Opera
Tickets and Info
Don Giovanni >January 13 - 27, 2007
Paramount Moore Theater
Tickets and Info
The 25th Annual Putnam County Spelling Bee >January 9 - 14, 2007
Saturday, December 23, 2006
Weekly Update 12/23
Here is the weekly update of what is happening around Seattle right now for your theatrical enjoyment!
Intiman Theater
Tickets and Info
Black Nativity >November 29 - December 27, 2006
ACT Theater
Home page for Ticket Info
Menopause the Musical >running through May 28, 2007
Late Night Catechism >running through August 2007
The Broadway Performance Hall
Ticket Window
A Tap Dance Christmas Carol >December 15 - 23, 2006
Intiman Theater
Tickets and Info
Black Nativity >November 29 - December 27, 2006
ACT Theater
Home page for Ticket Info
Menopause the Musical >running through May 28, 2007
Late Night Catechism >running through August 2007
The Broadway Performance Hall
Ticket Window
A Tap Dance Christmas Carol >December 15 - 23, 2006
Sunday, December 17, 2006
A Tap Dance Christmas Carol
The Broadway Performance Hall
December 15 - 23, 2006
For Tickets: Ticket Window
Surely you have been told about Charles Dickens, the famous writer notorious for his classical literature, but did you also know he is a musical playwright? This premise opens up A Tap Dance Christmas Carol, a morphing production now in its 7th year of annual Christmas Cheer. This show finds its roots in the minds and feet of Cheryl Johnson and Anthony Peters, renowned tap dancers, owners of the Johnson & Peters Tap Studio in Greenlake, and directors, choreographers, and stars of this show. This year’s production continues their tradition of intriguing dance, unique twists on the classic tale, a jazzy orchestra, and an overall ambience of warmth, humor and Christmas spirit.
The cool, bluesy and upbeat arrangements from the talented three piece orchestra (directed by Clayton Murray) weave their way through solo performances, scene changes, and dance after dance in their intimate role with the action onstage. The intricate involvement of the orchestra onstage and in the show helps to compliment the feelings and emotions expressed by the characters. Instruments even take center stage to stimulate the audience with unique arrangements of classic favorites, making the show not only a musical, but a mini concert of three very talented musicians.
With the band occupying upstage and a great deal of action and dance tapping through the foreground, a minimal set by Seattle Scenic Studios is used to compliment the emphasis on lighting design by Richard Schaefer. The crafty use of lighting shows detailed changes from narration to action, and specifically depicts atmospheric emotion, from warm, as in the Cratchit household, to cool, as in the solo orchestra numbers throughout the show, to dark and deadly in the graveyard. Each skillfully lighted moment helps to aid in the development of plot, character and atmosphere.
From the moment the first actor speaks, humor becomes a central motif. Through overly corny jokes (specifically a traditional reference to Geico auto Insurance), script writing (playing off the original Dickens’ story), and even costume design (a light up tux at the top of the 2nd act) a lighter, comedic attitude is taken towards the story.
Tying the show together is the beautiful footwork of the tap dancers as they perform newly choreographed pieces and old classics, modified and seasoned from years past. Besides the shear enjoyment of the art of tap, its role went beyond this to take on specific roles in the show. Whenever Ebenezia Scrooge was destined to learn something from the ghosts, it was through joining the visions in dance. It is also through dance that she experienced the truth of Christmas by sharing a gorgeous, moving tap piece with her niece, Frieda (Jessie Sawyers). A Tap Dance Christmas Carol offers a unique way to experience the holidays, through the 23rd,with a cast of talented and energetic tappers.
Review By Rick Skyler
December 15 - 23, 2006
For Tickets: Ticket Window
Surely you have been told about Charles Dickens, the famous writer notorious for his classical literature, but did you also know he is a musical playwright? This premise opens up A Tap Dance Christmas Carol, a morphing production now in its 7th year of annual Christmas Cheer. This show finds its roots in the minds and feet of Cheryl Johnson and Anthony Peters, renowned tap dancers, owners of the Johnson & Peters Tap Studio in Greenlake, and directors, choreographers, and stars of this show. This year’s production continues their tradition of intriguing dance, unique twists on the classic tale, a jazzy orchestra, and an overall ambience of warmth, humor and Christmas spirit.
The cool, bluesy and upbeat arrangements from the talented three piece orchestra (directed by Clayton Murray) weave their way through solo performances, scene changes, and dance after dance in their intimate role with the action onstage. The intricate involvement of the orchestra onstage and in the show helps to compliment the feelings and emotions expressed by the characters. Instruments even take center stage to stimulate the audience with unique arrangements of classic favorites, making the show not only a musical, but a mini concert of three very talented musicians.
With the band occupying upstage and a great deal of action and dance tapping through the foreground, a minimal set by Seattle Scenic Studios is used to compliment the emphasis on lighting design by Richard Schaefer. The crafty use of lighting shows detailed changes from narration to action, and specifically depicts atmospheric emotion, from warm, as in the Cratchit household, to cool, as in the solo orchestra numbers throughout the show, to dark and deadly in the graveyard. Each skillfully lighted moment helps to aid in the development of plot, character and atmosphere.
From the moment the first actor speaks, humor becomes a central motif. Through overly corny jokes (specifically a traditional reference to Geico auto Insurance), script writing (playing off the original Dickens’ story), and even costume design (a light up tux at the top of the 2nd act) a lighter, comedic attitude is taken towards the story.
Tying the show together is the beautiful footwork of the tap dancers as they perform newly choreographed pieces and old classics, modified and seasoned from years past. Besides the shear enjoyment of the art of tap, its role went beyond this to take on specific roles in the show. Whenever Ebenezia Scrooge was destined to learn something from the ghosts, it was through joining the visions in dance. It is also through dance that she experienced the truth of Christmas by sharing a gorgeous, moving tap piece with her niece, Frieda (Jessie Sawyers). A Tap Dance Christmas Carol offers a unique way to experience the holidays, through the 23rd,with a cast of talented and energetic tappers.
Review By Rick Skyler
Saturday, December 16, 2006
All Shook Up -Paramount Theater
The Paramount Theater
December 12-17
206-467-5510
December 12-17
206-467-5510
Begin with the upbeat music of Elvis Presley and the ridiculous plotlines of Shakespearian comedy, throw in a good helping of Bye, Bye, Birdie and The Music Man, followed by a generous portion of Footloose, mix it artfully together and All Shook Up blasts from the oven. This vibrant show not only takes corniness to a new level, but also does it in such a well thought out and strategic way that its ridiculous chain of events will amuse any viewer.
The beginning is somewhat abrupt, opening with a variety show-like atmosphere that is perpetuated in subsequent numbers, in which songs are forcibly introduced by awkwardly posed scenes. As we coast through the blast out number “C’mon Everybody,” with its intense energy and electrifying choreography, the corniness starts to take on the style of a musical rather than a variety show. However, it isn’t until “Teddy Bear/Hound Dog” that its form as a musical really takes shape, and one becomes immersed in the story of people in a topsy-turvy world where every one is “All Shook Up” in so many ways.
Stephen Oremus’ song arrangements are masterful, keeping the fun, upbeat feeling of timeless Elvis songs while suiting them to a musical style; either combining songs into duets (as in “Teddy Bear/Hound Dog,” an argument in song), expanding the song with harmonies (a prime example being the finale “Burning Love”), or by running themes throughout the show (such as “One Night With You,” which literally blasted forth from characters whenever they fell in love).
The crafty use of satiric comedy in this over the top world also emanated from its explosive choreography and specific design elements. The lighting and set design, directed by Donald Holder and David Rockwell, respectively, aid in creating a dynamic world in which both the most cozy and intimate scenes can take place, and expansive scenes extend off into the wings. Some lighting cues bring the hilarity of moments into focus, and leave many audience members throwing their heads back in laughter. The “roustabout” Chad (Joe Mandragona) uses his magic touch to electrify the town jukebox, and Natalie/Ed’s (Jenny Fellner) singing in “A Little Less Conversation” brings the conveniently abandoned fairgrounds to glitzy, electric life, in a physical touch that is illustrated by the flamboyant but specific lighting. Amid its quirky, overblown atmosphere All Shook Up is an enjoyable comedy with the intention of pleasing its audience; and so poignantly succeeded.
Review By Rick Skyler and Lia Morgan
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