Results tagged “seattlerep”

RECOMMENDED The Elephant Man @ Strawberry Theatre Workshop. "Not knowing much about the play, we went because we saw the cast included David Pichette, MJ Sieber, and Alexandra Tavares, who consistently bring a snap, crackle, and pop (respectively) to whatever they're in. The show is an hour and forty minutes with no intermission--the audience last night was glued to the stage the whole time." [Read our review.] (Fri. & Sat., 8:30 p.m. 1524 Harvard Ave. $10-$54.36.)

ONE WEEKEND ONLY ARC Dance: Summer Dance at the Center @ Seattle Rep. Stunning contemporary ballet by the best local dance company you've never heard of. (Fri. & Sat., 8 p.m. Leo K. Theatre @ Seattle Rep. Tix $15-$25.)

This Thursday through Saturday, ARC Dance, a North Seattle contemporary ballet company, is taking over the Leo K. Theatre at Seattle Rep with an ambitious mixed-repertory evening, including four world premier ballets (8 p.m., tix $15-$25). Aside from Trinidad Marinez's Tres Tristes Tigres, this is one of the finest dance experiences available this summer.

ONE WEEKEND ONLY biome @ Seattle Rep. Capacitor, a San Francisco-based performance group that mixes dance, multimedia, and science, is finally back in town with biome. Originally scheduled for January, the performance was canceled when flooding closed I-5. Now, Capacitor is finally back for two nights with a stunning visual exploration of the micro-habitat of the rain-forest canopy, based on a close collaboration with scientists in the International Canopy Network, including Evergreen College professor Dr. Nalini Nadkarni. (Fri. & Sat., 8 p.m. 155 Mercer St. Tix $15-$25.)

RECOMMENDED: )

ONE WEEKEND ONLY

Seattle Rep's season got off to a bad start last year, with a production of has been extended through May 9, with Wed.-Sat. performances at 7:30 and a Saturday matinee at 2. Tix $25-$75.

OPENINGS

In Douglas Coupland's novel it. That little piece of lung makes their own fragments less scary."

RECOMMENDED

    

ONE WEEKEND ONLY

We have to start here by jumping in and saying that this is easily one of the most exciting weekends of theatre we've seen in town in months--two festivals running, genre-breaking opera, ballet crossing over into Broadway show tune territory, two shows that have had their runs extended (, you've lost your bloody mind. It doesn't get better than this!

Conor McPherson's redeeming characteristic is their balls-to-the-walls alcoholism. And redemption is precisely what they need, seeing as how the Devil himself has come to collect his due, which merely adds another layer of contradiction, as McPherson's also a non-believer.

Betrayal runs at the Seattle Repertory Theatre through March, 22 most days of the week. Tickets are $40 for adults and $10 if you're too young to get it.

ONE WEEKEND ONLY

   

ONE WEEKEND ONLY

About halfway through the first act of Athold Fugard's (at Seattle Rep, playing Tues.-Sun. 7:30 p.m., Sat. & Sun., 2 p.m. through Feb. 14; tix $15-$59) we were dozing off, and the woman sitting next to us bumped our arm, which more or less woke us back up. We're not sure if it was on purpose or not, but we do appreciate the help, even if we can't help but feel that dozing was the appropriate response to the first act. Come on, a snoozer's a snoozer, and the first act was definitely a snoozer. Not so much the second act, featuring a phenomenally explosive performance, which is, we suppose, a way of saying to readers to just stick with it--it gets good.

According to the Rep's website, SF-based Capacitor's visiting performance of this weekend, as reported in yesterday's "Weekend Theatre," has been "delayed indefinitely" due to the flooding closure of I-5. According to a note from the company, they are trying to re-schedule the Seattle appearance for May. Advance ticket holders can get a refund from BrownPaperTickets; call 1-800-838-3006 or write support@brownpapertickets.com.

Everyone knew it was going to be harsh. For weeks, arts orgs around Seattle have been struggling with the fallout of the recession and its impact on their projected budgets for 2009. Now hard figures are coming out, and they're not pretty. Over on the Slog, Brendan Kiley has a report on the budget cuts at some of Seattle's largest theatres. ACT Theatre, following the wildly successful run of their annual Christmas show, , is in better shape than some others: It only had to chop 20% out of its budget. The Rep, by contrast, may be looking at up to a 40% cut to make ends meet, though there's no hard numbers yet. No information was available from the Intiman.

ACT kicked off their annual production of playing up at Annex Theatre.

It sounds like we weren't the only ones who liked the apocalyptic mystery tour boom, now playing at the Rep. Due to "popular demand" for young playwright Peter Sinn Nachtrieb--Dumas, you're washed up, a has-been!--the Rep is adding extra performances on Sunday, December 14, 7:30 pm; Tuesday, December 16, 7:30 pm; Wednesday, December 17, 7:30 pm; Thursday, December 18, 7:30 pm; Friday, December 19, 7:30 pm; Saturday, December 20, 2 pm and 7:30 pm; and Sunday, December 21, 2 pm. As always, if you're 25 and under, tickets are just $10.

And that noise is the sound of children laughing. Okay, not children, but 30-somethings and under, drawn to the Seattle Rep's Leo K. theatre by a new play from Peter Sinn Nachtrieb, a playwright so cool and cutting edge he lives in the Mission in San Francisco. And of course having two of Seattle's most talented young-ish actors, Chelsey Rives and Nick Garrison, in lead roles doesn't hurt. Not to mention the scenic design genius of Jennifer Zeyl.

Tonight, 's theatre critic Brendan Kiley is hosting a forum/shouting match at Seattle Rep at 7:30 (155 Mercer Street at Seattle Center; we confirmed it's for free; there'll be someone at the door to direct you) in response to the debate generated by his Oct. 7 article, "Ten Things Theaters Need to Do Right Now to Save Themselves." Read it here; some of his points are good, some predictable, some are already being done, and still others seem silly. The point is, Kiley touched a nerve: the theatre, particularly here in Seattle, is struggling with its identity, afraid for the future, and confused in its business-model. We work in books in our day job, and the same uncertainty about the future we hear from book publishers we hear from the theatre artists. So we've decided to throw in our own two-cents worth for your consideration before tonight's talk. We'll be there in the audience. Hopefully we'll hear something interesting.

"due to the economic downturn of late" impacting their ticket sales (or so they claim), it seems rather apropos that Seattle Rep's hosting a discussion tonight with Kiley over what the theatre needs to do to save itself. Details are sketchy, but we've confirmed it's at Seattle Rep at 7:30.

Saturday afternoon MvB is going to talk to a pack of Emerging Critics at the Seattle Rep--and hopefully avoid being panned--before heading to the Moore for Compagnie Heddy Maalem's version of Stravinsky's Le Sacre du Printemps. Sunday he's packing for Iceland. Warm socks, etc.

The Seattle Repertory Theatre has just announced its artistic director, David Esb...Esbjornson has decided not to renew his contract. When it expires on June 30, 2009, so will he. Esbjornson joined Seattle Rep in 2005, and we still have trouble with his name.

"Though we are genuinely disappointed with David's decision, we understand that a complex series of factors informed his thinking." said Marty Taucher, President of the Board of Trustees. "David is well into developing the 2008-2009 season and will continue working through to its successful completion.

    

There's a rotting foot at the heart of The Cure at Troy (through May 3 at the Rep, tickets: $10-$59); you can almost hear Philoctetes's leg oozing as he walks. The stench is described well enough to draw flies to the theatre. And when he loses his mind with pain, screaming about his wound cracking open, blood everywhere, you'd really like to be elsewhere, and maybe less nauseous.

at the Seattle Rep.

It's not often that we can tell just from glancing at the stage that we'll like a play, but with the Seattle Rep's The Imaginary Invalid, we felt like great things were in store the moment we caught sight of the silly, sumptuous velvet hatbox of a set. (Runs through March 22; tickets $15-$59, $10 for 25-and-under.)

Jeremy: You know, I find it kind of funny: for a show about how theater screwed up, there was very little discussion of how theater is relevant. Mike Daisey seemed to concentrate exclusively on one aspect of the U.S. theater industry--the big regional theaters, like Seattle Rep or the Oregon Shakespeare Festival--and blamed them for their strange business choices. Not that he doesn't have a point, but it seems to dodge (or presuppose) the question: what does theater do that's so important? I have my own thoughts on the matter, but really, Daisey seemed to take it as a given.