
Stage Review - Golden (ACT Contemporary Theatre)
Golden, the new play from Andrew Lee Creech, interrogates our idea of the American Dream, illustrating through the lives of Morris Golden and the frequent customers at his laundromat, that despite what we’re told, that dream is not equally accessible by everyone. Furthermore, he shows how precarious the dream can be for those who don’t have the luxury of a safety net, and how hope can only carry them for so long, but also how that same hope can be reborn in the next generation, as we look to them to break through the barriers of repression that have been preventing equal access to what has heretofore been elusive for so many. This world premiere production, directed by Tyrone Phillips is the perfect vehicle for this deeply human tragedy, a tragedy imbued with hope. With a brilliant design, a solid ensemble, and a brilliant performance from Tracy Michelle Hughes, Golden has an opportunity to make some real change.
Stage Review - Proof (inD Theatre)
Proof, the David Auburn play with the double entendre of a title, is a heavy hitter. Dealing with the sacrifices some make in order to take care of loved ones with dementia, as well as the sacrifices others don’t make, family dynamics before and after the death of a parent, trust in a relationship when every shred of evidence is contrary, and the struggle to overcome sexism in a technical field like mathematics in order to earn even a nugget of credibility, it tackles a lot. This just scratches the surface of the multiple layers put together to build this play, but at its heart, Proof is really about relationships, what we’re willing to, or not to, sacrifice for them, what level of respect we bring into them, and to what extent we allow ourselves to accept our partners at face value, with or without…proof. It’s a superbly written piece, but the inD Theatre production excels because of its cast of four actors and the vision of its director Steve Lambert. Proof is meaningful, it’s real, it’s heartfelt, and it’s human, and it’s very, very good.
Experience Review - The Shape of the Night (All of them Witches)
The Shape of the Night, designed by All of them Witches in partnership locally with Emergence Films and Helmstreet Productions, is a unique immersive and interactive performing arts experience, static art exhibition, and so much more. Containing elements of horror and suspense, there’s nothing altogether scary about this presentation, but it provides the feelings of morbidity and uneasiness in a truly unique way. Designed specifically for the Georgetown Steam Plant, this experience has been designed with so much care and so much detail, with a cast of actors that give everything they can to their characters in a confluence of light, sound, art, and choreography that is entirely unique, it really is something to behold, and the fact that we have the opportunity to experience something like this should most definitely be taken advantage of while we can.
Stage Review - Wrong Turn at Lungfish (Olympic Theatre Arts)
Olympic Theatre Arts’ latest production, Wrong Turn at Lungfish, the comedy from writers Garry Marshall and Lowell Ganz, feels like a throwback, and in a lot of ways it is. Written in the early 1990s, it has the feel of a sitcom from the 1970s, complete with the angry and grumpy old man who seems to do nothing but throw insults at everyone out of fear, the fear of what he faces at the end of his life. But in his search for the meaning of life, he finds exactly what he needs in a young volunteer, in fact, they are exactly what each other needs and they find each other at exactly the right time. Led by the pair of Vince Campbell and Gabrielle Simonson in splendid performances, Wrong Turn at Lungfish is a story that is funny, but it’s also one layered with a deeper meaning, and like the best comedies, it is written and performed with the perfect combination of each. Sequim is a bit out of the way from Seattle, but this one is well worth a drive up to the Olympic Peninsula to Olympic Theatre Arts.
Stage Review - Hungry (Sound Theatre Company)
Hungry, from playwright Chris Bush, presented by Sound Theatre Company, and on stage at the Centre Theatre at the Seattle Armory, is a bit of a paradox. On the surface it’s simple, two actors, a generally minimalist scenic design, and a story about the arc of a relationship. But that perceived simplicity belies so much more that resides below that surface. Hungry is a uniquely constructed story, taking the characters, and the audience, back and forth from the present to the past, portraying a relationship amid the challenges of socioeconomic and class judgment, and at the same time interrogating a system that perpetuates the exact problem that it purports to solve. Directed by Vincent J. Orduña, and featuring performances from Simone Alene and Jayne Hubbard that elevate what is already a magnificently written story, Hungry is an emotional, important, and timely show that should not be missed.
Stage Review - The Great Gatsby: A Literary Burlesque (Noveltease Theatre)
For one-hundred years, The Great Gatsby has been considered one of the defining American novels: a work that captures the idea that we are perhaps happier chasing rainbows than finding our pots of gold. Noveltease’s adaptation captures this theme by depicting some of its greatest emotional tensions through dance and emphasizing the narrator’s own chasing of the endless,impossible dream. With a talented large ensemble, solid production elements, and of course some alluring burlesque numbers, The Great Gatsby represents Noveltease at its finest.
Stage Review - Deathtrap (Woodinville Rep)
Woodinville Repertory Theatre’s production of Deathtrap is the best type of thriller: it moves quickly, comes laden with surprises, and contains tons of action that raise the tension and put the various characters in jeopardy. But it also manages to be outrageously funny and to pose metatheatrical questions about if art imitates life or if life just has a sardonic sense of humor. With a solid ensemble and great production elements, this one is more than worth the trip up north from Seattle.
Stage Review - Bug (Tacoma Little Theatre)
Playwright Tracy Letts couldn’t have had any idea that his play Bug would be more relevant today than it was when he wrote it in 1996. But with a new conspiracy theory cropping up with every rising of the sun, this play, which delves into the kinds of paranoia and beliefs in conspiracies that are so prevalent today, it provides a fresh insight into how these theories grow legs and become part of the zeitgeist. Behind two exceptional performances from a pair of actors that portray a descent into a psychotic undoing the likes of which I’ve rarely seen on stage this side of Macbeth, this production, which is one of the most intense that has run on stage this season, is excellent from top to bottom. It’s anything but a lighthearted romp, and with its mature themes and content, Bug not for everyone, but for those who do see it will recognize straight away how special this play truly is.
Stage Review - Carmelita (Key City Public Theatre)
Carmelita: A Vindication for the Unwritten: Or How to Write Yourself Back into History is quite a mouthful, but the play also known more simply as Carmelita, does tackle quite a bit. Written and directed by Ana María Campoy, the partly true, partly embellished story of Carmelita Colon isn’t just a nicely designed play that brings to life the story of a strong, independent woman who would otherwise remain in the shadows of history, it’s also a showcase for Antonieta Carpio, who embodies Carmelita for the entirety of the show in this two-hour exposé that is part narrative and part dramatic biography. Antonieta is excellent, especially in her portrayals of characters from Carmelita’s life, and while the show could use improvement when it comes to pacing and its balance of language, Carmelita proves that just because independent and strong immigrant women aren’t depicted to any extent in our history books, it doesn’t mean that they didn’t exist.
Stage Review - The Things Around Us (Intiman Theatre)
Ahamefule J. Oluo’s The Things Around Us represents all that is wonderful about live theatre. No two shows are ever the same, their combination of monologues and music could never be replicated, and all of the components combine to create an experience level that is greater than the sum of its parts. A one-person show that feels like a autobiographical symphonic ensemble, The Things Around Us is full of nuance, emotion, and the depth of personal experience, it’s a show that shouldn’t be missed.
Stage Review - Laughs in Spanish (Seattle Rep)
When Alexis Scheer set out to write Laughs in Spanish, she intended to write about the cost of success, what we each give up in order to attain a level of achievement in our lives, and in doing so, she also wanted to portray characters of Cuban and Colombian descent in roles and situations that deviate from heretofore stereotypical depictions. The result is a story that is also about family, specifically mothers and daughters, about regret, forgiveness, and reconciliation, what extent we will go to for the ones we love, and the hard choices we have to make in life. The play is funny, tense, joyful, and smartly written, it’s got the feel of a telenovela, but with a deeper sensibility. Combine that with a scenic design that works and an experienced and extremely talented cast, and Dámaso Rodriguez has yet another winner on his hands.
Stage Review - DADS (Washington Ensemble Theatre)
At a time when the national political scene offers little respite – and openly menaces the queer voices who make art like DADS – it’s a vision that feels both comforting and increasingly distant.Like any good dream, you may want to dwell a little longer there before the house lights come up.
Preview - All of Them Witches Presents “The Shape of the Night”
Is The Shape of the Night an immersive performance, art installation, interactive mind-puzzle, eerie musical variety show, or a chance to walk around a historical steam plant? Even after attending this latest production created by All of Them Witches, I couldn’t tell you. But what I can say is I had an incredible time exploring this theatrical landscape in which dreams twist into nightmares and surprises lurk around every old-fashioned pipeline. Whether scratching my head with a quill over the logic puzzles, following a performer through a hidden passageway, gaping at a creepy art installation that merged a child’s crib with a gravesite, or defying the advice of a spiritual guide to help a lost dreamer, I was continually excited by both my current adventure and whatever might lie around the next corner. For anyone who enjoys getting to construct their own narrative within a theatrical space, I recommend that you see this one while we’re lucky enough to have it in town.
Stage Review - The Sandwich Ministry (Burien Actors Theatre)
The Burien Actors Theatre presentation of The Sandwich Ministry is the direct result of what happens when three things come together at once, a superbly constructed and well written play, a solid design, and extremely good acting. The story of three women coming back together, after drifting apart, to help their neighbors after a flood ravaged their town is one of friendship, forgiveness, and hope, the kind of story that is the antidote for our current world climate. A play that challenges us to put our differences aside and calls upon us to use what joins us, rather than what separates us, to become better people, is even more impactful when it’s told by a cast as good as this one is, and under the direction of Maggie Larrick the three women on stage who tell this story while making sandwiches at the same time are truly exceptional at presenting what turns out to be a truly modern day parable.
Stage Review - The Lost Object (Baker Theater Workshop)
The Lost Object, the autobiographical play that presents Abbie Cohen’s journey of transition, first from biological man to woman, and then from Protestant to Jew, was presented by Baker Theater Workshop this past weekend at the ReAct Studios in Seattle. The play fits right in with Baker’s mission, it’s a new work in the early stages of development, it’s raw and for sure there are some areas of improvement, but the foundation is there, and with a little maturity I can see The Lost Object taking shape and becoming everything it can be. And thankfully, with groups like Baker Theater Workshop out there willing to put up plays like this, playwrights like Abbie have the opportunity to present their early in development work to an audience, receiving crucial feedback, which can only help them mature their work, and master their craft, that much quicker. I look forward to seeing what this piece becomes over the next few years and what else this company presents to help highlight some of the amazing playwrights this area has to offer.
Stage Review - And Then There Were None (Renton Civic Theatre)
And Then There Were None is an Agatha Christie masterwork. When an audience comes to see this play, there’s nothing underhanded about it, they know what they’re coming to see, and yet it still has the ability to surprise. Anyone who comes to Renton Civic Theatre to see its production of this piece, directed wonderfully by Kim Douthit, is in for a number of these surprises as this splendid cast delivers some standout individual performances, as well as a remarkable display as an ensemble, whittling away at the number of guests who have been invited to an island estate by a mysterious host, and the number of suspects at the same time, in a whodunit that, while truly a classic still feels fun, funny, and fresh.
Cabaret Review - Cherdonna’s Favorite Things (Intiman Cabaret)
Cherdonna’s Favorite Things, the latest installment in Intiman Theatre’s Cabaret series, is a combination of the whimsical, the awkward, and the purely silly. Song, dance, and a lot of audience interrogation are all part of the order of the day in this trademark show that features someone who has been a fixture on the Seattle theatre scene for the past 20 years. There are a few opportunities left to come out and see this fun, though not always neat and tidy, cabaret production.
Stage Review - Lend Me a Tenor (Red Curtain Foundation for the Arts)
Lend Me a Tenor, Ken Ludwig’s first major hit, follows the standard formula of a farce, with its exaggerated caricatures, physical and situational comedy, and general absurdity, but it’s unique enough in its writing, setting, and sensibility that it is looked upon as one of the finest of the modern farces. The Red Curtain Foundation for the Arts production takes this solid foundation and builds on it with a scenic design that allows for the kind of movement and motion that matches the quick pace of the show’s dialog, and a cast that delivers on all aspects of the play, including a decent amount of physical comedy, plenty of mistaken identities, and all of the craziness that you’d expect from a piece like this. The design is solid, the cast delivers, and the laughs are plenty in this farcical play, and at the end of the day, it’s just the latest in a season of enjoyably entertaining shows at Red Curtain Foundation for the Arts.
Stage Review - Athena (ArtsWest)
Athena, Gracie Gardner’s 2018 play about two teenage fencing prodigies who come from disparate backgrounds and train together for nationals, and find an unlikely friendship along the way, is a study in how a shared experience can overcome the differences we sometimes let hold us back, how if we let ourselves open up to the possibility, we can learn from each other to become better people, and how to become comfortable in our own success. An extremely funny and heartfelt coming of age story, Athena features a pair of excellent actors and athletes under the direction of Kathryn Van Meter who perfectly capture the essence and the drama of the sport of fencing while presenting a story of a new and budding friendship that is tested just as much as their fencing skills are. Whether or not you become a fan of the sport of fencing after seeing this piece, though I’m inclined to believe you will if you aren’t already, this cast, crew, and creative team will certainly make you a fan of Athena.
Stage Review - Foolish Fish Girls and the Pearl (Phoenix Theatre)
Foolish Fish Girls and the Pearl continues Phoenix Theatre’s tradition of putting up ensemble pieces that are delivered extremely well with both humor and heart, and while this one may skew more toward the comedy, it’s definitely not without its tender moments. The story of a trio of middle-aged mermaids trying their best to warn a younger cousin not to fall in love with a human lest she have their fate thrust upon her is, at its core, a love story, but it’s a very lighthearted and fun love story and may have a secret or two in store. It’s a show that is quickly paced, with dialogue that is witty and smartly written, and a cast that works extremely well together, all combining to make Foolish Fish Girls and the Pearl just the latest example of what is a consistent trend in their ability to present fun and enjoyable ensemble-forward shows.