Maya Beiser: The Wet Note <font size-=2>by Matthew Richter</font> Nov 18, 2006

by Tania Kupczak

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. Beiser’s first set of solo cello performance last night at On the Boards, there were tears rolling uncontrollably down my face. It happened again in the second set—not tears of sadness or of joy necessarily, but tears of recognition I think ”¦ acknowledgement of the presence of a miraculous beauty.

I feel the need here to point out that I’m (generally) no pussy, no crybaby, no pushover. Repeatedly wiping tears away I thought of the fabled  “brown note,...

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Maya Beiser: Almost Human <font size=2>by C Snyder</font> Nov 18, 2006

by Tania Kupczak

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. All the while, Maya has her cello nestled into her body or held at hands length, much like you would love your lover. Which is to say, watching the astonishing act of an artist making music allows the audience greater opportunity to understand the music.

Which leads me to my dilemma with the Almost Human show, I want to see and hear the artist perform without distraction. Yet several of Maya Beiser...

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Welcome Baby Lily! Nov 16, 2006

by Tania Kupczak

Lily

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

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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

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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. Stay tuned for more about that.

For now you can go to www.365seattle.com for more info about the scope of the Seattle project and the calendar of events.

Here's a snapshot from the website:
From Nov. 13, 2006 through Nov. 12, 2007, Seattle performing artists, producers and presenters from a variety of disciplines will collaborate to present the World Premiere of Suzan-Lori Parks’ 365 Days/365 Plays at venues throughout Seattle and King County.

Through a 365 National Festival, the project will be produced...

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After Major Bang Nov 10, 2006

by Tania Kupczak

Steve Cuiffo of the Foundry Theatre and Lane debate the merits of drinking a 12 year single malt scotch right out of the bottle:
lane and steve

Later, Steve, Tania and Sara share a tender moment during a sweaty night of karaoke at Ozzie's:
steve, tania and sara



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The Foundry Theatre's Major Bang Nov 4, 2006

by Tania Kupczak

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.

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<i>All I know how to do anymore is make pasta and yell:</i> The Foundry Theatre&rsquo;s therapeutic agitprop <font size=2>by Allen Johnson</font> Nov 4, 2006

by Tania Kupczak

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. I am so fucking un-cool.

The Foundry Theatre’s gathering of exquisite NYC talent (just reading the Bio’s in the OtB program is an exercise in deep humility) shows, in a fantastic and muscular and erudite and post-ironic way, that we can still get lost in a dark room full of strangers, and does so in a way that doesn’t siphon away any of our vitality, but that rather feeds & affirms us. This affirmation is, to their collective mind, as crucial and important in our current political context as it has ever been.

There is a lovely, golden ratio operating within this work...an engaging and seductive mixture of sophistication & low-brow unselfconsciousness that serves to disarm an...

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