copious love suggests

copious love suggests

#CLPsuggests: “King Kirby”


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kingkirbyposterKing Kirby
Presented by Ghost Light Theatricals
Written by Crystal Skillman & Fred van Lente
Directed by Rob Raas-Bergquist
January 8th through the 23rd
TICKETS HERE

You have only a couple more chances to see this incredible show! If you can get tickets!

If you have any interest in comics, superheroes, the creative process or pop culture history, this show will break your heart, make you laugh and will have you conversing about this text over post-show drinks. This phenomenal production is the story of “The King of Comics,” Jack Kirby and develops an interesting look into his life, his work and his tumultuous relationship with Stan Lee. As well as a look at the publishing industry in general.

Starting in 1929 and going all the way into the 90’s, the script is as strong as Kirby’s characters and this cast is absolutely rock solid. The set by Brandon Estrella is second to none and gives the ensemble a great playing space that keeps the momentum moving through the entire show. Rob Raas-Bergquist created an incredible roller coaster for the audience, at intermission I found that the whole experience was a bit like watching Saturday morning cartoons for adults. Huge shout outs to the whole cast, Rick Espaillat, Jason Huff, Steven Sterne, James Lyle, Anastasia Greeley & Eileen McCann.

Not only is this show worth the ticket price, you will want to stick around and peruse Asa Fager’s comic book collection that he has graciously put up on display throughout the venue. Art, comedy, drama, a fantastic theatrical piece, I certainly could not want more from a show. Bravo to all involved and a seriously huge congratulations to our dear friends at Ghost Light Theatricals!

I hope you get a ticket this weekend, but even if you don’t, treat yourself to a trip to your local comic book store and help keep a magnificently important part of our culture ALIVE.

By Chelsea Madsen 

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#CLPsuggests: “Star Wars: The Force Awakens” A Spoiler Free Review


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Star Wars: The Force Awakens
A Spoiler Free Review

Presented by Disney
Playing at a Theater Near YOU!

You don’t have to know anything about Star Wars to see this film. J.J. Abrams is a master world builder as we have seen with his previous shows such as Alias, Lost, and his already successful reboots of the Star Trek films. He built all the sets so the worlds feel real like the Original trilogy and look real unlike the disappointment that are the Prequels. And unlike the Prequels, J.J. can actually write well-rounded developed characters and tight plotlines.

The Force Awakens follows the scavenger, the hero, (Our space queen) Rae who gets involved (but not like that, come on, we’re in a war here people) with Finn, a renegade Stormtrooper. They meet the world’s most adorable droid (since R2-D2) BB-8 who has plans that can help the rebel alliance. (Only they call themselves the resistance? And the dark side is now The First Order or something like that? Nazi much? Whatever. Classic hero’s journey good vs. evil.) BB-8 is owned by a badass X-wing fighter named Poe. (Who is in love with Finn and no one can convince me otherwise.) They steal the Millennium Falcon from Rae’s home planet Jakku and along with Chewbacca, (who’s sass is on point in this film), Han Solo, (a scruffy looking nerf herder) and General Leia Organa, (our Space Mother may she reign forever and ever) set out to take down a Vader wannabe (with fabulous hair) Kylo Ren, who had more in common with a emo 14-year old than with Vader.

As for my feelings about the film: ETERNAL SCREAMING. THIS FILM IS EVERYTHING I HAVE EVER WANTED IN A STAR WARS FILM. SINCE A CHILD I HAVE WANTED TO BE A JEDI AND NOW WE GET TO SEE GIRL JEDI NOT JUST IN OUR IMAGINATIONS AND I CANNOT STRESS HOW IMPORTANT THIS IS. RAE IS EVERYTHING. Kylo Ren tries to teach Rae the ways of the dark side and she teaches him the ways of her foot in his ass. I LOVE HER. Also for being an ex-Stormtrooper Finn actually manages to shoot people with pinpoint accuracy. The only warning I have to include is the bridge scene is worse than last time. So much worse. It hurts in the childhood feels.

RebelAlliance4Life. Go get your Star Wars on. May the force be with you.

by Rachel Tyrrel (aka Star Wars trash.)

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#CLPsuggests: “Shoggoths on the Veldt”


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ShoggothsShoggoths on the Veldt
Presented by The Rogues Gallery
Written by Cameron McNary
Directed by Daniel Wood
at the INSCAPE Arts Building
November 13th – December 5th
TICKETS HERE 

If H.P Lovecraft, Marion Ravenwood and Sir Terry Pratchett had an orgy, Shoggoths on the Veldt written by the comically brilliant Cameron McNary, would be their child.

Our adventure begins with the death of Lord Melford Pumbleshire (Cody Smith). But never fear! He becomes the most loveable ghost EVER who ‘resets’ every so often and forgets everything that has happened to him. Upon hearing about her fiancé’s death, Lady Euphonia (Jennifer Crooks) who is the only person who can see Pumbleshire’s ghost sets out to the DEEPEST DARKEST Africa to put him to rest. Lady Euphonia is a lady of high class. She is beauty. She is grace. She will punch you in the face. (That can really be said for the entire cast of woman in this show, including Betsy.) Euphonia

Lady Euphonia begins her journey to DEEPEST DARKEST Africa with Famed Explorer Welton Mountcrag (Curtis Eastwood), whose descent into madness is nothing less than awesome, and her chipper steward Crompit (Cole Hornaday). She is forced to become traveling companions with the obnoxious Lady Phillipa (Meredith Armstrong) and what adventures they have!

There are monsters, madness, Gods, sacrifices, (at one point I’m pretty sure a Tardis sound effect), betrayal, delightful twists, and a sadistic German named Arnulf.

Journey into the DARKEST DEEPEST Africa with The Rogues Gallery’s Shoggoths on the Veldt this Friday and Saturday at 8 p.m.!

by R.H. Tyrrel

 

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#CLPsuggests: “Water By The Spoonful”


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waterWater by the Spoonful
Presented by Theatre22
Written by Quiara Alegría Hudes
Directed by Julie Beckman
October 23rd – November 14th
TICKETS HERE 

Water by the Spoonful by Quiara Alegría Hudes is one of those plays that is done so rarely and superbly that when it floats past you, you drop everything and dive in. Theater22’s presentation of it at West of Lenin is no exception.

From the moment you step into the theater, your personal sense of balance is knocked out of your power by your first look at the set. It is, in a word, delicious. Set designer Montana Tippett has built a perfectly balanced bridge between two seemingly separate entities: bodies of water and the complexities of the internet; the rivulets and fibers of both closely connected, yet completely isolated. It is so very rare to see hanamichi inspired stages. Mostly because blocking and lighting can be tricky. At West of Lenin, the space seemed perfect for it, and director Julie Beckman seemed to relish in its off kilter design, as she also presented the story in the round, another challenge for a lot of directors. “Never turn your back to the audience,” is very very hard to fight.

Beckman’s direction was decidedly fitting for the overall presentation. The audience seating, being slightly elevated over the set, the set design itself– a complicated set of walkways connected like an intricate river delta, and the actors reveled in the space. This was especially manifested in the the superbly moving stillness of Keiko Green, giving that consistency of performance excellence we’ve come to expect from her.

Never once did I feel spiritually separated from the characters on stage, even while being physically separated by them. All the elements of the physicality of the set, costumes, actors, props, lighting all came together to support the play’s true theme: Being alone together.

Act 1 flows between the story of an Internet chat room for recovering crack addicts that’s moderated by profanity censoring den mother Odessa, played with heart wrenching, and sometimes soul-stripped honesty by Rose Cano, known in the story as “Haikumom” and the tale of College music adjunct professor Yaz, played by the striking and warm Yesenia Iglesias, and her PTSD-haunted Iraq War vet cousin Elliot, played with deeply layered and almost brutal tenacity by Jany Bacallao, who are dealing with the offstage death of their Aunt Ginny, Elliot’s sainted surrogate mother.

water2The denizens of www.recovertogether.com hold fast onto recovery culture, knowing you can’t do it alone, but purposefully separating yourself from others. These four characters had some of the best moments in the play. In addition to Haikumom, there’s 20-something Orangutan, played by Keiko Green, Japanese by birth but raised by a white family in Maine. And artless and savagely protective father figure Chutes & Ladders, presented with a lovely unassuming touch by G. Valmont Thomas, a low-level IRS pencil pusher.

The chemistry between Green and Thomas had me eating out of their hands, and eventually forgiving some of the formulaic writing from the author. The resolution of their story was sewn up a little too tidily, but the moments that passed between Green and Thomas were so enticing, so engrossing and so charming, that I didn’t care about anything else.

The fourth and final member of the online forum is newcomer, Philadelphia social elitist and obviously named Fountainhead; a highly paid computer programmer and entrepreneur with a young family who is so in denial, he comes on the forum and practically pronounces he doesn’t need anyone’s help. He is played by the charming Jeff Allen Pierce.

Major props to Pierce for portraying this character as he did. Fountainhead is someone  who could so easily be portrayed as a grating, whimpering snob. Pierce was able to balance the conceited elitism with an earnest, but pointed, ignorance. When his vulnerability and acknowledgement of his own privilege comes through, Pierce generously gives the audience someone to root for, rather than someone to loathe.

In Act 2 the characters finally start to interact and affect each other’s lives. Everyone is struggling with a problem. Elliot’s ghost, played excellently by the eerily hovering Jake Ynzunza, is appearing more often. Fountainhead refuses to reveal his addiction to his wife, secrets are being kept. Acceptance of weaknesses no longer remain unquestioned as Elliot finally confronts his birth mother about her past, and challenges are faced, (just get on the damn plane, Chutes & Ladders!). You are consistently asked to be drawn inward with the tide of despair and pulled out of yourself into the undertow of relieving humor.

The final piece that struck me as exciting and remarkable for this play was how delightfully diverse it was. The whole story encompassed a dynamically fluid mix of cultural heritage and gender. It represented many different archetypes, the adventurer, the every-man, the mother, the ghost, the teacher, the support system, the soldier and the inventor. But at the same time, every character was also the escapist in their own way. Every character was separated but connected. Being together alone. Every character needed to be cleansed.

Theatre22 and director Julie Beckman have created a beautifully balanced show, allowing the weight of the story to shift from side to side, always evening out in some way. You owe it to yourself to go see this show.  Water By the Spoonful starts with an ounce of water and keeps adding and adding and adding until it turns into rapids, and eventually Niagara Falls. Go and dive in.

In addition:

In conjunction with the fall production of the Pulitzer Prize winning play, Water by the Spoonful, eSe Teatro, Theatre22 and ACT Theatre will collaborate to explore the trilogy of plays written by Quiara Alegria Hudes, and to bring this material to audiences in both English and Spanish language as readings.

SATURDAY, OCT 3rd @ 8:00:  ACT Theatre, reading in Spanish

Agua Por Cucharadas, tickets at www.acttheatre.org

MONDAY, NOV 2nd @ 8:00: West of Lenin, reading in English

Elliot, A Soldier’s Fugue, tickets at www.brownpapertickets.com

WEDNESDAY, NOV 11th @  8:00: ACT Theatre, reading in Spanish

Elliot, Fuga de un Soldado, tickets at www.acttheatre.org

by Jennifer Noel Klouse

 

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#CLPsuggests: “Everybody Here Says Hello”


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7719494

Everybody Here Says Hello 
By Stuart Bousel
Directed by Morgan Ludlow
At the Ballard Underground
September 11, 17,18, 24, 25, 26
TICKETS 

Everybody Here Says Hello is a truly funny and amazing show by Pacific Play Company directed by Morgan Ludlow and written by San Francisco native, Stuart Bousel. It is a sexy comedy with feelings, a tight knit cast portraying gay men, straight women, a gender swapped grandma and cock-craving Brit!

Everybody Here Says Hello features the talent of Andy Buffelen who plays Byron, who’s boyfriend Patrick, played by Andrew Opatkiewicz, develops feelings for a beautiful ex-girlfriend of one of Byron’s close friends Toro (Josh Padilla) that he at one time had a sexual encounter with.

Still with me?

The lady in question, Rebecca, is played by the wonderful and talented Erin Ison who took this show to the next level. She flirted and fought her way through this show making it exciting from beginning to end, showing that she’s a powerhouse actor who can tear you down to your core with her honesty and also make you laugh with impeccable timing.

She certainly didn’t do it alone, though.

The cast flexed their muscles playing several parts apiece and amidst the frantic action and quick changes, they pulled off an exciting performance. Katya Landau Josh Padilla, Buddy Todd, Madeleine Delaplane and Campbell Scarborough all deserve credit for their work rapidly warping between strong characters with gravitas and meek characters crippled by insecurities.

Morgan Ludlow not only directed a wonderful show hosted at the Ballard Underground, but he ushered in an exciting new season for his Pacific Play Company. The other repertory show happening at the Ballard Underground every other night is Crime & Rockets featuring the writing of Scotto Moore, Keiko Green, Morgan Ludlow and Juliet Waller Pruzan. Both shows end next weekend so I would suggest getting tickets to both. The next Everybody Here Says Hello performance is this Thursday(24th) and Saturday(26th) at 8:00pm. Crime & Rockets runs Friday(25th) at 8:00pm and Saturday(26th) at 5:00pm.

By Geoff Finney 

 

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#CLPsuggests: “SketchFest Seattle 2015!”


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11822476_873488976053712_572557587072103655_nSketchFest
Shows taking place at 3 venues –
Annex Theatre (Sept 25 & 26)
Pocket Theater (Sept 13, 17, 18, 20, & 24)
Central Cinema (Sept 19)
Tickets & INFO 

Need a laugh? Seattle’s premiere sketch comedy group, Day Job, is headlining Sketchfest this year! Already one week into a two week festival, there has been a ton of amazing talent, but there’s still so much more to come. Day Job is an all-female, Rosie the riveter-clad, band of some of the funniest comedians Seattle has to offer including the lovely Caitie Auld, the tremendous Kara O’Conner and the brilliant Molly Tellers (a Copious Love alum!). They are coming off of a hot summer streak of shows at the Pocket Theatre, the Comedy Underground as well as the Annex where they won Fund Fight and earned their spot atop a long list of true talent.

This Saturday, at the Annex Theatre in Capital Hill, Day Job will be accompanied by Vanessa Gonzalez and Caitlin Weierhouser for the 7:00pm show. There is a later performance with the VERY funny Ubiquitous They (they’re as funny as they are wonderful) along with Gossamer Obsessions and Emmitt Montgomery.

Busy Saturday? What about Friday??

Also at the Annex Theatre, there’s a 7:00pm show with Christian Leonard, Drop the Rootbeer and Run (I’m a huge fan!) and Charles. The 9:30pm show features Mona Concepcion, last year’s headliners Princess(I’m a huge fan of them too! Josh is so dreamy!) and Girls With Brown Hair.

Really? Friday’s no good either?

Thursday at the Pocket Theatre, there is an amazing line-up of Sober Virgin, Tomato Tomato as well as Liz & Joel. All of whom are worth spending your Thursday at 7:30pm.

There, you have enough entertainment for one weekend, so I don’t want to hear any complaining on Monday! Happy Sketchfest 2015!

By Geoff Finney

 

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#CLPsuggests: “Still Life” & “Green Whales”


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Green WhalesStill Life
By Barbara Blumenthal-Ehrlich
Green Whales
By Lia Romeo
Presented by Forward Flux Productions
TICKETS 
At Kaladi Brothers/Gay City
September 16th through October 3rd

 

 

“Every day is the same. Until it isn’t .”

Still LifeStill Life

I was excited to see Forward Flux’s productions of Still Life and Green Whales. Director Wesley Frugé and actor Pilar O’Connell came on my podcast to talk about the shows a few weeks ago (LINK: http://theatricalmustang.podbean.com/e/wesley-fruge-and-pilar-oconnell) and their passion and enthusiasm about these projects was infectious.

I walked into the intimate theatre space, which seats 40 and immediately felt at home. My seat was on the stage itself, with actors often so close I could touch them.

First up was Still Life, a world-premiere play that was short-listed for The Kilroy’s List this year (LINK: http://thekilroys.org/list-2015) Gretchen Douma plays Lydia, a travel agent whose daily lunch time calls with her daughter are captured by a mysterious and frenetic photographer, played by Pilar O’Connell. O’Connell is especially strong, keeping the audience guessing about who she is and what her intentions are until the very end.

Douma portrays Lydia with an earnestness and vulnerability that made me want to call my mother as soon as the play was over. In the second scene, she is surprised by her son-in-law, Donald, played Brandon J Simmons, hastily entering her apartment. Donald delivers the news that his wife (her daughter) called him from a subway platform moments before multiple trains exploded in a terrorist attack.  Simmons embodies his role as committed husband/exasperated son-in-law with a remarkable agility that leaps from the heartbreaking to the hilariously jaded and back again.

What unfolds is a poignant story that explores grief and humanity. The play is intricately crafted and each actor brings their all, culminating in a final scene with all three characters which plays like a baroque trio, each actor performing perfectly in both rhythm and musicality.

Green Whales is a dark comedy written by Lia Romeo. Rachel Anne Godbe plays Karen, a 39 year old with a chromosomal disorder that makes her look like a teenager. The play opens with her and her sister, Joanna, played by Leslie Wisdom, just after their mother’s funeral. Joanna is an aspiring actress with a complicated relationship with both alcohol and her boyfriend Ray, played by Craig Peterson.

The relationship between the sisters is at the core of the piece. Godbe is striking as the professor who teaches online so her students can’t see that she looks younger than they do. Wisdom portrays Joanna with a ferocity and open heart that makes the audience fall in love with her.

Joanna is hell-bent on finding her older sister a suitor to keep her from moving back to Chicago. When Ray reveals that he brought in a man for questioning earlier that day who had been watching a girls soccer practice at the junior high, Joanna is struck by the idea that she could set Karen up with this possible pedophile.

Enter Clayton Michael as Ian, with enough handsome charm and sincerity that the audience is temporarily disarmed until they remember he believes Karen to be 14. And she’s unsure if she wants to correct him and tell him her real age.

What follows is twisted romantic comedy with plenty of “should I really be laughing at this?” moments. Peterson is a comedic gem as the bro of a policeman who can’t decide if he wants to commit. I was also impressed with Godbe’s range as an actor: she transitions seamlessly from the sensible sister, to the coquettish faux-14 year old and ultimately a woman who finds her voice and reaches out for what she most desires.

Director Wesley Frugé is a revelation. He has created a night of character-driven theatre that delights and challenges the audience and champions women playwrights. Also noteworthy is the tiered ticket structure that he has implemented: tickets start at $5 and go up to VIP packages that include valet parking, drinks and food to subsidize the cheaper tickets that allow greater access to the productions.

Even though Green Whales is billed as the comedy, I’ll admit that I was laughing just as hard during Still Life. The two plays elevate each other as partner pieces that give the audience a window into how complex humans and their relationships are.

You have until October 3rd to see both shows, and I encourage you to do so! See them both on the same night, or spread them out over a few days, a la carte.

By Katie Woodzick

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#CLPsuggests: “The Tumbleweed Zephyr”


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tumbleweed_poster02The Tumbleweed Zephyr
By Maggie Lee
Directed by Amy Poisson
Presented by Pork Filled Productions
At 12th Ave Arts
August 14th through 29th
TICKETS

I will admit freely that I was all aboard with this production from the moment I knew that it was being produced. A new work by Maggie Lee? Yes, please. Amy Poisson at the helm? YES! It’s ABOUT TRAINS? HELL yes! Also set in New Providence? Are you kidding me?! I couldn’t wait to buy tickets. So yes, this is less of a formal review and more of a steamroll of my thoughts on the production that will hopefully get you out to Capitol Hill, into the GORGEOUS new 12th Ave Arts building and happily into a seat at this fantastic new play from Pork Filled Productions. If you love trains, beautiful costumes, sci-fi-theatre, incredible set design and NEW PLAYS…this is really a no brainer.

claire&atticusMaggie Lee’s action packed sci-fi meets steampunk show The Clockwork Professor was one of my favorite productions in 2013 and I could not wait to venture out of her fictional city of New Providence and into the wilds of the Western Territories with The Tumbleweed Zephyr. Have I mentioned this show is set on a TRAIN? A train you guys. It moves. I won’t tell you how, but it does.

IMG_3922Two brothers, Atticus and Kai, are on a journey upon the Zephyr to deliver confidential goods out west to a familiar Professor, but also on board are a couple of quirky characters that do not intend for them to reach their destination. The staff of the Zephyr try desperately to keep a lid on all of the drama and make it safely to Rumination, but people have begun talking of bandits that could rob the train at any moment…

castphotoThe characters in this show are rich, the language is compelling and the story is equally balanced with action, romance and mystery. Strong performances from the whole ensemble are supported by a fearless set design courtesy of Craig Wollam and immaculate costuming by Jocelyne Fowler. Director Amy Poisson drives the action of this show at a break neck speed and it delivers in a big way. It explores the quaint intimacy that you feel while being on a train and also the clamminess that will occur when too many people are in a single train car.

The Tumbleweed Zephyr runs through August 29th at 12th Ave Arts, do not miss out on one of the best adventures to hit the stage this summer at one of the best new theatres in town!

By Chelsea Madsen 

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#CLPsuggests: “Indian Ink”


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Indian-Ink-poscard400Indian Ink 
By Tom Stoppard
Directed by Andrew McGinn
Presented by Sound Theatre Company
Co-Produced with Pratidhwani
August 13 – 30, 2015
At the Center Theatre at the Seattle Center Armory
TICKETS

 

There are plays that I choose not to review (Most American produced Shakespeare, Sarah Ruhl, and Tom Stoppard.) in self-knowledge that I’ll be too critical. I am delighted to make the exception for Pratidhwani & Sound Theater Company’s production of Indian Ink.

Indian Ink by Tom Stoppard takes place both in the 1930’s and 1980’s. In the 30’s, it follows the adventures of Flora Crewe, poet, (the delightful Caitlin Frances) who travels to India and gets her portrait done by local artist Nirad Das (the brilliant Dhiraj Khanna) while discussing life, love, politics, and poetry. A deep friendship forms.

In the 1980’s, Eldon Pike, scholar, (Scott Ward Abernethy) tracks down Flora’s sister Eleanor (Betty Campbell) to discover the truth about Flora’s adventures in India. Anish Das (Monish Gangwani), Nirad’s son also visits to find out the truth about his father and Flora. These two stories weave together in a fluid harmony.

Campbell is lovely as Eleanor. She is sooooooo British  (Offering seamless backhanded compliments while being raciest and rude. IE; very degrading with a false sense of superiority) that I wanted to punch her in the face. She was perfect. Frances has the ideal spark and spunk for the modern forward thinking Flora. Coupled with Khanna, who plays Nirad with all heart and passion, their scenes are thoroughly captivating.

It’s hard to pull off a successful Stoppard play. The plays are long and if the actor misunderstands one line of dialogue, whole chunks of scenes can fall apart. Because of the talent in this production, every scene moved swiftly and all the moments are engrossing. The actors were always engaged.

I highly highly recommend Indian Ink for anyone who wants a terrific night of theater.

By Rachel Tyrrel

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#CLPsuggests: “Sidewinders”


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SidewindersFinalSidewinders
By Basil Kreimendahl
Directed by Joshua Jon
Presented by Fantastic.Z
At the Hugo House
Playing July 16th – August 1st
TICKETS HERE

Very little excites me more than seeing a theatre company produce a show that relies heavily on just two to four characters, tops. This creates an exciting sense of urgency between the actors and a wonderful relationship with the audience right from the time the lights dim. The audience cannot help but root the actors on. It is no small feat, keeping an entire audience engaged for a full 90 minutes, with only one/two scene partners! I love seeing that challenge unfold onstage and it never fails, I always wish I would have been able to see the rehearsal process take shape! Small casts usually bond well, which definitely seems to be the case here, and there always tends to be a bit of onstage competition, which is fun to see in relation to the script and character dynamic. Sidewinders has a cast of four but the show is centered around two main characters, Dakota (Katya Landau) and Bailey (Jessica Severance), and their existential search for their exact location in a barren land as well as their sexual identity. The show is fast paced, clever and hysterically poignant.

sidewinders-duoWe meet these characters as they are arguing over how to turn around a broken down train, in order to get it moving back the way they came so they can return back home. Dakota is hell bent on getting out of wherever they have ended up, yet Bailey is focused on identifying their gender and therefore, their true identity. How is one supposed to _beep!_if one does not know what one is working with? A _beep!_or a_click!_? The text does an excellent job of leaving out any gender specific labels or linguistic identifiers so we as audience members are just as in the dark as the characters are (or just as in the light). It is very exciting that this show is being produced as we are faced with these issues daily, and more so now than ever before. Does one need to identify oneself based only on our genitalia? Is our sexual identity really that cut and dry? Are we really only “allowed” to be this or that, and that’s it? Who’s to say? What if we feel more than that? These questions and the theatrical framing of these topics are phenomenal.

sharpshooterThe staging of this show is one of its strongest assets. Joshua Jon has brilliantly created an incredibly physical show, full of energy and always visually engaging. The actors inhabit the entire playing space, leaving no corner unused but always with intent. The clown acts and break out performances throughout the show are probably my favorite part of the entire performance.

clownClowning is not a simple task, it takes real commitment and a fully engaged physique, but each character makes it seem like their second nature. This alone was worthy of uproarious applause. Truthfully I found myself tearing up more than once. Jon has blended incredibly touching moments as well as laugh out loud comedy that will sneak up on you.

Clocking in at around 90 minutes without an intermission, the show keeps you entertained the whole time and will absolutely leave you with questions of your own and things to discuss. Please take our word for it, go see this show (bring a friend!), support your local LGBTQ theatre company and then go out to dinner or drinks so you can talk about what this show brought up for you. I promise that it will be one of the most important conversations you will have this year.

By Chelsea Madsen