By the time of this writing, it would be pretty remarkable if you haven’t heard about Sarah Rudinoff and Gretta Harley’s These Streets, the creative duo’s new rock music theatrical experience that is opening at ACT.The scale of their promotional effort is as impressive as everything else about the project. This is due, in no small part, to the women behind the project, with whom The Seattle Star’s José Amador had an opportunity to have a discussion.
If there was a lesson to be learned from ACT’s regrettable 2011 production of Lieutenant of Inishmore it was simply that performing Martin McDonagh’s material isn’t as easy as it looks. José Amador views Theater Schmeater’s latest attempt at McDonagh and finds that they come tantalizingly close to nailing it.
Why haven’t we institutionalized the act of getting a divorce? Seems a simple enough question, one with a ready enough answer, if a bit glib: Divorces are fraught with so many emotions we’d rather not be confronted with in public, that the idea of making it a formal thing just seems a bit…gauche. But what if, at the same time that marriage turned from being a business transaction into the ultimate institutional act of love, divorce became an officially sanctioned ending of that love? This is the question that Holly Arsenault’s Undo asks.
Beating Up Bachman is playwright Wayne Rawley’s latest offering, which is another of his characteristic explorations of small town life in the Pacific Northwest which is at turns exceedingly humorous, well observed, touching and more than a little dark at its core. José Amador has the scoop.
In this entry, Ryan and the Star’s José Amador discuss Sweet Smell of Success, the diverse nature of Tony Curtis’ career and personal life, Burt Lancaster’s artistic instincts, the role the HUAC had in the development of Film Noir, and, somehow, the lyrics to Chuck Berry’s “Johnny B Goode.”
Having already sung the praises of the nature of the programming at On the Boards (an endeavor I am likely to pick up again in the future), let us turn our attention to the organization’s latest offering, She She Pop’s Testament.
Inspired by the recent weather phenomenon, we revisit an old essay.
In this entry the Night and Day Film Noir series’ curator Bradon Ryan and the Star’s José Amador effuse all over Carol Reed’s production of Graham Greene’s script The Third Man, briefly delve into the film’s production history and somehow find themselves in the middle of discussing the worlds of Joss Whedon, the Terminator movies, the Rambo movies, and Mutiny on the Bounty.
For those who value On the Boards, the title of this essay is redundant; and yet, it is with increasing alarm that I find that the majority of my fellow artists are not attending their productions.
Kidd Pivot’s founder Crystal Pite has seized the opportunity to put her stamp on Shakespeare’s The Tempest and has crafted a work of jaw-dropping physical intensity and emotional vulnerability.