April 2015

Past

Flushed: Knee Deep in the Afterflow

The official title of this one-man show at New City Theater—Flushed: Into the World of Water Treatment—doesn’t quite capture what this production is about. Stokley Towles answers the question: “after we flush, where does it all go?” with a 50 minute talk that moves back and forward in both time and geography. This is bigger than just water treatment. Towles delves into things too common for most of us to take much notice, and by delving and researching and coming back to share what he discovers he becomes both a pioneer and a mirror.

Past

ACT Celebrates Its 50th Birthday with Cat on a Hot Tin Roof

The performing area is dominated by a tousled bed. What happens and more importantly doesn’t happen there will be the focus of the next three hours of ACT’s stirring revival of Tennessee Williams’ Cat on a Hot Tin Roof. The sixty-year old classic features the turmoil of Brick and Maggie’s unhappy marriage, wonderfully brought to life by Broadway stars Brandon O’Neill and Laura Griffith. While Brick’s struggle with his homosexuality may seem dated and merely quaint today, the couples’ fight to find a survivable path through their lives is as captivating as it must have been when ACT featured the play in its inaugural year.

Past

Picasso at the Lapin Agile

Steve Martin misses the Big Bang at the Beginning of the 20th Century.

An art historian once said that the visual arts in any artistic movement are always connected to everything else that is going on in society, whether it is artistic, scientific or political. In the early 20th Century, these connections are particularly striking although one would not realize it from the play Steve Martin wrote, Einstein and Picasso at the Lapin Agile, currently at Delridge Cultural Center in West Seattle, produced by 12th Night Productions.

Past

August Wilson Documentary Opens Film Festival

The 12th Edition of the Langston Hughes African American Film Festival appropriately began with a tribute documentary about August Wilson. August Wilson: The Ground on Which I Stand celebrates the 70th year of his birth. Wilson’s family was in attendance, and Constanza Romero, Wilson’s widow, encouraged Seattle to accept August as one of our own. She said he was very happy living here. They had fallen in love but lived in different cities and had to choose between here or Portland. Seattle had a stronger theater community, and that was the tiebreaker. Sorry Portland, they moved here, and yes, he’s one of us now.

Past

Fail Better-Beckett Move UMO

Existence is too Serious to take Seriously

UMO Ensemble opened a performance featuring text from Samuel Beckett’s the Unnamable, physical theatre and music in the Eulalie Scandiuzzi Space at ACT theatre on April 9th.

Beckett is an extremely difficult author to stage because he writes non-linear confusing novels and plays whose humor that often gets lost because the subject matter deals with the most basic existential question: to go on living or not to go on living. As a result, it is often performed ponderously, tediously and at a snails pace so that the audience is never engaged.

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