Show #36 "The Merchant of Venice" at Oregon Shakespeare Festival

For the serious theatre junkie, there is the Oregon Shakespeare Festival in Ashland, OR. It is roughly the equivalent of going to Spring Training if you are a baseball junkie. Well, not quite, because at the OSF, we are not seeing dress rehearsals or auditions to see who makes the team.

We are watching the "real thing," and enjoying professional theatre to our heart's content. For me, this means that I have tickets to six shows in five days here in Ashland. Not a world record, by any means, but definitely a whirlwind of viewing.

My first stop on this marvelous journey is "The Merchant of Venice." This show is considered one of Shakespeare's more problematic plays. It is often passed over for production because it appears to be anti-Semitic. I am here in Ashland as part of a class, Shakespeare in Ashland, that prepares teachers to present Shakespearean literature to their students. It is my second year participating in this class.

And, like last year, I am the only non-teacher in the class. My perspective is a bit different than the other students' (and the instructor's) but thank God I have another actor in the class with me (kudos to Adam Othman for being here)!

I am also one of the only ethnic minority among the participants, so I think my perspective is colored by that as well. At least, it affected my opinion of this production of "Merchant."

As I have said in earlier posts, I believe theatre needs to be even-handed in poking fun or outright criticizing groups of people in society. This was a very even-handed and fair production.

We can't help that William Shakespeare created an "evil" character in Shylock, and continually told us he was a Jew. We can't help that his chief tormentors were identified as Christian. But, this production stayed true to Shakespeare's words, while taking both a critical and sympathetic view of people, whether they be Jew or Gentile, male of female or Venetian or Moroccan.

And, of course, the overall show was made even better with the admirable performances by the OSF troupe of actors and technicians. It is good to see the pros at work.

That is the primary reason I come all the way down to Ashland. These guys are good.

Show #35 "Withering Heights" at Breeders Theater

Once again, my pre-Pulitzer Prize career is in high gear. It's July. That means one thing to this not-yet-famous small newspaper theater reviewer: Breeders Theater.

What is this, you ask? Breeders what? What exactly are they breeding?

Well, as the Highline Times theater reviewer for the past decade (or so), I have become quite a regular with this particular troupe. With only a couple of exceptions when I was busy being in a show myself, I have not missed reviewing a Breeders Theater show in years.

Familiarity....but in this case it does NOT breed contempt. It breeds.....familiarity.

Each January and July, the folks with Breeders Theater put on their unique brand of entertainment. Playwright (and journalism professor) TM Sell writes silly, spoofy theatrical ditties that, chiefly, are written to make people laugh.

A company of local actors (and pretty good ones, at that) perform said ditties at the E.B. Foote winery to sold-out houses where the audience sits in folding chairs, noshes on hors d'oeuvres and tastes an assortment of Foote wines.

A modest price of $20 is charged per person, and voila! You've got the perfect evening out for wine-loving Highline-area residents, assorted Red Hat ladies and anyone needing a diversion from their sober troubles.

As an official member of "the media," I score an invite to the preview performance, where I can nosh on those hors d'oeuvres, sip my semi-annual glass of wine and generate an intellectual critique of the actors' craft.

Okay....scrap the "intellectual" part, but it remains true that my twice-a-year stint as the newspaper reviewer for a Breeders Theater show is one of my favorite journalistic gigs.

To re-cap: I get to eat yummy food, drink wine, watch a show, and get paid to do it. This is pretty amazing considering I never studied journalism or theater in college. All of my brilliance in this field is thanks to on the job training....and a knack for mimicking the style of writing I've read in newspapers my whole life.

Not bad for a retired occupational therapist.........wouldn't you say?

Production graphics courtesy of Breeders Theater

Show #34 "The Cider House Rules: Part One" at Book-It Repertory Theatre

Sigh.....as a middle-aged female who is trying (without success) to get into better physical shape, I wish that I could burn calories and fat vicariously by watching active folks run around and work very hard.

If that were the case, I would now be in top athletic condition.

Sadly, that is not how it works. But, even as my sagging body sat in a cushy theater seat all evening, I felt as though I had had a work out just by watching all the hyper-activity on stage at the Seattle Center House Theater last evening. It was exhilarating. It was exhausting. It was great theatre.

So many times, I hear people say that good theatre doesn't TELL you the story, it SHOWS you the story. Whereas this is true, it usually makes folks leery of any play that has too much narration and the "breaking of the fourth wall."

But, narration is what Book-It does. It takes a piece of literature and, more or less, reads the story to you. Of course, there are actors who are moving (quite quickly and athletically) about the stage illustrating the story as the they are telling it. There are costumes, props, basic set pieces (just enough to tell the story) and light and sound cues to go with it.

But the narration and dialogue? All taken straight from the original source.

I must admit, I was a bit hesitant about seeing a show with Book-It. I wasn't sure I would be engaged in the story the whole evening, knowing that this is how they presented theatre. I feared I might be subjected to an evening of "book on tape" or something as dull as that.

Wow....I was totally wrong. Thank God for that.

In order to make copious narration be engaging and effective, the actors had to work at a brisk pace for the entire 3 hour show. Scene changes had to occur quickly, with set pieces placed on stage at a sprinter's speed. The actors' entrances were immediate and fast. The dialogue (and monologues) were swift, energetic and intense. What an athletic event!

"The Cider House Rules" has been divided into two parts, in order to include all the important and poignant details of the novel that the movie version edited out. That was a wise decision.

We were so wrapped up in Homer Well's story during his years at the St. Cloud's orphanage that we hated to end the tale there. Part Two will play in September.

We can't wait.

Graphics courtesy of Book-It Repertory Theatre

Show #33 "The Female of the Species" at ACT Theatre

The women's movement has sure come a long way.

First, women fought to win to right to vote. This was followed by the right to run for public office, to join the military and to enter the work force.

Heck, we even won the right to our own cigarette brand (hence, the slogan by Virginia Slims, "You've come a long way, Baby") so we can develop lung cancer and blow out second hand smoke with equality. What more could the feminist movement achieve?

Well, Baby, we've now got our own theatrical farce.

And what a great farce it is. "The Female of the Species" is a delectable dish of half-crazed characters delivering emotionally-volcanic monologues in the midst of gun-waving battles and delicious temper tantrums. And that was just the first two characters who appeared on stage.

Never mind the over-wrought daughter, the manically wimpy son-in-law, the hyper-activist caveman cab driver and the motor-mouthed gay book publisher......

Ridiculous stereotypes? Insulting characterizations? You bet. But, folks, that's the whole point.

The feminist movement is no longer only made up of the activists without a sense of humor. Those who have come before us, the marching Suffragette and the bra-burner, are no longer on the cover of Life Magazine and the subject of political rallies and Sunday sermons.

We've come a long way since then. We can now poke fun at the women who paved the way for the many choices and opportunities that 21st century females can now enjoy.

And the best part of this play is this: it pokes fun at women (and men) of all walks of life. It laughs at the man-hating crusader, the male chauvinist, the "sensitive man," the housewife and stay-at-home mother, the career woman and the college co-ed. Nothing is sacred here, and that is how it should be.

Good farce is even-handed. It shouldn't exist to make fun of only one side of an issue. If it did, then it is only thinly-veiled propaganda disguised as theatre. Sadly, too much of theatre performed in the Seattle/Tacoma region suffers from this offense.

But this? THIS is good stuff. Thank you, ACT, for giving us this gift. It helps me keep the faith in local theatre and its willingness to present different ideas, not just the politically correct ideas.

Bravo.

Graphics courtesy of ACT Theatre

Show #32 "Othello" with Theatre Artists Olympia

For the past two summers, Randy and I have enjoyed the art at the Oregon Shakespeare Festival in Ashland, OR. We are going yet again later this month. Can't wait to see their array of impressive productions and very impressive actors.

But, as a "warm up" to our now annual trek to Ashland, I decided it was time to see some local talent shake their Shakespearean booty. I heard through the Facebook grapevine that this particular production was terrific. The grapevine was correct.

Theatre Artists Olympia (TAO) is a company that is unfamiliar to me. But Randy and I are acquainted with some of the folks associated with this show, so the experience was new, yet still felt familiar.

These folks did just about everything right, from my perspective.

First, they chose one of Shakespeare's more compelling plays. This "Othello" was set in 1960's America, where racial tension and unrest were part and parcel to the times. Updating the setting of the play gave it a fresh perspective and approach that I enjoyed.

Second, the show was cast very well. With only one exception, all the actors filled their character's shoes perfectly. There was even one actor who was way too young to play his role, but he still worked out well. I was so pleased to see (although I already knew this) that you don't have to go to the OSF to see good Shakespearean acting.

Third, the staging and the costuming were spot on. I took slight exception to only one costume choice I saw that evening, but every other aspect of the direction worked well in my eyes.

Fourth, TAO was quite fortunate to be able to use the theatre space occupied by the Olympia Little Theatre. This was a small house (seating perhaps 100 at the most?) with a three-quarter thrust arrangement. The venue is intimate and well designed. This was also our first visit to this facility. What a great place for a theatre company to perform!

Lastly, they charged only $12 dollars for admission. Good theatre at an affordable price. It doesn't get any better than that. Bravo TAO!

Oh yes, I guess there is one other thing. After the actors took their final curtain call, one of the young men in the cast stepped forward to make a short speech. He walked up to a young lady sitting in the front row, took her hand and brought her on stage.

You can guess what happened next. He took out an engagement ring, got down on one knee and asked this lady to marry him. Thankfully, she said yes. We burst into loud applause.

You couldn't have asked for a better ending to that evening. I don't think the pros in Ashland can top that.

Show #31 "Brunch" at Tacoma Little Theatre

It's a good thing, to showcase new works by local playwrights. That's one of the mission statements of the production company that Randy and I have started. It's a good thing to see that other theatrical entities have the same idea.

"Brunch" is the work of a local guy, Elliot Weiner. In addition to writing plays, he is also an actor and director. Randy and I stage managed a show he directed last year. It was good to see a Tacoma writer get a venue for his talent.

Unfortunately, the audience was pretty small last evening. I don't know if this is a reflection of the play itself, or of the fact that no one has ever heard of this show. After all, it's not famous like "The Odd Couple" or "The Sound of Music."

If it's the former, then I guess you can say that these performances are a useful tool for the playwright. In Theatre World, we call this "the workshop process." This is when you put together a production of the play (in its latest draft form) and give it a test run before an audience. Then, you wait and see what their reactions are. Do they like it? What do they like/dislike? How would they like to see it re-written or adapted?

But, if the modest-sized crowd was a reflection of the unknown name of the play, then that dismays me greatly. New and unknown should not be a handicap at the box office. If we only put on plays that were famous, then theatres would be constantly re-cycling the same titles year after year. How boring would that be?

I genuinely hope that Tacoma is ready for new and unknown theatre. I don't want to think that we are so culturally behind other cities that we are only going to accept the familiar and "safe."

Or perhaps we in the theatre community need to learn how to woo our audiences more effectively. New is not bad, but our audiences need to know what they're in for. We need to do a better job of telling them.

Here's our challenge: Let's woo the people of Tacoma with good art, good humor, good relationships and great outreach. "Outreach"? Yes, WE must first approach the folks in Tacoma, not the other way around. We need much more than posters and ads in the News Tribune. We need to be where the potential audiences are: at street fairs, community festivals, on the email, on Facebook and at their places of business and leisure.

We can do it. We have to.

Show #30 "Book of Days" with Ensemble 915

Sometimes, I feel like I've had enough. No, I'm not talking about theatre. At least, not theatre in and of itself.

I'm talking about theatre that insists on berating Christians, that seems to take delight in making fun of the church, that ultimately insults my LORD Jesus Christ.

In this case, the offending playwright is Lanford Wilson, and the play is his "Book of Days." This was also a play within a play. The lead character is a woman who gets cast in a community production of George Bernard Shaw's "Joan of Arc." Shaw and Wilson... a double whammy of anti-Christianity. Sigh.....

Call me over-sensitive. Accuse me of being defensive and narrow-minded. Tell me I have no sense of humor or any ability to see the faults in myself and in those like myself.

But that wouldn't be true. As a Christian and a lover of the LORD Jesus, I consider myself to be open-minded about most theatrical productions out there, even those shows that point out the church's weaknesses. I will be the first to tell you that the Church is made up of flawed human beings. We are not perfect, and we will readily admit it.

But, the world will continue to take our very human flaws and attack us with it, as if they (the world who does not know the LORD) had no faults of their own. And a good many playwrights like to take cheap shots at us.

That's how I felt last evening, after spending a few hours hearing yet one more attack on the Light of my life. I felt the darkness try to cover me with anger and sadness.

But, this morning, while attending a breakfast event sponsored by a wonderful Christian organization, I met a remarkable man who brilliantly reflects the Light of the Holy Spirit. And guess what? He's also a stand-up comedian! He performs in the comedy club circuit when he's not ministering at his church.

This precious brother in Christ encouraged me to keep shining that Light in the darkness, because someone has to. The entertainment world is a dark place where Light needs to shine.

That's quite a calling. It's one I tend to forget sometimes. And when I forget my calling, I can get lost in the darkness. But, thank God that He is the ultimate Lighting Designer. If I remember to look to Him to light my stage, I will not lose my place in the script, or totally forget my blocking.

So, let those playwrights keep on taking those cheap shots at God's people. The darkness won't stand a chance.

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