This rendition of Julius Caesar by the Seattle Shakespeare Company will offer a few surprises. It is a streamlined production with a race and gender-diverse cast. With no clear-cut villains and heroes, this epic tale of political savagery has an engaging narrative. But when said savagery feels tepid, hiccups are more conspicuous, leaving audience members recalling the bad, rather than the good. Now performing at the Cornish Playhouse, Julius Caesar gets the job done, but it's problematic.
It's a 400-year-old play, yet it can feel as contemporary as today's headlines. In Julius Caesar Bloody and brutal decisions are weighed against honor and ambition. Seattle Shakespeare Company's Artistic Director George Mount directs Shakespeare's political thriller which runs now through Oct. 1, 2107 at the Cornish Playhouse. BroadwayWorld has a first look at the cast in action below!
The genius of Shakespeare's plays is their ability to resonate in every age. The timelessness of HAMLET combined with Freehold's Engaged Theatre productions' intentionally dynamic and diverse staging means that any human can see a reflection of some part of themselves in the story, the characters, the music or movement.
Director Robin Lynn Smith and a seasoned company including Seattle theatre veterans Reginald Andre Jacskon (Hamlet), Mary Ewald (Gertrude), Sunam Ellis (Horatio), Shawn Belyea (Claudius) and Peter Dylan O'Connor (Laertes) brings HAMLET to stirring life with live music composted by Kultur Shock member Srdjan "Gino" Yevdjevich and movement by Butoh dancer Vanessa Skantze.
After 10 years of producing award-winning productions and helping to change the face of mid-level professional theatre in Seattle, New Century Theatre Company (NCTC) is excited to share several new developments in its future.
The genius of Shakespeare's plays is their ability to resonate in every age. The timelessness of HAMLET combined with Freehold's Engaged Theatre productions' intentionally dynamic and diverse staging means that any human can see a reflection of some part of themselves in the story, the characters, the music or movement.
Give me a good old fashioned play with a good old fashioned structure; a beginning, a middle and an end. Or if not, if you insist on a slice of life play, at least have something interesting to say about said life. Instead, what Will Eno's play, "The Realistic Jones", the current offering from New Century Theatre Company, gives us is an hour and 40 minutes of somewhat clever dialog from some stuck, sad people that I wouldn't want to spend 5 minutes with let alone an entire play.
Here in Seattle we are blessed to have an abundance of bad ass female theater professionals some you might even go so far as to call local theater royalty. Well now Seattle Shakespeare Company in collaboration with Upstart Crow Collective have taken those bad ass women and dropped them in a traditionally male dominated play, Shakespeare's Henry VI Trilogy which they have turned into a two parter and labeled "Bring Down the House".
Dear Readers, if you read my review for Part One of "The Brothers K", still playing at Book-It Repertory Theatre then you'll know the difficulties I had watching it what with all the onion cutting going on in the theater. Well last night with the premiere of "The Brothers K, Part Two: The Left Stuff" the onions were there in force along with tons of dust, pollen and cats. Must have been the case as the tears were flowing all night long. With just more of the same goodness from Part One, Part Two solidified just how good this story and this production is.
Seattle Public Theater (SPT) is proud to present Amadeus, Peter Shaffer's magnificent story of Wolfgang Amadeus Mozart, directed by Shana Bestock at the historic Green Lake Bathhouse Theater from January 29 through February 21, 2016. Tickets are $34 for adults, $32 for seniors, $17 for youth under 25, and $5 for youth under 12. Tickets are available by calling the SPT Box Office at 206-524-1300 or visiting www.seattlepublictheater.org.
Sound Theatre Company has never shied away from difficult plays and now in conjunction with Brownbox Theatre they've taken on Marcus Gardley's moving civil war fable "… And Jesus Moonwalks the Mississippi". To be blunt, this play is not going to be for everyone with its deeply poetic nature and complex imagery. And while certain elements of the piece I found confusing or missing the mark; I was able to come away from it with an admiration of its lyric beauty and gripping story.
The UW School of Drama launches its winter quarter with Reading to Vegetables, a world premiere psychological thriller written by Northwest playwright EM Lewis. This is the third show in the 2013-2014 season and it offers the School of Drama MFA students an opportunity to experience the challenges and rewards of working on a new play in collaboration with a playwright. The play is being helmed by second-year MFA directing candidate Tina Polzin.
The UW School of Drama launches its winter quarter with Reading to Vegetables, a world premiere psychological thriller written by Northwest playwright EM Lewis. This is the third show in the 2013-2014 season and it offers the School of Drama MFA students an opportunity to experience the challenges and rewards of working on a new play in collaboration with a playwright. The play is being helmed by second-year MFA directing candidate Tina Polzin.
University of Washington faculty member Valerie Curtis-Newton, Head of MFA Performance and Directing, directs the second-year Professional Actor Training Program (PATP) students as they tackle the complex characters of Lanford Wilson's Fifth of July. This is the second show in the 2013-2014 season and it offers the School of Drama students an opportunity to experience the challenges associated with taking on meaty ensemble acting roles.
