Getting into character

So, we've just launched our 2008-09 season brochure. The concept behind it is pretty cool. We asked Rep staff to "play the parts" of some of the characters in the shows and set up three days of photo shoots. The pictures turned out funny, sweet and really genuine, which we hope reflects the season we have lined up. For a full list of plays, visit www.seattlerep.org. We're kicking things off with a really fun version of The Three Musketeers.

Anyway, you can see the brochure for yourself in a neat flash layout that will let you flip the pages here. And below is a slide show of behind-the-scenes photos and a short behind-the-scenes video I shot during the shoot for You Can't Take it With You. Enjoy!

Charlie Chaplin's granddaughter stars in circus-theater piece

Aurélia's Oratorio opens TONIGHT! Five Night Only!

You Should Know...
Performer Aurélia Thierrée is Charlie Chaplin's granddaughter

Her mother Victoria Thierrée Chaplin—herself a performer and co-founder of several European circus troupes—directed the piece

The show is 70 minutes of "dazzling stage illusion"

Seattle International Children's Festival is co-producing the show, but it's not for kids under 10. In fact Chaplin calls the show a fairy tale but one in which "a puppet commits suicide — but it's over in one second!"

Opens tonight and plays through May 11, Seattle Repertory Theatre, Seattle Center; $10-$35. Tickets at www.seattlerep.org or 206-443-2222.

Want more info?
Check out this preview article in The Seattle Times. Read about Aurélia's stint with British theatrical cult band the Tiger Lillies and what it's like to have your mother direct you in a solo piece.

Spitting, yoga and other mysteries of Troy revealed

You must must must read this interview from Ruby A. of Teen Tix. Teen Tix is a program that provides $5 theatre, art, etc. tickets teens. They also run a young critics program, and one of their young critics interviewed the three The Cure at Troy chorus members. Its is hilarious and charming.

Jon, Guy, and Ben have one very important thing in common: their first names are made of three letters, and that is an amazing feat in and of itself. But more importantly, depending on who you talk to, they also star as Chorus members in the play The Cure at Troy. The following is an interview with the three-lettered phenoms and all the magic, at Troy.

Continue reading the interview.

So...What did you think?

We went down to the lobby last night and asked people what they thought of The Cure at Troy. I'm not lying when I say that all the comments were really positive: I didn't edit any negative things out. And they came from both men and women from high school age on up, which is surprising considering this is a totally unique and different show with crazy singing, a giant mountain for a set and bare-chested men bathing in an on-stage mud pool...all adaptated from a Greek myth.

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More info on the show, as always, at www.seattlerep.org

A force of nature

Last night was the official opening of The Cure at Troy. Amidst baklava and ouzo cocktails there was a lot of talk about the show. Clearly that's usually what happens at an opening night party, but this play seems to be causing much more conversation. It's a piece that some people are loving fiercely, calling the best piece of theatre they've ever seen. Other people aren't sure what to make of it. The show, after all, turns a Greek myth on its head.

These seem to be universal truths, though: Boris McGiver, playing Philoctetes, gives one of the most raw, gut-wrenching performances you'll ever see; the lighting design is out of this world, from the breaking of dawn at the beginning to the rock show ending; the set is epic and rooted in the story of the play—not just huge or novel for the sake of being huge or novel; and director Tina Landau has made some big, bold choices. It's a force to be reckoned with.

So. Thus ends our season. With a bang.

More info about Troy here.

A mountain out of, well, nothing

As promised, the ridiculously cool time lapse video of the The Cure at Troy 16-foot mountain being built in the scene shop and moved onstage. The set was designed by Blythe Quinlan, it took about three weeks to build, and you can see it live and in person (with hot bare-chested men crawling on it in real mud) April 3-May 3. I think that's all you need to know.

Things of note

There is a sign on the scene shop door that says "Do Not Enter. Foaming." They are spraying foam on a giant volcano, which is the major set piece for The Cure at troy. When I say giant I mean giant. This thing is enormous and covered with rocks and mud. Coming soon: a time lapse video of it being built.

The inside scoop from the rehearsal room is that the show is an action packed hour and a half. The inside scoop from the bare chested photo shoot is that the men in the cast are sexy. I am going to see if I can get my hands on one of those photos to prove it to you.

Other news of note: The How? How? Why? Why? Why? specialty cocktail is a delicious Salty Dog and the admin offices got a new microwave. You may think that's not exciting, but I'm here to tell you it really is.

Next season, plus some accordion!

Well. I apologize. This blog has been taking a big of a nap. Things got crazy around here as we started launching into our renewal campaign—with some awesome plays under consideration including a comedy about the apocalypse, one of my favorite comedies of all time You Can't Take it With You and a fun, fast and family friendly version of Three Musketeers (the U.S premiere!). Read all the titles here.

I've been scheming plans to make this blog better next season. For one, more artists (actors, directors, playwrights) writing. I know you love me, but I want to get you inside the rehearsal process. But until we get there, an update on what's new. Such as...

How? How? Why? Why? Why?
Kevin Kling's new show. It is amazing. We do audience surveys on every show, and the responses have been overwhelming. I would say 99% say they would recommend the show. We're getting comments like:

"Funny, touching, poignant and rates as one of the best plays I have ever attended."

"CALL THE BOX OFFICE IMMEDIATELY AND GET TICKETS. IMMEDIATELY."

"I have recommended this play to every single friend and close acquaintance I've spoken with in the last week. I told them how masterfully the story was interwoven with the music, and that it was easily one of the best plays I've ever seen."

Here are two videos, filmed during our hot dog roast in the scene shop to kick off the rehearsal process. In the first Simone Perrin, who plays accordion and sings in the show, does an awesome, awesome cover of Hank Williams' "Long Gone Lonesome Blues." In the second Kevin talks about what the title of the play means.

So a French maid walks in a bar...

We had our meet and greet for The Imaginary Invalid yesterday, and I just wanted to give you the inside scoop. This adaptation of Moliere's last comedy is going to be nuts. Lots of modern touches, a set with two giant turntables, a French maid, a "steaming sexpot," spontaneous music and a dance number in doctor scrubs (all of this, of course is subject to change, but it gives you an idea of what you're in for). The director David Schweizer said the theme of the production is expect the unexpected.

Also, the play—about a hypochondriac trying to get his daughter to marry a doctor so he won't have to pay medical bills—is packed full of both low and high brow humor (think witty double entendres and fart jokes). Keep an eye on the Rep web site for a bodily function joke contest and some wacky videos, possibly starring sock puppets.

John Aylward's broken toe

From the P-I:

John Aylward goes on despite a broken toe

Seattle actor John Aylward has every right to look glum. Earlier this week Aylward broke a toe on his right foot during a preview performance of "The Breach," which opened Wednesday at Seattle Rep.

The play -- really three plays in one -- centers on the lives of several people during and after Hurricane Katrina. Ironically, one of the characters Aylward portrays is a man with multiple sclerosis who doesn't have the use of his legs and must leave his wheelchair to swim to safety. Now, he says, life is at least partially imitating art. For another character who is ambulatory, Aylward now gets to use a cane.

From the playwrights...

Here's a short video of the three playwrights talking about the play and the politics of Katrina.

Keeping the light on

Happy New Year. Clearly one of my resolutions wasn't "blog more," but it's never too late to make that one, right? Sorry for the lag. The holidays happened and New Years happened and recovering from New Years happened...

But here we are. The Breach opens tomorrow night. If you haven't heard about it, it's a fascinating look at the aftermath of Hurricane Katrina, pieced together by three different playwrights (Catherine Filloux, Tarrel McCraney and Joe Sutton). I saw the play last night, and was amazed at the world created on stage. There is a body of water stretching from one end to the other in which actors swim. There is a boat, there is rain.

But it's not a spectacle piece. Despite those elements, it feels simple. When there is a family stranded on a roof, your attention is on them, the horror and strangeness of the situation. David (Esbjonson, our artistic director) did a meticulous job directing. The play feels both monumental and very small and personal.

But more than that, The Breach has an even more important role. The playwrights have talked a lot about "keeping the light on" in New Orleans, and this play, no matter if you love it or hate it, does indeed keep our attention—here miles away in Seattle—focused on what's still happening in the south.

In the lobby we're selling art, music, jewelry, etc. with all of the proceeds going directly to New Orleans artists. It's pretty cool. On the cocktail front, we've got a Big Easy Collins made with an Absolut Vodka; the proceeds of that also go to rebuilding NOLA (and it's delicious).

The Latest

I didn't drop off the face of the planet, I've just been in Hawaii. Go ahead, hate me. It was 80 degrees and sunny. But, surprise, surprise, Seattle is not. Which, I guess, means it's a good time to head to the theater. So, before I head out for the night, I just wanted to catch you up on a few things.

1. Back Home Again: A John Denver Holiday Concert closes on Monday, Christmas Eve. I saw it last Sunday, and it is actually quite charming. You should know that it's a full-on concert, not a theatre piece, with a mix of Christmas songs and John Denver classics, and Mr. Denver won't be there. Because, he's you know, not living. But the music is great, many of the musicians used to play with John, there's a little twang, fiddle, and boot stomping, and it's the perfect sort of uplifting holiday entertainment to bring your family to. I know, I brought my parents and they loved it. And I even bought them tickets. You can get yours here.

2. We're gearing up in a big way for The Breach, a fascinating new piece by three playwrights responding to Hurricane Katrina with three different stories. We have some great actors already on board, including John Aylward (of ER and West Wing fame).

We also have a ton of great programming lined up to deepen our understanding of what happened in New Orleans during Katrina and what is still happening. Times-Picayune journalist and author Chris Rose is coming to speak, Elliot Bay Bookstore is hosting a reading, The 5-Spot, with a New Orleans-themed menu, will be offering diners discounts to the show, we'll be selling art from NOLA-based artists in the lobby (proceeds going right back to them), and plenty more. I'll keep you updated, and there will be a calendar on our website, but you heard it first, as they say.

3. It's still raining. Ugh.

John Denver Sing-a-Long

Last Friday our Education Associate Jess and I went downtown to see if shoppers at Westlake Center 1. Like John Denver and 2. Would sing his songs for us on camera (because, you know, we're opening Back Home Again: A John Denver Holiday Concert tonight. The results? Seattle likes John Denver AND they like to sing (you can be the judge of whether or not they can sing).

By the way, we got a sneak peek of the music (performed by former members of John's band, including Dan Wheetman who co-wrote Fire on the Mountain, which we did last season). It was awesome. I didn't even think I liked John Denver, and surprise! It almost brought me to tears. Take me home, country roads.

Paying what you can

There was an article in today's Seattle Times about paying what you can for arts—case in point, Radiohead's new album. They also mentioned Seattle Rep's Pay What You Can nights (something other theaters in town also employ).

Seattle Repertory implemented a pay-what-you-will night for the usually light Halloween, and it sold out. Like many theaters, it holds one such night per performance, totaling around a half-dozen a year. The minimum cost is $1, but customers pay on average $5. But each show, there's always somebody who is willing to pay the full price of $40, because that's what they decide the show is worth, said Christy Carlson, the ticketing services manager.

The article also mentions KEXP, the band Maktub, SAM and more.

I've seen first hand the huge lines that form on the days that we offer Pay What You Can performances (usually the first Monday preview of a Bagley show). People love cheap tickets, but more than that, they love getting to decide what the experience is worth for them.

Wouldn't it be nice if everything was like that? Oh, yes Apartment Manager, this month I'll be giving you $50 because that's really what this place is worth.

Friends and Neighbors

In news from "across the lawn," Sheila Daniels was just named the Intiman's new associate director. Sheila is a fantastic director (anyone see Pericles at Seattle Shakes recently? Or Crime and Punishment at CHAC?). Plus she's just awesome, in general.

It's definitely a good thing for Seattle theatre and seems like a real effort by Intiman to bridge the gap between the few remaining mid-size theatres in town and the big houses. Bringing in artists from the "trenches" like Marya Sea Kaminski and Jen Zeyl as we did for My Name is Rachel Corrie proved to be a very good thing for everyone involved—the energy and vision around that show was palpable. And that was just for one production. I don't know about you, but I'm psyched to see what Sheila will do as a full member of their artistic team.

You can read the full scoop in the Seattle Times

One more thing...

Oh wait, one more thing and then really, I'm leaving. I saw The Cook on Friday, and it is one of my favorite plays I've ever seen at the Rep. I know you may be inclined to not believe me since I am biased, but here's the P-I's review and here's the Times.

If nothing else, know tickets are going fast, and if you want to see it, you should get your tickets now. It's the perfect show to bring your family, you know the ones who are in town and smothering your existence crammed in your house.

Feeling Blue

If you can't tell, I'm spending a good amount of time behind the camera lately. So, my last duty before heading off to three days of cooking, eating and eating some more, is sharing with you our latest behind-the-scenes video feature.

Check out One Minute With...Chuck Smith, director of Birdie Blue. I haven't seen the show yet because last night, while everyone else was watching the opening performance, I was in the kitchen swirling up gallons of the specialty cocktail, Sock It To Me Cider. The cider was great, so I think it was worth the price.

I can say the general feeling after the show was: "Wow." Great, acting and a really touching, heart-wrenching story. We survey our preview audiences, and one person said, "You must see this play. The actors are unforgettable in their roles. The story is touching and rings true. This play would touch anyone's heart and change their view of contemporary life."

So there you have it.

Feeding Our Interns

Seattle Rep has a great internship program. I know because I, along with about 10 other staffers came up through the illustrious ranks. You learn a ton and are treated as a bonafide member of the staff, not just some coffee monkey. And I also know living on a meager stipend means learning the fine art of food scrounging, happy hour searching, and artful begging.

Seattle Rep knows that stipend only goes so far, so come holiday time, every year the staff and volunteers in the Seattle Repertory Organization pitch in to buy food, gift certificates, toilet paper and other sundry items (sometimes beer).

But we make our interns work for their food. Check out the video of yesterday's intern feeding ritual. More information about the less mysterious parts of our internship program is available here.

The Price is Right

This article came out last week in the Seattle Times. In it art critic Sheila Farr does a check in on the new Seattle Art Museum, noting a decline in admission, possibly tied to an increase in ticket prices. Some people in Seattle have deemed $15 too much for an afternoon of art.

Last year on the other side of the country (and in a different sort of arts venue), Signature Theatre Company in New York did something unthinkable: They made every ticket for every seat $15. People came out in droves, especially young people.

The Rep's $10 ticket for anyone 25 and under is certainly popular, though not close to that level (every one of Signature's productions sold out). It costs $10 to see a movie, but when I ask my under-25 friends if they want to see a play for that price, they quite often balk, "That's a lot for something I don't even know if I'll like."

So where's the line? I'm curious how people decide what's too much for art. I know my measures: trust in the company/venue, knowing people involved, interest in the subject matter. I myself have hesitated to pay $15 for a fringe theater show but now that I'm putting up my own fringe show I have no hesitation in setting a $15 ticket price. All that work...of course it's worth the price of two cocktails.

What do you think? What will you pay for art?