The Christmas Day that Peace Broke Out
As once again politicians seek to unleash the dogs of war, a one-man play recalls the brief holiday truce that marked the first year of World War I. Michael Winship writes.
Electra: Oration, Orison and Oratorio
Omar Willey reviews the latest production of Electra from the UW UTS.
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.
Small Wonder: La Mélancolie des dragons
Philippe Quesne’s piece at On the Boards proposes naïveté as the basis of theatrical magic. Omar Willey considers.
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?
Is She Dead Yet? at Annex Theater (dir. Brandon J Simmons)
José Amador on the controversial comedy taking place at Annex Theatre.
In the Absence of the Feminine: Dance Like a Man
Omar Willey disserts on Pratidhwani’s production of Mahesh Dattani’s highly-respected play.
The Drama is Unbecoming Now: Six Characters in Search of an Author
Omar Willey muses on Seattle Theatre Works’ production of the Pirandello classic.
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