ANTON CHEKHOV'S "THE THREE SISTERS" AT ACT THEATRE FEELS RELEVANT AND HAUNTING

The Seagull Project — The Three Sisters— photo by Chris Bennion

If you spend one evening at ACT Theatre in Seattle watching Anton Chekhov’s play The Three Sisters, (presented by The Seagull Project Company and running through February 8), be prepared to be thinking about it for many more. Do not be surprised if its characters walk right into the private rooms in your brain without knocking and make themselves at home, bringing all their baggage with them. When that baggage is opened, you will find it contains some truths you will recognize. 

Anyone unaware of Russian history during the time when Chekhov wrote The Three Sisters, would benefit from doing some research before attending the play. The script itself offers no historical background, which would have seemed superfluous when it was new, over a century ago. Written in 1900, The Three Sisters first reached the stage in 1901, the same year the Socialist-Revolutionary Party came into being. Today’s audience members looking back over that century will feel a nagging sense of dread, knowing what the characters do not know. Russian society was getting restless. The time had come to face the truths of social injustices and class differences, and by 1917, a terrible upheaval would change their world forever.

The Seagull Project — The Three Sisters — photo by Chris Bennion

This is not to say that the story depends on its historical context for meaning. It stands on its own. It is about familial and romantic relationships, dreams and notions compromised, societal restraints placed on women, and other timeless themes. However, under the pen of Chekhov and through the touches of Director John Langs and The Seagull Project Company's Co-Artistic Directors Julie Briskman and Gavin Reub, they take on a particular depth and intimacy. The characters feel like people we’ve known. They annoy, sadden, impress and touch us and often make us laugh.

As the title indicates, the play ponders the lives of the three orphaned adult Prozorov sisters, ages 20, 21, and 28. Although their dead mother is barely mentioned, we are aware that their father had been a brigadier general in the army. When he took command of a garrison in the small provincial town where the story takes places, his refined family was uprooted from an interesting life in Moscow. Eleven years after the move, and one year after their father’s death, the daughters find themselves trapped in a world with little to offer in the way of the type of companionship they desire or hope for a better future.

The Seagull Project— The Three Sisters— photo by Chris Benin

Immature Irina (Sydney Andrews), the youngest, daydreams of returning to Moscow where she will surely find her true love. Masha, a year older and already disillusioned with her marriage to a high school Latin teacher Fyodor (Brandon J. Simmons), a man who appears shallow until we come to see him as deeply loving and lovable. Dressed in black, Masha seems to be mourning for the life she might have had, even while peppering the script with her humor. The eldest, Olga (so well portrayed by Julie Briskman) also teaches school and at the young age of 28 already considers herself a tired, aging spinster. Olga, frets over everyone, including elderly servants, always putting others before herself in her compassionate and loving way, to the point where an observer might beg her to quit sacrificing and seize her own life’s potential. 

The Seagull Project — The Three Sisters — photo by Chris Bennion

The three sisters also have a brother they call Andrey, another lost soul who once had ambitions to be a college professor in Moscow but ends up merely working for the County Council as a secretary. His marriage to a lower class woman named Natasha (Hannah Victoria Franklin) who becomes the wicked, domineering mistress of the house, along with his deceptions and betrayals of his sisters, will poison the family and alter its fate.

The limited social life of these four siblings revolves around friendships with the officers from the garrison, including a 60-year-old army doctor and family friend, Ivan Chebutykin (Peter Crook). A former friend of their father, he seems like a humorous uncle, put later reveals his own emotional problems.

The Seagull Project — The Three Sisters— photo by Chris Bennion

The Baron Nikolai Tusenbach (CT Doescher), with his unrequited love for Irina, even though they share some socialist viewpoints, appears pathetic at first but earns our respect and sympathy as time goes on. He is harassed by the Staff Captain Vasily Solyony (Tyler J. Polumsky) who will eventually challenge him to a dual. Lieutenant Aleksandr Vershinin (David Quicksall), a married man with children, impresses Masha with his unending philosophical talk and they begin a love affair that remains secret only for a while. 

As glum as all of this sounds, the play has humor and lively exchanges between its colorful characters. It does, however, also have duller moments that require paying close attention, especially when trying to keep all those Russian names straight. The interweaving of many subplots gives strength and interest to a story true of any age. Even the costumes, designed by Doris Black, reflect the timeless nature of this play. Except perhaps for the soldiers’ uniforms, they are not period correct, but rather seem to express the personalities of the characters.The play offers a rich intellectual and emotional experience, but the appreciation of it increases with a few days spent pondering. Think of it as a bottle of wine you open and let "breathe."

The Seagull Project — The Three Sisters — photo by Chris Bennion

Within Jennifer Zeyl’s minimalist and flexible stage design, which serves as both indoors and out—angled poles painted to look like the trunks of birch trees, basic white tables and chairs, a few room screens—these characters live their personal dramas. Why should we care? As fellow human beings, also in relationships, also caught up in societies and politics that constantly change and threaten our security, we can be reminded of the truth that this has always been the case and certainly is right now.

There is another thing every person who devotes part of their life to volunteering knows; the best way to forget your own troubles is to be conscious of the troubles of others. At the end of the The Three Sisters, you can rise from your seat, go home, and go to bed knowing the equivalent of the Russian Revolution is not waiting  to knock at your own door. At least not yet. And that, my friends, is why we love theater.  

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ROGER FERNANDES, NATIVE AMERICAN ARTIST AND STORYTELLER TO VISIT VASHON ISLAND JAN. 24

photo courtesy of Roger Fernandes and VMIHA

Roger Fernandes, or Kawasa, as his fellow members of the Lower Elwha Band of S'Klallam Indians near Port Angeles call him, has strong feelings about how stories should be shared. This tribal historian, artist, and teacher specializing in Coast Salish art, does not believe stories should be trapped inside books.

"The true power of storytelling comes when the moisture of the teller's breath gives life and power to the story," Fernandes says.

Prepare to experience the power for yourself. 

Fernandes will visit Vashon Island on Saturday evening, January 24, to share stories in the way he believes is best, as he presents a special program called "Teachings of the First People." This FREE public event takes place at 6:30 p.m. at the Vashon-Maury Island Land Trust building at 10014 SW Bank Road, and will include legends, myths, creation stories, and flood stories meant to bring a sense of Northwest Native American culture to the children and adults who attend and help them understand it better. 

This evening of storytelling is offered in conjunction with the Vashon-Maury Island Heritage Association's museum exhibit called "Vashon Island's Native People: Navigating Seas of Change," and is sponsored by VMIHA, Humanities Washington and others*. The museum exhibit runs through March 15, 2015, at 10105 SW Bank Road, in the heart of the town of Vashon, but the story telling event takes place only on January 24 at the Land Trust building. 

A trip to the island and an evening of storytelling would be a nice way to spend some quality time with your family and a learning experience that will enrich your own life. To get a taste of the talents of Roger Fernandes, listen to a few tales here. To see some of his artwork, please click here. And for your convenience, here is the ferry schedule.

For more information~

Vashon-Maury Island Heritage Association

10105 Bank Road SW

PO Box 723

Vashon Island, Washington 98070
206-463-7808
admin@vashonheritage.org

Additional sponsors are:

4Culture

Puget Sound Energy

DIG

Beth de Groen

Rick's Diagnostic & Repair Service

The Hardware Store Restaurant

John L. Scott Real Estate

Northwest School of Animal Massage

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2014 GYPSY ROSE LEE AWARDS—SEATTLE THEATER WRITERS ANNOUNCE THE WINNERS!

Joshua Carter as Seymour Audrey II Puppeteer: Eric Esteb Voice of Audrey II: Ekello Harrid Jr.
 ACT Theatre        Photo: Tracy Martin 

And the Winners are….

Seattle Theater Writers Announce the 2014 Winners of 

The Fourth Annual Gypsy Rose Lee Awards

Good Life Northwest congratulates all the winners! 

Nothing is more difficult than choosing winners from a selection of outstanding nominees, but the Seattle Theater Writers critics circle had to do just that before we could present our annual Gypsy Rose Lee Awards for the fourth year. Even though we did not all agree on everything, we do all agree on the excellence of Seattle's live theater scene, yet another reason to love life in the Northwest. 

This year's awards include a Special Award of Recognition for Excellence in Playwriting, which has been given to Tony Award winner Mr. Robert Schenkkan. The Seattle Repertory Theatre presented his two-play history of Lyndon B. Johnson—All the Way and The Great Society. 

Seattle Theater Writers recommendations: Get out and see more shows this year. Read our reviews. Form your own opinions. Note the names, follow the news, and please support what all these talented people do to enrich our lives. Enjoy reading through this list of winners! I can already hear the applause.

William Ontiveros grips Elijah Alexander in "The Invisible Hand" at ACT Theatre
Photo: Chris Bennion 

The 2014 Gypsy Rose Lee Award Winners are:

Excellence in Production of a Play 

(Larger Theater): The Invisible Hand - ACT Theatre

(Smaller Theater): A Small Fire - Sound Theatre Company

Excellence in Production of a Musical

In the Heights - Village Theatre

Excellence in Direction of a Play

(Larger Theater): Myra Platt - The Amazing Adventures of Kavalier & Clay (Book-It Repertory Theatre)

(Smaller Theater): Julie Beckman - A Small Fire (Sound Theatre Company)

Excellence in Direction of a Musical

Bill Berry - Little Shop of Horrors (The 5th Avenue Theatre/ACT Theatre co-production)

Excellence in Performance as a Lead Actor in a Play (Male)

(Larger Theater): Greg Lyle-Newton - The Normal Heart (Strawberry Theatre Workshop)

(Smaller Theater): Reginald Andre Jackson - The Mountaintop (ArtsWest)

Excellence in Performance as a Lead Actor in a Musical (Male)

Joshua Carter - Little Shop of Horrors (The 5th Avenue Theatre/ACT Theatre co-production)

Excellence in Performance as a Lead Actor in a Play (Female)

(Larger Theater): Tracy Michelle Hughes - Pretty Fire (Taproot Theatre)

(Smaller Theater): Teri Lazzara - A Small Fire (Sound Theatre Company)

Excellence in Performance as a Lead Actor in a Musical (Female) 

Jessica Skerritt - Little Shop of Horrors (The 5th Avenue Theatre/ACT Theatre co-production)

Excellence in Performance as a Supporting Actor in a Play (Male) - any non-lead

(Larger Theater): Timothy McCuen Piggee - Angels in America (Intiman Theatre)

(Smaller Theater): Ray Tagavilla - A Small Fire (Sound Theatre Company)

Excellence in Performance of a Supporting Actor in a Musical (Male) - any non-lead 

Dane Stokinger - Monty Python's Spamalot (The 5th Avenue Theatre)

Excellence in Performance as a Supporting Actor in a Play (Female) - any non-lead

(Larger Theater): Betsy Schwartz - Tails of Wasps (New Century Theatre Company)

(Smaller Theater): Evelyn DeHais - Chaos Theory (Annex Theatre)

Excellence in Performance as a Supporting Actor in a Musical (Female) - any non-lead

Taryn Darr - A Chorus Line (The 5th Avenue Theatre)

Richard Peacock plays Richie in A Chorus Line at The 5th Avenue Theatre.  
Photo Credit Mark Kitaoka

Excellence in Performance as an Ensemble

(Larger Theater): Tails of Wasps (New Century Theatre Company: Sylvie Davidson, Brenda Joyner, Hannah Mootz, Betsy Schwartz, Paul Morgan Stetler) 

(Smaller Theater): Gidion's Knot (Seattle Public Theater: Heather Hawkins, Rebecca Olson)

Excellence in Set Design

(Larger Theater): Carey Wong - The Boy at the Edge of Everything (Seattle Childrens' Theatre)

(Smaller Theater): Robin Macartney - Girl You Know It's True (The Stay Up Late Show/Theatre Off Jackson co-production)

Excellence in Costume Design

(Larger Theater): Christine Meyers - Twelfth Night (Seattle Shakespeare Company)

(Smaller Theater): Cami Funk - Balconies (Annex Theatre)

Excellence in Lighting Design

(Larger Theater): Andrew D. Smith - The Boy at the Edge of Everything (Seattle Childrens' Theatre)

(Smaller Theater): Marnie Cummings - Returning to Albert Joseph (Satori Group)

Excellence in Sound Design

(Larger Theater): Brendan Patrick Hogan - The Invisible Hand (ACT Theatre)

(Smaller Theater): Josh Blaisdel - The Lisbon Traviata (Theatre22)

Excellence in Musical Direction

RJ Tancioco - In the Heights (Village Theatre)

Excellence in Choreography or Movement

Daniel Cruz - In the Heights (Village Theatre)

Excellence in Local Playwriting

Stephanie Timm - Tails of Wasps (New Century Theatre Company)

Excellence in Local Composing

Mark Siano and Opal Peachey - Seattle Vice (Marxiano Productions)

Full cast of Seattle Vice at ACT Theater    Photo: John Cornicello

About Seattle Theater Writers:

Founded in 2011 by Miryam Gordon and comprised of local writers and reviewers, Seattle Theater Writers is a group dedicated to raising public awareness of theater practitioners and the work produced by professional theater organizations. Seattle Theater Writers’ hope is that awareness can encourage attendance and enjoyment of our rich cultural offerings.  Born from this mission are the annual Gypsy Rose Lee Awards, recognizing excellence in Seattle theater across 32 categories.

The participants in this year’s award process were Jose Amador (www.seattlestar.net), Candace Brown (goodlifenw.blogspot.com), Miryam Gordon (Seattle Gay News and miryamstheatermusings.blogspot.com), David-Edward Hughes (www.talkinbroadway.com/regional/seattle), Rosemary Jones (www.examiner.com/theater-in-seattle/rosemary-jones), Alice Kaderlan (blog.seattlepi.com/feetfirst), Dusty Somers (blogcritics.org/author/Dusty-Somers), and Michael Strangeways (www.seattlegayscene.com/).

For more information, go to www.facebook.com/SeattleTheaterWriters. The Notes section shows the evolution of the awards.

# # #

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2014 GYPSY ROSE LEE AWARDS — SEATTLE THEATER WRITERS ANNOUNCE THEIR NOMINATIONS

From "Bethany" at ACT Theatre 
Board to the Belly - Emily Chisholm and Darragh Kennan
Photo: Chris Bennion 

Excitement has been building in Seattle this week and it is all because of one dedicated woman. Those who regularly partake of live theater in Seattle have probably seen Miryam Gordon in the audience, even if they don't know who she is. Because she feels such passion for theater, attends so often, and writes so many reviews, Gordon reached out to her peers and founded the Seattle Theater Writers group in 2011. She and the other members of STW, including myself, think more people would enrich their lives through the experience of live theater if they realized what it offers. STW exists to raise public awareness of the many fine professional theater organizations in this area and the people involved with them, and then to reward excellence. 

Today, we announce the group's nominations for our annual Gypsy Rose Lee Awards, fondly known as "the Gypsies." Winners will be announced next Thursday, January 15, 2015. The best part, in my opinion, is that these awards are so inclusive. They represent 32 theater companies and 57 productions.

For the first time, musicals and plays have their own separate categories. Also, the awards for 2014 will recognize Tony Award winner Mr. Robert Schenkkan with a Special Award of Recognition for Excellence in Playwriting. The Seattle Repertory Theatre presented his two-play history of Lyndon B. Johnson—All the Way and The Great Society. 

And the Nominees are….

Seattle Theater Writers Announces the Nominations of the

2014 Gypsy Rose Lee Awards

Excellence in Production of a Play 

(Large Budget): Tails of Wasps - New Century Theatre Company

The Amazing Adventures of Kavalier & Clay - Book-It Repertory Theatre

The Boy at the Edge of Everything - Seattle Children's Theatre

The Invisible Hand - ACT Theatre

The Normal Heart - Strawberry Theatre Workshop

(Small Budget): A Small Fire - Sound Theatre Company

Blood Countess - Annex Theatre

Gidion's Knot - Seattle Public Theater

Seascape - Theater Schmeater 

The Lisbon Traviata - Theatre22

Excellence in Production of a Musical

A Little Night Music - SecondStory Repertory

In the Heights - Village Theatre

Little Shop of Horrors - The 5th Avenue/ACT Theatre co-production

Mary Poppins - Village Theatre

Monty Python's Spamalot - The 5th Avenue Theatre

Excellence in Direction of a Play

(Large Budget): Sheila Daniels - The Normal Heart (Strawberry Theatre Workshop)

Darragh Kennan - Tails of Wasps (New Century Theatre Company)

John Langs - Bethany (ACT Theatre)

Allen Nause - The Invisible Hand (ACT Theatre)

Myra Platt - The Amazing Adventures of Kavalier & Clay (Book-It Repertory Theatre)

(Small Budget): Julie Beckman - A Small Fire (Sound Theatre Company)

Shana Bestock - Gidion's Knot (Seattle Public Theater)

Valerie Curtis-Newton - The Mountaintop (ArtsWest)

Alicia Mendez - The Pillowman (SecondStory Repertory)

Bobbin Ramsey - Attempts on Her Life (The Horse in Motion)

Excellence in Direction of a Musical

Eric Ankrim - In the Heights (Village Theatre)

Bill Berry - Little Shop of Horrors (The 5th Avenue Theatre/ACT Theatre co-production)

Brandon Ivie - A Christmas Story (The 5th Avenue Theatre)

Josh Rhodes - Monty Python's Spamalot (The 5th Avenue Theatre)

Steve Tomkins - Funny Girl (Village Theatre)

Excellence in Performance in a Play as a Lead Actor (Male) 

(Large Budget): Elijah Alexander - The Invisible Hand (ACT Theatre)

Frank Boyd - The Amazing Adventures of Kavalier & Clay (Book-It Repertory Theatre)

William Hall Jr. - A Lesson From Aloes (Thalia's Umbrella)

Greg Lyle-Newton - The Normal Heart (Strawberry Theatre Workshop)

Connor Toms - The Invisible Hand (ACT Theatre)

(Small Budget): Gordon Carpenter - A Small Fire (Sound Theatre Company)

Daniel Christensen - The Lisbon Traviata (Theatre22)

Matthew Gilbert - The Elephant Man (STAGEright Theatre)

Reginald Andre Jackson - The Mountaintop (ArtsWest)

Will Rose - Don Quixote and Sancho Panza: Homeless in Seattle (ese Teatro)

Excellence in Performance in a Musical as a Lead Actor (Male)

Greg McCormick Allen - Mary Poppins (Village Theatre)

LeRoy Bell - Passing Strange (Sidecountry Theatre)

Joshua Carter - Little Shop of Horrors (The 5th Avenue Theatre/ACT Theatre co-production)

Ryan McCabe -La Cage aux Folles (SecondStory Repertory)

Wade McCollum - Ernest Shackleton Loves Me (Balagan Theatre)

Excellence in Performance in a Play as a Lead Actor (Female)  

(Large Budget): Emily Chisholm - Bethany (ACT Theatre)

Helen Harvester - Diana of Dobsons (Taproot Theatre)

Tracy Michelle Hughes - Pretty Fire (Taproot Theatre)

Pamela Reed - Who's Afraid of Virginia Woolf (Seattle Repertory Theatre)

Gillian Williams - Venus in Fur (Seattle Repertory Theatre)

(Small Budget): Mary Ewald - Hamlet (New City Theater)

Peggy Gannon - Blood Relations (Sound Theatre Company)

brianne a. hill - The Mountaintop (ArtsWest)

Teri Lazzara - A Small Fire (Sound Theatre Company)

Terri Weagant - Blood Countess (Annex Theatre)

Excellence in Performance in a Musical as a Lead Actor (Female)

 Sarah Rose Davis - Funny Girl (Village Theatre)

Cayman Ilika - Mary Poppins (Village Theatre)

Jennifer Littlefield - A Little Night Music (SecondStory Repertory)

Jessica Skerritt - Little Shop of Horrors (The 5th Avenue Theatre/ACT Theatre co-production)

Valerie Vigoda - Ernest Shackleton Loves Me (Balagan Theatre)

Excellence in Performance of a Play as a Supporting Actor (Male) - any non-lead  

(Large Budget): Peter Crook - The Normal Heart (Strawberry Theatre Workshop)

Quinn Franzen - The Importance of Being Earnest (Seattle Shakespeare Company)

Todd Jefferson Moore - Royal Blood (Onward Ho Productions)

Timothy McCuen Piggee - Angels in America (Intiman Theatre)

Michael Winters - All the Way/The Great Society (Seattle Repertory Theatre)

(Small Budget): Andrew Lee Creech - Girl You Know It's True (The Stay Up Late Show/Theatre Off Jackson co-production)

Eric Mulholland - The Lisbon Traviata (Theatre22)

Carter Rodriquez - Uncle Vanya (Akropolis Performance Lab)

Ray Tagavilla - A Small Fire (Sound Theatre Company)

James Weidman - Blood Countess (Annex Theatre)

Excellence in Performance of a Musical as a Supporting Actor (Male)

Matt Giles - A New Brain (STAGEright Theatre)

Justin Huertas - In the Heights (Village Theatre)

David Anthony Lewis - Little Shop of Horrors (The 5th Avenue Theatre/ACT Theatre co-production)

John Scott - Funny Girl (Village Theatre)

Dane Stokinger - Monty Python's Spamalot (The 5th Avenue Theatre)

Excellence in Performance of a Play as a Supporting Actor (Female) 

(Large Budget): Sylvie Davidson - Tails of Wasps (New Century Theatre Company)

Amy Hill - Who's Afraid of Virginia Woolf (Seattle Repertory Theatre)

Amy Love - Royal Blood (Onward Ho Productions)

Betsy Schwartz - Tails of Wasps (New Century Theatre Company)

Amy Thone - The Normal Heart (Strawberry Theatre Workshop)

(Small Budget): Lisa Branham - Attack of the Killer Murder … of Death! (Theater Schmeater)

Alyson Scadron Branner - Arcadia (Seattle Public Theatre)

Evelyn Dehais - Chaos Theory (Annex Theatre)

Caitlin Frances - Blood Relations (Sound Theatre Company)

Tracy Leigh - American Wee-Pie (Seattle Public Theatre)

Excellence in Performance of a Musical as a Supporting Actor (Female) - any non-lead

Taryn Darr - A Chorus Line (The 5th Avenue Theatre)

Iris Elton - In the Heights (Village Theatre)

Laura Griffith - Monty Python's Spamalot (The 5th Avenue Theatre)

Megan Chenovick - Jerry Springer the Opera (Balagan Theatre)

Shermona Mitchell - A New Brain (STAGEright Theatre)

Excellence in Performance as an Ensemble

(Large Budget): A Lesson From Aloes - Thalia's Umbrella (William Hall, Jr., Terry Edward Moore, Pam Nolte)

Art Dog - Seattle Children's Theatre (Allen Galli, Auston James, Khanh Doan, Kate Jaeger)

Tails of Wasps - New Century Theatre Company (Sylvie Davidson, Brenda Joyner, Hannah Mootz, Betsy Schwartz, Paul Morgan Stetler)

The Invisible Hand - ACT Theatre (Elijah Alexander, Erwin Galan, William Ontiveros, Connor Toms)

The Normal Heart - Strawberry Theatre Workshop (Stephen Black, Rob Burgess, Peter Crook, Brian Culbertson, Joseph Cummings, Simon Hamlin, Greg Lyle-Newton, Andrew Russell, Amy Thone) 

(Small Budget): A Small Fire - Sound Theatre Company (Gordon Carpenter, Sara Coates, Teri Lazzara, Ray Tagavilla)

Attack of the Killer Murder … of Death! - Theater Schmeater (Ashley Bagwell, Alyssa Bostwick, Lisa Branham, Nik Doner, Alyssa Keene, J.D. Lloyd, Corey McDaniel, Tim Moore, Allie Pratt, Lisa Viertel, Lantz Wagner)

Gidion's Knot - Seattle Public Theater (Heather Hawkins, Rebecca Olson)

Horse Girls - Annex Theatre (Erin Bednarz, Rachel Brow, Elizabeth Grant, Kasey Harrison, Anastasia Higham, Pilar O'Connell, Sascha Streckel)

Seascape - Theater Schmeater (Paul Custodio, Lori Lee Haener, Josh Ryder, Katherine Woolverton)

Excellence in Set Design

(Large Budget): Scott Bradley - A Great Wilderness (Seattle Repertory Theatre)

Andrea Bryn Bush - Twelfth Night (Seattle Shakespeare Company)

Matthew Smucker - Who's Afraid of Virginia Woolf (Seattle Repertory Theatre)

Carey Wong - The Boy at the Edge of Everything (Seattle Children's Theatre)

Jennifer Zeyl - Royal Blood (Onward Ho Productions)

(Small Budget): Robin Macartney - Girl You Know It's True (The Stay Up Late Show/Theatre Off Jackson co-production)

Robin Macartney - Balconies (Annex Theatre)

Cate McCrea - Returning to Albert Joseph (Satori Group)

Montana Tippett - A Small Fire (Sound Theatre Company)

Burton Yuen - The Mountaintop (ArtsWest)

Excellence in Costume Design

(Large Budget): Anastasia Armes - Royal Blood (Onward Ho Productions)

Sarah Burch Gordon - Diana of Dobsons (Taproot Theatre)

Christine Meyers - Twelfth Night (Seattle Shakespeare Company)

Pete Rush - Truth Like the Sun (Book-It Repertory Theatre

Cynthia Savage - Mary Poppins (Village Theatre)

(Small Budget): Julia Evanovich - Attack of the Killer Murder...Of Death! (Theater Schmeater)

Candace Frank - American Wee-Pie (Seattle Public Theater)

Cami Funk - Balconies (Annex Theatre)

Desiree Jones - The Hunchback of Seville (Washington Ensemble Theatre)

Scarlett O'Hairdye - Girl You Know It's True (The Stay Up Late Show/Theatre Off Jackson co-production)

Excellence in Lighting Design

(Large Budget): Brian Bembridge - Mary's Wedding (New Century Theatre Company)

Kristeen Willis Crosser - The Invisible Hand (ACT Theatre)

L.B. Morse - A Great Wilderness (Seattle Repertory Theatre)

Alexander V. Nichols - Ernest Shackleton Loves Me (Balagan Theatre)

Andrew D. Smith - The Boy at the Edge of Everything (Seattle Children's Theatre)

(Small Budget): Mark Chenovick and Jen Klos - The Pillowman (SecondStory Repertory)

Marnie Cummings - Returning to Albert Joseph (Satori Group)

Dani Norberg - The Mountaintop (ArtsWest)

Gwyn Skone - Blood Countess (Annex Theatre)

Sara Torres - Marisol (The Collision Project)

Excellence in Sound Design

(Large Budget): Obadiah Eaves - A Great Wilderness (Seattle Repertory Theatre)

Brendan Patrick Hogan - The Invisible Hand (ACT Theatre)

Matt Starritt - The Amazing Adventures of Kavalier & Clay (Book-It Repertory Theatre)

Nathan Wade - Frankenstein; Or, The Modern Prometheus (Book-It Repertory Theatre)

Robertson Witmer and Kevin Heard - Ernest Shackleton Loves Me (Balagan Theatre)

(Small Budget): Al Angel - Attack of the Killer Murder… of Death! (Theater Schmeater)

Josh Blaisdel - The Lisbon Traviata (Theatre22)

Mark Chenovick and Jen Klos - A Little Night Music (SecondStory Repertory)

Evan Mosher - Returning to Albert Joseph (Satori Group)

James Schreck - Attempts on Her Life (The Horse in Motion)

Excellence in Musical Direction

Paul Linnes - A Little Night Music (SecondStory Repertory)

Ryan O'Connell - Ernest Shackleton Loves Me (Balagan Theatre)

RJ Tancioco - In the Heights (Village Theatre)

RJ Tancioco - Little Shop of Horrors (The 5th Avenue Theatre/ACT Theatre co-production)

Tim Symons and Bruce Monroe - Funny Girl (Village Theatre) 

Excellence in Choreography or Movement

Bill Berry - Little Shop of Horrors (The 5th Avenue Theatre/ACT Theatre co-production)

Kristin Holland Bohr - Funny Girl (Village Theatre)

Diana Cardiff - Girl You Know Its True (The Stay Up Late Show/Theatre Off Jackson co-production)

Daniel Cruz - In the Heights (Village Theatre)

Excellence in Local Playwriting

Kelleen Conway Blanchard - Blood Countess (Annex Theatre)

Samuel D. Hunter - A Great Wilderness (Seattle Repertory Theatre)

Wayne Rawley - Attack of the Killer Murder … of Death! (Theater Schmeater)

Jeff Schwager - The Amazing Adventures of Kavalier & Clay (Book-It Repertory Theatre)

Stephanie Timm - Tails of Wasps (New Century Theatre Company)

Excellence in Local Composing

Obadiah Eaves - A Great Wilderness (Seattle Repertory Theatre)

Zhenya Lavy - Uncle Vanya (Akropolis Performance Lab)

Mark Siano and Opal Peachey - Seattle Vice (Marxiano Productions)

About Seattle Theater Writers:

Founded in 2011 by Miryam Gordon and comprised of local writers and reviewers, Seattle Theater Writers is a group dedicated to raising public awareness of theater practitioners and the work produced by professional theater organizations. Seattle Theater Writers’ hope is that awareness can encourage attendance and enjoyment of our rich cultural offerings.  Born from this mission are the annual Gypsy Rose Lee Awards, recognizing excellence in Seattle theater across 32 categories.

The participants in this year’s award process were Jose Amador (www.seattlestar.net), Candace Brown (goodlifenw.blogspot.com), Miryam Gordon (Seattle Gay News and miryamstheatermusings.blogspot.com), David-Edward Hughes (www.talkinbroadway.com/regional/seattle), Rosemary Jones (www.examiner.com/theater-in-seattle/rosemary-jones), Alice Kaderlan (blog.seattlepi.com/feetfirst), Dusty Somers (blogcritics.org/author/Dusty-Somers), and Michael Strangeways (www.seattlegayscene.com/). 

For more information, go to www.facebook.com/SeattleTheaterWriters. The Notes section shows the evolution of the awards.

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"THE LOOM LADY" WANTS CHILDREN TO BENEFIT FROM THE ANCIENT ART OF WEAVING, WITH YOUR HELP

Years ago, when fiber artist Elsa Bouman first began teaching her many skills in summer camps, community centers, and schools, she probably never imagined she would one day be called “The Loom Lady.”  It is, however, a perfect nickname for this woman who lives in Lake Forest Park, north of Seattle, Washington, and is often seen weaving on the shore of Lake Washington. She passionately wants to share the joys of this ancient skill with as many people as she can, especially children. After discovering the perfect small Ashford loom, Bouman knew that she must somehow obtain at least ten of them. Unfortunately, they cost $135.00 each. She needed, and still needs, help to see this dream come true. 

If you are impatiently eager to help you can do so right here, right now, but please read on to understand why this matters so much.

Bouman’s passion to teach weaving comes from her awareness that in today’s high-tech world, kids spend too much time with electronics and not enough using their hands in creativity. They also experience stress, sometimes equal to that of adults. Nothing soothes stress like handling fibers and producing items both useful and beautiful. She wants to reconnect them with the kind of handwork skills that have been used by mankind for tens of thousands of years.  

The video below, in which Renate Hiller discussed the importance of handwork to humanity, says it all.

“When using the loom—rolling it forward and creating this fabric and adding any colors they want—they are in the zone,” Bouman said. “It makes me so happy to see their faces. They just cluster around.” 

Ironically, the computer programming that now occupies so much of society's attention, has ties to the early punch cards used for weaving, as explained in this video.

 

In addition to teaching adults, Bouman especially wants to reach children between eight and twelve years old, those in the third through sixth grades. With these small, portable looms, too small to intimidate, a six-inch-wide scarf can be woven in about five hours. Judging by the response she has already had, Bouman believes some of these children will advance to larger looms and make some fabulous things, connecting with an ancient and universal experience of creativity and reward as they do.

“I have not have one kid who didn’t want to do this,” she went on. “They get engaged in this process of going back and forth and seeing a pattern emerge, seeing the colors change. They are so smitten and focused.” 

Bouman knew nothing about how to obtain a grant, so she turned to the Shoreline-Lake Forest Park Arts Council for help. Now the arts council has involved other organization, and an anonymous sponsor is willing to match every dollar raised with one of their own. 

“I am writing to share an exciting opportunity,” she stated in an email to friends and family. “The Shoreline-Lake Forest Park Arts Council, power2give/PugetSound, presented by ArtsFund, and 4Culture have put together a grant to support the fiber arts.” 

Good Life Northwest, believing in this worthy cause, would like to extend her invitation to everyone. Here is the link where you can contribute:

power2give.org/The Loom Lady

As The Loom Lady, Bouman will receive a one-year residency, enabling her to bring what she calls “the joy and art of weaving” to her local community. The grant, if the drive for donations succeeds, will provide the ten looms she first dreamed of acquiring, as well as materials and funds for other expenses. She can hardly wait to see those expressions of delight, self-confidence, and satisfaction on the faces of even more children. 

“I want this, but I don’t want it for me,” Bouman said. “I want it for them.”

I hope the Loom Lady gets her wish. She's doing what we should all be doing—making the world a better place in our own small way.

Here Elsa Bouman's husband, the acclaimed jazz pianist Ray Skjelbred, tries his hand at weaving. 

Best wishes for a happy new year, from Good Life Northwest. Please "like" this blog on Facebook and help share news of good things. Thank you!