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    Sunday, March 29, 2015


    What does a poet do but
    Grasp the dust motes or leviathan
    In trembling fingers
    Pulls out her own heart fibers
    To use as wrapping ribbon
    While dripping tears of pride
    Offers it to say
    This was mine
    But now it's yours.

    Photo from ihatefog Flickr.

    Friday, March 27, 2015

    The Feast-MAP Theatre

    I can't wait to see this!  I missed Peggy Gannon's performance in Blood Relations, so I'm really looking forward to seeing her on stage in The Feast.  Plus, lady playwright w00t w00t!

    A new play by Celine Song
    Directed by Aimée Bruneau

    WHO:  MAP Theatre 
    WHAT:  The Feast, a new play by Celine Song
    WHEN:  May 1st to May 16th, 2015
    Thursdays, Fridays & Saturdays @ 8:00pm
    Industry Night Monday, May 11th, 2015
    WHY: To give you a little something for your mind to nibble on
    WHERE:  The Schmee, 
    2125 3rd Ave, Seattle, WA 98121
    TICKETS: All tickets are Name-Your-Own-Price available at Brown Paper Tickets.

    When all meat mysteriously turns to rot, ours becomes a world populated with reluctant vegetarians. Four hungry dinner guests impatiently await a latecomer to the table. As the hour grows late and stomachs begin to howl, the traces of civilization turn to decay. Sensual as it is grotesque, foul as it is funny, The Feast is a biting satire that serves up a heady repast straight from the kitchens of our darkest desires.

    “I wrote The Feast after conversations with friends over many meals; and it articulates as best I can what baffles me about hunger and consumption, animals and civilization, intimacy and cruelty, bodies and aging, privilege and love,” says playwright Celine Song. “Initially I wrote this play to explore why I am so unpleasant to be around when I am hungry. I finished it when I realized that smiling distorts people's faces like a snarl.”

    “When we desire what we can't have, we seek substitutes,” says director, Aimée Bruneau. “But we still feel empty; we're not fooled.  We feel anger; we blame; and we insist on feeling full. In this land of plenty, hunger and want are simply unacceptable.  The Feast asks, ‘If our collective first-world desire to be constantly satiated is so strong, how far are we from anarchy?’”

    The Feast is directed by Aimée Bruneau (Radial Theatre Project’s Aisle 9 and Seattle Shakespeare Company’s The Taming of the Shrew) and features the acting talents of Mark Fullerton (MAP’s Soft Click of a Switch), Peggy Gannon (Sound Theatre Company’s Blood Relations), Mia Morris (Open Circle’s The Balcony) and Brandon Ryan (MAP’s Soft Click of a Switch).

    The Feast is designed by Maggie Lee (Lights), Shane Regan (Graphic Design), Jodi Sauerbier (Props), KD Schill (Costumes), Joseph Swartz (Sound), Suzi Tucker (Set), and stage managed by Sarah Bixler

    Thursday, April 30th8:00pm-PREVIEW
    Friday, May 1st @ 8:00pm-OPENING NIGHT
    Saturday, May 2nd @ 8:00pm
    Thursday, May 7th @ 8:00pm
    Friday, May 8th @ 8:00pm
    Saturday, May 9th 8:00pm
    Monday, May 11th 8:00pm-INDUSTRY NIGHT
    Thursday, May 14th @ 8:00pm
    Friday, May 15th @ 8:00pm
    Saturday, May 16th @ 8:00pm-CLOSING NIGHT

    All Performances held at The Schmee, 2125 3rd Ave, Seattle, WA 98121

    MAP Theatre is a nomadic, independent, not-for-profit producing company with strong ties and deep roots in the Seattle community. MAP's goal is to relish the creative journey from process to product and continuously push the boundaries of traditional theatre by busting the stereotypes of what theatre is for. With that always in mind, MAP actively strives to reduce the barriers to live theatre. MAP is led by Artistic Director Brandon Ryan and Producing Director Peggy Gannon.
    Twitter: @MAP_Theatre

    Saturday, February 14, 2015

    For Valentine's Day

    Invitation To Love
    by Paul Laurence Dunbar

    Come when the nights are bright with stars
    Or come when the moon is mellow;
    Come when the sun his golden bars
    Drops on the hay-field yellow.
    Come in the twilight soft and gray,
    Come in the night or come in the day
    Come, O love, whene'er you may,
    And you are welcome, welcome.

    You are sweet, O Love, dear Love,
    You are soft as the nesting dove.
    Come to my hears and bring it to rest
    As the bird flies home to its welcome nest.

    Come when my heart is full of grief
    Or when my heart is merry;
    Come with the falling of the leaf
    Or with the redd'ning cherry.
    Come when the year's first blossom blows
    Come when the summer gleams and glows,
    Come with the winter's drifting snows,
    And you are welcome, welcome.

    Paul Laurence Dunbar was one of the first African American poets to gain national recognition.
    From Poem-A-Day.

    Sunday, January 25, 2015

    Two good scenes...

    ...from very different shows.

    In The Fades, two best friends combat ghost zombie apocalyptic warriors.  No, not all at once, in succession-it makes sense on TV planet.  In any case, there's a great scene that I'm not sure came from the writers, the directors, or the actors.  Two best friends are sitting on a bench eating ice cream, delivering some fairly mundane exposition.  However, what makes the scene cool is that they eat a bite, trade ice cream, and then eat a bite. Then they trade again.  It's a wonderful character moment to show that these guys have been friends since they were probably about two years old.  It's also a good  Pope-in-the-pool moment from "Save the Cat." Pope-in-the-pool means that if you have to deliver exposition, there better be something fascinating like the Pope swimming in a backyard pool to hold the viewers' interest.  These guys trading ice cream sure did the trick.

    Another one is more of a line reading.  In Empire, Terrence Howard as Lucius Lyon is the patriarch of a family of three sons and a hip-hop impresario.  When one of his sons begins to date one of the hot young artists, Lucius says to his girlfriend/Girl Friday "Let's keep them together." It's a tossed off line, but the result is chilling because it shows not only the extent of his power but how far he's willing to meddle in the lives of those he's purported to love.  Terrence Howard gives it no weight at all in his delivery, which is what makes it land so hard.