Peter Crook News

Folger's 2019 Season opener deftly tells the tale of king's reign and the rebellion he faces, a prince burdened by expectations, and the struggles of family, honor, and duty. Rosa Joshi's production enchantingly revives this age-old tale with the help of stunning sets, expert staging, and a phenomenal cast.

Folger Theatre opens the 2019/20 season with 1 Henry IV, Shakespeare's richly layered coming-of-age tale of power, rebellion, honor, and redemption. The production is directed by Rosa Joshi (co-founder of Seattle's upstart crow collective theater company in Seattle; Henry V and As You Like It at Oregon Shakespeare Festival), who makes her DC directorial debut at the Folger.

Folger Theatre opens the 2019/20 season with 1 Henry IV, Shakespeare's richly layered coming-of-age tale of power, rebellion, honor, and redemption. The production is directed by Rosa Joshi (co-founder of Seattle's upstart crow collective theater company in Seattle; Henry V and As You Like It at Oregon Shakespeare Festival), who makes her DC directorial debut at the Folger. 

Seeking her exiled father and escape from an oppressive court, Rosalind, disguised as a boy, flees with her cousin and a clown to the Forest of Arden. The woods offer not only freedom, but also a motley crew of characters, and the chance to experience life and love with a fellow outcast, Orlando, from a whole new perspective.

Rosalind and Orlando engage in a glorious game of love, lust, and mistaken identities in a magical forest in Shakespeare's As You Like It. Kelly Kitchens directs the production which begins previews on April 23, opens April 26, and runs through May 19 at the Center Theatre at Seattle Center.

OK, so putting up a dark and moody production of Anton Chekhov's 'Uncle Vanya' may sound redundant but remember, this is The Seagull Project. They've spent the last eight years killing it with all things Chekhov and now with the completion of the main plays, the dark and moody tone isn't so much the story but the way it's presented that thrilled.

Seattle's critics' circle announces Nominees of Excellence in Seattle theatrical productions. Spanning dozens of theater companies and productions, from large and prominent to small and humble, the Gypsy Rose Lee Awards honor the excellence found in the myriad of professional theater productions that we reviewers attend in a year.

We all have those special toys that became real to us as children. I still have my old teddy bear (who's older than I am) who sits in a place of honor in my living room. This is probably why Margery Williams' classic story "The Velveteen Rabbit" resonated with so many of us. I know it did for me. And now Seattle Children's Theatre in association with Unicorn Theatre (UK) have brought us Williams' beautiful tale for the stage and the magic and wonder and Awww factor of it all couldn't be greater.

Once again, Dear Readers, we've ventured into the realm of one of my favorites. We recently had my all-time number one in town, but I'd have to say Marc Shaiman and Scott Wittman's "Hairspray", is certainly in the top five with its infectious and rousing score and incredible book from Mark O'Donnell and Thomas Meehan. I've seen countless productions including the original cast and even had the honor of being in the show. And now Village Theatre has thrown their wig in the ring with their own production and I have to say in some ways it surpasses all those others. With its Beat, Power, and Humor it's a true show triple threat.

The 5th Avenue Theatre is a vibrant hive of musical theater activity as the projects of NextFest: A Festival of New Musicals have started rehearsals this week. A three-week musical theater intensive development cycle, NextFest has played a role in the creation of musicals ranging from Persuasion by Harold Taw and Chris Jeffries (Taproot Theatre, 2017) to  Come From Away by Irene Carl Sankoff and David Hein (Broadway). Nationally recognized for its contribution to the contemporary musical theater cannon, The 5th Avenue Theatre is a celebrated incubator for new musicals. Each year, the nationally renowned theater company connects writers at all stages of development with some of the region's most brilliant performers, giving life to the words on the page and allowing book writers, composers and lyricists to see their work in action. This year's various works are brought to life by Alexandria Henderson, Justin Huertas, Matthew Kacergis, Shaunyce Omar, Brandon O'Neill, Timothy Piggee, Hannah Schuerman, Billie Wildrick and many more.

The winners of the 2017 Gypsy Rose Lee Awards are announced by the Seattle critics circle, Seattle Theater Writers!

Seattle's critics announce the Nominees of Excellence in Seattle theatrical productions. Spanning dozens of theater companies and productions, from large and prominent to small and humble, the Gypsy Rose Lee Awards honor the excellence found in as much professional theater as we reviewers can attend in a year. Named in honor of the famed theater entrepreneur and Seattle native, Gypsy Rose Lee, and in a nod to the vast numbers or theater practitioners forced to travel the country to earn their living, the Gypsys seek to acknowledge the excellence of the Seattle theater community.

The popular and wealthy Timon has hordes of friends, but only when the wine is flowing. When the money runs out, Timon turns to friends for help.

Are we made by the company we keep? Shakespeare peels away a dark layer to expose human selfishness in a whole new light in the rarely-staged drama Timon of Athens. John Kazanjian directs the play for Seattle Shakespeare Company which runs January 9 through February 4, 2018 at the Center Theatre.

This rendition of Julius Caesar by the Seattle Shakespeare Company will offer a few surprises. It is a streamlined production with a race and gender-diverse cast. With no clear-cut villains and heroes, this epic tale of political savagery has an engaging narrative. But when said savagery feels tepid, hiccups are more conspicuous, leaving audience members recalling the bad, rather than the good. Now performing at the Cornish Playhouse, Julius Caesar gets the job done, but it's problematic.

It's a 400-year-old play, yet it can feel as contemporary as today's headlines. In Julius Caesar Bloody and brutal decisions are weighed against honor and ambition. Seattle Shakespeare Company's Artistic Director George Mount directs Shakespeare's political thriller which runs now through Oct. 1, 2107 at the Cornish Playhouse. BroadwayWorld has a first look at the cast in action below!

It's a 400 year old play, yet it can feel as contemporary as today's headlines. In Julius Caesar Bloody and brutal decisions are weighed against honor and ambition. Seattle Shakespeare Company's Artistic Director George Mount directs Shakespeare's political thriller which runs Sept. 13-Oct. 1, 2107 at the Cornish Playhouse.  

First off, Dear Readers, let me explain that you will see no singing Ice Princesses or wacky snowmen in this show. This particular play called "Frozen", currently playing at ArtsWest, is about as far away from the Disney movie as it could be considering it deals with serial killers. And while the performances are quite powerful and it's a very interesting subject, at times it feels like a lecture on serial killers and other times a drama with some superfluous storylines.

ArtsWest is pleased to announce FROZEN, the Tony Award-nominated play about a serial killer and two women who track him down, opening at the ArtWest Playhouse and Gallery on April 20. Performances will run Thursday through Sunday until May 14.

Mounting something as complex as a Chekov play is not an easy undertaking and should only be handled by professionals. Luckily, in Seattle, we have the Seagull Project who has been tackling these works the last few years including the absolutely incredible "Three Sisters" they put up a few years back. But as crystal clear the intent of the characters in their current production of "The Cherry Orchard" at ACT is, thanks to the stellar performances and direction, I wonder if the translation they chose isn't doing them any favors as I was never quite certain who many of these people were.