Gender Tender’s Melted Riot at Velocity
Observations and ruminations on Gender Tender’s Melted Riot, a meditation on the cultural flotsam and impact of the Stonewall Inn Riots on their 50th anniversary.
Sanctuary for Black Bodies: Dani Tirrell’s Black Bois at On the Boards
José Amador returns to talk about Dani Tirrell’s BLACK BOIS, an evening length dance program that is having its premiere at On the Boards this weekend.
A Night of Rhythmic Underdogs: Kim Lusk’s A Dance for Dark Horses
All about Kim Lusk and her A Dance for Dark Horses, a new dance having its world premiere Velocity Dance Center,
All About Abigail, a Preview of Kaitlin McCarthy’s Eight Abigails
Those going to McCarthy’s Eight Abigails this weekend at Velocity Dance Center can expect to feel a sudden awareness of unexpected surroundings, for this reason José Amador fills us in on the artist and how to prepare ourselves for the show.
Sacrifice & Attachments: An Interview with Annex’s Eat Cake Team
José Amador interviews the playwright, director and ensemble member from Annex Theatre’s upcoming production of Seth Tankus’ EAT CAKE.
MAP Theater’s Belleville (dir. Peggy Gannon)
José Amador discusses the unfortunate familiarity found at the center of MAP Theater’s production of Amy Herzog’s BELLEVILLE.
Seattle Fringe Festival 2016: Opinion & Four Mini-Reviews
José Amador muses on the return of the Seattle Fringe Festival after a year long absence, briefly reviews four productions and suggests a handful of other shows at the Fest.
MAP Theater’s The Art of Bad Men (dir. Kelly Kitchens)
MAP’s production of Vince Delaney’s THE ART OF BAD MEN represents a sort of ideal; the entire endeavor has the feel of familial comfort. This is a fortunate circumstance, for Delaney has taken THREE SCREAMS’ meditation on how we relate to art and added a simple layer of complex morality for the company to explore.
A Three-Course Brecht Feast; an Interview with The Horse in Motion’s Bobbin Ramsey
José Amador sits down with The Horse in Motion’s Bobbin Ramsey to discuss her company’s coming production of BRECHTFEST at the Can Can.
On Avoiding Artistic Integrity For Commercial Success
The ensuing commentary was originally intended to be the introduction to our review of Brandon Simmons’ IS SHE DEAD YET?
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