Stage
Openings & Events
Attempts on Her Life The Horse in Motion presents this immersive audience-participation play. University Heights Community Center, 5031 University Way N.E., 800-838-3006, thehorseinmotion.org. $15–$25. Opens April 12. 7:30 p.m. Fri.–Sun. Ends April 27.
Bethany SEE THE PICK LIST, PAGE 30.
The Ernest Pumphrey Revue A musical salute to Motown. Langston Hughes Performing Arts Center, 104 17th Ave. S., 684-4757, langstoninstitute.org. $25–$30. 7 p.m. Fri., April 11.
Ernest Shackleton Loves Me Balagan Theatre presents a new musical by Valerie Vigoda, Brendan Milburn (of the band GrooveLily), and Joe DiPietro about a modern-day woman who improbably meets—and possibly falls for—the famous Antarctic explorer. Seattle Repertory Theatre, Seattle Center, 329-1050, balagantheatre.org. $5–$45. Previews begin April 12, opens April 18. 7:30 p.m. Wed.–Sun., 2 p.m. Sat.–Sun. Ends May 3.
Impenetrable SIS Productions presents Mia McCullough’s play about women, society, and body image. West of Lenin, 203 N. 36th St., 800-838-3006. $12–$16. Opens April 11. Runs Thurs.–Sat. plus 8 p.m. Mon., April 28; see brownpapertickets.com for exact schedule. Ends May 3.
The Mark of Immediacy The Gospel of Mark made theater by a cast of three. Isaac Studio Theatre, 208 N. 85th St., 781-9707, taproottheatre.org. $12–$15. Opens April 11. 7:30 p.m. Thurs., 8 p.m. Fri.–Sat. Ends April 19.
Office Hours Norm Foster’s comedy about a busy Friday afternoon. Renton Civic Theater, 507 S. Third St., Renton, 425-226-5529, rentoncivictheater.org. $17–$22. Opens April 11. 7:30 p.m. Thurs., 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends April 26.
Peter Pan Lyric Opera Northwest presents this very kid-friendly musical. Kirkland Performance Center, 350 Kirkland Ave., Kirkland, 425-893-9900, kpcenter.org. $24–$34. 2 p.m. Sat., April 12–Sun., April 13; 7:30 p.m. Fri., April 18; 2 p.m. Sat., April 19; 7:30 p.m. Fri., April 25–Sat., April 26.
Where No Man Has Gone Before An improvised parody of—guess which sci-fi TV classic. JewelBox/Rendezvous, 2322 Second Ave., 800-838-3006, brownpapertickets.com. $16–$20 8 p.m. Wed., April 9.
Current Runs
A… My Name is Alice: Twelfth Night Productions presents the classic 1983 revue, sketches and songs with a feminist spin. 7:30 p.m. Fri.-Sat., 5 p.m. Sun. Ends April 13., 800-838-3006, brownpapertickets.com. Kenyon Hall, 7904 35th Ave. S.W., Seattle, kenyonhall.org, $15-$18, Fridays-Sundays. Continues through April 13.
American Glory: the Improvised West Wing: Jet City spoofs Aaron Sorkin’s high-minded chat-fests. 8 p.m. Thurs.-Fri. Ends May 23., jetcityimprov.com. Wing-It Productions, 5510 University Way N.E., Seattle, 781-3879, wingitproductions.com, $12-$15, Thursdays, Fridays. Continues through May 23.
Checkoff in the Sun: A dying woman’s friends gather one last time in Leonard D. Goodisman’s comedy. 8 p.m. Thurs.-Sat., 2 p.m. Sun. Ends April 19., 800-838-3006, brownpapertickets.com. Eclectic Theater, 1214 10th Ave., Seattle, eclectictheatercompany.org, $12-$25, Thursdays-Sundays. Continues through April 19.
Dina Martina: Her Greatest Videos… and More!: A compilation of video highlights from the grande dame’s stage shows, hosted by herself. 8 p.m. Fri.-Sat., 2 p.m. Sun. Ends April 27., 800-838-3006, brownpapertickets.com. Re-bar, 1114 Howell St., Seattle, rebarseattle.com, $20-$25, Fridays-Sundays. Continues through April 27.
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The Edge of Our Bodies: WET’s regional debut of Adam Rapp’s 2011 drama is one long dreamscape of recollection, often so beautifully poetic that you can close your eyes and be dazzled by the language alone. The 16-year-old Bernadette (Samie Spring Detzer) is a prep-school ingenue who takes a day trip to New York to tell her boyfriend she’s pregnant. Along the way, this doe-eyed coquette—whose eyes dance almost imperceptibly between innocent victim and carny huckster—encounters men who have faces of “fat, sick babies,” whom she otherwise describes as “lunch meat” with “simian tufts of hair” billowing from their shirts. But the veracity of Bernadette’s reverie is always in question. Rapp undermines her credibility early by showing that she has a gift not only for hyperbole, but for flights of fancy. She steps in and out of character while recalling her own performance in a recent school production of Jean Genet’s The Maids—where female characters also tease the audience for believing too much of what they say. Is Bernadette been fantasizing the whole time? Is her entire yarn merely meant to test her potential as a pied piper? Directed by Devin Bannon, The Edge of Our Bodies becomes a spiral staircase of such conundrums. (7:30 p.m. Thurs.-Mon. Ends April 14.) KEVIN PHINNEY., washingtonensemble.org. Washington Ensemble Theatre, 608 19th Ave. E., Seattle, 325-5105, washingtonensemble.org, $15-$20, Mondays, Thursdays-Sundays. Continues through April 14.
Final Fantasy: The Improvised Adventures: Improv meets (and spoofs) video games. 8:30 p.m. Fri.-Sat. Ends April 26., 800-838-3006, unexpectedproductions.org. Unexpected Productions Market Theater, 1428 Post Alley, Seattle, unexpectedproductions.org, $12-$15, Fridays, Saturdays. Continues through April 26.
Gidion’s Knot: Censorship erupts in school in Johnna Adams’ new drama. See website for schedule. Ends April 20., seattlepublictheater.org. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., Seattle, 524-1300, seattlepublictheater.org, $15-$32, Through April 20.
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The Importance of Being Earnest: In Oscar Wilde’s 1895 comedy, style largely depends on the way the women are played. The men get plenty of good lines, but it’s the women who deliver Wilde’s most pointed satire. It’s refreshing, in Seattle Shakespeare’s distinguished production, to see Kimberly King play Lady Bracknell as something more than a mere bitch. Heroine Gwendolen (Emily Grogan) is sometimes treated as a sort of Bracknell-in-embryo, but here that foreshadowing comes from Cecily, whom Hana Lass gives an edgier, sharper tongue than usual. Directed by Victor Pappas, this revival has some pacing and tonal issues that detract from Wilde’s broader humor in the act-climax argument between the two friends for whom Gwendolen and Cecily have fallen (under the false assumption that their names are Ernest): Jack (Connor Toms) and Algernon (Quinn Franzen). Both are first-rate, though I like a stuffier Jack and an airier Algy, just for the sake of comic contrast. But Franzen has one distinct advantage in the role: He actually looks quite a bit like a young Wilde. It made his entrance at the very top of the show a pleasant shock. (7:30 p.m. Tues.–Sat. plus weekend matinees. Ends April 13.) GAVIN BORCHERT., 733-8222, seattleshakespeare.org. Center House Theatre, 305 Harrison St., Seattle Center, Seattle, $29, Through April 13.
In the Book Of: In John Walch’s play, inspired by the Book of Ruth, an Afghan woman tries to fit in in a Mississippi town. 7:30 p.m. Wed.-Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends April 26., 781-9707, taproottheatre.org. Taproot Theatre, 204 N. 85th St., Seattle, taproottheatre.org, $20-$40, Wednesdays-Saturdays. Continues through April 26.
Kiss of the Spider Woman: Two unlikely cellmates fall in love, or something, in this revival of the Fred Ebb/Terrence McNally musical. 8 p.m. Thurs.-Sat., plus 2 p.m. Sat.-Sun. closing weekend. Ends April 13. Second Story Repertory Theatre, 16587 N.E. 74th St., Redmond, 425-881-6777, secondstoryrep.org, $22-$27, Thursdays-Saturdays; Sun., April 13. Continues through April 13.
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Little Shop of Horrors: Created in 1982 by composer Alan Menken and his lyricist partner, the late Howard Ashman, Little Shop is simple, it’s overstuffed with hummable melodies, and it toys affectionately with two of America’s enduring infatuations: cheesy monster movies and jukebox pop. Appropriately, this co-production of ACT and the 5th Avenue cranks the fun dial up to 11 with a string of spectacular performances. These include the Spectoresque Greek chorus of Ronnette, Chiffon, and Crystal (Nicole Rashida Prothro, Alexandria Henderson, and Naomi Morgan, respectively); floral-shop owner Mr. Mushnik (Jeff Steitzer, long my favorite Scrooge in ACT’s A Christmas Carol); and his star-crossed lovebird employees, Audrey and Seymour (Jessica Skerritt and Joshua Carter). It’s easy to see why Ashman and Menken’s work has stood the test of time: They make story and song interdependent. Every song in Little Shop—the tale of a man-eating plant come to conquer Earth by devouring every last man, woman, and child—either advances character or plot. Often they do both. Here, director Bill Berry lets all his cast members cut loose, and none shrink from the opportunity. During both solo and ensemble tunes (arranged and conducted by R.J. Tancioco), there’s a palpable glee in watching confident performers nail each number with sharpshooter precision. KEVIN PHINNEY. ACT Theatre, 700 Union St., Seattle, 292-7676, acttheatre.org, $20-$50, Through June 15.
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Moby Alpha: Many words have been used to describe Moby-Dick—Lord knows Herman Melville used enough himself in writing the classic novel—but “funny” isn’t usually among them. Yet Chuck Armstrong, half of Seattle sketch-comedy duo Charles, insists otherwise: “There are actually some really funny parts in Moby-Dick,” he says. Armstrong and Charlie Stockman are the co-authors and performers of this comic sci-fi retelling of Melville’s magnum opus. Like its source material, Moby Alpha follows the crew of the Pequod on Captain Ahab’s mad quest to kill the monster that took his leg. Unlike in Melville’s tale, the Pequod is a starship, the monster is an amorphous energy cloud, and Ahab is walking quite well with the assistance of a bionic leg. Armstrong and Stockman play all Moby Alpha’s characters, distinguished by the differently colored LED lights on their space helmets. It’s a lighthearted, stripped-down take that, though hitting all the major plot points, is less concerned with Moby-Dick’s story than with using it as a vessel for poking fun at various science-fiction cliches and referencing space-faring classics from Star Trek to Alien. (8 p.m. Fri.-Sat. Ends April 12.) DANIEL NASH., 800-838-3006, brownpapertickets.com. The Ballard Underground, 2220 N.W. Market St., Seattle, ghostlighttheatricals.org, $12-$15, Fridays, Saturdays. Continues through April 12.
Moisture Festival: Entering its second decade, the Moisture Fest comes in two flavors: the family-friendly edition featuring clowns, acrobats, jugglers, and all manner of music; then there’s the late-night program, which emphasizes burlesque, T&A, and double entendres (liquor helps set the mood). In truth, both are good fun; and if you take your kids to a matinee, you may feel like going back later with your friends on a baby-sitter date night. Opening night, your host will be Ron W. Bailey, who’ll preside over an array of talent including the acrobats Duo Rendez-vous, magician Jay Alexander, the vaudeville clowns Kamikaze Fireflies, aerialist Marina Luna, and the comedy stunt performers known as Rootberry. Doc Sprinsock and the SANCApators provide the live music. The roster of talent changes almost nightly, one reason they call it a variety show. (Other venues include Broadway Performance Hall and Teatro ZinZanni) T. BOND. Hale’s Palladium, 4301 Leary Way N.W., Seattle, 706-1544, halesales.com, $10-$25, Through April 13.
A Room With a View: They’ve made stage musicals out of The Lion King, Hairspray, even Carrie. There doesn’t have to be any singing in the original Hollywood product, just an uplifting-enough story—and preferably romance—that lends itself to a cheerful chorus in the final big production number. Though it’s hard to imagine how prim and proper (and gay) E.M. Forster (1879–1970) would feel about his 1908 novel becoming Broadway fodder. The Merchant-Ivory movie of 1985 is the more direct inspiration for writer Marc Acito and composer Jeffrey Stock, both Broadway veterans. (The 5th is also nakedly targeting the Downton Abbey demo with its marketing.) As you’ll recall, virginal heroine Lucy (Laura Griffith) is traveling through Italy with her chaperone (Patti Cohenour); there she’s courted by the romantic George (Louis Hobson), which threatens a potential match back in England with uptight Cecil (Will Reynolds). Which man will she choose?!? Well, you’ve seen the movie, so you know. This Room debuted in San Diego two years ago, when Variety praised the book and score but found the production lacking. Now the 5th’s David Armstrong, directing a local cast, hopes to improve upon it. T. BOND. 5th Avenue Theatre, 1308 Fifth Ave., Seattle, 625-1900, 5thavenue.org, $29 and up, Tue., April 15, 7:30 p.m.; April 16-May 11.
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Seattle Vice: When a new cabaret show is directly inspired by a book by our own Rick Anderson, you can be damn sure we’re going to claim all the credit. Seattle Vice follows Frank Colacurcio (1917–2010), he of the famous “Strippergate” scandal, and other scoundrels, lowlifes, criminals, and eccentrics. In a real sense, Anderson remembers the good old bad old days, when cops, crooks, and reporters all tolerated a certain degree of mutual corruption. Someone who does not remember that era is Mark Siano, one of the stars—and co-creator, with Opal Peachey—of this new musical revue, set mainly in 1965. “The book was definitely an eye-opener,” says Siano. “Before then, I was mostly interested in the music and style of that era, when the Vegas lounge singers became pop singers.” Appropriately, Siano plays Gil Conte in the show, a lounge singer who became Colacurcio’s bag man for bribes and proceeds from the smut trade. Yes there was prostitution behind the scenes, but nightclubs were also social spaces filled with music, dancing, booze, and cigarette smoke. The notion of adult entertainment meant something quite different back then, says Siano. Today, with a bar in ACT’s Bullitt Cabaret and audience dancing encouraged, Siano says, “We wanted to create a space that feels like one of those old clubs.” New yet retro-sounding songs are interspersed with the rise and fall of Colacurcio’s T&A empire—“It’s probably half fiction, half real,” says Siano. This stage version of Seattle Vice is all about melody and comedy; it’s not meant to be serious history. BRIAN MILLER. ACT Theatre, 700 Union St., Seattle, 292-7676, acttheatre.org, $20, Thursdays-Saturdays, 8:30 p.m. Continues through April 19.
Tails of Wasps: A politician gets caught in a sex scandal in Stephanie Timm’s new drama, presented by New Century Theatre Company. 8 p.m. Thurs.-Sun. Ends April 27., wearenctc.org. ACT Theatre, 700 Union St., Seattle, 292-7676, acttheatre.org, $15-$30, Thursdays-Sundays. Continues through April 27.
Teatro ZinZanni: On the Air: Their new radio-themed show features the return of emcee Kevin Kent and stars Anki Andersson [see profile]. Runs Wed.-Sun.; see website for exact schedule. Ends June 1. Teatro ZinZanni, 222 Mercer St., Seattle, 802-0015, zinzanni.com/seattle, $99 and up, Wednesdays-Sundays. Continues through June 1.
The Tutor: Maryrose Wood’s musical has its strengths, but clarity of intent is not one. Her story—of an aspiring writer, Edmund (Eric Ankrim), hired by Manhattanites Richard and Esther (Hugh Hastings, Beth DeVries) to help their rebelliously apathetic daughter Sweetie (Tatum Ludlam, double-cast with Katie Griffith) get into Princeton—presents a setup for a satire, of literary pretensions or upper-class neuroses or both, but Wood throws marshmallows rather than darts at her targets. The Tutor’s cleverest conceit is that the characters in Edmund’s novel-in-progress come to life to advise him. Played adroitly by Matthew Kacergis and Kristen deLohr Helland, they shape-shift from role to role as Edmund tries to commit to a literary milieu. All the costume and accent changes force Andrew Gerle into writing a lot of pastiche, though he’s a deft setter of Wood’s lyrics, especially when she offers the juicy challenge of dialogue or differing points of view within a song. His best number is a solo for Esther, “That’s How a Life Is Made,” a poignant paths-not-taken lament with a graceful melodic irregularity that sounds just like introspection made music. (Runs Wed.-Sun. plus some Tues.; see website for exact schedule. Ends April 27; then runs May 2-25 in Everett.) GAVIN BORCHERT., 425-392-2202, villagetheatre.org. Village Theatre, 303 Front St. N., Issaquah, villagetheatre.org, Tuesdays-Sundays. Continues through April 27.
Wicked Wiz of Oz: A 45-minute mashup of your favorite Oz musicals, part of the “Mimosas With Mama” drag brunch. 1:30 p.m. Sun., strangertickets.com|mimosaswithmama.com. Narwhal, 1118 E. Pike St., Seattle, 325-6492, unicornseattle.com, $15-$20, Sundays.
