Quick Take: "The Mountaintop" at ArtsWest

Reginald André Jackson and brianne a. hill in The Mountaintop (Michael Brunk)

The Mountaintop
ArtsWest
through October 5, 2014

This intriguing two-hander, The Mountaintop, looks at a fictional last night in the life of Martin Luther King, Jr. The script, by Katori Hall, focuses on a tired, fractious, chain-smoking King, who chafes at times at his life of travel and being away from his family, but also likes to flirt with, and probably bed with random attractive women who are willing.

In other words, it's an attempt to stop us from making him a saint and focusing on the price the man took in his journey to bring a dream of equality and economic freedom to "his" people. Since it is fictional, Hall has the luxury of having him say whatever she wants, though I imagine there were boundaries she had to walk not to overstep into some outright bawd or conman or other negative portrayal that is belied by what many people know of the real man.

Mary's Wedding is a dreamlike experience to embrace

Maya Sugarman and Conner Neddersen in Mary's Wedding (Chris Bennion)

Mary’s Wedding

New Century Theatre Company

(at West of Lenin)

Through October 11, 2014

(printed in Seattle Gay News)

Two shy teenagers at the start of World War I fall in love and cope with class, war, first crushes, honor, and duty in New Century Theatre Company’s production of Mary’s Wedding by Stephen Massicotte. This production is a shift for the small company in that the actors, Maya Sugarman and Conner Neddersen, have not been company members. This moves New Century Theatre Company into a producer mode, then.

But the panache with which the production is mounted and presented is well within the NCTC esthetic. The setting is a barn and set/light designer Brian Sidney Bembridge, and the company, found a real old demolished barn and recreated a chunk of it inside West of Lenin. Adding incandescent bulbs to represent stars and lightning and sunlight is a beautiful touch. Director John Langs brings a delicate sensibility to the play including minimal staging that turns hay bales into horses and a few sandbags into an army bunker.

Coming Up: "Kinky Boots!" Spotlight Night whets the appetite at 5th Avenue

Lindsay Nicole Chambers and Steven Booth in Kinky Boots (MatthewMurphy)

Kinky Boots

The 5^th Avenue Theatre 

October 7-26, 2014

The 5^th Avenue Theatre has whet the appetites of thousands of attendees already with their Spotlight Night focused on Kinky Boots. Executive producer and artistic director David Armstrong moderated the evening, giving a taste of what is in store by introducing two of the stars of the show and explaining the musical’s history and development.

But first, Armstrong introduced some performances from developing musicals from the 5^th’s robust New Works program. Their redoubled efforts began in 2012 with the appointment of resident music supervisor Ian Eisendrath being named the Alhadeff Family Director of New Works.

Eisendrath, along with producing artistic director Bill Berry, introduced Beautiful Poison, written by Valerie Vigoda and Brendan Milburn and Duane Poole. It was commissioned by the 5^th and sounds a bit like The Secret Garden for grownups. It’s based on the Nathaniel Hawthorne story "Rappaccini's Daughter."

Meticulous production highlights the huge size of tiny, quiet moments (The Bunner Sisters)

Marty Mukhalian and Annette Toutonghi in The Bunner Sisters (Paul Lippert)

The Bunner Sisters

Athena Theatre Project  

(in a co-production with Theatre Off Jackson)

Through October 5, 2014

Two sisters in turn of the 20^th Century clothing move effortlessly around a tiny storefront/apartment sewing, crimping, serving customers, stopping for tea, in a meager, but comfortable life. They remind of the careful attention to detail, and small moments, that is exemplified in tv’s Downton Abbey. They, too, have little to say to each other, a way of behavior that is so foreign to our “say anything you feel to anyone” age.

These sisters are actors Marty Mukhalian and Annette Toutonghi, in the new adaptation of Edith Wharton’s The Bunner Sisters, adapted by and directed by Julie Beckman for her new occasionally-producing theater company, Athena Theatre Project. The meticulous storefront/apartment was designed by Phillip Lienau and the actors look like they could have lived there for years.

Don't miss The Play of the Year (so far): "The Invisible Hand" at ACT Theatre

Erwin Galan (back), Elijah Alexander, Connor Toms (seated) in The Invisible Hand (Chris Bennion)

The Invisible Hand
ACT Theatre
Through September 28, 2014

(printed in Seattle Gay News)

If terrorists ever decide to imitate "Art" instead of having "Art" imitate "Life" - and they see the play The Invisible Hand by Ayad Akhtar - well... the world is in big trouble! This intense, smart, gripping drama at ACT Theatre has a plot that includes describing how financial markets work, and it drives to a conclusion that makes the blood drain out of your face and dread fill your soul. 

The play begins some period of time into Nick Bright's (Connor Toms) captivity in a Pakistani cement block house. While we don't quite know how long he has been there, it has been long enough for him to teach a little English to the young guard, Dar (Erwin Galan) and help the guard make some money for his village selling potatoes. 

Suddenly, Bashir (Elijah Alexander) a lieutenant of the Imam (William Ontiveros) reminds Nick and Dar, both, that this is captivity, and fear and tension grip the stage. While actual violence is sparse, the threat of it remains a potent force throughout the remainder of the play. While journalist Daniel Pearl's beheading is referred to, the audience is quick to think of the recent beheadings in the news. 

The dulcet tones of a barbershop quartet teach a lesson in tolerance in Taproot's "The Fabulous Lipitones"

Brad Walker, John Patrick Lowrie, Greg Stone and Jeff Berryman in The Fabulous Lipitones (Erik Stuhaug)

The Fabulous Lipitones

Taproot Theatre

Through October 18, 2014

(printed in Seattle Gay News)

Oh, no! The tenor member of a barbershop quartet has died, just before the national finals! What do the other three do? Between arguing about disbanding (and other petty squabbles), they hear a great new singing voice on the phone and set about having an audition, right away. But the guy who shows up is “not like them.” He’s wearing a turban. Hilarity ensues.

This sweet production of The Fabulous Lipitones at Taproot Theatre is a new work by John Markus and Mark St. Germain (former writers on The Cosby Show), and is disarmingly light. It’s kind of a small town story, set in a farm town outside Columbus, Ohio, where people do small town kinds of things, like develop a passion for barbershop quartet music.

The revelation that the tenor they need in order to go to nationals is a Sikh almost sends Phil the gym owner (Jeff Berryman) into paroxysms of fear and racism. Wally the pharmacist (John Patrick Lowrie) and Howard (Greg Stone) are far more interested in going to nationals to worry too much about terrorism from Baba Mati Das – otherwise known as “Bob” (Brad Walker). Eventually, they browbeat, wear down and bargain with Phil to get him to move forward with Bob as their fourth singer.

There are lots of jokes, a few groaners, and some familiar stock kinds of characters (though with unique characteristics that help) and the production, helmed by Scott Nolte, feels like a dessert, all silly and amusing. Embedded in there, though, is a big topic of accepting those who are different than we are, learning about cultures that are not our own, and finding ways of overcoming obstacles to inclusion.

The four actors all perform the barbershop quartet arrangements with dispatch and professionalism. They sound great. They are all terrific singers.

The set by Mark Lund allows for transformation from a funeral parlor to the crowded basement of Howard’s small house. Costuming by Nanette Acosta is appropriately serviceable until fun and gaudy performance gear is added. Some Bollywood-style dance steps are provided by Gurvinder Pal Singh with additional choreography by Beth Orme.

This is exactly the type of production that would appeal to Taproot’s subscribers. There is a message, but it is clearly stated and swaddled in great humor. It’s kind of like eating ice cream and then finding out that they used soy milk or almond milk and healthy ingredients and you thought it tasted great anyway.

Also, Walker’s performance is tender and honorable to the Sikh traditions and values. He is funny (he has a terrific grin), but never makes fun of, or denigrates, his character’s upright sense of righteousness.

For more information, go to www.taproottheatre.org or call 206-781-9707.