Writers Go Through Musical-Writing Development in Festival

Kirsten DeLohr Helland and Janet Krupin in Afterwords (Sam Freeman)

The second weekend in August has become an annual summer ritual in Issaquah, Washington. Village Theatre produces the Festival of New Musicals. This weekend was the 17th such festival. After a rigorous process of winnowing down hundreds of submissions from all over, even a few other countries, they bring together writers of new musicals and top singing/acting talent from the region (and sometimes New York and Los Angeles among others) for what are termed “29 hour workshops.” They provide directors and music directors and it all culminates in a three-day celebration of musical creation.

This year, there was a musical about Nikola Tesla, one about a little-known burial island in New York City (Hart Island), a developing fantasy musical to be staged by Book-It Repertory Theatre this winter (Howl’s Moving Castle) and a zombie musical.

I was able to interview the women behind a new musical called Afterwords, focusing on a young woman’s quest to uncover more about a suddenly-killed mentor’s secret love life. When she inherits his journals, she then discovers the woman has also suddenly died, and is driven to connect with the woman’s two daughters. The musical has many themes about family and connection and legacy.

“Statements After An Arrest” - a Timely and Compelling Drama

Darian Upshaw in Statements.... (Dave Hastings)

Statements After An Arrest Under the Immorality Act

Theater Schmeater

Through August 12, 2017

A production of the Athol Fugard play, Statements After An Arrest Under the Immorality Act, is a kind of must-see production. It reminds that there was a time not that far in the past where intermingling and romance and sex between folks of different shades of melanin were declared illegal. This happened in South Africa with national laws, but also in the United States in various areas.

The play includes an even more difficult emotional situation because Errol Philander, a "colored" South African is married when he sneaks into the local library at night to meet librarian, Frieda Joubert. His immorality is doubly deep, in that aspect. Once the couple is arrested, they expose to community judgment both themselves and his family.

Café Nordo Presents “Sundown at the Devil’s House”

Rebecca M. Davis in Sundown at the Devil's House and band (Joe Iano)

Sundown at the Devil’s House

Café Nordo

Through August 6, 2017

“It's the Devil's last night on Earth, and she and her cohorts will titillate, beguile, and entertain the audience with stories of the Devil's greatest triumphs and darkest secrets.” So says the website information. If there is a reason in there, somewhere, why it’s the Devil’s “last” night, it escaped notice, but the cast of players certainly did their best to titillate, beguile and entertain.

They sing some songs, and tell a lot of stories. There are pseudo-Biblical tales with completely different, though recognizable components. One of the strongest aspects of the script is the explanation of the Devil as the Fallen Angel, though the description of the jobs that angels do in “Heaven” might not match almost any ideas you ever thought would be done in Heaven, including “doing God’s taxes.” That one is a not-very-appropriate job choice, since God probably is not financially beholden to any country’s laws, no matter which kind of God you believe in.

Check Out What’s Opening in August

Cast of Goblin Market at Sound Theatre Company (Julia Nardin)

There are still plenty of shows to see in August, especially in neighborhood parks, but only a few debuting this month. Including a show that didn’t make the July cut off, here is a list of productions opening in August.

American Archipelago, Pony World Theatre, July 27-August 12 (at 12th Avenue Arts)

This new play examines the joys and heartaches of being an American today. The script was collaboratively composed by Holly Arsenault, Kelleen C. Blanchard, Tré Calhoun, Vincent Delaney, Brendan Healy, Maggie Lee, Sara Porkalob, and Seayoung Yim. We welcome you to a quaint little neighborhood called the United States of America. Upscale and working class, where suburban streets wind through packed city blocks, this neighborhood feels like a community - and a powder keg. White picket fences will blur and the American tapestry will start to unravel. Eight next door neighbors from Nashville and New York and Montana and San Francisco will gather at the big block party cookout to grill hotdogs, share recipes, fall in love, murder chickens, and finally tell each other what they think. 

http://archipelago.brownpapertickets.com

eSe Teatro Reaches Out to Less Fortunate

Cast of MUD (Maryssa Lagervall)

MUD

eSe Teatro

(at Slate Theater)

Through July 30, 2017

eSe Teatro is producing MUD (or Barro), by Maria Irene Fornes, as both a Spanish-language and English-language production at the versatile Slate Theater (in the INS Building). The three actors, Monica Cortes Viharo, Marco Adiak Voli, and Fernando Cavallo, perform in both languages.

The play is a plaintive drama about three people surviving in poverty and depravation who still have desires and aspirations like all of us. The effort by director (and formidable power behind eSe Teatro) Rose Cano is clearly to open our minds and hearts to those who live on the edges and who strive to find joy. The company’s dedication to elevating those who have little to none was written about recently in The Seattle Times as Cano was shown reaching out to the local homeless shelter to invite clients to come to her production.

“Alex and Aris” Has a Dual Audience

Alex & Aris (Chris Bennion)

Alex & Aris

ACT Theatre

Through August 6, 2017

I expect large chunks of people to like something I might not and vice versa – nature of criticism… But sometimes when I feel very intrigued, I get startled when I become aware of others who don’t feel the same way. Attending opening night of ACT’s world premiere play, Alex & Aris, I heard about a fair amount of intermission-leavers and people who just plain didn’t care about the characters.

I understand it and therefore will focus this review around what “they” (the playwright, Moby Pomerance, and director John Langs) may be attempting to demonstrate in this play about the historical but murky period of time, four years, that the great philosopher, Aristotle, spent tutoring the young man who would go on to become Alexander “the Great”. 

The genesis of the play was essentially a “commission,” where Langs asked Pomerance, who had a play chosen as ACT’s New Play Award, The Piano Men, if Pomerance had any more to look at.