Photo by Eric Stuhang.

In Oscar Wilde’s second most lauded play, Sir Robert Chiltern (Ryan Childers) faces a difficult personal and political decision: publicly promote a canal scam that would effectively end his career, or have it ended for him by the leaking of a scandal from his past. His problem is compounded when his virtuous wife Gertrude (Candace Vance) declares that were he to have any such blemish on his record (she, of course, has no knowledge of Robert’s little secret) that he would lose her love forever. A verbal battlefield unfolds, soon involving the conniving Mrs. Cheveley (Nikki Vesel) and surprisingly insightful dandy Lord Goring (Aaron Lamb). Also among the lively cast of characters are the shockingly modern ingénue Mabel Chiltern (Anne Kennedy Brady) and the overbearingly old-fashioned father Lord Caversham (Nolan Palmer). Like Wilde’s other famous societal satire, The Importance of Being Ernest, An Ideal Husband turns the mirror back on Victorian society to show the true absurdity in their behaviors and tendencies. And in true Wilde style no matter how trivial or far-fetched the situation, the humanity and flaw of each character shines through to make for compelling theater.

All of the beautiful repartee took place on a fittingly beautiful and slightly distorted version of an 18th century Romantic painting by Francois Boucher. The elegant fluidity of Mark Lund’s scenic design was well complimented by the creative direction of Karen Lund. The twists and turns of the blocking could have easily become distracting if the ensemble hadn’t fully committed to the mocking triviality so inherent in Wilde’s plays. Ryan Childers and Aaron Lamb are especially enjoyable as the torn Sir Chiltern and the ever-entertaining dandy Lord Goring. The rest of the cast struggled a little with their lines and British accents, but their dedication to the material in Act Two more than made up for any lacking in the first half.

Photo by Eric Stuhang.

Perhaps a bit surprisingly, this Victorian satire is more than applicable to our current culture of all-access TV and 24-hour news. In a time when celebrity and politician scandals are a dime a dozen, it behooves us all to learn a little forgiveness. With school back in session, Taproot’s production of An Ideal Husband is the perfect balance of light-hearted comedy and down-to-business moral lesson needed to get us through the changing fall weather. And if you prefer to take your theater with a side of romance, grab some 2-for-1 tickets to the show on October 7th (thereby killing two not-for-profit birds with one arts-supporting stone) as a part of Arts Crush 2011’s Date Night program.  Please consider Green public transportation  Seattle options for the show.   You will outwardly chuckle at the follies of Wilde’s world of old and inwardly sigh at the similarities between them and yourself. Besides, in all seriousness, this play is most worthy of love.

Review by Kacey Shiflet.

Photo by Eric Stuhang.

As pegged by director Scott Nolte, Something’s Afoot is a “mash-up” that marries the harmony of absurd murder plots with the absurdity of harmonic Broadway tunes.  Like other Broadway genre-benders such as The Drowsy Chaperone and City of Angels, Something’s Afoot makes fun of mystery novels while also revering them.  Ten strangers find themselves unceremoniously stranded on the island estate of Lord Rancour.  Ingénue Hope Langdon (Natalie Anne Moe) can’t stop ogling the handsome stranger Geoffrey (Ian Lindsay), young Nigel Rancour (Ryan Childers) is antsy to find his uncle’s will and meddlesome Miss Tweed (Jenny Cross) puts her hours of book reading to use when Lord Rancour is found dead.  They soon realize they are only moments away from their own ridiculous deaths—unless they can figure out who among them is behind the clever master plan.  Suspicions arise and accusations are thrown about as quickly as the witty remarks that fill them.  Complete with booby-traps, hidden identities and a twist ending, Something’s Afoot lovingly spoofs Agatha Christie’s novel And Then There Were None, which is arguably the most well-known murder mystery ever written.

Every inch of the small thrust stage was put to use as the parlor of the Rancour estate.  The efficiency in the set was mirrored by the cooperation and teamwork of the cast.  Solid performances were given all around, with special nods to Pat Sibley as Lady Grace Manley-Prowe and her show-stopping number “The Man with the Ginger Mustache” and Dale Bowers as Col. Gillweather during his death scene.  The amount of special effects and choreography that was stuffed on the stage was astounding—kudos to director Scott Nolte and choreographer Christy McNeil for orchestrating it all to a “t”.  I spent intermission brainstorming about where the next trick would come from (hint: for some Act Two murder weapons, look up).

Photo by Eric Stuhang.

But possibly the best part of the evening was being a part of the hugely supportive crowd.  The laughter was abundant and the applause was generous; it was very apparent that the people at Taproot have built a very loyal patron base in their 35 years of operation.  Having never seen a show at Taproot before, I felt kind of like the awkward late-comer who arrives at the party after everyone else already knows each other and has silly nicknames and inside jokes.  So take my advice and spend one of the lovely summer evenings Seattle is providing us (or not so lovely—Mother Nature’s been finicky that way) at Taproot Theatre Company laughing away your cares like the rest of the cool people.  Don’t thank me—I owe it all to Agatha Christie.

Review by Kacey Shiflet.

Photo by Erik Stuhaug

The Taproot’s production of the new play Brownie Points explores exactly that motif, through locking a few mothers in a cabin and letting their insecurities erupt. Five women drive up from Atlanta to relax with their daughters at a Girl Scout camp in the Georgia wilderness for a weekend. Personalities clash, though, and what starts as parental disagreements (“why can’t we feed them Doritos?”)  becomes a dangerous racially-charged confrontation, when Diedre accuses the highly-strung Allie of intentionally putting the only two black mothers on kitchen duty for the entire weekend. Whoosh! The air rushes right out of the room. From that original conflict, the mothers split off into twos and threes, doing their best to reconcile their attitudes towards race, parenting, and how they justify their escape into the woods. (The fabulous Amy Love and Faith Russell, for instance, deftly navigate the turning point of the show, a peacemaking mission to the minivan.)

Photo by Erik Stuhaug

If you’ve never been to the Taproot, by the way, it’s the hollowed-out shell of a movie theater, reconfigured as a beautiful playing space with a stage that launches far out into the audience. For this production, a cozy living room extends out from a naturalistic façade of a cabin on the upstage wall.  I sat in the corner of the balcony ringing the set (which turned out to be an awful spot—I found that I had to jostle around or lean waaaaaay forward in order to catch the downstage action. Note to theatergoers: sit on the first floor. You will feel a zillion miles closer.)

What I loved most about this production was the completeness of each character, due to both an excellent writer and a solid cast (except for Karen Ann Daniels as Nicole, whose onstage presence tends to be flavorless). The race issues could have obscured the trajectories of these five mothers in the hands of a less careful playwright. But Shaffer, with capable director Karen Lund, have produced for us a nuanced chamber play. Also, this is only the second production of the play, ever! That is cool! You’ll see approaches to race issues honestly opened up, considered, and usually laughed at.  Go if you want to see a brand-new relationship drama about mothers in the woods who, wonder of wonders, manage to talk to each other like real humans. And to everyone’s happy suprise, motherhood triumphs over adversity. But the show begs the question: what are the girl scouts doing? I hope they’re eating Thin Mints. Thin Mints are awesome.

-Ernie Piper

First produced Off-Broadway in 2007 in an adaptation by George Drance and The Magis Theatre, The Great Divorce brings to life C.S. Lewis’ 1940s allegorical novel. One drizzly afternoon our author embarks on a supernatural voyage with a cast of eccentric, humorous characters that bear a remarkable resemblance to us. Theatrical, imaginative and thought provoking. It’s a bus ride from hell to heaven that, in the grand C.S. Lewis tradition, leaves you breathless and wanting more.

The Great Divorce runs Wednesdays through Saturdays through February 27, plus the added performance on Tuesday, February 16. Tickets are available through Taproot Theatre’s box office at 206-781-9707.

Wed. February 10 7:30 p.m. Post-play Discussion

Thurs. February 11 7:30 p.m.

Fri. February 12 8:00 p.m.

Sat. February 13 2:00 p.m.

Sat. February 13 8:00 p.m.

Tues. February 16 7:30 p.m. NEW!

Wed. February 17 7:30 p.m. Post-play Discussion

Thurs. February 18 7:30 p.m.

Fri. February 19 8:00 p.m.

Sat. February 20 2:00 p.m.

Sat. February 20 8:00 p.m.

Wed. February 24 7:30 p.m. Post-play Discussion

Thurs. February 25 7:30 p.m.

Fri. February 26 8:00 p.m.

Sat. February 27 2:00 p.m.

Sat. February 27 8:00 p.m. Closing Night

Taproot Theater Entry

Fall in Seattle was a sad season, with the unbelievable realization that an arsonist had destroyed one of the Greenwood / Phinney Ridge most beloved cultural institutions. The arson devestation to neighborhood businesses and the Taproot theatre was both shocking and sobering.

Winter is a new season, and like a sparkling cover of fresh snow, the Taproot Theatre is back…. and with a roar. We visited the Taproot last night for their first show at the newly renovated location. The rejuvenation of the theatre in such a short period is truly incredible to see. The theatre space is new, modern, lively, and filled with the energy of the both the performers and community itself.

In some ways, the previously chosen C.S. Lewis, The Great Divorce represents the community’s own balance between the hell of the fire and the “heaven” that is the amazing performances at this theatre. There was no question that the audience was filled with the love and energy to see the Taproot back in such a beautiful space.

Restored Taproot Theatre Stage

The show kicked off with the producing artistic manager thanking the community for its support, together with the Seattle Fire Department and specifically the team that saved the theatre that fateful October night. The fire is also an important reminder that the theatre’s continued vitality depends on the community’s continuing support. Although donations are great – just as important are the ongoing annual subscriptions to the theatre’s season.

Great Divorce - Taproot Theatre

The show itself – The Great Divorce – is not about marriage and divorce. It’s a 1940′s fantasy by the Christian focused author of the Chronicles of Narnia. The proselytizing show begins in a foggy Grey Town where passengers bicker as they await the “bus” to either heaven or hell. Characters in the play dress in either grab grey “ghost” clothing or very brightly colored spirit colors. C.S. Lewis himself is portrayed as a detached 3rd party observer of the scenes, allowing him to comment and participate.

Taproot Upper Lobby

The show was first produced just two years ago by a smaller New York company, and in Seattle just a cast of ten portray over 20 characters. Each scene displays the fight for conversion. Sometimes with husbands and wives – but each is a battle for the souls of the lost. The show’s lighting and the marble-like background changes with each scene to portray the mood.

The Taproot Theatre and the Greenwood community have proven their stamina with the rapid return of this cultural institution and a play that challenges both the intellect and the spiritual agenda. As the Theatre and community consider an expansion of the space into the now vacant area from the fires – the packed house and energy of the show are a strong endorsement to growth. Special deals for younger audience members including the pizza+ theatre special for only $10 are worth a look for students around the Seattle region. The Great Divorce plays the Taproot through February 27, 2010.

Holiday traditions are getting a twist with the world premiere of Sherlock Holmes and the Case of the Christmas Carol at Taproot Theatre Company. Written by local playwright John Longenbaugh and directed by Scott Nolte, this is a mystery that will delight the entire family. These then are the facts: The year, 1894. The date, Christmas Eve. The location, 221B Baker Street. After being presumed dead for three years, a hardened Sherlock Holmes resurfaces, turning his back on the people who need him most. Three unexpected callers arrive on Christmas Eve uncovering clues from the detective’s past, present and future. Can they save Holmes and his world from a dire end? They must “do it all in one night” to accomplish the task. Sherlock Holmes and the Case of the Christmas Carol opens on November 27 and runs through December 30, with low-price previews on November 20 & 21, plus a pay-what-you-can performance on November 25.

**** NOTE – THIS SHOW WILL BE PLAYED AT AN ALTERNATIVE PERFORMANCE LOCATION DUE TO THE GREENWOOD FIRE. CHECK WEBSITE FOR DETAILS. ****

TICKETS: Tuesday, Wednesday and Thursday evenings and Saturday matinees, $26-28; Friday and Saturday evenings, $30-33; preview performances, $20-22. Senior matinee performance on December 2 is $20. $20 Tuesdays on December 1 (sold out!), 8 and 15.

Tickets for the pay-what-you-can performance on November 25 go on sale day of show at the box office only. A limited supply of $10 tickets will be offered from 12:00 to 5:00 p.m. on November 25 for that evening’s performance. Regular pay-what-you-can tickets will go on sale at 5:00 p.m. on November 25. Limit 6 tickets per person between 12:00 and 5:00 p.m., and 4 tickets per person after 5:00 p.m.

For tickets contact Taproot Theatre’s box office at (206) 781-9707. Group rates are available. For groups, call (206) 781-9708.

In The Final Problem, Sir Arthur Conan Doyle wrote what he believed would be the final story in his series about his legendary detective. In this story, Sherlock Holmes faces his nemesis Professor Moriarty at Reichenbach Falls, and tumbles into the roaring rapids below. Outraged at the hero’s death and at the series’ end, fans demanded that the writer bring Holmes back and continue writing. So, the Holmes stories can be filed in two categories: before the incident at Reichenbach Falls, and the years following the fall, starting in 1894, when Holmes reappeared in The Adventure of the Empty House. But what happened between 1891 and 1894, the “missing years,” which are one of the great unsolved mysteries of the time? Where did Holmes go? What really happened to him? And what could that mean for the future? Uncover the startling answers in this world premiere production.

Playwright John Longenbaugh has been involved in the Seattle theatre scene for years. Formerly writing about Seattle theatre in a column in Seattle Weekly, Longenbaugh is now the media relations manager at 5th Avenue Theatre.

Sherlock Holmes and the Case of the Christmas Carol features Terry Moore as Sherlock Holmes, David Nail as Watson and Alex Robertson as Moriarty, plus David Dorrian, Aaron Lamb, Jesse Notehelfer, Pam Nolte and Eric Riedmann. The production team includes scenic and sound designer Mark Lund, costume designer Sarah Burch Gordon and lighting designer Jody Briggs. Sarah Dale Rice serves as stage manager and Judy Naegeli as dramaturg.

“Puzzles, enigmas—I never understood your delight in such things. Well then: let’s see if you can solve the riddle of who you are, and what you will become.” – Moriarty

CALENDAR:
Fri. November 20 8:00 p.m. Preview

Sat. November 21 8:00 p.m. Preview

Tues. November 24 7:30 p.m. Special Private Performance

Wed. November 25 7:30 p.m. Post-play Discussion, PWYC

Thurs. November 26 Thanksgiving Day, no performance

Fri. November 27 8:00 p.m. Opening Night with Reception

Sat. November 28 2:00 p.m.

Sat. November 28 8:00 p.m.

Tues. December 1 7:30 p.m. $20 Tuesday (sold out!)

Wed. December 2 2:00 p.m. Senior Matinee

Wed. December 2 7:30 p.m. Dinner & Theatre, Post-play Discussion

Thurs. December 3 7:30 p.m.

Fri. December 4 8:00 p.m.

Sat. December 5 2:00 p.m.

Sat. December 5 8:00 p.m.

Tues. December 8 7:30 p.m. $20 Tuesday

Wed. December 9 7:30 p.m. Dinner & Theatre, Post-play Discussion

Thurs. December 10 7:30 p.m.

Fri. December 11 8:00 p.m.

Sat. December 12 2:00 p.m.

Sat. December 12 8:00 p.m.

Tues. December 15 7:30 p.m. $20 Tuesday

Wed. December 16 7:30 p.m. Post-play Discussion

Thurs. December 17 7:30 p.m.

Fri. December 18 8:00 p.m.

Sat. December 19 2:00 p.m.

Sat. December 19 8:00 p.m.

Tues. December 22 7:30 p.m.

Wed. December 23 7:30 p.m. Post-play Discussion

Thurs. December 24 Christmas Eve, no performance

Fri. December 25 Christmas Day, no performance

Sat. December 26 2:00 p.m.

Sat. December 26 8:00 p.m.

Tues. December 29 7:30 p.m.

Wed. December 30 7:30 p.m. Closing Night

Bask in the warmth and enchantment of Italy without leaving Seattle during Taproot Theatre Company’s production of Enchanted April. Elizabeth von Arnim’s resplendent 1920s novel comes to life on stage in this Tony Award-nominated play by Matthew Barber. The enticement of an enchanting Italian holiday captivates the hearts of two British housewives on a drizzly London afternoon in 1922, and fills their imaginations with wisteria and sunshine. By the time they arrive at their Mediterranean villa, an aging matron and a young socialite have joined their quest for something more. The gardens, sea, cinnamon and pasta are just the beginning of the transformation they discover. Enchanted April, directed by associate artistic director Karen Lund, runs through October 24 .

Adapted first for the stage in 1925 and for film in 1935, von Arnim’s novel was also the basis for the popular 1992 film, the DVD of which was just released this year. This stage play based on von Arnim’s novel was originally produced in February 2000 by the Hartford Stage Company in Connecticut, and produced on Broadway in April 2003 at the Belasco Theatre, with Molly Ringwald as Rose Arnott.

Ultimately a story of escaping to a place of beauty and being transformed, the play begins in Great Britain just a few years after World War I, in a time of darkness and devastation, when people are still dealing with the great losses from the war.

“There’s this need to get away,” said Lund. “For all four of the women, there’s an amazing transformation that happens once they get to Italy where there’s sun, flowers and fresh air, and a new way of looking at life. It’s almost magical how the sunshine and fresh air brings them back to life emotionally, spiritually and sexually.”

“We’re in some really difficult times right now,” said Lund, “and it’s easy to be discouraged and disheartened. And so to come back to what gives us hope and the drive to keep moving forward is very inspiring. It’s a reminder that things can be restored—that marriages, happiness and balance can be restored.”

Taproot Theatre’s production features Jeff Berryman, Ryan Childers, Aaron Finley, Llysa Holland, Anne Kennedy, Kim Morris, Charity Parenzini and Nikki Visel. The production team includes scenic and sound designer Mark Lund, costume designer Sarah Burch Gordon and lighting designer Monty Taylor. Anne Hitt serves as stage manager, Gin Hammond as dialect coach and Katrina Moore as dramaturg.

After Enchanted April, Taproot Theatre presents the world premiere of Sherlock Holmes and the Case of the Christmas Carol by Seattle playwright John Longenbaugh. (November 20-December 30).

“Perhaps that’s why we need something beautiful now. To remind us of the possibility.”

- Lotty, Enchanted April

Wednesday and Thursday, 7:30 p.m.; Friday and Saturday, 8:00 p.m.; Saturday matinee, 2:00 p.m.

Taproot Theatre, 204 N. 85th St. in Seattle.

TICKETS: Wednesday and Thursday evenings and Saturday matinees, $26-28; Friday and Saturday evenings, $30-33; preview performances, $20-22; senior/student discount is now 10% off regular priced ticket; ages 25 and under, $10.

For tickets contact Taproot Theatre’s box office at (206) 781-9707. Group rates are available. For groups, call (206) 781-9708.

CALENDAR:

Wed. October 7 7:30 p.m. Post-play Discussion

Thurs. October 8 7:30 p.m.

Fri. October 9 8:00 p.m.

Sat. October 10 2:00 p.m.

Sat. October 10 8:00 p.m.

Wed. October 14 7:30 p.m. Post-play Discussion

Thurs. October 15 7:30 p.m.

Fri. October 16 8:00 p.m.

Sat. October 17 2:00 p.m.

Sat. October 17 8:00 p.m.

Wed. October 21 7:30 p.m. Post-play Discussion

Thurs. October 22 7:30 p.m.

Fri. October 23 8:00 p.m.

Sat. October 24 2:00 p.m.

Sat. October 24 8:00 p.m. Closing Night