Seattle Public Theater

Past

60 Years of “110 in the Shade” with Reboot Theatre Company

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110 in the Shade, the musical adaptation of the play The Rainmaker making its way to Seattle Public Theatre.

Reboot Theatre Company welcomes the community to celebrate the 60th Anniversary of 110 in the Shade at Seattle Public Theatre. A production that is truly worth celebrating with its excellent and charismatic rendition of the original musical. Filled with comedy, sympathy, and musical talents, Reboot Theatre Company shined bright with their production of 110 in the Shade. Based on the play The Rainmaker, 110 in the Shade takes a musical rendition to the production, with the book written by N. Richard Nash, lyrics by Tom Jones, and music by Harvey Schmidt, director Scot Charles Anderson, music director Mark Rabe, and the cast delivers excellent singing, fun choreography and heartfelt messages about love and self-worth.

Past

SPT Goes to “The Other Place”

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Very little is what it seems to be when we first meet the fascinating Juliana Smithton, the protagonist in Sharr White’s “The Other Place”. She appears to be a successful, fifty-two year old scientist, pitching a new drug that may successfully halt dementia. Juliana presents a crisply moving Power Point at a pharmaceutical convention in Saint Thomas. The narrative line quickly pulls the rug out from underneath the audience as we begin to shift to multiple times and places all involving the woman’s increasingly fragmented life. Mysteries pop up with increasing frequency, providing an intriguing maze of a plot line, but the real focus of the evening is the powerhouse performance by Amy Thone, assuming the scientist’s role for the Seattle Public Theatre.

Past

Christmastown: A Holiday Noir Tradition?

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Bedraggled private eye Nick Holiday (John Ulman) stands watching the Christmas shopping rush when Holly Wonderland (Pilar O’Connell) the seductive daughter of the CEO of the E B Wonderland department store empire, enters his office with a possible job. She has photographs she needs check out, but very soon Holiday has a more urgent question—

Please tell me the truth; is there a Santa Claus?

Past

SPT at the Bathhouse’s “Bad Jews”

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SPT’s production of “Bad Jews” delivers a mixed bag of entertainment. The one-act play by young Julliard graduate student Joshua Harmon features a solid premise and potentially fascinating characters, but fails to earn some of the intense conflicts it throws at us. It does present what must be one of the most dynamic performances this season from SPT rookie, Anna Kasabyan. Her monologues recall the breath taking bitter humor of the iconic Lenny Bruce. Her riveting, laser-focused performance is worth a trip to Green Lake to see.

Past

Humble Boy

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Humble Boy opened Friday January 30th, at the Bathhouse Theater. The comedic play by Charlotte Jones about a son, black

Past

Christmastown: A Holiday Noir

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Christmastown: A Holiday Noir

Seattle Public Theater staged the World Premiere of its commissioned play, Christmastown: A Holiday Noir, written by Wayne Rawley, and directed by Gregory-Award winner Kelly Kitchens, which promises an adult holiday grin over the contested values of Holiday Season, in a mock noir with comic book accents.

Past

Arcadia

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The opening of Tom Stoppard’s 1993 masterpiece, Arcadia, at the Bathhouse on Green Lake signaled the end of Seattle Public

Past

Gideon’s Knot

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Unraveling the Knot

Gidion’s Knot, a highly entertaining two-woman play about an extremely disturbing topic opened this past weekend at the Seattle Public Theatre. Directed superbly by SPT’s artistic director Shana Bestock, written by Johnna Adams, two local actresses starred and sparred for 70 minutes of high drama, in a highly charged conversational tango.

Past

American Wee-Pie Has its West Coast Premiere at the Seattle Public Theater

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For their mid-winter show, The Seattle Public Theater brings Lisa Dillman’s quirky 2013 comedy, American Wee-Pie to the Bathhouse on Green Lake. The piece exudes a quiet charm, featuring a batch of determined, thoughtful characters slipping and falling in the socially and economically tough days of twenty-first century America. How they dust themselves off, stand again and proceed to find that “beautiful, tiny good thing in life” forms the major spine of the production.

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