Omar Willey was born at St. Frances Cabrini Hospital in Seattle and grew up near Lucky Market on Beacon Avenue. He believes Seattle is the greatest city on Earth and came to this conclusion by travelling much of the Earth. He is a junior member of the Lesser Seattle society and, as an oboist, does not blow his own trumpet.
The Radio Theater Channel brings out their new sister to the debutante ball: the Radio Book Channel.
If control of language means control of thought, it is equally sensible that he who controls images controls identity. Where America and Europe often treat art as commodity or mere “self-expression,” the meaning of art runs quite a bit deeper in this play by David Edgar, given a fine production by the UW School of Drama.
Ana Moura brings the newly revived spirit of fado to Seattle audiences.
Of lollipops and symphonies: Black Grace perform brilliantly in their new work.
Thoughts about the UW World Series so far under new leader Michelle Witt.
Directors are responsible for choosing an interpretation about what the play means and removing obstacles so that the actors can do their work. Particularly in text-based classic theater, the director must make a convincing argument what this play means and, to some degree, why it is being done at all. Book-It’s Anna Karenina fails to convince because it fails to argue.
A dry-humored preview of the 11th Seattle Festival of Improv Theater.
The BBC have announced a prototype website covering the past sixty years of BBC World Service Broadcasts, including over eight hundred radio plays among the 70,000 pieces in the archive. This is an extraordinary effort and deserves the highest attention and even a little begrudging praise from those like me who tend to be naysayers wherever Auntie is concerned.
Thoughts on this year’s BBC Audio Drama Awards.