Show #63 "Three Tall Women" at Seattle Repertory Theatre

Okay...it's now official. I am officially "burned out" from seeing all these theatrical productions. I am kind of impressed with myself that it took 63 shows before it happened. But, it did happen. The crazy lady who has spent this year occupying more theatre seats than I care to admit, is finally petering out.

So I guess it isn't really "fair" to the Seattle Repertory Theatre and to the cast and crew of "Three Tall Women" that I went into this evening's viewing with a sense of "I don't really want to be here."

But, then again, maybe it is fair. After all, I was feeling burned out before I saw "Reefer Madness" (Show #57), but left the theatre that night feeling energized and renewed. Tonight, however, I simply left burned out.

Edward Albee's play is actually an interesting study of one person's life presented with some fascinating and innovative writing conventions. Suppose you are a lady in her 90s, in your last days of life, and you had the opportunity to witness a conversation between your 26 year old, 52 year old and elderly selves? What would you say to yourself? What would you reveal about your present thoughts, future events and past failures? Interesting premise....

But, the story was basically very sad. It was painful. It was even a bit pretentious. But it was NOT what I needed to see or experience tonight. Not after seeing at least 50 other shows this year that captivated me in ways this one wouldn't.

Notice I say "wouldn't" rather than "couldn't." That's how I felt about Albee's story. It CHOSE not to captivate or endear me. It CHOSE to horrify me with the tale of a shallow, useless life.

But, then again.... is this my burn-out speaking, or is this how I might feel even if I were refreshed and enthusiastic?

I choose to believe the latter.

I will also choose to see a couple more shows before the end of the year. I will see the shows that I have very good reasons to attend. And I will enjoy them.

I will also choose NOT to see a few other shows that normally I would attend. I have my reasons for that as well.

Although I have a couple of friends who have seen an incredible amount of theatre this year (many, many more shows than I have seen), most folks I know think seeing 63 shows is quite a lot. It's more than I thought I'd see.

But enough is enough. It's been a wonderful year. There will be a few more blog posts after this, but not at such a rapid pace. I've enjoyed myself at the theatre. I'm just tired. Let me rest, please?

Photograph courtesy of Seattle Repertory Theatre and photographer Chris Bennion

Show #56 "God of Carnage" at Seattle Repertory Theatre

Three words: "adults behaving badly."

That about sums up the opening show for the Seattle Rep's 2010-2011 season.

Well....okay. I will amend that statement. "Adults behaving badly (with jokes)."

THAT kind of sums up what "God of Carnage" has to offer the audience at the Bagley Wright Theater space at the Seattle Rep.

French playwright Yasmina Reza is a familiar name for me, having seen another work by her, "Art." And despite what I just said in the previous paragraph, her humor is actually not joke-driven. The laughs in her scripts are situational and relationship-driven. Usually, I like that. Not this time.

Whenever an author sets out to skewer something (in this case, the slippery journey known as parenting), I am there. Life must be met with humor, it is made for laughter. Difficult moments in life are made for loud guffaws. How else can we manage those hard times?

But, whatever we laugh at, or laugh with, there must always be one thing that remains in the situation. What is that? It is love. Without love, we are lost. So is our humor.

"God of Carnage" tells the story of two sets of upper income couples who knock heads over a playground spat between their sons. Politeness is the ground rule in the beginning, but soon, the gloves come off and mayhem ensues. Sounds like fun......

But what became apparent to me (and to Randy) as the play developed was that there was precious little love between husband and wife in both couples. And, naturally, none of the four persons on stage were friends with any of the others. So, the insults, flying barbs and temper tantrums failed to amuse us.

As I recalled the old sitcom "All in the Family" from the 1970s, Archie Bunker and crew also screamed, insulted and threw flaming arrows at one another. But the difference was, when all was said and done, Archie, Edith, Gloria and Meathead all loved one another. They were family, and they always stuck together when the chips were down. We never doubted that for a moment. Family squabbles were a source for humor.

Not so with "Carnage." By the end of the show, we had no doubt that all four characters probably despised one another, and that both marriages had little to stand on. Where is the humor in that? When we witness their fighting, it is sad....and positively annoying.

Apparently, much of the audience last evening would disagree with me on this. Several people gave the actors a standing ovation. I guess the actors did deserve some praise. With lesser actors, this show would have been totally insufferable. These four professionals showed how skilled their craft really is.

But, sadly, that wasn't enough. Without love in the story, I cannot laugh. Without the foundationa of love, all we can do is hate...and cry.

Photo courtesy of Seattle Repertory Theatre

Show #21 "An Iliad" at Seattle Repertory Theatre

I really do understand why theatres choose to do one-person plays. They're cheap to produce. After viewing the production of "An Iliad" at the Seattle Rep last night, I could easily see where the savings took place.

The show was performed on a rather bare set. The only things that were on stage were things that were already hanging around the theater: a tall ladder, a simple table and chair, a mop and bucket, a shelf of old paint cans.

Actor Hans Altwies' props included a worn suitcase, a liquor bottle and a drinking glass. His wardrobe consisted of something the costumer most likely pulled from their storage closet.

Simple. A producer's dream.

But was it an audience member's dream? I think not.

My dear hubby Randy said it was one of his favorite shows he has seen in recent memory at the Rep. I had a hard time staying awake and focused.

Randy joined other theatre-goers in the standing ovation. I was glad it was finally time to go home.

Maybe it's just me, but I am having doubts about this trend of local theatres putting on one-person shows. "Namaste Man" and "The Year of Magical Thinking" at the Intiman and "The Night Watcher" at the Rep all had me underwhelmed.

Sure, some of these performers were more engaging than others, and I will admit that Mr. Altwies was by far the most engaging of them all. My hat is off to him.

But, it wasn't enough. Yes, in a good theatrical piece, I look for a compelling story and an interesting exchange of ideas (An Iliad had this), but I also look for relationship and dialogue. A singular performer has a difficult time filling in this gap for me.

There is another reason I don't really like one-person shows. I enjoy Seattle theatre because I love watching Seattle actors. I like to see my favorite professional actors play another part in another play. Part of me wants to think it is possible for these marvelous professionals to make a living in this town.

With shows that only have a cast of one, that isn't much of a casting call.

Everyone's budget is tight, I know this. (I work for the public schools, so I see it everyday.) But filling a season with a ho-hum assortment of plays with smaller and smaller casts is like putting more and more students into a teacher's class. It might save money, but it doesn't meet some people's needs as well.

No offense to Mr. Altwies' fine work. He acted his heart out for us. And he's one of those Seattle actors I enjoy seeing play another part in another play. Really, he is. But, will someone please cast a co-star (or two) to share the stage with him???

Graphics courtesy of Seattle Repertory Theatre

Show #15 "Fences" at Seattle Repertory Theatre

Packing ourselves into the car and traveling from Tacoma to Seattle is always a hefty trip. But Randy and I feel it is well worth the time and effort it takes.

For the past several years, we have been season subscribers to the fine theaters in Seattle. We've seen some things that we have absolutely loved, and others that...well, we haven't exactly adored.

But, the drive home from the shows is always filled with lively discussion. We don't always agree, but our car talks serve as our own private "Siskel and Ebert At the Theatre."

Last evening, we attended opening night of August Wilson's "Fences."

What a production! From the moment we stepped into the Bagley Wright Theatre, we commented on the amazing set design. The pre-show (and "during-the-show") music immediately made us smile.

Then, an unbelievable cast of actors took the stage and mesmerized the entire audience for 2 1/2 hours. August Wilson's playwriting contains dialogue and monologues that can only be described as poetry.

So, with all these elements in place, it should have been the perfect evening at the theater, right?

But, to my consternation, I spent the entire evening wondering if I even liked this play.

Afterward, Randy and I proceeded to have our post-play car talk. He, too, admitted that he wasn't sure if he liked the play. He described the production elements as "brilliant." But, did he like the show? He didn't know.

We discussed the characters, themes, and the actor's performances and wondered what statements Wilson was making about each. We critiqued the actor's performances and shared what different choices we might have made had we directed the production.

We reflected on our own families and other families we knew from all ethnic and socio-economic backgrounds. We debated our views on child-rearing and the effects parents have on their children's choices in adult life.

Finally, as our car continued southbound on I-5, Randy mused, "Here we are debating whether or not we liked this play. But look at us, we're still talking about the show. We never talk about a show this much..."

It's true. "Fences" sparked more discussion than any other show we've seen. Something about it cuts to the heart and jump-starts the imagination like no other.

But, I still haven't decided whether I liked the show or not. But, with some theatrical experiences, maybe that's not the point.

Production photo courtesy of Chris Bennion and Seattle Repertory Theatre

Show #5 "Speech and Debate" at Seattle Repertory Theatre

Can a show be both painful and uplifting all at the same time? The two adjectives seem, at first, to be opposites. But, as most of us know, opposite concepts are at work simultaneously in life all the time.

Take, for instance, the latest offering by the Seattle Repertory Theatre, "Speech & Debate." This is a compelling and humorous story of 3 courageous students who dare to form a speech and debate team at their high school, in spite of social pressures to do just about anything else.

Now, think back to your high school days. If any of you are thinking, "Ah....those were the happiest days of my life," then stop reading this NOW! I obviously come from a different home planet than you.

But, for the rest of humanity, try hard to conjure up those painful memories you have worked so hard to forget. You know, the ones of uneasy adolescence when "fitting in" and "being cool" were all that mattered. The days when revealing who you truly were, warts and all, was the worst nightmare of your waking life....

Remember the geeks who embarrassed themselves (and their friends) by participating in such uncool activities as drama club, chess club and Speech and Debate team? Perhaps YOU were one of those geeks?

Yep, I was one of them, too. Well, not literally, because my high school didn't actually have a chess club or a speech and debate team. But, we had our geeks, and I was probably classified as one of them.

Thus explains the pain I felt as I watched 3 amazing actors at the Rep recreate feelings (if not the actual circumstances) so many of us non-conformists felt as vulnerable, self-conscious teens.

For 95 glorious and excruciating minutes, I was transported (emotionally) back to the 1970's. LORD, help me!

But I also witnessed one of the more uplifting and celebratory theatrical productions this season. I know the theme of "courageously be who you are" and "follow your dreams, no matter what others think" is a well-used idea in literature. Idealistic, yes. Realistic, well....not always.

Our teachers and life coaches may be cheering us on with this message, but our peers are not. Most folks are more invested in seeing us "fit in" and "get with the program" than anything else.

Am I guilty of this? I work in the public schools, and teach special education students. Am I doing what I can to encourage their uniqueness and celebrate their wonderful personhood? I hope so.

My students don't fit into the norm. They will never be homecoming queen or class president. But, they are (unabashedly) who they are. I like that. I need to learn from that.

You know what is truly "cool"? Being who you REALLY are...and being unashamed.

Let's see anyone try to debate that.

Graphics courtesy of the Seattle Repertory Theatre