A triple witching hour of theatre

Wall Street, occupied or not, has its triple witching hour four times a year, when three different types of securities expire all at once, creating a volatile market. I'm not aware of any similar jargon in theatre, but Friday night's calendar in Seattle had me wishing I could be in three audiences at once.

Up at the Erickson off Broadway, Balagan Theatre opened its much-anticipated production of Spring Awakening, a 2007 Tony-winning musical about teen angst and sexuality. Balagan's executive director Jake Groshong calls it "the best thing we've ever done," and that's saying a lot for Balagan, which first caught my interest with Othello in 2008 and has had numerous wonderful productions since. Spring Awakening is directed by Eric Ankrim, who directed and starred as Dr. Horrible at Balagan in 2010 and will grace the 5th Avenue Theatre stage as Curly in Oklahoma! later this year.

Down at Seattle Center the Seattle Shakespeare Company opened its production of Coriolanus, under the direction of David Quicksall. Coriolanus doesn't get staged often, though we saw a good performance of it at the Oregon Shakespeare Festival in 2008 and Intiman produced it early in the Bart Sher years. We're looking forward to seeing what Seattle Shakes does with it.

John Thomas (Ryan Higgins) gives the Little Man in the
Boat (Bobby Temple) the popsicle treatment during The 
Descent Friday evening at 14/48, the World's quickest
theatre festival. Photo: 14/48.

Our Friday pick to attend, however, was day one of 14/48, the World's Quickest Theatre Festival. It has become a favorite event, a must-see each summer and winter. The premise is diabolical. Thursday evening the company throws themes into a giant ice cream cone. They pick one out at random. Seven playwrights go away and create a one-act play on the topic. Friday morning the directors pick plays and cast at random from the assembled company. Rehearsal commences, and the shows go on at 8 p.m. Friday. Then on Friday night a new topic is chosen, the process is repeated. By the time the lights come up early Sunday morning, you've seen 14 new world-premiere plays in 48 hours.

Friday night's theme was "Goin' Down South", which had many audience observers expecting seven plays about oral sex. Several of the plays went down there, none more hilariously than The Descent, written by Eric Lane Barnes and directed by Kate Jaeger. Special props to Ryan Higgins (John Thomas) and Bobby Temple ("The Little Man in the Boat.") Temple had the best line of the night, in offering some guidance to John Thomas: "I am not a popsicle!"

The 14/48 blog is super active; go check it out. Seven new plays on the topic of "delicious indescretion" will run at 8 and 10:30 this evening, and they'll do it next weekend, too. Spring Awakening runs at Balagan through Jan. 15, and it will likely be back for another couple of weeks in April. Coriolanus will be at Seattle Shakes through Jan. 29. Don't miss any of these shows. Support live theatre!

Dr. Horrible returns in all its horribality

Balagan Theatre sold every last ticket to its production of Dr. Horrible's Sing-Along Blog during a run in August and September last year that proved to be the company's final show in its Capitol Hill basement. Dr. Horrible is back, bigger and better than ever, for a three-week run directed by Kate Jaeger and on stage in the Allen Theatre at ACT.

Annie Jantzer returns as Penny in Balagan
Theatre's production of Dr. Horrible's
Sing-Along Blog running at ACT through
Feb. 12.

In addition to Jaeger, there are a few other high-profile changes with the new staging. William A. Williams, who had an ensemble part in last year's run, stepped into the title role admirably. Erik Ankrim, who directed last year's show along with M. Elizabeth Eller, in addition to playing the lead, was unable to participate this time. Evan Woltz, a favorite from Balagan's 2009 production of The Full Monty, joined the cast, as did Bobby Temple, who also was the dance captain for Dr. Horrible. Maybe the biggest change was the venue. ACT's spacious Allen Theatre allowed for some bigger and badder production values and a much greater scale than the old basement allowed.

Jake Groshong and Annie Jantzer returned in their major roles of Captain Hammer and Penny, joining Williams in a fiendish and evil love triangle. The trio are marvelous.

Don't just take my word for it. SeattlePI.com made Dr. H one of its top eight things to do in Seattle this weekend. Also check out the cast doing a number from the show on the KING-TV program New Day NW.

The full house at ACT seemed to enjoy the opening night of Dr. Horrible's Sing-Along Blog, and sent cast and crew off with a standing ovation. Let the full house be a warning to you, though: Tickets are going fast, so you'd better hop on the ACT website PDQ to order tickets. The show runs through Feb. 12.

Full disclosure: Weisenheimer is the president of the board at Balagan, but it doesn't mean I'm biased!

Dr. Horrible's Sing-Along Blog a smash hit at Balagan Theatre

Dr. Horrible's Sing-Along Blog was a smash hit this summer at Balagan Theatre. A three-week run starting Aug. 20 completely sold out, as did an extended series of late-night performances, including two this weekend that had to be canceled because of illness.

Weisenheimer admits to a growing chasm of cultural literacy. While most everyone about was all ga-ga about the prospect of Dr. Horrible on stage, I had no idea what anybody was talking about. If you were with me in that boat, it turns out the original Dr. Horrible's Sing-Along Blog was created in 2008 as an Internet flick. Joss Whedon, creator of the television version of Buffy the Vampire Slayer among other hits, his brothers Zack and Jed, and actress Maurissa Tancharoen wrote it during the WGA writer's strike. The film starred Neil Patrick Harris, Nathan Fillion, and Felicia Day. You can find the videos all over the 'net these days.

The Balagan version was directed by Eric Ankrim, who also played the title role. Jake Groshong played Captain Hammer, and Annie Jantzer starred as Penny, their mutual love interest. All three were fabulous, as were the entire cast.

Jake Groshong as Capt. Hammer throttles
Eric Ankrim as Dr. Horrible in Balagan
Theatre's production of Dr. Horrible's
Sing-Along Blog.
Photo: Tartan Photography.

Despite the fact that the original was an Internet sensation, the Balagan team was able to resist the temptation to go too wild with technology in the play, though the webcam and projection screen were inspired centerpieces to the relatively spare set. They also added some new musical numbers to the show, which those familiar with the originals say are faithful to the style of the online version.

Weisenheimer made a cameo appearance as "the mayor" on the opening night of the run, which was coincidentally my birthday. Fortunately, this had little negative impact on future ticket sales.

If you missed it, don't be too sad. It's likely Balagan will bring it back at a new location soon. Stay tuned to the theater's website or the Dr. H Facebook page for news.

Oedipus: you'll shoot your eye out!

Weisenheimer is somewhat averse to Greek tragedy. I can trace this aversion to the genre directly back to a particularly dreadful 1992 production of Jean Anouilh's adaptation of Antigone put on by Intiman Theatre. That afternoon may have been the longest month I ever spent in a theater.

Recent events have me considering giving Sophocles a second chance. Seattle Shakespeare Company did a kick-ass production of Electra back in February. Now Balagan Theatre has come along with its own adaptation of Oedipus, a company-written script conceived and created by Jake Groshong, Ryan Higgins, and Lenore Bensinger and directed by Groshong and Higgins.

The creators take their inspiration from Oedipus Rex and Oedipus at Colonus by Sophocles. While it isn't exactly The Complete Works of William Shakespeare (Abridged) in terms of cramming 37 plays into one performance, there's considerable upside to boiling the Oedipus story down to 90 minutes with no intermission. I have to admit that, knowing the creators as I do (Weisenheimer is president of the board at Balagan, but it doesn't mean I'm biased) I came in expecting something a bit more over the top. Instead they hit us with some straight-up theater.

Highlights were captivating performances by Ryan Fields in the title role and Patrick Bentley as Creon. The scene in which Fields as Oedipus beds his wife/mother Jocasta, played by Joanna Horowitz, was fascinating, touching, and tender, a great example of the company's ability to re-think some pretty challenging material.

If we have a criticism of the show it is that the women of Thebes--Tiresias, Antigone, and Ismene, played by the talented trio of Sharon Barto, Annie Jantzer, and Allison Strickland, respectively--don't have nearly so much to do as do the guys. Antigone spends years leading her dad, Oedipus, around after he's had his eyes plucked out. Does it suck to be Antigone? Yes. My Sweetie, the official scorer, keeps expressing an interest in meeting Sophocles' mother. I'm not sure I'm willing to burn an evening on her, but you can see her influence, through her son's handiwork, at Balagan through June 5.

Wisey special awards

Some theater events don't fit well into a standard award category, but are so fabulous and memorable, or not, that they deserve some recognition. We have three special Wiseys for performance above and beyond, and one Wisey Razzie for raspberry-worthy crumminess. The special Wiseys:

BEST UNDERSTUDY: JAKE GROSHONG
Jake Groshong is executive director at Balagan Theatre and directed its supremely entertaining production of The Full Monty in November. The show was playing to sold-out houses throughout its run, but as the final weekend approached actress Ashley Flannegan, who played Jeanette Burmeister, came down with something akin to swine flu. What to do? Cancel the performances and refund four packed theaters worth of tickets? NEVER! Groshong did what any intrepid ED and director would have done: stepped into the role, and the dress, and played Jeanette himself! The show must go on! As you can see from musical director Kim Dare's photo at right, Groshong makes a damn attractive woman. And he made some of Jeanette's lines (e.g. her comment on a proposed frisking: "You DON'T want to go THERE!") take on a whole new meaning. Thanks to the power of the Internet, this photo will live on for eons to come.

THE SHOW MUST GO ON: A Confederacy of Dunces, Book-It
Speaking of the show going on, the performance of Dunces we saw at Book-It had a surprise ending. With about five minutes left in the show, a fire alarm went off in the Seattle Center House and we all had to evacuate the theater. Audience and actors alike filed out into the buttoned-up arcade area of the Fun Forest. Then suddenly, the end of the play broke out! They picked up the play right where it left off and finished it up for an appreciative crowd. That's Brandon Whitehead and Samara Lerman in the Weisenheimer photo of the final scene at right. The fire alarm turned out to be a false one, but it made a memorable end to a fine play. Dunces, like The Full Monty, barely missed the cut when the Best Play nominees were chosen.

COOL ALL-AROUND THEATER GUY: Shawn Belyea
Shawn Belyea was part of a marvelous cast in the Best-Play-nominated Opus at Seattle Rep, directed Balagan's hilarious Picasso at the Lapin Agile in May, and recently became the company's co-artistic director. But we at Weisenheimer love him most for an amazing event that, somehow, we never discovered until last summer: 14/48, the world's quickest theater festival. Belyea is a producer and member of the steering committee for 14/48, which is spectacular theater fun. The photo is a Groshong shot of Belyea stolen shamelessly from Facebook. Forget Christmas. For anyone interested in theater, 14/48 is the best time of the year! And it's just around the corner, playing Jan. 8, 9, 15, and 16 at ACT. Don't miss it.

WORST PLAY RAZZIE: Othello at Intiman
Weisenheimer has of late been accused of being overly positive, and it may well be true that, like Eric Idle, I always look on the bright side of life. Theater dominates our blog, and we tend to write much more about what was good about what we've seen than we have about what didn't work. The one exception to this has been our criticism of Intiman Theatre, which has been mostly disappointing for years now. The "New York" production of Othello they brought in last year had everything from the "acclaimed" East Coast production but the three lead characters. Boo! We couldn't resist one last shot. Here's hoping things pick up at Intiman with a new artistic director.

Balagan men go all the way!

Shout it from the rooftops: The guys in Balagan Theatre's production of The Full Monty do indeed do the full Monty. Balagan's show, directed by Jake Groshong, is a fun and funny evening of entertainment.

I want to spread the word on the FULL-FRONTAL MALE NUDITY thing because I've already been scolded by a friend for not letting her know about it in big, red, capital letters. After expressing her interest in the subject matter, my friend said, "I am looking forward to seeing how they can stage that show in such a little place. And the music is SO GOOD!" Right on the latter. On the former, it's not polite to use the word "little" in a show featuring FULL-FRONTAL MALE NUDITY. As for the staging, the key to the space is a big turntable that rotates about one of Balagan's basement-theatre pillars. Props to set designer Jen Butler for the concept and tech whiz Ed Cook III for making it work. (Cook, by the way, is so damn good he's been snapped up by the Oregon Shakespeare Festival to build sets in Ashland.)

There are the brave gents above at right, in a Balagan photo by M. Elizabeth Eller. From left to right: Butch Stevenson (Horse), Mark Abel (Harold), Austin Garrison (Malcolm), Evan Woltz (Dave), Jon Lutyens (Jerry), and Josh Whitling (Ethan). They are not exactly the Temptations, but the guys can bring it and sing it. Egging them on are the women, at left also in a photo by Eller. Left to right: Tracy Leigh (Vicky), Danielle Barnum (Pam), Christine Nelson (Ensemble), Alyssa Keene (Georgie), Hannah Schnabel (Ensemble), and Wonder Russell (Ensemble). They ARE Temptations, as you can see, but musically they are like Vandellas.

The story is familiar and the music is wonderful. Favorite numbers for Weisenheimer were Stevenson's rendition of "Big Black Man", a wonderfully touching version of "You Walk With Me" by Garrison and Whitling, the hilarious "Big Ass Rock", a touching song about murder and suicide done by Lutyens, Woltz, and Garrison, and "The Goods" by the whole darn cast.

There were a couple of familiar faces in the show. Yes, FACES. Woltz was recently in a fine production of Gutenberg! The Musical! at ArtsWest, as was pianist Kimberly Dare. Woltz is a pretty funny dude. And let's give a well-deserved shout-out for Bobby Temple, the choreographer who kept everyone stepping in the same direction! It was no small task to wedge all of the action into a small space, but it worked marvelously.

Kudos to Groshong and the cast for a great show, and to the guys for having the balls to go Full Monty. The show runs at Balagan through Nov. 28. So go!