#CLPsuggests “Alma (or #nowall)”

Alma (or #nowall)
 by Benjamin Benne
Directed by Brandon J Simmons
Presented by Theatre Battery
at Kent Station
Through September 1st
RESERVE TICKETS HERE

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       In Theatre Battery’s workshop production of Alma (or #nowall) by Benjamin Benne, the audience is invited into the home of an undocumented immigrant, and her 17-year-old daughter. Over the course of an hour-twenty, we get to watch in real-time as petty squabbles and family drama unfold, but with the added tension of a broken immigration system and political turmoil looming over the piece like a specter. It’s an honest and moving production that frequently dips into moments of surrealism and humor. This play is relevant. It is resonant. And it will move you.

The show runs through September 1st @ Kent Station and tickets are available for online reservation and walk-ups AT NO COST. That’s right. Theatre Battery practices Radical Hospitality and believes that cost should not be a barrier for entry. So reserve your tickets, invite your friends and share a Lyft (although Seattle theatre patrons will be pleased by the ample parking onsite) and go see this show.

By Richard Sean Glen

#CLPsuggests: Sound Theare’s “Midsummer Night’s Dream”

Midsummer Night’s Dream
(All Shows Bilingual in ASL American Sign Language / Spoken English)
Presented by Sound Theatre Company
Directed and ASL by Howie Seago, Co-Directed by Teresa Thuman
From April 19 – May 12
at 12th Ave Arts
TICKETS HERE

Shakespeare is overdone. There. I said it. You can come at me all you want, you know it’s true, I know it’s true and if I have to sit through one more bland self indulgent performance of Hamlet I’ll start burning theaters down.

NOT SO with Sound Theatre’s A Midsummer Nights Dream.

Everyone’s seen/read Midsummer so I will not summarize the play. If you don’t know Midsummer-go see this show! It’ll be a great introduction to Shakespeare comedies done right.

I haven’t seen an ASL performance in a long time. This is my first one in Seattle, and it blew me away.

Sound Theatre has put together the most wonderful cast to display Shakespeare’s most popular comedy. I’ve seen Midsummer a dozen times, read it more than I care to admit and this cast showed me new beats and emotions in the script I’ve never noticed.

As much as I would like to write a blurb on each cast member and what they bring to the performance, I doubt you want to read a 17-page review. The two people who stole every scene (in the best way, not overshadowing their fellow actors) are the delightful Elizabeth Ayers Gibson (Hermia) and hilarious Ryan Schlecht (Bottom). Both actors are so captivating you cannot take your eyes off of them.

Major praise for Margaret Toomey and Kellie Martin for a fantastic set. I absolutely LOVED the cast had a set with so many levels they could interact and play in. I personally would wear every costume Toomey and Kat Henwood designed for this production.

Please do yourself a favor and go see this show.

By R. H. Tyrrel

#CLPsuggests “Downstairs”

 Downstairs
by Theresa Rebeck
Directed by Julie Beckman
June 16th ~ July 9th
Presented In The Bullitt Cabaret at ACT
700 Union Street
TICKETS HERE 

Downstairs by prolific author Theresa Rebeck is a world premier, thought-provoking family drama presented by Theater 22 in conjunction with ACT’s new play festival Construction Zone.

Downstairs follows the relationship of estranged siblings Irene and Teddy. Teddy has recently taken up temporary lodging in Irene’s basement and is unwelcome by her oppressive husband Gerry.

Attempting to patch over the open wounds of Irene’s marriage, the siblings search for common experiences in their pasts- memories of their mother, favorite foods and the love they shared as children. These attempts to connect produce some of the most endearing moments in the show.

Brandon Ryan is unerringly genuine and heart-stoppingly engaging as Teddy, the wayward younger sibling living in his sister’s basement. He seems to be constantly ready to bolt and the amount of energy he exudes on stage is electric in the audience. We didn’t know whether to be afraid, sympathetic or to egg him on. He effectively held us emotionally hostage throughout the entire show and never once did he falter.

Christine Marie Brown portrays abused wife Irene with a quiet dignity at times and at others, she wheedles, goes above and beyond, mollycoddles and leans in just to hear one positive affirmation from her brother. She has long since learned that it will not come from her marriage. Brown is earnest and honest and her presence on stage was both reassuring and heartbreaking.

John Q. Smith is brutal in his attack on this role. Gerry’s first moment on stage is quiet and dangerous. I felt my panic rise as he stood on the stairs, simply watching and waiting for Teddy to notice him. It was like watching a predator stalk his prey. Simply by standing there, on the stairs, overlooking his domain, I was filled with terror. It is rare for an actor to enthrall and terrorize just by quietly standing, and he clasps this precious position of power steadily throughout the show. Gerry is an overbearing, abusive control freak intent on keeping the status quo- where he is the only one making any decisions – ie withholding job opportunities from Irene under the guise of being “traditional.” Teddy’s presence in Gerry’s house (which actually belongs to Irene) upsets the power balance and that is simply unacceptable.

Director Julie Beckman brilliantly culls together terror and humor and makes the best of a script that can be dark and overwhelming. She relies heavily on Rebeck’s excellent script and the integrity of her actors to keep the dark emotional show watchable and engaging. Her interpretation of the arcs and beats streamed smoothly together.

And shout out to stage designer Robin Macartney for one of the most excellent sets I have seen in a while. The half unfinished basement full of old odds and ends, blankets, a forgotten floral couch, shop sink, electrical conduits and a shop bathroom squeezed gingerly into such a small space is the perfect blend of realistic utilitarian and metaphorical oppression. Lacy and I had to see it up close after the show and took our time pointing out the details like total fan girls.

In a world that can rely heavily on flash and sparkle, T22 is unafraid of tackling complex material and presenting humanizing stories. We are truly lucky to have them amongst our artistic community.

*Be advised that some material in Theresa Rebeck’s Downstairs can be triggering and may potentially distress audience members.

by Jennifer Nöel Klouse

#CLPsuggests “Into the Deeps”

DangerSwitch gives clownfish a whole new meaning in their newest production “Into the Deeps”.

This production has it all; comedy, heart, beauty, and bravery. It leads with some stunning imagery which makes you excited for what’s in store and the remaining 90 minutes do not disappoint. “Into the Deeps” is gracefully directed by Alyza DelPan-Monley an Eddie DeHais. The ensemble play amazingly off of each other and portray such awesome emotion with only sound and movement. The Sound Design by D.R Amromin is incredible, it is a much part of the story as the performers onstage. Every piece of this show came together to make a thing of beauty.

“Into the Deeps” has a short run so buy your tickets now!! Please support DangerSwitch so they can continue making their art which is so integral to the Seattle artistic community. I love them so much.

#CLPsuggests: “Scary Mary and the Nightmares Nine”

Scary Mary and the Nightmares Nine
Presented by Annex Theatre
Written by Amy Escobar
Directed by Eddie DeHais
Annex Theatre
February 10th-March 4th
TICKETS HERE

One night, Mary (Corinne Magin), vouches out of a jazz aerobics class, accidentally drops a needle through cracks in the floor and awakens The Slither. She has two choices, be devoured by the Slither to terminate its hunger or complete 9 nightmarish tasks to silence the beast.

Through dangers untold meeting creatures akin to that of your creepiest dreams, Mary journeys through nightmare after nightmare. With the help of her best friend Nell, (Kiki Abba), her cat Alabaster (Carter Rodriquez), and Simper (Kai Curtis) the cutest demon you will ever meet, Mary trudges onward to conquer her own darkness and defeat The Slither.

Scary Mary and the Nightmares Nine is written by the phenomenal Amy Escobar, and put to
life by the incredible Eddie DeHais. DeHais also designed a set that you will want to live in, provided you have an admiration toward the strange and unusual, or libraries.

Scary Mary and the Nightmares Nine is one of those rare instances in theatre where a stellar cast coupled with a wonderful design team brings Mary’s nightmare world not only to life but also into reality.

Scary Mary runs February 10^th through March 4^th, 7:30 p.m. at Annex Theater.

by R.H. Tyrrel

 

#CLPsuggests: “The Pride”

The Pride
Presented by Theatre 22
Written by Alexi Kaye Campbell
Directed by Corey D. McDaniel
October 28th – November 19th, 2016
12th Avenue Arts
TICKETS HERE

The Pride, taking place in 1958 and 2008 shows us how the attitudes toward homosexuality in Britain is dealt with. Suppression verses encouragement. In both era’s, it takes courage and strength to be proud of who you are. The set is grand, the English accents excellent, and the actors spectacular-making us laugh and really driving the feels in the more emotional scenes. This show is a well-loved roller coaster ride start to finish.

The Pride shows us that we, as a society can change. We can fight for our right to love whomever we choose, even if the whole of society seems against us.

Humanity has come a long way in terms of the LGBTQA community, but still has a long way to go. The Pride is relevant now more than ever because of the current state of our country. To quote Lin Manuel Miranda, “Love is love is love…..”

Nothing will ever change that.

By R. H. Tyrrel

#CLPsuggests “Big Bad”

Big Bad
Conceived and created by DangerSwitch!
Presented by Ghost Light Theatricals
Directed by Eddie DeHais
Nov 4th through Nov 19th
at the Ballard Underground
GET TICKETS

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I was hooked from the beginning. I mean with DangerSwitch!, their concept, the method, the kind of art they create, and the people. It might just be my tastes but their cacophony of movement, storytelling, and visceral interaction feels like a vibrant new generation in live performance. I’m on the clown train.

My first impression was that Lock, Shock and Barrel had rounded up their friends and started a theatre troupe. Writhing from all sides of the theatre, haunting and scratching, the ensemble slowly assembled into the center of the space. It’s dark. And creepy. But of course these friends aren’t here to terrify you – they break and speak to the audience.  They circle the whole audience around for story time in their original history of Little Red Riding Hood. From there, we’re volleyed between hilarity, despair, and grim horror asking the questions “what makes a woman?”, and “what makes a beast?”

Big Bad is an example of a really good idea executed brilliantly. With momentum off of the success of it’s first iteration at Ghost Light’s Battle of the Bards, this production has found a firm footing within the strange and eerie DangerSwitch! universe. The onstage storytellers elaborate a tragic story of several generations of women trying to survive through mixed media, performance art, dance segments, and shadow projection woven all together with keen poetic verse. I can say a lot of things I like about this show, but I really believe that it’s the people who you need to go and see. I heard their director Eddie DeHais one time talking about the basis of clowning, and let me tell you — these clowns run DEEP. With a dedication to their personal story, these artists are performing challenging and provoking material in a way that makes any audience curious for more. In my opinion, I think they’ve invented a perfect set of characters within a wonderfully nightmarish world. I would listen to these guys tell me just about any story. I know they’d do it justice.

By Tony Gavilanes 

#CLPsuggests: “Hooded Or Being Black For Dummies”

Hooded Or Being Black For Dummies
Presented by Theatre Battery
Written by Tearrance Arvelle Chisholm
Directed by Logan Ellis
August 25th through September 10th
TICKETS HERE 

Hooded Or Being Black For Dummies is a must see for everyone living in this century.

This play will make you uncomfortable. Good. Hooded Or Being Black For Dummies is a terrific platform for conversations that need to happen in all of our communities.

Hooded follows suburbanite 14-year-old prep school attendee Marquis (Anthony Simmons) and his encounters with street savvy Tru (Mic Montgomery), from Baltimore’s inner city. Tru insists that Marquis has no idea who he is as a black man and endlessly pursues Marquis to enlighten him on his blackness by writing a ‘How To’ guide. (Being Black for Dummies.)

This marvelous story written by Tearrance Arvelle Chisholm, and directed by Logan Ellis, is paced so naturally, the dialogue doesn’t seem scripted. Nothing in this play is artificial or false. All rings true to the harsh reality that is America.

Simmons and Montgomery have flawless chemistry with each together and energy that never fades. This show was perfectly cast and hosts a variety of supporting characters ranging from selfie obsessed teen girls, to sleazy teenage boys, to prejudiced cops, and Marquis’ inadvertently raciest mother.

Real Talk.

The conversations and situations in Hooded are truthful. They are real. They are hard to watch. They hurt. These are conversations that we all need to have to raise awareness and better our society.

Hooded Or Being Black For Dummies presented by Theater Battery is running from August 25 to September 10 at 8 p.m. GO. NOW.

***THIS IS A FREE SHOW*** (Donations accepted!) at Kent Station 438 Ramsay Way Suite 103, Kent, Washington, and there is plenty of free parking.

By R.H. Tyrrel

#CLPsuggests: “The Fantastic Misadventures of Twisty Shakes”

The Fantastic Misadventures of Twisty Shakes
Presented by The Libertinis
Written by Marcus Gorman
August 5th through August 20th
8:00pm at the Ballard Underground
TICKETS HERE

Wow. Just wow.

This play is set in a cartoonish fantasy world that through sheer artistic commitment and thronging the fullest depths of this cast and crew’s imaginations, the audience will have no problem at all buying into from the get go. There’s tons of Led Zeppelin, high-energy dancing and some of the most eclectic collection of costumes and props I have ever seen.

The characters involved range from a flamboyant disco diva to a skitterish hedgehog. From a mermaid goddess to a proud, sooth-saying, Don Quixote-esque Scottish knight with an invisible steed. Watching Twisty Shakes is like watching the best of Saturday morning cartoons with a late night twist and did I mention very well-choreographed dancing?!

Tootsie Spangles, Woody Shticks and Hattie Hellkat, along with the talented STAGEright artistic co-
director, and previous Copious Love collaborator, Kiki Penoyer, have pulled together this unbelievably talented cast that focuses on women and genderqueer artists with a full collaborative effort. This cast also noticeably features Seattle’s premier female sketch comedy power trio, Day Job. Caitie Auld, Kara O’Conner and (Copious Love alumni) Molly Tellers consist only in part of this powerhouse cast. Jackie Miedema and Marcus Gorman, recently seen in the popular Fringe Fest fan favorite, Mad Scientist Cabaret also lend their artistic contributions to this high-energy high kick fest. Natalie Copeland also plays a dynamic and conniving harpy, but just about every actor plays multiple parts beautifully. Tootsie Spangles and Fantasia Rose put together some of the most creative, flashy and fun costumes that would make even the drag artist Haus of Glitterbeast gasp for air with joy.

If you have any ability at all to go to the Ballard Underground to see the latest Libertinis comedy powder keg, then you had better seize your opportunity quickly. I was in stitches and I have no problem whatsoever suggesting that you not only see this show, but help the Libertinis sell out the reminder of their run! The show runs this Friday and Saturday (Aug 12^th & 13^th) and next week Friday and Saturday (Aug 19^th & 20^th).

By Geoff Finney
Copious Love Staff Member

#CLPsuggests: “10 Minutes in the Forest “

10 Minutes in the Forest 
Presented by Casework Productions & Casey Middaugh
Music by composer David Ibbett
Performances by Lauren Bond, Katrina Hamilton, Sarah McKinley, Emily Rychlick, & Hosanna Tolman
At The Slate,  located inside the Inscape Arts Building
Through June 11th!
INFO & TICKETS HERE

10 Minutes in the Forest produced by Casework Productions & Casey Middaugh is a immersive theater piece that should be experienced by everyone who loves theater, folktales, video games or anyone who is courageous of heart and yearning for adventure.

In the forest you will be met by the Firebird and if you are very unlucky (or lucky depending on how you perceive folklore), Baba Yaga.

Without ruining the piece, the set is brilliant, the actors are fantastic & each experience is different depending on the one variable in the show, you.

THIS IS YOUR LAST CHANCE to see 10 Minutes in the Forest at the Slate Theater located inside the Inscape Arts Building.

Hurry, it closed June 11th!

By R.H. Tyrrel