By Molly Gilmore The Washington Center for the Performing Arts’ 2022-2023 season marks both a return to pre-pandemic norms — it’s the first full season with subscription plans since theaters closed in March 2020 — and a fresh start. When the season launches Nov. 4 with “Stunt Dog Experience,” the […]
The rock musical Hedwig and the Angry Inch, with text by John Cameron Mitchell and music and lyrics by Stephen Trask, started as a performance in drag clubs and became an international phenomenon. It’s now playing at the State Theater of Olympia’s Harlequin Productions, starring Adam Rennie as Hedwig and Mandy Rose Nichøls as Hedwig’s husband and assistant, Yitzhak.
As summer creeps in and as we begin to see hope for an end to the COVID pandemic, Childhood’s End Gallery celebrates rejuvenation with an exhibition called “Bloom.” It features flowers, flowers and more flowers by local artists, plus paintings, etchings, sculptures and a cascading curtain of living flowers by Olympia artist Kathy Gore Fuss.
Falling, now playing at Olympia Little Theatre (OLT), is 70 minutes of edge-of-your-seat intensity, a roller coaster of love, fear and laughter with no intermission. If there were an intermission, the audience’s total immersion into the Martin family would be weakened; if it were any longer than 70 minutes, the actors would be physically exhausted and the audience emotionally so. As it is, the time flies by at warp speed and the audience is left depleted, yet thoroughly satisfied.
In many ways the Martins, the quintet of characters who populate Deanna Jent’s hour-long, 2011 play Falling, resemble a typical American family. Mother Tami, in some ways a stand-in for Jent herself, is overwhelmed and fond of red wine. Teenage son Josh demands a day off from school. There’s one all-important factor missing from that synopsis, however: Josh is a person with autism, given to veering from giddy hilarity to violent frenzy with little provocation or warning.
It’s surprising and delightful when an amateur company chooses an entire slate of obscure material. Such is the case with Olympia Little Theatre (OLT), which will offer a roster of seven shows entirely new to most audience members. Feeling adventurous?
After two unprecedented pandemic years, most theater organizations in the South Sound decided to schedule full seasons of live entertainment in late 2022 and early 2023. The state of Washington no longer requires proof of vaccination or a negative COVID test to enter theater spaces, but masks are still required for most patrons. With that in mind and figurative fingers crossed, OLY ARTS is pleased to announce upcoming offerings from Tacoma Little Theatre and Tacoma Musical Playhouse.
This spring, Olympia’s Harlequin Productions is doing something that’s never been done in this area. It’s producing Sovereignty, a historical drama about Native Americans, written and directed by Native Americans, performed by an ensemble of Native and non-Native actors, with direction, set, costume and lighting design by Native artists brought to Olympia from all over the United States.
“I’ve been doing salons for about 20 years through the Northwest Playwrights Alliance,” playwright Bryan Willis explains. “I really love the format.” Happily for Willis, executive director Jill Barnes was eager to host a salon in The Washington Center’s black box theater, a utilitarian space adjacent to its main auditorium. It returns this May after a three-year hiatus.
Congratulations to local writers Tamara Keeton and Katherine Kelly for undertaking the arduous task of researching The Originals, the true story of the heroic female pilots of the Women’s Auxiliary Ferrying Squadron during World War II, now playing at Olympia Little Theatre.
