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Personal Exploration of People, Personalities and Meaning
Browsing All posts tagged under »Entertainment«
Shrek the Musical (Studio East)
Studio East kicks off summer with their 17th Annual Summer Teen Musical and all lights are green; ogre green and if opening night is any indication, Studio East’s “Shrek the Musical" is guaranteed entertainment for all ages. The talented cast had the audience eating from their hands and they were not serving up onions, but parfaits all the way, drawing repeated laughter throughout the performance. While Shrek may believe he is a "crackpot magnet", Studio East proves they are a talent magnet with its latest production “Shrek the Musical", playing through August 3 at the Kirkland Performing Arts Center.
For those not familiar with the play, “Shrek the Musical tells the story of an anti-social ogre named Shrek. Shrek’s normal routine is disrupted one day as his swamp home suddenly turns into a fairytale refugee camp, courtesy of a mandate from wicked Lord Farquaad. The mandate requires that all fairytale creatures be rounded up and confined to the swamp. To reclaim his home, Shrek, played by the gifted Christian Obert, must travel to Duloc and confront Lord Farquaad. Farquaad, played by the deliciously evil and brilliant Alex Ascanio agrees to hand over the deed to the land, if Shrek completes a task for him first. Ascanio, even walking on his knees, stands tall, nailing the role of villain to perfection, much to the conflicted joy of the audience.
Along the way, Shrek meets his initially unwanted companion, Donkey, played by the irrepressible Keenan Barr. In Duloc, Farquaad convinces Shrek to rescue a princess for him in exchange for the deed to his home. In the end, Shrek gets more than he bargained for and his life is never the same the again.
The Suit (Seattle Repertory)
March 25, 2014
The Seattle Rep stuns audiences with their production of the highly anticipated, evocative drama "The Suit" running March 19 through April 6. "The Suit" subtly draws you in with its unassuming austere set design, intimate live musical score and powerhouse cast, but violently interjects an emotional gut punch which leaves you reeling long after you have left the theater. The remarkable performance forcefully confronts audiences and demands their involvement by removing the luxury of remaining unbiased observers. That is not an option with this production.
Based on the short story of the same name written by South African author Can Themba, "The Suit" takes audiences on a wild emotional rollercoaster ride. Challenging our beliefs and inspiring us to reason, “The Suit” compels us to grapple honestly with the messiness of life and people before it expels us back to the world. Leaving us dazed, we are left with a profound sense of respect for those who have mastered the ability to truly forgive others and a deep abiding sadness for those impotent to express their emotions constructively and unable to offer compassion to others. “The Suit” succeeds under the inspired direction of Peter Brook, who hooks audiences with the trifecta of talented musicians, brilliant actors and affable characters only to shake our foundation with an inexplicable adultery.
On the Air (Teatro ZinZanni’s)
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.
The Atomic Bombshells are “Lost in Space” (The Triple Door)
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."
The Hobbit – A Musical (Studio East)
October 30, 2013
Studio East brilliantly brings the enchanted lands of Middle Earth to the stage with their 2013-2014 season kickoff production of “The Hobbit - A Musical”. Based on the 1972 adaption by Ruth Perry (music by Allan Jay Friedman and lyrics by David Roger) of the beloved classic by J.R.R. Tolkien, it recounts the story of the most unlikely of heroes, an unassuming Hobbit by the name of Bilbo Baggins. Directed by Lani Brockman and choreographed by Jenny Mitchell with musical direction by David Duvall, “The Hobbit - A Musical” runs from October 18 - November 3 over at Studio East Mainstage Theater in Kirkland. The show is double casted (I watched Cast B), so you may want to see the show more than once to experience both casts.
“The Hobbit – A Musical” begins innocently enough with Bilbo pleasantly listening to his high-spirited nephew Frodo outside of his hobbit hole. Bilbo Baggins, played with surprising empathy and warmth by the gifted Robert Kinsfather, lovingly indulges his young nephew played by the absolutely adorable Grace Hiley, as he reads from a book containing tales of magic rings, monsters and adventures which lay beyond their quiet home in the Shire. I was impressed by Kinsfather’s ability to so convincingly portray the gentle but honorable and fiercely loyal spirit which is Bilbo Baggins. His performance continues to get stronger, as the production goes on.
Sweeney Todd: The Demon Barber of Fleet Street (Studio East)
March 24, 2013
Last Saturday evening, my daughter and I took in a show over at Studio East of Kirkland. It was the opening weekend of their two weekend production of Sondheim’s dark musical “Sweeney Todd – The Demon Barber of Fleet Street”. Clearly, this is not your average musical. Who else but Sondheim could envision a marriage between song and culinary cannibalism? Lovers of “The Sound of Music” be forewarned, “Sweeney Todd” it is not recommended for children under 13 years of age due to some mature content. There will be no ‘Edelweiss’ in this production unless it is being used to spicy up Mrs. Lovett’s special ingredient meat pies.
Awaiting the beginning of the performance, I found myself anxious and full of trepidation. Not only does “Sweeney Todd” deal with a multitude of disturbing and adult concepts, but it portrays the world of London as an inhabitation of characters driven by their most base human desires. It is a dark world, where injustice and moral corruption reigns. I wondered if a cast of young adults and children, some as young as ten years of age, could truly bring that world to life? Could they convey and manifest upon the stage, the desperate conflict of good and evil within each one of us and yet still inspire and entertain the audience?
The answer for the most part is a resounding yes. Studio East does a solid job of bringing that dark world of "Sweeney Todd", played by the capable Christian Obert, to life but also in offering us some hope. Obert shows that he is equally at home playing a morose, tormented lead character like Sweeney Todd as he is playing humorous supporting characters like Rapunzel’s Prince (Into the Woods) or Mr. Trevor Graydon (Thoroughly Modern Millie). Todd, to his inevitable detriment, is so driven by hatred for those which have wronged him that he can see nothing else. Love and happiness are unrecognizable strangers to Todd, having been replaced with a single-minded focus for revenge on those who have hurt him. Obert does an admirable job in conveying this obsession; being blinded to all else around him.
Into the Woods (Studio East)
March 1, 2013
Studio East fearlessly kicked off February with its triumphal production of Steven Sondheim’s challenging musical “Into the Woods”. Two casts take on the complex task of performing the limited run. “Into the Woods” tells the story of a childless Baker and his wife on a quest to remove a curse preventing them from having children. In their effort to lift the curse, they come across an assortment of fairy tale characters ranging from Cinderella, Little Red Riding Hood, Jack (and the beanstalk), a pair of Princes and others. Act 1 deals with each of the characters seeking their ‘happily ever after”, while Act II reveals the rarely seen consequences which follow their “happily ever after”.
The play begins with spotlights on three scenes: Cinderella wishing that she could go to the Festival with her step-sisters; Jack and his mother lamenting the condition of their cow Milky-White, wishing that their cow would give them milk and a Baker and his wife melancholy over their inability to have a child. What is most interesting is not so much what each wishes for, but what each is willing to do in pursuit of achieving their wishes and the final state of each after their wishes has come true.
“Into the Woods” is a challenging production to execute successfully from the rapid scene changes and detailed sets, the assortment of characters, costumes and Sondheim’s sophisticated musical score and marvelously rich lyrics which are often required to be recited with varied meter, pitch and beat. Not an easy task for an adult professional production, but Studio East attempts and succeeds with young adults and children.
Land of the Sweets – The Burlesque Nutcracker (the Triple Door)
December 19, 2012
It is official. The holiday season in Seattle has begun and that can mean only one thing, the return of Lily Verlaine and Jasper McCann’s annual installment of "Land of the Sweets – the Burlesque Nutcracker" at the renowned venue, The Triple Door. “Land of the Sweets” puts a unique twist on the traditional Nutcracker Suite, incorporating various styles of professionally choreographed dance routines, aerial acrobatics, vaudevillian comedy and of course, burlesque. Verlaine and McCann are joined by local stars Waxie Moon, Kitten LaRue, Miss Indigo Blue, Babette La Fave, Inga Ingénue and others on the 2013 show which runs for 21 performances from December 11 – 27.
Verlaine and McCann continue to refine the show which took Seattle by storm 6 years ago, keeping it fresh and new with innovative routines and costumes in this year’s performance not included in prior year shows. McCann continues his masterful role as ringmaster to this exotic collection of performers and successfully kicks off the show by working the audience and getting them into the festive mood of the show.
“Land of the Sweets” is an intelligent, well-paced, assortment of entertaining impish vignettes catering to audience enjoyment. Chock full of talented performers, kudos to Verlaine and McCann on casting as the performers executed together like a well-oiled machine, seemingly amused and enjoying the experience of working together. Especially memorable was the overall cast playfulness, facial expressiveness and tongue-in-cheek humor exhibited in many of the scenes, but embodied in the performance of the naïvely playful Snowflakes, played by Inga Ingénue, Polly Wood and Holly Pop.
Fiddler on the Roof (Village Theatre)
December 12, 2012
Village Theatre tackles the challenging and beloved family favorite musical “Fiddler on the Roof” and succeeds in generating an embarrassment of entertainment riches for audiences. I admit I was skeptical upon arrival at the theater. The idea that a live show could convey the enduring charm and delight of Norman Jewison’s 1971 movie seemed highly unlikely but “miracle of miracles” I was more than pleasantly surprised at what I witnessed.
“Fiddler on the Roof” tells the story of Russian-Jewish patriarch Teyve, a dairyman in Czarist Russia, struggling to maintain his balance while raising five daughters during difficult times. An incredibly likeable character, beloved for his unpretentious and authentic personal relationship with God, Teyve tells us that God’s law provides the balance required to keep him and other Jews from toppling over. Without it, their lives would be 'as shaky as a fiddler on the roof'. Ever-changing times and increasingly strong-willed children, put Teyve's faith as well as his ability to bend without breaking to the ultimate test.
From top to bottom the production shines, like a guiding light from Teyve’s beloved Torah. The cast and crew, set designs and scene transitions, choreography, songs, etc…all were off the chart amazing and masterfully executed. Many of the songs were so wonderfully recreated on stage that they gave me chills. There is so much to like about the show, that I am at a loss at where to begin, so let’s start at the top. Eric Polani Jensen as family patriarch Teyve had an almost insurmountable challenge in recreating the role defined by Chaim Topol. I have seen other performances of “Fiddler on the Roof” and struggled to erase the memory of Topol’s definitive performance in that role, but somehow Jensen pulls it off with ease. Jensen not only looks very similar to Topol’s Teyve, but channels the same lovable charisma of Topol and the results are astonishing. I was disappointed when Topol injured his back and was unable to perform “Fiddler” in Seattle recently, but Jensen’s performance satisfied my unfilled desire.
The Glass Menagerie (Seattle Repertory)
November 27, 2012
Seattle Repertory’s performance of Tennessee William’s semi-autobiographical “The Glass Menagerie” directed by Braden Abraham is an intimate, thoughtful view into dysfunctional family Americana at its best. It tells the story of the Wingfield family struggling to deal with life in the wake of abandonment by its patriarch. Though absent in body, the father’s presence is never far from the family’s thoughts, as his portrait is hung prominently in their home, an ever-present reminder of their rejection. Told primarily through the eyes of the troubled and restless son, Tom Wingfield, played by the emotive Ben Huber who bears a striking likeness to Adam Levine of Maroon 5 fame, Menagerie compels us to bear witness to a family overwhelmed by the challenges of transitioning to modern society, instead opting to each live in a fantasy denial of reality.
We see the mother, Amanda Wingfield (Suzanne Bouchard) a tragic aging southern belle unwilling or unable to adjust to her economic decline, clinging desperately to antiquated southern belle ideals and values in a world foreign to them. She is the stranger in a strange land. Bouchard succeeds wildly in her heartrending portrayal of a deeply conflicted woman out of touch with the times, staunchly defending the way things used to be and generally being a busybody and nag to her children. She is paradoxically unable to accept her children for who they are and yet willing to sacrifice her own pride suffering through the humiliation of being forced to sell subscriptions over the phone out of love for them. At times she is stunningly cruel to them, like in telling Laura who is dressed up for her gentleman caller that this is the prettiest that she will ever be or by complaining that why can’t she and her brother be like normal people. Is it out of love that she seeks to manipulate her children for their own perceived benefit or out of some vain attempt to re-live her own life through them?
I Never Saw Another Butterfly (Studio East)
October 25, 2012
Studio East does not shy away from the challenging, unconventional or the controversial. On October 5, Studio East opened a limited run of Celeste Raspanti’s play “I Never Saw Another Butterfly” which wrapped up on Oct 13. “Butterfly” tells the heartrending story of 15,000 Jewish children who passed through the Terezin concentration camp during World War II most on their way to Auschwitz. Their story is told through Raja, one of only a hundred children who survived Terezin, and pieced together from the poems and artwork which the children of Terezin left behind as their legacy. It is a haunting tale made more visceral as Studio East tells it using young people and children. There are two different casts performing during this production and I was attending a production performed by Cast A.
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There were many wonderful touches that increased the experience of the play. In the lobby, I was impressed and moved by the artistic displays the participants in the production constructed to help reflect their experience of Terezin. The music played in the theater prior to the production was spot on and helped to immerse you into the experience. Costumes were wonderfully detailed and the Star of David set design was beautiful and functional for the production; effectively used by the cast during the play (kudos to Master Carpenter Erik Eagleson). The bold and effective use of projections on the wall behind the actors, especially the shots of authentic artwork from the children of Terezin, helped to tie in the illusion on stage with its real world events.
Late September Dogs (Hard Rock Cafe)
October 4, 2012
Last Friday night, I did something which I have not done in a long, long time. I drove into downtown Seattle and paid for overpriced parking just to see a live band play. Which band could drag me twenty miles into town and motivate me to fight the traffic and parking nightmare which is downtown Seattle? The band which inspired me was Late September Dogs (LSD) and they were headlining at the Hard Rock Cafe. I became aware of the band several months ago and have been listening to their music as part of my playlist ever since. Here was a chance to see for myself what kind of live show they put on.
From their website (http://www.lateseptemberdogs.com/), I discovered that the band was formally created 1996 in Torino, Italy. Eventually they answered the call of LA and moved to the States, only to flee to the more band friendly Seattle area. Check out their website for the colorful details. Band members have come and gone over the years, but Late September Dogs have continued rocking it out for over a decade held together by the dynamic brother and sister tandem of Lyzz and Dann Tyson, the heart and soul core of LSD.
Big River (Village Theatre)
October 1, 2012
Village Theatre kicks off its 2012-2013 season with Roger Miller’s Tony award-winning musical, Big River. Big River is based on Mark Twain’s timeless classic tale and chronicles the adventures of Huckleberry Finn and his friend, a runaway slave Jim as they raft down the Mississippi River. Reminiscent of a summer's evening sky, Village Theatre’s production of Big River shines with numerous points of lights and guarantees to delight audience of all ages. The production proves a masterfully prepared, directed and performed show can both simultaneously entertain as well as stimulate theater goers to consider deeper issues like human rights and equality.
Big River will no doubt have broad appeal due to its engaging, adventurous storyline and popular lead characters, Huckleberry Finn played with much boyish charm by a talented Randy Sholz and runaway slave, Jim, portrayed by the charismatic Rodney Hicks. The show actually has many wonderfully quirky characters, which run the gamut from loveable and endearing to the outright peculiar and despicable. Each is uniquely brought to life by a brilliant cast, which is supported by beautifully detailed sets, an immersive production and of course, Roger Miller’s wonderful eclectic range of bluegrass, blues and country music.
Hidden in Dreams by Davis Bunn (Book Review)
July 30, 2012
Shared prophetic dreams, mysterious assailants, corporate intrigue, conspiracies and the threat of global financial collapse conspire to push Dr. Elena Burroughs, the world’s foremost expert on dream analysis, to the forefront as the drama unfolds while the world watches. Burroughs’ situation is further complicated by being forced by circumstance to work closely with her most ardent critic, Jacob Rawlings whom previously had publically chastened her for her faith in a vicious debate which resulted in loss of professional prestige.
In Hidden in Dreams, Davis Bunn explores not only the nature and mystery of dreams and their impact upon the dreamer but also touches upon the role of faith and belief in our modern science culture which is becoming increasingly hostile to the notion of anything which is not purely secular. It also deals with the complex and deeply human reaction to betrayal, how we learn to cultivate trust in others, especially those whom have betrayed us historically or with whom we have philosophically little in common with and how many people opt for the safety of believing only that which they know they can quantifiably prove scientifically.
The Producers (Village Theatre)
July 10, 2012
The Fourth of July may be over but the fireworks are just beginning at The Village Theatre of Everett, as on July 6th it kicked off its run of the farcical musical “The Producers” adapted from the book and film written by Mel Brooks and Tony Sheehan. The powerhouse show started out in Issaquah back in May to rave reviews and does not show any signs of stopping or letting down as it continues its entertainment dominance northward, initiating its blitzkrieg assault on your funny bone in Everett. From this reviewer’s perspective the musical farce extraordinaire has not lost a step as it continues its over-the-top, unabashedly shameless and nothing-is-sacred dominance which kept the audience rolling with laughter all night long.
A show about two dubious Broadway producers played by Richard Gray and Brian Earp, putting on an apparently doomed musical extolling the virtues of Hitler and the Nazi Party, paid for by overly amorous grandmothers looking for love in all the wrong places, seems an unlikely evening’s entertainment but thank heavens for unexpected pleasures. Regardless of your mindset prior to the show, “The Producers” is still able to produce a theatrical victory in the heart of audiences faster than the surrender of France in World War II.
The Screwtape Letters (The Paramount Theatre)
March 14, 2012
When the word reached me that Max McLean would be in town for one day, doing two performances of “The Screwtape Letters” at the Paramount Theatre in downtown Seattle, I knew that I had to be in attendance. “The Screwtape Letters” was adapted by Jeffrey Fiske and Max McLean from the book of the same name written by C.S. Lewis. It stars Max McLean, who also co-directs with Fisk. McLean has been performing the play since the opening run in New York, Chicago and D.C.; having successfully completed well over 700 performances of TSL.
As a longtime admirer of C.S. Lewis and his writings, I was skeptical that one could effectively convey the nuances of the book on stage, as it’s not your typical fare. It was hard enough for some to read the relatively short book completely through. The book records the mail correspondence between Screwtape, a demon of the highest order, and his fledgling tempter nephew, Wormwood. In their exchanges, Wormwood, a recent graduate of the “Tempters' Training College” describes his first assignment with a human affectionately referred to as the “Patient”. It is Wormwood’s mission to ensure that the Patient is tempted off of the narrow path. In return, good ol’ Uncle Screwtape, reminiscent of an unholy ‘Dear Abby’ or ‘Dr. Phil’ manner, dispenses his malevolent wisdom and insights concerning Christianity, faith and the human condition, in hopes of guiding Wormwood into nefarious maturity and bringing about the eternal damnation of the Patient.
My momentary uneasiness was allayed by the choice of music played while waiting for the curtains to open. My attention was initially seized by Bob Dylan’s “Gotta Serve Somebody” and The Rolling Stones’ “Sympathy for the Devil” and I am delighted to say that the performance to follow was wickedly riveting, entertaining and thought-provoking. Max McLean, dressed up like Alistair Cooke’s evil cousin doing a Masterpiece Theatre vignette, held me spellbound throughout. The show, unlike Wormwood, does not disappoint in the end.
Scripta Manent 
July 28, 2014
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