Theater
Boom Boom L’Roux’s Late-Night Revue: Boasting “Seattle’s hottest performers–a true spectacle de variete.”. Can Can, 94 Pike St. Downstairs from Matts & Chez Chea, Seattle, 206-652-0832, www.thecancan.com, $12-$20, Wed., March 6, 10 p.m..
Cliffhouse: Macha Monkey presents Allison Gregory’s rather Hitchcockian-sounding play. Opens March 8. 8 p.m. Fri.-Sat. Ends March 30., 800-838-3006, brownpapertickets.com. Richard Hugo House, 1634 11th Ave., Seattle, www.hugohouse.org, Opens March 8, Fridays, Saturdays. Continues through March 30.
Culturebot: On the Boards puts critics onstage, along with the subject of their consideration, in an interactive performance/exploration of the difference between “having an opinion and having a conversation.” If the Internet gives everyone the chance to be a critic, including dogs, what is the new role of commentary? Andy Horwitz and Jeremy Barker of the commentary website Culturebot will describe their new Citizen Critic Project and their efforts to launch “public critical conversations” on a variety of subjects. SANDRA KURTZ., ontheboards.org. On the Boards, 100 W. Roy St., Seattle, 206-217-9886, www.ontheboards.org, $12, Thu., March 7, 8 p.m..
Distracted: Lisa Loomer’s dramedy looks at a 9-year-old who may or may not have ADD. Opens March 8. 7:30 p.m. Fri.-Sat., 3 p.m. Sun. Ends March 24., 842-8569, bainbridgeperformingarts.org. Bainbridge Performing Arts, 200 Madison Ave. N., Bainbridge Island, www.bainbridgeperformingarts.org, $19-$27, Opens March 8, Fridays-Sundays. Continues through March 24.
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Good People: For a comedy rooted in the class politics of South Boston, Good People arrives with excellent Emerald City cred. Its award-winning 2011 Broadway run was directed by Daniel Sullivan, who formerly led the Rep. This Seattle staging is a transfer of New Jersey’s much-praised George Street Playhouse production, helmed by David Saint, who served under Sullivan at the Rep. And the cast includes supporting performances from two of this city’s most deft character actresses, Marianne Owen and Cynthia Lauren Tewes. The play concerns struggling, middle-aged “Southie” Margie (Ellen McLaughlin, the original Angel of Angels in America), a single mother fired from her job at the dollar store. With encouragement from a couple of wisecracking sidekicks (Owen and Tewes), she decides to reach out in not-so-good ways to a “good” person, an old flame who managed to break the crippling grip of the ’hood to become a prosperous doctor (John Bolger). Trust that this will all register painfully true: Saint grew up in the Boston area, and playwright David Lindsay-Abaire—a Pulitzer winner for the devastating Rabbit Hole—is a Southie himself. As he told The New York Times, he knows how unlikely it is to escape your station in life: “We have this myth that if you work hard, you can accomplish anything. It’s not a very American thing to say, but I don’t think that’s true. You need luck, you need opportunity, and you need the life skills to recognize what an opportunity is.” (Through March 31.) STEVE WIECKING. Seattle Repertory Theatre, 155 Mercer St. (Seattle Center), Seattle, 206-443-2222, www.seattlerep.org, $12-$80, Opens March 8, Fri., March 8, 7:30 p.m.; Wednesdays-Sundays, 7:30 p.m.; Saturdays, Sundays, 2 p.m.; Tue., March 12, 7:30 p.m. Continues through March 31.
Impenetrable: In Mia McCullough’s play, a beauty ad sparks controversy and self-examination. Presented by Mirror Stage., mirrorstage.org. Ethnic Cultural Center/Theatre, 3931 Brooklyn Ave. N.E., Seattle, 206-543-4635, depts.washington.edu/ecc/, $8-$10, Sat., March 9, 8 p.m.; Sun., March 10, 2 p.m..
Next Fall: Adam and Luke fall in love in Geoffrey Nauffts’ 2010 play, but there’s just one problem: Adam’s an atheist, Luke is a believer. Preview March 12, opens March 13. 7:30 p.m. Wed.-Sat., 3 p.m. Sun. Ends April 6., 938-0339, artswest.org. ArtsWest, 4711 California Ave. S.W., Seattle, www.artswest.org, $10-$34.50, Opens March 12, Tue., March 12; Wednesdays-Sundays. Continues through April 6.
Once in a Lifetime: Theater Anonymous (in which the actors never rehearse together, or even meet until the single performance) presents Kaufman and Hart’s comedy about the dawn of Hollywood., 1448fest.com. Erickson Theatre Off Broadway, 1524 Harvard Ave., Seattle, 206-587-5400, $30, Sat., March 9, 8 p.m..
Paper Bullets: John E. Ellis reworks Much Ado About Nothing for the world of tabloid journalism. Opens March 8. 7:30 p.m,. Thurs.-Sat. plus 7:30 p.m. Mon., March 18 and 2 p.m. Sun., March 24. Ends March 24., ghostlighttheatricals.org. The Ballard Underground, 2220 N.W. Market St., Seattle, 206-395-5458, www.ghostlighttheatricals.org, $12-$15, Opens March 8, Thursdays-Saturdays; Mon., March 18; Sun., March 24. Continues through March 24.
You Never Can Tell: The Endangered Species Project presents a staged reading of Shaw’s comedy of manners., endangeredspeciesproject.org. Stage One Theater, 9600 College Way N., Seattle, 206-527-3600, www.northseattle.edu, Donation, Mon., March 11, 7 p.m..
Young Playwrights Festival: Eight premieres by fledgling authors., acttheatre.org. Elliott Bay Book Co., 1521 10th Ave., Seattle, 206-624-6600, www.elliottbaybook.com, $5-$10, Thu., March 7, 7:30 p.m.; Fri., March 8, 7:30 p.m.; Sat., March 9, 1 & 4 p.m..
The Adventures of Gilbert & Sullivan: Jet City takes on improv operetta, as the librettist and composer themselves become characters in a Victorian fantasy (or wherever the audience decides to send them). 8 p.m. Thurs.-Fri. Ends April 19., jetcityimprov.com. Wing-It Productions, 5510 University Way N.E., Seattle, 206-781-3879, www.wingitproductions.com, $12-$15, Thursdays, Fridays. Continues through April 19.
Altar Boyz: “Christian boy band”–this popular musical comedy’s about as high-concept as it gets. 7:30 p.m. Fri.-Sat., 2 p.m. Sun., plus 7:30 p.m. Thurs., March 7. Ends March 10., 363-2809, SeattleMusicalTheatre.org. Seattle Musical Theatre, 7400 Sand Point Way N.E. # 101N, Seattle, www.seattlemusicaltheatre.org, $35-$40, Fridays-Sundays; Thu., March 7. Continues through March 10.
Annie: The King’s Players take on the popular uplift-fest. 8 p.m. Fri.-Sat., 2 p.m. Sun. Ends March 10., kingsplayerstheater.org. Shorecrest Performing Arts Center, 15343 25th Ave. N.E., Seattle, 206-393-4280, $17-$22, Fridays-Sundays. Continues through March 10.
Blank Slate: You are the playwright in Unexpected Production’s new improv show. 8:30 p.m. Thurs. Ends March 14., unexpectedproductions.org. Unexpected Productions Market Theater, 1428 Post Alley, Seattle, 206-587-2414, www.unexpectedproductions.org, $7, Through March 14.
Cirque du Soleil: Featuring characters named Miranda and Cali (as in Caliban), Cirque du Soleil’s new Amaluna is loosely inspired by Shakespeare’s The Tempest. But in place of sorcerer Prospero, the force that conjures up the eponymous storm is a she: Prospera. And like the acrobatic twists and turns of Soleil’s circus troupe, Amaluna flips the familiar plot with mostly distaff casting. The action is set on a “mysterious island governed by Goddesses and guided by the cycles of the moon.” There, the love of young Miranda and her shipwrecked suitor–now named Romeo–is put to the test. Created and directed by Diane Paulus, this touring show isn’t heavy on plot. Kids will appreciate the acrobats, juggling, and colorful costumes, and the traveling Grand Chapiteau–a climate-controlled, 2,600-seat tent–only adds to the spectacle, expected to run at least a month on its first stop in the U.S. GWENDOLYN ELLIOTT., cirquedusoleil.com. Marymoor Park, 6046 W. Lake Sammamish Parkway N.E., Redmond, 206-205-3661, www.kingcounty.gov, $43.50 and up, Through March 24.
Crossing Delancey: Seattle Jewish Theater Company presents staged readings of Susan Sandler’s play of Manhattan romance. Eight performances through March 30; see website for schedule and venue info., seattlejewishtheater.com. Various locations, 0 St., Seattle, N/A, Wed., March 6; Sat., March 16; Sun., March 17; Sun., March 24; Thu., March 28; Sat., March 30.
5 x Tenn: Stone Soup revives its quintet of one-acts by Tennessee Williams. 8 p.m. Thurs.-Sat. Ends March 9., 633-1883, stonesouptheatre.org. Stone Soup Downstage, 4029 Stone Way, Seattle, www.stonesouptheatre.com, $14-$25, Thursdays-Saturdays. Continues through March 9.
Five Women Wearing the Same Dress: Rogue Theatrics stages Alan (Six Feet Under) Ball’s comedy set at a Tennessee wedding reception. 7 p.m. Thurs.-Sat., 2 p.m. Sun. Ends March 17., roguetheatrics.com. Theatre Puget Sound, Seattle Center, Seattle, 206-770-0370, www.tpsonline.org, $15-$20, Thursdays-Sundays. Continues through March 17.
I Won’t Be Ignored: Blood Squad, Seattle’s horror-improv troupe, takes on the crazy-stalker film genre. 11 p.m. Fri. Ends March 8., balagantheatre.org. Balagan Theatre, 1117 E. Pike St., Seattle, 800-838-3006, www.balagantheatre.org, $10, Fridays. Continues through March 8.
Impromptu: Music and theater are blended through improv. 8:30 p.m. Fri.-Sat. Ends March 30., unexpectedproductions.org. Unexpected Productions Market Theater, 1428 Post Alley, Seattle, 206-587-2414, www.unexpectedproductions.org, Fridays, Saturdays. Continues through March 30.
Improv Happy Hour: Early-evening spontaneous theater., unexpectedproductions.org. Unexpected Productions Market Theater, 1428 Post Alley, Seattle, 206-587-2414, www.unexpectedproductions.org, $5, Fridays, Saturdays, 7 p.m..
Jesus Christ Superstar: An all-female production of the Webber fave seems a little out-there for Burien, but good for them. 8 p.m. Fri.-Sat., 2 p.m. Sun. Ends March 24., 242-5180, burienlittletheatre.org. Burien Little Theater, S.W. 146th St. and Fourth Ave. S.W., Des Moines, www.burienlittletheatre.org, $7-$20, Fridays-Sundays. Continues through March 24.
March is Cabaret Month: On four Saturdays in March, the cream of local cabaret performers., ballardjamhouse.com. Egan’s Ballard Jam House, 1707 N.W. Market St., Seattle, 206-789-1621, www.ballardjamhouse.com, $15 + 2 drink min, Sat., March 9, 7 & 9 p.m.; Sat., March 23, 7 & 9 p.m.; Sat., March 30, 7 & 9 p.m..
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The Mousetrap: The first rule of Agatha Christie’s The Mousetrap is: You do not talk about The Mousetrap. So successful has been this rule that the whodunit has run continually in London since its 1953 premiere. This adorable production, wittily directed by Jeff Steizer, offers further insight into its record-breaking longevity. Five guests arrive at Monkswell Manor during a snowstorm, joining the inn’s owners, Mollie and Giles (Hanna Lass and Richard Sloniker), on Jason Phillips’ atmospheric neo-Tudor parlor set. Amid jockeying for rooms and spots by the fire, the inn’s population dwindles, and a clever inspector (Jared Michael Brown) arrives on skis to investigate possible connections to a recent murder in the area. Luminaries, including David Pichette, R. Hamilton Wright, and Ellen McLain, join first-rate younger actors to give maximum boost to this lovably loopy genre crowd-pleaser. Mum’s the word. (Runs Wed.-Sun. See website for exact schedule. Ends March 24.) MARGARET FRIEDMAN., 425-392-2202, villagetheatre.org. Everett Performing Arts Center, 2710 Wetmore Ave., Everett, $22-$63, Through March 24.
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The Music Man: Director Bill Berry makes this Technicolor trip down memory lane look effortless, and it’s because not a stitch is left out of place in recreating a Norman Rockwell/turn-of-the-last-century fantasia. The orchestra (under Joel Fram’s direction) is as crisp as a Disneyland parade; Bob Richard’s choreography innovates while also nodding to tradition; and Gregory Poplyk’s costumes continually surprise and delight. None of that would matter without a cast that can sell this canned corn, which ought to be well past its due date. In this tale of traveling salesman Harold Hill (a nimble and winning Noah Racey), who overstays his welcome after winning the heart of the town librarian (nightingale Laura Griffith), not only are the leads spot-on, but the chorus and all the supporting roles pile on the pleasures. Jeff Steitzer, who delivered such a memorable Scrooge two months ago at ACT, brings a whole new shade of crabby bluster to the mayor enthralled by Hill’s pied-piper racket. Laura Kenny, as the mayor’s wife, animates her cartoon role with the kind of mugging that went out of vogue with silent pictures. She’s a riot. A lot has changed since Meredith Willson’s 1957 trifle won the Tony for Best Musical (beating West Side Story). The Music Man has been described as a relic of an era that never truly existed—or worse, cotton candy for the soul. Never mind the naysayers, because confections created as well as this will only leave you craving more. (Runs Tues.-Sun.; see website for exact schedule. Ends March 10.) KEVIN PHINNEY [See Kevin’s full review.]., 625-1900, 5thavenue.org. 5th Avenue Theatre, 1308 Fifth Ave., Seattle, www.5thavenue.org, $31 and up, Through March 10.
North Star Vaud: K. Brian Neel curated this neo-vaudeville show. 7:30 p.m. Fri.-Sat., 2 p.m. Sun.; also noon Wed., March 6. Ends March 10. Stage One Theater, 9600 College Way N., Seattle, 206-527-3600, www.northseattle.edu, Pay what you can, Fridays-Sundays. Continues through March 10.
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Photograph 51: In chauvinistic early ‘50s London, scientist Rosalind Franklin works in the shadows of James Watson and Francis Crick, who claimed all the credit for describing our DNA. Her X-ray images helped reveal DNA’s double helix structure; that much of Anna Ziegler’s praiseworthy 2008 drama is based on the historical record. The rest is invention, as Franklin (Kirsten Potter) rebuffs the romantic attentions of her boss her intellectually inferior boss (a role nicely self-effaced by Bradford Farwell). Problem is, the two are in a race with the Watson/Crick team, and Franklin’s refusal to cut deals in the lab will put them behind. The cocky young Dr. Watson (an excellent, wild-haired Benjamin Harris) begrudgingly validates her work in that shiftiest of ways—by stealing it. “You can’t be in the race and ignore it,” he rationalizes, impugning her refusal to politick. Rounding out the scientific community are Crick (M.J. Sieber); Franklin’s assistant Ray Gosling (endearing Brian Earp); and the closest thing to a real love interest, the American Don Caspar (Aaron Blakely), whose affections are the first and only that Franklin doesn’t shun. Braden Abraham directs the excellent production. (See full review. Runs Wed.-Sun. plus some matinees; see website for exact schedule. Ends March 10.) MARGARET FRIEDMAN., 443-2222, seattlerep.org. Seattle Repertory Theatre, 155 Mercer St. (Seattle Center), Seattle, www.seattlerep.org, $12-$70, Wednesdays-Sundays. Continues through March 10.
Pinocchio: Studio East and StoryBook Theater present the tale of a wooden boy who just wants to be real. Various venues; see website. Ends March 10., storybooktheater.org. Various locations, 0 St., Seattle, N/A, $10, Sun., March 10.
Puss in Boots: The classic French tale. 7:30 p.m. Thurs.-Fri., 2:30 p.m. Sat.- Sun. Ends March 17., 232-4145 x109, youththeatre.org. Youth Theatre Northwest, 8805 S.E. 40th St., Mercer Island, www.youththeatre.org, $10, Thursdays-Sundays. Continues through March 17.
reWilding: The Satori Group premieres Martyna Majok’s play: “There is a place between civilization and wilderness, where people have set down roots, and use of the past tense has been outlawed. It is a society of the foreign and forgotten, the lost and the seeking, where guitars play stories people don’t speak about.” 8 p.m. Thurs.-Sun., plus Mon., March 11. Ends March 17., 800-838-3006, satori-group.com. Inscape, 815 Seattle Blvd. S, Seattle, www.inscapearts.org, $10-$15, Thursdays-Sundays; Mon., March 11. Continues through March 17.
SPF VII: It stands for Solo Performance Festival. Solo performers include Jennifer Jasper, Peggy Platt, Lisa Koch, and others; see website for complete lineup and schedule. Ends March 23., theatreoffjackson.org. Theater Off Jackson, 409 Seventh Ave. S., Seattle, 206-340-1445, www.theatreoffjackson.org, $15, Thursdays-Sundays. Continues through March 23.
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Teatro ZinZanni: Dinner at Wotan’s: The Norse mythos may at first seem an odd fit for Teatro ZinZanni’s voluptuous red-velvet atmosphere (one thing Viking culture was not was sybaritic), but here’s how they make it work as the theme of their new dinner circus/cabaret: It’s Ragnarok eve, aka the final battle of good vs. evil, and Wotan and the rest of the Wagnerian pantheon are ready to par-tay! Geoff Hoyle plays “Dinner at Wotan’s” host–and his mother (something like Dame Edna seen through a Craig Ferguson lens), and, in what weirdly turned out to be the show’s funniest bit, borscht-belt comic “Red Bottoms.” Soprano Kristin Clayton plays Brunnhilde, PNB alumna Ariana Lallone adds statuesque beauty with her dance routines, and the “Vertical Tango” team of Sam Payne and Sandra Feusi return from TZ’s previous show to earn the evening’s wildest applause. Wall-to-wall music–”Norwegian Wood,” Grieg, The Police, Carmina burana, and Queen–seasons the five-course dinner spread out leisurely among the impressive acrobatic acts and nudge-nudge shtick. GAVIN BORCHERT., 802-0015, dreams.zinzanni.org. Teatro ZinZanni, 222 Mercer St., Seattle, www.zinzanni.org, $106 and up, Thursdays-Sundays. Continues through May 12.
These Streets: Revisiting Seattle’s grunge era through the eyes of four fictional characters, These Streets aspires to be to the ‘90s what The Big Chill was to the ‘60s—a vehicle that evokes the giddy rush of bygone times, revisits its pivotal players 20 years later, and finally puts the entire zeitgeist into a proper historical perspective. These Streets boasts a solid local pedigree, with its script—based on interviews with women of the grunge years—credited to Sarah Rudinoff, Elizabeth Kenny, and musician Gretta Harley. (The latter leads the stage band; Rudinoff and Kenny act in the show.) These Streets arrives with a mission: to explore how and why women were integral to the grunge scene, even while Nirvana, Soundgarden, and Pearl Jam relegated them to commercial obscurity. The play’s now-and-then structure has two actresses portraying the lead characters (Dez, Ingrid, Christine, and Kyla), and all of them invest their roles with varying degrees of passion and believability. But at issue here is whether this is a concert interrupted by dialogue, or a play with music; because both vie for time and audience attention. Clearly, the music is the star of These Streets, and whenever the house band is in the spotlight, the show roars to life. There’s a mosh-pit chaos to the proceedings, and director Amy Poisson seems divided about how to focus the maelstrom of energy thrown her way. She simply lets the narrative slug it out with the music, and the result is a caterwauling melange that does neither idiom justice. (8 p.m. Thurs.-Sun. Through March 10.) KEVIN PHINNEY [See Kevin’s review.]. ACT Theatre, 700 Union St., Seattle, 206-292-7676, www.acttheatre.org, $15-$30, Thursdays-Sundays, 8 p.m. Continues through March 10.
