#act theater

[stomachforcrows]

Okay, watching every clip from 2018 RTC Seattle at The 5th Avenue Theatre and ACT Theatre, and falling more in love with the cast every second.

Waiting For The Drop was already my favourite opening number, but Connor Russell's Space Age Bachelor Man, Adam Standley's This Song Is Awesome, and ESPECIALLY his rendition of Talia really secured this cast as one of my favourites.

Wish there was slime on YouTube...

[shakespearenews]

ACT Theater in Seattle staged a remarkable “Romeo and Juliet” that had every young visitor swooning. The beautiful actor Joshua Castille is deaf and so was his Romeo, taking his isolation to a whole new level. Sign language by Benvolio and the Friar to translate and communicate with him was incredibly touching, as were young Juliet’s attempts. A really special interpretation. SOFIA TAYLOR, Seattle - NY Times 

[blogfoulcollectiontree-blog]

In the Absence of Feminine: Dance Like a Man- "THE SEATTLE STAR”

In the Absence of Feminine: Dance Like a Man- “THE SEATTLE STAR”

There is a kuchipudi dance performed by Pandit Avijit Das, an internationally renowned dancer. Pandit Das is an extraordinary dancer with incredible power radiating from his center, and I love this stuff. I’m immediately immersed in a world of dance… 6th August 2015 By Omar Willey.

It was  my first experience to be part of a Theater production call “Dance like a man”,  and being a performer…

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[blogfoulcollectiontree-blog]

Transports The Audience To A Higher Plane – BWW Avijit Das of Bangalore looked like a Disney Prince professing his undying love to some lucky damsel in "Dasavtaram, Tarangam".

[theatremusings]

Review: Stupid F**king Bird @ ACT Theater

This review will start when you say “Start the f**king review.”

Stupid F**king Bird is an ACT Theater production of a relatively new play by Aaron Posner, a modernized adaptation (sort of) of Anton Chekov’s The Seagull. In the play we follow seven people, each with their own independent objectives and in love with one another, creating a clusterf**k of love triangles and squares and all that jazz.

Now, I’d like to make a disclaimer: I know absolutely nothing about The Seagull. I’ve never read it nor have I seen a production of it. Luckily, I had my girlfriend with me, who’s actually performed in a production of The Seagull before, so her knowledge helped me understand the very subtle references to the original source. Thanks darling!!!

That being said: I LOVED this show.

It started off very confusing and slow. Little did I know, the first few minutes actually comprised of text taken straight from The Seagull. But then it started to break the fourth wall every now and then, which added a very nice “immersive” experience. In these moments, the characters either offered thought-provoking monologues or moments of silliness which ranged from making fun of the audience, being asked rhetorical (sort of) questions, and moments of completely tearing down the fourth wall by acknowledging each others’ theatre credits. It made for a great balance.

The performances from the cast were absolutely brilliant, with Adam Standley as Con being a standout for me. He had such a presence on that stage. Even when he was out of the spotlight, he had very subtle “ticks” that indicated that he was still very much in the moment; a slight tilt of the head, engaged facial expressions... Absolutely brilliant. I could not keep my eyes off of him. 

Keiko Green as Mash was so hilarious and sassy. 

Suzanne Bouchard’s Emma was so powerful; you’d hate her for one moment, and then you sympathized with her in the next. 

Connor Toms’ Trig was exactly like how you would envision a pretentious “famous” artist, and he played the role with absolute brilliance. Just the right amount of douchebaggery without going overboard.

MJ Sieber as Dev was so endearing. The character’s supposed to be the oddball of the bunch, but I loved him. 

G. Valmont Thomas as Sorn was also endearing, but he also served as one of the thought-provoking devices of the play. Thomas played the character with such grace and endearment. 

I had a difficult time caring for Jasmine Jean Sim’s character Nina, which I suppose is the point. Goes to show that she’s done her job well. I’m now realizing that the character of Nina follows almost the opposite arc as Emma’s; you actually kind of sympathize with Nina in the first moments of the play and then you kind of dislike her in the remaining moments... At least that’s how I felt. You may feel differently.

The production aspects of this show was also brilliant. The lighting and sound design were ON POINT. They had a kitchen set with a WORKING faucet and blender. We watched the characters make drinks. It was amazing. They didn’t miss a single detail with the sound either. In the same kitchen set, they had a sound effect for the buzzing of an old refrigerator whenever somebody opened it. The set was very minimal for the most part, up until the second act where it became a little more elaborate.

This show must be seen, if at all possible. It offers thoughts about art, life, and love. Although it could help you appreciate its references more, no prior Chekov knowledge is necessary. My girlfriend and I had a very great discussion on it, despite my lack of Seagull knowledge. Do not worry about being blindsighted by its original source; Stupid F**king Bird is entertaining as it is brilliant.

[johncornicello]

Cat on a Hot Tin Roof

ACT Theatre, Seattle WA

It is always a pleasure to work with the folks at ACT. This past spring I worked with them on photos to promote their 25th anniversary production of Tennessee Williams' play Cat on a Hot Tin Roof. This photo session produced one of the billboards our photos have been appearing on around Seattle.

Here are a few more images from the session

We love working with theatre groups. Let us know if we can be of service to you for your next production.

Thanks!

[poparchives]

That Girl With The Curls - Episode 14 - Frank Ferrante

Sam is joined by her friend Alek to talk with Frank Ferrante, an actor who has been performing a one-man show as Groucho Marx for thirty years. They talk about the Marx Brothers, theater, and whether the next generation will be able to appreciate the golden age of comedy.

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[poparchives]

Hooray for Frank Ferrante and An Evening with Groucho

In a quiet moment during the second act of An Evening with Groucho, Frank Ferrante, now in his 30th year portraying the great Groucho Marx, recounts the meeting between a woman and Groucho.

“You’re him, aren’t you? Groucho,” she says. Putting her hand gently on his arm she then says the most powerful words a person can demand of a comedian: “Never die.”

Sadly, it’s been thirty-seven years since…

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