Centerstage Theatre in Federal Way kicks of March with the intriguing premiere of "Death on the Supermarket Shelf" (DotSMS), a play written by Centerstage Theatre’s managing artistic director Alan Bryce, detailing the events of the 1982 Tylenol scandal. Directed by University of Washington graduate Tina Polzin, Centerstage Theatre pulls together a stellar cast to guide audiences through the myriad of events leading up to the poisoning and the ramifications which continue through today. The result is a compelling, evocative real-life who-done-it drama which also functions as a fitting tribute to the lives that were affected by the events
If you were alive in the early 1980’s, you are no doubt familiar with the Tylenol tampering deaths. What we learn in this poignant and visceral production is that most of us have little awareness of the many disturbing details which occurred behind the scenes. It is a case worthy of Mulder and Scully of X-Files fame, complete with a cast of eccentric characters, some complicit in their knowledge, others mere victims or scapegoats manipulated by a corporation and its allies in the media, FBI and law enforcement. What transpires in their short sighted pursuit of protecting a company, frequently at the expense of the public and the victims, is shocking.
Death on the Supermarket Shelf (DotSMS) may not entertain us in the traditional sense by transporting us to some land of make believe, for it is firmly rooted in the reality of this world. A world we are becoming all too familiar with these days, where corporations spend more time, energy and money on protecting themselves from litigation for wrong doing or negligence than they do in prevention and the safety of their customers. While the topic is sobering, this production is a beacon of light, reminding us why we love the theater. DotSMS reveals to us characters which we can relate to and immerses us in their very real and heart-rending tale. It provokes us to think and to question. Most importantly, DotSMS lingers in our minds long after the lights come on, we stand up and exit the theater.
February 19, 2014
Teatro ZinZanni’s is calling you back to the spiegeltent as it kicks off its new show “On the Air”. Directed by Norm Langill, “On the Air” transports the audience back to the Golden Age of Radio, skillfully bringing together an entertaining series of vignettes, including acrobatics, juggling, espionage, music, zany comedy and the hallmark of any Teatro ZinZanni show, masterful improvisation.
The show starts off a bit like an awkward blind first date; unfamiliar characters, lots of noise, chaos and running around, leaving me a bit disoriented and unsure what was going on. I encourage you to hang with it, as like a relationship the show grows stronger and stronger over time. The whacky characters become familiar and lovable, the dashing Host/Juggler (Joel Salom) endearing, the mysterious and limber alien (Vita Radionova) awe-inspiring and the singers (Anki Albertsson and Juliana Rambaldi) transcendent.
Then there is Kevin Kent, the “improvisational humorist” of the show. What can you say about Kevin Kent? His Dr. Danny Delight character, affectionally called “Double D” and later you find out why, is an intriguing concoction comprised of one part Southern Preacher, one part Robin Williams and one part Liberace. Those components add up to one hysterical, over-the-top, surprisingly funny and quick witted shot of energy. Kent awakens the audience and draws them in every time he steps into the spotlight. He adeptly engages the audience with whichever character he is portraying and manages to draw forth laughter with his clever retorts, awkward scenarios and he never fails to capture the full attention of the audience. His final bit as the queen in drag was inspired, sinfully delicious, wrong and left the participating audience member wondering how he let that moment get away from him.
November 21, 2013
A spectacular alien assault on the senses dazzles at the Triple Door as The Atomic Bombshell’s “Lost in Space” invasion leaves audiences weak from laughter. Through a series of loosely connected vignettes, “Lost in Space” launches audiences on an interplanetary adventure with stalwart hosts, Captain Jasper McCann and his enthusiastic First Mate Lou Henry Hoover. Along their journey, we encounter a wild assortment of exotic and sensual aliens decked out in a stunning array of intricately detailed costumes (courtesy of Jamie von Stratton) which held audiences spellbound throughout.
“Lost in Space”, which ran from November 13 through November 16th, is a well-produced and choreographed, over-the-top campy burlesque show designed to titillate and amuse audiences. The show succeeds on every level, driven behind the creative force which is Kitten La Rue, who skillfully weaves a compelling and memorable series of choreographed scenes. Several of these scene paid tribute to sci-fi classics like Fritz Lang’s “Metropolis”, Roger Vadim’s “Barbarella”, Arthur C. Clarke’s “2001” and “Attack of the 50 Foot Woman”. There is even a humorous nod to local Seattle coffee culture, in an unforgettable scene depicting three aliens first experience at an espresso shop. Captain Jasper McCann and First Mate Lou Henry Hoover shine as the creative glue that connects these scenes together. They keep the show from the threat of ever losing steam from the dramatic synchronized opening performance done to Richard Strauss’ ‘Thus Spoke Zarathustra’ booming in the background."
November 12, 2013
We have arrived at the final chapter of my interview with the inspirational Kitten La Rue. When we last left Kitten, she had just booked her first performance for The Atomic Bombshells prior to their own actual existence. Astounding when you consider that the gig was opening for the incredible Dita Von Teese, whom in this modern era is arguably the biggest name in burlesque since Gypsy Rose Lee. The fact that Kitten had worked with Dita back in New Orleans, did not hurt her in sealing the deal.
In 2003, after holding auditions The Atomic Bombshells were created and comprised five girls in total. I inquired about Kitten’s mindset at the time. What did she want to accomplish with this troupe?
“What I really wanted to do was create a troupe which captured a similar vibe as the Shim Sham Revue, which was the show that I was in, but where I got to explore my fantasy and my sensibility of turning up the volume on the camp. Which is a signature of my work and The Atomic Bombshells in general. I want us to be cartoon women. You know, the hair is huge and the lashes are huge and the theatricality is total camp and comedy. Everything is larger than life including the costumes”
March 18, 2016
0