Fall 2014 at Seattle Theatre Group_Encore Arts Seattle

Transcription

OCTOBER 2014
S E AT T L E T H E AT R E G R O U P
Whose Live Anyway? • OCTOBER 11 @ THE MOORE
WORDLESS! • OCTOBER 12 @ THE MOORE
Paula Poundstone • OCTOBER 25 @ THE MOORE
Penn & Teller • NOVEMBER 7 @ THE PARAMOUNT
Seattle Rock Orchestra performs The Police • NOVEMBER 8 @ THE MOORE
Well-Strung • NOVEMBER 8 @ THE NEPTUNE
A John Waters Christmas • DECEMBER 9 @ THE NEPTUNE
October/November 2014
Volume 11, No. 2
2014–2015 SEASON
Paul Heppner
Publisher
COMING THIS FALL
Susan Peterson
Design & Production Director
Ana Alvira, Deb Choat,
Robin Kessler, Kim Love
Design and Production Artists
Mike Hathaway
Advertising Sales Director
SEATTLE SYMPHONY
JENIFER KOH
SASHA COOKE
LUDOVIC MORLOT
Marty Griswold,
Seattle Sales Director
Joey Chapman, Gwendolyn Fairbanks,
Ann Manning, Lenore Waldron
Seattle Area Account Executives
Staci Hyatt, Marilyn Kallins,
Tia Mignonne, Terri Reed
San Francisco/Bay Area Account Executives
Denise Wong
Executive Sales Coordinator
Jonathan Shipley
Ad Services Coordinator
OCTOBER 30, NOVEMBER 1 & 2
www.encoreartsseattle.com
MOZART REQUIEM
Ludovic Morlot, conductor / Hélène Guilmette, soprano
Sasha Cooke, mezzo-soprano / Zach Finkelstein, tenor
Matthew Brook, baritone / Seattle Symphony Chorale
Seattle Symphony
Devastating beauty and heartbreaking tenderness fill
Mozart’s culminating work. Whether it’s your hundredth
Requiem or your first, this music is not to be missed.
NOVEMBER 6 & 8
TCHAIKOVSKY’S
FOURTH SYMPHONY
Ludovic Morlot, conductor / Jennifer Koh, violin
Seattle Symphony
Tragic, impassioned and dramatic. Tchaikovsky found his
artistic voice in his Fourth Symphony, one of the great
Romantic works. Also, hear Esa-Pekka Salonen’s vibrant
Violin Concerto performed by the commanding Jennifer Koh.
Paul Heppner
Publisher
Marty Griswold
Associate Publisher
Leah Baltus
Editor-in-Chief
Dan Paulus
Art Director
Jonathan Zwickel
Senior Editor
Gemma Wilson
Associate Editor
Amanda Manitach
Visual Arts Editor
Amanda Townsend
Events Coordinator
www.cityartsonline.com
Jennifer Koh’s performances generously underwritten by Ilene and Elwood Hertzog.
NOVEMBER 13, 15 & 16
PICTURES AT AN EXHIBITION
Miguel Harth-Bedoya, conductor / Augustin Hadelich, violin
Seattle Symphony
Journey from Baba Yaga’s hut to the Great Gate of Kiev
with Mussorgsky’s Pictures at an Exhibition. Also, hear
acclaimed violinist Augustin Hadelich perform
Mendelssohn’s gem of the violin repertoire.
Thursday’s performance sponsored by:
Paul Heppner
President
Mike Hathaway
Vice President
Erin Johnston
Communications Manager
Genay Genereux
Accounting
Saturday’s performance sponsored by: Viva la Música
FO R TI C K ETS:
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E N C O R E A RT S N E W S F RO M C I T Y A RT S M A G A Z I N E
ALBUM OF THE MONTH
highlights. The see-sawing psychedelic pop
IN 1989, THE BRITISH played an enormous
of Chemistry Set’s “Fields” could’ve nestled
role in propelling Seattle’s nascent grunge
comfortably next to R.E.M. on any hip University
scene into the international spotlight. At the
of Washington student’s Best of ’87 mix tape,
behest of Sub Pop Records, UK music tabloid
while “Same 18,” a pummeling
Melody Maker dispatched
instrumental by Hitting Birth, traffics
Everett True to report on
in the grinding industrial grooves
the fabulous sounds of the
that were soon after popularized by
Pacific Northwest firsthand;
Nine Inch Nails.
later that year, European
Two recurring motifs that
tours by Mudhoney, Nirvana
transcend musical styles also
and TAD collided at London’s
distinguish No Seattle: melodic
Astoria Theatre on Dec. 3 for
hooks and strong women. “[Seattle]
Lame Fest UK. A quarter
had the reputation for pumping out
century later, UK label Soul
the best rock chicks ever,” drummer
Jazz and diehard Nirvana fan
Maria Mabra of all-female quartet
Nick Soulsby have lovingly
VARIOUS ARTISTS
Shug insists in the detailed liner
sifted through the ashes of
NO SEATTLE: FORGOTTEN
notes; Soulsby’s musical choices
SOUNDS OF THE NORTH-WEST
the inferno that ensued.
GRUNGE ERA 1986-97
(including Kill Sybil, featuring future
Casting a wide net that
(Soul Jazz)
Hole drummer Patty Schemel) bear
spans from Bellingham to
her out. Calamity Jane’s lurching
Spokane to Portland, No
“Magdalena,” featuring Gilly-Ann Hanner’s
Seattle dusts off two discs worth of songs
insistent wail, leaves you wishing the riot grrrl
from PNW bands that weren’t swept up in the
pioneers hadn’t disbanded so soon after Kurt
grunge explosion. You’ll find no rarities from
Cobain asked them to support Nirvana at a
icons like Alice in Chains or Soundgarden here,
disastrous 1992 gig in Buenos Aires.
but all 23 bands featured share ties to Nirvana.
Emphasizing succinct, distinctive songs
The ferocious stop/start tempo changes of
like Vampire Lezbos’ “Stop Killing the Seals”
“The System,” an unreleased 1989 recording
and the two Bob Mould-produced offerings
by power trio Attica, betray Aaron Burckhard’s
from Olympia expats Starfish, No Seattle
claim to fame as Nirvana’s first drummer. Bleach
stitches disparate and obscure material
producer and Skin Yard vet Jack Endino plays
into a compelling start-to-finish listen.
bass on “Talk to Me,” a minimalist garage rocker
For a compilation of “forgotten sounds,”
plucked from a self-released 1985 cassette by
No Seattle is damn near unforgettable.
the Ones.
KURT B. REIGHLEY
The twin influences that shaped grunge—
hardcore punk and heavy metal—permeate the
majority of the 28 selections, yet the tracks
that stray furthest from that recipe (or eschew
Listen to “No Seattle: Forgotten Sounds...”
it altogether) account for the set’s brightest
at CITYARTSONLINE.COM/MUSIC
BIR 092414 pride 1_6v.pdf
ETHEL & KAKI KING
Thursday | October 30
$39, $34 & 29, Youth/Student $15
SWEET HONEY IN THE ROCK
Saturday | November 22
$44, $39 & $34, Youth/Student $15
Sponsored by NorthWest Logo Products
DAVID BENOIT
CHRISTMAS TRIBUTE
TO CHARLIE BROWN
Monday | December 1
$39, $34 & $29,
Youth/Student $15
Sponsored by Phill Butler & Marni Muir
and Alan & Chelea Lawrence/Edward Jones
ec4arts.org
425.275.9595
410FOURTHAVE.N.
EDMONDSWA98020
encore art sseattle.com 3
CONTENTS
OCTOBER 2014
STG Presents
A1
S E AT T L E T H E AT R E G R O U P
Whose Live Anyway? • OCTOBER 11 @ THE MOORE
WORDLESS! • OCTOBER 12 @ THE MOORE
Paula Poundstone • OCTOBER 25 @ THE MOORE
Penn & Teller • NOVEMBER 7 @ THE PARAMOUNT
Seattle Rock Orchestra performs The Police • NOVEMBER 8 @ THE MOORE
Well-Strung • NOVEMBER 8 @ THE NEPTUNE
A John Waters Christmas • DECEMBER 9 @ THE NEPTUNE
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ENTER THE LEGEND
Telling the story of a hero is hard. In preparing for the new exhibit
Do You Know Bruce?, opening Oct. 4, staffers at the Wing Luke
Museum reached out to Seattle media figures, educators and
Chinese-Americans of many generations to find out what they
really want to know about Bruce Lee.
“The number one question was, ‘Why is Bruce Lee buried in
Seattle?’” says Cassie Chinn, Wing Luke’s deputy executive director and the lead on the exhibit.
Lee’s intense connection to Seattle—his experience in the
Chinatown-International District community, his days at the
University of Washington, his marriage to Garfield High School
alum Linda Emery, his burial at Lake View Cemetery—served as a
jumping-off point for the exhibition, which brings his story down
to earth while celebrating his mythic status as a martial artist,
philosopher and film star.
“It was moving to hear Linda talk about how they always
dreamed of retiring here,” Chinn says of her interviews with Lee’s
widow. “This was where their home was, even though they were
away in California and in Hong Kong.”
Bruce Lee was born Lee Jun Fan on Nov. 27, 1940, in San
Francisco, where his opera-singer father was on tour with the
Chinese Opera. He grew up in Hong Kong, where his father’s
show business connections got him started as a child actor in
Cantonese films. His parents’ friendship with famous Seattle restaurateur (later City Councilwoman) Ruby Chow and her husband
Ping brought Lee to Seattle at age 18 to study at UW, where he met
and fell in love with Linda Emery in 1963. The two were married
4 ENCORE STAGES
Bruce Lee and his future wife,
Linda Lee, in Seattle.
® AND © BRUCE LEE ENTERPRISES, LLC. ALL RIGHTS RESERVED
Bruce Lee at Wing Luke
E N C O R E A RT S N E W S
the next year. He opened his first martial arts
studio in the ID and began forming what would
become his own influential style and life philosophy, Jeet Kune Do.
Lee’s first major American screen role came in
1966, as the sidekick Kato on The Green Hornet
TV series. For the first time, an Asian-American
played a starring role—not as a servant, villain
or enemy soldier, but as a heroic, day-saving
equal. His breakout film role came in 1971’s The
Big Boss, followed by game-changing martial
arts films Fist of Fury, The Way of the Dragon and
Enter the Dragon, which catapulted the genre
into popular culture. While filming Enter the
Dragon in 1973, Lee suffered a cerebral edema
due to an allergic reaction to pain medication
and died at the age of 32.
Created in partnership with the Bruce Lee
Foundation and in consultation with Linda Lee
and daughter Shannon Lee, Do You Know Bruce?
is a changing, three-year exhibit. His Seattle
story will be a permanent fixture, but the first
year will focus on his martial arts and philosophy; the second year will turn to Lee’s barrierbreaking TV and film roles, enriched by some of
Wing Luke’s own collection of material related to
Asian-American stereotypes; the third year will
focus on Bruce Lee the artist—a poet, a visual
artist, a graceful fight choreographer and the
1958 Hong Kong Cha-Cha dancing champion.
The exhibit, which features items on loan
from collectors as well as many from the Bruce
Lee Foundation, includes a mix of candid
snapshots, handwritten letters and poems, personal effects like a birth announcement for son
Brandon Lee (who also died tragically early on
the set of cult film The Crow), training materials
and original press kit ephemera from Lee’s films.
Video interviews depict Lee’s close friends
and family—among them his widow and closest
friend and brother in martial arts Taky Kimura—
as well as more lighthearted elements, such as a
session with UW biomechanical engineers who
helped break down the physics of Lee’s famous
one-inch punch.
Linda and Shannon Lee are scheduled to
attend the Wing Luke’s Oct. 4 kickoff, when
dragon and lion dancers will fill a shut-down
King Street. Other presenters at the kickoff
include Mike Stone, a martial artist who was a
student with Bruce, and David Friedman, the
photographer on Enter the Dragon. Beginning in
November, tours will take visitors through Lee’s
favorite ID haunts, like the site of his first martial
arts studio and his favorite lunch spots.
While celebrating Lee’s achievements, the
Wing Luke hopes the exhibit makes viewers look
to the future. “If you scan TV and film today,
there are not that many Asian-American actors,
especially in starring male roles,” Chinn says.
“So one of the questions that folks have posed
40 years later is, who has been the next Bruce
Lee? It’s an interesting point to reflect on. Where
are we when we think about Asian-Americans in
media and mainstream culture? And where do
we still need to go?” GEMMA WILSON
8000 25th Avenue NE • Seattle
www.universityprep.org
Have you discovered your potential?
University Prep is an independent school
serving grades six through twelve.
Our program takes students on a collaborative
journey of learning in a diverse and inclusive
community. Our alumni span the globe,
fulfilling their dreams in professions that range
from chef, to professor, engineer,
physicist, and musician...
Come visit University Prep and
Discover the Puma in You!
For information, call 206.523.6407
ARTSUW.ORG
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E N C O R E A RT S N E W S Fall 2014
Music
Oct. 25: Anton Nel, Pianist
Dec. 5 – 6: A Festival of Christmas,
Seattle University Choirs
Theatre
A new play written and directed
by Scott Kaiser of the Oregon
Shakespeare Festival, Nov. 13 - 23
Art Lecture
Inspiration takes many forms in Seattle’s booming
local perfume scene.
In the Galleries
Sept. 11 – Dec. 10: The Art of Peace:
A Study of Peacebuilding Efforts in
Bosnia-Herzegovina, Kinsey Gallery
Nov. 12 – Jan. 10: New Mystics: Urban
Activations, Interventions & the Art
of Art Collectives, Hedreen Gallery
Nov. 13 – Dec. 10: No Boundaries,
new paintings by Vaho Muskheli,
Vachon Gallery
MFA in Arts Leadership
Nov. 6: Information Session
Learn More
www.seattleu.edu/arts
I SMELL FANTASTIC right now. More
specifically, my wrists smell fantastic,
dabbed with Moto Oud from Blackbird
Perfumes—made from agarwood,
deep and sweet, comforting but
unfamiliar, woodsy but far from
green. Layered with notes of
leather, burnt rubber and spice,
Moto Oud smells, according to
its maker, “like a broken down
motorcycle in the desert.” It’s
intoxicating.
Scent is a powerful memory
activator. An old boyfriend’s
cologne, your mother’s shampoo.
But for Aaron Way, the perfumer
behind the fragrances and incense
currently being developed at the
long-beloved, now-online-only
shop Blackbird Ballard, it’s his
medium as a storyteller.
“I get to express an idea through
perfume that isn’t targeted just
to make a ton of money,” Way
says. We’re sitting in the tranquil
side yard of the home he shares with
Blackbird founder and creative director
Nicole Miller. The Ballard native started
learning about scent when he got a job in
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the Blackbird brick-and-mortar, which is
how he discovered his true appreciation for
the craft.
Way left Blackbird to start a
degree in chemical engineering
in Idaho—chemistry being a
prerequisite for formal perfume
schools in France. But after a
semester, he realized, “School was
too much delayed gratification”
and he needed to get back to work.
Miller had been toying with the
idea of starting an incense line, so
she found a recipe, bought some
oils and they created three scents
in a weekend, with elements like
tomato leaf and fern, sandalwood
and anise, and tuberose. Blackbird
incense is now carried in more
than 80 stores worldwide.
Incense was a great testing
ground for Way, whose first
perfume creation for Blackbird is a
cold, mineral scent named for the
icy moon of Neptune, Triton. Their
bestseller, Pipe Bomb, is a subtle scent that
crackles into life after 10 minutes on your
skin. Miller created a sweet, smoky scent
called Camas based on her “childhood
BLACKBIRD: MARINA ROBEL, SWEET TEA: KIM HUYNH
BY GEMMA WILSON
Oct. 22: Art and Mathematics, with
artist Michael Schultheis
6 ENCORE STAGES
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Breathe Deep
F RO M C I T Y A RT S M AG A Z I N E
constantly spent by the fire.” A scent can
begin with basic notes, but the story of a
smell guides the creation process.
Something you won’t find among
Blackbird Perfumes is a big, white floral
scent. The company is breaking away from
the aggressive gendering of the mass-market
perfume industry. “I would never say, these
four are for men, these four are for women,
don’t break those rules. Please break those
rules,” Way says.
Jen Siems, the nose behind Seattle’s
Sweet Tea Apothecary perfumes, started
her exploration with scent for medical
reasons—treating terrible migraines with
essential oils—but her real inspiration came
on her honeymoon. At the Petit Trianon
Her most popular
scent is called
Dead Writers,
redolent of
heliotrope, vetiver,
tobacco and musk.
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château at Versailles, there is posted a
list of ingredients for the scent that Marie
Antoinette wore. It sent Siems, a fiction
writer, voracious reader and history buff,
spinning into her imagination—what did
Marie Antoinette smell like?
“I’m drawn to the stories of people,”
says Siems, who began dreaming up scents
inspired by the historical figures. Dharma
Bum, based on Jack Kerouac, is rich with
cedarwood, coffee, opium and clove. Her
most popular scent is called Dead Writers,
redolent of heliotrope, vetiver, tobacco,
black tea and musk. Her current favorite is
Madame Moustache, a musky, tobacco and
vanilla-laden scent named for a notorious
gambler from the California Gold Rush.
When Siems and her husband moved
from California for his job at PopCap Games,
she decided to try selling her wares, and
her Internet sales took off. She’s still a
one-woman operation, but with a one-yearold daughter at home, finding separate
studio space is a definite next step. In the
meantime, Siems says, “I’m working on
Sylvia Plath. She is, by far, the single most
requested person I get.” n
BLACKBIRDBALLARD.COM
SWEETTEAAPOTHECARY.COM
We Are Here
When You Need Us
FEAR NO FUN
Trove Tries
Something New
Complete Funeral,
Cemetery &
Cremation Services
In the competitive restaurant world of Seattle,
fun can be a buzzkill. A serious façade—
spare interior; impeccably groomed servers
knowledgeable about the provenance of every
ingredient: tiny, sober portions on big white
plates—is shorthand for high quality. Playfulness
connotes something less sophisticated, more
Dave & Buster’s-ish.
Which is how Trove, a new, experimental
restaurant on Capitol Hill, veers in a new
direction. Like a Shibuya-based Archie McPhee
crossed with an artisanal food court, Trove
aspires to youthful energy and pop novelty in its
dishes and décor. Its massive, corner location at
Pike and Summit houses four separate service
zones, each dedicated to a different type of
Korean fusion food, with a hands-on, roastyour-own barbecue component as the pièce de
résistance. The whole place is operated by the
husband-wife chef-restaurateur duo behind Joule
and Revel, restaurants known for presenting
thoughtful Korean fusion in funky, convivial
spaces.
At the front of Trove, a vintage ice cream
truck peddles parfaits from a walk-up window;
immediately inside is a noodle bar lined with
giant windows on one side and a fast-paced,
white-walled open kitchen on the other. Beyond
that, a dark-wood barroom offers a few tables
and a 10-stooled bar opposite a neon diorama
of an exploding volcano. The main dining area
dominates the back half of the space, with
most of the tables centerpieced by a gas grill.
Here the cherry-red ceiling nearly throbs like
a vital organ, ducted and trussed. Iggy Azalea
and Biggie Smalls pump from the PA. Young
drinkers and diners, a panoply of ethnicities and
fashion styles, shuffle through the Technicolor
dreamscape space gawping like tourists.
On a recent Sunday evening I drank a
well-made old fashioned, named a “Tacoma
fashioned” and mixed with “Rainier syrup” that
I didn’t taste, as well as a buttery pilsner from an
Eastern Washington brewery I’d never heard of.
The barbecue menu isn’t available at the bar,
only noodles—another head-scratcher. I lingered
over a robust, savory bowl of fennel noodles,
manila clams and five-spice sausage that was
inexplicably served in a paper bowl. Exquisite
as the dish was, it deserved a more substantive
vessel.
“It’s biodegradable,” the bartender explained,
and great for takeout. And yet the parfait—the
item most conducive to takeout—comes in a
glass jar that’s “yours to keep.” Or smash on the
sidewalk after you walk outside. Glass takeout is
a questionable stylistic decision.
As a practical dining experience, Trove is
pretty far out, demanding a lot of flexibility from
diners—an ambition that’s provocative in its own
right. It rewards with delicious, innovative fare
in an involving, intriguing environment—reason
enough to go back. JONATHAN ZWICKEL
(800) 406-4648
www.BonneyWatson.com
CELEBRATING
YEARS
8 ENCORE STAGES
9/8/14 10:21 AM
New Traditional
Fashion is mood for Mariane
Ibrahim-Lenhardt.
BY AMANDA MANITACH
WHO Mariane Ibrahim-Lenhardt, the 36-year-old founder
and director of M.I.A. Gallery. Born in New Caledonia—a
French-annexed archipelago in the South Pacific—she met
her husband Pierre in Paris. The pair made the jump to the
States four years ago when Pierre’s job at Boeing provided
an opportunity to relocate to Seattle. A longtime supporter
of artist friends who struggled with the business side of art,
Ibrahim-Lenhardt opened her own gallery in 2012, exhibiting
international artists with a focus on contemporary African
art. “I’m interested in presenting various aesthetics and
breaking from preconceived ideas,” she says.
THE LOOK “Minimalist and symmetrical designs. Most of the
time I’ll go for a classic look with a masculine touch: white
shirt, jeans, blazer and pointed shoes. Can’t live without
sunglasses and white shirts. I use fashion as an extension of
my momentary mood. I’m generally playful and extroverted. If
I were a man, I would’ve been a great dandy.”
SHOEGAZE Biggest obsession: the perfect boot. “Every fall
when boots invade the shoe shelves, I’ll go over the same
ritual—trying every boot until I fit in a pair.”
ICONS “Yves Saint-Laurent because he revealed the
Modern Woman. Audrey Hepburn in Breakfast at Tiffany’s.
I wish I were her roommate so I could steal her cigarette
holder. Grace Jones because she speaks bluntly. I’m so
intimidated by her.”
UP NEXT In October Ibrahim-Lenhardt represents artists in
LAUREN MAX
the 1:54 Contemporary African Art Fair in London. At M.I.A.
she’s exhibiting the photographs of Jean-Claude Moschetti,
whose portraits reveal the colorful, uncanny side of secret
societies in West Africa, like the Sierra Devils from Sierra
Leone, Egungun from Benin and the Volta Noire from Burkina
Faso. The exhibit Magic on Earth runs through Oct 25.
THRIVE
ACHIEVE
BE
POWER COUPLE
Sharon Arnold Joins
Roq La Rue
PARENT PREVIEW
OPEN HOUSES
drop-in event
Sharon Arnold and Kirsten Anderson
met on Facebook in 2011. Arnold had just
launched LxWxH, an art subscription
business that home-delivers affordable
works by established artists, like a CSA
box or a wine subscription. Anderson was
the powerhouse gallerist who founded
Roq La Rue Gallery in 1998.
“I liked her energy and candor about
art,” Anderson says, reflecting on their
first meeting, “so I invited her for a drink
to talk shop and we got on like wildfire!”
Anderson was a long-time champion
of the Pop Surrealism movement. Arnold,
who studied semiotics and sculpture in
art school and later ran the Gage Academy
of Art’s teen programs, was focused on the
local scene and ways to connect potential
patrons with artists.
In March 2012, Anderson asked Arnold
to guest-curate an exhibit called Red
Current at Roq’s old space in Belltown. The
mammoth group show responded to Seattle
Art Museum’s Elles: Women Artists from the
Centre Pompidou by exhibiting work by 37
Seattle artists.
Later that year, Arnold wanted to
expand LxWxH by opening a brickand-mortar gallery in Georgetown and
Anderson signed on as a silent partner.
A stone’s throw from 9 LB Hammer and
Fantagraphics, the gallery became a hub
of Georgetown Art Attack, exhibiting
artists from Seattle, Portland and New
York.
December will mark the end of that era.
In September, Anderson announced that
Roq La Rue acquired LxWxH, bringing
Arnold on as a partner and director at
Roq. Starting in October, the two will
begin working together to curate exhibits
and bring new artists into the fold. The
shakeup is significant and savvy.
“There is a shift in the art world,”
Anderson says. “Subgenres of art are
melting back into contemporary art.”
Fans of Lowbrow/Pop Surrealism art—
Roq La Rue’s bread and butter for nearly
16 years—shouldn’t fear. Arnold says
the gallery will remain committed to the
artists it’s brought to Seattle over the years
while expanding to include a broader
scope of contemporary artwork.
“We both curate from our heart and
guts,” Anderson says, “and we’re both
here to unapologetically sell art and get
artists paid. That combination could be
instrumental in helping boost the art scene
here, which seems just on the cusp of
exploding.” AMANDA MANITACH
oct. 23, nov. 8, & May 13
Nov. 12 & Dec. 2
jan. 10, 2015
For more information visit WWW.BILLINGSMIDDLESCHOOL.ORG
10 ENCORE STAGES
9/22/14 2:03 PM
WELCOME
From Seattle Theatre Group, a non-profit arts organization
What’s your pleasure: improvised comedy? Edgy mix of magic and illusion? Hunky
string quartet playing Mozart and Britney Spears? Or maybe it’s the return of a
legendary film director to deliver your raunchy yuletide cheer? Don’t fret; there is
also a Beast, and a Princess, and even a Phantom… Whatever it is, rest assured that
Seattle Theatre Group’s fall arts offers a multitude of fun and exciting times for the
entire family.
Kicking off the season is loads of laughter with Whose Live Anyway? featuring guests,
Ryan Stiles, Greg Proops, Jeff Davis, and Joel Murray (yeah, Bill’s brother). Their
hilarious improvised comedy and songs leave audiences gasping and astonished by
their quick and zany wit. More comedy this fall on our stages- Paula Poundstone,
Lewis Black and the famed duo Penn & Teller, noted for combined elements of comedy
and magic.
Ready to try a little something beyond the usual rock shows? Add some spice to your
musical taste buds with Well-Strung. Step aside One Direction, there’s a new kind
of boy band on the circuit. The all-male string quartet Well-Strung features classical
musicians who sing putting their own spin on the music of Mozart, Vivaldi, Rihanna,
Adele, Lady Gaga, and more! This will be their first time in Seattle, so please don’t
miss them at the Neptune in November. The ever-popular Seattle Rock Orchestra also
returns this fall performing hits from The Police.
For the nerd in all of us, we present Wordless! with Art Spiegelman and Phillip
Johnson. WORDLESS! is an odd hybrid of slide-talk, movies and musical performance
created by celebrated cartoonist and writer Art Spiegelman, best known for MAUS,
in collaboration with acclaimed jazz composer Phillip Johnston. Spiegelman leads
audiences on a personal tour of the first graphic novels—silent picture stories made by
early-20th-century masters. And for film geeks, american film director, screenwriter,
actor, stand-up comedian, and journalist, John Waters, who rose to fame in the early
1970s for his prominent transgressive cult films, returns with his X-rated raunchy holiday
show, A John Waters Christmas. We’d love to have him longer but this is a one-night
only appearance in December.
Other highlights this fall include a screening of one of the best films ever made, as
part of our Trader Joe’s Silent Movie Mondays, the legendary silent film The Phantom
of the Opera. Come dressed in your favorite masquerade costume to enjoy this
classic. Of particular note, this November, we welcome the Northwest premiere of the
Shakespeare’s Globe Theatre production of King Lear. This will undoubtedly be the
most talked about theatrical event of the year. Don’t miss out!
Venture out this fall and join STG for a full slate of wonderful experiences! Go to
www.stgpresents.org for the full calendar of events at our three history venues
and beyond!
Stay up to date on all programs and happenings by joining STG’s eNews, and get behind
the scenes action with STGtv. Find more information on both at STGPRESENTS.org.
encoreartsseattle.com A-1
Whose Live Anyway?
THE MOORE THEATRE
SATURDAY, OCTOBER 11
WHOSE LIVE ANYWAY?
Whose Live Anyway is 90 minutes of hilarious improvised comedy and song all based on
audience suggestions. Ryan Stiles, Greg Proops, Jeff B. Davis and Joel Murray leave their audiences
gasping with the very witty scenes they invent before your eyes. Everyone is amazed at how quickly
they make it up and crowds of all ages are astounded.
Audience participation is the key to the show so bring your suggestions and you might be asked
to join the cast onstage. Whose Live Anyway performs some of the games made famous from
the Emmy Nominated TV show Whose Line Is It Anyway plus some new ones. The show appeals
to a wide demographic and appears at Performing Arts Centers, Colleges, Universities, Casinos,
Corporate and Private Parties.
It’s a night of unforgettably funny interactive comedy that will leave you laughing days later!!
American Shows produced by: A Goodsmack Productions
Canadian Shows produced by: A Funny Thing Productions
Copyright © since 1999 A Funny Thing Productions / A Goodsmack Productions | All Rights Reserved
A-2 SEATTLE THEATRE GROUP
Wordless
THE MOORE THEATRE
SUNDAY, OCTOBER 12
WORDLESS!
Words & Pictures by Art Spiegelman
PHILLIP JOHNSTON–COMPOSER
A saxophonist and composer of both jazz
and New Music, Phillip has been a significant
figure in the underground music scene of
New York’s downtown since the beginning of
the 1980’s. He has composed extensively for
film including Paul Mazursky’s Faithful, Philip
Haas’ The Music of Chance and Money Man,
Dorris Dörrie’s Paradise and Geld, Stolen
Life by Peter Rasmussen & Jackie Turnure
(which won a New York Machinima Award
for Best Music Score) & Noise by Henry Bean.
He has also written for silent film, including
Tod Browning’s The Unknown, The George
Méliès Project, Teinosuke Kinugasa’s Page Of
Madness and F.W. Murnau’s Faust. His theatre
composition credits include Measure For
Measure, War Of The Roses, The Comedy Of
Errors, The Merchant Of Venice and Macbeth
for Bell Shakespeare; Young Goodman
Brown with Richard Foreman, Venus with
Suzan-Lori Parks, The Anatomy Lesson of Dr.
Ruysch and The Falls with Hilary Bell, and
Drawn To Death: A Three Panel Opera with
Art Spiegelman. Dance credits include Karole
Armitage’s The Predators’ Ball at the BAM
Next Wave Festival and Keely Garfield’s Minor
Repairs Necessary for which he won a ‘Bessie’
in 1999.
Throughout, he has maintained a parallel
career as a saxophonist, both working with
others and leading his own bands. During
Music Composed by Phillip Johnston
THE BAND
Phillip Johnston, soprano saxophone
Joe Fiedler, trombone
Mike Hashim, baritone saxophone
Neal Kirkwood, piano & melodica
Dave Hofstra, bass
Rob Garcia, drums
WITH WORDLESS WORKS BY
A.B. Frost
Frans Masereel
(© 2013 Artists Rights Society
(ARS), New York /
VG Bild-Kunst, Bonn)
H.M. Bateman
(courtesy of Lucy Willis)
Lynd Ward
(courtesy of Robyn Ward Savage)
Otto Nückel
Milt Gross
(courtesy of Joan Optican Herman)
Si Lewen
(courtesy of the artist)
Art Spiegelman
In his Pulitzer prize-winning masterpiece,
Maus—a moving father-son memoir about
the Holocaust drawn with cats and mice—
Art Spiegelman changed the definition of
comics forever. In WORDLESS! – a new and
stimulating hybrid of slides, talk and musical
performance – he probes further into the
nature and possibilities of his medium.
Spiegelman, noted as a historian and
theorist of comics as well as an artist, collaborates with Phillip Johnston, the critically
acclaimed jazz composer who wrote all-new
scores he will be performing live with his
sextet. Johnston’s music accompanies the
cartoonist’s personal tour of the first legitimate “graphic novels”— silent picture stories
made by early 20th century masters like
Frans Masereel, Lynd Ward and Milt Gross—
and their influence on him. As Spiegelman
explores “the battle between Words and
Phillip Johnston
Images by Prudence Upton
Wilhelm Busch
the 1980s he co-led the Microscopic Septet,
and in the 1990s he led Big Trouble and
The Transparent Quartet. He has toured
internationally with Fast ‘N’ Bulbous: The
Captain Beefheart Project, featuring Gary
Lucas, in duos with accordionist Guy
Klucevsek and pianist Joel Forrester, with
his silent film projects, and with his own
bands, especially The Microscopic Septet.
Phillip’s recent recordings include Not So
Fast (Strudelmedia) with The Spokes, Live
At The Hillside Club with Joel Forrester, and
Manhattan Moonrise (Cuneiform) with the
Microscopic Septet.
He currently performs in Australia with
The Phillip Johnston Quartet, and Tight
Corners: The Phillip Johnston/Jex Saarelaht
Photo by Prudence Upton
Pictures”, he smashes at the hyphen between
High and Low Art in a presentation featuring
a new work drawn specifically for this project,
“Shaping Thought.”
WORDLESS! was originally commissioned by The Sydney Opera House
Photo by Enno Kapitza, Agentur Focus
Wordless
Art Spiegelman
Quartet play the music of Thelonious Monk,
Steve Lacy and Herbie Nichols, and in the
US and Europe with The Microscopic Septet
and The Spokes. His original scores for silent
film have been performed in Australia at the
Sydney Opera House, the Melbourne Festival
and the Sydney and Perth Film Festivals.
Other current projects include Do Good
And You Will be Happy, with Hilary Bell, a
musical based on Cole’s Funny Picture Book,
a new silent film score for Lotte Reineger’s
The Adventures of Prince Achmed (1926)
and, of course, Wordless with graphic artist
Art Spiegelman. In March of 2015 he will
be featured in a one-week residency at
John Zorn’s New York venue, The Stone,
performing with 12 different ensembles over
the course of a week. For further information:
www.phillipjohnston.com
ART SPIEGELMAN
Art Spiegelman has almost single-handedly
brought comic books out of the toy closet and
onto the literature shelves. In 1992, he won
the Pulitzer Prize for his masterful Holocaust
narrative Maus— which portrayed Jews as
mice and Nazis as cats. Maus II continued
the remarkable story of his parents’ survival
of the Nazi regime and their lives later in
America. His comics are best known for
their shifting graphic styles, their formal
complexity, and controversial content. In
his lecture, “What the %@&*! Happened to
Comics?” Spiegelman takes his audience on a
chronological tour of the evolution of comics,
all the while explaining the value of this
medium and why it should not be ignored.
He believes that in our post-literate culture
the importance of the comic is on the rise,
for “comics echo the way the brain works.
People think in iconographic images, not
in holograms, and people think in bursts of
language, not in paragraphs.”
Having rejected his parents’ aspirations
for him to become a dentist, Art Spiegelman
studied cartooning in high school and began
drawing professionally at age 16. He went
on to study art and philosophy at Harpur
College before becoming part of the underground comix subculture of the 60s and 70s.
As creative consultant for Topps Bubble Gum
Co. from 1965-1987, Spiegelman created
Wacky Packages, Garbage Pail Kids and
other novelty items, and taught history and
aesthetics of comics at the School for Visual
Arts in New York from 1979-1986. In 2007
he was a Heyman Fellow of the Humanities
at Columbia University where he taught a
Masters of the Comics seminar. In 1980,
Spiegelman founded RAW, the acclaimed
avant-garde comics magazine, with his wife,
Françoise Mouly—Maus was originally
serialized in the pages of RAW. Before being
published by Pantheon, who have published
many of his subsequent works including
illustrated version of the 1928 lost classic, The
Wild Party, by Joseph Moncure March.
He and Mouly more recently co-edited
Little Lit, a series of three comics anthologies
for children published by HarperCollins
(“Comics-They’re not just for Grown-ups
Anymore”) and Big Fat Little Lit, collecting
the three comics into one volume. Currently,
he and his wife publish a series of early
readers called Toon Books—picture books
in comics format. They have co-edited A
Toon Treasury of Classic Children’s Comics
(Fall 2009). His work has been published in
many periodicals, including The New Yorker,
where he was a staff artist and writer from
1993-2003.
In 2004 he completed a two-year cycle
of broadsheet-sized color comics pages, In
the Shadow of No Towers, first published
in a number of European newspapers and
magazines including Die Zeit and The
London Review of Books. A book version of
these highly political works was published
by Pantheon in the United States, appeared
on many national bestseller lists, and was
selected by The New York Times Book Review
as one of the 100 Notable Books of 2004
Spiegelman’s work also includes a new
edition of his 1978 anthology, Breakdowns
(Fall 2008); it includes an autobiographical
comix-format introduction almost as long as
the book itself, entitled Portrait of the Artist
as a Young %@&*!; as well as a children’s
book (published with Toon Books), called
Jack and the Box. In 2009 Maus was chosen
by the Young Adult Library Association as
one of its recommended titles for all students
(the list is revised every 5 years and used by
educators and librarians across the country).
McSweeney’s has published a collection of
three of his sketchbooks entitled Be a Nose. A
major exhibition of his work was arranged by
Los Angeles Museum of Contemporary Art,
as part of the “15 Masters of 20th Century
Comics” exhibit (November 2005). In 2005,
Art Spiegelman was named one of Time
Magazine’s 100 Most Influential People and
in 2006 he was named to the Art Director’s
Club Hall of Fame. He was made an Officier
de l’Ordre des Arts et des Lettres in France in
2005 and—the American equivalent—played
himself on an episode of “The Simpsons” in
2008. In fall 2011, Pantheon published Meta
Maus, a companion to The Complete Maus
– it is the story of why he wrote Maus, why
he chose mice, cats, frogs, and pigs, and how
he got his father to open up (the new book
includes a DVD of the transcripts of Art’s
interviews with his father; it is not a graphic
novel, but it is populated with illustrations,
photos and other images). MetaMaus has
been awarded the 2011 National Jewish Book
Award in the Biography, Autobiography, and
Memoir category.
In 2011, Art Spiegelman won the Grand
Prix at the Angoulême International Comics
Festival, marking only the third time an
American has received the honor (the other
two were Will Eisner and Robert Crumb).
The honor also included a retrospective
exhibition of his artwork, shown in the
Pompidou Center and traveled to the Ludwig
Museum in Cologne, the Vancouver Art
Gallery, the Jewish Museum in NYC, and the
last stop at the AGO Art Gallery of Ontario.
The accompanying book is entitled CO-MIX:
A Retrospective of Comics, Graphics, and
Scraps, published by Drawn & Quarterly
(September 2013).
Representation: Steven Barclay Agency
Originating Producer: Joanne Kee, Places & Spaces
Film Editing & Animation: Lindsay Nordell and
Annalise Olson
And a tip of the hat to: Françoise Mouly / RAW
Books & Graphics, Julia Phillips, Robbie Saenz de
Viteri, and Sara Bixler
An Evening with Paula Poundstone
THE MOORE THEATRE
SATURDAY, OCTOBER 25
“At the top of her game…”
– San Francisco Chronicle
“Never been funnier…”
– Boston Globe
“Insightful, thought-provoking humor…”
Photo by Personal Publicity
– Chicago Tribune
25
years ago Paula Poundstone
climbed on a Greyhound
bus and traveled across the
country — stopping in at open
mic nights at comedy clubs
as she went. A high school
drop-out, she went on to become one of the
great humorists of our time. You can hear her
through your laughter as a regular panelist
on NPR’s popular rascal of a weekly news
quiz show, Wait Wait… Don’t Tell Me. She
tours regularly, performing standup comedy
across the country, causing Bob Zany with
the Boston Globe to write: “Poundstone can
regale an audience for several hours with her
distinctive brand of wry, intelligent and witty
comedy.” Audience members may put it a
little less elegantly: “I peed my pants.”
While there is no doubt that Poundstone
is funny, the thing that probably separates
her from the pack of comics working today
and that has made her a legend among
comics and audiences alike is her ability to
be spontaneous with a crowd. Poundstone
says: “No two shows I do are the same. It’s not
that I don’t repeat material. I do. My shows,
when they’re good, and I like to think they
often are, are like a cocktail party. When you
first get there, you talk about how badly you
got lost and how hard it was to find parking.
Then you tell a story about your kids or what
you just saw on the news. You meet some new
people and ask them about themselves. Then,
someone says, “Tell that story you used to
tell,” and then someone on the other side of
the room spills a drink, and you mock them.
No one ever applauds me when I leave a
party, though. I think they high five.”
Paula’s interchanges with the audience are
never mean or done at a person’s expense.
She even manages to handle politics without
provoking the pall of disapproval less artful
comics have received.
Her newest comedy CD, I HEART JOKES:
Paula Tells Them in Boston was recorded
during a performance at the Wilbur Theatre
in the heart of the city and was released on
April Fool’s Day 2013.
Over the span of her career, Paula has
amassed a list of awards and accolades that
stretch the length of a great big tall guy’s arm.
She not only shot through the glass ceiling,
she never even acknowledged that it was
there. Never one to stereotype herself as a
PARAMOUNT AND MOORE
SEASON PARTNERS
An Evening with Paula Poundstone
‘female comedian’ or limit herself to comedy
from a ‘female’ point of view, in the early 90’s
she was the first woman to win the cable ACE
for Best Standup Comedy Special and the
first woman to perform standup at the prestigious White House Correspondents dinner
where she joined the current President as
part of the evening’s entertainment.
In March, 2013, Paula joins Whoopi
Goldberg, Joan Rivers and several other
prominent women in comedy for a featurelength documentary produced by Lions
Gate to air on Showtime entitled, WHY
WE LAUGH TOO: Women of Comedy. In
November, 2012 in Washington DC, Paula
was honored, along with Nina Totenberg,
NPR correspondent; David Brooks, New
York Times columnist; and Bob Mankoff,
New Yorker Cartoon Editor, with the 2012
Moment Magazine Creativity Award at their
35th anniversary symposium and dinner,
followed by a one-hour panel on the intersection of humor and politics. Just weeks
later Paula was hand-picked to interview
Calvin Trillin for the Los Angeles-seriesdarling, Writers Bloc, a series that presents
conversations between the featured author
and another interesting thinker.
Paula has starred in comedy specials on
HBO and BRAVO, won an Emmy Award,
served as “official correspondent” for The
Tonight Show during the 1992 Presidential
race, pioneered the art of backstage
commentary during an Emmy telecast,
steps up to the plate for causes she believes
in, and is almost always included in any
compendium – be it film, television or
print, noting comedic influences of the
20th/21st century, most recently, We Killed:
The Rise of Women in American Comedy
(October 2012, Sarah Crichton Books).
Paula also appears on “Late Night w/Craig
Ferguson” about 3 times a year and she’ll
do an occasional editorial for NPR’s “All
Things Considered”.
On April 2013 NPR Laughter Therapy
(Highbridge Audio) was released, a 2-CD
collection of NPR’s best interviews and
stories with “funny folks” including Paula’s
Talk of the Nation interview. If it means
anything to anyone, she is recognized as one
of Comedy Central’s 100 greatest stand-ups
of all time. Paula won an American Comedy
Award for Best Female Standup Comic, and
in 2010 she was one of a select group voted
into the Comedy Hall of Fame.
Wait Wait…Don’t Tell Me is now heard
in 5 million homes across the country,
including all of the major markets, internationally on NPR Worldwide, streaming on
the Internet and via podcast. In 2008 it
received a Peabody Award for broadcasting
excellence. On the show Paula gets to match
wits with some of the country’s leading
pundits. In May 2013 the show will do its
first Cinecast from New York’s Town Hall
and Paula will be one of the Panelists. The
show made it’s television debut on BBC
America with a “2011 Year In Review.”
Paula was on that panel as well. Poundstone
quickly goes on record about how much she
loves being part of the show saying: “I am a
proud member of the endorphin production
industry. They allow me to say whatever
I want on Wait, Wait Don’t Tell Me. The
panelists are unscripted, so it’s perfect for me.
I feel like I’m a batter in a batting cage. I get
lobbed topics. Sometimes I just watch them
go by, but every now and then I get a piece of
one. If the others didn’t cheat, it would be an
almost perfect work experience.”
Paula is also a published author and
lecturer. Her hard cover book, There is Nothing
In This Book That I Meant To Say (Crown,
2006, with a forward by Mary Tyler Moore)
is still in release on audio (Highbridge) and
in paperback. Other writing credits include
the back page columnist of Mother Jones, The
Los Angeles Times, Entertainment Weekly, and
Glamour magazine.
Not only a writer, but an avid reader, Paula
continues her role for the American Library
Association (ALA) as the Nat’l spokesperson
for United for Libraries, their “Friends of
Libraries” national network – a citizens
support group who work to raise awareness
and much needed funds to support their local
libraries. Paula has appeared as the headliner
at the ALA’s annual conference for their
Laughs On Us panel the last four years, and to
quote Sally Reed, the ALA Nat’l Director: ”…
you’d have to come to one of these events to
see how adored Paula is by librarians. We love
her and it’s never repetitive.” Paula has hosted
many events to great success, including the
Art Directors Guild Awards an unprecedented 4 times,
Paula’s incredible spontaneous humor is
the perfect fit for the voracious appetite of
the social networks, not to mention short
films on her website. Paula’s new comedy CD,
I HEART JOKES: Paula Tells Them in Boston
follows her first CD, I HEART JOKES: Paula
Tells Them in Maine (November 2007).
Penn & Teller
Photo by Greg Alai
F
or 40 years Penn & Teller have defied
labels—and at times physics and good
taste—by redefining the genre of magic
and inventing their own very distinct
niche in comedy.
With sold out runs on Broadway,
world tours, Emmy-winning TV specials
and hundreds of outrageous appearances on
everything from Letterman to Fallon,
Friends to The Simpsons, Chelsea Lately to
Top Chef, comedy’s only team show no signs
of slowing down.
With an amazing seven wins, including
2013, as “Las Vegas Magicians of the Year,”
their 13-year run at The Rio All-Suite Hotel
& Casino makes them one of the longest
running and most-beloved shows in Las
Vegas history, outselling every other resident
magician on The Strip.
Their acclaimed Showtime series, Penn &
Teller: BS! was nominated for 13 Emmys and
is the longest-running series in the history of
the network. The show tackled the fakes and
frauds behind such topics as alien abduction,
psychics and bottled water.
THE PARAMOUNT THEATRE
FRIDAY, NOVEMBER 7
For 40 years Penn & Teller
have defied labels—and
at times physics and
good taste-- by redefining
the genre of magic and
inventing their own very
distinct niche in comedy.
Currently they have two series airing on
television. Penn & Teller: Fool Us! for The
CW, on which up-and-comers and magic
veterans try to fool Penn & Teller for a chance
to star in the duo’s hit Las Vegas stage show
and as judges on SyFy’s Wizard Wars, where
magicians are tasked with preparing a magic
performance from ordinary everyday objects.
Along the way, they’ve written three New
York Times Best-Sellers, hosted their own
Emmy nominated variety show for FX,
starred in their own specials for ABC, NBC
and Comedy Central and produced the critically lauded feature film documentary The
Aristocrats. Their acclaimed documentary,
Tim’s Vermeer, follows Texas-based inventor
Tim Jenison on his quest to discover the
methods used by Dutch Master painter
Johannes Vermeer. The Sony Pictures
Classics film, which was nominated for a
BAFTA and shortlisted for the 2014 Oscars,
is currently in theaters.
As individuals, they are just as prolific.
Teller directed a version of Macbeth that
toured the East Coast to raves from The
New York Times and Wall Street Journal,
co-wrote and directed the Off-Broadway
thriller Play Dead and has written two books.
Penn has written three books, including
the 2011 New York Times Best Seller, “God
No!”, hosted the NBC game show Identity
and donned his ballroom shoes for the 2008
season of ABC’s hit Dancing With The Stars.
Penn recently showed his business savvy
on the past two seasons of NBC’s All-Star
Celebrity Apprentice.
With inclusions in the New York Times
Crossword Puzzle, as answers on Jeopardy and
Who Wants To Be A Millionaire, their status
as cultural icons and the preeminent duo in
comedy was once again reinforced when Katy
Perry personally asked them to co-star in the
video for her #1 song, “Waking Up in Vegas.
In April of last year, Penn & Teller were
given their very own star on the Hollywood
Walk of Fame.
Seattle Rock Orchestra
Founded by bassist/composer
Scott Teske in 2008, the then-13 piece
collective has grown into something far
beyond a string-arrangement cover band.
Teske and musical director/conductor Kim
Roy have built a project that provides local
musicians with the opportunity to grow as
performers by enlisting them to tackle some
of rock’s most venerable and challenging
songbooks. Seattle Rock Orchestra is
dedicated to creating performances that
are spectacular, fun, educational and of
exceptional quality. SRO celebrates and
perpetuates the orchestral tradition while
exploring the rich history of rock and pop
music; presents new works by emerging
artists; engages in collaborations across
genres and artistic disciplines; and offers
exciting educational programs for youth.
Seattle Rock Orchestra is an Associated
Program of Shunpike.
Now in their fifth season with Seattle
Theatre Group, SRO have become a Seattle
institution while continuing to expand
their musical horizons. In addition various
performances throughout the year, Teske, Roy,
and the 50+ musicians currently performing
in the collective will put on three shows at the
Moore paying tribute to three very distinct
artists. On November 8th, they’ll perform the
music of new-wave pioneers the Police, taking
on the jazz and reggae-influenced catalog of
Sting, Andy Summers, and Stewart Copeland
more than 35 years after they emerged out of
London’s explosive punk scene.
Seeking to help foster burgeoning Seattle
musicians, in July 2013, the SRO held their
first annual SRO Summer Intensive, a
week-long program where middle and high
school band, orchestra, and choir students
have the opportunity to participate in music
workshops, work with local music educators,
and perform and rehearse the same music
as SRO members do. By investing in a new
generation of musicians and continuing to
remain engaged with the community as a
performing entity, Seattle Rock Orchestra
is a project like no other: one that not only
celebrates the music that inspired these
individuals to be musicians in the first
place, but also edifies the musicians who are
currently writing and performing the music
that might one day be performed by the
collective that they cut their teeth in.
Come back on March 7th, when the group
will perform the songs of the genre-hopping
Los Angeles songwriter Beck, whose frequent
stylistic left-turns have resulted in an career
built on unpredictability, and will provide
the basis for one of SRO’s most diverse
THE MOORE THEATRE
SATURDAY, NOVEMBER 8
performances. Finishing their season is a
two-performance tribute to one of America’s
most enduring and revered songwriters, Neil
Diamond, performing classics like “Cherry
Cherry,” “Girl, You’ll Be A Woman Soon,”
and “Sweet Caroline,” on Mothers Day.
Seattle Rock Orchestra is dedicated to
creating performances that are spectacular,
fun, educational and of exceptional quality.
Well-Strung
Image by Scott Henrichsen
THE NEPTUNE THEATRE
SATURDAY, NOVEMBER 8
T
he string quartet Well-Strung features
classical musicians who sing putting their
own spin on the music of Mozart, Vivaldi,
Rihanna, Adele, Madonna, and more.
Their debut show sold-out Joe’s Pub on
May 1st, 2012 in New York after being
work shopped at Ars Nova NYC in February.
Since then they have played venues across the
world such as The Art House in Provincetown,
the Leicester Square Theatre in London, 54
Below in New York, House of Blues in New
Orleans and Feinstein’s in San Francisco. The
group recently performed on NBC’s TODAY
show with Kathie Lee & Hoda this past spring
and are slated to appear on Andy Cohen’s
Watch What Happens Live on May 6.
Well-Strung stars first violinist Edmund
Bagnell, second violinist Christopher
Marchant, cellist Daniel Shevlin and violist
Trevor Wadleigh. Well-Strung’s show is
directed by Donna Drake with arrangements
by David Levinson. The quartet was formed
by producer/co-writer Mark Cortale and
Christopher Marchant. Additional arrangements are by Daniel Shevlin and Christopher
Marchant. For more information please visit
www.Well-Strung.com
EDMUND BAGNELl (first violinist) played
Tobias in the first national tour of Sweeney
Todd directed by John Doyle. Recent credits
include Rich in The Last Cyclist (Off
Broadway),Toby in Gian Carlo Menotti’s The
Medium (Off Broadway), Charlie Brown in
You’re a Good Man, Charlie Brown (Summer
Theater of New Canaan), Charlie in The Big
Holiday Broadcast of 1959written by Joanna
Gleason (Fairfield Theater Company), and
Oramel Howland in The Great Unknown
written by Jim Wann (Pump Boys and
Dinettes) and Bill Hauptman (Big River) as a
part of NYMF. Other Credits include, Tom
Sawyer in Big River (STONC), Enoch Snow
Jr. in Carousel(Barrington Stage Company),
Stewart Smalls in Band Geeks (Ars Nova NYC),
Huck Finn in The Adventures of… (Cotton
Hall Theater), and Dennis in Smoke on the
Mountain (CHT). A native of South Carolina,
Edmund is happy living life in the Big Apple.
CHRIS MARCHANT (2nd violinist) grew up
in Ohio loving music. It kept him busy with
orchestra and choir throughout school and
led him to Malone College where he received
his BA in Music Ministry. Following that, he
moved to NYC to pursue work in musical
theatre. Favorite productions include national
tours of Sweeney Todd and Spring Awakening,
Pump Boys and Dinettes, and Naked Boys
Singing. Many thanks to those who support
and enjoy Well-Strung. Follow on twitter @
chrisjmarchant and @wellstrungnyc.
DANIEL SHEVLIN (cello) has performed
all over the map as an actor and a cellist. He
has appeared Off Broadway in “The Sandbox”
written and directed by Edward Albee and
has toured nationally and internationally with
productions of Rent and Cabaret. Regional
credits include Altar Boyz, 25th Annual
Putnam County Spelling Bee, Titanic, Sunset
Boulevardand Ragtime, among others. The
only two U.S. States he hasn’t been to are
Oregon and Tennessee, but he’s hoping to
change that this year. In his spare time he
loves cooking, sleeping, and watching trashy
reality TV. Follow: @DShevy on Twitter!
TREVOR WADLEIGH (viola) A native of
the Pacific Northwest, violist Trevor Wadleigh
began studying the viola at age 17. Henceforth,
Mr. Wadleigh earned a BA from the U of Puget
Sound with major concentrations in Business,
Sociology, and Music Performance while
studying concurrently with Burton Kaplan of
the Manhattan School of Music. Mr. Wadleigh
has served as principal violist of the Lake
Union Civic Orchestra, the Brevard Music
Center Orchestra, and Nova Philharmonic. Mr.
Wadleigh has also served on faculty at the U of
Puget Sound as violin and viola instructor. In
addition to musical endeavors, Mr. Wadleigh
is a cofounder of Puget Sound Rescue, a 501(c)
(3), an animal welfare organization.
SEATTLE THEATRE GROUP
CORPORATE SPONSORS
TIMOTHY BABCOCK (Production Tour/
Stage Manager) Usually preferring to keep his
Stage Managing abilities quiet, Tim is very
pleased to be part of the WELL STRUNG
touring team, having served as PSM for the
NYC run in 2012. Primarily an actor, Tim’s
credits include Father Flynn in DOUBT,
THOM PAIN (based on nothing), Nick in
WHO’S AFRAID OF VIRGINIA WOOLF?,
several delicious character roles in CANDIDE
and I AM MY OWN WIFE. Tim is also
involved with Counter Productions, formerly
of Provincetown, now in Athens, NY, where
they plan to build a theater of their own and
continue to produce high-quality, professional
work. His Stage Managing skills will no doubt
come in handy there as well.
DAVID LEVINSON (arranger) collaborated
with Stacey Weingarten and Donna Drake on
Les Enfants de Paris (world premiere NYMF
2011). David is also currently working on music
and lyrics for Madame, Boys Lost, The Elliot’s,
and Who Is Prester John? which are in development. Film scoring: The Waystation in the
Stars (Brandon Morrissey dir.), The Missing
Piece (Leila Manion dir.). Live theater scoring:
The Boy Who Wanted To Be A Robot (written
by Edward Einhorn, produced by Evolve
co.). Music direction: Aida, Cabaret, Infancy.
Concert Performances: Bringing Voices to Light
- A Benefit Concert for Global Internet Access
(The Laurie Beechman Theatre), Red Hot and
New, The Music and Lyrics of David Levinson
(Laurie Beechman Theatre), special guest at The
After Party (The Laurie Beechman Theatre).
Education: The New School, Manhattan
School of Music Professional Musical Theater
Workshop, New York City Opera Workshop.
DONNA DRAKE (Director) Broadway:
original production of A Chorus Line,
Sophisticated Ladies, Woman of the Year, The
Wind in the Willows, 5678-Dance, It’s so nice
to be Civilized and the original production
of The 1940s Radio Hour. She is co-writer
and director for the acclaimed singing string
quartet, Well-Strung. Having just returned from
a debut at London’s West End, Leicester Square.
Awards: an Emmy nomination, 4 Drama Desk
Nominations, A Mac Award Nomination, A
Theatre World Award, and an Off Broadway
Alliance Nomination. TV credits: She choreographed Catherine Zeta Jones for the American
Film Institute Awards, 2009 and The AFI
2011 honoring Morgan Freeman and starring
Betty White. The New Fangled Variety Show,
Disney’s Johnny & the Sprites, AFI Awards
09,11, ABC TV’s Dear Alex & Annie, One life
to live and The Edge of Night. National credits:
John Tartaglia’s Imaginocean, The Wizard
of Oz, starring Mickey Rooney & Eartha
Kitt; Romance In The Dark, starring Jennifer
Holliday; Nothing Like A Dame, BC/EFA
2004-2006, All the world is a Stage at Carnegie
Hall. A Chorus Line national tour, AIDA,
Chicago, Hairspray, Rent, Tommy, Damn
Yankees, NEWSicle, Annie, Love Always,
Patsy Cline, Smokey Joes Café, Sweet Charity,
Honk!, Lucky Guy,, Beauty & the Beast,
Chess. National tour & documentary film for
Varla Jean Merman, BOOBS! The musical,
Christmas with the Crawfords, Andrew
Sisters Stagedoor Canteen, Snail Road, Across
the Pond, The Wiz, Little Shop of Horrors,
The Buddy Holly Story, Monica’s Mixing
Bowl and the New York 2012 production
of The Medium, starring Jeff Roberson, aka
Varla Jean Merman. She is director for John
Tartaglia at 54 Below, NYC and at Fienstein’s
NYC. She is currently working on a new
musical called REPUBLIC ALGIERS. This
musical was premiered at the 2011 NYMF
Festival in New York City and is being
developed for Broadway. As well as conceiving
and directing a new Broadway bound musical
called “Up Your Ante”, exploring the world
and people of the modern day Burlesque
scene. Miss Drake is currently teaching Acting
at PACE UNIVERSITY, New York City.
MARK CORTALE (Producer) is the
Producing Artistic Director at The Art
House in Provincetown, Massachusetts. In
his inaugural season in 2011, he founded
the Broadway @ concert series featuring
Seth Rudetsky as host and pianist. This past
summer the artists he presented on the series
included Patti LuPone, Chita Rivera, Sutton
Foster, Audra McDonald, Megan Mullally,
Megan Hilty and Christine Ebersole. In 2011
Mark produced the feature film Varla Jean
and the Mushroomheads. He also produced
Seth Rudetsky’s new Broadway-themed web
network Seth TV. Last season he produced
the Broadway @ series in New Orleans, in
Australia (with Megan Mullally) and in
London’s West End (with Patti LuPone) at the
Leicester Square Theater. The series recently
launched in Santa Monica this past October
@ The Broad Stage and in January in Fort
Lauderdale @ the Broward Center’s Parker
Playhouse. For more information please visit
www.markcortalepresents.com
COMMUNITY PARTNERS
A John Waters Christmas
Illustration by Declan McCarthy. Photo by Greg Gorman.
THE NEPTUNE THEATRE
TUESDAY, DECEMBER 9
John Waters (Pink
Flamingos, Hairspray,
A Dirty Shame)
to perform an
unforgettable night
of holiday mischief
with his
critically acclaimed
one man show,
A John Waters
Christmas.
“This is truly the
yuletide spectacular
we’ve been praying
to Satan for.”
– Village Voice
W
aters pokes fun at the holiday
season with adult-appropriate
humor, effectively “putting the
X in Xmas,” developing a show
for the open minded and slightly
left-of-center audience. The cult
classic, Baltimore-born filmmaker began
his Hollywood success with now Broadway
classic, Hairspray in 1988. Claiming his
playful nicknames “Pope of Trash” and
“Prince of Puke,” he maintains his image
through his filmmaking and his personal
presentation. Regarded as a shocking entertainer, John Waters carefully chooses his
material and exploits it through a dirty lens.
“It’s my obsession with Christmas: what I
want for Christmas, what you should want,
how to handle every holiday disaster,” Waters
says. His rapid-fire monologue explores and
explodes the traditional holiday rituals and
traditions as he shares his religious fanaticism
for Santa Claus, and an unhealthy love of real
life holiday horror stories. Delving into his
passion for lunatic exploitation Christmas
movies and the unhealthy urge to remake all
his own films into seasonal children’s classics,
“The Pope of Trash” will give you a Joyeaux
Noel like no other.
CELEBRATING
3 YEARS OF
GREAT MUSIC AND AMAZING PERFORMANCES!
LITTLE BIG SHOW 10
#
NOVEMBER 15, 2014 | 8 PM
STG, KEXP and
Starbucks are proud to
present the 10th installation of The Little Big
Show –a little show with
a big effect, where all
proceeds are donated
to a local arts charity.
To date, the series has
raised over $100,000
to benefit Seattle’s arts
organizations.
Previous beneficiaries
of the show include
Hugo House, Reel Grrls,
Seattle Music Partners,
the Vera Project and
more. Notable artists
including Cloud Cult, the
Joy Formidable, Washed
Out, the Walkmen, First
Aid Kit, and Real Estate.
Check out stgpresents.org
for more info.
For the tenth installment of the series, we’ve partnered with an artist who has been a mainstay of
the Pacific Northwestern music scene for over 15 years: Benjamin Gibbard.
As the lead singer and songwriter of the venerable indie rock groups Death
Cab For Cutie and The Postal Service, Gibbard has been a prominent figure
in indie rock for most of his career.
Proceeds from the concert will benefit ArtsFund, a nonprofit whose
mission is to enrich the community by raising funds to provide arts
opportunities for artists in King and Pierce Counties. To date, ArtsFund
has distributed more than $71 million in grants to more than 70 arts groups,
with $2.5 million in grants in 2014 alone.
Upcoming Shows
At The Neptune
OCTOBER
22Andrew McMahon in the Wilderness
23 Delta Spirit
24 Moe
25 Perfume Genius
26 Betty Who
27 The Kills
29 Mark Lanegan Band
30 Jake Miller
NOVEMBER
1 Bjork Biophillia Live
4 Slowdive
6 New Politics
9Greensky Bluegrass
11Shovels and Rope
13 Tig Notaro
DECEMBER
11 Maria Bamford
19 Doug Loves Movies Podcast Taping
NEPTUNE SPONSORS & SUPPORTERS
SUPPORTERS of Seattle Theatre Group
$100,000 and above
Anonymous
Washington State Historical Society
$50,000 - $99,999
Anonymous
4Culture
Berg Equipment & Scaffolding Co., Inc.
Ida Cole
King County
Brian & Diane Langstraat
The Toulouse Family
$25,000 - $49,999
Paul G. Allen Family Foundation
ArtsFund
The Boeing Company
The Bradley Family Foundation
Broadway Across America
Peter & Susan Davis
Tom Douglas & Jackie Cross
Horton Foundation
Jim Kraft & Dominique Posy
Microsoft Matching Gifts
National Endowment for the Arts
Seattle Office of Arts & Cultural Affairs
David & Catherine Skinner
Washington State Arts Commission
$10,000 - $24,999
Anonymous • Alhadeff Family Foundation • Jan & Ken Block
• The John Brooks Williams & John H. Bauer Endowment for
Theatre • Andrew Conru • Costco Diversity Award • Mark &
Christina Dawson • Barney Ebsworth • Janie Hendrix • Jim &
Pamm Jardine • Peter & Tamara Musser • Plum Creek Timber
Company, Inc. • Sasquatch! Festival • Seattle Foundation • Mike
& Megan Slade
$5000 - $9999
Anonymous (2) • Ted & Danielle Ackerley • John Bauer • Brad
& Valerie Berg • Stephen Black • Boeing Matching Gifts •
Becky Bogard • Barb Cahill • Commerce Bank of Washington
• Anne Francis & Craig Simmons • GACO Western • The Glaser
Foundation • Glenn & Nancy Haber • Tia Higano for the Estate
of Marianne Kraus • Moore Hotel • Greg & Allison Mollner •
New England Foundation for the Arts • Cindy Pierce • Plum
Creek • Patti & Stephen Purpura • Scott Redman • Leanna
& Gerald Sahlberg • Craig Schaefer • Lorna Stern • Henrik &
Rebecca Strabo • Voldal Wartelle & Co., P.S. • Dee Wyman •
Adam Zacks & Lynn Resnick
$2500 - $4999
Anonymous • Luba Abramova & Mike Gimelstein • Adrienne
Adams • Rob Aigner & Tina Pappas • All Service Glass •
Lindsay Anderson & Janet Piehl • AT&T Matching Gifts •
John Bauer & Maryel Duzan • Don W. Beaty • Larry & Sherry
Benaroya • Linda Betts • Chris & Teresa Bruzzo • Gary &
Catherine Bylund • Don Carlin • Sharon Chiarella • John, Kelle,
Colten, & Ivy Christianson • Christi Clark & Ivan Mendoza
• Patrick Lucey & Patrick Conklin • John & Gloria Connors
• Costco Wholsale Executive Match • Jill R. Day • Robert
Denbrook • Andy Dulin & Linda Schoener • Margaret & Tom
Easthope • Andrew & Stacy Erisman • Ed Evans & Cheryl
Winter • The Fairbanks Family • Barry & Joann Forman • Gail &
Jackie Frank • French American Cultural Society • Laurie Frink
• Bill & Melinda Gates Foundation Matching Gifts • Glass Forest
Entertainment • Kristi & John Guin • Bob & Jennifer Henning
• Marie Huwe • Ken Johnson • Bruce E. Johnson • Catherine
Kelly • Matthew Keri • Kibble & Prentice • Josh & Colleen
LaBelle • Lane Powell PC • Barbara & Ed Lee • Tom & Marianne
Leonard • Ross & Tracy Lincoff • Bob & Monique Lipman •
Grant & Sarah MacLeod • Greg Marshall • Caroline Mock •
Nelson Monastrial • Richard Nelson & Roger Bass • George &
Gloria Northcroft • Ashley O’Connor • Richard Oh • Dena &
Tom Owens • Nena & Steve Peltin • Paul & Dina Pigott • Paul &
Sina Pradel • The Raney Family Fund • Jim & Tana Ridgeway •
John & Judy Salinas • Zelma Simmons • David & Naomi Spinak
• The Suttles Family • Joshua Tillman • Cornelis van Rij • Bruce
& Peggy Wanta • Lia Ward & John McClellan • Alex & Erika
Washburn • Steven Wayne • Dr. Eric Weller • Bill & Becca Wert
• Tim West • Art & Carolyn Whittlesey • Melinda & Sterling
Wilson • Bart & Cynthia Wilson • Merrill Wright • Stephen &
Jillian Yuhas • Derek & Kellie Yurosek
$1000 - $2499
Steve Abramowicz & Kara Whelan • Gary Ackerman & Robin
Dearling • A. Michael & Pamela Adams • Donna & Richard
Adler • Bob Alexander & Kathleen Devon • Rene Alkoff • Pete
Alread & Stacie Cowell • David & Deb Alverson • Jerry Andrews
• Terrence Cyril Joseph Anthuvan • Jody & Ryan Backlund •
Anne Backstrom • Nancy & Lucky Backus • Thatcher Bailey
• Howie & Carly Barokas • Todd Bartle • Pamela Baughn •
Carolyn Bechtel • Kimberly Bell • The Benevity Community
Impact Fund • Paul Berg • Bernstein Family Foundation •
Brenda Berry & Jon Green • Robert & Julia Binford • Christine
Bloch & Joel Jackson • In honor of Jan Block • Colin Bodell •
Paula Boggs • Leona Bosch • Carl Bradley & Kathy Goodwin
• Eric Braley • Monte Bridges • Jim & Lynn Brooks • Jennifer
& Mark Broughton • Jeff & Holly Brown • Kevin & Nancy
Cahill • Giancarlo & Kristina Cairella • Angel Calvo & Kelly
Shields • Jama Cantrell • Tim Carver • Linda Cheung • Vicki
Christopherson • Dave & Julia Clarke • Mr. Ken Clay & Ms.
Kathy Pope • Erin Combs & Mike Monroe • Lynda & Scott
Corcorran • Barbara Crowe • In memory of Esther Davidson
• Dr. & Mrs. Richard Davies • Paula & Paul Davis • Lexi & Paul
Degenfelder • John DeVore • Shannon Donohue • Brady &
Emily Douglas • Dahl & Paul Duffy • Andrea Durbin • Louise
Durocher • Robin Ellis • Thomas & Kay Ewing • Brandon Farrar
• Anthony Fleming • Katherine Flinn • Christi & Todd Flynn •
Sibyl Frankenburg & Steve Kessel • Karen Frerichs • Leslie &
Tony Freytag • Sharon Friel • Anthony Giardini • Leslie Gibbs •
Gary & Vicki Glant • Natosha Gobin • Marty Goodman • Google
Matching Gifts • Chris & Amy Gorey • Bob Greco • Maria
Gunther • Mike & Molly Hanlon • Melissa Hanses • Jocelyn
Hanson & Steve Kotz • Carrie Harness • Lisa & Tucker Hatfield
• Kinne Hawes & Laurie Kallsen-George • Sara Hemphill,
Valerie Agnew, & Max Barnett • Mary & Tom Herche • Kelly &
Michael Hershey • Lori Hill • Julianna & Scott Hinckley • Tim
& Kim Holm • Todd & Anne Holmdahl • Mr. Jordan Hom • In
Memory of Gordon Iles • Thomas Inskip • Laura Inveen & Bill
Shaw • Steven Ip • Dan & Nicole Jacobs • Kim Jarvis • Deborah
Johnson & Jeff Hupp • Rick Jones • Mike & Sue Jostrom
• Kaarin Keil • Tim Kerr & Cynthia Wells • Matthew Kessi •
Jeanine Kielb • Kimberley Kirkland & James Ruddy • Karen L.
Koon • Henry L. Kotkins Jr. • Kim Krabill • Greg & Karen Krape
• Jody Kris • J.D. Kritser & Shanna Biggs • Healy Landis •
Douglas Langdon • Rob Lee • Robert & Belinda Leighton • Jan
Levy • Nina Liong • Barbara Lippke • Jack Little • Shilo & Brian
Lockett • Marty Loesch • Richard Lovata • Deming & Michelle
Maclise • Macrodglon Family • Jim Malatak & Rick Sturgill • Les
Martin • Donna Matuizek • Marcella McCaffray • Chris & Katie
McReynolds • Joan Melgaard • Linda & Robert Melin • Chie
Mitsui • Kim Moger • Aaron Montgomery • Susan Mortimer •
Harvey Motulsky & Lisa Norton • Angie Mykel • Mike Nelson
• John Nettleton • Michael Neufeld • Nintendo of America,
Inc. Matchign Gifts • Dawna Nipp & Sons • Brenda Nitzke •
Thomas Noble • Mary O’Keefe • Kristi L. Oosterveen • Sal
Orso • Eric Orth & Elizabeth Russell • Michelle & Tom Parsons
• Robert & Rachel Pasterick • Corey Patt • Pfundamental Inc.
• Mindy & Tyler Platte • Tina Podlodowski • Barbara & Lewis
Pollak • Linnea Preston • Puget Sound Theatre Organ Society
• Quartet • Ann Ramsay-Jenkins • Jane Repensek & Warren
Weissman • Patrick Rhoads • Matthew Richardson • Chuck
& Jane Riley • Steve Ritt & Laurie Rosen Ritt • Mona Roach
• Brian Roberts & Daniel Crawford • Mark Roberts & Andy
Gault • Simon Robinson • Robert & Patricia Rodenburg • Corie
Sandall • John Loux & Carol Sanders • Glen & Lauree Scheiber
• John & Beth Schleck • Maren & John Schnebeck • The Sconzo
Family • David Showalter • William Skoff • Tyler Slone • Denise
& William L Snowden • David Sprinkle & Annie Vu • Elizabeth
& Jon Stone • Tom & Kathy Story • Vishwam Subramanyam •
Delena Sunday • Patricia Takizawa • Amy Theobald & Carabeth
Lee • Denise Thiel • Jennifer Tomas • Jeff & Summer Trisler
• Darcia Tudor, Eastside Mediation & Mental Health • Clark
& Barb VanBogart • Vandeberg, Johnson, & Gandara, LLP •
Myla Causing & Todd Versaw • Dave & Joyce Veterane • Shaun
Vickers & Jennifer Pitchard • Art & Eva Wahl • Durlin Hickok &
Carol Wallace • Susan Ward & Rebecca Petersen • W.E. Electric
• Brian & Lesa Welcker • Christine Whittlesey • Kyla Fairchild
& Ron Wilkowski • Ron Wilkowski & Kyla Fairchild • Deana L.
Wilson • Craig Wolfe • Jay & Danielle Yedinak • Peg & Rick
Young Foundation • Erin Younger & Ed Liebow • Jane Zalutsky
& Mark Kantor
$500-$999
Anonymous • Christina L Aadland • ACME Foods • Chris &
Kaelyn Adams • Maura Ahearne & John Bregar • Larry Ahrens
• Debra Akers • Kim Albrecht • Jacob Altaras • Connie L
Ambrose • Katherine Anderson • Casey & Melinda Anderson
• Mark & Caryl Andrews • Ed Andrews & Marcela Barrientos
• Apple Valley Dental & Braces • Wayne Araki • Kate Avery
• Nic Bacetich & Kerry O’Neil • John Bahnke • Andy & Kim
Baker • Tobey Barger • Tom Barthlomew & Sarah Mack •
Anthony Barton • Christine & Dale Bateman • In memory of
Bob Bengtsson • Steve Benirschke • In Honor of Stephen
Benjamin • Jeff Berry • Andrew Birck • Dan Bjorge • Luther
F. Black & Christina Wright • Virginia Blaine • Donald Blair &
Kathleen Bemis • Timothy Blank • Robert & Jennifer Bohner
• Cathy Boshaw • Brad Boswell & Vicki Christopherson •
Anita Braker & Dave Olsen • Alexander Brandt • Berthold &
Jutta Breitling • Robert & Barbara Bridge • Ed & Pam Bridge
• Keith & Nette Brintzenhofe • Sandee Brock • Raymond &
Yuko Broscovak • Gloria Browning • Emily Burt • Kirsty Burt
• Jared Cady • Rosemary Cahill • Janet Moulton Caler • Jerry
Calhoun & Andrea Wenet • Cambia Matching Gifts • Scott
Cameron • Vicky Campbell & Paul Waskiewicz • Laura Cannon
& Jill Mullins-Cannon • Samantha Caplan • Byron Capps • Chris
Carlson • Tammie Carlyle-Chin & Herman Chin • Linda & Mike
Casey • Richard Castaneda • Brad Cerenzia • Amy Chasanov
& David Powers • Bill Clark & Sarah Wardaw • Sean Clark •
Travis Clark • Ken & Sharon Clay • Claire Coine • Robin Cole
• Suzanne & Michael Conniff • Steven Cook • Frank & Marzell
Corigliano • Sylvia Cornish • Robert & Linda Cornyn • Gary
Corrington • Jan Craven • Russ Crawford • Donna Cryan •
Kathie & Rick Dalzell • Cynthia & Mike D’Angelo • Melonee
Daniels & Stuart Platt • Rosemary Daszkiewicz • Matt & Renee
Day • Brian Deely • Marcel De Hart • Candace Denegal • Darrell
DeRochier • Mike Derzon & Robin Supplee • Bill Dimmick • Matt
Dixon • Allison B. Donald • Jennifer Donnell • Scott & Shelly
Douglas • Jan Drago • Ralph & Freddie Dreitzler • Nextune Inc.
• Liz Dunn • Julien & Mallary Duplant • Ruben Duque • Kathryn
Edens • Juiling & Derek Edmonds • Michael Edwards • Matt &
Micaela Ellison • Kyle Engelson • Joselynn & Randy Engstrom •
Christine & John Enslein • Jeremy Espenshade • Janel Evans •
Rebecca Evans • Jerry Everard & Jane Kaplan • Mark Fanning
• Paul Ferrara • William Fitzharris • Joan Flaschen • Suzanne
Fletcher • Jenny Forbes • Michael & Marta Fortin • Dave Frame
• Ricardo Frazer • John Freidman • Andrew M Friedland • Jamie
Fullen • Jean Gardner • Lu & Barry Gardner • Patricia R Garrett
• Sheri Gazitt • Conrad Gehrmann • Rachel Gerdeman • Cheryl
Getsinger • Eric & Siege Getsinger • Edward & Sue Giaimo •
Cheyenne Gillooly • Joshua Gilpatrick • Brian Gish • Timm &
Sandra Gleason • Joanna Glickler • Jim & Louise Gordon • Warren
Property Management • Laura B. Gowen • Doug Grady • Brittany
Granger • Diana & Ron Gustafson • Patricia Haight • Andrew &
Michelle Haines • Dorothy & William Hall • Matt Hamblin • Greg &
Julie Hanon • Janie & Rick Hansen • Michelle Hanson • Brett Hart
• Pam Hartsock • Bob & Jan Harvey • John Hayward • Kathryn
Hedrick • Anja & John Helmon • Jan Hendrickson & Chuck
Leighton • Sandra Herman • Moira Hetlage • Pete Hilgendorf •
Bill Hochberg • Nathaniel Holcomb • Melissa Holschbach • Sarah
Holstedt • Judith Honican, CB Bain • Scot & Tamara Hood • Alisa
Horwitz • Stevena House & Rick Labadie • Thomas Howell • Mr. &
Mrs. Richard Howell • Phillip Hower • Brandon Hunt • Catherine
Iles • Gayle Irwin • Larry Jacobson & Heather Trim • Kennedy
James & Justin Kane • Sarah Jewell • Barbara & Bob Jirsa • Keith
& Marianne Johnson • Brady R. Johnson • Tracy & Greg Johnson
• Jeannine Jones • Stacy Justino • Angela Kelly • Deanna & Jason
Kilmer • Denny Klein • Jackie & Henry Kotkins • Stephen Krause
• Steve Krauss • John Kropp • Toni Kuhl-Radford • Gregory P
Kusnick • Curtis & Mary Lachance • Langley Recruiting • Steve
& Diane Lariviere • Jonathan Lee & Courtney Johnson • Robert
Lee • Cyndi Lewis & Marty Loesch • Lichun Li • Loretta Lizotte
• Los Arboles Management, LLC • Sharon Lott • Derek Lee
Lounsbury • Daniel Lutker • Olena Lyashenko • Dennis Madsen
• Thomas Mahoney • Martha Makosky • The Maney Family •
Diana Marshall • Sue Mathews • Shane Mathiesen • Gail Mautner
• Joshua May • Bruce & Jolene McCaw • Mark McClure • Liz
McDaniel • Scott McFadden • Michael & Nicole McHale • Nate &
Stephanie McLemore • Shevaun Meggitt • Michelle Mejia • Lisa
Metcalf • Eric Middleton & Doug Alder • Jason Miller • Kristi
Miller • Andrew Monary • Antonio Morales • Christina Morrissey •
Chuck & Stephanie Mortimer • Manette Moses • Liberty Munson
• Jessica Murray • Erane & Michael Myint • Gerardo Narvaja •
Steele Newman • Mary Oaksmith Nichols • Bill & Denise Nielsen
• Joshua Nogales • Northern Trust • JeanAnn Obrien • Cheryl
& Tom Oliver • Todd Olson • Mary K. O’Neill • Pedro Ortega •
Ken & Candice Overman • Pacific Continental Bank • Susan A.
Parker • Donna Payne • Peggy Peery • John Perea • Todd Perry •
Amanda & Bryan Peters • Brian Peters • Jennifer Petersen • Eric
& Jan Peterson • Marci Pfeiffer • Barbara Pierre • Margie Pietz •
Lukasz Cwik & Madeleine Pitsch • DeAnna Poling • Lisa & Scott
Porad • Sandra Porter • Alison Powell • Bill Predmore • Kristina &
Jeff Preedy • Pricewaterhouse Coopers LLP • Propel Insurance •
Kathy Ragan • Jim & Patricia Ramseth • Michael Reams & Donna
Hughes • Geoffrey M Reiman • Jeff & Blue Resnick • Richard
Reuter • Kevin & Patrick Richardson • Sam Riley • Bruce A. Ritzen
• Joseph Roberts • Kristine Roberts Bowman • Amy Robinson •
Barbara Roper • Cindy Russell • Duane Samuels • Debra L. Sand
• Jeff Sanderson • Susan & Michael Sandner • Anne & Steve
Sarewitz • Jonesie Seabrook • Nathan Shearn • The Sherwood
Family • James Shobe & Donald Chi • DeLee & Dick Shoemaker
• Janina Siede • Susan Silver • Jaime Simpkins • Kat & Scott
Sims • Sherwood Family • Dan & Elaine Sivey • Tom Skerritt
& Julie Tokashiki • Sam Skrivan • Jana & Scott Sleight • Greg
Smith & Betty Mattson-Smith • Maureen Smith • Speyer Family
Foundation • James & Barbara Stapper • Starbucks Matching
Gifts • Betsy Stauffer • Garth & Drella Stein • Cassi & Ciara Gadler
& Lori Stephens • Steve & Sue Seher • Bill Stewart • Bruce &
Shelley Stock • Tricia Stromberg • Stuart Sulman • Lyssa Sutton
• Janice & David Sweeney • Denise Swift & John Martinez • Talon
Private Capital, LLC • Mariano & Barbara Teixeira • Kenneth
Temiyasathit • Carolyn L Thomas • C. Rhea & Wendy Thompson
• Craig & Misty Thompson • Lori & Collin Tibbetts • Craig Timm
• James Tremain • Jason & Erica Tripard • In Honor of McKenzie
Turnipseed • Mike Ubezzi • Scott Unger • United Way of King
County • Ruth Vance • Rainier & Rosie VanCoevorden • Gary &
Pat Volchok • Cheryl Vota • Paul & Cassandra Wagner • Kelly
Walker • Elaine Waller • Jan & Nancy Wanamaker • David Wang •
Levi & Stephanie Ware • Washington Construction & Remodeling
• Casey Watkins • Jerry & Vreni Watt • M. Logan Wells • Gary
Wenet • Mary Jo Wertheimer • Chuck & Barb White • Steve
Wicklund • Allen & Janice Wiesen • Stacy Wikle • Deborah & Fred
Wilds • Jill & Jari Williams • Matt Williamson • The Wolfe Family •
Steven & Mary Wood • Dan Wuthrich • Kathryn & John Yerke
$250 - $499
Anonymous (4) • Nick & Ali Abbot • Oscar Abello • Advanced
Technical Services • Martin Afromowitz • Jason Ahrens & Craig
Lavallee • Sayed Alamy • Audrey Alexander • Lisa Alfano • Tom &
Linda Allen • David & Rita Alli • Ken & Jennifer Altena • Linda
Althauser • James & Kelly Anable • Anthony D. Andrews • Lynn
Argento • Bob & Ann Arnold • Michael Aspi • Perry & Christine
Atkins • Ken & Eva Atkinson • Juliana Atkinson • Matthew Austin
• Danna Baer • Matthew Bailey • Elizabeth Baker • Leslie Baker •
Joy Balli • Gwendolyn Barbee • Florian Barca • Michael R. Barclay
• Robyn Barfoot • Maura Barr • Bridget Barrett • Thomas Barrett
• Andrea & Britt Barrineau • Ellison Bayan • Dan & Deanne Bean •
M. G. Beaver • Denise Begley • Charlotte Behnke • Kathleen
Bemis • David Bender • Dr. Eric Bennett • Gregg & Lauren
Bennett • Darren Bennett • Kim Berardi • Jacquie Berg • Tushar
Bhatnagar • Jeff Biddy • A.K. Bishop • Kristina Black • Hunter
Bloch • House Wares, Edmonds • Matt Boisen & Joanna Plichta
Boisen • Beverly & Malcolm Bonnheim • Julia Bonnheim & Marc
Bridge • Sean Booth • Megan Bramlette • Brandt Forensic
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• Tracy Tavis • Michelle Webb • Sheryl Taylor • Joann Terranova
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• Patricia Wallace • Mr. & Mrs. Wallden • Jennifer Wallis • James
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Your Dollars @ Work
RECIEVES $100,000 FROM
DISNEY THEATRICAL GROUP
Seattle Theatre Group was recently
selected as a regional grantee for Disney
Musicals in Schools by the Disney Theatrical Group. The designation comes
with a $100,000 grant to provide arts
opportunities for five Title 1 King County
public elementary schools: Emerson, Mt.
View, Van Asselt, West Seattle and White
Center Heights Elementaries. The program is based on Disney KIDS
musicals, written for elementary-aged
students, and designed for production
in an after-school setting. These halfhour shows feature accessible music,
ensemble casts and classic Disney stories
such as 101 Dalmatians, Aladdin, The
Aristocats, Cinderella, The Jungle Book,
Sleeping Beauty and Winnie the Pooh. Each school commits a team of teachers to the program. These teams are
guided through onsite support and
training from a team of two Seattle
Theatre Group teaching artists during the
rehearsal and production process. The
teaching artists serve as production and
creative advisors, with the goal of training and empowering each school team to
run the program in the future. We are very happy to be leading this
dynamic arts education initiative locally
that was initially offered in New York City
public schools, and after a successful first
year, we hope to continue this program
for many years to come.
Selected schools will participate in a
culminating Disney Musicals in Schools
“Student Share Celebration” on March
10 at the Moore Theatre. Hope to see
you there!
BOARD OF DIRECTORS
im Margard, C
J
hair
Greg Mollner, P
resident
Bob Lipman, T
reasurer
Ron Wilkowski, V
ice President
Jim Kraft, General Counsel
Ricardo Frazer, S
ecretary
Directors
Lindsay Anderson
Jan Block
Becky Bogard
Shavondelia Brown
Peter Davis
Masha Hart
Brian Langstraat
George Northcroft
Steve Peltin
Mike Slade
Mary Beth Wressell
HONORARY BOARD MEMBERS
Ida Cole, F
ounding Director
nn Deutscher
A
Sara Hart
Marian Thrasher
CENTER STAGE COUNCIL
Ann Deutscher, C
hair
Council
Ted and Danielle Ackerley
Howie Barokas
Janie Hendrix
Marty Loesch and Cyndi Lewis
John Maynard
Chris McReynolds
David McShea
Kabby Mitchell
Tina Pappas and Robert Aigner
Paul Pradel
Stephen and Sheila Salamunovich
Michael Shrieve
Jeff Trisler
Gigi and Alan White
Fred Wilds
VOLUNTEER COUNCIL
SLATE OF OFFICERS 2012-2014
Sara Hart Chairman
Fred Johnson Vice-Chairman
Susan Jackson, Secretary
Members
Carol Allen
Bonnie Briant
JoAnn Field
Jim Malatak
Linda Middlebrooks
Arlene Rankiin
Lynn Thrasher
Marian Thrasher
Melinda Wilson
Honorary Member
Phil Hargis, w
wPuget Sound
Organ Society
Council Members Emeritus
Barbara Roper
Claire Tompkins
Josh LaBelle, Executive Director
VISION To enrich, inspire, challenge and expand our world through the arts.
MISSION To make diverse dance, music, film, theatre and arts education an integral part
of our rich cultural identity while keeping Seattle’s historic Paramount, Moore,
and Neptune Theatres alive and vibrant.
CORE VALUES Stewards of historic theatres and legendary performances. Catalysts for community
relationships and alliances. Passion for diverse performing arts and our audiences.
MEMBERS OF STAFF
EXECUTIVE OFFICE
Josh LaBelle
Executive Director
David Allen
Chief Operating Officer
Martin Sepulveda
Executive Assistant
PROGRAMMING
Adam Zacks
Senior Director of Programming
Debra Heesch
Special Events Manager
Ryan Cook
Talent Buyer
Kayte Olsufka
Programming Associate
MARKETING
Vivian Phillips
Director of Marketing & Communications
Lauren Daniels
Digital Communications
and Promotions Manager
Ken Potts
Director of Marketing, Season
and Major Programs
Hilary Northcraft
Marketing Assistant
Antonio Hicks
Public Relations Manager
Joshua Phenicie
Digital Communications Assistant
Jason Ross
Concerts Marketing Manager
Emory Liu
Graphic Designer
Kelly McMahon
Data Specialist
DEVELOPMENT
Maura Ahearne,
Development Director
Richard Nelson
Development Officer
Danielle Olson
Director of Corporate Relations
Aaron Semer
Annual Fund Manager
EDUCATION & COMMUNITY PROGRAMS
Vicky Lee
Director of Education & Performance Programs
Sarah Loritz
Community Programs Manager
Marisol Sanchez-Best
Education Programs Manager
PATRON SERVICES
Tory Wimer Contreras
Director of Sales
and Patron Services
Heather Davidson
Club Relations &
Events Coordinator
PJ Mertz
Sales Manager
Magadelene Adenau,
Group Sales Manager
Anna Bryant
Patron Relations Manager
Jenny Lachuta
Club Relations Administrative
Coordinator
BOX OFFICE
Jeff Beauvoir
Director of Ticketing
Phil Brock,
Show Supervision
Stefanie Wolf,
Show Supervisor
Ngai Kwan
Ticketing Manager
Tonjia Phenicie
Box Office Administrator
Cenee Cain, Courtney Comfort,
Elizabeth Davenport, James Eddy,
Chad Gabagat, Kathryn Jansen,
Timothy Mitchell, Mia Sessions,
Box Office Associates
Joe Biringer
Box Office Lead
HUMAN RESOURCES
Ginny Matheson
Director of Human Resources
Misty Stevens
Office Manager
Marianne Conduff
Receptionist
FINANCE &
ADMINISTRATION
Ellen Trowbridge
Payroll Specialist
Brianna Ponio
Venue Accountant
Jennifer Moore
Accountant
Gary Corrington
Acting Chief Financial Officer
Katie Schneider
A/P Assistant
THEATRE OPERATIONS
David Allen
Chief Operating Officer
Dean Wattles
Operations Manager
Brian Layton
Director of Venues
Jeff Anderton
Network Administrator
HOUSE STAFF
Mason Sherry
Theatre Manager
Ted Dowling
House Manager
Brandon Cyprian, Chad Hudson,
Anneka Kielman, Miranda Lerian,
Enrique Sigala, Billie Webber,
Sydney Webster
MAINTENANCE
Jeff DeVick
Director of Building Services
Julia Beckley
Building Services Manager
Jason Armes, Judith Carroll,
Steven Dobbs, Grant Fryer,
Lila Hughes, Robert Phare
CUSTODIAL
Denise Antoine, David Beckley,
Kelsi Bland, Ramon Bland,
Michael Blue, Suzanne Brandkamp,
Nick Butera-Rogers, Jordan Elliott,
Simon Godfrey, Andrea Groce,
Lonnie Haynes, Dembo Hatu,
Bill Kachersky, Ashley Mauerhan,
Nikita Pines, Eddie Scott,
Michael Simons, Kirk Thompson
STAGE CREW
Mike Miles
Technical Director, Paramount
Larry Knien
Head Flyman, Paramount
Jeff Payne
Head Electrician, Paramount
Mike Miller
Head Sound Engineer
Joseph Poole
Head Props, Paramount
Robert Margoshes
Technical Director/
Head Electrician, Moore
Steve Martin
Head Flyman, Moore
Dan Droz
Head Sound, Moore
HAIR & MAKEUP
Pam Farrow
Head of Hair & Makeup, Paramount
WARDROBE
Delia Mulholland
Wardrobe, Paramount
All stage, wardrobe, hair and makeup
personnel employed by Seattle
Theatre Group are represented
by the International Alliance of
Theatrical Stage Employees Locals
15, 887 and 488 respectively. The
musicians employed by Broadway at
the Paramount are members of the
American Federation of Musicians,
Local 76-493.
DANCING
IN THE DARK
LILIENTHAL|ZAMORA change the way you
look at light, dark and the spaces in between.
By AMANDA MANITACH | Photo by MEGUMI SHAUNA ARAI
E N C O R E A RT S N E W S Underbelly, a collaboration with Degenerate Art Ensemble and
Olson Kundig Architects, in 2013.
BOTTOM: MALCOLM SMITH, TOP: BRUCE CLAYTON TOM
“THROUGH HOLLOW LANDS” at the Frye Art Museum in 2012.
12 ENCORE STAGES
F RO M C I T Y A RT S M AG A Z I N E
a night of
NEW INSTALLATION takes
A pen-and-ink sketch of the work
describes a trajectory of tangled tubes
coming at each other from opposite ends of
the room, exploding from a starburst in the
center. Its title: “NEVER FINISHED.”
“It’s true,” Lilienthal says. “We’ll never
feel like it’s done.”
Lilienthal is slight, with short, untamed
hair that falls in curls around her ears.
Zamora looms by comparison, his
heavy brows furrowed across a face that
frequently breaks into wide smiles. The
two artists are in the first of four weeks
of installation. They both have day jobs,
so the work here at Suyama Space is
rigorous. They’ve been arriving at 7 p.m.
and continue to work until nearly midnight
each night.
Join Chihuly Garden and Glass and wine makers from
CaDenCe
saliDa Col solare
lauren ashton Cellars aVennia
And last year’s winner of the mystery tasting
Dunham Cellars.
thursDay, noVember 13
6 pm - 9 pm
For tickets and more information:
seattlevinearts.com
69
$
plus tax &
gratuity
305 harrison street, seattle, Wa 98109 / Chihulygardenandglass.Com
CA 092214 pairings 1_3s.pdf
Jack Willis in All the Way. Photo by Jenny Graham.
I
ExcEptional local WinEs.
DElicious FooD pairings.
spEctacular sEtting.
N EARLY SEPTEMBER, A
shape at Suyama Space
in Belltown: Hundreds of
slender fluorescent tubes
sizzle, stitching together a
staggered pattern of light.
It’s the work of Etta Lilienthal
and Ben Zamora, a collaborative
duo whose overlapping interest
in performance design brought
them together six years ago. They
measure the space, surrounded
by a small army of volunteer
assistants who suspend from the
peaked ceiling a latticework of
fluorescent bulbs from one end
of the room to the other piece by
piece. The half-finished piece
looks like a chandelier shattered
into a thousand fragments, frozen
in free fall.
artful pairings
By Robert Schenkkan | directed by Bill Rauch
In partnership with Oregon Shakespeare Festival
November 14, 2014—January 4, 2015
206-443-2222 seattlerep.org
season sponsor
media sponsors
The Great Society was developed, in part, with assistance
from The Orchard Project, a program of The Exchange
9/5/14 4:27 PM
E N C O R E A RT S N E W S WHAT DOES IT TAKE
TO GROW A TREE?
FAITH
that the roots will sink deep,
CLEAR VISION
to plan for seasons beyond
the horizons of time, and
TRUST
that future generations will care
for the tree you tended.
Consider a gift to the University of Washington
through your will, trust or retirement plan. You’ll be
nourishing generations of students to come.
giving.uw.edu/whatittakes | 206-685-1001 | giftinfo@uw.edu
A N N H A M i lt o N
the common S E N S E
oCtoBer 11, 2014 – APril 26, 2015
o P e N i N g C e l e B r At i o N : o C t o B e r 1 1
HeNry Art gAllery
H eN ryAr t.org
Ann Hamilton. Digital scan of
a specimen from University of
Washington’s Burke Museum
of Natural History and Culture
Mammal Collection. Courtesy
of the artist.
14 ENCORE STAGES
Since coming together in 2008,
LILIENTHAL|ZAMORA, as they’re
collectively known, has made sculpture
out of lights. They follow in the footsteps
of 20th century artists experimenting
with color, light and space in a sculptural
context such as like Dan Flavin, who
pioneered the use of colored fluorescents
in sculpture, or Robert Irwin, a
Southern California native whose subtle
manipulations of lighting in interior and
outdoor spaces transform commonplace
environments into ethereal, nearly
spiritual situations.
Neither Lilienthal nor Zamora set out
to weave mountains of tangled lighting
in the name of art. Both began as theatre
nerds. Lilienthal, who was born in
Lausanne, Switzerland, and came to
Seattle by way of Martha’s Vineyard
and Cape Cod, loved the stage in high
school. It made sense to pursue theatre,
fine art and art history at Smith College
and later Glasgow School of Design. But
neither of those schools was a good fit;
it wasn’t until she enrolled at CalArts
in the late ’90s that she experienced an
epiphany. She was working with a fellow
student to construct a theatre set with
a clear plastic ceiling containing water.
The theatre lights passed scattershot
through the water from above, and the
effect was unlike anything Lilienthal had
experienced.
“It was all about the light and its
container, light and object,” Lilienthal
says. “One without the other doesn’t
work. I realized the theatre was simply a
huge sculptural space. If I’m honest, I’m
not really interested in theatre itself. I
was never really interested in actors and
I don’t even like plays that much. I just
love the space.”
During her time at CalArts, Lilienthal
buried herself in the school library,
poring over a massive collection of art
catalogs that chronicled the exhibits
of artists like Flavin, Irwin and James
Turrell, whose constructed rooms and
tight spaces permit slivers of natural light
to filter into artificial space, as they do in
the Henry Art Museum’s “Light Reign.”
“I spent hours and hours with that
imagery, absorbing it,” Lilienthal says.
“Then I was basically trying to put
it all on stage. It didn’t always work.
Sometimes it did.”
Meanwhile, Zamora was studying at
the University of California in Santa Cruz.
He was also a fan of theatre and the arts,
but his obsession with light didn’t start
between the pages of an art history book.
It started with raves.
F RO M C I T Y A RT S M A G A Z I N E
For years, Zamora wouldn’t commit to
declaring a degree in college. Instead,
he tinkered around in art classes. One of
those classes taught lighting design for
theatre. There Zamora met some students
who were throwing dance parties in the
woods—small affairs that cops usually
shut down right after they started.
Eventually they asked Zamora if he
wanted to work on the lighting for one.
“Next thing you know, we’re at an old,
abandoned Home Depot in Oakland,”
he says, laughing, “and it’s not like
we’re just putting a few lights in. There
are trucks with thousands of dollars
worth of equipment. We’re setting points
into concrete in the building, totally
illegally.” Some 15,000 people showed
up for that rave.
“THROUGH
HOLLOW LANDS”
snaked its way
through an entire
museum gallery,
carving a furiously
bright, whitehot grid of light
through the air.
“It was really beautiful, that time in
the early and mid ’90s. I took something
from it: a common, shared experience
with all these people, all different,
all races, all types, some old, some
young, some assholes, some sweet. But
something happens when all are clued
into one moment.” Lighting was the key
ingredient to create that moment.
After graduating with a theatre
degree, Zamora knew he wanted to work
with light and he knew how he wanted
it to feel. Unsure of where to turn next,
in 2002 he enrolled at the University of
Washington to pursue a master’s degree
in lighting design.
Right out of grad school, he landed a
dream gig designing artistically outré
opera with director Peter Sellars and
video artist Bill Viola. Zamora was
lighting designer for The Tristan Project,
a modern staging of the opera Tristan
und Isolde that projected Viola’s video
on a large screen suspended above the
stage accompanied by Zamora’s lights.
The synaesthetic maelstrom of color
and image culminated in Isolde’s finale
note, drenched in diminishing, climactic
blue light. This kind of work would be
his bread and butter for years. It was
foundational—and a stroke of luck for an
artist who still didn’t know what he was
doing as he traipsed across the world.
“I was homeless, sleeping on couches
and breaking into studios to sleep,” he
says.
In 2008 Lilienthal and Zamora’s paths
finally crossed. After graduating from
CalArts in 1999, Lilienthal moved to
Seattle to be near family and friends.
Zamora continued to dip in and out
of Seattle between opera gigs across
Europe. They met on the set of a play
called God’s Ear at the pint-sized
Washington Ensemble Theatre on
Capitol Hill where they worked to build
the set. Lilienthal’s concept for the
space was incredibly abstract: circles
carved into a backdrop, tunneling into
the distance like a cartoon vanishing
point that would be transformed by
Zamora’s lights. The creative chemistry
between Lilienthal and Zamora was
instantaneous.
“It was like bang, we have to work
together,” Zamora says. “Let’s make
something.”
So marked the birth of
LILIENTHAL|ZAMORA—although the
twosome didn’t actually create a piece
together for two more years. Their first
work as a duo was an installation called
“THIN PLACE,” constructed for the set
of a play at Intiman Theatre in 2010. It
was made of layer upon layer of gauzy,
square scrim panels shot through with
shifting, colored light. A ramp rose up
through the center, passing through the
shapes to nowhere.
“The piece was hard to pull
off because the panels were
enormous,” Lilienthal says. “At one
point [director Andrew Russell]
wanted tables and chairs, which
we absolutely didn’t want. Then it’s
like, oh yeah, we’re designing for
theatre. This is not a sculpture.” But
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LILIENTHAL|ZAMORA’s abstraction
gave the play a heavy dose of
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Untitled-2 1
8/22/14 8:32 AM
Add an Encore to your
performance experience.
Visit Seattle’s only comprehensive
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EncoreArtsSeattle.com
PROGRAM LIBRARY
CALENDAR
PREVIEWS
NEWS
ARTIST SPOTLIGHT
E N C O R E A RT S N E W S Every last
component is
fully wired and
lit, but nearly
half of the lights
are being blotted
out. What’s left
is an explosion of
light, fractured,
receding into the
suggestion of
voids.
art or whatever. We were trying to make
a piece that spoke to all of that, to the
universal. Something that makes you
connect with the people around you.”
A steady body of work followed
in the next two years. In 2011,
LILIENTHAL|ZAMORA installed more
shifting color fields and temporary
translucent walls at Hedreen Gallery. In
2012, they constructed “APEX,” a sitespecific installation in the courtyard of
the Intiman Playhouse (now the Cornish
Playhouse), drenching the space with
bouquets of upward-thrusting yellow
and blue fluorescents. Later that fall
they collaborated with Degenerate Art
Ensemble and Olson Kundig Architects
for Underbelly, installing a mammoth,
mechanized framework of tube lights
that descended over DAE’s Haruko
Nishimura like a bunch of jumbo glow
sticks as she danced in subterranean
chambers beneath Seattle Center. After
that, they flew to the desert to install
another version of “APEX” at Coachella,
Kristin Ford
where monuments of alternating
Showcase
blue and yellow tubes were mounted
amongst a grove of palm trees.
They finished that year with their
largest undertaking yet: a fluorescent
Nov. 8 & 9
installation commissioned by Frye
Art Museum as part of the [Moment
Magnitude] exhibit. Called “THROUGH
HOLLOW LANDS,” the piece snaked its
way through an entire museum gallery,
carving a furiously bright, white-hot grid
of light through the air.
9/4/14
“We keep upping the stakes on each EAP 1_12 template.indd 1
piece, purposely trying to find ground
that’s uncomfortable” Zamora says.
“THROUGH HOLLOW LANDS” proved
more than uncomfortable at times, as
Lilienthal and Zamora wrestled with
30-foot-long power cables, trying to
make fluorescent tubes do things they
weren’t meant to do.
“But why bother to do something if
you know you can do it?” Lilienthal says.
Their sweat and actual tears paid off.
Visitors were stupefied and delighted.
The duo achieved the Turrell-effect they
so admired: a marriage of light and
its container that totally engulfs the
unsuspecting viewer.
A year of nonstop work took its toll.
Zamora was on the brink of breakdown.
Between work on ever-expanding
LILIENTHAL|ZAMORA projects, he’d
been teaching full-time, flying to Europe
to work on opera sets, to LA to work on
theatre sets, sleeping two or three hours
a night for months at a time. Lilienthal
had also been working full-time as
an exhibit designer, splitting her time
between coasts as well as providing art
direction for shows around the country.
That’s when Suyama’s curator Beth
Sellars asked them to do a piece. They
said yes but with a caveat, Zamora says:
“It’s going to be dark and broken. Like
breaking “THROUGH HOLLOW LANDS”
and going crunch.”
EAP 1_6 V template.indd
1
8/29/14
October
23rd, 5:30 – 7:30
An open-beam ceiling crowns the
space. Bright, natural light filters
through windows overhead. Faded
206 . 691 . 2625 seattlecountryday.org
traces of the past are still legible: text
printed on the beams and deep grooves
etched into plank floors betray the
space’s past life as an auto repair shop.
A hundred years ago, the basement level
served as a livery stable. Since 1998,
it’s been dedicated to large-scale art
installations that are changed every four
months. Artists from all over the world
have worked here.
§
something sublime and ineffable,
which ultimately worked in its favor.
“It was a play about someone trying
to find their spiritual home,” Zamora
says. “We’re not religious at all. We’re
atheists. But there’s something about
that search, whether you find that in
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Like much of their past work, LILIENTHAL|ZAMORA’s approach to the space
and its history isn’t literal. The assemblage
of lights pits the artificial against the
natural, redoubling the brightness of the
gallery with both an inner and an outer
glow. They selected a shade of “cool white”
tubes to match the color of daylight. There’s
something undeniably ecstatic, borderingon-spiritual in the lightness.
Yet, as they fasten the tubes from the
ceiling, they are painting many of the bulbs
black. It’s something they’ve never done
before. Every last component is fully wired
and lit, but nearly half the lights are being
blotted out. What’s left is an explosion
of light, fractured, receding into the
suggestion of voids.
“This piece is about those two forces,
darkness and light being drawn together
and pushed apart simultaneously,” Zamora
says. “Then there’s the middle where they
intersect. I think that it’s all beautiful—both
the lightness and darkness. It’s not meant
to pass judgment on one or the other. It just
is.”
Sellars, Suyama’s curator, anticipates
the way the changing season will alter
the sculpture. “The spaces between lights
and the surrounding environment will
be perceptually altered each day as the
approaching winter sun drops in the sky,
shortening the days, bringing darkness in
through the gallery lined skylights,” she
says. “Placing the viewer inside this kind
of an environment of awareness as an
active participant is one of the key goals of
Suyama Space.”
Amid what seems like miles of coiling
extension cords, scaffolding and scissor
lifts, the two artists huddle beneath
hundreds of dangling black wires and
look up into the swarm of lights. They
discuss the optimal density of light in the
area directly overhead. Three assistants
are bent over a nearby table soldering. As
each bulb is slowly assembled, “NEVER
FINISHED” emerges out of thin air—a web
more complex, more flawed, less clinically
sublime than past work. Without a clear
definition of where this thing is going or
where it begins or ends, the pieces casts
light on a side of LILIENTHAL|ZAMORA that
was hidden until now.
“When I ask myself whether I would
make a piece of art without light, I get
stuck,” Lilienthal says. “We’ve always
wanted to make environments where
people are encased by light, creating a
sense of overwhelming experience—in a
good way. In this kind of space, you can’t
fade away. You are there, present.” n
“NEVER FINISHED” is on view at Suyama Space
through December 19.
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Fall 2014 at Seattle Theatre Group_Encore Arts Seattle

Transcription

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