Show #58 "Tales of Edgar Allan Poe" at Lakewood Playhouse

For a fundraiser, it was pretty good. Clever, relatively easy to produce, minimal rehearsal necessary and (I am guessing) low overhead costs. Oh...and did I mention the raffle and wine at intermission?

The Tales of Edgar Allan Poe was performed last evening as a radio play. Three microphones were set on the stage and a group of actors entered, dressed in 1940s style clothing, carrying scripts in their hands.

What we were treated to was a re-creation of a radio show, complete with commercial breaks (mostly for Camel cigarettes) and live sound effects. Three of Poe's works were presented, The Tell-Tale Heart, The Raven and The Murders in the Rue Morgue.

A company of eight actors provided all the voice characterizations and effects for these stories. These effects included the jingle for Camel cancer sticks, oops, I mean cigarettes....which, by the way, sounded pretty nice.

So, what was this whole event about? This was a fundraising weekend to celebrate Halloween, the Lakewood Playhouse Friends Fund and Artistic Director Marcus Walker's birthday. The show ran two nights, Friday and Saturday. I hear the Friday night crowd packed the house. A good time was had by all.

I came on Saturday night. We were a bit smaller crowd, but enthusiastic nonetheless.

The actors were fun to watch, or should I say, listen to. As a radio play, I found the show was much more effective when NOT being watched. I either closed my eyes during the show, or looked down at the floor. Imagining the whole experience as though I really was listening to my radio was just the trick needed to really be caught up in the stories.

My friend Corrie and I sat with great attention and interest in the front row of section I. You see, both Corrie's husband Joe and my Randy were actors in this event. This was not the first time Corrie and I watched our husbands perform together at this theatre. But it was the first time I enjoyed one of their shows while looking as though I was asleep.

Afterwards, some of the actors asked me if I was bored during the show. They noticed my "sleepy" eyes and wondered. I told them they did a good job, but when I STOPPED looking at them, their performances improved!

I guess that's the way of radio. It's a treat for the ears, not the eyes.

Thanks to cast member David Philips for this photo

Show #57 "Reefer Madness: The Musical" at Burien Little Theatre

Seeing 52 shows in 52 weeks is by no means an accomplishment, especially if you run in theatre circles like I do here in the Seattle/Tacoma community. In Seattle, we are a theatre town. There's lots of it here to see and enjoy. Less so in Tacoma, but Randy and I have seen most of what Tacoma/Pierce County has to offer this season.

But, a goal is a goal. It motivates us to do something that we normally wouldn't do. So...last January, I set my sights on seeing a bit more theatre than the usual.

Now that this goal of 52 shows has been surpassed, it came to no surprise to me that, on our way to the theatre last evening, Randy and I confessed that we are feeling "burned out" by all this theatre viewing.

Alas! What heresy is this? Can the woman primarily known (by some) for parking her rear end into a theatre seat at least 57 times during 2010 be growing wearied by the task?

Burn-out is a common symptom of our American society that is constantly moving in over-drive. We move too fast, too furiously and too often. I am no exception. So, what keeps us going even when we want to put our transmission into "park" and just rest awhile?

Simple. Keep going, and experience something that re-fuels your tank. (Sorry about all the bad car metaphors, don't know what's come over me.)

That "something" for me was to see Burien Little Theatre's slam-bang production of "Reefer Madness: the Musical." Talk about re-feuling my tank....this was high quality, high octane entertainment. It is fun, irreverent, off-the-wall and the perfect cure for burn-out.

Just as I was saying a few weeks back about the show "In the Heights," this play is part of the new wave of live theatre. This is the direction live theatre needs to go, if we are to reach a new generation of viewers. In other words, we need YOUNG rear ends parked in theatre seats if theatre is to survive.

I am glad to report that Randy and I were one of the older people in the audience last night. The house was packed, and was I delighted! I was glad to see young people in the audience laughing and applauding along with the geezers like me.

It helped tremendously that BLT had a strong, well-acted and cleverly staged production to offer. It didn't hurt a bit that the music was fun, performances were right-on and the dancing was astounding (if you like "Dancing with the Stars," Reefer Madness will even give you a dose of ballroom dance!).

BLT is a true success story. Only a few years ago, this theatre group was on the brink of extinction. After experimenting with different genres of plays, it wooed its audience back with some tried-and-true shows but has also found a new audience with cutting edge and off the chart shows such as this.

Yes, even us theatre junkies get a bit burned-out. But what brings us back to life is spending time with a theatrical phoenix like BLT and seeing cutting edge entertainment (yes! it needs to be entertaining...not simply "avant garde") like Reefer.

So....I guess I'm good for another couple of shows, for now. Okay...at least until December 31.

Thanks to Reefer cast member Brad Walker for this photo.

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

Three words: "adults behaving badly."

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

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

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

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

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

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

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

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

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

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

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

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

Photo courtesy of Seattle Repertory Theatre

Show #55 "The Cider House Rules: Part Two" at Book-It Repertory Theatre

As my son Tim said last evening as we watched Part Two of "The Cider House Rules," it isn't like we were watching another play. We were actually watching one continuous play from our previous viewing of "The Cider House Rules: Part One." Sort of like seeing a 7 hour play with a 3 month-long intermission.

But, I couldn't help but see it as another play. Yes, it had most of the same characters in it, and it picked up where the other left off. But I liked this Part Two even a bit more than I liked Part One. And that's saying a lot, because I really liked Part One back when I saw it last July.

Part Two of "The Cider House Rules" is my favorite part of the story. Homer Wells' life developments and the poignant story of his fellow cider house-ers (the Black itinerant farm workers) is the part that moved me the most. Not to say that other storylines were not moving, but there are just certain themes that touch me more than others.

Take the theme of parent-child relationships. In Part Two, Homer's transition into fatherhood and even painful relationships such as Mr. Rose's with his daughter Rose were powerful themes for me.

Dr. Larch's "honorary" father-son relationship with Homer is summed up so nicely in his statement, "You are my work of art, Homer. Everything else has been just a job." That utterance so eloquently put into words how I feel about my own beloved sons. Nothing else I ever do in my life will compare in importance to raising Tim and David.

And the theme of class, race and privilege was an intriguing thread in the story that was played out in the orchard and in the cider house. Again, this is a theme that I constantly deal with in my own life.

I have no real commonality with the characters in this story, either in regards to race, geography or general family/lack of family background. But this story amazingly spoke the story of my life. Perhaps indirectly, but the thoughts and feelings were still there.

Theatre has that power. People from completely disparate places in life find that what is in their hearts are similar to the other. Their stories are totally different, but at the same time, they are the same.

I guess I've experienced this same phenomenon while watching movies and TV shows, but (if you hadn't already guessed) I prefer to experience this live and in person at the theater. It is somehow more potent when seen with live actors on stage in front of you.

Why? It's because there is also an unspoken relationship between actors and audience. This relationship cannot really happen with a filmed performance.

So...I liked Part Two a bit more than Part One. Oh yes, Part Two had one other thing going for it: it gave us a sense of closure, while still saying "to be continued." LIfe is like that as well.

Photography courtesy of Book-It Repertory Theatre

Show #54 "Hairspray" at Tacoma Musical Playhouse

I needed to have some fun today.

I had sprained my foot while walking the dog the other day, and was still hobbling around with an ace wrap on my foot and a cane in my hand. Randy was gone for most of the day today, so I was once again on doggie duty.

Doggie and I went for walks in the pouring rain. Well....doggie went for a couple of brisk sprints around the neighborhood, while I limped with cane in hand and rain drenching me and my raincoat.

Granted, this doesn't qualify as the worst day in history, but I still was in the mood for some fun and joy. Some DRY fun and joy. Well...I got it!

Thanks to Tacoma Musical Playhouse, I was able to end my day humming, tapping my non-injured toe and laughing with glee. Yep, I got to watch "Hairspray."

You all know the show I mean. The one about chubby teen Tracy Turnblad who dreams of becoming a dancer on TV's "Corny Collins Show" in 1960's Baltimore. Her friends, both black and white, want to see the Collins show integrated on a daily basis, rather than accept the once-a-month "Negro Day" that is currently offered. Standing in their way is a manipulative TV producer and her self-centered daughter.

But, everyone knows that all's well that ends well, especially in musical comedies like this. Tracy gets on the show, gets the guy and gets the show to integrate. Happy ending.

And the journey to that happy conclusion was pure fun. Just what the doctor ordered.

I have been impressed with the good work that the folks at the Tacoma Musical Playhouse are doing. Their talent comes from all over the Pierce, Thurston and King County regions. Dedicated musical theatre performers will gladly (and repeatedly, show after show) hop onto I-5, drive a great distance and head toward Tacoma for a chance to do some good theater.

I don't blame them. TMP is one of the most successful theaters in this area, with an ever-growing number of season subscribers. If you are a theatre artists, and want to be seen by a large number of audience members (remember, in this business, exposure is everything), TMP is the place to be.

And tonight, the audience was big and appreciative. The cast got a standing ovation from many of us. Why? We laughed, we hooted and hollered, we tapped our toes, we had fun.

Yes, the Pacific Northwest rain was still falling. We didn't care. The cold, wet weather couldn't ruin our evening. We were enjoying "Hairspray," and nothing else mattered.

And there was a bonus. After Randy and I got home, it was HIS turn to walk doggie in the rain. Me? I stayed warm and dry, sat at my computer and gushed about "Hairspray."

Thanks, TMP. You made my day.

Thanks to Hairspray cast member Lexi Scamehorn for graciously posing for this photo!

Show #53 "In the Heights" at the 5th Avenue Theatre

Okay.....so technically, this isn't the "local theatre," that my blog endeavors to cheer on and support. This is a national touring company with mostly New York-based actors performing in it, just like the production of "South Pacific" that I viewed earlier this year.

Although it may not qualify as a local production, it certainly qualifies as good theatre. Here's why.

First, this is an innovative show. I have to admit, when it comes to the genre of musical theatre, I am somewhat of an old hat. I like the traditional stuff I grew up watching. Thus explains my enthusiasm and pure joy while watching "South Pacific."

But "In the Heights" even had a traditionalist like me in awe. Imagine using a seamless blend of Latin salsa and hip-hop (in both the songs and the choreography) to tell an urban story of poverty, struggle and hope. Did it work? You bet it did.

Second, this is a show that celebrates a part of our ethnic landscape that is under-represented. I guess Rodgers and Hammerstein never got around to writing their Latino masterpiece...? So, while we Asians have our "Flower Drum Song" and "The King & I" (whose cultural authenticity is deeply in question, but that is the subject of another blog posting!), "In the Heights" is a beautiful and high-voltage testament to our Spanish-speaking brothers and sisters.

Well...okay, the Latino's were half of the cast in "West Side Story," but nevertheless, this was a rare theatrical treat for me.

And finally, this show represents the wave of the future for American Musical Theatre. It's hip. It's high energy. It showcases stories from actors of color (No, we don't have to "give Iowa a try"). It's fast-paced, non-stop entertaining story-telling.

In other words, this is theatre the next generation can embrace. With local theatre audiences made up of mostly middle-aged and elderly patrons, this is great news. It gives me hope.

Even after us old cronies pass on, theatre will live on.

Show #52 "The Lady With All The Answers" at ACT Theatre

I know I've whined in the past about those theatrical events that our local Equity theatres like to market as "plays." You know what I'm talking about, those one-person talk fests that feel more like (at best) an over-long story that should have ended about an hour before it did....or (at worst) an excruciatingly boring lecture by a senile professor who forgot that (s)he had an actual time limit that must be adhered to.

Yes, I am referring to those one-man or one-woman shows that our "big houses" here in Seattle seem to adore. Audiences seem to like them, too. I wonder why. Usually, I find them boring, sometimes pretentious and in general, not very engaging theatre.

Well, guess what. I found the exception to that rule.

Advice columnist Ann Landers is portrayed by the always entertaining Julie Briskman in a funny, warm and thoroughly engaging evening about the life and love of America's favorite advice-dishing twin.

Unlike other one-person shows, "The Lady With All The Answers" boasted a full set design. Landers' letter-filled office was recreated with charm and visual appeal. There was eye-catching costuming: colorful 1970's outfits complete with Landers' trademark bouffant hairdo. There was even musical interludes, as Landers takes out her collection of LPs and plays a few of them on her stereo turntable.

But what I liked the most was Briskman's Landers herself. Sometimes she read samples of letters sent to her over the years. Other times, she discussed chapters from her life, marriage and career. And then there were moments when the house lights would come up, and Landers would really break that fourth wall and look us straight in the eye.

That was when Ann Landers asked US a question! Us! Imagine that!

Thankfully, none of us in the audience were brought up on stage for some comic "bit." No, she didn't throw confetti at us (a la Carrie Fisher). She even kept us so entertained that ACT Theatre dared to put in an intermission after 45 minutes had gone by. They were sure we would all eagerly return to our seats and watch the rest of the show.

Yep, we did...and boy, that second act was even better than the first.

So......okay. I am now convinced. A one-person play CAN be entertaining and can make good theatre. But all the right elements have to be in place: good story, great acting, an appealing main character, humor, visually effective sets, costumes and sound design.

But that's still not enough. The show has got to have something else. Something that will grab me and make me want to stay until the end. Something that will make me sorry that the evening's end had arrived.

I don't know what that "something" is, but "The Lady With All The Answers" had it.

Graphics courtesy of ACT Theatre

Show #51 "Under the Circumstances" at Tacoma Little Theatre

Nowadays I get pretty excited about the simple phrase "A World Premier." It means, something brand new. Something never done before. Something original.

When I see those words in regard to a theatrical production, it gets my blood pumping. You see, Randy and I also are in the process of collaborating with local playwrights to create new stories for the stage. Our community has loads of talent that are, for the most part, undiscovered. We want to help remedy that. Fortunately, so does Tacoma Little Theatre.

"Under the Circumstances" is a collaboration between TLT, the Northwest Playwright Alliance and Tacoma playwright C. Rosalind Bell. It is a deeply moving and relevant story about friendship, race, culture and the power of words.

Two brave actresses (Julie Novak Weinberger and LaNita Hudson) play writers who carry on a long-distance friendship between New Orleans and Tacoma. Yes! Tacoma!

Both women share their lives, their work and their writing with the other. Their differences in age, religion and race never stand in the way of great sistership. That is, until one of them writes a novel that, unintentionally, wounds the other.

This is a story about the power of our speech. It is also an honest, but artfully worded discussion around the issue of race. Rosalind Bell's poetic script invited us to think, feel and remember alongside these two remarkable women. We listened with rapt attention as they shared their innermost thoughts with the audience; things they, tragically, couldn't seem to share with one another.

But this is not the first discussion on race that I engaged in this past week. The evening before my son Tim and I attended a "Conversations on Race" gathering at our church, Trinity Presbyterian. This is part of an on-going conversation between four churches in the Tacoma/Hilltop neighborhood, attended by Christians of different races and denominations.

I praise God for meetings such as these. What a marvelous way to begin understanding and enjoying one another: to have a open conversation coupled with good food, fellowship and prayer.

But, there is also another way: theater. An engaging but powerful story brought to life by two actors can also spark conversation. And last evening at Tacoma Little Theatre, it did just that.

We held a post-play discussion in the auditorium. We continued the discussion out in the lobby. And several of us (including the playwright and one of the actors) took our discussion to a local restaurant which continued well into the night.

Imagine that, a play that started at 7:30pm that gave birth to an honest (but bridge-building) conversation that lasted until after midnight.

That is one powerful play. Don't miss it. It runs at TLT through Oct. 10. But, I suspect the conversation will run long past that.

Graphics courtesy of Tacoma Little Theatre

Show #50 "Sherlock Holmes and the Doom of Devilsmoor" at Lakewood Playhouse

Opening night of a new season at the theater....what fun! No matter how much live theatre I experience, either on stage, backstage or in the audience, I always feel that excitement of opening night.

This evening was no exception. One of my favorite theaters in the world, the Lakewood Playhouse (after all, it was at this fine theater where I met my husband Randy), rolled out the red carpet for their new season.

I started the evening with a personal greeting by Artistic Director Marcus Walker, who heartily shook hands with the patrons as they entered the lobby. I was personally escorted to my seat by Duncan Foley, the President of Board. The playwright, CP Stancich was on hand and made merry conversation with Randy and me. And after the final curtain, the Lakewood Playhouse's board hosted a fine reception complete with my favorite non-alcoholic bubbly.

But, there were also the familiar opening night mishaps that occurred as well.

You know the ones I mean. There was the french door on the set that wouldn't close without the poor actors fussing and constantly adjusting. Then there was the wardrobe malfunction that sent Randy (and the wonderful costumer seated in the second row) into hints of stifled laughter. And then there was the actor who entered the stage and promptly stepped on an actress's skirt hem.

These were relatively minor things, but to be honest, it added to my enjoyment of the evening! I kind of like imperfection. I smile when I see an actor stumble his way through an unexpected development and then see his way out of it with grace and humor. Yes, it may temporarily break the spell of the story, but it does something else. It makes us all a little more human.

But, you may counter, don't we want to see professionalism and polish when we pay to see a theatrical production? Well, yes we do.

If a production is overly filled with mishaps, then I would have criticized the show and declared that the cast needed another week of rehearsal. But, this was only a couple of small gaffes, and being opening night, very forgivable. I've experienced many an opening night as an actor, performing on a stage whose paint was still wet, whose doors had just been hung an hour before, and costumes stitched during intermission.

If I were to come back to see this show on closing night and saw the same goofs, that would be another story.

But, this was opening night at the Lakewood Playhouse, and a reason to celebrate! It was a great evening, and even the small errors were something to celebrate. Here's to another great season! Cheers!

Graphics courtesy of Lakewood Playhouse

Show #49 "A Doctor In Spite of Himself" at Intiman Theatre

Did you see the lights flashing? Were you hearing the sirens blaring, and the theatre police yelling, "Goofball Alert! Goofball Alert! If you have no tolerance for silly, artfully goofy and masterfully funny theatre, please step away NOW."

"There's nothing to see here, Ma'am. Just keep moving on...." the Kill Joy Cop admonished.

But, the more he tried to steer the gawking masses away from the riotous comedic gem, the more we wanted to watch, mouth agape and loud guffaws beginning in our bellies.

What am I talking about? Why didn't we hear about this "train wreck" on the evening news? Well....in my opinion, we SHOULD have seen this as a top headline. After all, in this bleak economy, with unflattering political battles being fought on the airwaves, and the health care crisis, global warming and Dancing With the Stars weighing heavily on our minds, we all need a break.

The 17th century French playwright known as Moliere had the answer. Write stuff that makes people laugh. Period.

I like that. So, with the Intiman Theatre presenting one of Moliere's best works in the style (love this!) of the commedia dell'arte, AND with Randy and me scoring front row seats, how could we go wrong?

We scored big. A touchdown. A grand slam. A triple crown. A...well, you get the idea.

The Intiman did themselves proud with "A Doctor in Spite of Himself." We had the privilege to see masterful comedy performed by limber, energetic, perfectly timed and shameless (in a good way) actors and musicians who gave their audience the best hour and a half of their theatrical lives. No, really.

It inspired me. It energized me. It almost made me want to sign up for one of those classes on "movement for actors" or something like that. Mostly, it made me laugh.

This season, Randy and I gave up our season tickets to the Intiman so we could enjoy season subscription to four (4!) other wonderful theatres around town. We gotta spread the "wealth" around, after all. I don't regret that decision, because we knew we would still attend at least one or two of the Intiman shows anyway.

We chose to attend "Doctor" because we like Moliere. I am glad we did.

PS. Take notice of the marvelous non-traditional casting in this production. Yet another reason to support this fine show. Bravo, Intiman!

Photo courtesy of Intiman Theatre and photographer Chris Bennion

Show # 48 "The 25th Annual Putnam County Spelling Bee" at Renton Civic Theatre

It seems as though everyone is doing "The 25th Annual Putnam County Spelling Bee" this season. I hear the rights for this musical were just recently made available for non-Equity theatres, so many groups have jumped on board to present "The Bee."

I can see why. This is a terrific show to put on.

First of all, it's a one-set show, using only a set of risers, a table and chairs for the adult characters to sit at, a set of microphones and a banner proclaiming the Spelling Bee competition. Easy.

The clothes are variations of modern-day dress, so it doesn't appear to break the bank in the costume department. Simple.

The cast is not too large, with 6 "children" and 3 adult characters. Piece of cake.

And, best of all, the script is funny, the characters are engaging and amusing and the music is mostly fun (albeit forgettable) and helpful in giving us each character's back storyline. Perfect.

The audience roared with laughter, and the actors reveled in the approval and enjoyment they were giving the crowd...and themselves. A win-win situation.

This made for a great evening out, watching my friend George perform as William Barfee (with his "Magic Foot") and catching up a bit with a couple of old theatre friends, one who runs the theatre and the other who took the reins as stage manager for the show.

Now I can see what all the "buzz" was about with this show, why every theatre in town (or so it seems) is producing it this season. I have a feeling it won't be the last time I see "The Bee." This is one of those shows that will live for a long time.

I can almost guarantee you, it will come soon to a theatre near you.

So, brush up on your spelling (spell check does NOT count), because you never know when it will be your turn to be a star.

Photo courtesy of Renton Civic Theatre and photographer Tanya Zambrowsky

Show #47 "Sex In Seattle 18: An Everyday Kind of Love" with SIS Productions

I've had a long history with soap operas. Shortly after graduating high school back in the 1970's, I found myself hooked on "All My Children." I anxiously awaited each day to see the next installment in the lives of fictional (and mostly stereotypical) people whom I didn't even know.

Several years later, my dirty habit expanded to "One Life to Live" and "General Hospital." As a true addict, I started to schedule my lunch hour at work around getting that chance to peek into what was happening to my favorite soap characters. Couldn't wait for the plot to thicken....and in those instances, all I had to do was wait a mere 24 hours for that next episode.

So, it boggles the mind to see the roaring success of the theatrical franchise known as "Sex in Seattle" where the adoring audience is forced to wait anywhere from 6 months to a year for their next episode. A fluke, you say? Not really. This franchise has been hooking (and reeling in) their audience for 10 years.

I have long since given up the television soap habit, but have not walked away from my SIS habit. I remain a loyal fan. It helps that the story lines center around modern, sassy Asian-American women. It doesn't hurt that I personally know several of the producers, writers, directors and actors involved in this dynamic theatre series. And the fact that I myself have appeared in a couple of episodes has a little something to do with my continued loyalty.

But, primarily, I remain a constant SIS groupie because these shows are well done, well-acted, have high production values and are a real scream! No tragic Madame Butterfly crap.....SIS is a hoot.

As with all long-running soap operas, the cast of actors evolve over time. Each episode is a new adventure for us long time fans. We can't wait to see how the "newbie" actors will do taking over an established role. Whereas I missed seeing some of my favorite actors on stage, I was delighted to see some new(er) faces doing commendable jobs. Sean O'Bannon made a terrific Nathan, Moses Yim brought fresh energy and charm to his Colin and Caleb Slavens was perfectly endearing as Adam.

SIS Productions has announced they will present Episode 19 in April 2011. Good news, fans. You only have to wait 7 months for your next SIS fix. The plot will thicken more quickly. The fictional folks you have grown to love (and hate) will return sooner.

Stay tuned.

Photo courtesy of SIS Productions

Show #46 "Sleuth" at Tacoma Little Theatre

This is the opening show of the new season for Tacoma Little Theatre. Randy and I missed their opening weekend (August 27-29) as we were elsewhere that weekend, cruising through the deep blue waters of the Mediterranean.

If I sound like I'm bragging about visiting such exotic sights during our vacation, I guess I am (a bit). But I really missed live theatre, believe it or not, and it feels good to be back in action once again, witnessing the wonders of the theatre.

So, we wasted no time in coming to our neighborhood playhouse, Tacoma Little Theatre, to enjoy an evening of the actor's craft.

Part of the overall experience of world travel is the symptoms you exhibit afterwards. I am speaking of that dreaded ailment: jet lag. On top of that, I developed a whopping case of vertigo due to a neck strain I received on the airplane trip home. (You all know how "comfortable" it is to sleep in an airplane seat......not!)

So, between jet lag sleepiness and vertigo's whooziness, I was a mess. Randy was in a bit better shape than I, but not by much. In other words, we founds ourselves snoozing during the show.

I was thoroughly ashamed of myself! Even during shows where any reasonable person would be nodding off, I have managed to stay awake and as engaged as possible. I mean, I kept my eyes wide open during Whitworth University's production of "Antigone" a couple of years ago, and have lived to tell about it.

But, I am afraid to admit that I missed some of "Sleuth." I take it on faith that it was a pretty good show. At least that's what I hear through the theatre grapevine. But, while I was sitting there in my seat, I wasn't really there.

At least I have an excuse. We "world travelers" live a whirlwind life of jet planes, cruise ships, international cuisine and endless shopping. It's a tough life, and quite exhausting. But, someone has to do it.......

Show #45 "Les Miserables: School Edition" with the Hi-Liners

And, once again, I tread onto the not-so-tried-and-true path of youth theatre. Watching shows performed by young actors between the ages of 9 and 19 can be a risky proposition at times. What will I be subjected to, I ask myself.

Will it be yet another evening of enthusiastic but struggling theatre novices offering me dialogue delivered with poor enunciation, little if any projection of their crackling voices and off-key and unsure singing?

Can you tell I've spent many an evening witnessing (with my adoring support) such productions?

This time, I had little choice. As the theatrical reviewer for the Highline Times/Des Moines News, my assignment (as it has been for the past many years) was to review the opening of the mainstage production by the youth theatre organization, The Hi-Liners. This year, they are doing "Les Miserables: School Edition."

Let me say this up front: the Hi-Liners are a class organization. Each year, over 40 young performers spend their summer vacations rehearsing a large cast musical, always done with high production values and professional level instruction. In other words, they do good work.

So, I was expecting a good show.

What I wasn't expecting was the astounding level of quality I saw in last evening's final dress rehearsal. Usually when I review a youth show for the newspaper, I need to be supportive and positive. This time, I didn't have to try. I wasn't just positive in my write-up, I was absolutely gushing.

Granted, there were some very young performers who were still learning the basics of their craft, and it showed at times. But, these youngsters were mostly in the background, playing supporting ensemble parts. In other words, these neophytes' lack of experience didn't distract at all.

It was the older teens, playing the principal roles who blew me away. After a few minutes into the show, I almost forgot how young these actors really were. That's how good they were.

Yes, I was gushing in my review. But, that's okay. I was happy. I was elated that the future of local theatre looks bright. With such talented young performers in our community, and dedicated adults who are nurturing their gifts, Seattle/Tacoma theatre is truly blessed.

Show #44 "Yankee Tavern" at ACT Theatre

It was practically a perfect evening at the theatre for us tonight. Everything went as it should.

First, the drive on I-5 from Tacoma to downtown Seattle was a breeze. Traffic proceeding north (as we were) was swift and clear. However, traffic going south was almost at a standstill. Pity the southbound driver.....glad it wasn't us.

Next, we found a terrific parking spot in the garage next to ACT Theatre. Admittedly, I ALWAYS find a great spot to park there, especially since my season tickets are for Wednesday evenings.....but that's beside the point. The parking spot was "spot on!"

Then, I got to see a show, "Yankee Tavern" by Steven Dietz, at my favorite theatre venue in town: The Allen theatre. Yes, this is ACT Theatre's mainstage space, and I love it. Randy and I have terrific seats this year, in the second row, and the viewing was ideal.

Then, I saw a funny, engaging, makes-you-think show about such hilarious (?) topics as conspiracy theorists, Sept. 11, marriage, drinking, seeing dead people and graduate school. ACT Theatre, you've done it again!

Next, I got to watch some performances by actors who inspire me. I saw a relatively simple set design that made me see the possibilities (and genius) of simplicity. I enjoyed a script that made you laugh, made you think and made you want to say, "where did you hear THAT?"

Finally, Randy and I practically flew home on our southbound journey on I-5. There was some minor traffic revisions driving through South King County into Pierce County, but nothing worth mentioning. And the northbound traffic? Slow as molasses.

Yep, practically a perfect evening.

"Practically?" What made it less than perfect?

Well....I guess I was having such a good time tonight, I wanted it to go on a bit longer. I hated to see it end. That was its only flaw....but that's good "flaw" to have.

Photo courtesy of ACT Theatre and photographer Chris Bennion

Show #43 "Fiddler on the Roof" with Rosebud Children's Theatre Conservatory

Ah.......yes, children's theatre. I remember it well.

Not because I actually participated in this when I was a youth, I grew up back in the "olden days" before such things as summer theatre camp and/or youth theatre programs existed. How different (and enriched!) my life would have been had something like that been available to my generation.

But my son Tim blossomed each summer during his own theatre camp experience in childhood playing in such shows as "The Wizard of Oz" and "Charlie and the Chocolate Factory." He has since grown up and is now teaching in programs just like this in Seattle.

Now, here is a whole new "generation" of young actors carrying on this tradition. Federal Way-area students from middle school to newly-graduated from high school are performing their hearts out for us to tell us the beloved story of Tevye and his strong-willed daughters in 1905 Russia.

It was a great evening. I was reminded how much I love this story and its music. I was pleasantly surprised at the level of talent in many of the performers. Most of all, I was pleased at the dedication of Holly Rose, the founder and director of Rosebud Children's Theatre Conservatory.

Apparently, Ms. Rose had been running a youth theatre program at the Knutson Family Theatre in Federal Way for 6 years, but was recently "downsized" out of the 2010 Knutson season after another theatre company took over the management of the theatre space. So, in the spirit of enterprise and artistic adventure, Ms. Rose has created her own theatre company (at a new location) dedicated to teaching the next generation of artists.

I couldn't be more excited and pleased. I love new theatrical ventures. Risk-taking, hard work and (quoting Ms. Rose) "a LOT of prayer" have paid off handsomely. The young actors in Federal Way still have a venue to learn and grow as artists, thanks to the dedication and pioneering spirit of this incredible woman.

Even though I do not have a child in this program, I wish to thank Ms. Rose and her crew of wonderful volunteers. I love what you are doing. And because of you, youth theatre still has a home in my old stomping grounds of Federal Way.

Bravo!

Photo courtesy of Rosebud CTC

Show #42 "Kindred Spirits" at ReAct Theatre

I can't believe that it's been a while since I have enjoyed a show with Seattle's ReAct Theatre. This is a wonderful theatre company whose expressed mission is to employ non-traditional and multi-ethnic casting in their shows. Their goal is to give artists opportunities to perform in projects that they might not normally have because of ethnicity, gender or experience. Perfect!

"Kindred Spirits" is especially important because it also gave a local, Asian-American female playwright, Maggie Lee, a venue for her work. What could be better than that?

Ethnic talent flourishes here in the Seattle/Tacoma region. But, since moving down to Pierce County three years ago, my attempts to become a part of the Tacoma theatre community have been a tough haul.

I am delighted that I am starting to see some "ethnic" presence here in Tacoma. After all, Tacoma is where I got to be a part of David Henry Hwang's version of "Flower Drum Song" a couple months ago.

I have also seen a few more ethnic actors break the color barrier and be cast non-traditionally in mainstream plays in Tacoma theatres. Bravo to those artists (who include my son Tim) and to those visionary directors who can see past the usual limiting stereotypes.

But, always leading the way is ReAct Theatre. This is the trailblazing company where I saw an all-Asian production of "Crimes of the Heart" well over a decade ago, complete with Southern accents and a rice cooker on their kitchen counter. It was where I saw the first (at least for me) multi-racial cast performing "The Mousetrap."

The list goes on and on, because long before I ever saw much evidence of ethnic actors on stage in other Seattle/Tacoma area theatres, ReAct was going out of their way to showcase the talents of actors of all ethnicities.

Their mission continues to this day. "Kindred Spirits" may not have an abundance of ethnic talent on stage, but there is plenty of it behind the scenes. And the most amazing thing about this production? Maggie Lee wrote an intriguing story about people. Not Asian people or Chinese, Korean, Japanese or any other nationality. Just people. The story is about all of us, regardless of our backgrounds. Therefore the actors could look like anyone, regardless of ethnicity.

Imagine that.

Photo courtesy of ReAct Theatre

Show #41 "Rosencrantz And Guildenstern Are Dead" with The Outfit Theatre Project

Being a non-expert on the works of William Shakespeare, more specifically, of Hamlet, my timing could not have been better.

Having just returned from the Oregon Shakespeare Festival and experiencing their extraordinary production of "Hamlet," I was actually in a position to understand and appreciate the humor of The Outfit's "The 15 Minute Hamlet" and "Rosencrantz And Guildenstern Are Dead." Lucky me.

Tom Stoppard's "15 Minute Hamlet" is exactly what the title implies. It is a speed-through of the highlights and most quotable lines from Shakespeare's long, long play. What is usually performed in over 3 hours is condensed (with humor) into a 15 minute play.

On the other hand, "Rosencrantz et al" is a fictional "what if" story about Hamlet's two college buddies who are rather minor characters in the original play, but take center stage in this tale that asks the question, "what would happen if the ghosts of Hamlet's murdered college buddies roamed the earth, searching for the answers and the meaning surrounding their untimely deaths?"

The results are a mixture of comedy, absurd repartee and more Hamlet quotes.

This whole concept of Stoppard's got me thinking. What if a play like this was written about the "untold stories" of other supporting Shakespearean characters? After spending a week with many such characters in Ashland, Oregon, I have a few suggestions.

I would be interested to see a show called "My Name is Antonio, and I Never Get the Girl (or Guy)." This is based on viewing both "The Merchant of Venice" and "Twelfth Night," where characters named Antonio both end up alone while other characters enjoy happy resolutions to their romantic lives.

Then there is the would-be title "Working for The Man: or Do I Work for a Woman?" Of course, Shakespearean comedies so often have female characters who dress as men. Gender-bending needs to be showcased.

And then there is the one-man show called "I Am Horatio, And What the Heck is Wrong With My Philosophy?"

I guess the list can go on and on. I've only just begun.

Bravo to The Outfit Theatre Project for taking on this ambitious production. It is yet another way Shakespeare can be a part of Pierce County arts.

Photo courtesy of John Pfaffe

Show #40 "Throne of Blood" at Oregon Shakespeare Festival

Of all the shows we took in this week at the Oregon Shakespeare Festival, this was one I was anticipating the most. "Throne of Blood" is an adaptation of the Akira Kurosawa film of the same name, which is an adaptation of the Shakespearean play "Macbeth."

It's also another chance to see Japanese characters come to life here in Ashland, OR. Twice in one day even! I couldn't believe my good fortune!

But, even for this champion of non-traditional casting, this show had me thinking and re-thinking my position on this issue.

First off, I was totally prepared to see many non-Asians portray the Japanese characters. After all, the OSF company does not have that many Asian performers, and color-blind casting has been something I long admired about their theatre festival.

But, after seeing this show, with the exception of the actual Asians in the cast (there were two of them), and perhaps one or two other actors, I just couldn't buy this cast as being Japanese.

No, it wasn't their non-Japanese faces that did it. I could have seen past that.

It was a combination of their voices and their movement. They just didn't speak like Japanese warriors or moved like them. I was dismayed to have seen a company of Equity actors who hadn't properly done their homework.

Okay, I'm still a strong proponent of color-blind casting. But even with this sort of artistic affirmative action in place, you still need to do the job right.

There were a lot of things about this production I really enjoyed. But, unfortunately, it just didn't take place in Japan. It took place in Ashland, OR.

That's not good. But, thank you, OSF, for putting on this brave piece of theatre. There were so many things you did right in this show. With another cast, it has the potential to be brilliant.

Show #39 "American Night" at Oregon Shakespeare Festival

Here's a question for you: How many ethnic, cultural, racial, political and religious stereotypes can you portray (and totally blow out of the water) in one matinee?

I sort of lost count on that one, but my lame answer is this: LOTS.

This world premiere presentation of "American Night" was a non-stop, multi-media, multi-racial and multi-laugh whirlwind that spoofed so many of our whacky and (unfortunately) commonly held stereotypes in American society.

Hardly any group in our country was spared. In fact, if I was a member of a group that was NOT spoofed today, I would have felt a little left out.

This is a story of Juan Jose, an immigrant from Mexico who is studying for his citizenship exam. Desperate to pass this test and become an American, Juan pulls an all-nighter hitting his text book on US history and government. But, his all-night session is interrupted with what comes naturally: sleep.

Sleep, perchance to dream......

And dream he does, with all sorts of crazy and twisted results. This isn't revisionist history, this is hilarious history.

As anyone who reads this blog has figured out, I am a HUGE supporter of non-traditional (and multi-racial) casting in plays. If no one ever did this, I would hardly have ever gotten on stage during my life.

Here we have intentional non-traditional casting, done with a wink and a chuckle. There is a Japanese guy playing a Japanese guy. There is a black guy playing a Japanese guy. There is this Hispanic guy playing a sumo wrestler. But hold on, there is also a black cowboy, a Mexican revolutionist, a white lady tea party member and a Japanese Mormon.

Hey, I didn't even mention the Ku Klux Klan-er, Japanese game show host, Sacajawea and Jackie Robinson. Huh? Doesn't make any sense?

It would, but only if you saw this crazy, zany and wonderful take on American history.

Can you tell I loved it?

Yep....ethnic stereotypes are terrific, when placed in the right hands. And I am so glad we Asians (more specifically we Japanese) were included in this comical odyssey. It made me raise my hands cheering. Others noticed my excitement. One of the actors (the Japanese one) stopped and gave me a high five during his entrance. Just as the spotlight was on us.

How cool is that?