Quick! That time of year for Live Girls

 Kasey Harrison, Matt Aguayo, Allison Yolo (photo by Steven Sterne)

Quickies 15
Live Girls! Theater
(at Theatre Off Jackson)
through May 10

Live Girls! Theater is presenting its 15th Annual iteration of Quickies, the short play program written only by women. It is always a well-produced evening, with choreographed and planned set changes that are integrated into the entire evening rather than apologetically or unapologetically and unartfully done in half light.

This year the offerings themselves are not as strong as some years, though a couple of them are very strong and well done. There are seven plays, four in the first act and three in the second. Also, you might win a prize after intermission for paying close attention to the first four plays! The theme this year was science and magic.

"Annie" is who again? The Horse in Motion debuts strongly and strangely

Kaillee Coleman, Elaine Huber and Chris Lee Hill (on the table). Photo credit Allyce Andrew

Attempts on Her Life
by Martin Crimp
The Horse in Motion
(at University Heights Center)
through April 27

The debut production from The Horse in Motion, a theater company mostly of UW grads, is definitely for recent UW grads. This is not to say it's not for others, but the edgy, character-less, roaming, episodic nature of this script by Martin Crimp is totally suited to the college crowd and those who like intellectual and even circular argument.

Attempts on Her Life, in script form, apparently does not even instruct who should speak what lines, or where the scenes take place, or time, or much else. It's the perfect vehicle for capturing the imaginations of this crew of theater-loving performers. So, they infuse the production with a variety of video images, locations, and moments, and spread them out throughout the University Heights center (it used to be a school).

With ‘low tech stage magic,’ "Chaos Theory" brings the apocalypse to Annex Theatre

(courtesy Capitol Hill Seattle)

 (DangerPants Photography) Keiko Green and Jana Hutchison

Maybe Courtney Meaker writes plays about the end of the world because she grew up in small-town Tennessee and had to hang out with a lot of people who didn’t hate homosexual people, they just hated homosexuality. Courtney says that she majored in creative writing and theater, but had never written a play before coming to Seattle.

Meaker

Her work Chaos Theory begins a one-month run Friday at 11th and Pike’s Annex Theatre. (April 18-May 17, 8pm)

“Writing a play felt a lot more rewarding because you could experience it in a lot of different ways, where you never know if someone is going to read a short story,” Meaker said. “It was a more fun thing to write than a short story.”

Chaos Theory is Courtney’s second full length play. Last year, Macha Monkey produced Buckshot.

Courtney says, “Chaos Theory is about Franny. She has just been left by her partner and her friends are trying to coach her through a break up. By the end of this time cycle (first scene), her friends decide the only option left is to give her a book about chaos theory and parallel dimensions to pull her out of the dumps.

“From there, the story unravels as an exploration of how we define our world. It messes a lot with genre and storytelling and different conventions. There might be a laugh track or things might fall from the sky. The core is very basic that everyone goes through feeling like you’ve been abandoned.”

Penetrating look at beauty and its pervasive effects on our culture

 Lisa Marie Nakamura, Ruth Yeo-Peterman, Kathy Hsieh and Sara Javkhlan in "Impenetrable Women" (photo by Rick Wong)

Impenetrable
SiS Productions
(West of Lenin)
through May 3

SiS Productions is presenting Impenetrable, a play by Mia McCullough, and it's a timely and important exploration of the impact of beauty in our culture. McCullough took a newspaper report about a real billboard erected in the suburbs of Chicago, depicting a bikini-clad woman with arrows pointing to areas she could improve with surgery, and fictionalized it into a challenging and provocative story.

As directed by Charles Waxberg, the play starts off with an even more challenging hurdle: many of the beginning speeches are presented directly to the audience. This has an interesting effect of first pushing the audience backward toward creating a bit of a defensive wall, and perhaps making it harder to identify with the characters. However, eventually in the 90 minute presentation, the story is made clear and many of the inner emotions and personal reflections have been opened to us.

The cast is strong, including Kathy Hsieh as a suburban mom who feels like her beauty has been compromised and is struggling to understand how to both empower and protect her bookish, loner daughter (Sara Javkhlan, a young and talented girl who we hope to see more of), Lisa Marie Nakamura as a manager/barista at a Starbucks who puts out an exterior of toughness and sarcasm masking some pain at being maligned as "fat," and Ruth Yeo-Peterman as the young woman who is the subject of the picture and has been so damaged by being seen as "pretty," that she dons a burqua in order to cover herself up.

Also, two men help the story along: Shane Regan in a nicely understated and offhand performance as the love-struck photographer who feels "out of her league" and behaves somewhat badly toward the model in response, and Erwin Galan as a French-speaking Arab spa-owner, who both attracts pity and ire for his lack of understanding for the effects of posting this divisive billboard as an advertising device for his spa.

"Young Frankenstein" at Seattle Musical Theatre is fun

Young Frankenstein
Seattle Musical Theatre
through April 13

Seattle Musical Theatre's production of Young Frankenstein is a pleasing one, with a solid cast of young singer/performers and a very well done set for a very complicated trick-stage show.

This stage version of the Mel Brooks movie is as romp-filled as the movie, with the same sensibilities. Since it is a riff on the pseudo-scientific making of a human, there has to be a complicated dungeon laboratory with gizmos that work and special effects. Also stuff like paintings that come to life and library doors that rotate when a candle is lifted. The credits go to Samuel Pettit for set design and Zak Scott (technical director) and Caleb Dietzel (sound and lights) for making it come to life.

Tails of Wasps stings So Good!

(Paul Morgan Stetler and Sylvie Davidson. Photo by Chris Bennion)

Tails of Wasps

New Century Theatre Company

(at ACT Theatre/Central Heating Lab)

Through April 27

A taut, world premiere morsel of explosion just opened via New Century Theatre Company in ACT’s Buster’s Event Room. Tails of Wasps is a new play by their “resident playwright,” Stephanie Timm. It is the next “must see” moment in a month of key moments, here in Seattle! It is exquisite and exquisitely painful. It truly is as good as good theater can get.

Timm has been known for some pretty far out playing, including On the Nature of Dust, where a teenage girl devolves from human into tinier and tinier animal species, and mining fairytales and myths for Sweet Nothing and part of ACT’s production of Ramayana. This is nothing like any of those. It is a direct, real-human to real-human mining of power and relationship and self-justification and self-delusion.