March Starts City-Wide Shakespeare Fest

Alexandra Tavares in Ironbound (photo John Ulman, design Shannon Loys)

You may notice a lot of Shakespeare coming up this month and next month, because theater companies big and small are having a Festival! Shakespeare “straight up” or musically or twisted into individual shapes. It’s all because this town apparently just loves good ol’ Will! And besides that, it’s another month filled with world premieres that no one has ever seen before except for YOU, when you go check them out!

Bye Bye Birdie, SecondStory Repertory, 3/2-25/18

In this Tony-Award-winning favorite, superstar Conrad Birdie arrives in Sweet Apple, Ohio to give a lucky girl "one last kiss" before his induction into the Army. Set in a bygone world of soda fountains, screaming fans and Ed Sullivan, the nostalgic Bye Bye Birdie overflows with comedy, romance, and songs like "Put on a Happy Face," "A Lot of Livin' To Do" and "The Telephone Hour."

www.secondstoryrep.org

The Impossibility of Now, Thalia’s Umbrella, 3/8-31/18 (at 12th Avenue Arts) (world premiere)

Locally (and nationally recognized) playwright Y York debuts a play about what you do when your spouse gets conked on the head and wakes up with a terrifying new personality: optimistic happy person. Miranda and amnesia-stricken husband, Carl, embark on the fractured and funny adventure of starting over. The Impossibility of Now is a lovely, word-drunk romantic comedy that celebrates rediscovering the joy of life through words.

www.thaliasumbrella.org

Seattle Children’s presents “The Journal of Ben Uchida” and “The Little Prince”

Mikko Juan and Mi Kang in The Journal of Ben Uchida: Citizen 13559 (Elise Bakketun)

The Journal of Ben Uchida: Citizen 13559

Seattle Children’s Theatre

Through March 4, 2018

The Little Prince

Seattle Children’s Theatre

Through March 4, 2018

Two wonderful shows are going on at Seattle Children’s Theatre this month and they are very different from each other. The Little Prince is of course based on the well-loved children’s classic and has an interesting choice of casts. The book is written with all male characters except for The Rose, who is very (stereotypically) female. The play casts all women for all the roles except for The Aviator (played charmingly by Lamar Legend). The Prince, himself, is embodied by elfin Khanh Doan, who embodies the offhand naiveté and quizzicalness of the role. The rest of the cast plays multiple roles in wonderful costumes by Yao Chen and includes Dedra Woods, Anne Allgood, and Sydney Andrews.

With gorgeous projections (by L.B. Morse) on a desert set by Carey Wong, this handsome production is directed by new artistic director Courtney Sale. It’s geared toward ages 6 and up. It will help you recall, “It is only with the heart that one can see rightly. What is essential is invisible to the eye.”

“Hamilton’s” OK By Me

The company of Hamilton (not the 2nd Tour cast) (Joan Marcus)

Hamilton

Paramount Theatre

Through March 18, 2018

There are a lot of different reasons to appreciate or even to love Hamilton: the crazy public scramble for tickets, the hype, the panic, the draw for middle schoolers who don’t even care for musicals who ask to learn its songs, or the thousands of regular people suddenly interested in one of our less well-known founding fathers and a few of his contemporaneous buddies. It’s a phenomenon that has rejuvenated an interest in musical theater so much more deeply into the wider culture than Broadway has been penetrating in recent years.

The production of the show is beloved for being “sung through” in almost entirely Hip Hop and Rap style lyrics, with sides of jazz and Broadway sprinkled over the top. Creator Lin-Manuel Miranda’s longing to change the American Songbook has been a crowning achievement of this score.

Then there are the deliberate choices that upend most of the standard tropes in casting, choosing performers of color for almost every role, including those like Thomas Jefferson and George Washington who were slave owners, pointing out the irony without ever uttering a word in the script.

Locally Grown “Mamma Mia” Is Sweet and Wacky

The cast singing Super Trouper in Mamma Mia (Mark Kitaoka)

Mamma Mia!

5th Avenue Theatre

Through February 25, 2018

The musical, Mamma Mia!, is almost too sweet. Certainly it’s a confection and maybe, for some, not their dessert of choice. But for most, it’s a silly, joyous, ridiculous story using boatloads of ABBA tunes that were revamped by the original ABBA writers with a few new lyrics that turn them into songs that fit a musical.

The Story Primer, if you need it:

A 20 year-old woman is getting married on the Greek Island she was raised on by her single mom. She finds Mom’s diary and discovers her missing father might be one of three different men and she invites them to the wedding behind Mom’s back. They arrive and histories are revealed. Will her father walk her down the aisle? Will she say “I do, I do, I do, I do”?

The stage musical has been touring for years, coming into Seattle on a regular basis and usually selling briskly. The 5th Avenue Theatre is the first regional theatre to be granted the rights to produce the musical on local terms. Aside from a couple of imports, the entire cast is local and the designers, directors, and musicians get to put a new stamp of their own on the material.

Improbable But Humorous True Story in "Ibsen in Chicago"

The cast of Ibsen in Chicago (Alan Alabastro)

Ibsen in Chicago

Seattle Repertory Theatre

Through March 4, 2018

The Seattle Rep debuted a world premiere (their commission), this week, developed through their new play development process they call The Other Season. Ibsen in Chicago, by David Grimm, feels like an old-style play, set as it is in 1882, but it turns out to be based on a real story: Ibsen’s world premiere of his (especially then) controversial play, Ghosts, was performed in 1882 in…Chicago! In Danish!

Classic “The Gin Game” Casts Classic Couple

Marianne Owen and Kurt Beattie in The Gin Game (Tracy Martin)

The Gin Game

Village Theatre

Issaquah: through February 25, 2018

Everett: March 2-25, 2018

A two-hander (two people) about a couple of older people in an old-folks home, The Gin Game opened in 1976 with the classic theatrical couple Hume Cronin and Jessica Tandy. I’ll bet these two were great to watch on stage. Now, Village Theatre has pulled off a similar feat by casting Kurt Beattie and Marianne Owen, the classic Seattle theatrical couple, in their production.

Directed by another Seattle treasure, Jeff Steitzer, the production is probably as good as you can imagine a production should be. Beattie and Owen hit all the right emotional notes as the two relatively new home inhabitants get to know each other and don’t much else to do but play gin.