Robert Fever awoke on cold cement feeling like he had been run over by a car. He winced as he sat up. By the shifting light of the naked bulb that swayed above him, Robert saw that he was down in his own basement. Dusty, uninviting workout machines provided the room’s only furniture. Several campaign posters that read “CATCH THE FEVER!” in red white and blue were stacked in a corner.
The uproar of laughter could be heard spilling out on to University Avenue from the two University District theaters hosting last night’s performances at the 10th Annual Seattle Festival of Improv Theater (SFIT). Tonight will mark the third evening of the five-day festival hosted by Wing-It Productions, with back-to-back performances by several troupes from all over the world.
Tamiko Nimura reflects on the various meanings conjured by the Day of Remembrance, the next of which takes place this coming weekend around Seattle.
In which Jose Amador discusses Maria Glanz’s See Me Naked and finds that the title is simply the lure, whether the production delivers on the promise of the title is just an excuse to get one thinking about society’s general preconceptions about the nude body.
Pink Carpet Project: Seattle Fashion Stands with Planned Parenthood. Thursday, March 1st (8pm) at Fred Wildlife Refuge. This is a 21 and over event.
A pane of glass separated us. You were out on the street and I was in a hotel lobby. You were walking by like an ivory tower on heels. Your dark brown hair fell lightly on your shoulders, your bosom bounced subtly, your hips swayed. And then you did something I never expected; you looked at me directly in the eyes, and your face lit up.
Jane Austen’s novel Emma has proven strong enough over the past two hundred years to connect with many different audiences. It has also proven flexible enough to withstand the separate approaches of faithful rendition and tangential adaptation. It has withstood both stiff, starchy costume drama versions such as the BBC miniseries and even modern-dress musical versions.
As Argentine theater director German D’Alessandro says, “We are still in search of what is really our tradition in theatre and culture generally speaking.” This is also, however, a great strength, as Mr. D’Alessandro notes: “Because we are not part of any important tradition we can risk more than other countries.” This risk is a beautiful thing that allows for many beautiful plays like El pasado es un animal grotesco.