In Theatre Twenty-Two’s production of The Pride, audiences are swept back in time to 1958 before being brought to the more modern 2008 interchangeably as they follow the often complicated and captivating lives of the two main characters. Philip (Andre Nelson) and Oliver (Trevor Young Marston) are two young men living in London who are struggling with their sexuality within the social constraints of the societies they’re living in.
A Collision of Risk and Craft
Darragh Kennan, Artistic Director of New Century Theatre stated in the program notes of their latest production, The Big Meal, that NTC is interested in “the collision of risk and craft.” They may be INTERESTED in the COLLISION of risk and craft, but what I saw was an inspired perfect ALLOY of risk and craft, creating something that was more potent than either pure element.
The set and staging of The Big Meal, created the perfect medium to express the subject matter; the “moments” in our lives which define and reinforce our connection to our families. With an outstanding cast, an exceptionally able director, Makaela Pollock, a superb set, effective sound & lighting and a Master playwright, Dan LeFranc, the Big Meal served up a scrumptious evening.
PREVIEW White Rabbit Red Rabbit
18th and Union and Radial Theatre will present the Northwest premiere of White Rabbit Red Rabbit, a play for a single actor w ho’s never read the script. Each night a different actor steps onto the stage and is handed a script in a plain manila envelope. The resulting performance changes from night to night, but has been described around the world as an extraordinary theatrical experience for performer and audience alike. Slyly humorous, and a little bit disturbing, White Rabbit Red Rabbit explores serious issues through a deft and quirky theatrical lens.
A sooty, brick set opens and closes like a set of razors, transforming spaces; a scaffold serves as love-nest, confessional,
Ray Bradbury returned to his classic novel Fahrenheit 451 years after its 1953 publication to create a dramatic version of the dystopian tale. In his play, Bradbury kept many of the same characters but altered some of the plot points of the novel. Most notably, the production’s resolution has a somewhat brighter outlook than the novel’s last pages.
Who could blame you for thinking that tales about blood-sucking vampires nowadays seem a bit tired and trite. After all, it has been almost 120 years since Bram Stoker introduced us to Dracula. It’s no wonder we hardly fear Count Dracula anymore. And it’s hard to imagine if any theatre company could make us fear him once again.
But the Tacoma Little Theatre can.
In its entire 98-year history, the Tacoma Little Theatre has never performed any adaptation of the classic story. But the performance they’ve put on this year would make you think they did it every year.
When I went to see Medea, brilliantly staged by the Seattle Shakespeare Company at the Center Theatre, I anticipated spending an hour or two with a raging madwoman. But director Kelly Kitchens’s production portrays Medea as a normal part of the social fabric. In this 2400 year old Greek tragedy by Euripides, we get a new perspective on womanhood and speaking up.
Our host enters, dressed in a David Bowie costume complete with glittery jumpsuit, sprayed red hair, and lightning bolt face paint. He launches into a monologue about the election, celebrity deaths, and being currently high on not only “a shit ton of Percocet” like he was last month, but “a shit ton of Percocet and a shit ton of OxyContin.” Drinking is encouraged. Then the games begin.
Questionable Content has a similar format to current British TV panel shows like Would I Lie to You? and 8 Out of 10 Cats, but with mostly Seattle-specific questions. It’s a comedy panel show in which two teams face off in a battle of games and trivia. But things like “facts” and “rules” aren’t that important. At least, not compared to charmingly weird improv bits, baiting the MC and fellow contestants, and getting the audience involved.
Seattle Repertory Theatre’s production of Karen Hartman’s powerful new play, Roz and Ray, is confrontational and heart-wrenching. It tells the
The news cycle for the 2016 presidential race has been full of stories questioning candidates’ personal and political integrity. In the midst of this contentious political climate, Taproot Theatre presents Suzanne Bradbeer’s The God Game. This nuanced, compelling drama explores a politician’s struggle to balance his career, religious views, integrity, and family.
