Gaudy Night: great fun at the theatre!

W and I enjoyed the Gaudy Night show at Taproot Theatre last night! Producing Artistic Director Scott Nolte knows his actors and his space and once again provided an entertaining evening.

The story starts in 1935 with a girls'-night gone wrong. In an era where society questioned the value of educating women, female dons and students tried to minimize any scandal: when one occurred, it was not easily forgiven or forgotten.

Oxford alumni of 1935 have gathered for their annual Gaudy Night celebrations but a cloud hangs over their women's college. Crude notes threaten mayhem and vandalism almost derails a celebration. Who can find the culprit?

Enter detective novelist Harriet Vane, 15-year alumna of Shrewsbury College. FYI for those of you unaware of British university systems: separate "colleges" - what we call universities - are clustered under a single university name. Thus, Oxford University today consists of 38 independent, self-governing colleges with a governing regent, usually someone famous. (Prince Philip is regent of Cambridge, for instance.)

If you like entertaining fun, this who-did-it? surprises the viewer with its twists and turns, delights with cultural insights into British academia, spinsterhood, and the early C20 class system. Don't miss the romantic banter between the female novelist and her suitor and mentor, Sayer's hero and British diplomat, Lord Peter Wimsey. The audience around me sat on the edges of their seats. Sometimes they laughed aloud at the British humor, occasionally they held their breath with suspense, sucked into the story like I was.

As usual, Taproot maximizes its small stage. The audience sits close enough to get intimately involved in the action, which my seat-mates and first-time attendees kept exclaiming about. The set changes, minimal, efficient, and at times resembling a choreographed dance, fired our imaginations as the action traveled between library, guestroom, faculty offices, and punt (a small river boat beloved by students because it requires great balance to pole along). The costuming (by Sarah Burch Gordon) was simple and authentic.

The actors' body acting riveted my attention as much as the script by Frances Limoncelli. Jeff Berryman (Lord Peter Wimsey) and Alyson Scadron Branner (Harriet Vane) were convincingly funny and serious by turn. Overall this show was outstanding, barring small blips in lines that stopped the flow a few times and occasional foul language.

My recommendation (and my guest's): ****+ or 4.5 stars. I'd say, "DON'T miss this one!" Gaudy Night is Taproot's final play of the 2012 season, running through October 20. It's long (2:20) but the story is hilarious and full of adventure. If you'd like to stay behind to discuss the play, purchase Wednesday tickets.

Coming up for 2013: Jeeves in Bloom (if you haven't meet P.G. Wodehouse's Jeeves and Wooster, you'll laugh yourself to bits at the interaction between the silly nobleman and butler); Lopez's The Whipping Man; Moses' Bach at Leipzig; Mills' adaptation of Shakespeare's Twelfth Night in Illyria; and Wilder comedic The Matchmaker.

Tickets were provided gratis to the reviewer by Taproot.

What if C. S. Lewis talked to Sigmund Freud?

I didn't know what to expect. I'd heard several excellent reports on the Taproot Theatre production of "Freud's Last Session." (But you never know what to expect from what others say.) Two people on stage for 75 minutes? Could be good. Or, on the other hand ... well, I had to see for myself.

Imagine if Sigmund Freud and C. S. Lewis had an hour to expound and question each other about personal accountability, the meaning of life, and ultimate destiny. That's the premise of the award-winning play by Mark St. Germain (Best 2011 Off-Broadway Alliance Play).

The play drafts Lewis (Matt Shimkus) in his 40s––coming into his full philosophical and literary power, and Freud (Nolan Palmer) in his 80s––at the end of his life, suffering from oral cancer. The set of a mid-century London studio replete with antiques, a chaise longue, and Oriental rugs was beautiful enough to make several of my neighbors sigh with contentment.

Freud and Lewis spar: if God were good, wouldn't we always be happy? What is the purpose of suffering? Can we choose to end our lives or is suicide the ultimate selfishness.

"Perhaps, if pleasure is God's whisper, pain is his megaphone," responds Lewis. Perhaps, he suggests, instead of being absent as atheists suppose, God appears to us incognito, surrounding us and inviting us into relationship.

Freud shrugs off the recognition of a greater purpose as the two circle the stage, parrying, asking, and admitting their finite grasp of life's Questions.

The frequent interplay of actors and historical props (including radio broadcasts) makes Taproot one of our favorite companies. The snippets about Lewis, Tolkien and the others in their Inklings' literature group, the settings of WWII, and insights into peer personalities like Weldon helped me to contextualize other information I've picked up by reading and watching movies.

The usual white-haired Saturday matinee crowd was liberally sprinkled with college and middle-aged attendees. It was fun to watch varied responses to the repartee on the stage: we sat riveted by the circling and clash of the actors. The audience packed the space; I appreciated my media tickets.

I like to listen to eavesdrop during intermission (this play had none) and afterwards in the foyer. However, people slowly walked out of the theater to the street, thinking but not speaking. Not until we were a block away did I began to hear both thoughtful and agitated comments on what we'd seen.

Adults who wonder at the contrast between the world's beauty and God's reticence to intervene in life's unpleasantness and pain will identify with the discussion from both sides. Older teens and college students will love the frank and often humorous exploration of human choices, conscience vs. parental repression, the origin of our beliefs, the influence of fathers, and current issues that haunt us, like suicide. Some explicit language makes this inappropriate for children. (Let them sit this one out with a babysitter.)

You have three more weeks to see "Freud's Last Session" in Taproot's 85th Ave. theater. It closes April 28. Don't miss it! You can get tickets for this and the upcoming show "Leaving Iowa" on Taproot’s Website.

Photos by Erik Stuhaug.

Need a night out? Ticket announcement for "Tartuffe"

We love Taproot Theatre. We trust their directors and artists to choose uplifting, informative, and entertaining plays. Don't miss the next offering - a funny and enlightening look at life, from a French POV. Here are the details:

Taproot Theatre begins its 2012 season with Molière’s Tartuffe

Follies & fools, charlatans & scoundrels take the stage on February 1

SEATTLE – December 29, 2011 – Taproot Theatre kicks off the 2012 season with Molière’s hilariously clever satire, Tartuffe. Moliere’s comic masterpiece brings us a con artist extraordinaire who oozes piety and charm.  Will Tartuffe’s hypocrisy be discovered before Organ’s household is turned on its head? Enjoy lightning-quick wit, star-crossed lovers, a badgering grandma and a plot that could be ripped from today’s headlines – or a Saturday night comedy show.  Associate Artistic Director Karen Lund directs Tartuffe which opens February 3 and runs through March 3, with previews on February 1 and 2.

Tartuffe scandalized many of Molière’s contemporaries and was banned in 1664. Molière himself believed that, “As the duty of comedy is to correct men by amusing them, I believed that in my occupation I could do nothing better than attack the vices of my age by making them ridiculous…” and in his first appeal to the King wrote that, “since hypocrisy is, without doubt, one of the most common, the most harmful, and the most dangerous of these, I thought, Sire, that I would render no small service to all the honorable men of your kingdom if I were to make a comedy that would discredit the hypocrites and present all the artificial gestures that these worthy folk display…”

“The more I read it, the more modern it feels,” director Karen Lund said about this powerful story of grace and hopes the audience will, “take a kernel of truth about life” while falling in love with the stylized absurdity that comes to life on stage through various forms of comedy—the hilarity of physical slapstick to Richard Wilbur’s smart translation of Molière’s play on words. Wilbur’s version stays true to Molière’s rhyming verse, writing the entire play in rhyming couplets.

The production features a talented cast of Charissa Adams, Don Brady, Ryan Childers, Solomon Davis, Nathan Jeffrey, William Hamer, Frank Lawler, Ruth McRee, Jesse Notehelfer and Josh Smyth. The production team includes scenic and sound designer Mark Lund, costume designer Sarah Burch Gordon and lighting designer Roberta Russell. Anne L. Hitt serves as stage manager and David Anthony Lewis as dramaturg.

Following Tartuffe, Taproot Theatre presents Freud’s Last Session, running March 21 through April 21 (opening on March 23).

Tartuffe

By Molière, translated into English verse by Richard Wilbur

Directed by Karen Lund

WHEN: February 1-March 3
Wed.-Thurs. 7:30 pm
Fri.-Sat. 8 pm
Sat. matinees 2 pm

Dates to note:
Previews:
Feb. 1 & 2@7:30 pm
Opening Feb. 3@8 pm
Pay What You Can: Feb. 8@7:30 pm
Senior Matinee: Feb. 15@2 pm
Student Matinee: Feb. 7@10 am
Post-play Discussions:
Wed. nights, excluding preview

WHERE: Taproot Theatre Company
204 North 85^th Street
Seattle, WA 98103

TICKETS: Tickets available online at www.taproottheatre.org/buy-tickets/ and through Taproot Theatre’s box office, in person or by phone at 206.781.9707. Ticket range: 

• $22-37, depending on the performance. 
• $5 senior/student discount off regular priced tickets (excludes previews). 
• $15 tickets are available for ages 25 and under. Tickets for the senior matinee are $20. 
• Discounts are available for parties of 8 or more through Group Sales; call 206.781.9708. Tickets for the pay-what-you-can performance are available day of show at the box office only; contact the box office for details.

ABOUT:  Molière’s comic masterpiece brings us the imposter Tartuffe, a con artist extraordinaire who oozes piety and charm.  Will his hypocrisy be discovered before Orgon’s household is turned on its head? This famous farce is a cautionary tale told with lightning-quick wit, complete with star-crossed lovers, a badgering grandma and a plot that could be ripped from the headlines – or a Saturday night comedy show.

ABOUT TAPROOT THEATRE COMPANY
Taproot Theatre Company is a professional, non‐profit theatre company with a multi‐faceted production program. Founded in 1976, Taproot Theatre serves the Pacific Northwest with Mainstage Productions, Touring Productions and the Acting Studio. Taproot exists to create theatre that explores the beauty and questions of life while bringing hope to our search for meaning. Taproot Theatre Company is a member of Theatre Communications Group (TCG), Theatre Puget Sound (TPS), and the Greenwood‐Phinney Chamber of Commerce.

Thanks to our opening night sponsor, The Upper Crust. Support for Taproot Theatre’s 2012 Mainstage season is generously provided by The Charles and Lisa Simonyi Fund for Arts and Sciences, ArtsFund, 4Culture, Fales Foundation Trust and Nesholm Family Foundation.

Who's the Ideal Husband?

"I was wondering why people were hanging around my house the other day," joked a friend when we told him we were going to Taproot Theatre's production of An Ideal Husband. Yeah, well, they would have shown up at our house too, if that were true :-)

The story line, of a husband trying to live up to the impossible ideals of his adoring "perfect" wife, is one of playwright Oscar Wilde's most insightful and compelling. Who hasn't had to admit to past mistakes and imperfections? If you're like me and have had to -fess up more than once or twice, you'll love An Ideal Husband, no question about it!

“To love oneself is the beginning of a lifelong romance.” ~ Oscar Wilde

We arrived to the usual buzz in the little theater on 85th. There's not a bad seat in the house, though it's usually full. We were lucky to move over a few seats when the guy next to us propped his foot up to block our view of a corner of the stage. My polite ideal mate wouldn't ask the man to put his foot down, but we didn't want to miss a thing. I appreciated the media tickets and am delighted to present you with this review:

“An acquaintance that begins with a compliment is sure to develop into a real friendship.” ~ Oscar Wilde

As usual, Taproot does great job of casting. I especially enjoyed the clueless matron, Lady Markby (Pam Nolte), Mabel Chiltern (Anne Kennedy Brady), and Lord Goring (Aaron Lamb). Though Lamb doesn't dazzle in the first bit, he snuck up on us as a convincing rake and ne-er-do-well. Karen Lund's directing continues to showcase her experience and quest for excellence, both with the dramatic material and the theater's space. The actors made full use of the stage, telling us terrible truths about ourselves with wit and humor. How they made us laugh with their characterizations of "beautiful idiots and brilliant lunatics!"

Oscar Wilde's psychological insights into human nature, class, and the culture of his day astonish: he captures his peers' (and our) foibles and efforts at life in conversations filled with hilarity, sarcasm, and irony. Those one-liners kept rolling off the lips with convincing British accents... we perched on the edges of our seats wondering what was coming next. Since we've lived in the UK, the dialogue details jumped out at us with added realism. Sometimes audience chuckles drowned out a line or two - we tried to be good, but the play - and Taproot's portrayal of C19 Victorian life - was too funny to resist a few belly laughs at ourselves.

One of the things I enjoy most about Taproot is its costuming and staging. Since the stage is small, surrounded by people, and visible from three sides, the layout demands uncluttered simplicity and good dramatic support. With a few pieces of furniture, wonderful outfits, and good casting, the play came alive. I've seen Wilde's play a few times, but I can't every remember enjoying it more.

"When the gods want to punish, they answer our prayers." ~ Oscar Wilde

The people sitting next to us were first-timers to Taproot. "We live in the neighborhood," they admitted. "But we've never been here before." The husband was new to Wilde as well, and judging by comments and laughter between the couple, they had a great time. Both promised to return soon. We agree: a thoroughly satisfying and convincing evening out. Don't miss it!

The show runs through October 22. Tickets available here. (My son noticed that "under 25s" tickets are only $10, so why not make it a date?)

If you love drama, would like to support a small local theater, and think it's important to encourage excellence in entertainment, consider a subscription so you can enjoy the whole season. Tickets make great birthday or Christmas gifts, too!

Photo credits: Erik Stuhaug

2012-13 Season - Taproot Theatre

I love this company. Every show has been interesting and has showcased human life and interactions. Can't wait for the new line-up. Thought I'd include their press release below, so all you theatre lovers can get your tickets early. If you've never been to a live show, get ready to be wowed and to step into the story!
------------------------
 

Taproot Theatre Company announces 2012 Season

Season includes two regional premieres, a sparkling musical full of nostalgia, and a heartland comedy that’ll make you relive your family vacations

SEATTLE – June 28, 2011 – Taproot Theatre Company is excited to announce the lineup for its 36^th season, a year packed with comedy, classics and romance. The season features two regional premieres, a comedic road trip with the family, and a musical full of nostalgia and harmony. Taproot Theatre’s Company’s 2012 Season runs from January through October. The resubscription period is currently underway, with subscriptions opening to the general public on October 3.

Taproot Theatre’s 2012 opens with Molière’s Tartuffe (translated by Richard Wilbur), a fast -paced farce that will have audiences rolling with laughter and rhyming in couplets (February 1-March 3).

Next comes the regional premiere of Freud’s Last Session, the off-Broadway hit by Mark St. Germain. Two of the 20^th century’s greatest minds—C.S. Lewis and Sigmund Freud—spar to the end in this fictional meeting (March 21- April 21).

In the spring, Taproot Theatre gets in vacation mode with Leaving Iowa. By Tim Clue and Spike Manton, this warm and funny celebration of the classic family road trip reminds us that sometimes the journey is just as important as the destination (May 16- June 16). 

Then it’s Chaps, which is perhaps your only chance to see a British cowboy croon at the moon, in this musical by Jahnna Beecham and Malcolm Hillgartner, with vocal arrangements by Malcolm Hillgartner and Chip Duford (July 11-August 11).

Finally, Taproot Theatre wraps up its 2012 Season in the fall with the regional premiere of Dorothy Sayer’s Gaudy Night, adapted by Frances Limoncelli. Sayers’ signature wit, insight and charm will delight you in this dazzling mystery (September 19-October 20).

Ticket and Subscription Information:

Performances take place Wednesday through Saturday evenings, with matinees on Saturdays. Taproot Theatre is currently in its resubscription period; subscriptions open to the public on October 3, and single tickets go on sale in January 2011.

Subscribers save up to 18% over single ticket prices, plus enjoy great benefits like priority seating, discounts on additional tickets, free ticket exchanges, a subscriber rewards card and more. Subscribers have a number of packages to choose from, including three- and five-play season subscriptions and a Flex Pass subscription, which gives patrons more flexibility when scheduling their tickets.

For more information about subscriptions and single tickets, visit www.taproottheatre.org or contact the box office at 206.781.9707 or box@taproottheatre.org.  The box office is open Tuesday through Saturday from noon to 5:00 p.m., and until show time on performance nights.

All performances are held at Taproot Theatre, located at 204 N. 85^th St. in Seattle’s Greenwood neighborhood. The 226-seat theatre is wheelchair accessible and is equipped with assisted listening devices.

ABOUT TAPROOT THEATRE COMPANY

Taproot Theatre Company is a professional, non‐profit theatre company with a multi‐faceted production program. Founded in 1976, Taproot Theatre serves the Pacific Northwest with Mainstage Productions, Touring Productions and the Acting Studio. Taproot exists to create theatre that explores the beauty and questions of life while bringing hope to our search for meaning. Taproot Theatre Company is a member of Theatre Communications Group (TCG), Theatre Puget Sound (TPS), and the Greenwood‐Phinney Chamber of Commerce.

Thanks to our opening night sponsor, The Upper Crust. Support for Taproot Theatre’s 2012 Mainstage season is generously provided by The Charles Simonyi Fund for Arts and Sciences, The Seattle Foundation, ArtsFund, 4Culture, PONCHO, and the Nesholm Family Foundation.