“Why can’t the world be unfair to me? Why do I always get exactly what I deserve?”
Here at the Star, we will not be formally attending ECCC, but we do want you to know about some of the local events surrounding the convention. One such exciting opportunity will be held at the Unexpected Production’s Market Theatre on Saturday night, March 31.
Is the pursuit of the right to atrophy a dramatically compelling one? This is the question that continues to occur to me as I reflect on playwright Jessica Hatlo’s Stuck, up now at Washington Ensemble Theatre.
On evenings filled with rain the elephants
believe my open door leads to a green stretch
of forest and trundle through.
Each concocts a song or howl of her own—
a moan of bassoon, a pitch of piccolos
and even agonies of strings to tell of elephant
tragedies coated in silt.
One of the difficulties of assembling an accurate history of jazz is dealing with the subject of improvisation. Lacking a real system of notation, improvisation passes from teacher to student through direct practice alone and is difficult to reproduce. Dance also shares this problem. While there are various systems of notation for dance, these often narrow the range of expressive options rather than opening them up. Yet with a bit of humility and a sense of playfulness, one can approach the subject of notation as a playground for inspiration.
What could be more fraught with hilarious peril than a scenario in which a man, with lofty dreams of owning his own restaurant, comes into a large inheritance with a stipulation that goes against, if not his own beliefs and ideals, then certainly those of the community around him. Alright, this may not sound so funny, but add some Bolshevik revolution into the equation, and trust me, it’s a knee slapper.
Tuesday, March 13th brought the premiere of NBC’s new reality show, Fashion Star. Seattle is represented by not one, but two designers on Fashion Star. Lizzie Parker, who sells her line out of her boutique in Kirkland and Lisa Vian Hunter who has a lovely shop in Madison Park.
By a stroke of luck, or serendipity, Seattle theatrical landscape is graced with the smart work of its women playwrights, actors and artists. Printer’s Devil’s Torso is a grand addition to those offerings.
I’d be lying if I said I hadn’t been dreading the inevitability of a Holocaust film coming up on my docket for this year’s Seattle Jewish Film Festival. Having read the synopsis for Nicky’s Family, I was looking forward to the screening in theory but I could not ignore the nagging fear that it was going to be the same old story, different screenwriter. Prior to this year’s SJFF, I hadn’t heard of Sir Nicholas Winton or his harrowing tale of saving hundreds of Czechoslovakians during the days ramping up to World War II. I was unprepared for the impact the film documenting his life would have on me.
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