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Sunday, June 10, 2018

“Wild Horses” tells a 13 year-old’s tale

Wild Horses
Intiman Theatre
At 12th Avenue Arts
Through June 24, 2018

Dedra D. Woods in Wild Horses (Naomi Ishisaka)
Allison Gregory has created a play that turns the idea of a short story, told around a campfire, into a visceral experience and a solo performance. She crafts a memoir told from the point of view of a woman who has survived some difficult moments in life, yet who can remember a seminal summer at the age of thirteen and implies that summer formed much of who she later became.

Dedra D. Woods takes on that role and Sheila Daniels makes sure that Woods’ transitions into the various people intersecting with her teenage self are portrayed with clean, clearly individuated characters.

The woman at the bar has no name. She begins telling the story of her thirteenth summer by relating that there was a radio contest to “name” A Horse With No Name, a song by the band named America. It was released in 1972, so that links it to a very specific time. In fact, if the woman is supposed to be telling the tale in 2018, that would have to make her 59ish and Ms. Woods is not nearly 59. However, the atmosphere in this bar is a little unmoored in time, so maybe it’s being told a few years ago, too. The indistinct nature of theatre time…while being very distinct.

Sunday, May 27, 2018

June Theater Busts Out Singing

The Picture of Dorian Gray (John Ulman)

June is bustin out with musicals in our fair town. Classics and world premieres seem to demand that we sing all month long!

The Hunchback of Notre Dame, 5th Avenue Theatre, 6/1-24/18 (opens 6/8)
Joshua Castille stars as Quasimodo in this local edition of this remarkable work, complete with a 30-person choir. A reimagining of Victor Hugo’s epic masterpiece, this powerful tale of love, faith and prejudice will provide a lush, beautiful score. Songs are included from the Disney animated feature along with new music from legendary composer Alan Menken and lyrics by Stephen Schwartz. This 5th Avenue staging will be directed by Glenn Casale, who staged the acclaimed production of Disney’s The Little Mermaid at The 5th Avenue Theatre last winter.

Journey West! The Legend of Lewis and Clark, Copious Love Prods., 6/1-23/18 (at Theatre Off Jackson) (world premiere)
Andrew Lee Creech (book and lyrics and music) and Evan Barrett (music) have created a new musical skewering the story of the westward journey of Lewis and Clark that we’re taught in history class in school. In 1804, President Thomas Jefferson enlisted Meriwether Lewis and William Clark's Corps of Discovery to explore the uncharted West and find an all-water route across North America to unite sea with shining sea. This whimsical and irreverent send-up re-blazes the historic trail to the Pacific through song, dance, and Sasquatch. If history is written by the victors, then what does it look like through the lens of the disenfranchised? Who gets to tell their story vs. who gets their story told for them? …and who becomes a footnote? Our diverse, genderqueer cast and crew bring this adventure to the stage.

Friday, May 25, 2018

“5 Lesbians Eating a Quiche” is a fluffy dish

The cast of 5 Lesbians Eating a Quiche (Alex Garland)
5 Lesbians Eating a Quiche
Fantastic. Z Theatre
(at Ballard Underground)
Through June 2, 2018

You are cordially invited to attend the 1956 Susan B. Anthony Society for the Sisters of Gertrude Stein Annual Quiche Breakfast. Bring your quiches to be judged. Their Golden Rule is “No Men. No Meat. All Manners.”

A semi-interactive playlet (I’m not sure you can call it a full-fledged play), 5 Lesbians Eating a Quiche, is being produced by the LGBTQ-focused theater company, Fantastic.Z Theatre. You make your way to the basement known as The Ballard Underground, and get a name tag with your assumed name for the evening. This allows the leadership of the SBASFTSOGS to call you by your name.

If you want to be extra sweet, you might bring them gifts of boiled eggs. Eggs are about all these ladies can talk about, putting aside all the horrid politics outside their hermetically sealed bomb shelter that is guaranteed to protect them from the invasion of communists that might happen At Any Moment!

Thursday, May 24, 2018

“Arroyo’s” is a Great Place to Visit

Welcome to Arroyo's (Dave Hastings)
Welcome to Arroyo’s
Theater Schmeater
Through June 2, 2018

It’s hip hop and altruism and history and idealism and art. It’s finding out what you’re made of and finding out how to see what is offered right in front of you. It’s so many things rolled up into one small, delightful play: Welcome to Arroyo’s by Kristoffer Diaz, and it’s at Theater Schmeater, right now.

Expertly guided by director Jay O’Leary, this kick ass cast tells the story of a brother and sister reeling from the recent loss of their mother. The sister, Molly (Ashley Salazar), after years of hiding her graffiti-art-spraying identity, has suddenly started openly tagging, daring a local beat cop (Naa Akua) to arrest her. The brother, Alejandro (Tony Magana, Jr.), has turned his mother’s deli into a bar, in the tradition of “if you build it, they will come,” but so far no one’s coming.

Two budding DJs, Nel (Michael Cercado) and Trip (Richard Sean Glen), keep trying to convince him to add their hip hop flare to draw the neighborhood, but they have trouble getting through to Alejandro. Into the bar walks Lelly (Anasofia Gallegos) and Alejandro immediately wants to know what she thinks.

Tuesday, May 15, 2018

God blessed us with a great puppeteer in “Hand to God” at SPT

Hand to God (John Ulman)
Hand to God
Seattle Public Theater
Through June 3, 2018

For most people, puppet shows are mostly for kids, these days, though if one takes a turn through theater history, puppets have been used for thousands of years to augment stories and are celebrated art forms in many cultures.

In Seattle, a handful of folks have steeped themselves in puppetry in a variety of forms. Three that come to mind cross the gambit of puppetry formats. Brian Kooser has created some enormous puppets in shows, though he hasn’t created his own production in quite awhile. Scot Augustson uses shadow puppetry almost exclusively in his subversive political-social commentary plays. Jean Enticknap uses Bunraku puppets (with Kooser’s help) for her children’s Thistle Theatre. Ben Burris, a young performer who worked with Thistle for years, has graduated to making his own puppets and is now starring in Robert Askins’ Hand to God at Seattle Public Theater.

Burris has decamped to Los Angeles in the way of young actors seeking more fame and fortune and … acting, one supposes, but has returned here for a showing of his incredible mastery of this particular art. My personal impression of the focus of this very odd, funny, intense play is that the subject of the play is really “the mother,” but Burris’ ability to manage the subtleties of acting with a hand puppet – that really does seem to become The Devil while attached to a generally mild-mannered teenage boy – is a major blessing.

Monday, May 14, 2018

“Love Never Dies” is the usual dying sequel

Gustav and Christine in Love Never Dies (Joan Marcus)


Love Never Dies
Paramount Theatre
Through May 13, 2018

Andrew Lloyd Webber hit the goldmine with his musical about The Phantom of the Opera. It came out and then seemed to go everywhere and get produced in every place. Some years later, after not having anything remotely like a hit for some time, it seems like he wanted to take advantage of that magic by creating a sequel. Love Never Dies was an attempt to prolong the 20 minutes of fame that Phantom brought. Created in 2010, it has recently been touring the U.S. and came to the Paramount last week.

The cast list looked good, with a host of opera-based singers. A few of those singers didn’t quite live up to the challenge of even this most boring of musicals. Gardar Thor Cortes starred as The Phantom with a hefty resume, but his acting was wooden and overblown. It would seem clear that the only reason Christine would still love him is due to some kind of magic and not really because he was such a lovable person.

Saturday, May 12, 2018

“Shakespeare in Love” at Seattle Shakespeare Co.

Chiara Motley in Shakespeare in Love (John Ulman)
Shakespeare in Love
Seattle Shakespeare Company
(at Cornish Playhouse)
Through June 3, 2018

The movie, Shakespeare in Love, is a delicious, funny Elizabethan slice-of-life, if you imagine what it might have been like to be a relatively poor playwright toiling away as fast as possible to create pages of script while not even knowing what play you’re writing. Will Shakespeare is the playwright and he’s writing a play on the fly that is tentatively called Romeo and Ethel the Pirate’s Daughter. The delightful movie by Marc Norman and Tom Stoppard has been adapted by Lee Hall into a stage play that retains huge chunks of the movie script.

Wednesday, May 09, 2018

Funny family themes feel “Familiar” at Seattle Rep

A moment from Familiar (Navid Baraty)

Familiar
Seattle Repertory Theatre (with the Guthrie Theater)
Through May 27, 2018

There is something very familiar about the brand new (2015), incisively-written, Zimbabwean family wedding play, Familiar, now at the Seattle Rep. Clearly, it’s not the Zimbabwean portion, since that is not a culture we’ve seen on stage here in Seattle. That is a refreshing aspect, even as the accents present a challenge for audience members not so used to the musical cadence of “Zim”-inflected English.

What is familiar about the story are the many ways families fight, disagree, have secrets, and display their love and affection for one another when all is said and done. If you have heard that this story is about a Zimbabwe-American woman (Shá Cage) marrying a “white” American man, you might think you’re about to see strain about race. However, the Chinyaramwira family of Minnesota does not, apparently, have any qualms about Chris (Quinn Franzen) joining their family. 

Wednesday, May 02, 2018

It’s May, It’s May Theater Openings!

Broken Bone Bathtub (Zack DeZon)

So eclectic a month of offerings that there can’t be a single person who wouldn’t love some production on this list! On your mark, get set, go get tickets!

Pilgrims, Forward Flux Prods., 5/1-19/18 (at West of Lenin)
On a ship to colonize a newly discovered planet, a soldier and a teenage girl find themselves quarantined together in a cabin and are forced to explore their own traumatic pasts and roles in a dying society.

Crewmates, Annex Theatre, 5/1-16/18 (Tue/Wed nights) (world premiere)
A sensitive American-Muslim man from a conservative family starts a romance with an inspiring atheist Asian-American woman who was adopted by liberal white parents. Their relationship grows lovingly, but the invasive supernatural world just cannot handle all this fluffy saccharine goodness. Agendas play out against each other as djinn and angel alike struggle to accept the ever-changing narrative of human sexuality and morality. Even the Heavens are not immune to the power of the human condition.

Shakespeare in Love, Seattle Shakespeare Co., 5/2/18-6/3/18 (at Cornish Playhouse)
(Based on the movie.) Young Will Shakespeare is in dire need of inspiration. His next play is on deadline and the only thing he’s come up with is the title: Romeo and Ethel, the Pirate’s Daughter. Then he meets Viola, a smart and beautiful woman who desperately wants to perform on the stage, even though it’s forbidden. Will is smitten and gets inspired to write the greatest love story the world has known.

Wednesday, April 25, 2018

Magical "ASL Midsummer Night’s Dream" is a Massive and Beautiful Effort

ASL Midsummer Night's Dream (Ken Holmes)
ASL Midsummer Night’s Dream
Sound Theatre Company
(at 12th Avenue Arts)
Through May 12, 2018

Our city owes Sound Theatre Company a huge THANK YOU for taking on and mastering this special effort to translate Shakespeare into ASL and make an inclusive ASL+spoken event! If you know anyone from 6 to 96 who is hearing impaired or deaf and has had a hard time seeing only-spoken theatrical events, you MUST tell them to come to this show! It is completely magical in every sense.

Co-directed by theatrical master Howie Seago, who worked through the translation of ancient English poetry to ASL with co-director Teresa Thuman, the production has equal numbers of hearing and deaf actors and every word is both signed and spoken. Deaf audience members are prioritized for the best-sighted seats and the sound design (by Michael Owcharuk) deliberately uses very loud bass hum to allow deaf audience members to feel it, as well.

What is clear from the ASL beginning, not every moment of the play is for you, majority hearing audience member. Aspects of the play are meant for those who sign, especially the beginning, which is a sort of choreo/ASL moment of story-telling. It sets the tone and the stage for what is to come.

Thursday, April 19, 2018

Star-kissed “Kate” at The 5th Avenue

Scene-stealer Robin Hurder in Kiss Me Kate (Tracy Martin)
Kiss Me Kate
5th Avenue Theatre
Through April 29, 2018

The story goes that a Broadway producer, thinking back on his memories of the great acting couple of Alfred Lunt and Lynn Fontanne and their feuding ways while performing Shakespeare’s The Taming of the Shrew, decided that the headstrong couple mimicked the headstrong couple in Shakespeare’s famous play. Couldn’t that make a fun and funny musical? He asked writing couple Bella and Samuel Spewack to come up with a script (the “book”) and they asked Cole Porter to compose and Kiss Me Kate was born.

If you look too closely at that script, there are moments that really don’t work, but the songs are glorious and the aspects of slap-stick farce are numerous and funny. So, just don’t look too hard! It’s more fun that way.

The current production at The 5th Avenue Theatre is a joyous and raucous affair, gleefully helmed by Alan Paul, who ekes out every funny moment he can, both from the book and the score, and the dazzling choreography of Michele Lynch and a nimble cast. Paul, working with music director Joel Fram, puts new spins on classic songs like I Hate Men (with saucy Cayman Ilika wielding a wicked banana!), clearly meaning to slow songs down for emphasis, mostly on the jokes.

MAP’s “Year of the Rooster” – strong production, very different subject

Shane Regan in a cock fight in Year of the Rooster (Dave Hastings)
Year of the Rooster
MAP Theatre
(at 18th & Union)
Through May 5, 2018

The thought of cock-fighting or dog fighting turns my stomach. Those activities are emblematic to me of how low human activities can get. I’ll admit, however, that I have zero knowledge about the people who might be involved in such “sports” and why they might get involved in them. So, it was with a bit of trepidation that I sat down to experience MAP Theatre’s current show, Year of the Rooster.

It’s said to be a “dark comedy” and some moments might be said to be funny… The cast list was certainly solid and the crew included the talented set designer Suzy Tucker, deftly rendering three very different locations in the very tiny room at 18th & Union to become a tarpaper house, a McDonald’s counter and a circle on the floor where said cock-fighting takes place.

The play is about a small town loser named Gil (Brandon Ryan). We don’t know how far he got in school, but we first see him doing a clearly customary job taking a drive-up order at McDonald’s and we learn he’s been there five years. We also find out he lives with his disabled mother (Mia Morris) and has been raising a young chicken with steroids and Chicken McNuggets so it will be fierce and angry.

Saturday, April 07, 2018

April Showers Bring Lots of Theater

Cayman Ilika and Ben Davis in Kiss Me Kate at the 5th Avenue Theatre (Mark Kitaoka)

April in Seattle is blooming with Shakespearean iterations of musical and non-musical sorts and if you like science-fiction or fantasy, this seems to be your month of theater. World premieres continue to spring up in what is apparently very fertile ground around here!

Kiss Me, Kate, 5th Avenue Theatre, 4/6-29/18 (opens 4/13)
As generators of the city-wide Seattle Celebrates Shakespeare festival, the 5th Avenue is presenting this multi-Tony Award®-winning Cole Porter musical. A play-within-a-play inspired by William Shakespeare’s The Taming of the Shrew, this is a battle of the sexes. A charming leading man and his superstar ex-wife are starring in a production of the Bard’s famous play. Both on stage and off, they revel in combat and romance. Who comes out on top? Perhaps it’s time to “brush up your Shakespeare…”

The Producers, Seattle Musical Theatre, 4/6-29/18
Mel Brooks' classic cult comedy film became a musical. The plot is simple: a down-on-his-luck Broadway producer and his mild-mannered accountant come up with a scheme to produce the most notorious flop in history, thereby bilking their backers (all "little old ladies") out of millions of dollars. Only one thing goes awry: the show is a smash hit!

Friday, April 06, 2018

Alexandra Tavares is riveting in “Ironbound”

Alexandra Tavares in Ironbound (John Ulman)
Ironbound
Seattle Public Theater
Through April 15, 2018

A bravura performance by Alexandra Tavares anchors a short, intense one-location dramedy about a woman at a New Jersey bus stop. Ironbound, directed by Kelly Kitchens, traps Darja (Tavares) at the only location she can go anywhere from. Darja is usually without a car and this bus stop becomes the symbol of both her way out and her lack of ability to go anywhere.

Darja is a Polish woman who has lived in the States a long time. We meet her at age 42 where she is possibly breaking up with her third major male relationship (she says she’s twice divorced). Tommy (a despicable but weirdly heartbreaking Roy Stanton) has cheated on her throughout their entire seven year relationship, but it’s only now that she lets him know how long she’s tracked his behaviors. He, like the audience, is baffled by this mysterious woman.

Wednesday, April 04, 2018

Sprint Right Over to See “The Great Leap”

Linden Tailor in The Great Leap (AdamsVisCom)
The Great Leap
Seattle Repertory Theatre
Through April 22, 2018

If we were to attempt to publicly analyze talented, nationally acknowledged playwright Lauren Yee, we might start by suggesting that she’s been working out aspects of her relationship with her father, also pretty publicly, for a few years. Their relationship was explored, recently, in King of the Yees, performed here at ACT Theatre, where Larry Yee and Lauren are both characters in the play.

In her latest, world premiere (at Seattle Repertory Theatre and at Denver Center for the Performing Arts Theatre Company) The Great Leap, she says she mining her father’s love for basketball and his history of youthful play to explore a story about a Chinese American high school basketball player who loves the game as fiercely as any basketball-loving high school kid can love basketball – which is pretty fiercely.

But Yee also has serious intent and large canvases in mind which weave into her “small” family-style stories. Here, she contextualizes her play into the great leaps of change that China went through in the 20th Century. Using basketball, which is played world over, and a fictional matchup in 1989 of University of San Francisco and Beijing University, Yee introduces this teenager with a burning desire to go on that trip and play that exhibition game.

Monday, April 02, 2018

Exciting New Play About Unknown Female Composer

The cast of the play within the play watching the vlog within the play of Smoke & Dust (Joe Iano)
Smoke & Dust
Macha Theatre Works
(at Theatre Off Jackson)
Through April 14, 2018

Joy McCullough-Carranza succeeds in pulling off a play writing hat-trick! Here, she presents a play about almost-lost-to-history composer Barbara Strozzi (https://en.wikipedia.org/wiki/Barbara_Strozzi), whose music we still have available, and who was a contemporary to McCullough-Carranza's other recent muse, Artemisia Gentileschi (https://en.wikipedia.org/wiki/Artemisia_Gentileschi). In fact, after McCullough-Carranza wrote her play, Blood Water Paint, she turned the play into a novel (https://www.penguinrandomhouse.com/books/557182/blood-water-paint-by-joy-mccullough/9780735232112/)!

So how is it a hat trick (that's a term that came out of hockey to name a feat of one person getting three goals)? Smoke & Dust is "about" Barbara Strozzi, but told as a play-within-a-play performed by a modern cast about this intriguing young woman whose lot in life made her choose between a convent or courtesan-ship, since she could not marry rich. Those were about the only choices allowed then. Then, the modern cast is about a actor's little sister who turns to vlogging in order to figure out her own life.

These three strands braid together pretty seamlessly throughout. And the dialogue for all the pieces works so excellently that you can have no difficulties believing it all as it unfolds.

A solid cast including James Lyle, Caitlin Frances, Shelby Windom, Belle Pugh, Peter Cook and Michael Blackwood is headed by new-to-many Bianca Raso. Bianca's background is in opera and she is the perfect choice to perform as the young composer and the cast member with the little sister experiencing family troubles. Raso's voice is sublime. Don't miss her!



Friday, March 30, 2018

Theatre22 Presents “The Happiest Song Plays Last”

Michael D. Blum and Aida Leguizamon in The Happiest Song Plays Last (Dangerpants Photography)
The Happiest Song Plays Last
Theatre22
(at 12th Avenue Arts)
Through April 14, 2018

Quiara Alegria Hudes is one of our country’s powerful, female playwrights and her work is becoming more ubiquitous in production. Theatre22 brought us a gorgeous (and Gypsy-award winning) production of Water By the Spoonful in 2015 which was the second part of a trilogy. Now, they’ve mounted the third part, The Happiest Song Plays Last.

Cousins Yaz (Aida Leguizamon) and Elliot (Joshua Chessin-Yudin) are separated in two different worlds here. It’s an uneasy pairing of circumstances and in some ways that makes the play feel uneven. Elliot has gone to the country of Jordan to work on a war film, using his background as an Iraq War vet. He stumbles into a starring role as an action hero, having been hired initially to be the boot camp trainer for the actors, helping them feel the reality of their roles.

Yaz has moved back to her aunt’s North Philadelphia home to try to make their old neighborhood a better place, literally feeding the neighbors to develop community connection. Both Yaz and Elliot are lonely souls and a bit hardened against romantic relationships, but in this “episode,” love creeps into their lives in unexpected ways.

Thursday, March 29, 2018

“Ride the Cyclone” Might Be a Fun Ride – Or Might Not

The Amazing Karnak in Ride the Cyclone (Mark Kitaoka)
Ride the Cyclone
ACT Theatre and 5th Avenue Theatre
(at ACT Theatre)
Through May 20, 2018

Someone said that the co-productions chosen by ACT Theatre and the 5th Avenue Theatre in their annual outing of togetherness have always been a bit dark and/or quirky and I ran my memory back over Assassins, Grey Gardens, Vanities, Little Shop of Horrors, and First Date, and yup, I agree. Now we add Ride the Cyclone, perhaps the darkest and quirkiest of them all.

Ride the Cyclone checklist: Intriguing and entertaining set: Check. Super cool cast: Check. Check. Fun factor: Yep. Fun. Story: um…. Summary: Cotton candy – sweet, fun to eat, not very filling.

Director/choreographer Rachel Rockwell directs and choreographs the hell out of this piece. There is no doubt at all that it would not be the fun ride it is without all the whiz and the bang added here. The rhythm is steady and all-hands-on-deck, and the choreography is modern, fun, sometimes funny, and definitely attractive.

Thursday, March 22, 2018

Family Drama “Big Rock” Makes Solid Connection

Moore, McLynn and Whitfield in Big Rock (Chris Bennion)
Big Rock
Onward Ho Productions
(at West of Lenin)
Through March 31, 2018

Several years ago, Onward Ho Productions mounted Sonya Schneider’s Royal Blood, which was a funny family dramedy with some dark overtones. Starring an irascible Todd Jefferson Moore, it addressed aging relationships and difficulties with adult children. Moore again stars in Schneider’s new world premiere production of Big Rock, now at West of Lenin. Again, his character is irascible and idiosyncratic, but different from the caustic character in the former play.

Again, Moore’s character, Harris Sands, grapples with an adult child, Signe. But this version unfolds more quietly and with more subtle backstories. Harris is a famous poet who feels that he has lost his ability to write and has hibernated into a small cabin on a spit of island off the Pacific Northwest. Signe (Meg McLynn) is an artist who works in “found” materials, and apparently makes “boxes” of some kind, but has also found a fair amount of success. However, she has long been estranged from her father.