Winner of five Tony Awards and Seven Olivier Awards, The Curious Incident of the Dog in the Night-Time will run at Village Theatre beginning this March. The production, directed by Village Theatre artistic director Jerry Dixon, will be his first directing credit since becoming the organization's artistic leader in June of 2018. Village Theatre's production features an all-new score by Curtis Moore (Broadway: Lucky Guy with Tom Hanks), as well as choreography by Sonia Dawkins (Prism Dance Theatre).
With one week left until The 18th Annual Festival of New Musicals, Village Theatre is excited to announce this summer's casting and creative teams! Tony Award-winner Victoria Clark (The Light in the Piazza) will direct Hansel & Gretl & Heidi & Gu?nter, a hilarious family adventure of what happens after Hansel and Gretl escape. Village Theatre's new artistic director Jerry Dixon (If/Then, Once on this Island) will direct the kick-off show Elysium: An American Fable, the moving story of a family dying under the weight of their own secrets; and associate artistic director Brandon Ivie (Jasper in Deadland) will direct The Passage, a coming-of-age mystery about a boy battling a monster holding his father captive. Joining them will be music directors Jason Hart (American Psycho), Rona Siddiqui (Bella: An American Tall Tale), R.J. Tancioco (Here Lies Love), and resident music director Tim Symons (Romy & Michelle's High School Reunion), among others.
The 5th Avenue Theatre is a vibrant hive of musical theater activity as the projects of NextFest: A Festival of New Musicals have started rehearsals this week. A three-week musical theater intensive development cycle, NextFest has played a role in the creation of musicals ranging from Persuasion by Harold Taw and Chris Jeffries (Taproot Theatre, 2017) to Come From Away by Irene Carl Sankoff and David Hein (Broadway). Nationally recognized for its contribution to the contemporary musical theater cannon, The 5th Avenue Theatre is a celebrated incubator for new musicals. Each year, the nationally renowned theater company connects writers at all stages of development with some of the region's most brilliant performers, giving life to the words on the page and allowing book writers, composers and lyricists to see their work in action. This year's various works are brought to life by Alexandria Henderson, Justin Huertas, Matthew Kacergis, Shaunyce Omar, Brandon O'Neill, Timothy Piggee, Hannah Schuerman, Billie Wildrick and many more.
Newly announced 2018 Jonathan Larson Grant Recipients ZOE SARNAK (music & lyrics) and EMILY KACZMAREK (book) are bringing their new, original musical AFTERWORDS to the stage, as part of the Beta Series at Village Theatre, a leading producer of musical theatre in the Pacific Northwest.
Afterwords, a contemporary musical currently in development, will begin its Beta Series production at Village Theatre's First Stage Theatre in Issaquah on February 16, 2018. While current Broadway productions cater to mostly male heteronormative story lines and production teams, Afterwords aims to change that by featuring a story focused on three strong and unique queer women, and led by a female creative team with a book by Emily Kaczmarek, music & lyrics by Zoe Sarnak, and direction by Adrienne Campbell-Holt.
I'll admit, Dear Readers, that when I saw the cast list for Village Theatre's current production of Stephen Sondheim and James Lapine's classic Into the Woods I was quite excited. It was (and is) quite a list of powerhouse talent and not the usual suspects for a Village show. But Sondheim's show, as much as it's done by every professional house, community theater, or school is by no means a bulletproof show and something egregious must have happened (or didn't happen) between then and now as the production I saw last night, while technically good with well sung songs lacked any kind of emotional resonance, heart, stakes, or even connection between the characters. And for a show like this, pretty singing is not enough.
David Ira Goldstein, in his 25th and final year as Artistic Director of Arizona Theatre Company, has mounted an intensely human and deeply moving production of FIDDLER that is exemplary both in its distinctive portrayal of characters and place and its magnificent stagecraft (Kathryn Van Meter's spirited choreography, William Forrester's exquisite scenic design, and Cynthia Savage's brilliant costumery).
Regarded as one of the greatest musicals of all time, the Fiddler on the Roof comes to Tucson for the first time, making it the largest production the Arizona Theatre Company has produced in over thirty years, and it does not disappoint.
The beloved musical Fiddler on the Roof, called 'one of the greatest musicals in history' by the New York Daily News and 'Indestructible' by The New Yorker magazine, brings a richly vibrant close to 2016 and a celebratory opening to 2017 in Arizona Theatre Company's epic production as part of ATC's 50th anniversary season.
Lerner and Loewe's "My Fair Lady" is one of those enduring classics that when done correctly can amount to a magical evening. But to do it correctly there's a shopping list of elements you must have such as a terrific and upbeat pace, lively and fun choreography, breathtaking costumes and of course a superb cast especially a sweet, strong, and loveable Eliza with the voice that can hit those impossible Julie Andrews notes. Without those elements, really, why bother? Well lucky for us director Brian Yorkey and the folks at Village Theatre seem to have gotten ahold of my shopping list and confidently checked off each item as their current production of the classic amounts in some ways to one of the best I've seen.
A series of journal entries may work well as a literary device but as a theatrical endeavor it tends to fall flat. Unfortunately, Village Theatre's current stage interpretation of Jules Verne's famous novel "Around the World in 80 Days" falls into the latter category as the storytelling gets itself mired in such a passive voice that it just wasn't very interesting.
Seattle Theater Writers critics' circle presents the winners' slate of the 2013 Gypsy Rose Lee Awards, theater awards devoted to recognizing excellence across the economic spectrum of professional Seattle theaters.
Seattle Theater Writers, a critics' circle of local theater writers and reviewers, today announces the 2013 slate of nominees of the third annual Gypsy Rose Lee Awards, theater awards devoted to recognizing excellence across the economic spectrum of professional Seattle theaters.
Holy Crap! That's really the most emphatic sentiment I can use to describe the internal battles I had when trying to pick my top picks for this past year. There were so many amazing performances and achievements that to pick just one was almost an impossibility (and as you'll see, WAS an impossibility for one category). But the battle is over and it's my distinct pleasure to announce my picks for the 2013 Broadway World Seattle Critic's Choice Awards (or Jay's Picks, if you prefer).
The year was 1996, it was the second time "Les Miserables" was coming through town and I was finally going to see it live. I sat there in the dark and let that incredible score and story flow through me and was such a weepy mess that my friends questioned if I was going to be alright. That experience cemented "Les Mis" as one of my favorites and although I've seen it several times since, no production has come close to that one. How could it, right? That is until now as the current production playing at Village Theatre stunned me by turning me into that weepy mess from 17 years ago all over again and reminded me just how good this show can be.
Village Theatre's Artistic Director Steve Tomkins 'dreamed a dream' many years ago when he first saw actor Greg Stone perform in Les Miserables. After directing Stone in Jesus Christ Superstar in 1993 Tomkins wondered, "Could I put together my 'dream cast,' that included Stone, and present this monstrous legendary mega-hit musical Les Miserables at Village Theatre?" Scheduling conflicts, rights issues and budget constraints stood in his way, but much like the character Jean Valjean, Tomkins persisted. Over a decade later the stage production rights became available for a short window of time (that window closes when the Broadway revival of Les Miserables opens in March of 2014) and Tomkins got to work putting the many pieces together for a Village Theatre production.
ISSAQUAH, WA –Village Theatre's Artistic Director Steve Tomkins 'dreamed a dream' many years ago when he first saw actor Greg Stone perform in Les Misérables. After directing Stone in Jesus Christ Superstar in 1993 Tomkins wondered, “Could I put together my 'dream cast,' that included Stone, and present this monstrous legendary mega-hit musical Les Misérables at Village Theatre?” Scheduling conflicts, rights issues and budget constraints stood in his way, but much like the character Jean Valjean, Tomkins persisted. Over a decade later the stage production rights became available for a short window of time (that window closes when the Broadway revival of Les Misérables opens in March of 2014) and Tomkins got to work putting the many pieces together for a Village Theatre production.
The 5th Avenue Theatre presents Hairspray in Concert, featuring some of Seattle's favorite musical theatre stars and the powerful voices of the 250-member Seattle Men's Chorus. Celebrating the 10th anniversary of Hairspray's 2002 Broadway debut, this unique concert event will play for six very special performances of glorious and irreverent John Waters-inspired wackiness (Friday-Sunday, June 20-23). BroadwayWorld has a first look at the production photos below!
Let me start out, Dear Readers, by saying there is no way for me to not be biased about this show. I have loved it since I saw the original preview at the 5th way back when (twice) and all productions since then have never failed to make me happy. Hell, I've even done the show before (hence the bias). So please take that into account as I talk about the current concert version of "Hairspray" being presented at the 5th Avenue in conjunction with the Seattle Men's Chorus. While the talent and fun energy was definitely up there on the 5th Avenue stage, some keys roles seemed to be missing that spark of camp that is so crucial for the show.
