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Showing posts from February, 2017

New Cinderella captivates Seattle audiences

“So,” said one member of the audience when leaving last Saturday, "is that how ballet traditionally does Cinderella story?”

“No,” replied her friend, “that was anything but traditional.”

For its first program of 2017, Pacific Northwest Ballet brought Jean-Christophe Maillot’s “Cendrillon” to the United States. From the same creators as the “Roméo et Juliette” previously imported from Les Ballets de Monte-Carlo, this work by choreographer Maillot looks to be the same smash hit with older audiences. Like “Roméo et Juliette," the sets and costumes are more suggestive than traditional renditions and there's nothing to get in the way of the romance of the dance.

With a subplot that often becomes the main plot, much of the action revolves around Cinderella’s lost mother, who returns from the dead in the form of a fairy godmother to both help her daughter and haunt her husband. The final duets of the father and fairy godmother give the entire production more poignancy than m…

Georgetown Conservatory is home to Playwrights Salon

The Seattle Playwrights Salon curators Kate Danley and Margaret O’Donnell have created a lively series of works-in-progress at the Conservatory, 5813 Airport Way South, Seattle.

Each month, they present a new work and audiences get free entertainment with their caffeinated beverages, wine, cider, or beer. Next up is “Not Around Gordie” by Jorj Savage, a tale of 1960s southern California. Playwright George Savage Jr. (Jorj) collaborated on the script of "Not Around Gordie" with his father 50 years ago. Now he's presenting it with a number of theater veterans including Bruce McLean (listed as Director and Hummer), Michael Cossette, Alisa Murray, Laurel Clark, Dan Niven, William M. Phillips, Angelina Riley and James Riley.

Danley and O’Donnell answered a few questions about their salon via email in December.

The Conservatory Seattle is a gorgeous space. What does it mean to have something like this available for testing out new works?

Between the historic exposed-brick w…