Dayna Hanson: "Stepping out to a rhythm that's new and yet familiar" Nov 28, 2006
by Sara E
Read this preview article about Dayna's show from Sunday's Seattle Times:
http://seattletimes.nwsource.com/html/artsentertainment/2003446043_hanson26.html
Maya Beiser: Almost Human Nov 18, 2006
by Tania
Welcome to our blog reviews for Maya Beiser: Almost Human! Leave a comment and give us your thoughts on the show or rate the existing reviews by clicking on the stars to register your opinion.
Maya Beiser: Rara Avis Redux Nov 18, 2006
by Tania
Solo instrumentalists are a rare breed of bird. And of that select species, those who champion new and new-ish music are seldom spotted in Seattle, so I was pleased that OtB brought Maya Beiser back for a solo cello concert.
Incorporating video, an appealing stage set of multiple monitors, and spoken word, Beiser’s concert featured a slew of new music.
Maya Beiser: The Wet Note by Matthew Richter Nov 18, 2006
by Tania
I am an expert in nothing; certainly not contemporary solo cello performance. I know nothing of the larger musical context into which Maya Beiser’s work fits. I don’t know if she’s “redefining the cello’s boundaries ” because I don’t know where the cello’s boundaries lay prior to her arrival. I’m not sure I could tell you how many strings are on a cello (four, right?).
What I do know is that halfway through Ms.
Maya Beiser: Almost Human by C Snyder Nov 18, 2006
by Tania
Maya was exceptional tonight. Her journey became our journey and the full house seemed to gladly follow towards, what I perceived as being, her exploration of place, migration and nomadism.
To watch Maya play a cello is somewhat similar to seeing the setting sun. It’s through movement that one gains a better understanding of the complexity and beauty. Her left hand working the fingerboard from top to bottom, alternating between a blurred furry to a slumbering vibrato, while her right hand works the bow seemingly cutting and stabbing into the strings.
Welcome Baby Lily! Nov 16, 2006
by Tania
Lily Johanna Wilke Pemberton was born to Sarah, our awesome Managing Director, on Nov. 11, 2006. Sarah reports that Lily's favorite song is the Dorky Park version of "Yesterday" as sung by proud papa Brandon.
Posted by Tania
Magician Steve Cuiffo does Houdini escape Nov 12, 2006
by Sara E
The day before Major Bang opened at OtB... actor Steve Cuiffo was in NYC doing the Houdini straight jacket escape.
You can watch it on You Tube here.
Immediately after this, Steve left for the airport to fly here for the show. Pretty rad.
Posted by Sara
365 days, 365 plays Nov 10, 2006
by Sara E
This week Seattle embarks on the Susan Lori Parks 365 plays festival, along with hundreds of theaters/organizations around the country. Parks (a playwright) wrote a play every day for a year, and now cities around the country can enjoy Parks play a day for a year. Granted most are really short... but hey... they're free. OtB will participate with a week-long slot in May.
After Major Bang Nov 10, 2006
by Tania
Steve Cuiffo of the Foundry Theatre and Lane debate the merits of drinking a 12 year single malt scotch right out of the bottle:
Later, Steve, Tania and Sara share a tender moment during a sweaty night of karaoke at Ozzie's:
The Foundry Theatre's Major Bang Nov 4, 2006
by Tania
Welcome to our blog reviews for the The Foundry Theatre's Major Bang! Leave a comment and give us your thoughts on the show or rate the existing reviews by clicking on the stars to register your opinion.
All I know how to do anymore is make pasta and yell: The Foundry Theatre’s therapeutic agitprop by Allen Johnson Nov 4, 2006
by Tania
Major Bang or: How I Learned to Stop Worrying and Love the Dirty Bomb is wonderful – i.e., it elicits and arouses wonder. It's marvelous, and whip-smart, and messy and very tight.
I get all excited about good theater. It’s embarrassing.
Foundry Theatre: Major Bang Review by Christiana Axelsen Nov 4, 2006
by Tania
The image that is burned into my consciousness after watching Major Bang, is the image of the red backpack seemingly floating in the darkness of the back of the stage. It glowed like a radioactive beacon, towering and occasionally writhing, subtlely dominating the show.
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