Powerful "Sycorax" Speaks to Racism

Demene E. Hall in Sycorax (Tom Chargin)

Sycorax

Snowflake Avalanche

(at 18th & Union)

Through October 14, 2017

There’s a Shakespeare play, The Tempest, that many people are familiar with. It has several “magical” characters, one of which is Caliban, who is described as a monster, and the offspring of a witch named Sycorax.

Prospero, a noble deliberately shipwrecked (by rivals) on an island with his daughter says Caliban is “a freckled whelp hag-born--not honour'd with a human shape” and calls him filth and a slave. When Prospero first came to the island, Caliban helped him learn how to survive there, but years later, Prospero treats him terribly.

Playwright Y York conceived of a new way of looking at Caliban through his mother. What if, she considered, Sycorax was dark-skinned? What if Caliban was also dark-skinned? What if their lives were considered immaterial and the reasons they are labeled a “witch” and a “monster” were because of skin color and not because of actual inhuman features?

Don’t Be “Prejudice”d Against Slapstick

Some case of Pride and Prejudice (Alan Alabastro)

Pride and Prejudice

Seattle Repertory Theatre

Through October 29, 2017

I would never have thought that Pride and Prejudice and “slapstick” could go together in a sentence, but here we are! In the best possible way… The new adaptation by Kate Hamill, as directed by Amanda Dehnert, with a rockin’ cast that is ready to catch each other off-guard if they can for a laugh, is Slapstick Heaven!

Do not worry that this adaptation will make you compare it to Jennifer Ehle and the wonderful BBC production. Do not worry, either, that it misses the storyline in the actual book. Rather, it’s a whole new idea of how to present the exact story, only different.

The actors still speak in British accents, and dress more-or-less in period stylings. But they also blow bullhorns, wiggle thundersheets, dance to 21st Century tunes, and change characters while we watch by pulling off or on a jacket.

Is Einstein Relatively Great or Relatively Not? You Decide

Dennis Bateman and Candace Vance in Relativity (Erik Stuhaug)

Relativity

Taproot Theatre

Through October 4, 2017

Many times, when we find out negative information about famous folk, that information might end up impacting our feelings about the contributions of those famous folk to our world. Often the negative information is about actions these famous folks took in their lives that changes our perceptions of them from heroic to “terrible human,” in the extreme.

We’ve seen that very recently with Bill Cosby, changing some from loving his shows and comedy albums to not being able to listen to them at all. In the past, media didn’t reveal things like infidelities about people like John Kennedy, Jr. or Martin Luther King, Jr. – and we know now that adultery was part of how they negotiated the world. But does that matter to people?

Mark St. Germain, who seems to love to write plays about real people and real events, has written a play about Albert Einstein. He of the Theory of Relativity fame and the fuzzy white hair and German accent. A persistent interviewer shows up at Einstein’s home and refuses to be kicked out. She has a plausible story and even a contract that says anything she asks that he does not want published will be cut out of her story.

October Openings Are Full of Brand-New Plays

Demene Hall in Y York's new play Sycorax (Tom Chargin)

If you’ve been bemoaning the lack of brand-spanking-new plays to see, October is YOUR MONTH. We have world premieres in spades about all sorts of topics. If that doesn’t float your boat, there are reinterpretations of classics, and more.

Pride and Prejudice, Seattle Repertory Theatre, 10/1-29/17 (opens 10/4)

Playwright Kate Hamill adapts this classic love story with a decidedly progressive take on the trials and travails of Elizabeth Bennet, Mr. Darcy, and the delightful Bennet clan. But empire waists and lavish Regency-era attire still abound in this familiar yet surprisingly modern west coast premiere adaptation.

www.seattlerep.org

Sycorax, Snowflake Avalanche, 10/6-14/17 (at 18&Union) (world premiere)

Demene E. Hall stars in this, Y York’s newest play, inspired by Shakespeare’s The Tempest. A profound meditation on persecution, vengeance and forgiveness. Betrayed by a mother, a lover, her son’s lover, society, and the vicious lies that Prospero has foisted on the world, Sycorax makes an excellent case to the gods for revenge.

https://18thandunion.org/tickets

Forward Flux - Always (At Least) Interesting

The cast of las mariposas y los muertos (Joe Moore)

las mariposas y los muertos (world premiere)

By Benjamin Benne

Forward Flux Productions

Through October 7, 2017

Two sisters and a best friend, frustrated with the music on the indie-rock scene, decide to form a band. In this one-act, playwright Benjamin Benne shoves a boatload of subject matter and some original rock songs by Angie Citiali Vance into a short space.

First there is the rise and dysfunction of the trio, Elena (Sophie Franco), little sister Celestina (Jordi Montes), and Molly (Grace Carmack). They spar over what to name the band, deciding on Las Mariposas (The Butterflies) because butterflies live beautiful but short lives. They spar over whether to include Spanish in their lyrics. Elena writes most of their music until Celestina wants to write one song that suddenly becomes popular.

Elena, written as a whiny, bitchy, unself-aware ass, gets more and more bent out of shape about the one popular song, which uses Latinx iconography to ironic effect. Then it becomes Molly’s problem. Molly, after all, wanted the name, and the Spanish lyrics, and helped write the popular song, and….. Molly is WHITE! It doesn’t help that Molly speaks better Spanish than either sister and can communicate with their grandmother (Anabel Hovig) in her language.

The play does not seem to make Elena a joke, though. We’re supposed to take her seriously.

An area Benne does make a joke, to great effect, is how the band is evaluated by press, all of whom are random white men.

The songs seem inseparable from the play. They are a rock band, after all, so they should at least play and sing once, though it could be recorded, perhaps. But the songs take up a bit too much time given how much territory the play wants to cover.

The family drama is important and doesn’t get nearly enough time. There is a dead mother and tremendous angst about that that is not exploited. Also, Hovig speaks almost entirely in Spanish and it is not translated for the audience. It almost feels like a bulk of the theme of the play is said in Spanish. Those who spoke Spanish in the audience (I understand a tiny, tiny amount) laughed a lot and I was jealous.

Hovig makes a compelling grandmother stereotype with aspects of magical realism. Franco does a good job as lead singer, but can’t overcome the nastiness of her character. Carmack does a great job as a best friend and white apologist, in an unfortunate position. Montes is a good actor and played the drums well. But there is no way she’s a younger sister in this trio.

Lance Valdez and Kiki Abba in No More Sad Things (J Reese)

No More Sad Things (world premiere)

By Hansol Jung

Forward Flux Productions

Through October 7, 2017

No plays come to mind when thinking about Native Hawaiians. So, No More Sad Things is already unusual in featuring a young Hawaiian speaking in the patois of the islands. Lance Valdez does a great job of embodying Kahekili, the surfing, carefree young Hawaiian. He is not always easy to understand, but always engaging.

Kahekili meets a 32-year-old tourist American, Jessiee (Kiki Abba), after they both have dreams of import pointing toward each other. Jessiee has so much difficulty in her life that she decides she must escape the Midwest and goes to Maui. She’s determined to try to keep the Sad Things out of her head and ends up on a quiet beach with only Kahekili, the sand, and the surf, and things take their course.

Only after spending several days together does Jessiee finally asks how old Kahekili is. She’s shocked to find out he’s only 15. So are we. Valdez doesn’t look anything like 15, of course, though 15 year olds do look more grown than we think, often.

It's THE DEFINITIVE L5Y

Aaron Lamb and Katherine Strohmaier in The Last Five Years (Scot Whitney)

The Last Five Years
AK-L5 Productions
http://l5yseattle.com/
Through October 2, 2017

Lots of people have performed the musical The Last Five Years by Jason Robert Brown for many reasons: it's a two-hander (only uses two actors); often people who think it would be good to do are musical theater couples already; it doesn't need a lot of set; it doesn't need a lot of musicians; it can pretty much be done anywhere. Also, it has a cool kind of way to tell the story of a five year relationship: one person tells it "forward" and the other person tells it "backward."

ACT Theatre Presents Award-Winning Playwright Lauren Yee’s “King of the Yees”

King of the Yees (Chris Bennion)

King of the Yees

ACT Theatre

Through October 1, 2017

Lauren Yee, the inventive playwright of Ching Chong Chinamen, has just been named the recipient of the 2017 Kesselring Prize for playwriting from the National Arts Club. She will receive a $25,000 award and the opportunity to reside for two weeks in the historic clubhouse of the National Arts Club in order to develop her work.

She’s also got her play, King of the Yees, running at ACT Theatre, with a lovely cast including Khanh Doan, Stan Egi, Ray Tagavilla, Annelih GH Hamilton, and Joseph Ngo. She has brought her work to Washington State on numerous occasions, most often to do workshops and attend retreats for writing like Hedgebrook. She feels like a local writer.

King of the Yees is an inventive and pseudo-autobiographical play. We begin by meeting “Lauren” and her “father” (Hamilton and Tagavilla) and then immediately find out that they are playing in a play Lauren has written, when Lauren (Doan) shows up with her father (Egi) to rehearsal. The play separates into back-and-forth scenes with the actors taking a break and Lauren becoming wrapped up in a quest to find her father when he goes missing.

WET Programs A Good One With “Teh Internet”

Some of the large cast of Teh Internet Is Serious Business (Jeff Carpenter)

Teh Internet Is Serious Business

Washington Ensemble Theatre

Through October 2, 2017

The press release blurb for Washington Ensemble Theatre’s mounting of Teh Internet Is Serious Business by Tim Price says, “Forward slash forward slash, angle bracket, quotation, command, dialogue, angle bracket, semicolon: it’s 2004, the year hacktivist group Anonymous emerged as a can’t-be-tamed digital authority with unexpected influence. This mercurial and irreverent tale follows the network’s pointed take down of the Church of Scientology and ponders the revolution of online global power. Called “liberating” and “enlightening” by The Guardian, Washington Ensemble Theatre will mount Tim Price’s smart and captivating play. Can you feel the lulz?”

I’m not sure what the description prepares you for, but embedded in the description is the fact that the play is “about” a real piece of actual Internet history. The way that playwright Price goes about telling that compelling history is incisive and interesting and, as produced by director Wayne Rawley and the team at WET, it’s a very entertaining story.

Spoofing Musicals and Shakespeare, "Something Rotten" Smells Like a Good Time

Cast of the Something Rotten! National Tour (Photo by Jeremy Daniel)

Something Rotten
5th Avenue Theatre
Through October 1, 2017

If you love musicals, one of the fun parts of seeing the national tour of Something Rotten is the opportunity to listen hard for all the different musicals spoofed or mentioned or sung for one or two bars of music. In this YouTube video, https://youtu.be/LfVCMAmLxuw?list=PLG4bJvKx7lBvcXH_hTS-3jcNMNHiSch5Z, they'll show you which ones are mentioned in the song, A Musical. Musicals such as Fascinating Rhythm, Gypsy, Seussical, The Music Man, South Pacific, Les Miserables, RENT, A Chorus Line, Chicago, EVITA, Putting It Together, Annie, Guys and Dolls, Sweet Charity, Hello Dolly, Cats, Sweeney Todd, and Busby Berkeley-style dance moves.