September 2018

Past

The Good Woman of Setzuan

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Erst kommt das Fressen,
Dann kommt die Moral

(First ya gotta have a full belly,
Then morality follows.) Bertholdt Brecht

Bertolt Brecht’s Der gute Mensch von Sezuan, (imperfectly translated as The Good Woman of Szechuan, instead of the Good Person or more literally the Good Human Being ) opened at ACT Lab this weekend. It poses the great moral question of all time: “Is it possible for a morally good person to survive in a society ruled by egotism, corruption, exploitation and greed.” The answer Brecht, who died in 1956, would have given would be “not under Capitalism.” In 2018, knowing about the corruption of various Capitalist, Communist and Religious regimes, it seems there is no answer.

Past

The Luring Well did not Lure me in

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Too much Angst,

K. Brian Neel’s solo performance world premier The Luring Well, opened at 18th and Union this weekend. Termed a “Ukele Horror Song Cycle,” in which “Two Midwest kids discover a bottomless well in the woods and proceed to throw bad things into it: a feral cat, a menacing bully, a cruel teacher, a true love” had its merits but was just too ängstlich (full of angst) for me.

Past

Thrilling Richard III Weaves Magic Spell

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Remarkably, this gem of a show was not supposed to happen. The Seattle Shakespeare Company had no plans for a Richard III after they had completed reimagining the Bard’s Henry VI trilogy in last year’s Bring Down the House. Yet, the overwhelming momentum engendered by the strength of that production, in particular the outstanding work of Sarah Harlett as young Richard, convinced Artistic Director George Mount and the upstart crow collective to create a sequel. Lucky Seattle! This powerful Richard III is a major highlight for our fall theater season.

Past

Skylight-Insightful and Funny

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Battle of the sexes: A Nouveau Riche woos a Do-Gooder.

The date, 1995, when David Hare’s play Skylight, now playing at ACT theatre, first opened in London is highly significant, being the twilight years of the glorious reign of Thatcherism. In many ways, the play, ostensibly about whether a couple will rekindle their relationship, is actually a metaphor for two different perspectives to the Thatcher years. Right down to the Tesco “carrier bag” the details and especially the wit are very English, but it has universal resonance

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