Olympia Family Theatre, which has closed its adjacent all-ages space and reduced staff hours, is hard at work on raising the money it needs to keep the theater on solid footing going forward. Dean Shellman, chair of the non-profit theater’s board, said, “We’re carefully looking for savings opportunities that don’t change the experience for our audiences and students. OFT provides magical moments for families, and that won’t change.”
In this rendition of It’s a Wonderful Life: A Live Radio Play at Lakewood Playhouse there’s an added meta structure where the actors we see on stage are playing actors in the ‘40s, who are then playing the characters we know from It’s a Wonderful Life. “You’re an audience within an audience in the play within a play, which I think some people will be surprised by,” says director Brittany D. Henderson.
“A Christmas Carol,” playing at Harlequin Productions Nov. 29 to Dec. 24, “is the greatest redemption story ever told, wrapped up in the trappings of a ghost story,” said Artistic Director Aaron Lamb. “A story of redemption is fundamentally a story about hope and forgiveness. If audiences leave a little more hopeful and a little more open to forgiveness after they see this production, we have succeeded.”
‘The Oculist’ by the two-person punk band nightmayor (Percy Boyle and Stella R.S.) is an irreverent retelling of the true story of John Taylor, an itinerant eye surgeon who traveled through Europe in the 18th century. See it at Olympia’s Wild Child November 14 through 24.
The operatic scale of “The Phantom of the Paradise,” with that awful scarred hero-villain, his teeth metal and his eyes mad, screaming into the night as he watches the seduction of the woman he loved … if all of this is getting your midnight cult classics motor revving, there might not ever be a better time to see it than on November 8th at the Capitol Theatre, where for its 50th anniversary it will be accompanied with a live band and an actor-adjacent performance on the stage.
This story of “An Inspector Calls” at Dukesbay Theatre is entertaining as a character study and an exposé of moral hypocrisy, but then playwright Priestly subverts his own plot and introduces a whole new dimension. The sense of reality, for both the audience and the characters, seems to dissolve. It is as if a trap door opens and a whole new level of deconstruction begins.
Olympia Armory Creative Campus’s eight anchor partners are already plotting how to make best use of their space. A common thread that ties them is an aim to cultivate a welcoming environment for visitors and to be of service to the community. There is a built-in connection to the local art scene which can potentially help the organizations to even better identify and meet public demand.
Harlequin’s ‘What the Constitution Means to Me’ is thought-provoking, serious where it needs to be and outlandishly funny throughout. Director Lauren Love said, “[Protagonist Heidi] Schreck asks us to consider the morality and soundness of our own and our leaders’ judgment and action.
Stephen Sondheim’s theatre-of-revenge “musical thriller” masterpiece, Sweeney Todd: The Demon Barber of Fleet Street is at Washington Center’s main stage. Working from Victorian popular fiction (“penny dreadfuls”) and Christopher Bond’s 1970 play, it is presented in a limited run on Oct. 11, 12, and 13 as a collaboration by Harlequin Productions, Olympia Symphony Orchestra, and Masterworks Choral Ensemble.
Development of a centralized arts hub has been a longtime pursuit for the City of Olympia, with compounded enthusiasm from local residents and organizations. Valerie Roberts, building manager for the Olympia Armory, said the city has called for a community-centered art space since the 1990s, repeatedly citing the demand in city planning documents.