Art by Zee

Pacific Northwest Ballet principal dancers Seth Orza and Maria Chapman with company dancers in Kent Stowell’s Cinderella, photo copyright Angela Sterling

Some people gotta dance, everybody’s gotta eat. Pacific Northwest Ballet and Pacific Place have teamed up to bring dining and dancing together with a fun new promotion. From January 24 through February 11, lunch-time diners at five participating Pacific Place restaurants will receive special scratch tickets with their bill, good for future dining discounts, Pacific Place gift cards, or possibly tickets to PNB’s special Valentine’s Eve performance of Cinderella.

Diners who take lunch at the five participating restaurants – Gordon Biersh, Johnny Rockets, Mexico Cantina y Cocina, Pike Place Chowder, and Thai Ginger – between 11:00 am and 2:00 pm on a weekday between January 24 and February 11 will get one scratch ticket per diner with their bill. Ticket prizes include discounts on future meals, gift cards for Pacific Place or maybe even tickets for the February 13 performance of Cinderella at PNB.

If you don’t want to take your chances on a scratch ticket, present $100 of same day receipts from Pacific Place to its concierge desk and receive one free ticket plus a 20 percent discount on additional tickets.

The cast of Grease performs “Summer Nights” in a photo by Joan Marcus

Grease – it’s not just a show, it’s a touchstone. From its birth at Chicago’s Kingston Mines Theater in 1971 through its 3,388 performances on Broadway between 1972 and 1980 to the 1978 film version and now to its celebrated revival which includes songs from the movie as well as from the original play, Grease is solidly woven into our cultural fabric. That’s a lot of weight for a light-hearted bit of nostalgia, but the show bears it well – it’s a spirited celebration of the highs and lows of youth all set to a great rock’n'roll beat.

Headlining the show that’s playing this weekend only at Seattle’s Paramount Theatre is Eddie Mekka who plays both DJ Vince Fontaine and the “Teen Angel”. Best known for playing Carmine Ragusa on the classic TV show “Laverne & Shirley”, Mekka’s long and impressive resume is a testament to his skill as a performer. His funny and engaging pre-show monologue was an excellent way to warm up the crowd and it turns out that when Eddie Mekka tells people to turn off their phones for the performance, people listen.

The awkward romance between goody two-shoes Sandy (Alyssa Herrera) and super cool guy Danny (Matt Nolan, a finalist in the NBC show “Grease: You’re the One that I Want”) centers the story but the show’s various sub-plots are equally entertaining: the on-again, off-again affair between the bitter, sarcastic Rizzo and tough-guy Kenickie and the travails of good-hearted but not very bright Frenchy are particularly engaging because of the stand-out performances of Ashley Rubin who makes ne’er do well Frenchy someone you can’t help but root for and Lauren Elaine Taylor who reveals the humanity hidden behind Rizzo’s unpleasant exterior and is show-stoppingly moving as she sings Rizzo’s signature piece “The Worst That I Can Do” .

Here in 2010 it’s hard to imagine a show like Hair inspiring the sort of negative passion that leads to foaming rage, pickets, bans, lawsuits, and criminal arrest. The scarce few scenes that remain too hot for television are played out daily over the internet; what’s a little nudity or profanity in this age of a very public show and tell culture? Audience members who weren’t around to remember when Hair was a theatrical revolution that both shaped and was shaped by the zeitgeist of the times might find the idea that Hair was once considered shocking to be far more shocking than anything that happens on its stage. In this regard, it’s easy to view the current revival of Hair (playing through Saturday, December 4, at Seattle’s Paramount Theatre as a sort of living history lesson that presents a focused look back at the past. It’s a fair perspective; however, this show is more than just a nostalgic stroll down memory lane. There’s still a lot of fresh life left in Hair.

Today’s young people are more likely to wear long hair as a fashion statement than a political one, but the challenges of defining one’s self through rejection of parental expectations and societal norms remain as difficult and meaningful now as they were then. Despite the great amount of progress made in the area of civil rights, when Hud (in a commanding performance by Darius Nichols) recites a list of slurs and stereotypes assigned to black people, it still stings with the reminder that we haven’t come yet nearly far enough. Complicated emotional entanglements – well, if that’s not a timeless concept, what is? Characters are “hung up” on each other in various ways with mismatched desires that are romantic, sexual, platonic, even philosophical. “The Tribe” present themselves as an egalitarian lot, but there are obvious leaders and obvious followers, couples, and cliques.

At the center of the tribe is Claude, the only character with a fully developed history and story arc. Paris Remillard is a stand-out in a cast full of strong performers as the conflicted Claude whose receipt of a draft notice drives the narrative around which the play’s series of vignettes entwine. Initially appearing the charming fool in a bombastic entry onto the stage during he proclaims himself “a genius” from “Manchester, England” but it’s hard for him to hold onto the illusion after one of the Tribe members reveals he’s really only from Flushing, Queens. He’s disinterested in the traditional lifestyle his parents want to pass on to him but he declines the chance to burn his draft card, reporting to the induction center over his friends’ objections. Remillard plays Claude with a sensitive touch that shows the fear and insecurity his bouts of flamboyance can never entirely disguise and the indecisiveness that keep him from being as free as he claims to be. “I Got Life!” he insists and yet he never seems quite sure to do with it, drifting through his experience until he becomes as invisible as he once wished to be.

The entire cast is energetic and appealing. Of particular note are Kacie Sheik who brings an earthy good humor to pregnant Jeanie who is maybe not quite as flaky as she might appear on the surface and Caren Lyn Tackett as fiery Sheila whose radical politics are driven by a passionate heart. Young, naive Crissy takes the spotlight for one short song but Kaitlin Kiyan puts such a genuine wistfulness into her mooning over her crush that it’s one of the most touching scenes in the show. Phyre Hawkins has a wonderful voice, ideal for introducing the show with its iconic opening number “Aquarius”. The camaraderie among the cast members makes their scenes on stage breathe naturally – there’s no suspension of disbelief required to accept that these young people love each other very deeply. A few brief bits of fourth-wall breaking and frequent forays into the audience feel natural and unforced, as well and the direction by Diane Paulus keeps the show’s tempo flowing smoothly as it shifts from one song to the next, from one mood to another.

A celebration of life, Hair doesn’t shy away from the unpleasant parts of it, but through all the toil and strife, it ends on a note of optimism and joy – ideas that hopefully never will get old.

It’s one of the best known musicals of modern theater, making waves at the time of its debut for its frank discussions of sexuality, illicit drug use, and rebelliousness. Its brief nude scene, mild by current theater standards, propelled Hair to the forefront of national consciousness. The play’s soundtrack spawned a number of hit songs, some of which are now considered standards.

Times have changed quite a bit since its debut, but Hair is still going strong. Broadway Across America brings it to Seattle for eight performances that begin Sunday, November 28 and run through Saturday, December 4, at the Paramount Theatre.

This production has a local element to it: castmember Tanesha Ross is a native of Spokane who attended Cornish College of the Arts and has appeared in a number of local productions. Ms. Ross was happy to talk about her experience as an actor in Seattle and what it’s like to appear in such a venerable show:

What was it like growing up as an aspiring performer in Spokane? What opportunities did you have there – were you involved with local theater or other performing arts? Do you think that growing up in a small city not typically associated with the arts was an advantage or disadvantage (or neither)? What advice would you give to young aspiring performers living in areas with limited opportunities to engage in the arts?

Tanesha: I had no idea that I was going to be a professional performer when I lived in Spokane. I was a part of Jazz Choir, and we went to competitions, but I didn’t really know I would be able to perform for a living. My junior year, we did our first musical ever, Once On This Island, and I played Ti Moune. I remembered thinking that it would be so great to be able to do that show forever, but little did I know I would end up making a living doing Theatre! To aspiring performers, I say just practice, practice, practice! Get as much experience and training as you can. You never stop learning.

How did you like attending Cornish? What was your favorite part about going to school there? How has the education you received helped you further your career? Do you think that formal study is a necessity for actors, singers, dancers, and other performers or is it a “nice to have” rather than a “must have”?

Tanesha: I loved Cornish. It really opened my eyes to the world. My favorite part was just that there was so much creativity happening around me all of the time. I feel like Cornish made me a good musician. It gives me an edge musically when I am learning a show, as there are times when you have to learn shows very quickly. I think that it is very important for a formal education. Theatre is a craft, and there are a lot of people who are good at the craft. You need to make sure you know what you are doing to have the confidence to make it in this field.

What are some of your favorite local/regional theaters or theater groups in the Seattle area?

Tanesha: I love all of the theatres in the area!! ACT, Seattle Shakes, The Intiman, Seattle Rep., They all do amazing work! Seattle is so lucky to have such a vibrant theatre community. Some I have worked at are, the 5th Ave Theatre, (Pippin, HAIR, Rocky Horror Show) Village Theatre, (Aida, St. Heaven, Chasing Nicolette) and Seattle Children’s Theatre (Suessical, Addy: An American Girl Story, High School Musical) I would love to say someday that I have had a chance to work at them all!!

How is living and working in NYC different from living/working in Seattle? Was it easy or difficult for you to adjust?

Tanesha: Well, there are more people in NY, and so getting to know and getting to be known in the community takes longer. There is more opportunity though for work, and so that is great. I would like to settle down in Seattle eventually, it will always be home for me!!

What interested you in joining the cast of Hair? The show is very much a product of its times, created as a response to what were then current events. Do you see the show as a look back, a reflection of what was, or do you think it is still currently relevant? A combination of the two? Revivals always face the challenge of respecting the story while still keeping it fresh – what do you think keeps this production fresh, what appeals to an audience already very familiar with the story? Conversely, what do you think appeals to a young audience who may have never seen a production of Hair?

Tanesha: HAIR is one of my favorite shows. I am totally a hippie in real life, and all of its themes speak to me. I feel like the only issue that really dates the show is the draft. But there are so many themes that will always be relevant, no matter what year it is. Racism, sexism, war, teenage pregnancy, just to name a few!! These are issues that people of all ages are faced with, so there is something in the show for all ages.

Hair is an iconic show with one of the best known soundtracks in theater history – was it intimidating for you to step into a role that’s been performed so many times or did you find it a comfortable fit?

Tanesha: I am a swing for the show, but I also understudy Dionne. The music of this show doesn’t intimidate me, but it is difficult to keep it fresh when it has been done so many times before, and there are certain things that people will compare you to. That is always a challenge, keeping the integrity, but still giving it your own flavor!

How did you get involved with ASTEP? [Artists Striving to End Poverty] What do you like best about your volunteer work?

Tanesha: I ran into an old friend in New York that was involved with ASTEP. Theatre is a very egocentric job, and volunteering helps me stay grounded. I feel like I am receiving just as much if not more than I am giving. There is nothing better to me than helping ignite someone to take charge of their own life, and help them do the same for others!

Stomp is a celebration of sound, of music, and of dance, a symphony of percussion played with hands, feet, arms, and legs–and any other body part that can be utilized to hit or kick, slap, strike, step, and even, yes to stomp. Using their bodies and a stunning array of “instruments” that include such devices as brooms, metal cans, pipes, hoses, sawdust, and paper (just to name a few), the show’s performers make a joyful noise that rings through the whole body, not just the eyes and ears.

This feast for the senses has returned to the Paramount Theatre in a production that remains true to its roots but adds in some fresh new twists to excite both existing fans and those new to the long-running show.

Stomp is a lively show, full of energy, good humor, and charm. While it obviously takes a tremendous amount of rehearsal to perform the show’s routines, the performers play it with a smooth, relaxed air and an infectious exuberance. “Shucks, we’re just having fun,” says their body language, a playful spirit that only enhances the impressive results of a serious dedication to craft.

It’s hard to imagine anyone leaving this show without a smile on their face or a new appreciation for the spectacular rhythms in even the most ordinary objects.

Stomp continues at the Paramount through November 14th.

One of the businesses damaged in last year’s arson attacks in Greenwood was Taproot Theatre. With the help of other arts organizations and members of the Greenwood neighborhood and the Seattle community at large, the theater was able to rebuild and continue its mission of providing quality theatrical entertainment, acting studios, and school and community presentations in the Pacific Northwest.

To celebrate a year of renewed success, Taproot present Taproot Uncorked, a fundraiser for the that celebrates “heroic wines”. Joining them are Greenwood’s Vineyard Wine Shop and The Upper Crust, who host the event at their Greenwood Square location.

“By heroic wines, I mean wines which are victorious in their endeavor to survive all odds,” says Vineyard Wine Shop owner Patrick Anderson. “With each passing year the vine’s roots grow deeper and deeper into the soils, and with this comes the wisdom of age and experience.”

The festivities run from 6 to 8 pm on October 22 and include tasting and learning about heroic wines with wine expert Patrick Anderson, hors d’oeuvres from The Upper Crust, and the chance to spend some quality with plus time to visit with Taproot artists who will be pouring the wines. Taproot Uncorked takes place at The Upper Crust Catering’s Greenwood Square, located at 8420 Greenwood Avenue.

Tickets are $45 per person and can be purchased online

Burn The Floor takes ballroom dancing from the ballroom and moves it into the theater with 20 top caliber dancers showing off their style. The show opens Tuesday at Seattle’s Paramount Theatre on a tour that follows its successful Broadway run. Jason Gilkinson is the show’s choreographer.

How did you get involved in this show?

Jason Gilkinson: Peta, my dance partner and I had just retired from the competitive dance scene after becoming World & British Champions and really felt that we wanted to start working on a project that took the art form of ballroom dancing and deconstruct it.

Harley Medcalf (Producer of Burn the Floor) tracked us down and asked us to be Principal Dancers in the show. This meant coming out of retirement, so at first we were hesitant to commit to this, but we haven’t looked back since.

What specifically made you want to get involved with this project and not another?

JG: This project had exactly the premise that we were trying to create ourselves and we were very impressed with the open minded production team behind it who really saw the beauty, excitement and passion in this timeless art form.

What have been your biggest challenges in putting on the show?

JG: The difference is that ballroom dancing is not usually shown in theatrical form, so it was trial and error to come up with the best way to present it without restricting these dynamic personalities.

What do you find most enjoyable about the show?

JG: What we wanted to achieve was 20 individual personalities all offering something different rather than a chorus of dancers all trying to look exactly the same. In many ways this is why it is my favourite part of the show. To see the energy and spontaneity that these guys create together every night is nothing short of astounding.

What do you hope audiences will get from the show?

JG: I want audiences to really understand what it is like to be be present in those old dance halls of the 30s and 40s to feel the excitement of past eras and see an art form that has really been a social history – come into its time again.

This company really reinvents peoples’ perception of ballroom dance.

Taproot Theatre invites you to “pour yourself a glass of lemonade and get married all over again” with the regional premiere of Wedding Belles, the final production in their 2010 season, their 34th.

A bedraggled bride gets stranded at a bus station in an East Texas town back in 1942 and the ladies of the Eufala Springs Garden Club are determined to help her out. They’ve got the gown, they’ve got the cake, they’ve got the lemonade…but where’s the groom?

Ima Jean is the 18 year old bride-to-be who stumbles into the Garden Club’s meeting needing help finding her missing groom, who is about to be shipped off to war. Glendine, who is on husband “seven or eight”, Violet, who’s a spinster, Laura Lee, a widow, and happily married Bobrita are the four women determined to give Ima Jean a wedding that is nothing short of spectacular. It’s definitely going to be one that’s memorable with these hands doing sharing the work.

Wedding Belles, nominated or the American Theatre Critics Association Best Play Award, was written by Alan Bailey (creator of the Sanders Family series, including Smoke on the Mountain, a previous Taproot production) and writer/actor Ronnie Claire Edwards. Taproot Theatre’s cast features Charissa Adams, Gretchen Douma, Karen Nelson, Kim Morris and Pat Sibley. The production team includes scenic designer Richard Lorig, costume designer Sarah Burch Gordon, lighting designer Monty Taylor and sound designer Mark Lund. Anne L. Hitt serves as stage manager, Nikki Visel as dialect coach and L. Nicol Cabe as dramaturg.

Wedding Belles runs September 22 through October 23 with Wednesday and Thursday performances at 7:30, Friday and Saturday evening performances at 8:00 and the Saturday matinee at 2:00. Opening night with reception is Friday, September 24. Tickets are $20 – $35; $10 for patrons under 25. Taproot offers a $3 discount for students and seniors and will hold a Pay What You Can performance on September 29.

Purchase tickets online or through the Taproot box office at 206.781.9707.

Tom’s of Maine presents a series of video chats with the stars of Broadway blockbuster Wicked that kicks off Wednesday, September 8, at 12:00 pm Eastern time with Mandy Gonzalez, starring in the role of Elphaba. Fans can also ask Mandy questions prior to and during the live chat by visiting http://www.facebook.com/TomsofMaine .

To join the chat visit its livestream:

Upcoming chats feature Sophie Uliano (New York Times bestselling author of the “Gorgeously Green” series) on September 15 and Karen Stewart & Howard Brown (from eco clothing line Stewart+Brown) on September 22.

Proud Mary from Burn the Floor; photo credit: Joan Marcus

Twenty champion dancers put on a spectacular dance performance in Burn the Floor, playing at Seattle’s Paramount Theatre for eight performances, starting September 14.

The company consists of dancers who’ve been with the show from the start and some who’ve joined since, including “So You Think You Can Dance” alums Anya Garnis, Pasha Kovalev, Ashleigh Di Lello, Ryan Di Lello, Robbie Kmetoni, Janette Manrara and Karen Hauer.

Burn the Floor showcases ballroom and Latin dancing from throughout history with passionate performances of dances like the Viennese Waltz, the Jive, the Paso Doble, Tango, Samba, Mambo, Quickstep and Swing along with the Lindy, Foxtrot and Charleston, and the Cha-Cha, Rumba and Salsa.

Tickets range from $23.50 to $78.50 and are available online at Tickets.com, STG Presents, or Broadway Across America, and by calling 877.STG.4TIX (4849), as well as in person at the Paramount box office.

Rebecca Sugden has been a dancer with Burn the Floor since 1999 along with her husband and dance partner Damon and graciously answered a few questions about the show:

How did you get involved in this show? What specifically made you want to get involved with this project and not another?

RS: Damon & I were living in London – training & competing on the international ballroom competition circuit. Jason Gilkison (long time friend & dance mentor) invited us to watch the opening night of the new ballroom dance spectacular “Burn the Floor” he & Peta Roby had become involved in. Although we were enjoying a successful career in competition, it was wearing on us. We were curious and went to Bournemouth to see them in this daring new venture. We watched spellbound – we had found our new passion. We wanted to be the ‘rebels of ballroom’ as well and were thrilled to be invited as a specialist ballroom role. We were able to marry our love for ballroom, theatre & the arts – a match made in heaven.

We have been following our dream, dancing in the BTF company since October 1999.

What have been your biggest challenges in putting on the show? What do you find most enjoyable about the show?

RS: Watching Harley Medcalf (Producer) convince theatres all over the world they need this utterly unique show, watching Peta Roby & Nic Notley make the incredible logistics of moving & managing a whole show, 30 international company members touring multiple countries & states from week to week. Seeing Jason (choreographer) constantly re-choreograph, reshuffle, reinvent an entire show (almost daily) makes our job of performing 8 shows a week to the best of our ability seem pretty sweet.

I love that this show is ‘organic’. It grows and improves with changes and improvements every week. I love the real interactions between cast members who love what they do. The whole point of partner dancing is the communication between two people through movement.

How do you like working with your cast? What’s the best part of working together?

RS: We love working with everyone in the cast. You have to admire each person’s unique talent that they bring to whole ensemble. We are all so very different that the chemistry between us all works. We are choreographed to bring out all our own individual flavours.

Damon & I feel so privileged to have been able to dance together in our chosen role for so many years in so many cities in front of so many people all over the world.

What do you hope audiences will get from the show?

RS: I know the audience will be amazed by the passion & energy in this show. Audience members often joke with us that they are exhausted just watching us all having so much fun. How could we not? the incredible pace of the choreography, the infectious fun & energy of the dancers, the brilliant vocalists and exciting percussionists. It is like we have invited the audience on a whirlwind journey of music, dance, emotion and excitement.

I bet they just want to go out, grab a partner & dance.