Superior Donuts: The Kitchen Sink and the Coffee Pot
In these days of billions of Facebook postings and tweets about the most absurd minutiae in a human life, can banality remain banal anymore? Or has all drama simply been reduced to banality? Omar Willey traces the stream of banality back to its fountainhead.
The Finest Work Songs: A Tour of Seattle Artists Working Together
From these questions and these spaces, I wanted to start something a little different: a series highlighting collaborations among Seattle-area artists. I want to break down the myth of the solitary artist. I want to find out more about artistic collaboration: the rewards, the challenges, and the logistics. I want to get to know the practitioners, the people who are doing collaborative work, not just the people who talk about collaborative work. I want to see the contours of how Seattle artists work together. I want to see how that might inspire other artists within and outside Seattle.
Seattle Sketchfest 2012: A Conversation with The Cody Rivers Show’s Mike Mathieu
José Amador talks with The Cody Rivers Show’s Mike Mathieu and discusses some of the duo’s experiences during their busiest period, how much more valuable it is to stick to one’s artistic principles, their approach to creating new material, and how this current volume is less like a concept album, and more like a regular grouping of songs.
UMO Ensemble’s Maldoror: Absurd Lyricism Envelops The Senses
As with all of UMO’s productions, one particularly needs to forget the brand of kitchen sink realism that is often presented on our stages. Instead, in order to begin appreciating it, what is required is an openness of the senses, an awareness of what’s transpiring onstage, and let meaning appear cumulatively after the fact.
Seattle Sketchfest 2012: A Talk with Charles & The Entertainment Show
The Star’s Kelly Dermody sits down to talk with the members of local sketch groups Charles and The Entertainment Show.
Upstart Crow’s Titus Andronicus: In Which We Learn That Women Can Also Be Vicious
Of Titus Andronicus it is known that it was once one of Billy Shakes’ least produced plays, because it is one of his more visceral, brute-force works. Its metered language is geared toward the barbarity of its story, and contains little of lyrical beauty usually associated with the playwright–that is to say, it is lyrical, but vicious instead of beatific. It is the work of Shakespeare during his crowd pleasing days, its pulpy purpose is to rouse the rabble.
How Theatre Puget Sound’s Proposal Failed
The Theatre Puget Sound proposal to assume management of the recently-vacated Seattle Center Playhouse simply did not measure up to the Cornish proposal. A look at why it did not succeed might be helpful for anyone who poses a future such venture with another similar space in the future.
In Loving Memory of Heather Artena Hughes, RIP
Today we mourn the passing of Heather Hughes, a young and vibrant woman, whose life came to an end early Wednesday morning, due to late-stage lung cancer one day before she would have turned 45. She is survived by her son, her fiancee, and her family.
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