Show #29 "Joseph and The Amazing Technicolor Dreamcoat" at Paradise Theatre

Theatre is a very resourceful art form. Most of the time, when people think of the theatre, they visualize a large, professional house, such as the Pantages, the Paramount, the 5th Avenue or ACT Theatre in Seattle.

There are also the community theatre houses, such as our treasures here in Tacoma, like the Tacoma Little Theatre.

But, theatre can happen just about anywhere. I have seen shows in old studios, church basements and in just about any empty space you can imagine.

The resourceful folks at Paradise Theatre in nearby Gig Harbor are sharing a space with Turning Point Community Church. However, this is not a makeshift church basement production. The space they are sharing appears to be Turning Point's sanctuary.

I have seen this only one other time, when the now-closed Seattle Performing Arts Fellowship shared a sanctuary of worship with Victory Baptist Church in Des Moines. At the time, I thought it was brilliant. I still do. And seeing how Paradise Theatre has gone a step further and made the sanctuary into a "real" theatre space, complete with theatre lighting and sound system, it made me think, "wow!"

Not only "wow," but I have to say, "Praise God!"

The only times most preachers ever mention theatre or actors are when they are delivering a sermon based on Matthew 6, or some similar passage. You see, the biblical word "hypocrite" is based from the same Greek root word as "actor." Thus explains the church's long enmity with the theatrical world.

But, as a Christian AND an actor, I praise God that those walls have come down, at least at Turning Point Community Church. I hope that more alliances between the theatre and God's people can happen. There's no reason why space (and art and the life of faith) cannot be shared more often.

Thank you, Paradise Theatre. Now I know why your company is called Paradise. There will be much rejoicing and singing in heaven one day. Maybe this is your way of telling us that there will be theatre there as well.

Show #28 "Menopause the Musical" at the Broadway Center

The crush of the crowd was almost overwhelming. They arrived by the busload, filling the 1100 seat Pantages Theater to the brim. Middle-aged and elderly women came by the score, some wearing Red Hats and Purple dresses, others with walkers, canes and wheelchairs.

A few brave men (including Randy) navigated their way along with their wives into the sea of chattering females. I remarked to my friend Cheryl that it felt like we were at a Mary Kay cosmetics convention...(or something else that is very female).

But this was no convention. This was an event. An event of almost cult-like status. This was Menopause the Musical.

From the time the four actresses took the stage, the auditorium exploded with cheers, laughter and celebration.

The songs were affectionate parodies of pop hits mostly from the 1960s. The topics of the musical numbers ranged from hot flashes to memory loss to middle-aged weight gain. The performers played it big and broad (no pun intended) and sold it for everything it was worth.

In other words, it was brilliant.

I love watching brilliance at work. I'm not talking about the actresses' performances, although they were pretty darn good. I'm talking about the whole concept of Menopause the Musical.

Menopause is a touring production that is only in town for 3 performances. I suspect they are packing the house for all 3 shows. I suspect that happens in every city they visit.

It's not exactly high-brow theatre. This isn't Shakespeare, as they say. No star-crossed love affairs or murdered kings. Try hot flashes and mood swings.

This is pure, unadulterated entertainment. But it's no cheap, trashy affair, either. The production values are high. The actresses are all members of Actor's Equity. This is professional stuff here, folks.....

So what exactly is the brilliance here? Well, I'd say it's this: entertainment for the masses using theatrical standards usually reserved for "high art." This is no school talent show or skit night at summer camp. This is the real thing.

And comedy, as I like to say, is no laughing matter. It takes all the skill, talent and hard work of any dramatic production. Maybe even more so. I mean, how many actors do I know who can pull off drama well, but couldn't make me laugh to save their lives?

After witnessing the hooting, hollering, laughing and clapping that went on today, I would definitely say these actresses know their stuff. The director knows her stuff. The producers know their stuff.

They were brilliant.

Not only flashes of brilliance....but HOT flashes of brilliance.

Sorry, couldn't resist that one.....

Production graphics courtesy of Menopause the Musical

Show #27 "Ain't Misbehavin' " at Centerstage Theatre

Some people just didn't know what a treat they were in for. I guess it was because a theatre group was putting on the show, so these folks expected a traditional play.

Maybe some had forgotten (or didn't know to begin with) about the music of Thomas "Fats" Waller. Apparently, this show, "Ain't Misbehavin' " seemed to be suffering from a few misconceptions.

Chatting with a couple of audience members before the start of the show, one asked me if this was a play about the song, Ain't Misbehavin'. The other remarked, "Isn't this the show that had Gwen Verdon in it?"

Oh baby....were they gonna be surprised.

I was first introduced to the marvelous songs of Fats Waller and the show "Ain't Misbehavin' " in the early 1980s when I took a tap dance class. The instructor used several cuts from the original soundtrack album to teach us the various dance steps that she combined into some swinging routines.

I was so taken by the music that I went out and bought the double LP of the soundtrack and listened (and danced) to it for months after that. That vinyl treasure is probably long gone, but the memories aren't.

Tonight's show was (pardon the cliche) a trip down memory lane for me. It made me wish once again I could sing like those extraordinarily talented performers on the stage. It made me wish I had kept up with my tap dancing.

Mostly, it made me smile....and tap my toes.

Randy was having just as good a time. I glanced over at him and saw a huge grin on his face for much of the evening. It was a smile of a man having fun, and who was appreciative and grateful for the loving legacy to Fats Waller they presented.

The rest of the near-capacity audience must have agreed with us. Folks were hooting, hollering, clapping and tapping plenty of toes. At the end of the evening, we sprung from our seats to give the cast a standing ovation. It was well-deserved.

And those two audience members who thought they were going to see a Gwen Verdon play? One of them ran up to us during intermission and exclaimed, "Isn't this wonderful!!!!???"

I guess she forgot all about that "play" she was supposed to watch. But who can blame her? What she (and the rest of us) got was something even better. I don't know quite how to describe it. The term "musical revue" just doesn't do it justice.

Call it a musical sensation.

Yeah....I like that.

Production graphics courtesy of Centerstage Theatre

Show #26 "Doubt" at Gold From Straw Theatre

There's no doubt about it....I find the idea of a brand new start-up theatre company to be exciting. Even their name, "Gold From Straw" perfectly describes the exhilarating feeling I get when I see what this infant company is about.

First of all, they have occupied the space formerly known as the Mecca Theater. For those who are long-timers here in Tacoma, they all know the Mecca as the X-rated porn theater it once was. Think infamous. Think sleazy. Think grime.

Now, the Mecca building is a gutted-out (but clean!) warehouse-like space that this enterprising company has magically turned into a theatre. A legitimate one. A shoe-string budget one. A marvelous and ingenious one.

Rented risers support rows of folding chairs. Large black curtains surround the performance space and separates it from the "lobby." The backstage dressing room is walled off by rows of cardboard and duct tape. The scenery on stage consists mostly of paper and a door frame.

Theatre on the cheap? Perhaps. But this is not cheap theatre by any means. This is Great Theatre!!!

John Patrick Shanley's story of suspicion, accusations and doubt in a Catholic school kept us riveted the entire evening. Sure, the writing is brilliant, but what was truly eye-popping was the quality of Gold From Straw's production. Four actors giving four terrific performances. Scenic design made with unexpected materials. Lighting design effectively done with only a few actual stage lights. The rest was done with flood lights. Yes, really.

Add to that, two nuns habits, one priest's outfit, a sweatshirt, a 1960's woman's dress and coat, a soundtrack, a couple of pieces of furniture and a few props and voila! You've got one of the best shows Tacoma has seen this season.

I hope Gold From Straw finds success here in Tacoma. We need new artistic endeavors. We need new ideas. We need to showcase more work from more Pierce County artists.

Welcome to the neighborhood, Gold From Straw. We hope you take off your shoes and stay a while.

Production graphics courtesy of Gold From Straw Theatre

Show #25 "The Trip to Bountiful" at ACT Theatre

It was like coming home again.

The familiar sights, the beauty of the classic architecture, the energizing walk up the welcoming promenade.

It had only been a few years since I called that place "my favorite," but I felt as though I had been gone for a long, long time. Too long, in fact.

What in the world am I talking about here? Did my evening of viewing Horton Foote's "The Trip to Bountiful" make me pine (like the story's main character)for a hometown from my long ago youth?

Ummm....no. It isn't what you think.

I'm talking about my return this year as a season subscriber to the wonderful ACT Theatre in Seattle. The Allen, their marvelous theatre-in-the-round mainstage, is my favorite performance space in the Seattle-Tacoma region. Not a bad seat in the house. A terrific view for every audience member. A large mainstage venue with an intimate, small theater feeling.

It was good to be back home.

It also helped that the play was very, very good. Truth be told, Randy and I were almost bracing ourselves for a dreary evening about a depressed old lady mourning over her long lost hometown named Bountiful, TX. Were we in for a surprise!

I found myself settling quite nicely in her shoes, feeling her longing and relating to her wistful remembrances of home. But unlike her story where "home" isn't exactly what she romanticized, my return "home" was everything I remembered.

I love theatre in the round! I love being so close to the action that you forget you're simply watching a show, not witnessing a personal event.

I know not all the shows this season will take place in The Allen Theatre. Some will be at their Bullitt Cabaret and others will be in The Falls Theatre. Maybe I will fall in love with those spaces as well.

But I doubt it.

I love The Allen. It's where I want to see shows. As an actor, it's where I wish I could perform one day.

After all, as Dorothy (in The Wizard of Oz) would say, (to mix my show business metaphors), "there's no place like..." Well... you know.

production photo courtesy of ACT Theatre

Show #24 "The Grapes of Wrath" at Lakewood Playhouse

It's a tricky and somewhat sensitive and divisive issue for some people.

It has been the cause of riots and demonstrations. Some have been imprisoned and gone to war over this. And others have used it to give themselves a sense of entitlement or privilege.

What is this horrible issue, you ask? To put it bluntly, it is race.

In the theatrical world (as well as the television and film industries), race is no small matter. Even community theatre becomes a microcosm of the greater society in what they do, whom they represent and how they segregate.

Take a look at most theatres' season schedules. What sort of stories are being portrayed? For instance, during the Seattle Repertory Theatre's 2009-2010 season, aside from their production of August Wilson's "Fences," I believe I only saw two other actors of color on their stage all year.

Community theatre's track record is no better. At least we can applaud the Seattle Rep for presenting a story about the Black experience in America. It never occurs to most other theaters to do the same.

But to the fine folks at the Lakewood Playhouse, and their wonderful artistic director Marcus Walker, I shout a big thank you. Your commitment to include all actors in the community, regardless of ethnicity, is a tremendous and powerful statement.

"The Grapes of Wrath" is usually portrayed with an all-white cast. But here was the Joad family, with a Caucasian father and mother, but with a Black daughter and an Asian son. I also noticed other members of the ensemble who were Black and Hispanic. Suddenly, the Joad's story wasn't simply about a white family from Oklahoma during the Great Depression. It became about ALL of us.

Yes, there is an important role that "ethnic" theatre plays in our lives. Hats off to wonderful local theaters such as Tacoma Musical Playhouse, who recently staged "Flower Drum Song" and to Lakewood Playhouse, who announced as part of their 2010-2011 season, "The Joy Luck Club." These stories of America's people of color must be told.

But what of our other stories? Aside from the stories specifically about a particular ethnic group, are they not stories about ALL of us here in America?

Look around you. Do we not live, work, play and worship with our friends and neighbors of all ethnicities?

So why isn't the theatrical stage reflecting this great truth?

Ladies and gentlemen of the theatrical community, I respectfully ask you to widen the circle of your minds and hearts...and your art. I guarantee you, all three will benefit.

Production photo courtesy of photographer Samantha Camp

Show #23 "Major Barbara" at Tacoma Little Theatre

Ah....Shaw. What can be said for an evening spent listening to the copious words of Nobel Prize-winning author and noted socialist George Bernard Shaw?

At the start of the evening, knowing the general storyline for "Major Barbara," I had braced myself for an on-stage debate between disparate philosophies. Andrew Undershaft, millionaire industrialist/arms manufacturer, does verbal and ideological battle with his elder daughter Barbara Undershaft, Salvation Army worker and Christian moralist.

And being a wee bit familiar with some of Shaw's beliefs, I also girded my loins for the onslaught of poisoned arrows that might ensue from a man critical of religion but who knew very little (if anything) about real faith.

This was not a play where the audience could enjoy some catchy tunes sung by lovely ladies in tap shoes, or a slapstick evening complete with banana peels on the floor.

No, this was war. But not the kind I expected.

On one side, you could hear High British. You know, the "I cawn't" and all that....

On the other side, I heard some lover-ly Cockney. "Moy nime's Bill Walker..."

Then, there were the in-betweeners, such as the character played by my friend Darrel Shephard. Not high English or working class Cockney. Something in between.

In other words, an evening of dueling accents.

Some wars are fought with cannons, such as the ones supplied by Undershaft. Other wars are fought with words and precise pronunciation.

So, this all begs a question in my mind.

In a world where most audience dollars go toward battles involving baseballs or soccer balls, is there a place for ideological or dialectical contests?

I would venture to say, yes. But, please make it entertaining. With all due respects to George Bernard Shaw, his dramatic verbiage plays about as well (in this day and age) as a scoreless baseball game that goes into extra innings. A lot of bats swinging but no hits in sight.

But, ultimately that doesn't stop us from coming back to the baseball stadium. We always live in hope that the next game will bring us more excitement. So it is with the theatre. There's always next time.

So....batter up.

Production photo courtesy of Leischen Moore

Show #22 "Six Hotels" at Harlequin Productions

This was one of my first ventures down to our Capitol city to witness the healthy arts community they enjoy there. What a wonder to behold! There are so many good reasons for us to travel in the future down to Olympia.

Harlequin Productions occupies a remodeled old movie house on 4th Street. It is a warm and welcoming space for both an actor and the audience. Not a bad seat in the house and just the right amount of room on stage to put on a story set in multiple locations at once.

This evening, they were putting on a show that is a West Coast premiere by playwright Israel Horovitz. Apparently this is a part of an established collaborative relationship between theatre and playwright.

"Six Hotels" is a series of six short stories all taking place in hotels somewhere in the world. The evening was a mix of comedy, drama, love, politics, art and delightful irony. (I like the irony the best.)

I am not sure if this production is part of Mr. Horovitz' workshop process for this play. No one was asking for our feedback or reactions, so I guess this play is in its "final form." Too bad.

If I were to speak to Mr. Horovitz, I would tell him that his individual stories were all interesting and engaging....but not complete. They would all make good first scenes for a full-length story, but they must not end there.

What happens to these people after the lights go out? How could some of those characters be intertwined with the lives of the characters in one of the other stories? Wouldn't that make for a fascinating tale?

But, he didn't ask me, or anyone else in the theater.

So, as it stands, Randy and I spent an evening at the theater watching six incomplete stories, loosely strung together under the theme of "hotel."

It made for an interesting time at the theatre, but not the most memorable one.

But that's okay. I did learn one valuable thing, that I want to experience more live theatre (and more of those wonderful restaurants!!!) in Olympia, especially at Harlequin. Our state capitol is truly a treasure.

Production graphics courtesy of Harlequin Productions

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 #20 "Endgame" at Tacoma Little Theatre

This genre they call "absurdist theatre" really messes with your mind.

You sit in your theater seat with several other brave and adventurous souls and look for anything that resembles a play. I think we saw one tonight...?

I searched for a plot. It really wasn't there.

I listened for a profound thought or moral to take home with me. If there was one, I missed it.

I waited for a twist ending. I later realized the entire play was twisted.

I tried to find sense in the whole thing. I was told, "no, this doesn't make any sense. It's absurdist theatre." Silly me.

So, without any theatrical conventions (or reasonable writing conventions, for that matter) to hang my hat on, my mind had to fill in the blanks. Boy, was my mind busy tonight!

I pondered whether playwright Samuel Beckett inspired Oscar the Grouch. I asked myself if the end of the world is appropriate fodder for a comedy. I wondered if "absurdity" was even related to "comedy."

I cringed when I saw how the lead actor reminded me of an old college boyfriend. I sighed as I discovered that the 3-legged stuffed dog on stage looked almost like "Rudy," my son's stuffed dog from his childhood.

So, with my head swirling in a tale of Rudy and my old college boyfriend facing the apocalypse on Sesame Street in a rather non-comedic fashion, it caused me to ponder the Big Question: how the heck did Beckett win the Nobel Prize for writing stuff like this?

Evidently, I am not an intellectual. I don't "get" absurdist theatre.

But I do "get" Oscar the Grouch. And the apocalypse. And Rudy.

But let's not mention that old college boyfriend, please........

Graphics courtesy of Tacoma Little Theatre

Show #19 "Flower Drum Song" at Tacoma Musical Playhouse

"52 Shows in 52 Weeks" is my on-line diary of support for live theatre in the Seattle/Tacoma region. And for this occasional actor, what better way to show that support than to participate in one of the shows myself?

Last evening, the Tacoma Musical Playhouse was filled to capacity for the opening of the rarely-produced Rodgers and Hammerstein classic, "Flower Drum Song." Asian-American playwright David Henry Hwang has lovingly updated this story while incorporating almost all the beautiful songs from the original show.

Judging from the reaction from the gushing members of TMP's audience, I guess we were a hit.

Or should I say, "they" were a hit (meaning the FDS cast and crew)? I won't exactly include myself in this equation...not yet. You see, I spent most of the show backstage carefully watching the actress playing the role of Madame Rita Liang. Oh yes, I made an occasional appearance in a crowd scene, and even got in a few spoken lines during a moment taking place in a fortune cookie factory.

But, the rest of the time, I was studying. Why?

I must study Madame Liang. On closing weekend of this show, I will be replacing the actress in that role.

Am I ready? Can I do it? You bet. I must admit, I am a bit nervous about singing those solos, but as an actor, I am more than ready to put on that character and make those scenes come alive.

But, in the meantime, I will remain in the background, watching (yes, watching, so this show DOES count toward my 52) and studying.

Madame Liang has a line in act 2 when she is reminiscing about her days in Hollywood. "They called me the Queen of the Oriental Crowd Scenes!" she exclaims. For weeks 1-3 of this show, that's me.

But on Saturday and Sunday of week 4, watch out. I get to try Rita Liang on for size. So far, I haven't even had a single rehearsal to run through this part. But I'm ready. And from what I can see, Rita Liang and I will fit together nicely.

And it won't even take a hundred million miracles to do that...just preparation and hard work. That's what's happening everyday.

Graphics courtesy of Jessilyn Carver

Show #18 "H.M.S. Pinafore" at Lakewood Playhouse

I was all set to enjoy a fun, fluffy evening of Gilbert & Sullivan's musical silliness. There was even the bonus of having Randy come along with me for the ride. (He doesn't think G & S shows are his cup of tea.)

We sat in one of my favorite sections at the Lakewood Playhouse. I had already read the program and took note of all the marvelous artists working on this show. So, I sat back and waited for the spectacle to begin...

Then I looked directly ahead of me and observed a young father with his 3 year old daughter sitting in front of us. Uh oh...what are we in for tonight???

My concern was well founded. I wondered what a wiggly pre-schooler was doing here, past her bedtime at a show that probably holds very little interest to her young sensibilities?

Then about 15 minutes into the first act, I had my answer.

Just as the chorus of singing beauties entered the stage, the little girl stood up, pointed at one of the actresses and shouted, "Mommy!"

Then, in response to that call, "Mommy" glanced toward her precious girl and surreptitiously waved at her.

I understand that a youngster wouldn't understand theatre etiquette, but Mommy should have known better. Her on-stage greeting only lead to more and more distracting behavior.

As the evening wore on, the patrons seated directly in front of and next to this little girl grew more annoyed. It was obvious to all of us. I, too, became quite annoyed, as she prevented me from enjoying some of the finer moments of the play.

It wasn't until the second act, when this child started to cry that her father finally scooped her in his arms and carried her out of the theatre. But by that time, it was too late. She had already spoiled the experience for too many paying customers.

Now, I am not anti-children. I raised two fine sons, but never brought them to live theatre until they were mature enough to understand proper audience behavior. It is patently unfair of any parent to expect this sort of propriety from a child this young.

Should theatres have a policy about babies and young children in the audience? At the risk of some people shouting "bah humbug" at me, I would say, yes. And what about cases like this, when a parent is one of the actors in the play? Well, my stage debut occurred in a play about the Vietnam War. My character, along with others, used a lot of raw language to tell the story. I did not feel this was appropriate for my young sons to watch. Even though this was one of the most exciting days of my life, Tim and David had to stay home that day.

Moms and Dads, there will other times your precious children can see you on stage. Think first about what is appropriate, both for your child and the rest of the audience, cast and crew.

It's about being a respectful actor. It's about good parenting.

Graphics courtesy of Samantha Camp

Show #17 "Ching Chong Chinaman" at SIS Productions

Ahhh Sooooo....what can I say about those wonderful Asian stereotypes?

It all depends...on who is expressing them. I have indulged in them on occasions, usually in a humorous manner. My Asian friends and relatives regularly tease one another using some of the worst Asian stereotypes in the book.

But we can do that, right? 'Cuz we're Asian, therefore (so the logic goes), we can't be racist toward ourselves, can we?

But, if a white person tries to throw any of those stereotypes on us, watch out! They had better fear for their lives. Remember, we're Asians. We all know martial arts.

We're also real good at math. And we all speak English remarkably well, even those of us born in the US. And, for some strange reason, we all look alike.

And I, as an honorable Japanese-American wife, submissively serve my caucasian husband in a manner that would make Madame Butterfly proud.

NOT!

So what's the point here? Well, if you haven't figured it out already, here it is: cultural stereotypes, when placed in the right hands, can entertain, inform, educate and make hilarious comedy.

Lauren Yee's marvelous script had the heavily Asian audience roaring their approval. But, I also noticed the non-Asian members in the crowd enjoying themselves every bit as much.

Ms. Yee has learned at a young age that you can make more effective social commentary with nose-tickling soda pop than with editorial vinegar. Written as her senior thesis in college, Ching Chong Chinaman shows Ms. Yee to be a playwriting prodigy.

At this moment, she is a young graduate student, whose plays have been produced throughout the country. Ching Chong Chinaman opened in New York this week as well as here in Seattle. She displays wisdom and success beyond her years.

But that shouldn't surprise us. She's Asian. That means she's real smart.....right?

Production photo courtesy of SIS Productions

Show #16 "Noises Off" at Tacoma Little Theatre

Underwear, underwear....everywhere there is underwear.

What is it about underwear that makes the Brits want to put it front and center into their comedies? It seems to be a recurring theme in their farcical literature.

As I viewed TLT's production of "Noises Off" last evening, I noticed that the underwear count was quite high. A character named Brooke spends a good part of the show running about in nothing but her corset and panties. Before the show began, I jokingly referred to her as "Underwear Girl." Ahhhh...little did I know.

There is also Underwear Boy. He's a wimpy fellow named Fredrick, who is the guy-who-drops-his-pants character that seems to be a required part of all self-respecting British farces.

Then, to my surprise, a couple of bonus underwear folks showed up in the story. Selsdon the bumbling burglar flashed his boxers underneath his open bathrobe in Act 1. And poor Poppy suffered a minor strip-down when it looked as though she would be needed on stage in Brooke's place.

Fortunately for all actors (and audience) involved, these underwear models were, shall we say, in good health, and had nothing to be ashamed of in showing off their bodies on stage. Lucky them.

I, for one, am elated that I am never cast in such parts as these. As I see it, there is definite comic potential in seeing a middle aged woman skipping around in her control top panties and shapewear. Just don't offer me that role.

One of my plus-sized friends once compared her body to a situation comedy. I compare my body more to a Shakespearean tragedy. In other words, I have no sense of humor about my shape.

Thankfully, there are actors who can view their bodies less seriously. In this genre of theatre, the British farce, a successful production needs very talented performers with razor sharp comic timing, excellent physical skills and personalities that don't mind exhibiting their skivvies.

For this, I can rejoice. If they're willing to do the dirty work in their undies, then I will never be called upon to do it myself.

So, if you're an actor who desires to do farce, keep this in mind. Stay in good health, keep your weight within a healthy range and lose some of your excess modesty. You never know when you and your BVDs will be pressed into service.

Photo courtesy of Brynne Garman

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 #14 "Second Chances for Grace" with Breathing Space Ministries

This is my second viewing of this show, in case the title sounds a bit familiar to the reader.

Hey...I didn't pledge to watch 52 DIFFERENT shows in 52 weeks, just 52 shows, period. But this viewing of "Grace" was such a different experience than my first, that I just had to blog about it again.

I last saw "Second Chances for Grace" on opening night of this extended run at the Market Theater. My son Tim (who portrays both Joseph Ying and God) told me that the show (permanently) lost a cast member to illness, and that they were only notified of this in the last hour. So, much of the opening performance consisted of panicked and confused actors trying to significantly alter a script to make up for the absence of a key player, and trying to make the adjustments live before an audience.

Sadly, their efforts that night, though valiant, had less than stellar results.

But, here it is, weekend #2, and the cast has fully recovered from the loss. They once again have found their momentum, feel comfortable with the altered script and are finally able to put their heart, soul and humor back into the story.

What a difference a week makes!

With their renewed energy came my renewed interest and enthusiasm. The actors came alive in a way that they couldn't on that difficult opening night. And the best part is, Grace's story of God's love and healing came alive as well.

We all face obstacles and unplanned potholes in our road in life. We may sometimes trip over our feet, but Who is it that picks us up and helps us back onto the path: God Himself.

Just like He did for "Second Chances for Grace." What a recovery! What renewal!
Grace's story was given new life.

I can't wait for Episode 2. Stay tuned.

Thanks to Breathing Space Ministries for allowing me to take this photo!

Show #13 "Arne Zaslove's Rock n' Roll Midsummer Night's Dream" at Burien Little Theatre

I'm no expert, but I do know this: actors and directors have tried just about everything when presenting Shakespeare. I have seen the Bard's work set in Outer Space, Victorian England, 1940's Italy, Japan, Bosnia and even Tacoma, WA (remember "10 Things I Hate About You"?)

This is a production set in an American high school in the 1950's. Not sure how the enchanted forest figures into a high school setting, but this is when suspension of disbelief definitely comes into play.

"A Midsummer Night's Dream" is always fun, no matter who puts it on. From a high school drama club to a professional theatre company, this is the one Shakespearean show that everyone is good at. You could probably set the story just about anywhere in the world. After all, which part of the world is most likely to have a forest full of fairies?

You could set it in just about any era of history. As long as there have been lovers, enchanted myths and bad actors, there is Midsummer.

So, I had fun watching this group of performers twist and shout their way through the evening. Familiar songs, such as "Love Me Tender," "Rockin' Robin", "Rock Around the Clock" and "Chapel of Love" made it even more fun for all.

But what I enjoyed most, is the wonderful language of Shakespeare. No matter the setting, no matter the "level of theatre" (amateur, professional etc.) and no matter the budget, these beautiful words are what get us every time.

It inspires me. It doesn't just inspire me to read his words more often, it mostly inspires me to get back in the saddle and try to perform Shakespeare again one day.

I have only attempted to do this once, when I appeared in a production of "As You Like It." I need to do it again. I can do it. It isn't easy, but I CAN do it.

Thank you, Burien Little Theatre, for bringing us the Bard. Your actors are an inspiration to me. Just beware, you may have unleashed a Shakespearean actor/monster into your midst...

Graphics courtesy of Burien Little Theatre

Show #12 "Second Chances For Grace" with Breathing Space Ministries

There are so many good reasons for me to see this particular show.

First, this is an independent production put together by a Christian ministry team. Their purpose, as shared by their mission statement is to be "a Christian theatre, multi-media entertainment ministry dedicated to spread the Gospel of Jesus Christ through testimonies of salvation, grace, and love."

"Grace" is their inaugural theatrical production. As a Christian artist, I applaud this type of venture both on artistic and religious grounds.

Secondly, Breathing Space Ministries is the brainchild of Kiki Yeung Johnson and her husband Kevin Johnson. I also applaud the independent spirit of those theatre artists who tread off the beaten path and create something new, original and straight-from-the-heart. The fact that Ms. Yeung is also a fellow Asian American artist makes me applaud even louder.

Thirdly, "Grace" is a dramatization of Ms. Yeung's personal testimony of her struggles and triumph over such hardships as hemolytic anemia, hypothyroidism, hyperthyrodism, and chronic fatigue that lead to compulsive and binge eating, and an obsession with perfection and staying thin. For anyone to put her life up on display in order to encourage others who may also struggle with eating disorders and personal chaos is more than admirable. Again, I applaud this.

Lastly, my son Tim plays her younger brother Joseph and (gulp!) God. Once again, I applaud very, very loudly. I mean, how many women can claim they are the Mother of God???

From a strictly theatrical viewpoint, there were a few gaping holes in the fabric of this play. Tim tells me that one of the actresses fell ill and her contribution to the story had to be edited out at the last minute. That explains some of it.

But even aside from that, there were times when the play just didn't work. The scenes were awkward, some of the actors were poorly cast or simply not up to the task of portraying their roles on stage. A curious and annoying addition of a sock puppet failed to add humor to the script. It only added to the confusion and awkwardness.

But, somewhere toward the end of the story, my heart was suddenly moved.

God came into the heart of the story and dwelt among us. His message was of His unconditional love toward Grace (Ms. Yeung's character). He sought her, spoke tenderly toward her and wrapped her in His loving arms. Just like He does to all of us.

What a wonderful way to end a play. But, it really isn't the end. "Second Chances for Grace" is simply episode one. There will be other episodes in the near future, continuing Ms. Yeung's story of love and healing. God was at work during this play and will be at work in the future.

For that, I applaud again. In fact, for my Heavenly Father, I give a standing ovation. Bravo! And Praise the LORD!!

Graphics courtesy of Breathing Space Ministries

Show #11 "Dirty Rotten Scoundrels" at Theatre NW

I had not seen the original movie upon which this evening's musical comedy was based. So, I came to "Dirty Rotten Scoundrels" without any pre-conceived notions about what this story was about and how it all should be performed.

The only thing I heard (and I heard it from many, many people) was that Theatre NW's production was very good. Probably the best thing they have ever done in their 2 seasons of existence as Tacoma's newest professional theatre company.

Having seen most of Theatre NW's shows these past couple of years, I will heartily agree. "Dirty Rotten Scoundrels" is an absolute scream.

Last evening was their second to the last performance before concluding a (sadly) poorly attended 3-weekend run at the Theatre On The Square. I am not quite sure why that was, but it is a dirty rotten shame.

Since the closure of the Tacoma Actor's Guild in 2007, Pierce County has been without professional theatre. We have enjoyed the steady presence of some strong community theatre. Occasionally there will be an enterprising group of artists who will endeavor to produce some theatre in alternative spaces, such as parking lots, empty commercial buildings and coffee houses. With only one exception, these groups haven't lasted.

I'm still relatively new to Pierce County. The greater Seattle area has always been my artistic stomping grounds. When I peer into the vibrant arts scene in King County, I see what Tacoma artists only dream of.

I see a city where performance spaces of all shapes and sizes abound. I see a place where I think nothing of climbing a staircase of a third floor walk-up into a room furnished with garage-sale furniture for audience seating and a simple platform for a stage. Lighting effects are switches on the wall that turn on overhead lighting, just like in your kitchen at home. Sound is piped in from a large boom box in the back of the room. But the show? Fantastic work from dedicated actors willing to take risks to present something new and different....and loving every minute of it.

I also see a city where I enjoy professional theatre by such fine companies as the Seattle Repertory Theatre, ACT, Intiman Theatre and the Seattle Children's Theatre.

I hope Theatre NW and the dream of professional theatre in Tacoma doesn't die. The performance I attended last night was almost full, but I suspect many of those folks were using comp tickets. "Dirty Rotten Scoundrels" did not sell well at all, so the theatre was "papering the house" for the final weekend.

But, I also hope that "alternate theatre" is planted and begins to grow in Tacoma. I know there is a place, even in these tough economic times, for cutting edge theatre that goes beyond the usual Neil Simon, William Shakespeare and British farce that is offered elsewhere.

In the light of the poor attendance (despite glowing reviews from both the media and audience) suffered by Theatre NW, I know artists will be reluctant to step onto a new path. But, the ironic thing is this: during economic hardship, sometimes that is the best time to risk a new venture. Doors are closing all around us. But that might be the ideal time to open a new door.

I just read an article that noted that during economic downturns, like the Great Depression, movie attendance goes up. If this is true of movies, why not live theatre?

One does not fail because you tried and it didn't work. One only fails when you quit trying.

Please, Theatre NW, keep on trying. And to all the rest of us artists in Tacoma, please START trying. We're in this together, and our audience is out there. We just have to keep on wooing them.

Graphics courtesy of Theatre Northwest

Show #10 "The Wedding Singer" at Tacoma Musical Playhouse

Sigh.....since when did the 1980s become an historical era?

At one of the elementary schools where I work, the student council recently organized a "1980s Day." The publicity encouraged students and faculty to wear retro clothes from the 80s, including sweaters with big shoulder pads, spandex leggings (I hear they're still in style, however!) and big hair.

This all would have been rather amusing, especially considering I still have some of those outfits in my closet, until I realized that none of my students there had even been born during that decade.

I was no longer amused.

"The Wedding Singer," of course, is a rollicking musical, dancing adaptation of the 1998 Adam Sandler flick of the same name. The Tacoma Musical Playhouse put on a thoroughly enjoyable opening night last evening, complete with the teased hairdos, hefty shoulder padded floral dresses and men in pink.

The songs were a musical love fest to 80s pop. The characters were a cavalcade of newsmakers and stereotypes from that era. All of it made me smile....that is, until I realized once again how "long ago" that era really was. Most of those dancers on stage either hadn't been born or were just pre-schoolers during the 80s.

Again, I was no longer amused.

I know, I know...I should lighten up. This middle-aged dinosaur should accept the fact that shows like "The Wedding Singer" are the younger generation's "Grease." Retro. Nostalgic. Bygone era. Good old days. Historic.

So, one day when my grandchildren are celebrating "2010s Day" at their school, how will my sons feel? Will they smile? Or will they just feel old?

I'm hoping they'll smile. If they feel old, what will that make me, pre-historic?
Sigh..........

Photo courtesy of Tacoma Musical Playhouse