Five-Time Tony Award^®-Winning Musical,

THE DROWSY CHAPERONE,

Roars into The 5th Avenue Theatre for a Riotous Limited Engagement!

SEATTLE – The Roaring ‘20s are back and better than ever! The most celebrated musical of the 2006 Broadway season, The Drowsy Chaperone, a completely original musical comedy, is coming to Seattle’s The 5th Avenue Theatre from October 29th to November 16th. The music and lyrics by Tony Award^® winners Lisa Lambert and Greg Morrison and book by Tony Award^® winners Bob Martin and Don McKellar offer up a thoroughly modern take on classic comedy. The show is directed and choreographed by Tony Award^® nominee Casey Nicholaw (Spamalot), who got his start choreographing The 5th Avenue Theatre productions of My Fair Lady and The Prince And The Pauper.

THE DROWSY CHAPERONE is the tale of a modern day musical theater maven, known simply as “Man in Chair”. To chase his blues away he drops the needle on his favorite LP – the 1928 musical comedy, The Drowsy Chaperone. From the crackle of his hi-fi, the musical magically bursts to life on-stage telling the tale of the pampered Broadway starlet who wants to give up showbiz to get hitched and her producer’s attempts to sabotage her impending nuptials. Hilarious antics ensue with her chaperone, the debonair groom, the dizzy chorus girl, the Latin lover, and a pair of gangsters masquerading as pastry chefs. Man in Chair’s love of The Drowsy Chaperone speaks to anyone who has ever been transported by the theater.

The cast includes Canadian actor Jonathan Crombie, widely known as Gilbert Blythe from the popular “Anne of Green Gables” movies, as Man in Chair. The much beloved Georgia Engel will reprise her role of Mrs. Tottendale for the tour. Ms Engel is best remembered for her Emmy Award^®-winning role as Georgette on the legendary “Mary Tyler Moore Show”, as well as her appearances on “Everybody Loves Raymond”.

Joining them are Cliff Bemis (Feldzieg), Andrea Chamberlain (Janet Van De Graaff), Linda Griffin (Kitty), Dale Hensley (Aldolpho), Alicia Irving (The Drowsy Chaperone), Mark Ledbetter (Robert Martin), Paul Riopelle (Gangster #1), Peter Riopelle (Gangster #2), Noble Shropshire (Underling), Richard Vida (George), and NaTasha Williams (Trix). Rounding out the cast are Megan Nicole Arnoldy, Kevin Crewell, Jen Taylor Farrell, Jody Madaras, Chuck Rea, Mason Roberts and Jennifer Swiderski.

The Drowsy Chaperone received more Tony Awards^® than any other musical of the 2006 season, including Best Book (Bob Martin and Don McKellar); Original Score (Lisa Lambert and Greg Morrison), Costume Design (Gregg Barnes) and Scenic Design (David Gallo). The creative team for The Drowsy Chaperone also includes lighting design by Ken Billington (Chicago ) and Brian Monahan, sound design by Acme Sound Partners, orchestrations by Larry Blank, dance and incidental music arrangements by Glen Kelly, and music director/vocal arrangements by Phil Reno.

The Drowsy Chaperone is produced by Kevin McCollum, Roy Miller, Bob Boyett, Stephanie McClelland, Barbara Freitag and Jill Furman.

Visit www.drowsychaperone.com for more information.

Seattle Rep Welcomes Dan Sullivan

Dan Sullivan Joins Producing Artistic Director, Jerry Manning as Artistic Consultant

SEATTLE, WA - Seattle Repertory Theatre today announced that Dan Sullivan will join Producing Artistic Director, Jerry Manning and his resident artistic team as Artistic Consultant. Sullivan will be assisting the staff in planning the 2009-2010 season. Sullivan comes back to the Rep after having been the Artistic Director at Seattle Rep from 1981 to 1997 and is currently directing Charlayne Woodard's The Night Watcher in the Leo K. Theatre, which was built under his leadership. The theatre is currently evaluating its organizational model to determine the appropriate artistic and business management structure for the future. That process will be completed before beginning a search for a new artistic director. "We are excited to bring back Dan Sullivan and create this dynamic artistic dream team which will assure the consistency and quality of our programming as we move through this transition." Says Board President Jane Zalutsky. "Seattle Rep audiences know and love both Dan Sullivan and Jerry Manning and we trust that Dan will infuse Seattle Rep with his vision and experience as one of todays most highly regarded theatre practitioners." Sullivan will take on the role of Artistic Consultant effective immediately.

Seattle Repertory Theatre presents: The Three Musketeers

Adapted from the novel by Alexander Dumas by Ken Ludwig Directed by Kyle Donnelly

October 2 - November 15, 2008 (Opening Night: Friday, October 10)

Seattle, WA - Seattle Repertory Theatre brings the sword-fighting fun of The Three Musketeers to the stage in a new family-friendly, fast-paced adaptation. The Three Musketeers plays in the Bagley Wright Theatre from October 2 through November 15. Previews begin October 2, with opening night set for October 10. Tickets are available through the Seattle Repertory Theatre box office seven days a week at (206) 443-2222, toll-free at (877) 900-9285, as well as online at www.seattlerep.org. Bring your family to this fresh, fast-paced, and hilarious adaptation of one of literature's most thrilling romantic adventures. The dashing musketeers-and one plucky kid sister-swashbuckle their way through nefarious villains, international intrigue, and exotic ladies. It's "all for one and one for all!" in an action-packed update of this beloved classic. Kids get in free with paid adult tickets on October 5 for a special 3 p.m. family matinee of The Three Musketeers. Pre-show workshops include sword, hat and costume making. Kids will be knighted as a Musketeer before enjoying the performance. Ken Ludwig has had a number of hits on Broadway, in London and around the world, including Crazy For You, which won the Tony and Oliver Awards for Best Musical, Lend Me A Tenor, which won two Tonys and the Oliver Award nomination for Best Play and was produced by Andrew Lloyd Webber, Moon Over Buffalo, which marked Carol Burnett's return to Broadway and starred Joan Collins and Frank Langella at the Old Vic in London, Twentieth Century with Alec Baldwin and Anne Heche, the Broadway musical The Adventures Of Tom Sawyer, and Shakespeare In Hollywood, which won the Helen Hayes Award as Best New Play of the Year. His plays have been translated into over 20 languages. He studied music at Harvard with Leonard Bernstein and theatre history at Cambridge University in England. Kyle Donnelly recently directed her adaptation of Polk County at Berkeley Rep, a production she also staged in its world premiere for Arena Stage, winning the Helen Hayes Award for Best New Musical. She has directed the world premiere of Shakespeare in Hollywood for Arena Stage, The Constant Wife for American Conservatory Theater, A Midsummer Night's Dream for the Old Globe Theatre, and Philadelphia Here I Come! for the Williamstown Theatre Festival. Ms. Donnelly directed the American premiere of Brian Friel's Give Me Your Answer, Do! for Roundabout Theatre and has worked at The Goodman Theatre, Steppenwolf Theatre, Huntington Theatre, Actors Theatre of Louisville, ACT Theatre, and many others. She is the head of the Professional Actor Training program at U.C.S.D. in San Diego. Performances of The Three Musketeers are at 7:30 p.m., Tuesday through Sunday with 2 p.m. matinees on Saturday and Sundays. Family Day is Sunday, October 5 at 3 p.m. with pre-show activities starting at 2 p.m. Pay-What-You-Can performance is Thursday, October 9 at 7:30 p.m. Post-play discussions will be held after performances on Thursday, October 23 at 7:30 p.m., Sunday, October 26 at 2 p.m. and Sunday, November 2 at 2 p.m. There is an audio-described performance on Saturday, November 1 at 2 p.m. and an American Sign Language (ASL)-interpreted performance on Sunday, November 2 at 2 p.m.

INTIMAN THEATRE ANNOUNCES ITS SCHEDULE OF AMERICAN CYCLE EVENTS FOR ALL THE KING’S MEN

Free public programs include Front Porch Theater, a county-wide series of dramatic readings; an original play created by Rough Eagles students from Cleveland and Roosevelt High Schools; community conversations; a public lecture by John Burt , Literary Executor for Robert Penn Warren; and other events

SEATTLE— Intiman Theatre announces the schedule of free public programs for its upcoming American Cycle production of Robert Penn Warren’s All the King’s Men, which will run September 26-November 8 at the Intiman Playhouse, 201 Mercer Street at Seattle Center . The play, which will be performed by an ensemble of 18 actors, is adapted by Adrian Hall and directed by Pam MacKinnon.

Scheduled to coincide with the presidential election season, All the King’s Men is a monumental tale of politics, power and history. John Procaccino stars as Willie Stark in this epic adaptation of the Pulitzer Prize-winning novel, which tells the story of the flamboyant politician—a fictionalized portrait of Huey P. Long, the radical populist from Louisiana—and his right-hand man, reporter-turned-political insider Jack Burden (played by Leo Marks).

All the King’s Men is the concluding production of Intiman’s inaugural American Cycle, a five-year series of classic American stories and community programs. The goals of the Cycle are to produce great art, cultivate curiosity, advocate for literacy, encourage an informed citizenry and understand interconnectedness. American Cycle programs take place at Intiman and in schools, libraries and neighborhood gathering spots.

Information about Intiman’s second American Cycle series, which will launch in the 2009 season, will be announced later this year.

For each American Cycle production, Intiman works with Community Committees to create opportunities for civic dialogue. The Co-Chairs for this production are Christian Halliburton, Associate Professor of Law at Seattle University School of Law, and Katie Hong, Senior Program Officer, U.S. Program Advocacy, Bill & Melinda Gates Foundation.

The American Cycle is sponsored by The Paul G. Allen Family Foundation, The Boeing Company, PONCHO, WaMu, Microsoft Corporation, National Endowment for the Arts and Ameriprise Financial.

Tickets for the production range in price from $10 to $50, with discounts available for students and groups, and are available for purchase from www.intiman.org or over the phone from the Ticket Office at 206.269.1900. All of the public events are free; program descriptions, locations and dates follow.

Front Porch Theater

Front Porch Theater is a series of informal dramatic readings from the play All the King’s Men, each one followed by a facilitated conversation about how the story resonates in this historic presidential election year. Members of the community are cast as characters from the play for each 40-minute reading; those who don’t wish to read are encouraged to attend as audience and participate in the conversation that follows. Each reading is free; no tickets are required. To participate, interested community members should contact Annie Katica Green, Education & Community Programs Coordinator, at 206.269.1901 ext. 239 or annieg@intiman.org. A raffle for tickets to the play will be held at each location. The complete schedule is as follows:

Wednesday Sept 10, 7pm, Seattle Public Library, Central Branch

Tuesday Sept 16, 7:30pm, Town Hall, Eighth and Seneca

Tuesday Sept 23, 7pm, Intiman Rehearsal Studio, 201 Mercer Street at Seattle Center (in partnership with Compassion Action Network)

Thursday Sept 25, 7pm, Youngstown Cultural Arts Center, 4408 Delridge Way SW (in partnership with the Washington Bus)

Sunday Sept 28, 2pm, King County Library, Auburn Branch

Wednesday Oct 1, 7pm, Hidmo Restaurant, 2000 S Jackson Street (in partnership with ColorsNW)

Monday Oct 6, 7pm, King County Library, Bellevue Branch

Sunday Oct 12, 2pm, King County Library, Covington Branch

Wednesday Oct 15, 7pm, King County Library, Burien Branch

Thursday Oct 23, 7pm, King County Library, Shoreline Branch

Saturday Nov 1, 2pm, Seattle Public Library, Northgate Branch

Additional funding for Front Porch Theater is provided by 4Culture’s SITE-SPECIFIC program and KBCS 91.3 FM.

Rough Eagles

Monday, October 20 and Tuesday, October 21

One of the cornerstone American Cycle programs is Rough Eagles, an annual project that brings together small groups of students from Seattle ’s Cleveland and Roosevelt High Schools. (The name is a combination of the two school mascots, the Roosevelt Rough Riders and the Cleveland Eagles.) Each year, the students work with Intiman teaching artists during a summer intensive and longer rehearsal period in the fall to collaboratively develop and perform an original play inspired by the themes of that season’s American Cycle story.

This season, Intiman will present the Rough Eagles performance on stage at Intiman, on the set of All the King’s Men, on Monday, October 20 and Tuesday, October 21 at 7 pm. Both performances will be followed by a discussion and reception with the students. They are free and open to the public; seating will be general admission.

Rough Eagles is sponsored in part by the City of Seattle-Office of Arts & Cultural Affairs’ 2009 Youth Arts Program and Wells Fargo Bank, with additional support by Fales Foundation Trust.

Open Minds/Open Dialogue
Sunday, October 26

Open Minds/Open Dialogue, an annual humanities forum, encourages conversation and debate about issues of direct relevance to our community. This season’s forum is inspired by the work of Intiman’s Core Audience, a diverse group of citizens who have come together over the course of the American Cycle as a model for arts-animated community building.

Following the matinee performance of All the King’s Men on Sunday, October 26, Intiman will open its Lobby doors to accommodate several ‘discussion circles’ in which community and audience members are invited to join one another and respond to the themes and ideas of the play, exploring questions of power, leadership and civic responsibility through the prism of their own personal ideas and experiences.

Writers & Artists with John Burt , Literary Executor for Robert Penn Warren
Sunday, November 2

Writers & Artists, a free public lecture, focuses on the writers whose works are the foundation of the American Cycle series. This season, Intiman will host John Burt , Literary Executor for Robert Penn Warren and Chair of the Department of English and American Literature at Brandeis University . The lecture, which will be followed by questions from the audience, will follow the matinee performance of All the King’s Men on Sunday, November 2.

The American Cycle Community Committee

For each of its American Cycle productions, Intiman works with Community Committees who offer expertise and guidance to help us create opportunities for civic dialogue. Members of the Community Committee for this production are:

Christian Halliburton, Co-Chair, Associate Professor of Law, Seattle University School of Law

Katie Hong, Co-Chair, Senior Program Officer, U.S. Program Advocacy, Bill & Melinda Gates Foundation

· Zaki Abdelhamid, Actor and Intiman Core Audience

· Chris Castaneda, Political Science major at University of Washington and alumnus of the Freedom School

· Marissa Chavez, Director, Youth Media Institute

· Randy Engstrom, Founding Director, Youngstown Cultural Arts Center

· Felicia Gonzalez, Development Director, Seattle Arts & Lectures and Intiman Core Audience

· Naomi Ishisaka, Editor-in-Chief, ColorsNW

· Jourdan Keith, Founder, Urban Wilderness Project and Intiman Core Audience

· Doug Klunder, Privacy Project Director, American Civil Liberties Union

· Shannon Roach, Executive Director, Vera Project

· Peter Steinbrueck, Principal, Steinbrueck Urban Strategies, LLC

· Amy Stromme, Junior at Roosevelt High School and alumna of Rough Eagles 2007

· Norm Swick, Intiman Trustee and Chair of the Education Committee

· Dustin Washington, Community Justice Program Director, American Friends Service Committee

Seattle Dance Project Premieres Rare Collaboration of

Three Local Choreographers at ACT

Project Orpheus Joins Wade Madsen, Eva Stone and Olivier Wevers

Seattle, WA – September 4, 2008 – ACT’s Central Heating Lab continues its innovative collaborative initiative by supporting Seattle Dance Project in Project Orpheus running September 13 through October 4, 2008. Designed as a companion piece to ACT’s mainstage production of Eurydice, Project Orpheus marries the three distinct artistic styles of renowned local choreographers Wade Madsen, Eva Stone and Olivier Wevers into one seamless narrative. Together, with lighting/technical director Peter Bracillano and music director Dave Abramson, Seattle Dance Project creates a modern, moody interpretation of the tragic Greek myth that uses dance to explore the physicality of love, jealousy, compassion and grief.

“Asking three accomplished choreographers to collaborate on a single work, rather than three short pieces, hasn’t really been done before,” said Julie Tobiason, a former principal dancer with the Pacific Northwest Ballet and one of Seattle Dance Project’s two artistic directors. “Everyone had an open mind going into the project and was very excited about doing something groundbreaking. They all really respect each other.” Timothy Lynch, also a former Pacific Northwest Ballet dancer and the other Seattle Dance Project co-artistic director continued, “As a dancer, learning to approach this work while honoring the different styles and contributions of each choreographer is a wonderful challenge. And being all local choreographers, dancers and designers, it’s also a celebration of the wealth of talent we have in Seattle . It’s going to be a huge treat for our audiences.”

Project Orpheus will feature six of Seattle Dance Project’s dancers including: Joseph Anderson, Betsy Cooper, Alexandra Dickson, Timothy Lynch, Kory Perigo and Julie Tobiason.

Project Orpheus runs every Friday and Saturday from September 13 through October 4 at 8:00 p.m. On September 10, Seattle Dance Project will hold a Pay-What-You-Will dress rehearsal. Space is limited and an RSVP to info@seattledanceproject.org is required to attend. The company also will host post-performance dialogues with the audience immediately following each performance. Tickets for Project Orpheus are $25 for adults and $20 for students and seniors; $20.00 ticket with the purchase of tickets to ACT’s production of Eurydice by Sarah Ruhl. Groups of ten or more receive a 10% discount. Tickets are available at the ACT Ticket Office, 700 Union Street , Downtown Seattle, (206) 292-7676 or online at www.acttheatre.org. For more information on Project Orpheus, The Central Heating Lab or ACT Theatre’s mainstage production of Eurydice, visit www.acttheatre.org.

About Seattle Dance Project

Founded in 2007 by Julie Tobiason and Timothy Lynch, the Seattle Dance Project is a modern dance company comprised of world-class artists with the highest level of professional performing experience. Seattle Dance Project creates a movement methodology where muscular strength and classical lines of ballet converge with the emancipating movement of modern dance. They perform in intimate settings such as ACT Theatre, Seattle , WA , and the Meydenbauer Theatre, Bellevue , WA . Company performers also include: Joseph Anderson, Alexandra Dickson, Melanie Skinner, Oleg Gorboulev, Dana Hanson, Kory Perigo, and Michele Curtis. Reflecting Seattle Dance Project’s commitment to high quality performing arts, many company members are active teachers in the Seattle dance community. More information is available at www.seattledanceproject.org and a short documentary on the company can be viewed at www.youtube.com/watch?v=--26-BCjxSM.

Project Orpheus is generously sponsored in part by 4Culture and the Glenn H. Kawasaki Foundation.

Seattle Repertory Theatre presents: The Night Watcher

by Charlayne Woodard Starring Charlayne Woodard Directed by Daniel Sullivan

September 25 - October 26, 2008 (Opening Night: Wednesday, October 1)

Seattle, WA - Seattle Repertory Theatre welcomes back former Artistic Director Daniel Sullivan as he directs Charlayne Woodard in her new solo piece, The Night Watcher. The Night Watcher plays in the Leo K. Theatre from September 25 through October 26. Previews begin September 25, with opening night set for October 1. Tickets are available through the Seattle Repertory Theatre box office seven days a week at (206) 443-2222, toll-free at (877) 900-9285, as well as online at www.seattlerep.org. Playwright and actress Charlayne Woodard (Pretty Fire, Purgatorio) and director Daniel Sullivan return to Seattle Rep with Woodard's new, inspiring one-woman show. Aunt, godmother and friend to countless kids, Woodard beautifully weaves together stories of the ordinary and extraordinary ways she's mentored the children in her life. Ms. Woodard has written four solo plays and has had the honor and good fortune to work on all four with Daniel Sullivan. Her first solo play, Pretty Fire, received L.A. Drama Critics and NAACP awards for best play and best playwright. Neat was developed at Seattle Repertory Theatre. Her third solo play, In Real Life, was commissioned by Center Theatre Group and Seattle Repertory Theatre, and was developed at the Sundance Theatre Lab. Ms. Woodard received Drama Desk and Outer Critics Circle award nominations for best solo performance. The Night Watcher is her most recent work. Ms. Woodard is also an accomplished actor whose recent film credits include M. Night Shyamalan's Unbreakable; Nicholas Hytner's The Crucible; and John Schlesinger's Eye for an Eye. Television credits include recurring roles on Terminator: The Sarah Connor Chronicles, Law and Order: SVU and ER. Ms. Woodard was trained at Goodman School of Drama in Chicago and is a member of The Actor's Studio. Daniel Sullivan has directed in theatres both nationally and abroad. Mr. Sullivan's Tony-nominated revival of The Homecoming by Harold Pinter was on Broadway this past season. Recent Broadway credits include Prelude to a Kiss, Rabbit Hole, Brooklyn Boy, The Retreat from Moscow, Proof (Tony Award), Morning's At Seven, I'm Not Rappaport, Major Barbara, A Moon for the Misbegotten, The Heidi Chronicles, Conversations With My Father, Lincoln Center's Ah! Wilderness, The Sisters Rosensweig, and An American Daughter. From 1981 to 1997, Mr. Sullivan served as Artistic Director of Seattle Repertory Theatre, where he directed more than 60 productions including Uncle Vanya, She Stoops To Conquer, Inspecting Carol, As You Like It, and Major Barbara, among many others. He established Seattle Rep's new play program, developing new works by Jon Robin Baitz, Herb Gardner, Arthur Miller, Wendy Wasserstein, Charlayne Woodard, and William Mastrosimone, among others. Mr. Sullivan teaches in the theatre department at the University of Illinois, Champaign-Urbana and was the Acting Artistic Director at Manhattan Theatre Club for the 2007-2008 season. Performances of The Night Watcher are at 7:30 p.m., Tuesday through Sunday with 2 p.m. matinees on Saturday and Sundays. There will be no performance on Thursday, October 2. Post-play discussions will be held after performances on Thursday, October 16 at 7:30 p.m., Sunday, October 19 at 2 p.m. and Sunday, October 26 at 2 p.m. There is an audio-described performance on Saturday, October 25 at 2 p.m. and an American Sign Language (ASL)-interpreted performance on Sunday, October 26 at 2 p.m.

Eurydice -- ACT

Eurydice
ACT
September 5 – October 5, 2008
ON SALE NOW!

Sarah Ruhl’s Eurydice (based on a story that can be found in Ovid’s Metamorphoses) is a passionate and lyrical homage to the love between a father and a daughter. Unlike the original story and most other retellings of it, Ruhl’s Eurydice does not focus the point of view on Eurydice’s lover, Orpheus. Instead, Eurydice herself is given center stage and her relationship with her already-dead father takes precedence over the love story between her and the musician, Orpheus.

Renata Friedman as Eurydice and Mark Chamberlin as Father. Photo: Chris Bennion.

Director Allison Narver’s staging takes precision to the next level. Her influences, especially in the choreography (Nick Garrison) of the hilarious but bizarre Stones (Tracy Hyland, Tim Hyland and Anne Allgood), are fantastically pinpointed. Clearly the choreography is not meant to be naturalistic; however, it fits perfectly into the world illustrated by the surrealistic design of set, lights, costume and sound. Matthew Smucker’s set dazzles the audience, as always, with its practicality and artfulness. It’s not everyday a designer is asked, for example, to make an elevator descend from the grid and rain inside itself while carrying a passenger; and he pulls it off handily. Working with a script that specifically calls for a set that will embody both the world of the dead and the living earth, sometimes simultaneously, is no small feat, and all designed aspects mesh with each other to bring this about. One of the most important of these is the sound design and composition. Chris Walker’s design creates sound that is almost palpable, that is played with by the actors as easily as if they actually held instruments. One of the first moments of the play—before any dialogue is spoken—is Orpheus plucking on part of the set, long strings held taut from the grid to the floor. Each string becomes musical, wringing echoing sound from the set itself.

Trick Danneker and Renata Friedman play Orpheus and Eurydice with all the exuberance and awkwardness of almost-children falling in love for the first time. Their physicality is not as polished as the other actors, which occasionally can strain their voices; both are most effective in their quieter moments of longing or deliberation. Danneker’s solo letter-writing to his dead wife is both desperate and triumphant in places; and Friedman’s growing re-connection to her father throughout the play is full of both hope and sadness. Mark Chamberlin as Eurydice’s father beautifully embodies these contradictions that are at the heart of Ruhl’s story, as the character who knows the most about his past and others. The problem of knowledge, of remembering and forgetting the people you love, is the central one of this play, and Chamberlin is an artful illustration of that.

Paul Morgan Stetler, usually an impressive comic actor, sometimes falls short in his dual roles as the Interesting Man and the Child. This is due to directorial choices, which end up conflating the characters rather than giving enough variety for Stetler to work within—for there certainly are times when both characters are specific and as creepy as they need to be.

Despite the occasional odd choice in direction, the production is overwhelmingly affecting, marrying Ruhl’s potent lyricism to gorgeous design and impressive acting to create a moving evening of theater.

Review by Lia Morgan and Nigel Andrews



(Also stay tuned for Seattle University’s production of Sarah Ruhl’s Melancholy Play, opening November 13th at the Lee Center for the Arts.)

Shrek: The Musical -- 5th Avenue

Shrek: The Musical

5^th Avenue Theatre

August 14 – September 21, 2008

ON SALE NOW!

Never fear, your wait is at an end. Shrek: The Musical is at long last here; really, really. Brian D’Arcy James (Shrek) delivers a bog-tastic performance, bringing a fully new take on the character. He’s still Shrek, no doubt about it, but he’s his own Shrek, not “bogged” down in the least by an attempt to mimic the fabulous Mike Myers. This Shrek has it all: the green, the ears, the accent and the temper—and, of course, the “better out than in” farts. Perhaps one of the funniest numbers of the show, “I Think I Got You Beat,” showcases this memorable ability in a competition with the Princess Fiona (Sutton Foster). Their gaseous, methane-infused contest is the beginning of true love, aided - as it must be - by the irrepressible Donkey (Chester Gregory). Foster brings

Fiona to life with wit and slightly neurotic charm, captivating both the audience and Shrek’s heart.

Of course, not everything is fun and farting in the land of Duloc. Lord Farquaad (the six-foot-plus Christopher Sieber) graces the stage with all three-foot-none of him with elaborate sarcasm and (literally) show-stopping flair. He even gives us the ever-desired peek into his past (“The Ballad of Farquaad”) with a moment of reflection on his perhaps not-so-noble paternity. The chorus is constantly moving between a motley blend of fairy-tale creatures and Duloc citizens, each with their own unique character, and all performers play their roles to the utmost.

Whenever an audience enters the 5^th Avenue’s space they are greeted by a mixture of the modern theatre and the minute Chinese influences that make this theater stand out. However, audiences for Shrek: The Musical will receive quite a different welcome. The theatre itself has been converted into a swamp. Green light floods the audience and the dangling bog moss hangs above welcoming us into its embrace. It makes sense that the overwhelming sets and incredible puppets used throughout the show were designed together (in addition to costumes) by Tim Hatley (Broadway: Private Lives, Spamalot). They all seem to be one entity. There are moments in the show when set and puppet glide together so easily it is nigh impossible to tell where one ends and the next begins.

The music (Jeanine Tesori), book and lyrics (David Lindsay-Abaire) don’t make any attempt to force the well-loved film onto a Broadway-bound stage. They take the time to make a real adaptation of the story, not just the script. On stage, the story is told in close to seventy-five percent song with as little dialogue as is necessary. Similarly, the ever-awkward film quotes are kept to a wonderful minimum, which allows the audience to stay with the story at hand without getting caught up comparing what they’re seeing to what they remember. For example, the gleeful pop-culture references in the films are here translated to sly nods to musicals (among the many: Hair, Wicked, A Chorus Line, The Lion King).

Director Jason Moore joins some old friends (John Tartaglia – Pinocchio, The Magic Mirror - among them) to bring this show to life. Working with a play so self-referentially scripted is not always a simple task, but Moore makes it look easy. Sliding between Broadway references, lines from the film and the show’s own unique brand of comedy, Moore ties it all together with panache.

When this production transfers to Broadway, it probably won’t be this year’s massive hit or sweep the Tony awards. But this play—an incredible evening of all-ages, fairy-tale humor—knows exactly what it is, and plays to its strong points perfectly.

Review by Nigel Andrews and Lia Morgan

Jenifer Lewis to Star in Hello, Dolly!

Film, Television and Broadway Actress To Fulfill Lifelong Dream of Playing Legendary Role

SEATTLE – Film, television and Broadway star Jenifer Lewis will make her Seattle debut in one of musical theater’s greatest leading lady roles in the upcoming musical Hello, Dolly!. Dolly Gallagher Levi is an irrepressible matchmaker who grabs a second chance at life and love. Producing Artistic Director David Armstrong directs the production which plays March 7-29, 2009.

Lewis is one of the most familiar faces in the movies, having appeared in more than 60 feature films, including Meet the Browns, What’s Love Got To Do With It? and The Preacher’s Wife. Her ability to captivate an audience stems from her versatile voice, her bawdy, well-developed sense of humor and her powerful acting performances honed largely on the Broadway stage. She is currently starring as Motormouth Maybelle in Hairspray at Broadway’s Neil Simon Theatre .

“I’m absolutely thrilled to be joining the 5th Avenue production of Hello, Dolly!,” Jenifer Lewis says. “I am the luckiest actress in the world to be able to play a role that’s been a lifelong dream of mine – and with such an exceptional company. I’m excited, ready, and very, very grateful.”

Lewis joins a long list of illustrious performers who have played the legendary role, including Carol Channing, Ethel Merman, Pearl Bailey, Mary Martin, Martha Raye, Ginger Rogers, Phyllis Diller and Barbra Streisand.

“I am delighted that Jenifer will star in our production of Hello, Dolly!,” says Producing Artistic Director David Armstrong . “This classic musical demands a star who is a consummate performer. She needs to be a great comedian with a thrilling voice who can captivate and delight an audience. Jenifer is all of that and more. I have always thought of her as being like a legendary vaudeville star reincarnated in a contemporary package.”

An enduring musical theater hit, Hello, Dolly! returns to the 5th Avenue stage for the first time in 27 years. When Dolly Gallagher Levi is hired to arrange a marriage for the miserly half-millionaire Horace Vandergelder, she finds him the perfect mate – herself! But first she must win the heart of her unsuspecting “husband to be” before he gets hitched to somebody else. The original Broadway production won ten 1964 Tony Awards^®, including Best Musical (a record that was only surpassed four decades later, when The Producers won 12). Brimming with joyful tunes, from “Put On Your Sunday Clothes” and “It Only Takes a Moment” to the irresistible title song, Hello, Dolly! is a delectable treat for musical theater lovers of all ages.

Full cast to be announced at a later date.

JENIFER LEWIS (Dolly Gallagher Levi) is currently starring on Broadway as Motormouth Maybelle in Hairspray. Other Broadway credits include Eubie, Comin’ Uptown, “Rock and Roll, 1st 5000 Years” and the original workshop of Dreamgirls with Michael Bennett. Most recently Lewis appeared on stage alongside Meryl Streep in Mother Courage and her Children. Lewis has appeared in more than 60 films including: The Antwon Fisher Story, Corinna Corinna, Sister Act I & II, Dirty Laundry, Dead Presidents, The Brothers, Poetic Justice, Castaway, Meet The Browns, Shark Tales, and Pixar’s Cars. She has received two NAACP Image Award nominations for What’s Love Got to Do With It and The Preacher’s Wife and has appeared in over 120 television shows, including The Temptations, Friends, The Cosby Show, Murphy Brown, The Fresh Prince of Bel Air, Jackie’s Back! Shark, Girlfriends, and Boston Legal. Lewis resides in Los Angeles with her adopted daughter Charmaine, and is a relentless supporter to find a cure for Breast Cancer and HIV/Aids.

Season tickets including Hello, Dolly! can be ordered now. Package prices range from as little as $85 (4 shows, previews) to $434 (7 shows, weekend). Single tickets to Hello, Dolly! go on sale to the general public on January 9, 2009. Tickets are available over the phone by calling 206-625-1900 (toll free 888-5TH-4TIX), online at www.5thavenue.org or in person at the box office in downtown Seattle .

The 5th Avenue Theatre is Seattle ’s premier musical theater. In 1980, the non-profit 5th Avenue Theatre began producing and presenting top-quality live musical theater for the cultural enrichment of the Northwest community. The 5th Avenue Theatre maintains a subscription audience of nearly 24,000 and an annual attendance of more than 287,000. It ranks among the nation’s largest and most respected musical theater companies. The Theatre is committed to encouraging the next generation of theatergoers through its Educational Outreach Program which includes: The Adventure Musical Theatre Touring Company, The 5th Avenue High School Musical Theatre Awards, the Student Matinee Program and Spotlight Nights. Unique in its Chinese-inspired design, the exquisite theater opened in 1926 as a venue for vaudeville and film. Today, under the leadership of Managing Director Marilynn Sheldon and Producing Artistic Director David Armstrong , The 5th Avenue Theatre continues to achieve the highest standards in all aspects of artistic endeavors and facility operations, while preserving its artistic, architectural and historic legacy. Visit www.5thavenue.org.