Seattle Weekly, February 13, 2013 by Sound Publishing

FEBRUARY 13–19, 2013 I VOLUME 38 I NUMBER 7

SEATTLEWEEKLY.COM I FREE

FOOD: FLIPPING THE DIM SUM SCRIPT PAGE 45 | FILM: HERZOG IN SIBERIA PAGE 41

Debutantes, dancers, and a full calendar of events.

SPRING

Arts

“Teatro ZinZanni does it like no one else.”

Seattle weekly • FEBRU ARY 13− 19, 2 013

– Seattle Weekly

NOW PLAYING THROUGH MAY 13

Magical powers, unique adventures, gender-bending tricksters and legendary parties… Norse Mythology sure sounds like an evening at the spiegeltent!

Seatt le w eekly • FEBRUARY 13−19, 2013

Seattle weekly • FEBRU ARY 13− 19, 2 013

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Reviving 5,000 years of civilization

inside» February 13-19, 2013 VOLUME 38 | NUMBER 7 » SEATTLEWEEKLY.COM

“5,000 years of Chinese music and dance in one night.” —The New York Times

all-neW 2013 SHoW World’S ToP ClaSSiCal CHineSe danCerS original live MuSiC by THe SHen yun orCHeSTra aniMaTed baCkdroPS & exquiSiTe CoSTuMeS

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mar 28–30

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up front 7 11

NEWS

THE DAILY WEEKLY | Schools nationwide support Seattle teachers’ test protest. Also: Think of the dads!

SPRING ARTS 2013

BY SW STAFF | The new season begins

in back 35 THE WEEKLY WIRE

War Horse comes to town, Richard Nixon gets no respect from his boss, and Oscar-snubbed movies have their revenge.

37 ARTS

37 | STAGE | Photograph 51: It’s lonely for a lady in the laboratory. 40 | THE FUSSY EYE | Ship to sculpture.

COPYRIGHT © 2013 BY SOUND PUBLISHING, INC. ALL RIGHTS RESERVED. REPRODUCTION IN WHOLE OR IN PART WITHOUT PERMISSION IS PROHIBITED. ISSN 0898 0845 / USPS 306730 • SEATTLE WEEKLY IS PUBLISHED WEEKLY BY SOUND PUBLISHING, INC., 307 THIRD AVE. S., SEATTLE, WA 98104 SEATTLE WEEKLY® IS A REGISTERED TRADEMARK. • PERIODICALS POSTAGE PAID AT SEATTLE, WA • POSTMASTER: SEND ADDRESS CHANGES TO SEATTLE WEEKLY, 307 THIRD AVE. S., SEATTLE, WA 98104 • FOUNDED 1976. MAIN SWITCHBOARD: 206-623-050 0 CLASSIFIED ADVERTISING: 206-623-6231 RETAIL AND ONLINE ADVERTISING: 206-623-6231

ShenYun2013.org Presented by: Falun Dafa Association of Washington

41 FILM

THIS WEEK’S ATTRACTIONS

Werner Herzog visits Siberia; Nicholas Sparks and a teen witch vie for your Valentine’s Day attention.

45 FOOD

45 | ISLA MANILA | It’s dim sum, but it

ain’t Chinese. 46 | FIRST CALL | A bartender stays dry. 47 | A LITTLE RASKIN | iMenus.

51 MUSIC

51 | WRISTBAND ON THE RUN | Why

Unmistakably... One to Two Carat Diamonds set in Platinum. Open seven days a week.

Benaroya Hall behaves like a rock club. 53 | TELL ME ABOUT THAT ALBUM |

Why a rock band sounds like an orchestra.

Seatt le w eekly • FEBRUARY 13−19, 2013

with a guide to faded debutantes and young dancers in the ID, with venues breaking ground and the Seattle Symphony reaching out to new listeners. Also inside, a chat with SAM’s new director; a choreographer prepares to hang up her heels; and a full calendar of cultural events.

»51

Tickets: Ticketmaster.com Presenter Hotline 888-998-9961

54 | REVIEWS | This week’s releases. 56 | THE SHORT LIST | PUSA, Red Fang,

Ruby Suns, and more.

other stuff

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news»The Daily Weekly »DISPATCHES FROM OUR NEWS BLOG

All Over the Map

As Seattle teachers protest a test, shows of solidarity pour in from across the nation.

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Seatt le w eekly • FEBRUARY 13−19, 2013

area that gives them problems. hat started as one school’s But it’s not just this one test that people protest against the MAP test are tired of, it’s the overload of testing has quickly ignited a storm. in general. Hagopian cites one letter he First other schools in Seattle received from a teacher on an Idaho Native started weighing in, then the NAACP, and American reservation, who said she was now—in the most striking demonstration of how the issue has touched a nerve—teachers, obliged to give 14 tests throughout the year. Chicago teachers give 13 annual tests parents and students across the country. to some students, according to a letter of Last Wednesday was a day of action for support signed by 60 prominent educators those supporting Seattle’s protest, accordacross the country, including author Jonaing to Garfield High School teacher Jesse than Kozol. “These tests are not a one-hour Hagopian, and an impressive number activior one-day affair,” the letter continues, “but ties were planned nationwide. In Berkeley, now can swallow up Calif., the teachers’ whole weeks of classunion held a rally, PRINT IS GREAT, but if you room time.” while the Los Angeles want to know . . . As the letter points teachers union urged why men should ditch doing dishes for out, they also swallow its members to wear the sake of sex, read The Daily Weekly. billions of dollars a year red in solidarity. LeafSEATTLEWEEKLY.COM/DAILYWEEKLY to implement, and have lets were dropped in led to a narrowing of Rochester, N.Y., and in curricula as the classroom focus has become Chicago and Denton, Texas, petition drives teaching to the test. are underway. But the controversy is not just about kids. And that’s apart from more informal As part of the reform movement sweeping expressions of support. Day after day, the country, including in Washington state, according to Hagopian, Garfield teachers teachers are increasingly evaluated accordhave been called to the office to receive ing to their students’ scores. Many teachers gifts from supporters: pizza from a school bitterly object—and that’s the spark that has in Florida, two dozen roses from one on the really lit a fire under teachers in the past East Coast, chocolates from a local district. couple of years. On the day we spoke with him, someone had This could be a critical moment in educasent foot-long subs. tion, with the reform movement facing a “It’s crazy,” Hagopian says. “This has become a national movement.” What’s more, serious challenge. It wouldn’t be surprising if U.S. Secretary of Education Arne Duncan, he predicts: “I think we’re just seeing the part of the reform camp, felt the need to very beginning of something.” respond. Why? Let’s remember that the MAP test State Superintendent of Public Instruction is given not just to Seattle students, but to Randy Dorn hasn’t yet expressed his view millions of kids across the country. A lot of of the MAP boycotts, but he has indicated people are exasperated with the tests, which that he’s sympathetic to overtesting laments. aren’t aligned to local curricula, meaning “Testing is important,” Dorn said last Decemthat students are evaluated on material not ber, before going on to say that we have too necessarily taught in class. The MAP test is many tests that are costing too much money. also quirky. If students miss one question on For these tests at least, he’s asking the legislathe online test, they’re automatically downgraded to lower-level questions, even though ture to reduce the number. NINA SHAPIRO it may be just that one question or subject » CONTINUED ON PAGE 9

NOAM GUNDLE

Students and educators protest the MAP test at Ballard High School.

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news» The Daily Weekly » FROM PAGE 7

GOP: Father Knows Best

With the Republicans dominating the state Senate after last month’s coup, it’s no surprise that anti-abortion activists see an opening. Last week, the Senate’s Law and Justice Committee heard a bill that would require health-care providers to notify a teenage girl’s parents before performing an abortion. What is a surprise is the way one prominent activist is casting the issue. “Protecting Daughters From Their Dads” is the title of a long blog post and mass e-mail generated by Joseph Backholm, executive director of the conservative Family Policy Institute of Washington. It’s a mystifying title, evocative more of abuse allegations than the abortion-rights debate. And it’s a fairly convoluted argument Backholm is making. The thrust seems to be that the current law, which does not require parental notification, is aimed in particular at dads and shutting them out of their daughters’ lives. The state of Washington, however, sees it differently. They see dads as the men daughters should be protected from if they wind

A new anti-abortion bill taps into the dads’-rights movement.

In charges filed last week in U.S. District Court in Seattle, federal prosecutors allege that Ramona Hayes and Cory Eglash, owners of Criminal Coffee in Friday Harbor, stole and conspired to steal Social Security disability payments from the U.S. government. And yes, the couple really did name their business Criminal Coffee. Specifically, prosecutors contend that by misrepresenting Hayes’ “employment status and physical and psychological capacity,” the duo tricked the U.S. Social Security Administration into paying approximately $36,000 in Title II Disability benefits that she was never entitled to. The indictment alleges Eglash also applied for disability payments, but when it was discovered that both he and Hayes owned Criminal Coffee and were both actively working there, the duo’s scheme was discovered. Because of these alleged misdeeds, prosecutors have charged Hayes and Eglash with one count of conspiracy to defraud the U.S. government, five counts of felony theft of government funds, and one count of providing false statements to the United States. Arraignment for Hayes and Eglash has been set for Valentine’s Day. According to prosecutors, Hayes and Eglash—who were not legally married, but “held themselves out to the community as husband and wife”—purchased their Friday Harbor coffee shop in February 2010. In documents filed with the Social Security Administration, the feds claim Hayes and Eglash maintained they were simply friends who could validate each other’s claims of disability. The indictment indicates Hayes claimed to be unable to work due to anxiety, depression, and PTSD. Additionally, the indictment indicates that Eglash claimed to suffer from severe migraines and spasms in his neck. Though federal prosecutors paint a picture of a couple attempting to hide the fact that they were actively working business owners, apparently they weren’t attempting to hide this from everyone—like the local paper. “We want to make it family-style, with more of a homey feel, like going to a friend’s house where you come in and have a cup of coffee with us,” Hayes told the San Juan Journal the same month they purchased the shop—even though, according to the feds, she was simultaneously telling the Social Security Administration that she’d been unable to work since 2007. The Journal story goes on to explain the name Criminal Coffee: “Eglash said he and Hayes chose the name to put to rest stories that circulated locally about Hayes’ background after she proposed starting a transportation service for senior citizens here. In July 2003, she pleaded guilty in Carson City, Nev., to embezzling $1,200 from a senior services–related nonprofit of which she was president, and to forging a letter indicating another organization she was associated with had received a grant to build a new senior center. She was sentenced to three years probation and ordered to pay restitution. She had no prior convictions.” MATT DRISCOLL E

news@seattleweekly.com

Seatt le w eekly • FEBRUARY 13−19, 2013

up with an unexpected pregnancy. One of the bill’s opponents, Democratic Sen. Karen Keiser, has been saying that girls are at risk of abuse if forced to tell parents about issues related to their sexuality. “There have been documented cases where young women have been abused, thrown out of the house, and in rare cases actually killed,” she reiterates to SW. But she says she’s never put the blame specifically on dads. “This is crazy,” she says after hearing Backholm’s rhetoric. “Young women have also been thrown out of the house by their mothers. It’s not a gender issue.” Backholm’s way of framing the argument might, however, be a clever way of tapping into the dads’-rights movement, with its host of grievances that spark ardent and bitter feelings, including the way fathers are treated in family court. But Backholm, the father of three daughters ages 4 to 8, tells SW he was merely trying to get dads’ attention. “I don’t know how to explain it. A lot of dads are living their lives, working their jobs. They don’t really track this stuff,” he says—unlike moms, whom he credits with being more engaged. Backholm does see another gender dynamic. “Dads are more protective of their daughters,” he says. And so he’s playing upon that protectiveness—and what he assumes will be fatherly anger when they find out the state is trying to “keep them in the dark” about their daughters—to drum up support for SB 5156. NINA SHAPIRO

A Latte by Any Other Name . . .

Seattle weekly • FEBRU ARY 13− 19, 2 013

GLASSES UP TO RESPONSIBLE DRINKING.

FACEBOOK.COM/TULLAMOREDEW

MARK KITAOKA

FERTILE GROUND Women are at the fore of our Spring Arts Guide, and we look at some new venues, too. Not too long ago, SAM was reeling from the loss of a major tenant (the bankrupt WaMu), which contributed significantly to its

fronts along the path of the First Thursday art walk. The recession, it seemed, would never end. Yet maybe because it’s spring, things are looking brighter on the local arts-and-culture scene. Now back on a sound financial footing, the Seattle Art Museum also has a new director, Kimerly Rorschach, whom we meet in the pages ahead. We also see how ACT and the 5th Avenue are collaborating again on a musical, featuring homegrown talent like the lovely Jessica Skerritt (pictured). The Seattle Symphony, meanwhile, is reaching out to new young downtown residents (perhaps lured by Amazon), aided by the brainy and tech-savvy Elena Dubinets. Choreographer KT Niehoff plans an end to her Collision Theory. The city’s successful Seattle Storefronts program continues to provide temporary, unleased space to organizations like the hip-hop dance troupe Massive Monkees. And three theater companies have banded together with developer Capitol Hill Housing to create two new stages inside a mixeduse apartment development near the trendy Pike-Pine corridor. And appropriately, that 12th Avenue Arts complex will next week have its groundbreaking ceremony, like seeds being planted in the spring. BRIAN MILLER

Seatt le w eekly • FEBRUARY 13−19, 2013

budget. A few blocks south in Pioneer Square, galleries were closing (along with other businesses), leaving many empty store-

S T A G E

an artists’ collective painting • ceramic sculpture • jewelry • glass

plus a gallery gift shop functional art & unique home decor by local artists & designers • • •

presenting Layers of the Hijab

an exhibit exploring the complexities of East African girls living between cultures

Exhibit, March 6 – April 21 Artists’ Reception, March 9, 5-8p Panel Discussion, March 14, 7p This exhibit is sponsored, in part, by the National Endowment for the Arts

How rising star Jessica Skerritt came to portray a doomed debutante.

n the strange and wonderful 1975 documentary Grey Gardens, Edith “Little Edie” Beale whiles away her time in the decrepit Long Island beachfront estate where she lives with her mother, also named Edith, the aunt of Jacqueline Bouvier Kennedy. The mother/daughter pair spend much of the doc singing and dancing for the filmmakers, Albert and David Maysles. Little Edie breaks into an energetic marching song, skipping about and pumping her fist. Big Edie performs a proud rendition of “Tea for Two” while lying in bed. It’s easy to imagine them being delighted to have their lives turned into a musical. Playwright Doug Wright, composer Scott Frankel, and librettist Michael Korie did just that in 2006, creating a Tony Award–winning show to be staged next month by ACT and the 5th Avenue Theatre. (Kurt Beattie directs.) The musical divides the Beale story into two acts. In the first, Little Edie is a 24-yearold aspiring actress, glamorously engaged to Joe Kennedy, Jr. (a detail that may have been true, but likely was not) and attempting to break away from her overbearing mother. In the second, she’s the 56-year-old spinster of the documentary. “Little Edie had these big dreams, she wanted to be a star. It’s heartbreaking,” says

Seattle weekly • FEBRU ARY 13− 19, 2 013

That’s the Edie whom Skerritt will embody, full of pathos, because she offers a glimpse of all the hope and promise that the older Little Edie eventually lost forever.

B Y

Jessica Skerritt, the vivacious local actress who’ll play the character in Act 1. Drinking a vodka martini at Tini Big’s in Lower Queen Anne, Skerritt has a heart-shaped face, blonde hair in a ponytail, and flushed pink cheeks. She wears a teal paisley scarf and a horseshoe charm on a thin gold chain, and speaks with the fluent ease of a life spent onstage. Skerritt was born in Bellevue and raised in Maple Valley by two educator parents. Showbiz runs in the family: Her father was a school choir director, and her uncle is actor Tom Skerritt (Alien, M*A*S*H), a Northwest transplant who’s become integral to the local arts scene. She started ballet lessons at 3 and made her acting debut six years later, performing at the King Cat Theater in a musical called Searching for Father Christmas. “I heard an ad on the radio when I was 9 and begged my mom to let me audition,” she says. “I got in, and that’s when I think I got the musicaltheater bug.” In high school, Skerritt trained and

E R I N

JOHN KEATLEY

206.760.9843 4864 Rainier Avenue S • Seattle www.ColumbiaCityGallery.com

HOPE & HEARTBREAK

Young Skerritt is already a 20-year stage veteran.

performed as an opera singer, but after graduating turned down a place at the Boston Conservatory to pursue acting over opera. Issaquah’s Village Theatre, in whose KIDSTAGE program she participated as a child, gave Skerritt her first adult professional role at 19, in South Pacific. In the decade since, she’s immersed herself in local theater, landing roles in VT’s productions of Cinderella, The Producers, Barefoot in the Park, and The Sound of Music and at the 5th Avenue, among other Northwest theaters. Showbiz also runs in her marriage: Sparks flew when she and Dane Stokinger were cast opposite each other in Million Dollar Quartet at the Village Theatre five years ago. He played Elvis Presley, she played his girlfriend, and they’ve now been married two and a half years. They live in a Belltown apartment, “a teeny, tiny, lovely studio that we adore,” says Skerritt. “He’s my best friend, and it’s neat to have someone at home to talk to about what you’re going through during audition season and callbacks.” Of her current Grey Gardens role, which she’s rehearsing this month, she says, “My husband is getting sick of having these two women in the background all the time!”

owever, Skerritt won’t be playing the more memorably eccentric and older Little Edie of Grey Gardens’ second act. That role belongs to Broadway veteran Patti Cohenour, who also plays her mother Big Edie in the first act. (Suzy Hunt takes over as Big Edie in Act 2.) In the Maysles’ film, we see the older

K .

T H O M P S O N

Little Edie wrapped in a headscarf or a towel (she began losing her hair in her 20s, and may have suffered from alopecia), wondering what the gardener thinks of her short skirt, misquoting Robert Frost, scrawling Omar Khayyam quotes on the wall, and constantly harkening back to the supposedly lost glamour of her youth in the 1940s. And that glamour, plus the possible delusion, is the task assigned Skerritt. The Grey Gardens film includes several shots of old sepia-toned photographs of Little Edie as a strikingly beautiful teenage debutante with flawless skin and soft waves of hair, a girl who wrote poetry, dreamed of the stage, and had young millionaires falling for her left and right. That’s the Edie whom Skerritt will embody, full of pathos, because she offers a glimpse of all the hope and promise that the older Little Edie eventually lost forever. Skerritt names the ending of Act 1, a party scene, as the musical’s most tragic moment. To celebrate the engagement of Little Edie and Joe Kennedy, “the songs have a Cole Porter vibe, even though they’re modern songs,” says Skerritt. A glowing young Jackie Kennedy—then Bouvier—even makes an appearance at the joyous shindig. “I think Edie [came to] feel jealousy over the fact that Jackie went on to become rich and famous and actually get a Kennedy,” says Skerritt of Act 2. But by the end of Act 1, Big Edie has sabotaged her daughter’s engagement, and Little Edie is about to dash out the door, declaring that she never wants to see her mother again. Thus Skerritt exits the show. “I have a great relationship with my mom, so I can’t really relate to that,” she says. Still, she’s adopted the same affectionate, empathic attitude toward her character that the Maysles brothers did. Skerritt speaks admiringly of how the young Little Edie got the nickname “Body Beautiful Beale” after she jumped into a country-club swimming pool and the seam on her white swimsuit came undone. “It was the ’30s, so it was a big scandal to be naked at a country club! But she just got out of the pool, calm and composed as could be, and walked into the cabana.” (Unfortunately, this episode is not included in the show.) Edie’s story is one of dashed dreams (describing it, Skerritt often uses the word “heartbreaking”), and she never stopped wondering about the happier life she could have had. In the film, we last see Little Edie in a black lace dress—green scarves decoratively tied around her ankles, bald head visible through her headscarf—swaying, singing, and dancing around the room. “She has this wonderful childlike quality about her, even though she’s 56,” says Skerritt. “And I love that about her.” E stage@seattleweekly.com GREY GARDENS Runs March 16–May 26 at ACT Theatre, 700 Union St., 625-1900, 5thavenue.org. Tickets $49 and up.

Rembrandt, Van Dyck, Gainsborough: The Treasures of Kenwood House, London is organized by the American Federation of Arts and English Heritage. It is supported by an indemnity from the Federal Council on the Arts and the Humanities, with additional funding from the Samuel H. Kress Foundation. In-kind support is provided by Barbara and Richard S. Lane.

Seattle presentation is supported by Presenting Sponsor

Supporting Sponsors Seattle Art Museum Supporters (SAMS) Washington State Arts Commission/ National Endowment for the Arts Media Sponsor

Major Sponsor Sotheby’s Supporting Sponsors Melbourne Tower Perkins Coie LLP

Official Hotel Partner Grand Hyatt Seattle

Image credit: Portrait of the Artist (detail), ca. 1665, Rembrandt van Rijn, Dutch, 1606-1669, oil on canvas, 45 3/4 x 38 1/4 in., Kenwood House, English Heritage; Iveagh Bequest (88028836), Photo courtesy American Federation of Arts.

Seatt le w eekly • FEBRUARY 13−19, 2013

Family Festival! Saturday, February 16, 10 am–3 pm. Free fun for all ages. Presented by

V I S U A L

A R T S

THE DEAL OF THE ART Attention, Seattle billionaires: SAM’s new director wants to look at your walls. And your wallets. B Y

Performed at Center Theatre at Seattle Center

BY WILLIAM SHAKESPEARE | DIRECTED BY JON KRETZU

Tickets: 206-733-8222 or www.seattleshakespeare.org

M I L L E R

imerly Rorschach— there is no “b” in her first name—has been on the job only a few months, and she still describes herself as a “newcomer” to Seattle. In her sunny corner office at the Seattle Art Museum, where she became its new director in November, the North Carolina transplant has plenty of polite things to say about our city’s art scene. She didn’t have a hand in SAM’s two big European shows opening this Thursday (see calendar, page 22), since such loans and inter-museum agreements take years to work out in advance. Former director Derrick Cartwright vacated the post in the summer of 2011 after only two years on the job; that surprise announceRorschach now leads an institution on the rise. ment came after the loss of SAM’s income-producing tenant Washingmodernized—something like the Frye’s maketon Mutual, which collapsed when the subover? “I don’t know. We’re just at the beginprime mortgage bubble burst. ning of thinking that through. We’re going Following a leaderless year at SAM, to need to raise money and do the upgrades. Rorschach knows she’s arrived after a vioWe’re in the early stages.” lent boom-bust cycle. Of SAM’s expensive Also in the planning stages is something new tower and the Olympic Sculpture new at the OSP: “You will see another Park, she says, “You build these great these major installation there soon. I can’t really things . . . and what are you going to do with talk about it yet.” Could more large art be them? And then the downturn—WaMu, swapped in and out of the park? “You’d like hair on fire, ‘Oh my God!’ For any museum, to rotate it. It’s expensive to install. You want when you expand, revenues have to catch to put in monumental pieces for the ages. But up. There’s a growing-pains period of getting you can’t rearrange it like a gallery.” used to operating in an expanded environThen there’s the question of what to proment. And then we had this crisis.” gram indoors at SAM. How is it, I ask, that But SAM, thanks to new tenant Nordthe San Francisco Museum of Modern Art, strom and its successful 2010–11 Picasso not SAM, got to host the MoMA’s Cindy show, is back on a firm footing. With a Sherman career retrospective? “You need budget around $23 million and annual visito get the inside track,” says Rorschach. tors downtown averaging some 400,000, “You have to be really strategic to get in on the museum can look ahead. It’s no longer the deal. What do you have to offer to be an in bail-out mode, says Rorschach. “I see us attractive partner? San Francisco is a bigger back to where we would’ve been [before market. A way to compensate for that is to the recession]. We’ve got these great have a lot of resources.” assets—how are we going to move forward That, of course, means fundraising—the with them? And we are challenged to have dreaded but necessary part of any museum enough revenue to operate these three sites. Having three sites . . . is more expensive than director’s job. Back at Duke University’s Nasher Museum, Rorschach led a $23 milif we were all in once place.” lion campaign to build a new facility. SAM is Those three comprise SAM, the OSP, and past its expansion cycle, so her challenge is to the somewhat underutilized original 1933 target donors with collections to complement museum in Volunteer Park, which became visiting and homegrown shows. Besides the the Seattle Asian Art Museum after SAM Wrights and the Shirleys, she says, “There are moved downtown in 1991 to its Robert Venamazing collections out here,” but those holdturi–designed building (now eclipsed by the ings tend to be traditional. “I haven’t seen as 2007 Brad Cloepfil tower to the north). “We do need to think particularly about the bold collecting going on here as I see in New York and L.A. and Chicago and Miami.” Asian museum,” says Rorschach. “It needs So has she seen any surprises in the some seismic upgrades and renovations that hands of local donors and philanthropists, will be expensive. I’d like to see us attract something to leverage in a future show? more visitors up there.” How will that hap“There may be some,” she smiles, choosing pen? “I think having more contemporary not to specify. E Asian art and programs. Traditional Asian is hard.” Could SAAM be expanded and/or bmiller@seattleweekly.com ROBERT WADE

Seattle weekly • FEBRU ARY 13− 19, 2 013

Mar. 13-Apr. 7, 2013

B R I A N

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CLOSE QUARTERS

Choreographer KT Niehoff is eliminating the distance from her stage to where you sit. And she has another move in mind. B Y

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Urban Eye Care school. More recently, she’s said that she wants to use these performances to focus our attention on a particular idea or experience: “People weren’t there for a dinner party. This was about deepening your senses.” Niehoff is about two-thirds of the way through the whole project, which will culminate at OTB in April. She’s also editing a pair of new short films and planning a visual art/ movement installation at Suyama Space. And she’s still corresponding with people who’ve been following the series, creating a kind of Collision Theory fan community. After April, however, Niehoff plans to step away from teaching and dance-making, dissolve her Lingo dance company, and take her notion of “alternative cultural events” outside the traditional nonprofit environment. “The historical way of working is counterproductive,” she said in a recent conversation about her frustration with chasing grants and donations, so she’ll look to develop a new paradigm. For Collision Theory, Niehoff has been as much a producer/director as a performer, spending almost as much time working with florists and caterers as devising her choreography. To support her studio, she’s been renting it out for events and parties, and this could be part of her new path. In the next phase of her career, Niehoff may change out some of the creative components, but her goal will remain the same: to force us to really see and experience what’s in front of us, whether food or fashion, drinks or dance. E stage@seattleweekly.com DREAM BRAIN FILM SCREENING Century Ballroom, 915 E. Pine St., lingodance.com. 7 & 9 p.m. Thurs., March 7. VIEWFINDER Suyama Space, 2324 Second Ave. 5:30–8:30 p.m. Thurs., March 28; noon–5 p.m. Fri., March 29; 3–6 p.m. Sat., March 30. THE FINALE On the Boards, 100 W. Roy St., ontheboards.org. 8 p.m. Thurs., April 18–Sun., April 21.

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T Niehoff would like you to pay attention, please. That’s hardly unusual: Choreographers generally want you to watch their dances. But over the past few years, rather than just asking nicely, she’s been crafting work that shakes your expectations of how dance is seen, pushing your focus in a specific direction. Her newest project, Collision Theory, is her most ambitious to date, and it marks a shift in her own trajectory as an artist. When Niehoff first came to Seattle in the ’90s, to dance with Pat Graney’s company, she already had a broad skill set, with training as an actress and a singer as well as an entrepreneurial side. One of her first activities here was to help found Velocity Dance Center in 1996. From the beginning, if she hasn’t been able to find what she needs, she’s made it herself. And as she turned from performing in other people’s ensembles to creating her own, she incorporated all her talents in the process, making dances with text, with song, and, increasingly, with an agenda. Since Nourish in 2006, a combined dance concert/happy hour, she’s been adding a social component to stage events. Now with Collision Theory, the balance is shifting further: She’s creating social events with the resonance of performance. Collision Theory began last June during On the Boards’ NW New Works series, but the dancing was only part of the overall experience. The audience was instructed to meet first in a restaurant and have a drink. After being led up the back stairs to watch a handful of dancers perched on tiny platforms scattered through the theater, viewers were then asked to write a letter to one of the performers. Dancers wrote back to the audience, too; and the next stage of the series was epistolary, ending in another cocktail party with the letters hung like paintings on the walls of Niehoff’s Capitol Hill studio. Since then she’s curated a series of parties (in a clothing store, a distillery, and a private home), each combining dance with different elements, but all creating social interaction between performers and spectators, all framing dance in an unusual context. It’s an incredible challenge for her dancers, who have found themselves performing on awkward platforms or among a crush of onlookers. Niehoff has crafted their material to emphasize articulation and complexity without large movements through space. These are vignettes that could be performed on a bus or in a club, but their energy draws our attention in a way that simple people-watching does not. What all these events share is a sense of intensity—from the dancers, certainly, but also from the other people squeezed into the room. Us, in other words. When we chatted last year about Collision Theory, Niehoff recalled the experience of watching a popular TV show like Dallas, and how everyone would discuss it the next day at work or

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erhaps the high point so far of Ludovic Morlot’s season-anda-half tenure as the Seattle Symphony’s music director was the orchestra’s recent performances of Messiaen’s immense, explosive, overwhelmingly colorful Turangalîla, which earned not only ecstatic standing ovations and reviews but a social-media and word-of-mouth buzz unprecedented in my memory. Triumphs like these require the hard work not only of the musicians onstage, but of the entire organization—as Elena Dubinets is quick to point out. She herself has played a vital but unsung role in this success. As the SSO’s vice-president of artistic planning, she’s in charge of all The SSO’s programming—or as she puzzle-solver. puts it, her job is to “figure out the puzzle which is the symphony season.” She needs to juggle the personnel requirements of each piece of music, guest soloists’ and conductors’ schedules, contractual stipulations, hall availability—and perhaps most touchily, audience expectations and the possibly conflicting tastes of longtime subscribers and the new young listeners the SSO hopes to lure. “What I do,” says Dubinets, “is put the music director’s vision on a calendar: the artists that would work best with certain music works; the guest conductors who would bring

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present it a different way.” (See music section, page 51.) Born in Moscow, Dubinets earned a Ph.D in musicology from the Moscow Conservatory and came to America in 1996. Two years later, the Seattle Chamber Players brought her to Seattle as their music advisor: “They saw an article about a festival of Russian music in Iowa which I curated, and they called me up out of the blue.” Dubinets has

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Shrewdly, the Seattle Symphony has figured out that pulling in newbies needn’t involve dumbing-down. something to the orchestra in line with his vision.” For Morlot this has meant, among other things, a keen interest in contemporary music and in innovations like the [untitled] series of late-night lobby concerts. And shrewdly, the SSO has figured out that pulling in newbies needn’t involve dumbing-down. “In fact, we are trying to perform more difficult music,” Dubinets says, “but trying to

been a driving force behind the SCP’s periodic “Icebreaker” festivals, presenting dozens of works and composers, from across Europe and Asia, never before heard here. Another priority of Dubinets, in her 10th season with the SSO, and Morlot is to provide new opportunities not only for listeners, but for the orchestra’s musicians, who have had a hand in determining the programs for the [untitled] series and the SSO’s chambermusic series. Players were instrumental in bringing stellar soprano Cyndia Sieden for this Friday’s performance of Schoenberg’s Pierrot lunaire, for example, and May’s [untitled] program will feature music composed by SSO members Jordan Anderson, Seth Krimsky, and Ben Hausmann. Dubinets says the musicians’ empowerment makes an audible difference: “Because of that, the level of performances is so high—the musicians are really invested in what they’re doing because we don’t impose anything on them . . . Not every orchestra has a chamber series, and if they do, they assign musicians to works. “The amount of partnership between the music director and the musicians and staff now is incredible,” Dubinets says. “Goodwill is up in the air, and we just have to grab it and put it on the schedule. And that’s my job.” E gborchert@seattleweekly.com

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n a recent weekday afternoon, the ID’s old Milwaukee Hotel (now apartments) is abuzz with small street dancers in matching blue T-shirts. Not too long ago, the groundlevel space was just one of many vacant storefronts in the ID and Pioneer Square. Now dubbed The Beacon, the 4,000-square-foot dance studio pulses with youthful energy as students from the Community Day School Association dance to boom-box beats. The tots are under the instruction of Florentino “FlowFunk” Francisco, a founder of the Massive Monkees break-dancing crew that formed at Franklin High School in 1999. Since then, the ensemble has performed widely, sometimes beyond Seattle. In 2004, the Monkees won the World B-Boy Championships in London; later that year, Mayor Greg Nickels proclaimed April 26 “Massive Monkees Day.” Last year the troupe swept the international b-boy battle R-16 Korea, the first American crew to win that title. They’ve danced with or choreographed for 50 Cent, Beyoncé, and Public Enemy. And yet the Monkees had no home. They practiced where they could, and promoted their art in schools and community centers. That’s where the Storefronts Seattle program came in. Since 2010, the city-sponsored program has been placing artists and galleries in unleased retail spaces for three- to six-month residencies. Program manager Matthew Richter says The Beacon is a good fit in the ID, where the community is distinctly urban. “Storefronts is a temporary activation,” he says. But he sees long-term potential for “projects like Monkees that are commercial and have an interest in stabilizing the ID, as the Pinball Museum and Tuesday Scarves [two other Storefronts tenants] have done. That’s something we’re hoping for with Monkees.” The Beacon opened in January, operating below renovated affordable apartments. According to Brysen “Just B” Angeles, a Monkees founder (one of six) who co-directs The Beacon: “As a group of performers, it’s great just having the rehearsal space. And now we

can officially share the art form. It’s a space where we can educate people. It’s not just head spins, tricks, or acrobatics—there’s a dance and a musicality to it. It’s a creative art form, and we want to share this foundation of the dance.” Thinking back to his own youth, Angeles recalls his discovery of breaking at Jefferson Community Center. “I played team sports, but I was never excelling. I even did gymnastics for a few years. But as soon as I went to the community center and found hip-hop and break-dancing, the next day I knew it was my thing. I just fell in love with it.” Now he and other instructors can transmit that love in age-tiered classes for toddlers through teens. Some are free after-school programs, others are reasonably priced at $10–$15 per session. Their goal, says Angeles, is to keep The Beacon open as long as possible. (Indeed, some Seattle Storefronts residencies have been extended, if landlords can’t find paying tenants.) Per the b-boy motto, “Each one teach one,” the Monkees feel a profound debt to their mentors, says Angeles. “They shared the essence of hip-hop and b-boy/b-girl culture. They gave us tools that would eventually take us around the world and help us grow as young adults. It’s what we put our love and focus into, and with The Beacon, we can do this every day.” But besides their educational mission, Massive Monkees are still very much a performance group. Angeles and Francisco will join fellow founders Marcus “Juse Boogy” Garrison, Jerome “Jeromeskee” Aparis, Terrance “Dancin’ Domes” Guillermo, and Geronimo Brownwolf at Seattle Center’s Têt Festival/Vietnamese Lunar New Year celebration on Sunday, February 17 (Fisher Pavilion, 3 p.m.), then again at the Center’s Asian-Pacific Islander Heritage Month Celebration on May 5. E gelliott@seattleweekly.com THE BEACON 664 S. King St., massivemonkees.com.

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the prewar years—like the Paramount and eattle’s post-recession apartment market is booming, and Capitol Hill Moore. “It’s unheard of today,” says Seiwerath. After the call for proposals, “the three is booming within that boom. Only theater companies sort of self-organized.” as older structures are knocked Carter picks up the story from there. He down by developers and parking lots become residential towers, your typical struggling arts talked to his peers at WET and NCTC, “and it occurred to me we could do it collaboraorganization gets priced out of the market. A tively.” The trio formed an umbrella nonprofit nonprofit theater company is a particularly called Black Box Operations that will jointly tough sell as a tenant. Business is seasonal lease the two theaters. “But we’re not mergand spotty, mostly confined to weekends; then there are the noise issues and the patrons smoking out on the sidewalk. Below the institutional level of the Rep or ACT, theater companies tend to be beggars, renting whatever facility is cheap and available— never mind if there are columns obstructing the stage and a lack of dressing rooms in back. The rendering for a future marquee. Such has been the plight of Washington Ensemble Theatre, New Century Theatre ing,” explains Carter, since the three compaCompany, and Strawberry Theatre Workshop, nies will produce separate seasons, and lease whose Greg Carter recalls: “Strawshop was to other groups, in their new home. And, he producing regularly out of the Erickson cautions, “We’re on the hook for the rent. This Theater Off Broadway,” a space built and isn’t a gift; this is a market-rate thing.” For all owned by Seattle Central Community College. three groups, there’s financial exposure, but “We were renting on a weekly basis. But then also the security of a 15-year master lease. the college changed their management. They When completed, the two theaters will leased it to Balagan Theatre. We got nervous accommodate about 150 and 80 patrons. Critithat we were not going to have a home. We cally, they’re purpose-built; the three tenants are currently in limbo. So then I scrambled; were involved in the design process. “We had I knew that this thing was happening.” a tremendous amount of say,” notes Carter. “I “This thing” was a Seattle Police Departactually have a master’s degree in architecture,” ment parking lot, located on 12th Avenue just which helped further. (One of SMR’s lead archinorth of Pine, plans for which “have been 14 tects was once a fellow student of his.) years in the making,” according to Capital Looking ahead to Broadway’s light-rail Hill Housing’s Michael Seiwerath. CHH is a station and the city’s zoning changes, Carter longtime developer of low- and affordableforesees a virtuous theater/arts clustering rent apartments. Using tax credits, public effect on 12th: “They’re trying to get more funding, and a smaller capital campaign, he density on the Hill, but the real benefit may be explains, plus the “really supportive” Mayor from outside that market. I think this buildMike McGinn, CHH was able to structure ing has the potential to become a destination. a roughly $47 million deal that will, by fall We’ll benefit from volume.” Pointing to the 2014, put the police parking below ground, example of Uptown/Seattle Center, where with the new mixed-use 12th Avenue Arts the Rep, On the Boards, McCaw Hall, Book-It, and Intiman have created a theater district, building above. The six-story complex will he hopes to see 12th Avenue Arts likewise include about 88 affordable apartments, “creating a pattern” for theatergoers from off offices for CHH and others, restaurant and the Hill to come in for dinner and a show. The retail space, and two theaters in back. building’s neighbors, Velocity Dance Center Three years ago, after a series of commuand Northwest Film Forum, would also benenity meetings, CHH began to solicit proposals—“an open call for arts, particularly theater fit from such marketing—call it synergy if you must. And all the bars and shops along Pike groups,” explains Seiwerath. Noting the cloand Pine would like more foot traffic, too. sure of several arts venues on Capitol Hill, he Carter and representatives from WET, knew there would be pent-up demand. ProNCTC, and Capitol Hill Housing are expected spective theater tenants would help design to join Mayor McGinn for next week’s the two performance spaces, in conjunction groundbreaking (12:30 p.m. Thurs., Feb. 21, with SMR Architects, making it “a very rare 1620 12th Ave.). The building’s first opening opportunity,” says Seiwerath. Moreover, the night should follow in about a year. E development model of residential-over-theater space hasn’t been tried in Seattle since bmiller@seattleweekly.com

ONGOING

• The Music Man This tuneful tale of trouble in

River City (with a capital T) is a family favorite. Through March 10. 5th Avenue Theatre, 5thavenue.org • Memories and Meditations Seattle photographer Michael Kenna shows lush black-and-white images from around the globe. Through March 24. Tacoma Art Museum, tacomaartmuseum.org • Chamber Music/36 Chambers In two paired shows, James Joyce’s poetry provides a starting point for some two dozen local artists. Contrasting their new work are selections from the Frye’s permanent collection. Through May 5. Frye Art Museum, fryemuseum.org • Nicolai Fechin The Russian immigrant painter (1881–1955) is treated to a major retrospective. He was an early settler in the artist colony of Taos, New Mexico, and a renowned portrait artist. Through May 19. Frye Art Museum • Legends, Tales, Poetry: Visual Narrative in Japanese Art Scrolls, screens, and photos span a period from the 13th century to modern times. Through July 21. Seattle Asian Art Museum, seattleartmuseum.org Uprooted and Invisible: Asian-American Homelessness Photos and supporting materials document “the hidden homeless” in the Northwest and beyond. Through Aug. 18. Wing Luke Museum, wingluke.org Vietnam in the Rearview Mirror This collection of photos and historical artifacts honors the immigrant experience, with reference also to the Vietnam War. No set end date. Wing Luke Museum

CALENDAR

B Y G W E N D O LY N E L L I O T T, S A N D R A K U R T Z , J E VA L A N G E , M A RT H A T E SE M A , A N D NAT H A N U R E TA

14 Juan-Carlos Formell Celebrate Valentine’s Day with the romantic sounds of Cuban music. Town Hall, townhallseattle.org 14 Al Gore The former veep and Nobel laureate talks with UW professor David Domke about his book The Future: Six Drivers of Global Change. Seattle First Baptist Church, lectures.org 14 Seattle Symphony In “Love Stories,” romantic music by four composers: three straight, one gay. Benaroya Hall, seattlesymphony.org • 4–May 19 Rembrandt, Van Dyck, Gainsborough: The Treasures of London’s Kenwood House Approximately 50 masterpieces by several European painters. SAM is also presenting complementary works from its permanent holdings and local collectors. Seattle Art Museum, seattleart museum.org 15 Roberta Flack The R&B queen reaches deep into her back catalog. Pantages Theater, broadwaycenter.org 15 The Rite, Then and Now UW Dance Program faculty members Jürg Koch and Betsy Cooper discuss Le Sacre du Printemps in its centennial year. Henry Art Gallery, henryart.org • 15–21 8½ Roger Ebert called it “the best film ever made about filmmaking.” Celebrate the 50th anniversary of Fellini’s classic by seeing it anew. Grand Illusion, grandillusioncinema.org 16 Pilobolus The contemporary dance ensemble travels north. Edmonds Center for the Arts, edmondscenterforthearts.org 16 Post Alley Film Festival Over 20 short films are screened, with an emphasis on women. SIFF Film Center, postalleyfilmfestival.com 16 Seattle Rock Orchestra Performs Smashing Pumpkins Covers of songs from Siamese Dream and Mellon Collie and the Infinite Sadness.

Nicolai Fechin's 1912 Lady in Pink (Portrait of Natalia Podbelskaya), at the Frye.

The Neptune, stgpresents.org 16–17 Chop Shop: Bodies of Work Local dancers and choreographers convene at this annual contemporary-dance event. Meydenbauer Center, meydenbauer.com 16–June 2 Sean Scully: Passages/Impressions/ Surfaces The British artist explores the bond between photographs and paintings in this comprehensive exhibit. Henry Art Gallery 17 Bone Thugs-n-Harmony The hip-hop band celebrates its 20th anniversary with this reunion tour. Featuring a tribute to Eazy-E. Neumos, neumos.com 18 Ben Goldacre His new book Bad Pharma: How Drug Companies Mislead Doctors and Harm Patients scrutinizes the pill industry. Town Hall 19 Laser Ara’Kus: Aeterno Elementum Live! Lasers and heavy metal. What could possibly go

wrong? Pacific Science Center, heavymetal opera.com • 19 Eels Mark Oliver Everett brings his haunting indie rock to Seattle, with Nicole Atkins. Showbox at the Market, showboxonline.com 20 Phil Lapsley He discusses his book Exploding the Phone: The Untold Story of the Teenagers and Outlaws Who Hacked Ma Bell. Town Hall 21–22 Lingo Dance Theatre They present a new dance film project, Dream Brain, made as part of the Collision Theory project. Century Ballroom, lingo dance.com • 21–23 Black Grace When Neil Ieremia first started to incorporate his Maori heritage into contemporary dance, most audiences outside New Zealand had no idea what a haka was. Now the ritualized preparation for battle is all over YouTube, but Ieremia is still

COURTESY OF FRYE MUSEUM

Seattle weekly • FEBRU ARY 13− 19, 2 013

FEBRUARY

digging into history, this time with Vaka, combining the foundational Maori stories of their travel by canoe to the Land of the Long White Cloud with 19thcentury genre paintings illustrating a different view of that historical moment. SANDRA KURTZ Meany Hall, uwworldseries.org 21–23 The Cabiri Seattle’s aerial dance/theater company will dangle from ropes and cavort across the stage. Shorecrest Performing Arts Center, Shoreline, cabiri.org 21–24 False Peach Shakespeare is fed through a computer in this high-tech collaboration between Annie Dorsen and Scott Shepherd. On the Boards, ontheboards.org 21–24 Seattle Symphony Recently deceased composer/arranger Marvin Hamlisch is honored with a program of his hits, surely to include “The Way We Were.” Benaroya Hall • 21–March 10 These Streets Gretta Harley and Sarah Rudinoff’s music-theater tribute to the women of Seattle’s grunge years, including songs from 7 Year Bitch, the Gits, and others. ACT Theatre, acttheatre.org 22 Kishi Bashi NPR dubbed him one of 2012’s best new artists, and with his looping violin and vocals, it’s hard to disagree. The Crocodile, thecrocodile.com 22 Camper Van Beethoven The alt-rock band has reunited and recorded a new album, La Costa Perdida. Tractor Tavern, tractortavern.com 22 John Dies at the End Comedy, fantasy, horror, and soy sauce? Adapted from David Wong’s novel of the same name. The Varsity, landmarktheatres. com 22 Khambatta Dance Company The Seattle dance troupe performs favorites and premieres Truth & Betrayal. Kirkland Performance Center, kpcenter.org 22–23 Hot Mess An eclectic mixed-bill program of local dance talent. Velocity Dance Center, velocity dancecenter.org •22–23 Seattle Dance Project The company has been collaborating with all kinds of music ensembles in the past few years, from chamber-opera songs to string-quartet versions of Beatles tunes, so this new alliance with Pacific MusicWorks should feel right at home. Wayward Sisters pairs a vocal trio with a kinetic one, with choreography by early-dance specialist Anna Mansbridge. With 17th-century Italian music and a contemporary piece by composer Karen P. Thomas, based on poetry by Andrew Marvell, the evening swings from the past to the present and back again. SK Langston Hughes Performing Arts Center, seattle danceproject.org •22–23 There Will Be Blood Midnight screenings of Paul Thomas Anderson’s epic about oil, with the Oscar-winning Daniel Day-Lewis. The Egyptian, landmarktheatres.com • 22–28 American.Film.Week. The Amerindie scene is surveyed with a dozen-plus titles, including one that purports to be a recreation of Dennis Hopper’s Easy Rider. Northwest Film Forum, nwfilmforum. org 22–28 Mumia: Long Distance Revolutionary A new doc about Mumia Abu-Jamal, still in prison for allegedly murdering a policeman in 1981. Grand Illusion • 22–28 Noir City Classic film-noir titles will include Sunset Blvd. and Intruder in the Dust. SIFF Cinema Uptown, siff.net 22–May 14 Paper Unbound: Horiuchi and Beyond Collage and other paper creations by the late Northwest master (1906–1999) are on display. Wing Luke Museum

Seatt le w eekly • FEBRUARY 13−19, 2013

coming soon to Act tHEAtRE

All available on the ACTPass!

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These Streets

Grey Gardens Mar 16-May 26

An original work of theatre inspired by women rock musicians in Seattle during the “grunge” years.

From Hamptons to Hoarders. First captured in a cult-hit documentary, this truestory-turned-musical will take you on an unforgettable journey.

Young Playwrights Festival

Feb 21-Mar 10

Assisted Living

Mar 7-9

Apr 19-May 12

The Young Playwrights Program returns for its eleventh annual festival, showcasing eight world premiere plays by talented student writers.

Set in a prison-turnedelder-care facility, a band of lovable aging misfits rediscover purpose and dignity in the face of a system mightily stacked against them.

acttheatre.org | (206) 292-7676 | 700 Union Street, Downtown Seattle

WHAT ARE YOU WAITING FOR? The place to make ART

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reflects on the meaning of “lyric.” Town Hall 28 Raquel Rivera The academic and musician discusses the “dreams of freedom” in Hispanic culture. UW Kane Hall, bookstore.washington.edu 28 Matt Ruff The local novelist’s The Mirage, new in paper, imagines an alternate world in which the U.S. is a barbaric rogue state that attacks the civilized Middle East on 9/11. Elliott Bay Book Co., elliott baybook.com

22–May 26 Love Me Tender Banksy and other artists create works out of paper currency and coins. Please don’t spend the art. Bellevue Arts Museum, bellevuearts.org 22–Aug. 4 Maneki Neko: Japan’s Beckoning Cats: From Talisman to Pop Icon Hello, kitty! Collector Billie Moffitt shows 155 of her feline figurines, all guaranteed 100 percent kawaii. Bellevue Arts Museum • 23 Madeleine Albright The former Secretary of State has written a memoir, Prague Winter, about her life in Czechoslovakia and the Nazi invasion. Town Hall 23 Lake Union Civic Orchestra Premiering a viola concerto by Thomas Pasatieri. Town Hall, luco.org • 23–March 10 La Bohème A tearjerker sprinkled with plenty of comic relief: No wonder it’s the world’s most popular opera. McCaw Hall, seattleopera.org 23–May 5 The Dowsing Local artist and fashion maven Anna Telcs shows her work in the Henry’s free lobby area. Related performances will be staged outside in Red Square. Henry Art Gallery 23–May 26 Drawing Line Into Form: Works on Paper by Sculptors from the Collection of BNY Mellon Over 50 drawings are featured by highprofile artists. Tacoma Art Museum 24 Music of Emily Doolittle Chamber music by the Cornish faculty composer. Cornish College of the Arts, cornish.edu 24 Stories of the Black Arts Movement Artists Charles Bibbs and Eric D. Salisbury share their work. C Art Gallery, cartgallery.org 25 Pepper Schwartz The UW professor shares from her The Normal Bar: The Surprising Secrets of Happy Couples and What They Reveal About Creating a New Normal in Your Relationship. University Book Store, bookstore.washington.edu 26 Erica Bauermeister A Seattle writer, her newest food-infused novel is The Lost Art of Mixing. Third Place Books, thirdplacebooks.com 26–April 20 Supplemental Geology Three artists consider the landscapes of the Northwest. ArtsWest, artswest.org 27 Joe Janes The UW professor expounds upon his podcast “Documents That Changed the World.” Town Hall • 27 Patti Smith The legendary rocker has also become a bestselling memoirist. The Neptune

Patti Smith.

27 STRFKR The electro-pop band rocks Seattle, along with special guest Blackbird Blackbird. The Neptune 27 Toro y Moi Trippy, head-bobbing beats are sure to abound at this electronic musician’s show. The Crocodile 28 Paul Muldoon The Pulitzer Prize–winning poet

MARCH

EDWARD MAPPLETHORPE

Seattle weekly • FEBRU ARY 13− 19, 2 013

WWW.PRATT.ORG

C A L E N D A R

1 Hey Marseilles Strings galore will take the stage for a night of heartfelt Northwest music. These Seattle favorites are joined by Y La Bamba and Pollens. Showbox at the Market 1 Jerry Ross The NASA astronaut speaks at this dinner event. Museum of Flight, museumofflight.org 1 You Are Here Authors Chris Abani, Cheryl Strayed, and Jonathan Evison debut new writings. Richard Hugo House, hugohouse.org 1–2 Yo Gabba Gabba! LIVE! The surreal children’s TV series is now an interactive musical stage show for families. The Paramount, stgpresents.org 1–3 Dial M for Murder Grace Kelly stars in Hitchcock’s 1947 thriller, presented in its original 3-D format. SIFF Cinema Uptown • 1–7 Beware of Mr. Baker Once the flame-haired drummer for Cream, Ginger Baker has since lived a long, bizarre life, as recounted in this new music doc. Grand Illusion 1–7 Hors Satan Crime and faith come into conflict in this new drama by Bruno Dumont. Northwest Film Forum 1–24 L.A. Rebellion Films screen over four weekends on the topics of race, cinema, and history in post–’60s Los Angeles. Northwest Film Forum 2 Ana Moura She performs a passionate program of fado music. Meany Hall 2 Puget Sound Symphony Orchestra Dvorak, Brahms, and more. Town Hall, psso.org 2 Tea for Ruby Evergreen City Ballet relates the story of a princess with no manners. Meydenbauer Center 2 & 6 Triple Fisher: The Lethal Lolitas of Long Island Nearly forgotten ’90s icon Amy Fisher, who tempted a married man into shooting his wife, is given the found-footage treatment. Grand Illusion 2–3 All 4 1 Dancepalooza DASSdance presents works by choreographers including Daniel Wilkins, Adriana Lallone, and Jill Marissa. Washington Hall, dassdance.org 2–3 Seattle Repertory Jazz Orchestra Jazz artist Thad Jones is honored. Benaroya Hall, srjo.org • 2–July 7 Out [o] Fashion Photography: Embracing Beauty Imogen Cunningham, Bruce Davidson, Cindy Sherman, and Andy Warhol are among the artists who’ve turned their lens to fashion. Henry Art Gallery 3 Alabama Shakes Retro-soul meets rock-and-roll. Brittany Howard delivers her heartfelt howls. The Paramount • 3 Anne-Sophie Mutter The patrician ice queen of the violin plays Schubert, Lutoslawski, and more. Benaroya Hall 4 BOY Their Europop will most definitely get stuck in your head. The Triple Door, thetripledoor.net • 4 Stephen Greenblatt His Pulitzer-winning tale of a recovered Roman manuscript is The Swerve. Get ready for a new understanding of Epicureanism. Benaroya Hall, lectures.org

FASTEN YOUR SEATBELTS!

2013

University of Washington PUBLIC

Marc Camoletti,

for these upcoming FREE public lectures, offered to you by the Graduate School of the University of Washington.

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Author, Scholar and Singer-Songwriter Liberation Mythologies: Quests for Roots, Spirit and Justice in Afro-Puerto Rican, Afro-Dominican and Mexica Music and Dance

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Professor, Department of Science and Technology Studies - Rensselaer Polytechnic Institute Computing for Social Justice and Sustainability

May 7 - 6:30pm Dolores Hayden Professor of Architecture and Urbanism and Professor of American Studies, Yale University Green Fields and Growth Machines: Building American Suburbs, 1820-2000

March 13 - April 21

May 14 - 6:30pm Anne Whiston Spirn Professor of Landscape Architecture and Planning, Massachusetts Institute of Technology

Professor and distinguished scholar-teacher, Department of Linguistics; Neuroscience and Cognitive Science Program, University of Maryland Linguistic Illusions: Where You See Them, Where You Don’t

TO GUARANTEE YOUR SEAT, please register online at

www.grad.washington.edu/lectures

Stand by seating will be offered but doesn’t guarantee entrance.

ALL LECTURES TAKE PLACE IN KANE HALL RM 120 ON THE UW SEATTLE CAMPUS

Box Office: (425) 392-2202 • www.VillageTheatre.org

Seatt le w eekly • FEBRUARY 13−19, 2013

May 15 - 6:30pm Colin Phillips

You name it, We’ll celebrate it! Anniversary Birthday Corporate Event Divorce Engagement Foreclosure Graduation Happy Hour Independence Day Just Because Kicking Back Looking for Fun Marriage Night On the Town

Out of Town guests Parent’s Night Out Quittin’ Time Reunion St. Patrick’s Day Tired of the Usual Scene Valentine’s Day Why Not? Naughty X-Rated party! (Just kidding!) Don’t Wanna Miss Out Zany Fiends Voted Best Piano Bar & Best Place to Take an Out of Town Guest.

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C A L E N D A R • 4 Men in Ballet PNB’s resident scholar Doug Full-

ington gives a lecture-demonstration, with company dancers illustrating his points: always highly informative presentations. Phelps Center, pnb.org 4 Gavin Newsom The former San Francisco mayor talks about reinventing government via technology. Town Hall 4–5 Fourplay Kyle Henry depicts sexcapades, porn store shenanigans, and complex human/canine relationships in this anthology film. Northwest Film Forum 5 Patricia Briggs Her new book is Frost Burned. University Book Store 5 Po Bronson With Ashley Merryman, the Seattleraised author will discuss their book Top Dog: The Science of Winning and Losing. Town Hall 5 Passion Pit The Cambridge-based band brings its sunny, upbeat synths and guitars to Seattle. With Matt & Kim and Iconia Pop. The Paramount 6 Katherine Bouton Hard of hearing? Learn to cope with the author of Shouting Won’t Help: Why I— and 50 Million Other Americans—Can’t Hear You. University Book Store 6 Khatia Buniatishvili From this pianist, Ravel and Stravinsky finger-busters. Meany Hall 6 Morrissey In a rescheduled performance, the cranky ’80s icon is sure to draw a mopey yet adoring throng. The Moore, stgpresents.org • 7 Culturebot On the Boards puts critics onstage, along with the subject of their consideration, in an interactive performance/exploration of the difference between “having an opinion and having a conversation.” If the Internet gives everyone the chance to be a critic, including dogs, what is the new role of commentary? Andy Horwitz and Jeremy Barker of the commentary website Culturebot will describe their new Citizen Critic Project and their efforts to launch “public critical conversations” on a variety of subjects. SK On the Boards 7 Alicia Keys In a unique fusion of pop and classical, Keys graces the stage with her warm ballads. WaMu Theater, wamutheater.com 7 Search and Rescue A cavalcade of celluloid rarities unspools from NWFF’s 16mm vault. Northwest Film Forum • 7 Tafelmusik The Canadian baroque orchestra offers a multimedia performance, “House of Dreams.” Meany Hall 8 Oz the Great and Powerful Sam Raimi directs this new take on the L. Frank Baum novel, complete with flying monkeys and expensive monkeys. Opens wide. 8 SAM Remix Get your groove on in the halls while discussing issues and enjoying performances. Seattle Art Museum 8–9 Seattle Symphony You love “The Four Seasons.” Your grandma loves “The Four Seasons.” Your kids love “The Four Seasons.” Here’s “The Four Seasons.” Benaroya Hall 8–10 UW Winter Opera Theater Scenes from the standard (and not-so-standard) rep in the black-box Meany Studio Theater, music.washington.edu 8–24 Paper Bullets John E. Ellis reworks Much Ado About Nothing for the world of tabloid journalism. Ballard Underground, ghostlighttheatricals.org • 8–28 007: Six Classic James Bond Films Oh, James! Titles include From Russia With Love, Goldfinger, You Only Live Twice, On Her Majesty’s Secret Service, The Spy Who Loved Me, and Moonraker. The three Bonds include Connery, Moore, and

MGM

ROCKIN’ PIANO SHOW

The Spy Who Loved Me.

Lazenby. Grand Illusion 8–31 Good People In David Lindsay-Abaire’s comedy, high-school sweethearts reconnect decades later. Seattle Repertory Theatre, seattlerep.org 9 The Voetberg Family Band These siblings are folk-music masters. Kirkland Performance Center 9–10 Choir of the Sound Music by Benjamin Britten (in his centennial year) and others. Saint Mark’s Cathedral, choirofthesound.org 9–10 Seattle Pro Musica Music of the season in “Fleur: Songs of Spring.” Various venues, seattlepromusica.org 10 Philharmonia Northwest Britten’s Double Concerto for violin and viola (with Michael Lim and Melia Watras), plus a little Haydn. St. Stephen’s Episcopal Church, philharmonianw.org 11 Maroon 5 Staples of pop radio, they’ll draw a young audience to the Key. It’ll be like a SNL sketch, only real. With Neon Trees and Owl City. KeyArena 12 Flogging Molly Get in the mood to start fights in pubs with these folksy punk rockers. With Mariachi El Bronx and Donots. The Paramount 12 Joyce Carol Oates The Accursed is the latest from the incredibly prolific novelist. Seattle Central Library, spl.org 13 Ernest Freeberg The author of The Age of Edison discusses how the great inventor changed us, too. Town Hall 13 Ben Thompson The local author has written Badass: Ultimate Deathmatch: Skull-Crushing True Stories of the Most Hardcore Duels, Showdowns, Fistfights, Last Stands, Suicide Charges, and Military Engagements of All Time. University Book Store 13–April 6 Next Fall Adam and Luke fall in love in Geoffrey Nauffts’s 2010 play, but there’s just one problem: Adam’s an atheist, Luke is a believer. ArtsWest 14 Emily Anthes talks about the world of animal biotechnology, as detailed in her book Frankenstein’s Cat: Cuddling Up to Biotech’s Brave New Beasts. Town Hall 14 Terry Brooks The hugely popular fantasy author shares from Bloodfire Quest. University Book Store 14 Mike Tyson: Undisputed Truth So someone’s playing Tyson in this one-man show? No, it’s him, directed by Spike Lee. The Paramount 14–17 Brian McKnight The vocalist and multiinstrumentalist has also appeared in the musical Chicago and even endured the Donald on Celebrity Apprentice. Jazz Alley, jazzalley.com 14–April 13 Introductions 2013 The annual show presents work by Northwest artists including Kimberly Clark, Jo Moniz, and Peggy Washburn. SAM Gallery 14–April 21 Trails Finally, a musical about hiking. Village Theatre, Issaquah, villagetheatre.org

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new doc interviews the past leaders of Israel’s security and spy apparatus. Harvard Exit 15 Jodi Picoult Her latest novel is called, appropriately, The Storyteller. Seattle Central Library • 15–24 Pacific Northwest Ballet Their mixed bill “Modern Masterpieces” includes Concerto Barocco, George Balanchine’s neoclassical analysis of J.S. Bach, sitting next to Twyla Tharp’s postmodern endurance test In the Upper Room and Ulysses Dove’s contemporary ballet Dancing on the Front Porch of Heaven. Add to those a premiere by company ballet master Paul Gibson, who doesn’t get a chance to make new work very often, so this should be a rare treat. SK McCaw Hall, pnb.org • 15–June 16 Zoom. Italian Design and the Photography of Aldo and Marirosa Ballo Furniture, architecture, and other items of postwar design are framed in images from their Milan studio. Bellevue Arts Museum 16 Aaron Nigel Smith This family-friendly concert gives children a chance to move and play to his music. Town Hall 16 Jamie Hyneman and Adam Savage Onstage experiments and stories of what goes on in the Mythbusters studios. The Paramount 16 Orchestra Seattle/Seattle Chamber Singers Aside perhaps from some gospel, religious music doesn’t get more joyous than a Haydn Mass. First Free Methodist Church, osscs.org • 16–May 26 Grey Gardens The doc-turned-musical about the reculsive Beale sisters. ACT, acttheatre. org • 16–June 30 The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States With a taste for modern art, the collectors donated their 30-year trove—some 5,000 objects—to the National Gallery. They also bequeathed 50 works each to museums in 50 states. Now SAM will unveil works by Stephen Antonakos, Sol LeWitt, Terry Winters, and others. Seattle Art Museum 17 Seattle Philharmonic Schumann’s “Rhenish” Symphony: like one of those Viking River Cruises, but without the motion sickness. Meany Hall, seattlephil.org 17–18 12 Minutes Max One of the best liveperformance deals in town, as local stage talent works through new, short ideas—sometimes later expanded. Washington Hall, ontheboards.org 17–23 Hansel & Gretel PNB students and company dancers bring the classic folk tale to life. McCaw Hall 17 & 23 Northwest Chamber Chorus Fauré’s Requiem is quiet and consoling—none of that Last Judgment argle-bargle. Various venues, northwestchamberchorus.org 19 Dance Cinema Quarterly NWFF partners with Velocity Dance Center for a program of shorts. Northwest Film Forum 20 Bernard Lietaer and Jacqui Dunne The authors of Rethinking Money think they have a way to solve our recurring fiscal crises. Town Hall 21 Cheap Beer & Prose Savor new literature with the delightful taste of PBR. Richard Hugo House 21 Richard Hell The veteran punk rocker has authored a memoir, I Dreamed I Was a Very Clean Tramp: An Autobiography. The Rendezvous, bookstore.washington.edu • 21 Nick Offerman The famously masculine sitcom star (Parks and Recreation) hosts American Ham, an

evening of comedy, music, and woodworking tips. The Moore 22 On the Road Walter Salles adapts Kerouac’s classic, with Sam Riley, Garrett Hedlund, and that girl from Twilight. Egyptian 22 THEESatisfaction Seattle’s breakout R&B duo headlines a night of music with Kingdom Crumbs, Sax G, and OCnotes. Neumos 22–24 BOOST Dance Festival Nine choreographers and nearly 50 dancers will participate. Erickson Theatre, boostdancefestival.com 22–30 Project 6 Seattle Dance Project is mounting a trio of works by choreographer Jason Ohlberg. ACT Theatre, seattledanceproject.org 22–April 20 The Gingerbread House Mark Schultz’ dark comedy has two parents seeking some alone time by selling their kids. Theater Schmeater, schmeater.org • 23 George Clinton & Parliament Funkadelic The gods of funk from the ’70s and ’80s come to tear the roof off this sucker. Showbox at the Market 23 Seattle Baroque Orchestra An all–Haydn program: fortepiano sonatas and his rarely heard piano trios. Town Hall, earlymusicguild.org 23 Josh Ritter & The Royal City Band Why would you miss an opportunity to let this singer/songwriter to strum his way into your heart? (No, he’s no relation to Tex Ritter.) With special guests Lake Street Dive. The Neptune 23 Sing–Along Sound of Music How do you solve a problem like Maria? By drowning her out, perhaps, with the famed Rodgers and Hammerstein score? Meydenbauer Center 26 Major Lazer Be sure to arrive fully hydrated and prepared to sweat off all your worries. Showbox SoDo • 26–28 Lingo Dance Theater They continue their Collision Theory project with a piece called Viewfinder, to be danced on the wonderfully creaky old floors of Belltown’s most Zen art gallery. Suyama Space, lingodance.com 27 The Joy Formidable In support of its sophomore album, this Wales-hatched trio sings of wolves and nature. The Neptune • 27 Dave Niewert In a story also reported in these pages, the local writer recounts in And Hell Followed With Her how Shawna Forde became a killer down on the Arizona border. Elliott Bay Book Co. 27–April 21 Master Harold . . . and the Boys Athol Fugard’s coming-of-age tale from apartheid South Africa. West of Lenin, westoflenin.com 29 The Place Beyond the Pines Ryan Gosling bares his abs and flaunts his tattoos in this new drama of crime and atonement, also starring Bradley Cooper. Opens wide. 29–April 22 Smudge In Rachel Axler’s new black comedy, parenthood goes horribly awry. Washington Ensemble Theatre, washington ensemble.org 29–April 27 The Whipping Man Jews fought in the Civil War? Who knew? Matthew Lopez’s drama follows a Jewish Confederate soldier home from battle, where he celebrates Passover with two slaves. Taproot Theatre, taproottheatre.org 30 One Love: Urban Poetic Experience Spokenword artists gather to support the O1B Urban Missions program, which provides and develops programs for communities in need. Langston Hughes Performing Arts Center, ofonebody.org

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MANY VOICES

ONE TOWN HALL Bushwick Book Club w Thalia Symphony Orchestra w David Stockman w Simple Measures w Lake Union Civic Orchestra w Renaud Garcia-Fons w Captain Smartypants w Joshua E.S. Phillips & Ian Fishback w Scott Skinner w John Gottman w Lee Smolin w Paul Anastas w Eric Drexler w E.O. Wilson w Evgeny Morozov w Daniel Dennett w Mario Livio w Gansango Music & Dance w Temple Grandin w Jim Holt w Jaron Lanier w JACK Quartet w Joshua Roman w Short Stories Live: ‘Dubliners’ w David Nixon w Daniel Brook w Leslie Helm w Willa Cather w Seattle Poetry Slam w Emily Bazelon & Dan Savage w Mark Tercek

townhallseattle.org CIVICS

SCIENCE

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Anthony Greenwald: ‘Hidden Biases of Good People’ (2/13)

To Purchase Tickets, Call the Orleans Arena at 888-234-2334

EarthFix: Exploring the Coal-Train Proposals (2/13) Cuban Love Songs for Valentine’s Day: Juan-Carlos Formell (2/14) Ben Goldacre: How Drug Companies Mislead Doctors & Harm Patients (2/18)

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A Conversation with Michelle Rhee (2/19)

Denver • Idaho • Louisiana Tech • New Mexico State • San Jose State Seattle U • Texas State • UT Arlington • UTSA • Utah State

John Borling: A POW’s Poetry from the Hanoi Hilton (2/19) Phil Lapsley: The Forgotten History of the Phone Phreaks (2/20) Ignite Seattle! (2/20)

Seatt le w eekly • FEBRUARY 13−19, 2013

March 12-16 • Orleans Arena • Las Vegas

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Seatt le w eekly • FEBRUARY 13−19, 2013

1 Talib Kweli The socially conscious rapper brings his raw, soulful brand of hip-hop. With local support from the Physics. The Crocodile 3 Rihanna The princess of pop is joined by the newly crowned prince of rap, A$AP Rocky, in a night of hits, tattoos, and veiled references to Chris Brown. KeyArena • 3 Karen Russell Her novel Swamplandia, about growing up eccentric in the Everglades, earned rave reviews. Benaroya Hall, lectures.org • 3 Maria Semple Librarian Nancy Pearl talks to the Vashon Island novelist about her satire of local manners, Where’d You Go, Bernadette, recently optioned to Hollywood. Town Hall 4 Tommy Dorsey Orchestra They perform their namesake’s hits and other swing tunes from the WWII era. Benaroya Hall 4 John Zeisel Author of I’m Not Here, he’s been developing ways to improve the lives of Alzheimer’s patients. Town Hall 4–7 Untitled Feminist Show Playwright Young Jean Lee explores gender roles and femininity in this “wordless comedy” with lots of glorious nudity. On the Boards 4–May 4 Jersey Boys The popular jukebox musical includes falsettoed nostalgia tunes like “Sherry” and “Big Girls Don’t Cry.” 5th Avenue Theatre • 4–May 30 Jean–Luc Godard and François Truffaut: Masters of French New Wave Nine titles include Breathless, Pierrot le Fou, and Small Change. Seattle Art Museum 5 Jeff Bridges & the Abiders The Dude, now finally an Oscar winner after Crazy Heart, is also a serviceable musician and amiable stage host. The Moore 5 Pacific MusicWorks A Handel cantata from one of the country’s most imaginative baroque-theater presenters. Benaroya Recital Hall, pacificmusic works.org 5–11 Leviathan This doc about commercial fishermen forgoes any overview, simply providing an 87–minute montage. Northwest Film Forum • 5–11 Room 237 Stanley Kubrick’s 1980 adaptation of Stephen King’s The Shining is minutely scrutinized in Rodney Ascher’s acclaimed new doc. (The Shining will also play this week.) SIFF Cinema Uptown 5–18 Wrong A lost dog initiates a surreal quest in the new film from Quentin Dupieux (Rubber, aka the killer-tire movie). Grand Illusion 6 Beowulf The ancient tale presented as a solo storytelling tour de force (in Old English) by Benjamin Bagby. Town Hall, earlymusicguild.org • 6 Swan Lake, Then and Now PNB’s Doug Fullington gets you ready to appreciate Kent Stowell’s take on Tchaikovsky. Phelps Center 6 Sky Ferreira Hailing from San Diego, she brings her ’80s-tinged indie pop up north. With How to Dress Well. Barboza, thebarboza.com 6 Reem Kelani The UK-born Palestinian musician performs. Town Hall • 6 Seattle Opera Singers in their Young Artists Program present an all-Verdi gala to celebrate his 200th. Meany Hall, seattleopera.org 6–7 Seattle Men’s Chorus The special guest is Leslie Jordan, America’s favorite 4'11˝ super-campy actor. McCaw Hall, seattlemenschorus.org 6–14 The Esoterics Opening its 20th season with choral works by director Eric Banks and others. Various venues, theesoterics.org

6–July 27 Beyond Books: The Independent Art of Eric Carle The illustrator behind The Very Hungry Caterpillar, he’s represented by six decades of art. Tacoma Art Museum 6–Sept. 29 Paul Laffoley: Premonitions of the Bauharoque Obsessive patterns and intricately coded, colorful works are selected from over four decades of work from the Boston artist. Henry Art Gallery 7 Pacific Rims The percussion quartet plays on the “Mostly Nordic” chamber-music series. Nordic Heritage Museum, nordicmuseum.org 8 Mary Roach The pop-science writer tours our intestinal tract in Gulp. Town Hall • 9 Ben Katchor Such a wonderful cartoonist, he’ll discuss his latest work, Hand-Drying in America. University Book Store 9 Daniil Trifonov The 22-year-old multiple prizewinner plays his own piano music plus Chopin and Rachmaninoff. Meany Hall 10 Talea Ensemble Contemporary music with an edge, they’ll play Babbitt, Kagel, Zorn, and more. Town Hall 10–11 Floating Energy: the Films of Nathaniel Dorsky The director will attend and introduce two programs of his handmade shorts. Northwest Film Forum 11–13 Seattle Symphony Gerard Schwarz returns with Bruckner’s forest-scented Symphony no. 4. Benaroya Hall 11–13 Spectrum Dance Theater To mark his 10th year as director of Spectrum Dance Theater, Donald Byrd is reviving his first work for the ensemble. A Cruel New World/The New Normal was his 2003 reaction to the post-9/11 zeitgeist. Back then, it was a vivid introduction for Seattle audiences to his highintensity style. This is a chance to revisit the work, but also to gauge how we’ve all changed in relationship to it as well. SK Emerald City Trapeze Arts, spectrumdance.org 11–13 Trey McIntyre Project This Boise-based troupe pays tribute to Basque culture in Arrantza and dances a new work called Queen of the Goths. Meany Hall • 12 To the Wonder Terrence Malick’s lastest dreamy meditation on love and faith stars Ben Affleck, Rachel McAdams, and Javier Bardem. Egyptian • 12–21 Swan Lake PNB dances to Tchaikovsky’s lushly romantic score, always a favorite for Seattle families. McCaw Hall 12–May 5 Rent The Pulitzer-winning 1996 musical about scrappy young Lower East Side bohemians offers plenty of emotional ballads, “Seasons of Love” the showstopper among them. SecondStory Repertory, secondstoryrep.org 14 Jazz of the Harlem Renaissance III The Seattle Repertory Jazz Orchestra plays Ellington and more. Kirkland Performance Center, srjo.org 14 Joan Laage She’ll perform her The Engendering Project within the tight confines of a gallery where you can also order a drink. Vermillion Gallery, vermillionseattle.com 14 Octava Chamber Orchestra With the Seattle Bach Choir, a couple Handel anthems. Maple Park Church, octavachamberorchestra.com 16 Bat for Lashes The British singer/songwriter (aka Natasha Khan) supports her third album, The Haunted Man. Showbox at the Market 16 Craig Sheppard Debussy’s Etudes and more of his groundbreaking piano music. Meany Hall, music.washington.edu

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C A L E N D A R 16–21 Flashdance What a feeling. The 1983 movie hit is now a stage musical. And if you should see Jennifer Beals after the show, buy her a drink. The Paramount 17 Tokyo String Quartet Breaking up at the end of this season, they’ll play Mozart, Auerbach, and Ravel in their Seattle farewell. Meany Hall 18 & 20 Seattle Symphony Antheil, Bernstein, and other jazz-tinged Americana. Benaroya Hall 18–27 Spectrum Dance Theatre Their take on Orff’s Carmina burana considers questions of faith and crisis. Emerald City Trapeze Arts, spectrum dance.org 19 & 21 Simple Measures Beethoven’s “Arch-

duke” piano trio and more on this series devoted to de-ponderous-izing chamber music. Various venues, simplemeasures.org 19–May 12 Assisted Living Local playwright Katie Forgette’s new comedy about elder care and dementia is directed by R. Hamilton Wright. ACT Theatre • 19–May 19 Boeing-Boeing Marc Camoletti’s ’60s-set farce, a huge hit in London and New York, comes to the city that produced the 707—and from that, swinging stewardesses. Seattle Repertory Theatre 20 Lila Downs This Mexican vocalist stirs many other ethnic flavors into her music. Meany Hall

20 Fleetwood Mac The iconic group reunites for its first tour in three years, with some new tunes to boot. Tacoma Dome 21 Battle for the Dance Belt A half-dozen local dance troupes contest semi-seriously for this prize. Velocity Dance Center, 3rdshiftdance.org 23 Nell Freudenberger Her latest novel is The Newlyweds. Benaroya Hall, lectures.org 24 Robin & Rachelle McCabe Music for two pianos from this superb sister act. Meany Hall, music.washington.edu 25 & 27 Seattle Symphony Violinist Hilary Hahn plays Sibelius; the orchestra also premieres a piece by Pascal Zavaro. Benaroya Hall

February 21-23 at 8pm NEW ZEALAND’S LEADING CONTEMPORARY DANCE COMPANY

• 25–May 5 Black Watch This British drama about a regiment’s losses in the Iraq War has reduced audiences to blubbering tears. The Paramount 25–May 12 The Taming of the Shrew Seattle Shakes resets it in a trailer park. No problem, as long as they cast men who look good in sleeveless T-shirts. Playhouse at Seattle Center, seattle shakespeare.org 26 The Baudboys Behind the doors of Microsoft, eight employees sing their hearts out. Go ahead, embrace the nerd stereotype about a cappella music. Kirkland Performance Center 26 Dr. Dog and Dawes Make sure to wear your best flannel and don’t trim your beard for this folkie combo. Showbox at the Market 26 Pain & Gain Hollywood’s silly season begins with Dwayne Johnson and Mark Wahlberg as bodybuilders/robbers. Michael Bay directs, of course. Opens wide. • 26 Seattle Symphony Their last late-night [untitled] concert of the season showcases the orchestra’s composer/players. Benaroya Hall 26–28 SCUBA This Seattle/Philadelphia dance exchange project features Shannon Stewart, the Maureen Whiting Dance Company, and Green Chair Dance Group. Velocity Dance Center 26 & 29 Local Natives Get ready for heavy drumbeats and haunting melodies. California’s indie dream band plays two nights, and no judgement will be passed if you go to both. The Neptune 27 Fantasy: Worlds of Myth and Magic Costumes, props, manuscripts, and more help explain the origins of The Hobbit, The Wizard of Oz, and other beloved fantasy tales. (No set end date.) EMP Museum, empmuseum.org 27–28 Auburn Symphony There’s seemingly no end to the Rite of Spring performances in this centennial year. Auburn Performing Arts Center, auburnsymphony.org 28 Weird Al Yankovic Touring behind his first studio album in five years. Because we were all waiting for that. Pantages Theater 30 Crystal Castles Expect chaos from this experimental electronica duo. The Moore

Seattle weekly • FEBRU ARY 13− 19, 2 013

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1–25 33 Variations Moisés Kaufman’s 2009 play alternates between the life of Beethoven and the travails of a female musicologist some 200 years later. ArtsWest 2–5 Miguel Gutierrez The dancer/choreographer and his company attempt to create “an evening– length séance” in their piece And lose the name of action. On the Boards 3 Oregon Symphony Damn, we hope they’re better than the Timbers. Benaroya Hall 3–5 The Built World Four recent films consider the current state of architecture. Northwest Film Forum 3–11 Coriolis Dance Collective They perform a new piece called Co–LAB 5. Erickson Theatre, coriolisdance.com • 4–18 La voix humaine & Suor Angelica Poulenc and Puccini’s one-acts tell of women facing disappointments. McCaw Hall, seattleopera.org 5 Gamelan Pacifica Music from this Indonesian percussion orchestra. Cornish College of the Arts, cornish.edu 5 Joshua E.S. Phillips The author of None of Us Were Like This Before discusses U.S. torture

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Seatt le w eekly • FEBRUARY 13−19, 2013

Seattle weekly • FEBRU ARY 13− 19, 2 013

during the War on Terror, as seen in Zero Dark Thirty. Town Hall • 6–8 Festival of Ives UW’s salute to the pioneering American composer, including pianist Cristina Valdes playing his imposing “Concord” Sonata. Various venues, UW campus, music.washington.edu 6–19 Ezra Dickinson There are some dancers you want to watch, no matter what they’re doing, and Dickinson is one. He’s performed in an incredible variety of modes, from cabaret to ballet, with stops at experimental theater and performance art. Like the best of chameleons, he seems at home everywhere. In Mother for you I made this, he looks back on his own changeable past caring for a schizophrenic parent, showing us a collection of vignettes

originally made as gifts for his mother. SK Velocity Dance Center, velocitydancecenter.org • 7 Chamber Music Society of Lincoln Center Schubert’s expansive String Quintet, plus smaller works for subsets of that combo. Meany Hall 7 John Gottman He considers marriage in The Seven Principles for Making Marriage Work. Why not six? Or eight? Town Hall • 8 Jon Kimura Parker He’ll play his solo piano arrangement of The Rite of Spring to honor the ballet’s centennial. Meany Hall • 9–17 Seattle Symphony A two-weekend minifest of Russian music, with lots of Shostakovich and a conductor who knows his way around it,

Gerard Schwarz. Benaroya Hall • 9–June 29 Chicago Kander & Ebb’s cynical extravanganza about crime and celebrity. Village Theatre, Issaquah 10–11 Full Tilt Alice Gosti, Markeith Wiley, and other local dance talent performs. Velocity Dance Center, evokeproductions.org 10–16 Something in the Air Oliver Assayas’ latest drama follows a young man through the tumultuous French protests of May 1968. Northwest Film Forum 11 Grace Kelly No, not the late actress, but a 19-year-old saxophone phenomenon. Kirkland Performance Center

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11 Seattle Youth Dance Collective Seattle’s rising dance talent performs. Velocity Dance Center 11–12 Seattle Rock Orchestra A big-band tribute to the Beatles, which can’t be all bad. The Moore 14 Music of Remembrance Music by Jake Heggie, including the premiere of his song cycle Farewell, Auschwitz! Benaroya Recital Hall, musicofremembrance.org • 14 Susan Orlean Meryl Streep played her in The Orchid Thief, and the New Yorker staff writer recently scored another success with Rin Tin Tin: The Life and the Legend, about the dog that saved Hollywood. That, too, may be filmed. Benaroya Hall, lectures.org 16–18 Les Ballets Trockadero de Monte Carlo Yes, those guys in tutus, dancing excerpts from Swan Lake and ballet classics. Meany Hall 16–19 Saint Genet The local avant-gardists perform Paradisiacal Rites, which promises “a body politic of performers, dancers, composers, singers, bike messengers, and ballerinas.” On the Boards 16–June 9 The Language Archive Julia Cho’s play explores love and communication. Seattle Public Theater at the Bathhouse, seattlepublic theater.org • 16–June 9 Seattle International Film Festival In its 39th year, the largest film festival in the U.S. will feature over 250 features and docs from dozens of countries. Passes are already on sale, as avid Seattle cinephiles prepare to surrender their lives for three weeks of celluloid and popcorn. Multiple venues • 17–19 Whim W’him Olivier Wevers and company perform, possibly staging More, recently danced in New York, about “the constant search for self purpose.” Playhouse at Seattle Center, whimwhim.org 17–June 5 Bach at Leipzig A comedy in the form of a fugue: naturally, since it’s about German baroque organists vying for a plum post. Taproot Theatre, taproottheatre.org • 19 Seattle Youth Symphony Their season climaxes with the blockbuster La Mer and the even blockier buster Pictures at an Exhibition. Benaroya Hall, syso.org • 20 Temple Grandin Claire Danes won an Emmy for portraying the autistic author and animal expert, whose latest is The Autistic Brain. The event is already sold out, but could move to a larger venue. Town Hall • 24–27 Northwest Folklife Festival After four decades, Folklife isn’t just the region’s biggest summer fest, it’s also the most eclectic and affordable [read: free]. Look for sets from up-andcoming rockers buttressed against international dance ensembles and buskers of all sorts. Seattle Center, nwfolklife.org • 24–27 Sasquatch! Music Festival Even when short on surprises, the fest is consistently wellcurated, focusing on the indie-fare sounds of the year. Most of the 2013 acts have played here before, e.g., the xx, Vampire Weekend, and Arctic Monkeys. But that’s not to say plenty hasn’t changed: Last year Macklemore and Ryan Lewis played a surprise set on a makeshift stage; this year the boys have the #1 song in America (“Thrift Store”) and a spot among the headliners. The Postal Service are also playing a rare reunion show (and a coup for the fest). Gorge Amphitheater, sasquatchfestival.com E

the»weekly»wire Sandra Milo—good dilemma to have), bereft of

wed/2/13 STAGE

The Hooves Have It

War Horse , the West End-to-Broadway-to-

911 Pine St., 877-784-4849, stgpresents.org. $25–$105. 7:30 p.m. STEVE WIECKING STAGE

Bad art is a gift for the ages—not because it will ever hang in a museum for future generations to see, but because it can inspire such immediate, lively parodies. Such is the case for the soft-core porno fiction Fifty Shades of Grey by English writer E.L. James, which has given rise to the musical comedy revue SPANK! The Fifty Shades Parody. The touring show unabashedly aims low, thereby hitting its erogenous target. In brief, an author known as EBJ (Amanda Barker) writes and imagines a series of kinky scenarios enacted by Tasha (Michelle Vezilj) and Hugh (the abtastic Drew Moerlein). Created by Jim Millan, the show won’t have a long shelf life, but if James is working on a sequel (Fifty Hues of Mauve?), you can be sure Millan is, too. Bachelorette parties take note: The Moore’s bar will be open before the show, and we recommend a Grey Goose martini. (Through Sun.) The Moore, 1932 Second Ave., 877-784-4849, stgpresents.org. $35. 7:30 p.m. T. BOND

thurs/2/14 BOOKS

No. 34 and No. 37

With the disgraced Tea Party squaring off against the GOP’s establishment wing, the Republican Party is again at war with itself. But it was ever thus, as Jeffrey Frank relates in his Ike and Dick: Portrait of a Strange Political Marriage (Simon and Schuster, $30). Dwight D. Eisenhower, a war hero and moderate, represented the old guard during the 1950s, while California Senator Richard M. Nixon was an insurgent—warning against Commies and criticizing Democrats on defense. Eisenhower didn’t want Nixon as his running mate in ’52, and relations between the two men were always chilly. Ike basked in the public’s adulation, while Nixon gained a reputation as a sweaty, scheming hatchet man. Following Nixon’s loss to Kennedy in 1960, Eisenhower was famously asked if his old veep had contributed any policies to his administration. His reply: “If you give me a week, I might be able to think of one.” Oooh—snap! But in one of those strange political ironies, Eisenhower’s grandson would later marry one of Nixon’s daughters. By then, 1968, Ike had no choice but to smile on his former underling and bless the engagement, which helped generate favorable publicity for Nixon during that fall’s winning campaign. In a sense, Nixon had his boss’ approval at last. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbaybook.com. Free. 7 p.m. BRIAN MILLER DANCE/VALENTINE’S DAY

Hearts Aloft

Once you’re past buying the SpongeBob Valentine collection at the drug store, it’s time to consider more adult celebrations. And what

Albert (Andrew Veenstra) astride Joey in War Horse.

says “Be mine” in our ironical age better than an evening of burlesque? Whether you’re out on the town with one special someone or part of a heart-shaped group, you’ve got choices when it comes to creative disrobing. Tamara the Trapeze Lady is hosting tonight’s V-Day festivities at Julia’s from her perch in the air, looking down on a talented group of burlesque artists. Scandals on Broadway also includes Susy Queue, Pidgeon von Tramp, and Boom Boom L’Roux, performing aerial and terrestrial work. Down at the Triple Door, The Atomic Bombshells might keep their feet on the floor in J’Adore (through Saturday), but their costumes certainly fly away. Lily Verlaine and Jasper McCann are the ringleaders of this particular group, with guests Ben DeLaCreme and Waxie Moon. Still going strong with its astonishing costumes and double entendre, the burlesque revival offers a deep mastery of traditional entertainment styles plus a liberated attitude about gender and sexuality. Which is certainly another way to describe 21st-century romance. Julia’s on Broadway, 300 Broadway E., 334-0513, brownpapertickets.com. $15–$25. 8 p.m. The Triple Door, 216 Union St., 838-4333, thetriple door.net. $25–$30. 7 & 10 p.m. SANDRA KURTZ

fri/2/15 FILM

City of Women

Released 50 years ago, Federico Fellini’s 8½ is partly a self-portrait of the frustrated filmmaker, but it’s equally a fantasy picture. Marcello Mastroianni plays the blocked director juggling two beauties (Anouk Aimée and

Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema.org. $5–$8. 6:30 p.m. BRIAN MILLER

sun/2/17 FILM

Revenge of the Unrewarded

The Oscar telecast isn’t until next Sunday, but it’s never too soon to start stoking your indignation over who wasn’t nominated. Even better, you can savor the outrageous omissions of the past at SIFF’s Oscar Snubs Movie Marathon, which you can make an all-day event with options for breakfast, lunch, dinner, and unlimited popcorn. The five titles, plus one secret screening, include Mel Brooks’ Blazing Saddles (comedy: always overlooked), 1934’s The Thin Man (ditto), Spike Lee’s Do the Right Thing (too angry, too black, too topical), the 1954 A Star Is Born (too close to the Hollywood bone), and the Coen brothers’ 1996 Fargo, which actually did win two Oscars: for its star, Frances McDormand, and for her husband Joel’s and brotherin-law Ethan’s script. But the snow-black comedy was certainly snubbed for Best Picture (won by The English Patient), as was William H. Macy’s inept kidnapper for Supporting Actor (won by Cuba Gooding Jr. for Jerry Maguire). Macy would later say the squealing, cowardly car dealer Jerry Lundegaard “was the role I was born to play.” Indeed, his dim but persistent Minnesota villain is still a marvel of comicmalevolent invention, a perfect rival to McDormand’s cheery moral steel as the pregnant sheriff who tracks him down. It’s just a pity that the Academy offered no technical category that year for the best use of a wood chipper. SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996, siff.net. $6–$11 individual, $75–$125 passes. 9 a.m.–11 p.m. BRIAN MILLER

Seatt le w eekly • FEBRUARY 13−19, 2013

Cheeky

Spielberg smash, tells the story of Albert, a poor English farm boy and his beloved foal, Joey, whom he raises then yields to the British Cavalry for World War I. Albert enlists to find Joey; Joey tries to survive battlefield horrors in France. The hard-luck horses are large-scale creations of South Africa’s Handspring Puppet Company, with people trotting inside, trying not to step in sentiment. Though it’s not a musical, the show does underscore the action and ply old English folk tunes. There’s even a Songman character who’s meant to embody, according to the play’s creators, “the living spirit of the village.” Is this The Lion King for adults? Well . . . yeah. So? The horses—creatures of steel, leather, and aircraft cables who prance, whinny, and toss their heads with graceful verisimilitude—are magnificent, summoning a heart-swell that Spielberg’s 2011 movie couldn’t quite muster. When the stage production’s Albert gallops right up the theater aisle on top of Joey, it gives you the same buzz everybody got when that elephant lumbered toward the stage in the Disney musical. Some may roll their eyes at War Horse’s denouement, in which the whole cast sings a folksong about passing “from this earth and its toiling, only remembered for what we have done.” Or, if you’re like me and the strangers sitting nearby, you’ll shrug, give in, and have a good, dumb cry. Damn horse. (Through Feb. 24.) The Paramount,

ideas for his next picture (some kind of sci-fi extravaganza), and hounded by press and producers. In response, Guido retreats into memory and fantasy, where yet another woman awaits (Claudia Cardinale, some dream). From the very first scene—Guido trapped in a traffic jam, then flying aloft—8½ conveys claustrophobia and desperation. All these people, asking what he’ll do next! All these women, asking if he loves them! Guido’s fanciful escapes and reveries are the stories that come easily to him (unlike his dreaded next movie project); they’re snippets of the movie running in his head that he could never commit to film (or not a narrative film). My favorite scene is the flashback to Guido’s youth, he and his boyhood pals dancing on the beach with the lusty prostitute Saraghina (Eddra Gale). It’s a burst of surreal neorealism, a collision of Italian genres, like some broken remnant from an ancient ruin. All of 8½ is like that—precious fragments that won’t be made whole. (Through Thurs.) Grand

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Franklin (Potter) treads a lonely path through the halls of science.

scopes and knobby, tubey X-ray machines— are cool, midcentury-modernist lounge areas where the cast retires between scenes. The setup effectively conveys how the goings-on in Franklin’s lab were under the covert scrutiny of the scientific world, an effect magnified by L.B. Morse’s fluorescent lab lights. Like the DNA “crystals” Franklin photographs, the play itself is a double helix, with the rival teams (Franklin/Wilkins and Watson/Crick) winding around each other “like a man and a woman making love.” But while the Watson/Crick team functions cooperatively, optimized for success, the Franklin/ Wilkins team is hobbled by insecurity, suspicion, betrayal, and even biology. It is fascinating to contemplate the what-ifs: What if Franklin had been allowed to dine with the male scientists at Kings College? What if she had behaved more warmly toward Wilkins, accepting his olive branch instead of lashing him with it? What if love had come earlier in her life, rather than tripping her during the race’s final strides? One night she and Wilkins nearly converge at the Peter Brook production of Shakespeare’s The Winter’s Tale. The next day they quote from the longing-filled play: “Come, poor babe, I have heard but not believed/ The spirits o’ the dead may walk again.” A bit like Shakespeare’s Hermione, the forgotten historical footnote of Rosalind Franklin walks again in this play. Aptly, though her character in Photograph 51 praises John Gielgud’s performance as Leontes, she can’t recall who played Hermione: “I don’t remember. She didn’t stand, out I suppose.” E stage@seattleweekly.com PHOTOGRAPH 51 Seattle Repertory Theatre, 155 Mercer St. (Seattle Center), 443-2222, seattlerep.org. $12–$70. Runs Tues.–Sun. through March 10.

Seatt le w eekly • FEBRUARY 13−19, 2013

ave you noticed the recent profusion of plays about science? Ever since 1998’s Copenhagen (Michael Frayn’s brilliant mystery about Niels Bohr, Werner Heisenberg, and the A-bomb), playwrights have been situating drama, real or imagined, in the science world. Squint and you can usually see Copenhagen’s bones poking through the skin of these later plays in the form of Frayn-style characters narrating their stories in a polyphony of observations, mixing them with lessons about the underlying science. This can be a lethally annoying formula when handled poorly. But done well, interwoven with elements from outside the laboratory (like geopolitics or discrimination), it can generate significant heat. This is the template Anna Ziegler’s praiseworthy Photograph 51 builds on. Her heroine is Rosalind Franklin, the mysterious female figure in the shadows of James Watson and Francis Crick, who claimed all the credit for describing our DNA. Franklin was a crystallographer (studying the arrangement of atoms in solids), and her X-ray images helped reveal DNA’s double-helix structure. But she was a woman in the man’s world of King’s College, London, and Jewish to boot. Shut out from the fraternal deal-making of the chauvinistic early ’50s, she toils in a hostile vacuum. That much, according to the playbill, is true. The rest of Ziegler’s 2008 play is invention—especially a colleague’s romantic interest in Franklin. Skillfully helmed by Braden Abraham, Seattle Rep’s production excels on every score, maximizing the script’s charms. As Franklin, Kirsten Potter (Or,) banishes all charisma from her person, yet somehow manages to magnetically compel anyone in her ambit. She may be lovelier than the real-life Franklin, but her guileless putdowns leave scratches on all her colleagues. “I don’t want to be your friend, Dr. Wilkins,” she informs her intellectually inferior boss (a role nicely self-effaced by Bradford Farwell), who has presented her with a box of chocolates. “You don’t command my respect,” she adds. Despite such candor, most of her labmates admire her, or are at least intrigued. Even the play’s villain, the cocky young Dr. Watson (an excellent, wild-haired Benjamin Harris), begrudgingly validates her work—in that shiftiest of ways: by stealing it. “You can’t be in the race and ignore it,” he rationalizes, impugning her refusal to politick. Rounding out the scientific community are Crick (MJ Sieber); Franklin’s assistant Ray Gosling (an endearing Brian Earp); and the closest thing to a real love interest, the American Don Caspar (Aaron Blakely), whose affections are the first and only that Franklin doesn’t shun. Flanking Scott Bradley’s superb lab set—replete with magnificent old micro-

arts»Performance B Y G AV I N B O R C H E R T

Stage OPENINGS & EVENTS

ALTAR BOYZ “Christian boy band”—this popular musi-

F E B R UA RY H O T T IC K E T S Thursday, February 14, at 7:30pm Saturday, February 16, at 8pm

LOVE STOR I E S W YC KO F F M A S T E R W O R K S S E A S O N Ludovic Morlot, conductor Cédric Tiberghien, piano FAURE: Suite from Pelléas et Mélisande MOZART: Piano Concerto No. 21 in C major, K. 467 SZYMANOWSKI: Symphony No. 4 BIZET: Suite from Carmen

Ludovic Morlot

Be swept off your feet in this Valentine’s weekend concert of sumptuous, romantic music. Cédric Tiberghien’s performance generously underwritten by Dana and Ned Laird. Saturday sponsored by

Tuesday, February 19, at 7:30pm

ITZHAK PERLMAN IN RECITAL Itzhak Perlman, violin / Rohan De Silva, piano This Grammy- and Emmy-winning violin virtuoso is a true legend. Don’t miss your chance to experience his incredible artistry in recital. Performance does not include the Seattle Symphony

Seattle weekly • FEBRU ARY 13− 19, 2 013

Itzhak Perlman

Thursday, February 21, at 7:30pm Friday, February 22, at 8pm Saturday, February 23, at 2 & 8pm Sunday, February 24, at 2pm

MARVI N H A M L I S C H TR I B U T E SEATTLE POPS SERIES Sponsored by Larry Blank, conductor / Susan Egan, vocals Brandon O’Neill, vocals / Katherine Strohmaier, vocals Lisa Vroman, vocals / Seattle Choral Company Celebrate the legacy and memory of Seattle Symphony Principal Pops Conductor Marvin Hamlisch (1944–2012) with a program of Hamlisch’s best-loved music.

Marvin Hamlisch

Thursday sponsored by Four Seasons Hotel Seattle. Friday sponsored by Alaska Airlines. Saturday sponsored by Holland America Line. Media sponsor: KCTS

Most tickets start at $19 206.215.4747 | SEATTLESYMPHONY.ORG

cal comedy’s about as high-concept as it gets. Seattle Musical Theatre, 7400 Sand Point Way N.E. # 101N, 363-2809, seattlemusicaltheatre.org. $35–$40. Opens Feb. 15. 7:30 p.m. Fri.–Sat., 2 p.m. Sun., plus 7:30 p.m. Thurs., March 7. Ends March 10. BATTLE OF THE BARDS VII Three scenes from three new shows (modern takes on The Trojan Women, Othello, and Sleeping Beauty); you pick the one that gets a full staging in Ghost Light’s next season. The Ballard Underground, 2220 N.W. Market St., ghostlighttheatricals.org. $10. 8 p.m. Fri., Feb. 15–Sat., Feb. 16. COMEDY OF LOVE Valentine’s day improv. Unexpected Productions Market Theater, 1428 Post Alley, 587-2414, unexpectedproductions.org. $15. 8 p.m. Thurs., Feb. 14. CROSSING DELANCEY Staged readings of Susan Sandler’s play of Manhattan romance. Eight performances Feb. 17–March 30; see seattlejewishtheater.com for schedule and venue info. CUPIDO Circus acts, dance, music, and more in this dinner cabaret. Club Sur, 2901 First Ave. S., 332-7902, cupido dinnershow.com. $30–$35. 7:30 & 9:30 p.m. Thurs., Feb. 14. DROP THE ROOT BEER AND RUN Head Rumpus! is this troupe’s “darkly whimsical” sketch show. JewelBox/ Rendezvous, 2322 Second Ave. $10. 8 p.m. Fri., Feb. 15– Tues., Feb. 19. FREEHOLD FACULTY SHOWCASE Music, spoken word, and more in this benefit show. PONCHO Forum, Seattle Repertory Theater, Seattle Center, 323-7499, freehold theatre.org. $15–$25. 7:30 p.m. Tues., Feb. 19. IMPROMPTU Music and theater are blended through improv. Market Theater, 1428 Post Alley, 587-2414, unexpectedproductions.org. Opens Feb. 15. 8:30 p.m. Fri.–Sat. Ends March 30. J’ADORE: SEE THE WIRE, PAGE 35. JESUS CHRIST SUPERSTAR An all-female production of the Webber fave seems a little out-there for Burien, but good for them. Burien Little Theater, S.W. 146th St. and Fourth Ave. S.W., Des Moines, 242-5180, burienlittle theatre.org. $7–$20. Opens Feb. 15. 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends March 24. THE MUSIC MAN Judging by the 5th’s track record with period pieces, it’s probably as good a production as you’ll ever see. 5th Avenue Theatre, 1308 Fifth Ave., 625-1900. $31 and up. Preview Feb. 13, opens Feb. 14. Runs Tues.– Sun.; see 5thavenue.org for schedule. Ends March 10. SCANDALS ON BROADWAY SEE THE WIRE, PAGE 35. SEATTLE FESTIVAL OF IMPROV THEATER 22 groups from across North America perform; see seattleimprov. com for schedule and venue info. 8 & 10:30 p.m. Wed., Feb. 13–Sun., Feb. 17. SPANK! THE FIFTY SHADES PARODY SEE THE WIRE, PAGE 35. THAT’S FUCKED UP! This edgy variete compendium stars Nasty Canasta, Queen Shmooquan, Tootsie Spangles, and many more. Re-bar, 1114 Howell St., rebarseattle.com. $15–$20. Opens Feb. 15. 7:30 p.m. Fri.–Sat. Ends Feb. 23. WAR HORSE SEE THE WIRE, PAGE 35. WEST SIDE GLORY “West Seattle’s queer variety show” includes Mizz Honey Bucket, Aphelia Bottom, and more. Skylark Cafe & Club, 3803 Delridge Way S.W., 800-8383006, brownpapertickets.com. $10. 7 p.m. Thurs., Feb. 14.

•

• •

CURRENT RUNS

BEATING UP BACHMAN Wayne Rawley’s dysfunctional-

family comedy. West of Lenin, 203 N. 36th St., 800-838-3006, radialtheater.org. $15–$22. 7:30 p.m. Thurs.–Sat. Ends Feb. 16. A BEHANDING IN SPOKANE Like Ahab, a thug named Carmichael (Gordon Carpenter) is obsessed with finding justice for his lost limb in Martin McDonagh’s revenge comedy. This is not major McDonagh. Droll but uneven, Behanding is shallower than his The Pillowman or The Lieutenant of Inishmore. Yet he hasn’t lost his gift for endearingly weird monologues. MARGARET FRIEDMAN Theater Schmeater, 1500 Summit Ave., 324-5801, schmeater.org. $15–$23. 8 p.m. Thurs.–Sat. Ends Feb. 23. BLITHE SPIRIT The Noel Coward favorite about a man bedeviled by the ghost of his first wife. Trinity Episcopal Church, 609 Eighth Ave. Donation. 8 p.m. Fri.–Sat., plus some 2 p.m. Sat.–Sun. matinees; see theatre912.com for exact schedule. Ends Feb. 16. Send events to stage@seattleweekly.com, dance@seattleweekly.com, or classical@seattleweekly.com See seattleweekly.com for full listings. = Recommended

•

SOLEIL: AMALUNA Inspired by The • CIRQUE, DE this touring show isn’t heavy on plot. Kids will

Tempest appreciate the acrobats, juggling, and costumes, and the traveling Grand Chapiteau—a climate-controlled, 2,600seat tent—adds to the spectacle. GWENDOLYN ELLIOTT Marymoor Park, 6046 W. Lake Sammamish Pkwy. N.E., Redmond, 800-450-1480. $43.50 and up. See cirquedusoleil. com for exact schedule. Ends March 24. • A DAY IN THE DEATH OF JOE EGG: There should be a theater genre called “What Can You Say?” Things are tough in such plays, and then they get worse, and what can you say? This biting, funny, sad, and lengthy 1967 dramedy by Peter Nichols chronicles Brian and Sheila’s thankless project of keeping both their permanently catatonic young daughter Jo (Aidyn Stevens) and their marriage alive. At nearly three hours (including intermission), it’s a project keeping the audience alive, too. But this challenge is readily met by a gifted cast directed by Daniel Wilson for the new Thalia’s Umbrella theater company. Terry Edward Moore’s Brian copes with manic bouts of cut-up, while Sheila (Leslie Law) lavishes affection on every living thing but Brian (at least that’s how he sees it). The very non-PC script yields many awkward laughs, especially in the far more dynamic second act when hilarious friends Freddie (Brandon Whitehead) and his contemptuous wife Pam (Carol Roscoe) drop by. Venerable Suzanne Corzatte, who played Sheila many years ago, now plays Brian’s troublemaking mom. At the center of Jason Phillips’ fine middle-class living room set is a ring-shaped decorative sculpture, dangling like a life preserver just out of reach. MARGARET FRIEDMAN ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $5–$35. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Feb. 17. INTO THE WOODS Sondheim’s fairy-tale mashup. Studio East, 11730 118th Ave. N.E. #100, Kirkland, 425-820-1800. $12–$14. Runs Fri.–Sun.; see studio-east.org for exact schedule. Ends Feb. 17. JEEVES IN BLOOM Directed by Karen Lund, Margaret Raether’s adaptation of several P.G. Wodehouse stories may appeal most to those who haven’t read the books or seen the efinitive early-’90s BBC series starring Hugh Laurie and Stephen Fry. Upper-class twit Bertie Wooster (Aaron Lamb) accompanies his newt-obsessed friend “Gussie” Fink-Nottle (Randy Scholz) to the home of Bertie’s pushy Aunt Dahlia (Kim Norris), in pursuit of ingénue Madeline (Marianna de Fazio), with whom romantically incompetent Gussie is in love. It’s standard Wodehouse fare, but somehow lacking seasoning and definition for much of the run time (about two and onequarter hours, with intermission). Casting factors into the misfire. Lamb’s intelligent face cannot slacken enough to project Bertie’s good-natured indolence. His taut good looks constrain him to playing everything straight, relying mostly on the script for laughs. Shimkus, meanwhile, maintains a stiff physical hauteur that seems anathema to Jeeves’ self-effacing professionalism—literally looking down his nose at the goings-on. If nothing else, this mostly clunky production will send you looking for Jeeves and Wooster. MARGARET FRIEDMAN Taproot Theatre, 204 N. 85th St., 781-9707, taproottheatre.org. $20–$40. 7:30 p.m. Wed.–Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends March 2. The first rule of Agatha Christie’s The • THE MOUSETRAP Mousetrap is: You do not talk about The Mousetrap. So successful has been this rule that the whodunit has run continually in London since its 1953 premiere. This adorable production, wittily directed by Jeff Steizer, offers further insight into its record-breaking longevity. Five guests arrive at Monkswell Manor during a snowstorm. Amid jockeying for rooms and spots by the fire, the inn’s population dwindles, and a clever inspector (Jared Michael Brown) arrives on skis to investigate possible connections to a recent murder in the area. MARGARET FRIEDMAN Village Theatre, 303 Front St. N., Issaquah, 425-392-2202. $22–$63. Runs Wed.–Sun.; see villagetheatre.org for exact schedule. Ends Feb. 24 (then runs in Everett March 1–24). NEXT TO NORMAL From Issaquah to Broadway, nabbing a Pulitzer and a Tony or two, this rock musical returns home in Balagan’s production. Erickson Theatre Off Broadway, 1524 Harvard Ave., 329-1050. $20 and up. 8 p.m. Thurs.– Sat., 2 p.m. Sun., plus matinees; see balagantheatre.org for exact schedule. Ends March 2. PHOTOGRAPH 51 SEE REVIEW, PAGE 36. •SHIRLEY VALENTINE A working-class Liverpool housewife finds romance in Greece. ArtsWest, 4711 California Ave. S.W., 938-0339, artswest.org. $10–$34.50. 7:30 p.m. Wed.–Sat. Ends Feb. 16. TEATRO ZINZANNI: DINNER AT WOTAN’S Their new Norse-themed show. Teatro ZinZanni, 222 Mercer St., 8020015. $106 and up. See dreams.zinzanni.org for schedule of dinner shows and matinees. Ends May 12. THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE The title says it all for this hit musical. Bainbridge

Performing Arts, 200 Madison Ave. N., Bainbridge Island, 842-8569, bainbridgeperformingarts.org. $19–$27. 7:30 p.m. Thurs.–Sat., 3 p.m. Sun. Ends Feb. 17.

arts»Performance THE UNDERSTUDY Theresa Rebeck’s showbiz satire.

Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300. $15–$29. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Feb. 17. UNDO Holly Arsenault’s new play about a very public divorce. Annex Theatre, 1100 E. Pike St., 728-0933, annex theatre.org. $5–$20. 8 p.m. Thurs.–Sat. Ends Feb. 16.

Dance

CORNISH BFA CONCERTS Modern, ballet, jazz, and more

from Cornish students. Broadway Performance Hall, 1625 Broadway, cornish.edu. Free. Opens Feb. 14. 8 p.m. Thurs.–Fri., 2 & 8 p.m. Sat. Ends Feb. 23. JEREMY WADE He “assumes the role of preacher, shaman, and fool” in his solo Fountain. Velocity Dance Center, 1621 12th Ave., 325-8773, velocitydancecenter.org. $12–$18. 8 p.m. Fri., Feb. 15–Sat., Feb. 16. DANCE ENSEMBLE • CLEO PARKER ROBINSON Fusion combines Haitian dance with

Jeanguy Saintus’ classical and contemporary techniques. Langston Hughes Performing Arts Center, 104 17th Ave. S., 800-838-3006, brownpapertickets.com. $25–$30. 7:30 p.m. Sat., Feb. 16. CHOP SHOP: BODIES OF WORK The annual Eastside festival includes performers from New York and Utah alongside locals (Spectrum Dance Theater, Kiyon Gaines, and many others). Meydenbauer Center, 11100 N.E. Sixth St., Bellevue, 800-838-3006, chopshopdance.org. $20–$25. 7:30 p.m. Sat., Feb. 16, 3 p.m. Sun., Feb. 17.

Classical, Etc.

• COMPOSER SPOTLIGHT Pianists Gust Burns and •

• •

•

• RUSSIAN CHAMBER MUSIC FOUNDATION •

Shostakovich’s Piano Trio no. 2 and other Russian favorites. Benaroya Recital Hall, Third Ave. and Union St., 425829-1345, russianchambermusic.org. 5 p.m. Sun., Feb. 17. OCTAVA CHAMBER ORCHESTRA Symphonies by Haydn and Prokofiev, plus music by Andre van Haren. Maple Park Church, 17620 60th Ave. W., Lynnwood, octavachamberorchestra.com. $5–$15. 6 p.m. Sun., Feb. 17.

ROYAL ROOM COLLECTIVE MUSIC ENSEMBLE

Wayne Horvitz leads this spontaneous-music group. The Royal Room, 5000 Rainier Ave. S., theroyalroomseattle. com. 8 p.m. Mon., Feb. 18. ITZHAK PERLMAN Violin sonatas by Beethoven, Franck, and Tartini. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $62–$161. 7:30 p.m. Tues., Feb. 19.

SPOTLIGHT ON

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Seatt le w eekly • FEBRUARY 13−19, 2013

Victor Noriega perform and discuss their latest recording project. Jack Straw Studios, 4261 Roosevelt Way N.E., 328-7694, jackstraw.org. Free. 7:30 p.m. Wed., Feb. 13. BETH FLEENOR: WORKSHOP ENSEMBLE Music for blindfolded musicians and other “celestial manifestations in real time.” Chapel Performance Space, 4649 Sunnyside Ave. N., bethfleenor.com. $5–$15. 8 p.m. Wed., Feb. 13. ANDRE FERIANTE Another of this guitarist’s popular V-Day concerts. Benaroya Recital Hall, Third Ave. and Union St., 215-4747, benaroyahall.org. $40. 8 p.m. Thurs., Feb. 14. UW BANDS Sousa, Grainger, Holst, and more from three ensembles. Meany Hall, UW campus, 543-4880, music. washington.edu. $10–$15. 7:30 p.m. Thurs., Feb. 14. SEATTLE SYMPHONY Ludovic Morlot conducts Bizet, Faure, Mozart, and Szymanowski. (Friday is a happy-hour “Untuxed” concert.) Benaroya Hall, 200 University St., 2154747, seattlesymphony.org. $19–$112. 7:30 p.m. Thurs., Feb. 14, 7 p.m. Fri., Feb. 15, 8 p.m. Sat., Feb. 16. NORTHWEST SINFONIETTA Music for strings, including a strings-only version of Beethoven’s Piano Concerto no. 4. Benaroya Recital Hall, Third Ave. and Union St., 866-8334747, nwsinfonietta.org. $19–$49. 7:30 p.m. Fri., Feb. 15. MUSIC OF HERMETO PASCOAL Paul Taub (flute) and Jovino Santos Neto (piano) collaborate on music by this Brazilian composer. Cornish College/PONCHO Concert Hall, 710 E. Roy St., cornish.edu. 8 p.m. Fri., Feb. 15. SEATTLE SYMPHONY: [UNTITLED] SEE ARTICLE, PAGE 51. METROPOLITAN OPERA AT THE MOVIES The Met’s new ring-a-ding-ding Rigoletto is reset in ’60s Las Vegas. (Encored March 6.) See metopera.org for participating theaters. $24. 10 a.m. Sat., Feb. 16. GOHAR VARDANYAN Spanish music and Piazzolla for classical guitar. Frye Art Museum, 704 Terry Ave., 3650845, fryemuseum.org. Free. 2 p.m. Sat., Feb. 16. VICTOR LIN Chopin’s Sonata in B Minor and 24 Etudes— not bad for a 13-year-old pianist. Sherman Clay, 1624 Fourth Ave., 622-7580, shermanclay-seattle.com. Free. 4 p.m. Sat., Feb. 16. THE KING’S SINGERS “Triumphs: Renaissance Conquests in Love and War” includes madrigals by Gabrieli, Morley, and others. Town Hall, 1119 Eighth Ave., 325-7066, early musicguild.org. 8 p.m. Sat., Feb. 16. MCCABE/LARIONOFF DUO Pianist Robin McCabe and violinist Maria Larionoff play the 10 Beethoven violin sonatas this season and next, starting here with nos. 1, 8, 4, and 5. Brechemin Auditorium, School of Music, 685-8384, music.washington.edu. $15. 2 p.m. Sun., Feb. 17.

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arts»Visual Arts B Y G W E N D O LY N E L L I O T T

Openings & Events PATRICK “DUFFY” DE ARMAS Inner Beauty is the

Arizona-born artist’s collection of skateboard cultureinspired functional art, created from castoff materials. Note gallery opening and complimentary brunch and cocktails 11 a.m., Sun., Feb. 17. RSVP to nicholash@ sensasalon.com to attend. Sensa Salon, 1123 First Ave., 395-2060, sensasalon.com. Free with RSVP. Sun., Feb. 17, 11 a.m.–2 p.m. DAPHNE MINKOFF & LAURA THORNE They show new collage and abstract works, respectively. Note opening: 5–6 p.m. Wed., Feb. 13. TASTE Restaurant, 1300 First Ave., 903-5291, tastesam.com. Tues.–Sat., 10:30 a.m.–5 p.m. Through June 9. BENJAMIN MOORE Translucent is a selection of the his work, featuring traditional vessel forms and contemporary designs. Note artist and member reception Sun., Feb. 17, 11 a.m.–2 p.m. Museum of Glass, 1801 E. Dock St., Tacoma, 253-284-4750. $20. Opens Feb. 16, Wed.–Sat., 10 a.m.–5 p.m.; every third Thursday, 10 a.m.–8 p.m.; Sat., noon–5 p.m. Through Oct. 6.

• REMBRANDT, VAN DYCK, GAINSBOROUGH: This big THE TREASURES OF KENWOOD HOUSE

British traveling show, augmented by SAM’s own collection, presents four dozen European masterworks. Opens Thursday. Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org. MARCUS SCHELL The Central District–based photographer will exhibit work from his recent collection, 30 Days on Wilson. Opening reception: 8 p.m. Fri., Feb. 15. Heartland Cafe, 4210 S.W. Admiral Way, 9223313, heartlandcafeseattle.com. Tues.–Thurs., Sun., 7 a.m.–3 p.m. & 5–9 p.m.; Fri.–Sat., 7 a.m.–3 p.m. & 5–11 p.m.; Mon., 7 a.m.–3 p.m. Through March 11. SEAN SCULLY Passages/Impressions/Surfaces pairs the British artist’s Harris and Lewis Shacks photo series with October, a large-scale oil painting. Henry Art Gallery, 4100 15th Ave. N.E., 543-2280, henryart.org. Opens Feb. 16. Sat.–Sun., 11 a.m.–4 p.m.; Thurs.–Fri., 11 a.m.–9 p.m. Through June 2. SVETLANA SHALYGINA Raw textures, muted color, and humanist themes are depicted in the Russian-born

•

WarHorse NationalTheatre of Great Britain and Bob Boyett present

based on a novel by Michael Morpurgo • adapted by Nick Stafford in association with Handspring Puppet Company

Seattle weekly • FEBRU ARY 13− 19, 2 013

Salvage Art

Feb 13-24 • The Paramount Theatre 877.784.4849 • STGPresents.org Priority seating & groups 10+ call: 888.214.6856

Tickets Available Through Tickets.com and Select Ticketmaster Locations S P O N S O R E D BY:

Additional fees may apply. All sales final, no refunds. Prices, shows, dates, schedules, and artists are subject to change.

At the center of the atrium at MOHAI, newly relocated to the Naval Reserve Armory in South Lake Union, is a permanent new sculptural installation that helps anchor the museum to our maritime past. From 1897 into the ’40s, the schooner Wawona carried cargo on Puget Sound. Then it was moored for decades, rotting, near the Center for Wooden Boats (now MOHAI’s neighbor). The upkeep wasn’t worth it, and the hull was drydocked for salvage four years ago. That’s where artist John Grade comes in. As part of MOHAI’s $60 million renovation, Grade was commissioned to create something from the old Douglas fir timbers that had been preserved below the waterline. They’ve been dried and sanded, carefully

REZENE TSEGAI, JEREMY G. BELL, MANDILLA

Their graphic design, portraiture, and abstractions are on view. Note Blitz! Art Walk opening Thurs., Feb. 14 from 6–10 p.m. Vermillion, 1508 11th Ave., 709-9797, vermillionseattle.com. Opens Feb. 14. Tues.–Thurs., Sun., 4 p.m.–midnight; Fri.–Sat., 4 p.m.–1:30 a.m. Through March 9. TWISTED LOVE This group show features the work of over 100 Northwest alternative artists. Note Valentine’s Day encore opening: 5–9 p.m. Thurs., Feb. 14. Art/Not Terminal Gallery, 2045 Westlake Ave., 233-0680, antgallery.org, Mon.–Fri., 11 a.m.–6 p.m.; Sat., 1–6 p.m.; Sun., 1:30–5 p.m. Through Feb. 24. WEST SEATTLE ART WALK Several venues showcase local art every second Thursday of the month, including Youngstown Cultural Arts Center, ArtsWest, and this week, “A Faded Valentine,” conceptual photographs by Dawndra at Twilight Artist Collective. Details: westseattleartwalk.blogspot.com. Thurs., Feb. 14, 6–9 p.m.

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Museums

BAD ART? Over 1,000 pieces of folk art are featured in

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this visiting exhibition from the Backlund & Håkansson Collection in Sweden. Most are nature scenes painted on sections of birch trees. Nordic Heritage Museum, 3014 N.W. 67th St., 789-5707, nordicmuseum.org. $4–$6. Tues.–Sat., 10 a.m.–4 p.m. Through March 3. BAM BIENNIAL 2012: HIGH FIBER DIET The theme for this year’s BAM Biennial is “High Fiber Diet,” meaning all manner of yarn, fabrics, upholstery, embroidery, and sewing. Some 44 Northwest artists are featured. Bellevue Arts Museum. Through Feb. 24.

drilled with little round fissures (suggesting both ship’s portals and worm holes), then bolted and hung from the ceiling in a hollow, tapered tower that recalls both a ship’s mast and a tree. The fiveand-a-half-ton Wawona is intended to be kinetic, Grade told me at its unveiling: “I want kids to bang on it.” Enter the enclosure at its base, and you can push and sway the whole structure, the loose metal fittings creaking like a ship rocking in its berth. Look up through the 65-foot tower, and it pierces the roof. Below (viewed through a Plexiglas window), it almost touches the water. Both ends are intended to decay over time, says Grade: “I’m interested in how things change. Nothing’s permanent.” The fate of the old Wawona bears him out, yet this recycled new Wawona is a prime example of regionally sourced art. “It’s about as local as you can do it,” Grade adds. “It’s definitely my most ambitious piece.” Museum of History & Industry, 860 Terry Ave. N., 324-1126, mohai.org. $12–$14. 10 a.m.–5 p.m. Fri.–Wed., 10 a.m.–8 p.m. Thurs. MOHAI

TheFussyeye

OPENS TODAY!

P R E S E N T E D BY:

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» by brian miller

Winner! Tony 5 2011 Awards

Send events to visualarts@seattleweekly.com See seattleweekly.com for full listings = Recommended

artist’s show Personal Spaces - Deux. Note opening reception 6–8 p.m. Wed., Feb. 13. Gunnar Nordstrom Contemporary Fine Art, 800 Bellevue Way N.E., 425827-2822, gunnarnordstrom.com. Mon.–Sat., 9:30 a.m.–8 p.m.; Sun., noon–5 p.m. Through March 10. MICHAEL STASINOS The paintings in A Sense of Place incorporate themes of travel and transportation in relation to the human element. Note “Champagne and chocolates” opening reception: 5:30–8:30 p.m. Thurs., Feb. 14. Woodside Braseth Gallery, 2101 Ninth Ave., 622-7243, woodsidebrasethgallery.com. Opens Feb. 15. Tues.–Sat., 11 a.m.–6 p.m. Through March 9. STUDENT WEDNESDAYS Students of all ages can visit BAM for free on the second Wednesday of every month. Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org. Free. Wed., Feb. 13, 11 a.m.–5 p.m.

film»This Week’s Attractions Beautiful Creatures

For all the testimonials presented here, films like 1996’s grunge doc Hype! and 2007’s Joe Strummer: The Future Is Unwritten do a much better job traversing similar material. Padded with sections on queer poetry and skateboarding, Fury occasionally tugs at your heart. But mainly it’ll have you searching through the playlists on your phone—under O for oldies. GWENDOLYN ELLIOTT

OPENS THURS., FEB. 14 AT PACIFIC PLACE AND OTHER THEATERS. RATED PG-13. 124 MINUTES.

OPENS FRI., FEB. 15 AT VARSITY. NOT RATED. 90 MINUTES.

Suppose you’d spent a year of your life documenting fur trappers in Siberia, enduring a brutal, sub-40-degree winter and torrential summer mosquitoes. And yet no one wanted to see your movie—or even to pay to assemble the raw footage into a movie. Then, out of the blue, Werner Herzog calls. Vould you mind if I edited and narrated your ferry interesssting kino-images? he asks. How do you think Dmitry Vasyukov answered? For Herzog, the benefits are pretty clear: No freezing Siberian temperatures, no biting mosquitoes, and he never even had to leave his sunny Los Angeles home. As a result, Happy People is minor Herzog (or major

JOHN BRAMLEY/WARNER BROS.

OPENS THURS., FEB. 14 AT PACIFIC PLACE AND OTHER THEATERS. RATED PG-13. 115 MINUTES.

Herzog-Vasyukov, depending on your perspective). Still, for insomniac fans of that old KCTS show Alone in the Wilderness, about the droll/insane chap building a cabin in Alaska, there’s plenty of satisfying snow-andaxe work on display here. Herzog, predictably, fetishizes the trappers’ purity and simplicity of life. “They are truly self-sufficient,” he purrs. “They are truly free.” He barely acknowledges the trappers’ snowmobiles and boats with outboard engines, concentrating instead on how they make (other) boats of wood and craft their own birch skis. When one little village girl goes out to harvest pine nuts with her father, who wields an amusingly Thor-size mallet, Herzog declines to comment on her Pokémon T-shirt. The bearded trappers, it must be said, have less charisma than their faithful dogs. (Does Werner have a soft spot for the puppies? I think so.) Unlike Herzog’s great and horrifying Grizzly Man (another found-footage exercise), there is no crazy charismatic Timothy Treadwell figure at this doc’s center. These taciturn woodsmen are merely specimens for Herzog to examine, something like the Texas dolts and killers of his superior recent Into the Abyss. But there you were forced to consider the larger issues of capital punishment and violence in America. Here, Herzog excludes all context and judgment. Does he approve of the fur trade, killing sables for fashion? Are these trappers truly in central Siberia by choice? Or do they lack the education and skills to live elsewhere in Russia? Still, Herzog does stop to consider the indigenous Ket people, something like our own Inuit, largely decimated by Soviet-era policies, poverty, and alcoholism. “It’s our own fault,” says one sad tribal member, and their lined, weary faces remind you of Edward S. Curtis’ Indian portraits. The film also has one Fitzcarraldo moment—something so large and strange you can’t believe you’re seeing it. That’s when, in May, the

Creepy together? Ehrenreich and Englert.

massive Yenisei River comes unfrozen like a grinding conveyor belt of ice headed north to the Arctic Ocean. Now that is something I’d like to see with my own eyes. Maybe Herzog would, too. BRIAN MILLER

“It feels like Nicholas Sparks, until it suddenly doesn’t,” Sparks himself says of his latest novelinto-film project. That’s some understatement. Safe Haven boasts all the handsome characters and delicate romance of The Notebook or Dear John, but here Sparks adds an unexpected element of suspense to create a tense—at times uncomfortably so—romantic thriller. (Veteran Lasse Hallström directs.) Women expecting a tender love story for their Valentine’s Day date night may be surprised at how sinister the writer can get. Dudes dragged along against their will, on the other hand, may be thankful for the suspenseful twist and uncharacteristic violence. Mysterious young Katie (Julianne Hough, Dancing With the Stars) flees from untold secrets in Boston and settles in a sleepy coastal town located—you guessed it—in North Carolina. There she finds love sweet love with hunky widower Alex (Josh Duhamel, Transformers), who runs the local grocery store and

Let Fury Have the Hour RUNS FRI., FEB. 15–THURS. FEB. 21 AT GRAND ILLUSION. NOT RATED. 87 MINUTES.

Around 23 minutes into Antonino D’Ambrosio’s punk-rock documentary, viewers finally get a glimpse of The Clash’s Joe Strummer, whose lyrics for “Clampdown” lend Fury its title. Blink and you’ll miss his black-and-white photo; it’s just part of a Reagan/Thatcher-era montage. Also be warned: This isn’t a music doc with vintage performance clips. Mainly it’s a series of talking-heads interviews about punk and “creative response,” featuring DJ Spooky, Lewis Black, Eve Ensler, Chuck D, Ian MacKaye, Billy Bragg, Shepard Fairey, and other pop-cultural insurgents. In his first film, D’Ambrosio is eager to explain the origins of punk and hip-hop as a response to Vietnam, the Reagan years, etc. It’s a familiar argument—which explodes like an incoherent piñata with so many voices in the mix (50 interviewees are credited). Today, some 35 years (!) after punk broke, DIY is in its second generation. Its graying original practitioners are now a somewhat nostalgic lot. When Rage Against the Machine’s Tom Morello comments, “Fear is a tremendously effective propaganda tool used throughout history to cull masses into submission,” he’s saying nothing new. As for St. Strummer, previously the subject of D’Ambrosio’s 2004 anthology book Let Fury Have the Hour (now being reissued), he just lingers at the doc’s fringes, never coming into focus save for a few perfunctory “Joe Strummer changed my life” reflections.

JAMES BRIDGES/RELATIVITY MEDIA

Happy People: A Year in the Taiga

Safe Haven

Love on the beach: Hough and Duhamel.

has two adorable kids. How perfect! In their sweet and foreseeable romance, Katie stands to gain a wholesome insta-family. Until, of course, her past sins finally arrive in the film’s third act. This revelation is strikingly unpredictable, even intriguing, but Safe Haven fails to capitalize on that abrupt change of mood. Instead, the movie descends into narrative chaos; and Sparks’ cross-genre experiment must ultimately confront the expectations of his faithful readers. You can guess who wins. DANA SITAR E

film@seattleweekly.com

Seatt le w eekly • FEBRUARY 13−19, 2013

The recent success of Warm Bodies proves that there’s still life to be had—even with a zombie protagonist—in the paranormalromance genre. Unfortunately, the same cannot be said of Richard LaGravenese’s adaptation of Kami Garcia and Margaret Stohl’s teen-oriented novel (the first in a series known as the Caster Chronicles). Our tale follows star-crossed South Carolina teen lovers Ethan (Alden Ehrenreich), a mortal, and Lena (Alice Englert), a burgeoning witch (or “caster”) whose powers await full activation, with the future of mankind somehow in the balance. This may or may not have something to do with her virginity. Why does the world’s fate hinge on this one teen witch? Beautiful Creatures isn’t keen on plot; it just provides a little backstory about each new character, then moves on to the next grandiose explosion of magic. The film is driven mostly by spotty narration, bad Southern accents (which make the cast of True Blood sound authentic), smalltown stereotypes, and tween notions of love. Lacking is the weighted emotional brevity that hooked fans on the Twilight or Hunger Games series. What Twilight also had going for it, and Beautiful Creatures lacks, is chemistry between its leads. Ehrenreich looks 28 playing 17; he’s oddly creepy next to Englert, whose character is supposed to be 15. Yet Englert (daughter of director Jane Campion) is at home in front of the camera, creating a plausible character despite the script— credited to the novelists and LaGravenese, better known for adult-oriented fare like The Ref and The Fisher King. The veteran actors are the most enjoyable here, as they go wildly over the top with their thin roles. Jeremy Irons (as Lena’s haute-gothic uncle) and Emma Thompson (doubly cast as witch and Bible-thumper) gleefully ham it up for their franchise-film paychecks. Only Viola Davis, as a wise librarian, offers a grounded performance. With four books in the Caster Chronicles, sequels are probably inevitable. I vote that more screen time be given to Emmy Rossum as the seductress Ridley, whose villainy is far more fun than her cousin Lena’s wavering virtue. MA’CHELL DUMA LAVASSAR

film» BY BRIAN MILLER

Local Film BUBBA HO-TEP Bruce Campbell is like one of those

prop TVs at IKEA: sleek, handsome, utilitarian, and more or less impossible to employ outside of its prescribed niche. Since director Sam Raimi so sharply defined his persona as “goof hunk” in the Evil Dead trilogy, a glut of UPN/WB fantasy duds and inconsequential supporting roles have failed to capitalize on Campbell’s affable charms. From 2002, Bubba is perhaps even more frustrating than his annual throwaway blockbuster cameo. Deeply vulgar and novel, it provides Campbell with his meatiest role, well, ever: A bedridden, porky, cantankerous modern-day Elvis joins forces with an elderly black man (Ossie Davis) who’s convinced he’s JFK; together they battle a soulsucking cowboy mummy in an East Texas rest home. The heart of Bubba is not the ensuing, incidental war with the trash-talking mummy—not nearly as Dead-ly a conflict as you’d expect, although we’re treated to a few brilliant, fresh Campbell catchphrases—but glib assumptions based on tired Elvis mythos. (R) ANDREW BONAZELLI Egyptian, $8.25, Fri., Feb. 15, 11:59 p.m.; Sat., Feb. 16, 11:59 p.m.

• CASTLES IN THE SKY: MIYAZAKI, TAKAHATA Hayao AND THE MASTERS OF STUDIO GHIBLI

Seattle weekly • FEBRU ARY 13− 19, 2 013

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Miyazaki is much more than Japan’s Walt Disney. He combines epic vision, animist mythology, environmentally-conscious subtext, and a dedication to handdrawn animation maintained in the face of the digital revolution. Miyazaki believes that children deserve stories with depth and emotional complexity, as well as imagination and excitement—and that’s what he delivers. Along with his most celebrated films (the magical My Neighbor Totoro, his environmentalist epic Princess Mononoke, his dark fairy tale Spirited Away), this Studio Ghibli series offers some adventures waiting to be discovered. For younger audiences, the delightful Kiki’s Delivery Service features a strong, plucky young heroine building her self-esteem. For slightly older kids are the grand adventures of Nausicaa of the Valley of the Wind and Castle in the Sky, spectacular fantasies drawn from the director’s private mythos. For another sensibility, check out the eccentric My Neighbors the Yamadas, a comic-strip style family comedy that translates quite effectively to suburban America. It’s directed by Studio Ghibli co-founder Isao Takahata. All titles will be screened from 35mm prints, in both dubbed and subtitled editions. (PG) SEAN AXMAKER SIFF Cinema Uptown, $6-$11, Feb. 15-21. CHASING ICE Jeff Orlowski’s beautiful yet sobering 2012 documentary visits the world’s rapidly melting ice caps. His guide is James Balog, a renowned nature photographer who has become obsessed with documenting the staggering speed with which the icebergs of Greenland, Iceland, and Alaska are crumbling into the sea. Orlowski films as Balog and a small team of young scientists go on a mad mission to embed dozens of time-lapse cameras into the rock walls above various ice fields. Those cameras take one image every hour, and when Balog and his team, known as the “Extreme Ice Survey,” assemble the footage, they discover that glacier fields the size of Lower Manhattan are receding at an astonishing rate. (NR) CHUCK WILSON Keystone Congregational Church, 5019 Keystone Place N., 632-6021, Free, Fri., Feb. 15, 7 p.m. CLUELESS From 1995, Amy Heckerling’s sweet, funny spin on Jane Austen’s Emma made a star of Alicia Silverstone, who plays a delightfully overbearing teen know-it-all. (PG-13) Central Cinema, $6-$8, Feb. 15-18, 7 p.m. 8 1/2 SEE THE WIRE, PAGE 35. FARGO SEE THE WIRE, PAGE 35. Central Cinema, $6-$8, Wed., Feb. 13, 7 & 9:30 p.m. HAROLD AND MAUDE Hal Ashby’s 1972 countercultural touchstone may now seem somewhat adrift, since that dominant, Nixon-era culture has disappeared. Suicidal Bud Cort falls for lively Ruth Gordon, each of them learning valuable life lessons along the course of their, ahem, romance. (They don’t actually bridge the 60-year January-December age gap by having sex.) One indication of how times have changed is the score by Cat Stevens, as he was then known. Another is how Cort, then dressed like a dweeb of his era, could almost pass for a Williamsburg hipster today. (PG) BRIAN MILLER SIFF Cinema Uptown, $6-$11, Thu., Feb. 14, 7 p.m.

Send events to film@seattleweekly.com See seattleweekly.com for full listings = Recommended

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MIDNIGHT HORROR Call the tavern, or just drop by, to

see what random gore flicks are playing in this ongoing series. Plus drink specials! (NR) Comet Tavern, 922 E. Pike St., 322-9272, comettavern.com, Free, Thurs.-Sun. MOVIE NIGHT DJs Jon Francois and Nik Gilmore set new music to old movies. (NR) Northwest Film Forum, $6-$10, Fri., Feb. 15, 8 p.m. OSCAR NOMINATED SHORT FILMS 2013 All ten of the animated and live-action nominees will be screened in two blocks, at 88 and 113 minutes, respectively. Among the highlights is Maggie Simpson in “The Longest Daycare,” from The Simpsons. In it, our heroine seeks admission to the Ayn Rand Daycare Center. On the non-cartoon side, look for Matthias Schoenaerts (Rust and Bone) in the WWI drama Death of a Shadow. Note: SIFF is separately playing the documentary shorts at the SIFF Film Center on the Seattle Center campus. (NR) Harvard Exit, $10, Through Feb. 14. OSCAR SNUBS MOVIE MARATHON SEE THE WIRE, PAGE 35. POST ALLEY FILM FESTIVAL Over 20 short films are screened, most with an emphasis on women. (NR)., postalleyfilmfestival.com. SIFF Film Center, $10-$15, Sat., Feb. 16, 11:30 a.m. SERENITY This 2005 sci-fi Western by Joss Whedon, creator of Buffy the Vampire Slayer, is a brainy valentine to fans of Firefly, the short-lived Fox show on which it’s based. A gaggle of tough-talking, gun-slinging space cowboys (and -girls) rocket through the 26th-century cosmos, pilfering cash from the sinister Alliance and sometimes swearing in Chinese. They’re led by Nathan Fillion, who’s joined by most of the original TV cast. (PG-13) NEAL SCHINDLER Central Cinema, $6-$8, Feb. 15-18, 9:30 p.m.

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THE SPROCKET SOCIETY’S SATURDAY SECRET MATINEES “Exotic Lands” is the February theme for

various short films being screened. Ongoing is the 1939 adventure serial Zorro’s Fighting Legion. Total program length is about two hours. (NR) Grand Illusion $5-$8, Saturdays, 2 p.m. Through March 23. SUPERSILENT 7 Norway’s improv jazz group Supersilent is captured in a 2004 performance. The 2005 documentary is directed by Kim Hiorthøy. The film is screened in conjunction with the Seattle Improvised Music Festival. (NR) Grand Illusion, $5-$8, Wed., Feb. 13, 9 p.m. VHSEX All manner of Valentine’s Day oddities have been dredged from the vault for an evening of love sweet love. Total program length, about 90 min. Note: the Thursday show is already sold out. (NR) Grand Illusion, Thu., Feb. 14, 9 p.m.; Sat., Feb. 16, 11 p.m. VIVA L’ITALIA Very much a transitional work for Pier Paulo Pasolini, his 1962 Mamma Roma is also about a woman (Anna Magnani) and nation in transition. She’s the veteran whore retired from her trade to be a mother to her teen son, who scarcely wants one. Around them, Rome is rebuilding from the rubble of World War II. Italian cinema is moving from neorealim to cheap, modern amorality. Much as the boisterous, earthy Mamma Roma might wish to return to simpler times, her sluggish, heavy-browed son recognizes they’re gone. She wants him to work in a restaurant, a job she secures with a bit of sexual blackmail. He just wants to hang with his homies—the thick, sticky bond between them portending Pasolini’s later, gayer work—and rob hospital patients. They live in a new apartment block at the edge of Rome, and a church dome can just be glimpsed over the other rising towers. In a film suffused with religious imagery, it’s a shot Pasolini repeats often: There lies grace and salvation, a release from sin and earthly desire, yet who has time to pray anymore? Rome’s new generation of hustlers has no need for tradition or faith. (NR) BRIAN MILLER Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org, $63-$68 series, $8 individual, Thurs., 7:30 p.m. Through March 7.

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Ongoing

AMOUR Hollywood generally treats aging as an enno-

bling process, a time of gauzy reflection or an opportunity to transmit sage wisdom to tow-headed grandkids. This is not a view shared by Austrian director Michael Haneke. From Funny Games to The Piano Teacher to Caché, he has specialized in an impeccably crafted cinema of cruelty, repressed passion, and dread. So it’s something of a shock for his Amour to begin as a loving portrait of a marriage between retired music teachers Georges and Anne (Jean-Louis Trintignant and Emmanuelle Riva), who remain independent in their 80s, living in a comfy, memento-filled Parisian apartment. Amour’s story is nothing if not logical and familiar: the medical crisis, doctors, the daughter’s visit, nurses, rehab, moments of resiliency and love, the “never take me back to the hospital” demand, set-

film»

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PLAYBOOK If you took the fighting • SILVERTheLININGS Fighter, David O. Russell’s previous movie,

out of you’d be left with a close, fractious family like the Solitanos of his hugely appealing new Silver Linings Playbook. Instead of Boston Irish and boxing, we have Philadelphia Italian and the Eagles. The family patriarch (a fine, restrained Robert De Niro) is an OCD bookie bound by strange rituals to the team; his wide-eyed wife (Jacki Weaver) is the nervous family conciliator/enabler; and their volatile son Pat (Bradley Cooper, wired) is fresh out of the nuthouse with a restraining order from his ex. But Pat claims he’s a new—and newly positive—man. He’s looking for those silver linings through self-improvement: reading, running, losing weight, scheming to win back his wife. Is another explosion near? Russell keeps the film constantly off-balance, but his pell-mell approach suits the story of Pat’s mania and wrong-footed romance with young widow Tiffany. In that role, Jennifer Lawrence is a revelation: tough, proud, and even more titanic in her instability than Pat. Silver Linings is one of the year’s best films, and Lawrence a lock for an Oscar nomination. (R) Brian Miller SIFF Cinema Uptown, Ark Lodge, Varsity, Oak Tree, Kirkland Parkplace, Lincoln Square, Majestic Bay, Cinebarre, Pacific Place, Bainbridge, Vashon, others TABU Pilar (Teresa Madruga) is a kindly, semi-retired Lisbon woman who hosts foreign-exchange students and takes an interest in her elderly neighbor Aurora (Laura Soveral). A gambler and widow whose grown daughter is never seen, Aurora seems intent on squandering the last of her money. Her other hobby is quarreling with her maid Santa (Isabel Muñoz Cardoso), a native of Cape Verde, one of Portugal’s former colonies. In a sense, Aurora’s faded, Havishameque grandeur symbolizes the nation’s past; in another, she’s just a convenient storytelling device that leads to Tabu’s second chapter, set some 50 years prior in colonial Africa. There we meet young Aurora (Ana Moreira), a married woman who takes a lover. Both sections of Miguel Gomes’ Tabu are shot in black-and-white, which makes the whole enterprise self-consciously “historical.” This storywithin-a-story is initiated when Pilar and Santa set out to find Aurora’s old lover, Ventura, played by Carloto Cotta in the African section. Rather than portending disaster, there’s just a slow, simmering melancholy to this longpast romance and Pilar’s dull daily doings. Tabu is like Guy Maddin without the hysteria, or Almodóvar without the fun. It’s a movie-infused expedition into the jungles of memory and regret, a heartfelt pastiche, and a narrative thicket in need of a machete. Brian Miller Northwest Film Forum ZERO DARK THIRTY Director Kathryn Bigelow and screenwriter Mark Boal’s unofficial sequel toThe Hurt Locker dramatizes the manhunt for Osama bin Laden; and from the major details to the smallest ones, the reporting is so good you scarcely question a beat. Jessica Chastain gives a sensational performances as Maya, a young CIA officer newly arrived in Pakistan, where her responsibilities include interrogating detained Al Qaeda. “Enhanced” measures such as waterboarding and starvation are depicted, and without any of the moral outrage some might expect from a Hollywood treatment of this subject. Rather, Bigelow and Boal come not to judge but to show, leaving the rest up to us. This is superb journalism and even better filmmaking, culminating in an electrifying re-enactment of the 2011, raid on bin Laden’s Pakistan hideout. (R) Scott Foundas Oak Tree, Varsity, Lincoln Square, Meridian, Vashon, others THEATERS: Admiral, 2343 California Ave. SW, 9383456; Ark Lodge Cinemas, 4816 Rainier Ave. S, 721-3156; Big Picture, 2505 First Ave., 256-0566; Big Picture Redmond, 7411 166th Ave. NE, 425-556-0566; Central Cinema, 1411 21st Ave., 686-6684; Cinebarre, 6009 SW 244th St. (Mountlake Terrace)., 425-672-7501; Cinerama, 2100 Fourth Ave., 448-6680; Crest, 16505 Fifth Ave. NE, 781-5755; Egyptian, 801 E. Pine St., 781-5755; Grand Illusion, 1403 NE 50th St., 523-3935; Guild 45, 2115 N. 45th St., 781-5755; Harvard Exit, 807 E. Roy St., 781-5755; iPic Theaters, 16451 N.E. 74th St. (Redmond), 425-636-5601; Kirkland Parkplace, 404 Park Place, 425-827-9000; Lincoln Square, 700 Bellevue Way N, 425-454-7400; Majestic Bay, 2044 NW Market St., 781-2229; Meridian, 1501 Seventh Ave., 223-9600; Metro, 4500 Ninth Ave. NE, 781-5755; Northwest Film Forum, 1515 12th Ave., 267-5380; Oak Tree, 10006 Aurora Ave. N, 527-1748; Pacific Place, 600 Pine St., 888-262-4386; Seven Gables, 911 NE 50th St., 781-5755; SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996; SIFF Film Center, 305 Harrison St. (Seattle Center), 324-9996; Sundance Cinemas, 4500 Ninth Ave NE, 633-0059; Thornton Place, 301 NE 103rd St., 517-9953; Varsity, 4329 University Way NE, 781-5755.

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SILVER LININGS PLAYBOOK

Sun Feb 17

OSCAR® SNUBS MOVIE MARATHON

A 12-hour movie marathon fundraising event to benefit SIFF At the Film Center Fri Feb 15 - Sun Feb 17

Castles in the Sky: Miyazaki, Takahata and

OSCAR® NOMINATED DOCUMENTARY SHORT FILMS 2013

A retrospective featuring some of the greatest animated films of all time!

Save the date Sat Mar 2 | Uptown

February 15–21 | Uptown | Restored 35mm

THE MASTERS OF STUDIO GHIBLI SIFF Cinema Uptown FREE VALIDATED

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RAIDERS OF THE LOST ARK AND RAIDERS: THE ADAPTATION Directors in Attendance!

Seatt le w eekly • FEBRUARY 13−19, 2013

backs, adult diapers, despair. Haneke renders Georges and Anne’s dilemma with dispassionate, clinical observation. There is no consolation, only an end. (PG-13) Brian Miller Egyptian, Sundance, Lincoln Square ARGO Ben Affleck’s third directorial effort begins with the November 4, 1979, attack on the U.S. embassy in Tehran. While 52 Americans are held hostage, six embassy workers manage to escape, ultimately hiding out at the home of Canadian ambassador (Victor Garber). Determined to smuggle the houseguests out of Iran by disguising them as a film crew on a location scout, CIA exfiltration expert Tony Mendez (Affleck) enlists the help of John Chambers (John Goodman), a movie makeup artist, and Lester Siegel (Alan Arkin), an old-school producer. Affleck’s movie is a love letter from Affleck to the industry that made him, shunned him, and loves nothing more than to be loved. (R) Karina Longworth Varsity Oak Tree, Meridian, Lincoln Square, others DJANGO UNCHAINED In Quentin Tarantino’s blood-spattered historical tent show, set in antebellum Dixieland, Jamie Foxx stars as the captured runaway slave Django. He’s given his freedom by an unlikely savior: a German-American bounty hunter (Christoph Waltz) who trains Django to become his partner. Together, they make their way toward a sprawling Mississippi plantation known as Candyland, where Django’s wife (Kerry Washington) is owned by a brutal, foppish master (Leonardo DiCaprio), abetted by his old house slave (Samuel L. Jackson). Wagnerian hellfire ensues, though Tarantino’s true reference point is a century of Hollywood cinema’s failure to engage with the ugly realities of the “peculiar institution.” (R) Scott Foundas Lincoln Square, Meridian, others 56 UP In Michael Apted’s seventh follow-up in the famed British documentary series, begun in 1964, well-off barrister Andrew declares, “There is still a class system, but it’s based on financial success. It’s been ever thus, and I don’t think it’s ever going to change.” Echoing him is Lynn, a working-class East Ender who cycled through various social-work positions before being made redundant. The Labor Party has failed, she says, and others from her circle share that view, criticizing Thatcher and David Cameron for weakening the welfare state. After the Beatles, Margaret Thatcher, and Tony Blair, 56 Up’s subjects seem rather pessimistic, if not quite bitter, about the UK’s enduring inequalities. Apted is a sympathetic, off-camera presence. He lobs questions in 56 Up (“Do you measure you life in terms of success or failure?”) yet resists any overview or analysis. Each individual story subsumes the issue of class. Apted is more interested in coping than social advancement, how his subjects—rich and poor—adapt to their circumstances. (NR) Brian Miller Guild 45th LINCOLN Our 16th president becomes an almost 4-D character made flesh by Daniel Day-Lewis, arguably the best actor of his generation. The challenge for director Steven Spielberg is to square the Georgia white marble of the Lincoln Memorial with the flesh-and-blood reality we can never really know—evoking the man without diminishing the leader. His other challenges include relating the complications and subtleties of political maneuvering, and the inherent suckiness of the biopic form. Spielberg solves that by lensing the portrait through a single event: the fight to pass the 13th Amendment. The film is studied and often somber, but it is also hugely entertaining, a bitchingly fun story of political gamesmanship, influence trading, patronage, cronyism, and outright bribery. This Lincoln is quietly ironic, an indulgent storyteller, a hugely charismatic leader. Day-Lewis is just crazy good. (PG-13) Chris Packham Guild 45th, Lincoln Square, Pacific Place, Thornton Place, others SIDE EFFECTS Steven Soderbergh is a total filmmaker who handles his own camera, but is only as good as his script. And this big pharma/crime tale by Scott Z. Burns (Contagion) is not a great script. Yet it starts out smartly enough, as Emily (Rooney Mara) waits for her husband Martin (Channing Tatum) to be released from jail after a four-year term for insider trading. (Only in the movies, it seems, does the SEC have any teeth.) Understandably, Emily is depressed, and she’s on a lot of pills. Her new shrink, Dr. Banks (Jude Law), provides suicidal Emily with modest meds and a sympathetic ear. Then he enrolls her in a clinical trial that will, conveniently, provide him some much-needed extra income. Disaster follows, and Banks’ career is in ruin. As Side Effects becomes a medical-legal procedural, with lawyers, courtroom testimony, and flashbacks, it begins to feel like a remake. And if that’s the way he chooses to end his career, fine. Side Effects embodies the pleasures of the familiar, if not the discoveries of his past. (R) Brian Miller SIFF Cinema Uptown, Sundance, Oak Tree, Kirkland Parkplace, Lincoln Square, Cinebarre, Pacific Place, Bainbridge, others

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food&drink»

Flipping the Script

Who says dim sum should be limited to Chinese food? BY HANNA RASKIN

in detail. Their sales skills are important, since even in cities with significant Filipino populations such as Seattle, Filipino food is frequently misunderstood. “A lot of people don’t know what Filipino food is,” Castrence says. “It’s not like Chinese or Vietnamese. It’s just home cooking.” The Flip Sum concept is not only brilliant, but absurdly cheap. One-pot dishes and lots of pork always help keep food costs down,

It’s hard to think of a cuisine more naturally suited to dim sum treatment than Filipino. but even a home economist would be startled by the tab at Isla Manila, which operates on an all-you-can-eat basis. At dinnertime, eaters pay $12.99 to have as many servings as they can stand of 13 different items, freshly made that morning, plus soup, lumpia, and dessert. On Fridays and Saturdays, Castrence charges $13.99. “I can honestly say I’m the first Filipino restaurant to do all-you-can-eat,” Castrence says. “They don’t have this in California or Las Vegas.” When a restaurant is out-valuing Vegas, home of the $7.95 steak, that’s a deal worth claiming. And while bargain hunters may not particularly care about the quality of what they’re eating, restaurantgoers who are more inclined to clip recipes than coupons will be thrilled by the dishes at Isla Manila, which are uniformly satisfying.

hraskin@seattleweekly.com ISLA MANILA BAR & GRILL 11740 15th Ave. N.E., 365-2500. 11 a.m.–2:30 p.m. & 5–9 p.m. Tues.–Sat.; 11 a.m.–4 p.m. Sun.

Seatt le w eekly • FEBRUARY 13−19, 2013

ike many strip-mall restaurants, Isla Manila doesn’t have much in the way of interior decoration: A few ornamental fans and plants share a back wall with a small flat-screen TV, and the tilefloored room is lit with fluorescent bulbs. But there’s plenty of character on the plates, starting with a meaty, gingery sinigang soup, its tamarind-inflected broth cluttered with tender long beans, shards of onion, and leafy greens cooked until they’re slack as pulled cotton. When a recipe calls for greens, Castrence often uses spinach; he’s had trouble locating fresh bitter melon leaves and refuses to use anything from the freezer case. Other adjustments to tradition include a dinuguan, or blood stew, made with boiled pig ears and stomach instead of liver and intestines, and generously supplemented with plain pork meat. But even without the usual offal, the greasepaint-dark stew has a deep, vinegary flavor. “I was surprised myself,” Castrence says. “Americans kind of like it.” There’s so much pork on Isla Manila’s carts that Castrence doesn’t pretend it’s an appropriate choice for eaters with dietary restrictions: “Filipino is not like a vegetarian kind of thing,” he says. But for swine fans, there’s a fantastic charred barbecued pork that nearly crosses the jerky line, and perfectly sour pork adobo swimming in soy sauce. Beef lovers will appreciate the hearty kaldereta, a simmered dish bright with tomato sauce and bell peppers. The prettiest of Isla Manila’s dishes may be a ginataan, or coconut-milk stew, which purchases its pop from Thai chiles. A whole grilled shrimp sits atop the diced jackfruit and white squash. While Isla Manila may not appeal to vegetarians, who probably wouldn’t warm to Castrence perpetually leaning on beef broth for flavor, there are all sorts of interesting vegetables here, including the okra pods which crisscross the pinkabet, a shrimp paste–enhanced pork stew which also features bitter melon. Castrence is fond of the added touch: He sautés and grinds shrimp for the sauce he applies to pancit bihon, the slippery fried rice noodles that appear at every Filipino party. “What I have in mind,” Castrence says, “ is I want to be different than anybody else.” E JOSHUA HUSTON

hen I worked as a server and had ample opportunity to observe how quickly patrons’ ravenousness tapers once seated, it occurred to me that restaurants were probably damming an impressive revenue stream with the standard menu-ordering system. Rather than make customers wait for what they want, why not auction just-prepared dishes to the highest bidder? Judging from the famished eyes which fixated on the pork chops and Cobb salads I ferried through the dining room, I figured instant gratification would be good for at least a 50-percent markup. Yet restaurants have clung to conventional service models with remarkable tenacity. You’ve got your cafeteria, your buffet, your counterservice joint, and your sit-down eatery, and if none of those styles satisfy, you can order takeout. Recent attempts to revive the automat have failed miserably, with New York City’s heavily promoted Bamn! lasting a mere two years before a banh mi impreAt Isla Manila, it’s all-you-can-eat sario took over the venue in 2009. He sold his by the cart. sandwiches the traditional way. Still, there are glimmers of innovation. At the year-old State Bird Provisions in San logistics of preparing fancy meals in home Francisco, servers wheel about dim sum carts kitchens became oppressive. In 2008, he purloaded with small plates of tuna tartare, fried chased Atrium Bistro, a small cafe in a strip pig ears, and duck-liver mousse. And, closer mall near his old Northgate travel agency. He to home, former travel agent Carlos Casinitially stuck with the cafe’s standing menu trence has invented what he calls “Flip Sum.” of sandwiches, content to quietly insert a Flip Sum is exactly like dim sum, except few Filipino specialties, but he became more that it’s served both day and night, and the receptive to customer feedback as the recessteam baskets lining the rolling silver carts sion flared. are filled with Filipino food. There’s no prec“The customers said, ‘Why are you servedent in the Philippines for Flip Sum—which ing Filipino-American? You’re not Filipinotakes its name from an historically derogaAmerican. You’re Filipino-Filipino!’ ” Castory term that’s evidently been reclaimed by trence recalls. So last November he rechrisyoung Filipinos—but Castrence says he was tened his restaurant Isla Manila, and debuted inspired by Filipino buffets in Rainier Valley. the Flip Sum format that had taken him eight What he wanted most was to replicate the months to devise. diversity and affordability of those buffets Dim sum–style service may ride its State without dumping his stews and adobos into Bird Provisions bump to increased promisteam-table tanks. nence at upscale restau“It’s like a person who rants nationwide, but it’s cannot breathe,” comhard to think of a cuisine » PRICE GUIDE LUNCH $10 99 plains Castrence, who 30 more naturally suited to DINNER $12 99 years ago followed his the treatment than Filiparents to the U.S. He pino. Its staples are longalso wasn’t keen on buffet cooked dishes which don’t hygiene: “For example, every single person suffer from a few trips around the room, and is holding the tongs. Who knows where they cautious eaters who might not order off a came from? It’s unsanitary. We wanted clean Tagalog menu are apt to try tiny servings of everything.” dishes they can visually assess. Isla Manila’s gregarious service staff—“Welcome to salmonella!” our server roared before asking astrence, 52, spent five years for IDs, a gambit to learn names which he catering after leaving the travel used pointedly throughout the evening—is industry, but started shopping trained to show off and describe preparations for his own restaurant when the

food&drink»Featured Eats $ = $25 or less per person; $$ = $25–$40; $$$ = $40 and up. These capsule reviews are written by editorial staff and have nothing to do with advertising. For hundreds more reviews, searchable by neighborhood and type of cuisine, go to seattleweekly.com/food.

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sober employee on the team. The Drink: When Scott asks what I like, I say only that I like whiskey. He makes me a Red Hook, a Manhattan variant made with rye, Punt e Mes, and maraschino. Created by The Watering Hole: Jak’s Grill, 3701 N.E. Enzo Errico of New York City’s Milk & Honey 45th St., 985-8545, LAURELHURST and named for a hip neighborhood in south The Barkeep: Ballard native Mick Scott Brooklyn, it’s a classic spirits-forward cocktail has worked in the restaurant industry since he that most whiskey lovers would enjoy. was 13 and tended bar since he was 21. Asked Scott relies on memories from his drinkwhich rye whiskey he’d used in my cocktail, he ing days when recommending a wine, beer, didn’t have much to say, adding “I quit drinking or cocktail. The culinary-school graduate eight years ago—I haven’t understands flavors and can personally tried it.” Scott then look at a drink recipe and talked about the challenges of understand the flavor profile being a “dry” bartender, how it is going to create. He has he uses senses other than continued his education with taste to inform his palate, and wine classes, but though how knowing the product is he sniffs, he never tastes. in fact a small part of what a “Unless I am serving a real bartender needs to do to be cork dork, I can confidently successful. recommend a wine to them.” The Verdict: I saw a lot of Being surrounded by booze free pouring behind the bar at work can be intimidating, at Jak’s. If I weren’t sampling he admits. He loves what the drinks, I think I’d measure he does, but alcoholism is everything. But Scott, who’s “definitely an occupational Free-pouring Scott. bartended for 17 years, can hazard.” He doesn’t have likely mix drinks with his eyes the compulsion to drink, but closed. The Red Hook’s Punt knows other recovering alcoe Mes is more bitter than the sweet vermouth holics don’t fare as well. He credits his success used in a Manhattan, but is balanced by, and at his job and in recovery to his joy in his work: gets a bit of sweetness from, the maraschino. “Restaurant and bar professionals in for the After meeting Scott, I thought a great deal long haul, that really have a passion for what about bartending’s ratio of product knowledge they are doing, can make positive changes to customer service. Most of the great bartendrecovery-wise, and stay in the industry as long ers I’ve come across, and many I’ve profiled as their soul is in the business. Anyone out here, are knowledgeable, but also extremely there struggling that knew me as a practicing customer-focused. Scott thinks about 20 peralcoholic would most likely say, ‘If he can do it, cent of the game is product knowledge: “I’ve anyone can.’ ” spent years learning and studying what I do, Scott now lives in North Bend with his wife and although my people skills and genuine love and two young children. He works four days for my guests make me successful, I think a a week at Jak’s—both the Laurelhurst and large part of that success with my guests, and West Seattle locations—and hits the slopes, ability to build regulars and repeat business for practices yoga, reads, and instead of throwmy employers, plays into my overall knowledge ing back a few drinks to unwind after a shift, “watches bad TV.” In an industry rife with drug of food and beverages.” E food@seattleweekly.com and alcohol abuse, Scott says his current and

» by sonja groset

Gone Dry

SONJA GROSET

Seattle weekly • FEBRU ARY 13− 19, 2 013

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won fans with its pert cocktails and fairly priced spicy tuna rolls, not its omakase. No matter: The fish is fresh, the vibe is homey and the restaurant saves Ballardites the trouble of straying too far from the ‘hood. $$ ZAYDA BUDDY’S PIZZA 5405 Leary Ave. N.W., 7837777. Instead of Tabasco or Sriracha, Zayda Buddy’s serves squeeze bottles of Secret Aardvark hot sauce, a Portland product with a distinct habanero tang. The menu could be classified as “enlightened cafeteria.” Think of the food you associated with a day of the week in elementary school: burgers, sloppy Joes, Tater Tot BALLARD casseroles. Substitute real ingredients instead of glop SAM’S SUSHI BAR & GRILL 5506 22nd Ave. N.W., from No. 10 cans, and you’ve got a lock on the chefs’ 783-2262. There are nights when you to eat sushi, style. But if the sauce on the signature thin-crust pizzas Joinwant us April 15th - April 30th and nights when you want to blow a ton of money on is bland and the beer-cheese soup is under-seasoned, and common, receive athere’s complimentary dinner, and since the former are more nobody at this good-natured beer joint is complainSam’s. The service and decor at aren’t too different ing. So long as the Twins are on the television and the Tiramisu with entree purchase. from what you’d encounter at a roadside pancake Leinenkugel’s flowing, it doesn’t much matter whether house, but the raw fish is of surprisingly high quality the hot dish is short on cream of mushroom soup: After for the price. $ all, there’s nothing Secret Aardvark can’t fix. $ SHIKU 5310 Ballard Ave. N.W., 588-2151. Some neighborBEACON HILL hoods count dry cleaners and gas stations as necesEL DELICIOSO 2500 Beacon Ave. S., 322-1307. The counsary amenities. In Ballard, the list includes a cozy sushi ter in the southern end of the ABC Market, Beacon Hill’s den, a niche neatly filled by Shiku. The brick-walled Chinese-Mexican grocery store, advertises tacos, empalounge is fond of embossing its menu and website with nadas, and tortas. Most customers are eating pupusas, adjectives like “inventive” and “innovative,” but there’s the cornmeal cakes stuffed with your choice of fillings, nothing really mind-blowing here. The quasi-izakaya’s Monday - Thursday 5-10pm, Friday - Saturday 5-12am, Sunday 5-9pm Brunch Sat - Sun 9am-2pm

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food&drink»Featured Eats patted out and fried to order. Each costs less than $2, and they come with a hefty dose of oregano-spiked, tart cabbage slaw. The only downside is that you have to cut them apart with plastic knives and sporks. $

BELLTOWN

MAMA’S MEXICAN KITCHEN 2234 Second Ave., 728-

6262. With all due affection, Belltown fixture Mama’s Mexican Kitchen looks like whatever has been filling the minds of several eccentric souls has exploded onto its walls. It would take an awfully haughty person to begrudge the place its cheap, huge chicken screamer (chicken and sour cream) or Nolasco (veggie) burritos. Mama’s boasts Mexican tchotchkes, killer margaritas, random paintings, strings of lights, a bit of Marilyn, and, of course, the famed Elvis room. $ TILIKUM PLACE CAFE 407 Cedar St., 282-4830. Tilikum Place is an unexpectedly successful hybrid between an all-day diner and a erudite little bistro. During the day, Chef Ba Culbert serves nostalgic classics like baked beans on toast and airy Dutch babies made to order in cast-iron pans. The day’s sweet option may be laden with roasted apple slices and walnuts, the savory, with tendrils of duck confit. Dusk shutters the Cafe’s wide-open atmosphere, transforming it into an intimate hideaway. Now’s the time to order the specials of the day, which can be anything from scallops set atop two purees, yam wasabi and spinach, or a tender haunch of rabbit with spinach-mushroom dumpling cakes. $-$$ TWO BELLS BAR & GRILL 2313 Fourth Ave., 441-3050.

ALittLeRAskin » by hanna raskin

iMenus

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CAFE LAGO 2305 24th Ave. E., 329-8005. From the regu-

lars cozied up to the counter to the black-and-white checkered floor, Cafe Lago is like an Italian Cheers blended with Mayberry’s barbershop. It’s welcoming, unhurried, and neighborhoody, with the waitstaff dispensing good-natured barbs and advice as easily as Chianti and antipasti. The cooks make each and every

as Arsenault likes to tell restaurant owners—63 cents a day over a year. “We guarantee interactivity will bring in more than 63 cents a day,” Arsenault says. “Pictures of food make people order more.” Using Menuvative’s app, restaurant guests can visually customize their steaks, plopping grilled shrimp atop a filet mignon. “When you see shrimp on your steak, it’s impossible to say no,” Arsenault says. The software also allows restaurants to update their menus instantly; append lengthy descriptions to dishes, including nutritional information; and push promotional deals. For example, one of Arsenault’s clients annually sells holiday gift certificates. In 2012, the company’s seven restaurants equipped with tablet menus sold 47.9 percent more certificates than they had in 2011, a jump Arsenault attributes to a dedicated page on the digital menu. At the restaurants using paper menus, gift-certificate sales rose only 9 percent. “It equated to $200,000 more,” Arsenault says. Since Menuvative’s tablets are set up to run only menu software, Arsenault claims they don’t pose a tabletop distraction or theft risk. And he argues they’re more hygienic than paper, since a swipe of Windex will sanitize a tablet. But he concedes that elderly guests may have trouble adapting to the technology, and so advises his clients to keep a few paper menus handy—although he’s not certain too many customers will request them once a few major players take the plunge. “I just really think once people get past the fear of something different, it’s going to catch on like wildfire,” he says. E

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Among the novelties presented at the cruise-ship restaurant featured in a recent episode of Top Chef was a tablet-based menu, which—three years after the iPad’s introduction normalized digital wine lists—still retains its ability to make diners ooh and ahh. But a producer of tablet menu software believes the falling costs of tablets could nearly wipe out paper menus in coming years. “I’d be surprised if, three years from now, a majority of restaurants are using paper,” says Eric Arsenault of Menuvative. According to a study conducted last year by research firm Technomic, 51 percent of consumers surveyed think it’s important for restaurants to integrate technology into the ordering process. They’re “most interested in seeing more tableside touchscreen devices that enable digital ordering and at-table payment, digital rewards tied to loyalty programs, and menus on iPads and other tablet devices,” Nation’s Restaurant News reported. Yet tablets have been slow to catch on because of the sheer number of tablets needed to properly equip a restaurant. While a high-end restaurant may not need dozens of digitized wine lists, a busy family-style restaurant can’t ask its 200 guests to share 10 tablets. “It’s a barrier to entry,” admits Arsenault, who has never seen a tablet menu outside of the very small group of restaurants he supplies. When in 2010 Bone’s, an Atlanta steakhouse that distinguished itself as an early adopter of tablet technology, bought a set of iPads to serve as wine lists, each device cost $499. The price has since dropped to about $250, or—

An old-growth bar in a forest of stripling condos and high-end furniture shops, the Two Bells remains one of Belltown’s rare constants. The burgers, served on unwieldy French rolls with caramelized onions and mustard sauce, are exceptional. Plus, the cooks don’t overlook the little things—the potato salad has zip, the pickles aren’t shriveled and bruised, and they’ve even got bendy straws. The allure of the tavern, however, extends past the food and beer; it’s a friendly place and has always been. $ VIRGINIA INN 1937 First Ave., 728-1937. Twice its original size, but with barely a seam between the old and new sections, the century-old Virginia Inn has managed to stay timeless while allowing diners to stretch their legs. The bar’s approach to food is still fresh takes on American standards, given that in the new millennium tradition encompasses mussels and fries and pasta alfredo as well as Dungeness crab cakes. There aren’t many better two-hour lunches than relaxing on the outside patio, with a pint of Manny’s and a French dip, looking out over the Market while you down house-made potato chips. $

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noodle by hand: fresh fettuccine, tossed with sautéed pancetta and asparagus in a spicy tomato sauce; a delicate, creamy lasagna marred only by a standard red sauce; and tender potato gnocchi served in an electric-orange sauce of tomatoes, cream, and vodka. Other popular items include a Gorgonzola-topped New York steak and a handful of wood-fired pizza pies. $$ MIRCH MASALA 213 Broadway Ave. E., 709-0111. The instant you walk into Mirch Masala in Capitol Hill, the servers greet you warmly, as if they’ve been preparing a meal in anticipation of your arrival. Specializing in classic Indian cuisine, the restaurant’s chef Sanjay Sharma uses recipes handed down in his family over several generations. The butter chicken is so tender it practically melts in your mouth, the lamb boti masala is drenched in a creamy, seasoned stew. You can sample a dozen or more of Sharma’s specialties during the impressive $7.95 lunch buffet (11 a.m.-3 p.m. daily), as long as you don’t fill up on the fresh naan they bring to your table. $ OLYMPIA PIZZA AND SPAGHETTI HOUSE III 516 15th Ave. E., 329-4500. This cozy, if not divey, eatery comes complete with take-out counter and red pleather booths. Their pizzas are thick, cheesy, Greek-style, and made to order, though there are 28 recommended combos. If you are superhuman, try the desserts, made with Oreos, ice cream, and lots of sinful sauces. $ PADRINO’S PIZZA & PASTA 2357 10th Ave. E., 3226300. They don’t skimp on the ingredients at Padrino’s. The small family-owned eatery’s pizza is made using homemade dough and sauce. And your pie comes not just covered, but smothered with the topping(s) of your choice, which include prosciutto, artichokes, and mushrooms. Also available are hearty pastas, calzones, and desserts. Best of all: Free delivery until 3 a.m. daily. $ PIECORA’S 1401 E. Madison St., 322-9411. The platonic ideal of an old-school Italian-American pizzeria, Capitol Hill’s Piecora’s manages to simultaneously comfort and rock; you could bring kids here, or you could drink beer in a cushy red booth until you’re loud and obnoxious. The pizza is a fine underlayer for a night out or hangover salve; its New York-style crust is crisp but not crackery, its toppings include the regulars and some fancier stuff (feta cheese, roasted garlic). Heroes and pasta dinners are also available, though that would mean you’re not having pizza, and that would be kind of wrong. $ PLUM BISTRO 1429 12th Ave., 838-5333. Riding on the success of Hillside Quickies where she’d been chef, Makini Howell launched this upscale all-vegan temple in Capitol Hill and its powerful flavors quickly earned her a lovestruck following. The vegan approach here is less from the hippie tradition and more from the school of meat substitution, with a strong nod to Southern tradition: po’boys, collard greens, mac ‘n’ yease, fried okra. The tastes are intense and the textures equally so. Everything’s made and presented more artfully than at Hillside, and during a summer brunch, with the big front window rolled up and hotcakes to feast on, your meat-eating friends might really start to question the temptations of the flesh. $$ POPPY 622 Broadway E., 324-1108. Hate looking at a menu and trying to pick just one dish? Poppy takes the tapas trend to a whole new level, offering Hinduinspired thalis: large platters with several small bowls filled with delicious foods of one kind or another. In India, that means curries, rotis, and chutney. Here that means fusion delicacies, as Poppy strays far from its Indian inspiration, though a few traditional elements remain. A given day’s 10-item thali might consist of duck leg with huckleberry sauce and fennel salad in addition to naan. The many small delicacies delight taste buds, but aren’t quite filling enough if you’re suffering a powerful hunger. That said, thanks to an inventive drink list (think curry leaves and bell peppers) and a delicious bar menu (whatever you do, get the eggplant fries with honey), Poppy is the perfect place to down cocktails when you and your indecisive friends are in the mood to taste an entire menu in one sitting. $$-$$$ SMITH 332 15th Ave. E., 709-1900. The decor at this popular Capitol Hill pub looks like it was patterned after your old English professor’s home study, the impossibly pompous one who treated “The Sun Also Rises” like gospel. The abundant wood paneling is brown enough to appear black and there is a puzzling amount of stuffed (and mounted) animals. But for all of its taxidermy weirdness, the atmosphere (and the bar) are probably the best things about Smith. The menu—though styled for gastropub simplicity—isn’t expert enough to warrant a special trip just for a meal. Burgers, poutine, mac-and-cheese and the like make up the bulk of the board, with occasional high-tone touches like sweetbreads adding little of note. $$

CENTRAL DISTRICT

TANA MARKET 2518 E. Cherry St., 322-3835. Tana Market

is equal parts all-American mini-mart, Ethiopian grocery supplier, and restaurant offering large plates of Ethiopian dishes alongside manhole cover-sized discs of sour, crepe-like injera. The beef tibs, a typical Ethiopian stew, is made with sliced beef, onions, jalapenos, and a ton of berbere (a common Ethiopian spice mixture typically containing fenugreek, basil, garlic, ginger, and a healthy dose of heat in the form of chili peppers). These dishes are made for two (or four) to share and are around $13. $

DOWNTOWN

MAD OVEN BBQ 213 Marion St., 625-0375. If barbecue

joints are churches, then Mad Oven is a storefront chapel. The digs may not be very flashy, and the ministry may not be as popular or as well-publicized as others in the city. But the sermons (sandwiches of pulled pork, beef brisket, or hot link, all sauced appropriately) are solid enough to keep the congregants coming back. $ MARKET BAGELS 1525 First Ave. Market’s bagels aren’t bad by any stretch. The basic flavors are all covered— onion, jalapeno, sun-dried tomatoes, blueberry. Be sure to pick up a tub of salmon cream cheese. It is full of fat and chunks of smoked salmon. A thick schmear on a bagel of your choice makes for an ideal lazy Sundayafternoon snack. $ STEAMERS SEAFOOD CAFÉ 1200 Alaskan Way, Ste. #101 (Pier 56), 623-2066. For under 10 bucks, you end up with a goodly portion of very nice Alaskan cod and chips. Have them English-style with vinegar, or go American with ketchup and tartar sauce. Other menu items are less successful, so take your fish and chips outside and soak up a little sun. $

MADISON VALLEY & MADISON PARK LA COTE CREPERIE 2811 E. Madison St., 323-9800.

Tiny La Cote Creperie, and its waitstaff, are adorned in Gallic blue and white. The cafe serves two kinds of crepes, Breton style: dark brown, crisp-edged buckwheat savory crepes and lighter, wheat-flour dessert ones. Though a super-capacity stomach may groan in the presence of one of La Cote’s gossamer square crepes “stuffed” with ham and cheese or salmon, it needs to can the rumbling, because chances are good it will end up full and content. Besides, is ordering a caramelized apple crepe for dessert (at $7, to boot) such a torture? $ NISHINO 3130 E. Madison St., 322-5800. Listen closely to the conversation in Madison Park’s Nishino, and you will hear the sound of money (not to mention the hundred-thousand-dollar view of the Fay Jones paintings on the walls). But even if you aren’t in the fiscal no-sweat set yourself, it’s worth it to splurge here from time to time. You simply can’t find more impressive sushi in Seattle: buttery salmon, meaty Spanish mackerel with no sea taint, sweet octopus. While Nishino keeps to the classics in its nigiri and maki, the small plates and cooked dishes venture much farther into Northwest-Japanese fusion, just as beautifully done. And everything tastes better with a bamboo box of cold, top-notch sake. $$$ ROVER’S 2808 E. Madison St., 325-7442. It would require many dollar signs to convey how expensive a meal at what many consider Seattle’s best restaurant can be when you go all out, but you won’t regret a single dollar of your splurge. When chef Thierry Rautureau whips up five or eight courses featuring seafood, caviar, foie gras, minted tea sorbet, and squab with cauliflower mushrooms, then tops it off with “a symphony of desserts,” you will want to give him a standing ovation-that is, if you can still stand. Diners seem to get daunted by the hushed-voice (flawless) service and the doorstop wine list, but Rautureau swears you can pop in for a couple of dishes and a glass of wine. Consider taking him up on his dare. $$$

MAGNOLIA & INTERBAY

PALISADE 2601 W. Marina Place (in the Elliott Bay

Marina), 285-1000. Palisade is a great place to take out-of-towners and aged aunties (especially if they’re paying): It’s got its own inland sea with a bridge, a waterfall, and tide pools, as well as an unbelievable view of the city and the Sound. The menu favors grilling: Try the spit-roasted prime rib and grilled prawns combo, or anything alder- or cedar-planked. $$$ ROMIO’S PIZZA & PASTA 2001 W. Dravus St., 2845420. Always weird lighting in this Interbay corner store–too bright here, too dark there. What the hey, close your eyes and enjoy the never-disappointing pies or a memorable (cholesterol-busting) baked spaghetti. $-$$

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THE ART OF VIDEO GAMES IS ORGANIZED BY THE SMITHSONIAN AMERICAN ART MUSEUM WITH GENEROUS SUPPORT FROM THE ENTERTAINMENT SOFTWARE ASSOCIATION FOUNDATION; SHEILA DUIGNAN AND MIKE WILKINS; SHELBY AND FREDERICK GANS; MARK LAMIA; RAY MUZYKA AND GREG ZESCHUK; ROSE FAMILY FOUNDATION; BETTY AND LLOYD SCHERMER; AND NEIL YOUNG. THE C.F. FOUNDATION IN ATLANTA SUPPORTS THE MUSEUM’S TRAVELING EXHIBITION PROGRAM, TREASURES TO GO. GUNSTAR HEROES, TETSUHIKO KIKUCHI, COOL CHARACTER CREATOR; HIROSHI IUCHI, BACKGROUND ART, SEGA, 1993

Reverb»

The Wristbandization of Classical Music

Maybe what it needs to build its audience is a little exclusivity. BY GAVIN BORCHERT

and tweet during a performance is what today’s multitaskers crave, or because a casual atmosphere relieves you of the onerous burden of paying attention. It’s because informality enables deeper listening. The inaugural [untitled] lineup was challenging: Cage, Scelsi, Xenakis, Brown, and Feldman, music full of easily obliterated subtleties that reveals its wonders only to listeners prepared to commit. But just as you fidget less in comfortable clothes, the [untitled] audience was dead silent and laserfocused because of the unconventional setup, not despite it. Dubinets confesses they weren’t sure how the audience would react: “We were concerned about the extra noise, [but] we were amazed how quiet it was.” But this wasn’t an unprecedented phenomenon: Anyone who’d attended the Tractor Tavern’s chambermusic concerts or the KeyArena simulcast of Seattle Opera’s Madame Butterfly already knew it was true. For some, a concert hall is already an ideal space for concentrating on music, but for others it’s not—and it’s the space, not the need to concentrate, that keeps them away. The second point, the appeal of insideriness, crystallized suddenly when I arrived at [untitled], as an usher tore my ticket and directed me to another lady who wrapped a pink adhesive strip around my arm. Of course: What, after all, is a wristband but a way to distinguish who’s in from who’s out? Thanks to that simple detail, the event felt less like church and more like a club. We were the anointed, in on something special—not unlike the devoted knot of fans who pack tiny bars to follow a band before they hit it big, and pride themselves on being there back when. Along with making concerts seem less stuffy and all the rest of it, the classicalmusic world needs to find a way to make them seem like something you have to be a part of—and that’s exactly the atmosphere the SSO was able to create with its Untuxed and [untitled] series (even with halfcentury-old music). There was a vibrancy in the air even beyond the fun of the turntables and the pillows—a sense that those not there were missing out. That wristband symbolized an important distinction: Yes, this music can be enjoyed by anyone—but that doesn’t mean it must be enjoyed by everyone. E BEN VANHOUTEN

Ludovic Morlot conducts October’s [untitled] . . . in the lobby.

Concerto for Turntables and Orchestra, with DJ Madhatter spinning and scratching to a string accompaniment. Overall, the response was just what the SSO wished: At Untuxed, the ratio of the under-40 audience members to the over-60s seemed to be just about the reverse of what it usually is, and the SSO reports that 25 percent of the [untitled] audience was first-time attendees. This Friday, [untitled] will take a step further away from the norm with a concert built around Arnold Schoenberg’s hallucinatory, expressionist song cycle Pierrot lunaire (1919). By popular demand, the 9 p.m. pre-concert returns (“It was so successful last time that we were basically required by the audience members to do it again,” says Dubinets), with a performance of Schoenberg’s slyly decadent Brettllieder, or “Cabaret Songs”—which inspired a cabaret setup this time, with small tables crowded around the performance space and a lobby bar open for business, even during the music. “We will ask the bartenders not to do ice, that’s the noisiest thing.”

he orchestra’s experiment made two things clear. First of all, conventional wisdom is only half right. Concertgoers do relish informality—but not because silence is oppressive, because being allowed to chat

gborchert@seattleweekly.com SEATTLE SYMPHONY: [UNTITLED] Benaroya Hall, Third Avenue and Union Street, 215-4747, seattlesymphony.org. $17. 10 p.m. Fri., Feb. 15.

Seatt le w eekly • FEBRUARY 13−19, 2013

he scene in the Benaroya Hall lobby, one Friday night last October, must have startled both those people who’d been to Seattle Symphony concerts before and those who hadn’t. It’s the first night of [untitled], the orchestra’s late-night contemporary-music series. Around 9:30 p.m., the crowd is gathering, not dispersing. Drinks in hand from the openlate cafes in the Hall’s Third Avenue atrium, a few concertgoers (those who feel most comfortable listening to classical music in neat rows) claim the folding chairs set up in front of a marked-off performance space, but the rest spill over onto the floor, up the stairs, to the balconies. The mood, curious, then eager, grows downright electric as the space fills to capacity; it could be a First Thursday, a VIP restaurant opening, a swank show at the Triple Door. But when the music starts—abstruse, high-modernist— the buzz of anticipation changes completely, to rapt silence. Even from of wealth and class, billing itself as a path those lounging on pillows on the carpet. to social status and gracious living. But the What was most unusual about that snob appeal eventually drove away more evening, though, was not what happened, fans than it drew, and the fight to counbut how. The event surely upended a lot of teract that image has been the classical preconceptions—from those newcomers world’s feverish preoccupation for years the SSO covets, yes, but even more from now—leading to some dubious gimmicks those who think they know what needs to (q.v. the Cincinnati Symphony’s recent be done to nab them. experiment with designating “tweet seats” Informality, accessibility, openness, for concertgoers whose thumbs can’t keep a sense of welcoming—these are virtues off their smartphones) as well as some welwhen it comes to the public presentation come mold-breaking. of art, and this is the Attacking from both front on which the angles the problem of classical-music indusYes, this music can be attracting new auditry has been battling enjoyed by anyone— ences, the Seattle to stay solvent for decades. But in its but that doesn’t mean Symphony’s pairing [untitled] condesperation to be it must be enjoyed their certs with a second loved, it’s overlooked by everyone. innovative concert that these also are series, Untuxed: short virtues: insideriness, 7 p.m. after-work conexclusivity, a sense of certs, one hour in and out, with orchestra discernment, of being in on something the members dressed down in black slacks unenlightened can’t appreciate. Though or jeans and solid-color tops. In October, these days classical musicians love to see quite a few people took in both Untuxed themselves as the enemies of elitism, even and [untitled], despite the huge style shift elitism can further art’s cause when its from one series to the next: first Mozart power is harnessed carefully. For example, and Haydn, then music from two centuries about 20 years ago Seattle built an entire later. This crossover surprised the SSO: musical genre and a world reputation “People loved staying after the orchestral by overtly catering to a niche audience. concert and mingling with our musicians, Born in garages and divey small clubs, its and then taking in more music,” says Elena cliquish repudiation of mass taste—we get Dubinets, the orchestra’s vice-president of it and you don’t—was a large part of what artistic planning. made it a success. To lubricate the mingling, the SSO The American classical-music biz used offered an hors-d’oeuvre at 9 p.m: a lobby to do this—better than anyone, in fact. performance of Gabriel Prokofiev’s 2007 Where it screwed up was to mix in issues

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happy hour every day • 2/13 kitt bender / brad gibson duo / tiger’s wood • 2/14 michael gotz / the clinton ellison experience • 2/15 science! / the blackberry bushes stringband • 2/16 country lips • 2/17 wes weddell band • 2/18 free funk union w/ rotating hosts: d’vonne lewis and adam kessler • 2/19 singer-songwriter showcase w/ cynthia alexander, lotte kestner and melissa levi • 2/20 vaudeville etiquette / fawcett symons and fogg TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY

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»TELL ME ABOUT THAT ALBUM

Mellon Collie and the Infinite Sadness The Seattle Rock Orchestra takes on the Smashing Pumpkins, and an alt-rock classic. BY DAVE LAKE

he latest performance by Scott Teske and his four-year-old Seattle Rock Orchestra tackles the music of Smashing Pumpkins, specifically songs from the albums Siamese Dream and Mellon Collie and the Infinite Sadness— music that seems perfect for the SRO treatment with its soaring melodies, emotional highs and lows, and rich textures. We caught up with Teske in advance of the orchestra’s February 16 show at the Neptune to talk about the band’s enduring legacy, and why singing Billy Corgan’s parts are so tough. But mostly we just wanted to talk about Mellon Collie. SW: You were 13 when Mellon Collie was released in 1995. What is it about the album that’s stuck with you and so many music fans all these years later? Teske: Being a teenager, it was the perfect

expression of teenage angst and that melancholy at the same time. It really speaks to the teenage experience, and for a lot of people that are my age, hearing that music and feeling those strange new feelings really got

“One singer told me that Billy Corgan’s range is like that of a space alien.”

“Tonight, Tonight” already has an orchestra in its arrangement. Will you faithfully recreate it, or will you perform a different version?

I think we’re going to be pretty faithful. The parts are there, people know the parts, and they’re so iconic that I think for that one, we’re going to basically recreate it. Will any Billy Corgan solo material be represented, or anything from Zwan?

We are sticking solely to Mellon Collie and the Infinite Sadness and Siamese Dream. We didn’t market it that way because we wanted the flexibility to do whatever we wanted, but given that they have so many records, as we went down the list of which [songs] to do, all the ones which were most known and loved and which would call for the orchestral treatment happen to be on those records. The guitars on the album are tuned down a half-step—and in some cases, the top string a full step—to give the record

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a heavier vibe. Did this pose any issues in your arrangements?

We have done some transposing of just about every song. Some transpositions are for vocal reasons. One singer told me that Billy Corgan’s range is like that of a space alien and is mostly unnatural for a lot of other singers—both men and women. So we take things up or down for both sexes. You usually play bass with the orchestra. How has it been learning D’arcy Wretzky’s parts? Is she a good bassist?

She is probably the least adventurous bass player of all the artists that we’ve covered, which doesn’t mean the parts are easy, because a lot of times she’s doubling what the guitars are doing, and Billy and James Iha are phenomenal guitarists, so those are nice parts. But because of all the key changes and because we’ve made them more natural for our string section, a lot of the keys now are not necessarily friendly for me as an electric-bass player.

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Seatt le w eekly • FEBRUARY 13−19, 2013

linked together. The music really pressed on those memories and emotions. To hear [the album] is very evocative of that time in my youth.

Teske: “For a lot of people that are my age, hearing that music and feeling those strange new feelings really got linked together.”

Reverb»

Do you have a favorite Pumpkins song?

My favorite that we are going to perform is called “Jellybelly” and it is the third track on Mellon Collie and the Infinite Sadness. I remember putting the album on and hearing the piano track and thinking, “This is beautiful,” and hearing “Tonight, Tonight” and thinking, “Oh, that’s beautiful.” And then “Jellybelly” comes on, and that’s where we get the distorted guitars, and it just takes you to another place. I think it made even more of an impression because there were these two beautiful tracks that preceded it. E music@seattleweekly.com SEATTLE ROCK ORCHESTRA With Hobosexual. The Neptune, 1303 N.E. 45th St., 682-1414, stgpresents.org. All ages. $13.50–$20. 8 p.m. Sat., Feb. 16.

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Reverb»Reviews »EVERY LOCAL RELEASE

LOCAL BANDS Antoine Martel, “4 of 5” (out now, self-

released, antoinemartel.bandcamp.com): Martel, a Seattle native who’s studying music at Montreal’s McGill University, isn’t exactly forging new territory on this single from the forthcoming Coughdrops in Autumn, but it’s nevertheless a pleasantly lilting, sing-songy folk tune. ANDREW GOSPE

Brandon Torres , “Feed My Soul” (out

now, self-released, facebook.com/brandontorresmusic): This nearly 21-year-old singer/songwriter encompasses a classicrock-folky feel with nothing but his guitar and some impressive vocal chops.

JOE WILLIAMS

Foreign Friends, Maps (out now, self-released, foreignfriends.bandcamp.com): This electro-pop duo’s second EP release in the past six months finds them broadening their sound—think brooding, new-wave synth pads with the expansive ambition of someone like M83. Maps also includes two effective remixes of standout track “Magnets,” one from Seattle producer Futurewife. AG

Hot Bodies in Motion , Principle A

(out now, self-released, hotbodies inmotion.com): To be sure, Hot Bodies singer Ben Carson absolutely can howl, and he and his bandmates are skilled, nimble musicians. But the true stars here are the songs, skillfully composed threeand four-minute pop tunes dressed up in a blues-and-soul veneer, with just enough grit to balance the band’s overwhelming slickness. AG

Plateau , Everything Was Sweet (out now, self-released, plateauseattle.band camp.com): Garage-poppers love Big Star almost as much as they love the ’90s.

(2/15 Fish the Cat Records, theredwoodplan.com): The second album from this new-wave quartet finds the band blasting through high-energy electro-pop with nary a rest in sight. Singer/keyboardist Lesli Wood’s buoyant melodies dance above the band’s staccato guitar lines and electronic drums and her husband Larry Brady’s melodic bass patterns, giving the record a bouncy immediacy akin to new wave’s punk undercurrents. DAVE LAKE (Fri., Feb. 15, Neumos)

Wild Wants , We Are Committed to Excel-

lence! (2/13, self-released, wildwants.bandcamp.com): The new solo project of former Western Haunts bassist Derrick Wright is wildly different from his old band’s folk/ shoegaze hybrid. Here, Wright deals in ramshackle indie-pop tunes, his winsome, clever lyrics meshing nicely with the record’s homespun production. AG E music@seattleweekly.com

* LUSINE The Waiting Room (2/19, Ghostly International, lusineweb.com):

Jeff McIlwain writes film scores in addition to producing cerebral electronica as Lusine, and his eye for composition shows on his third Ghostly International full-length. The Waiting Room is an intricate, insular release, blending evolving synth textures and jittery IDM beats with live vocals (and, on the excellent opener “Panoramic,” live drums) across 10 slowbuilding tracks. But McIlwain doesn’t let fussiness obfuscate his songs; several, including the single “Another Tomorrow” and a cover of Electronic’s “Get the Message,” are clearly dance-floor-ready. By the arrival of the closer “February,” a deep-house cut reminiscent of Axel Willner’s work as The Field, McIlwain has veered from chin-scratching to hip-shaking, merging both into a coherent whole. ANDREW GOSPE

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Keith Morris may not blurt lyrics as fast or yell as inaudibly as he once did, but the founding Black Flag/Circle Jerks (and current OFF!) frontman has not lost an ounce of energy over the years—he’s simply focused it more acutely on his delivery. Few vocalists can get away with dominating a song the way Morris has on most of his projects; each track becomes a loosely poetic, feverish rant about whatever has most recently irked him. But Morris’ greatest talent is that he irks the issue right back, owning it before repurposing it as a battle cry. The constant venting definitely gets old after, like, two minutes, which is why it’s good that most of OFF!’s songs clock in at about half that length. With Negative Approach, Bad Antics . Chop

When beer-slugging sludge-metal champs After five albums and 17 years together, Red Fang aren’t trotting the globe with Mastalternative rock duo The Helio Sequence— odon, they’re releasing hilarious medieval Brandon Summers on guitar and vocals, L.A.R.P. slaughter music videos and dreamBenjamin Weikel on drums and keyboards— ing up skull-crushing changed things up on riffs to unload on their their latest Sub Pop audience. Life is good. release, Negotiations. Tune in to 97.3 KIRO FM Sure, they’re not the psyAfter having to move stuevery Saturday at 7 p.m. to hear music editor Chris Kornelis chedelic visionaries their dios under threat of being on Seattle Sounds. godly touring mates are, flooded out, the group but they’re more than decided to embrace vincapable of delivering some delightful low-end tage equipment like spring reverbs and anasnarl. Guitarist Bryan Giles’ gruff vocals harlog synths, which give the record a warmer, ken back to John Garcia’s surprisingly funcmore organic resonance. The purity cretional, antimusical bark on so many Kyuss ated by the undigitalized tools makes each favorites— even if he and bassist/co-vocalist sound stand out, and the heavy psychedelic Aaron Beam try to carry the melody a bit vibes send listeners into a dreamlike state. much for their brand of rock—but when the With Talkdemonic . The Neptune, 1303 N.E. balance is right and the build-ups start crash45th St., 682-1414. 8 p.m. $16.50 adv./$18.50 ing, they are definitely worth their weight DOS. ASHLEY ROE

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THE PRESIDENTS OF THE UNITED STATES OF AMERICA

SATURDAY FEB. 17–SUNDAY FEB. 18

So how does a band keep an annual residency fresh without a new record to support? “We will play a never-before-heard Presidents song,” says frontman Chris Ballew. “How about that?” That’ll work. Ballew says that the band is plotting the release of a few unreleased tracks from PUSA Vol. 1— the “Lump,” “Peaches,” “Mach 5” years—and will perform at least one this weekend. Oh, and both shows are all-ages, so feel free to bring the kids. After all, Ballew says the trio may take a crack at covering one of the rock-and-roll gateway drugs he pushes on young folks as Caspar Babypants. With Campfire OK, Aaron Daniel’s One Man Banned, Godfrey Daniels and the Red Balloon. 1426 First Ave. S., 628-3151, showboxonline.com. 7 p.m. $20–$25. All ages. CHRIS KORNELIS

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Creatively, New Zealand’s the Ruby Suns have traveled some distance from the playful ’60s pop of their self-titled 2005 debut to their latest release Christopher. Informing the new album is frontman Ryan McPhun’s reallife globetrotting; his recent stay in synthloving Scandinavia is heavily woven through it. The addition of Grizzly Bear/Beach House engineer Chris Coady to the brew contributes a singular dreaminess to tracks like opener “Desert of Pop,” which recounts a meeting with Swedish pop star Robyn, and “Dramatikk,” which pits the fanciful landscapes of Sigur Rós next to the chilly beats of The Knife. It’s a glossy little number, and McPhun has embraced the new landscape with aplomb. With Painted Palms, USF. Barboza, 925 E. Pike St., 709-9467. 8 p.m. $12 .

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Reverb»Seven Nights THE JESUS REHAB is a garage-rock duo comprising

brothers Jared and Dominic Cortese, whose raucous Drunken Hillbilly Fight Bar came out last year. With Hounds of the Wild Hunt, The Great Um. High Dive, 513 N. 36th St., 632-0212, highdiveseattle.com. 9:30 p.m. $8.

Saturday, Feb. 16 CITY FAIRE Golden-voiced Ayesha Musicbox is the focal

point of this quartet, whose vintage soul/blues hybrid doesn’t sound all too different from the formula used by Allen Stone. With Tango Alpha Tango, the Dirty Thoughts. High Dive. 9:30 p.m. $8. KLED is known for its eccentric, costumed live performances, which the trio’s sludgy, schizoid brand of metal makes all the more salient. With Shiplosion, Warning: Danger!. Blue Moon. 9:30 p.m. $6. RADIATION CITY This Portland quintet, set to release sophomore album Animals in the Median in May, plays art-damaged rock in the vein of Wolf Parade. With Black Whales, the Comettes. Tractor Tavern. 9:30 p.m. $10.

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Wednesday, Feb. 13

Friday, Feb. 15

DANIEL BACHMAN A deft imstrumentalist,

AYRON JONES & THE WAY Seattle’s pre-eminent blues

guitarist headlines this benefit for Seattle Teen Music, an organization that coordinates performance opportunities for young musicians. With Ben Union, School of Rock, Bleach Bar. Vera Project, 305 Harrison St., 956-8372, theveraproject.org. 7:30 p.m. $9 adv./$11 DOS. All ages. BRADFORD LOOMIS has toured with former One Tree Hill actor and musician Tyler Hilton, and if that show were still on the air, Loomis’ earnest folk melodies would provide an appropriate soundtrack. With Gideon’s Daughter. Skylark, 3803 Delridge Way S.W., 935-2111, skylarkcafe.com. 8 p.m. $5.

Thursday, Feb. 14 EN VOGUE En Vogue has seen its reunion beset by legal

Get your fill of the Growlers, Thursday at the Croc. COURTESY EVERLOVING

scuffles—two original members are in this edition, the other two are seeking to perform under the same name. However, this is still a chance to see one of the most acclaimed R&B groups of the past 20 years (or at least half of it). Jazz Alley, 2033 Sixth Ave., 441-9729, jazzalley.com. 7:30 p.m. $45. (Through Sunday, Feb. 17. Set times vary.) THE GROWLERS Mixing jangly, bright guitar work with psychedelic, fuzzy production (you could probably get away with calling it “psych-surf” or something horrible like that), these Southern Californians are touring behind January’s Hung at Heart. With Night Beats, Chains of Love. The Crocodile, 2200 Second Ave., 4417416, thecrocodile.com. 8 p.m. $15 adv. All ages. WHAT MADE MILWAUKEE FAMOUS Former signees of local label Barsuk, where they released their first three albums, this Austin indie act chose to make its fourth independently. With Pomerantz. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com. 8:30 p.m. $8.

COUNTRY LIPS Any fan of Seattle country music likely

knows the Country Lips, one of the city’s best live acts, so the real allure of this show is seeing how all nine band members fit on the Blue Moon’s tiny stage. With the Outlaws. 712 N.E. 45th St., 675-9116, bluemoon seattle.wordpress.com. 9:30 p.m. $8.

Monday, Feb. 18 CLOUDS LIKE MOUNTAINS This six-piece plays

synth-laced, emo-styled power pop. El Corazon, 109 Eastlake Ave. E., 381-3094, elcorazonseattle.com. 7 p.m. $8 adv./$10 DOS. All ages. TURISAS Fronted by wonderfully named vocalist Mathias “Warlord” Nygård, this Finnish folk-metal band features electric violin solos and performs in costumes that resemble Mel Gibson in Braveheart wearing football pads. With Firewind, Stolen Babies, Phalgeron, Avoid the Void. Studio Seven, 110 S. Horton St., 286-1312, studioseven.us. 6:30 p.m. $16 adv./$18 DOS. All ages.

Tuesday, Feb. 19 EELS One of the cleverest ’90s alt-rock survivors, Mark

Oliver Everett was never as big as, say, Cake, but his post-radio years have been far more interesting. His latest tinkerbox—Wonderful, Glorious—is as inspired as anything in his considerable catalog. With Nicole Atkins. Showbox at the Market, 1426 First Ave. S., 6283151, showboxonline.com. 7 p.m. $25/$30. 21 and over. HABIB KOITÉ AND ERIC BIBB These Malian and American blues guitarists collaborate to blend the roots music of two continents. Triple Door. 6 p.m. all ages, 9 p.m. 21 and over. $25 adv./$35 DOS. MRS. MAGICIAN Beachy surf pop and punk-addled riffs mark the breezy sounds of this San Diego four-piece. Barboza. 8 p.m. $10. TERRY ROBB BAND A top-notch guitarist, Robb is currently at work on an album of traditional Catholic hymns arranged for acoustic guitar. With his band, he tends toward traditional blues fare. With Ethan Tucker, Brad Mackeson. Nectar Lounge. 8 p.m. $6 adv./$8 DOS.

Seatt le w eekly • FEBRUARY 13−19, 2013

Philadelphia’s Bachman plays fastidiously fingerpicked Americana on steel-string guitar and banjo. With Jordan Fuller. Rendezvous, 2322 Second Ave., 441-5823, jewelboxtheater.com. 9 p.m. $7. NORTH MISSISSIPPI ALLSTARS This long-running Southern rock band recently announced plans to teach their craft: Along with members of the Allman Brothers, they’re hosting a five-day roots-rock music camp in the Catskills in June. With the London Souls. Tractor Tavern, 5231 Ballard Ave. N.W., 789-3599, tractortavern. com. 8 p.m. $18 adv./$20 DOS. VICTOR WOOTEN A three-time winner of Bassist magazine’s “Bassist of the Year” award, Wooten plays everything from jazz to funk to bluegrass—the latter with Bela Fleck and the Flecktones. Triple Door, 216 Union St., 838-4333, thetripledoor.net. 6 p.m. all ages, 9 p.m. 21 and over. $30 adv./$35 DOS.

Ruthless Records in the early ’90s, Cleveland’s BTNH took the West Coast sound of the time and ran with it. Their skittish verses and choral rap chants separated them from the pack, though, and their sound became one of the most identifiable in rap’s history. With AyeLogics, Dirtay. Neumos, 925 E. Pike St., 709-9442. 8 p.m. $30 adv. 21 and over. FRIENDS AND FAMILY Sometimes in this day and age, bands have release parties for a single (“Green and Yellow Basket” b/w “Ugly Tooth”). For local orchestral rockers FaF, tonight is one of those nights, though they’ll probably splurge on a few more in their set. With Kithkin, Bright White Lightning, Scarves. Chop Suey, 1325 E. Madison St., 324-8005. 7 p.m. $8 Adv. All ages. THE LAST GREAT FIRE This local five-piece plays baroque folk pop that sounds just like you’d expect it to: strings, piano, brushed drums, and yearning harmonies. With Matthew O’Toole. Skylark. 3 p.m. $5. All ages. NOTTUS TRE This local rapper, best known for the single “Da Scrilla,” headlines this free showcase of underground hip-hop. With Perry Porter, The NeighBROhood, Seasik Tha Grim, Joey Ka$h. Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com. 8 p.m. Free. ZZ WARD Soul/blues singer Ward (the ZZ is short for “Szuzsanna”) has an ultra-polished debut album to her name: last year’s Til the Casket Drops, which features collaborations with Kendrick Lamar, Freddie Gibbs, and Fitz of Fitz and the Tantrums. With Delta Rae, Martin Harley. The Crocodile. 7 p.m. $12 adv. All ages.

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dategirl»By Judy McGuire

Longtime readers might recall that I also had a dalliance with the hygiene-impaired. When this particular Pig-Pen asked me why I thought he should bother showering, I reminded him that he had a penis he expected me to put in my mouth. That actually got him into the shower on one occasion, but the relationship was doomed. Someone who doesn’t care about themselves enough to scrub the funk out of their asscrack is, quite simply, not boyfriend material. This foul creature was also a vegan (save the animals, but screw my nasal passages?) who favored pleather trousers. Do you know how bad vinyl smells after a few wears? Imagine a combo of ball sweat, moldy cheese, and fermented urine. Is it any wonder that I refuse to call him an exboyfriend and instead just refer to him as my cry for help personified?

So yeah, get rid of this yeast-infectionwaiting-to-happen. You can’t bring him around your family, and your friends—even if they’re not saying anything—are judging you. You may have met him at that hippydippy extravaganza in the desert, but someone who’s content to wallow in their own filth and expects you to be fine with it is selfish. Being in a relationship requires a lot of compromise, commitment, and certainly some other C-word, but usually basic maintenance (toothbrushing, showering, returning phone calls, etc.) is a given. What is Stinky Steve going to do if you need a date for a wedding? You can’t even trust someone covered in crud to help you paint the bathroom, let alone accompany you to dinner with your boss. The sad fact is that while Fetid Felix may have some lovely qualities—though you didn’t name any— you need to break up with him. Now. Not because he smells like a rancid goat, but because you (rightfully) are embarrassed to be seen with him. When you find yourself following your boyfriend around with a spray bottle of Febreze, it’s time to say byebye. But look on the bright side: Not only is dumping his odorous butt the best thing for you and your upholstery, it’s best for him, too. By saying goodbye, you’re not only saving yourself from a possible bacterial infection, you’re freeing him to find the crusty, musty, dusty girl of his dreams. E

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My Smelly Valentine

Dear Dategirl, My boyfriend is 24 and showers, at most, two or three times a week, usually only at my insistence. He doesn’t wear deodorant because he doesn’t believe in it. Whatever. My family is very close-knit, and have been bugging me to bring him to Sunday dinner, but I can’t. We met at Burning Man, where everyone is covered in dust 24/7, so I didn’t notice it at first. But I washed the white-girl dreads out of my hair when I got home, and he still looks like he sleeps under a bridge. How can I make him see that cleaning up is the best thing for both of us? —Reformed Crusty

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column»Toke Signals

Pleasant Valley Saturday

here’s a new medical-marijuana farmers market in the area—it’s in Black Diamond, and is well worth the drive. MMJ Universe, overseen by the effervescent Deidre Finley, is held inside a former greenhouse and is chock-full of vendors who offer clones/starter plants, dried cannabis flowers, medibles, concentrates, and pretty much anything else you’d want when it comes to MMJ. Sure, it’s 45 minutes away from Seattle, but it’s a gorgeous Saturday drive, especially once you get out into the country and go up Green Valley Road. As I’ve noted, the farmersmarket paradigm is a big win for patients because the presence of multiple vendors at one location exerts a downward pressure on prices—it’s good old-fashioned competition, don’tcha know. I saw marijuana going for per-gram donations of $5 to $12, with most grams around the $10 mark. One of the first tables I saw upon walking in was Pam’s Plants and Can-Nibbles, a happy place for an indica lover. Provider Pam had some beautiful Afgoo and Northern Lights flowers for $12 a gram, as well as some of the tastiest and most potent medibles (OK, “Can-Nibbles”) around, thanks to chef Becky, who’s impressed me with her medicated goodies for five years now. I received a great welcome at the table of provider Mark Nelson of Olympia: a complimentary dab of some potent hash oil. After discussing medicine with the very knowl-

ALTERNATIVE HEALING

BY STEVE ELLIOTT

edgeable Mark, I selected the hybrid strain Chrystal (White Widow x Northern Lights). I only got a gram, more’s the pity—not only did Mark weigh me out a generous 1.7 grams for my $10, but, trying it at home, I also discovered that Chrystal is some very kind bud. See you next time, Mark! Just a couple of tables over, at Auburn-based Evergreen Medicinal Gardens (253-7375659), I discovered some more superlative-looking weed for $10 a gram. Blue City Diesel (Blue Dream x New York City Diesel), a beautiful, delicious, sativa-dominant strain, is a good daytime smoke; it helps relieve both pain and depression without making you sleepy. Then there was Emerald Lotus’ table, its Volcano vaporizer staying busy most of the time. I spotted some Afghani indica there— it was absolutely fuzzy with trichomes and redolent of the sweet scent of excess. I jumped at the chance to get a couple of grams for $10 apiece. The Green Terrapin (360-367-0696) also had some very comely buds of a strain called Purple Nukem; although the strain name struck me as slightly silly, this was immediately forgiven once I toke-tested it. This stuff will medicate you even if you’ve been smoking top-shelf all day; it’s a real buy for $10 a gram. Don’t miss it! E

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@ CenturyLink Field 102 103 105 110 112 120 125 127 140 145 150 155 160 167 170 172 175 177 180 183 185 187 190 193 195 198 130

Architecture/Engineering Auditions/Show Biz Career/Training/Schools Computer/Technical Construction/Labor Drivers/Delivery/Courier Domestic Education Financial/Accounting Management/Professional Medical/Dental/Health Medical Research Studies Office/Clerical Restaurants/Hotels/Clubs Retail Sales and Marketing Telemarketing/Call Center Salons Security/Law Enforcement Trades Miscellaneous Part-Time Jobs Business Opportunities Employment Information Position Wanted Non-Profit Entertainment

RENTALS & REAL ESTATE

355 Roommates 360 Rooms for Rent 363 Roommate Services Apartment/Condo/Townhome 365 370 House/Duplexes for Rent Short Term/Corporate Housing 380 Manufactured Home Rentals 390 Vacation

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Email Mary your resume toApplication: Mary: E-mail for Info &

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a Difference! Work with AdultsMake & Children with Developmental Work with Adults with Disabilities. Disabilities & At-Risk Youth Also filling PT & On-call shifts Time & &Part Time inFull Shoreline New Castle.

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307 Rooms for Rent

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Hiring creative, fun, flexible Make a Difference! people in King County. Full Time! Hiring in Bellevue, New Castle & Maple Valley

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317 Apartments for Rent

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Our Outdoor Marketing Representatives work in high-end neighborhood’s speaking with Homeowners Offering Free & No Obligation Estimates for Trimming, Pruning, Removals & Safety/Health Inspections on Trees & Shrubs!

U-DISTRICT $400-$480 All Utilities Included! Call Peir for more information (206) 551-7472

305 307 310 315 320 330 340 350

Employers

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300 Rentals

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bulletin board 595 Volunteers

547 Announcements

Fred Hutchinson Cancer Research Center seeking healthy overweight adults, non-smokers, ages 20–55, for a 3 month study of the effects of glucosamine and chondroitin on health. Take only the dietary supplements we provide for two 4-week periods, blood draws, urine collections and a body scan.NO:recreational or prescription drugs (oral contraceptives ok), not on a weight-loss diet. Must be screened to participate. Compensation $200. Call (206) 667-6330 or www.Glancestudy.info

SEATTLE WEEKLY PROMOTIONS WIN TICKETS TO SEATTLE FOOD AND WINE EXPERIENCE Seattle Center Exhibition Hall, February 24

WEEKLY

MU S I C MUSIC NEW SLETTER

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Seatt le w eekly • FEBRUARY 13−19, 2013

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Intruder Magazine 5

Release Party Friday the 15TH

Members of Intruder have created an exclusive screenprint for the show (made in-house!), and will also be selling individual comics/works of art. Join us for drinks, conversation, screenprints, and the new edition of Intruder Magazine! Intruder is: Ben Horak, Max Clotfelter, Alexa Koenings, Tony Ong, Aidan Fitzgerald, Darin Shuler, Marc Palm, James Stanton, Nikki Burch, Kazimir Strzepek, Tom Van Deusen, David Lasky, Jason T. Miles, Tim Miller, and Billis Helg. Cairo 507 E. Mercer, Seattle, WA 98102

Dance Underground 340 15th Ave E Seattle’s Capitol Hill between Harrison & Thomas

Argentine Tango for the absolute beginner

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starting April 11th! 8:30 to 9:30pm (8 week series)

Seattle's True Independent Film Festival (STIFF) May 3rd-11th Hailed as "Seattle's premier showcase for regional

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filmmakers." - James Keblas, City of Seattle Office of Film & Music. All-access pass includes entry to all film screenings as well as entry to all parties, mixers and special events including meet-and-greets and pub crawls. Screening over 100 of the top picks from over 500 submissions. Multi-venue celebration of alternative film, music & comedy. Films encompass all genres and budgets.

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Facebook.com/IntruderComics

COLUMBIA CITY Starting in the $900s NEW 1 & 2 bedroom apartments, walk to Light Rail!

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24/7 PATIENT VERIFICATION FREE ANNUAL RENEWAL*

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GreenWellness.org *Conditions apply.

ATTEND COLLEGE ONLINE from Home. *Medical, *Business, *Criminal Justice, *Hospitality. Job placement assistance. Computer available. Financial Aid if qualified. SCHEV authorized. Call 800-481-9472 www.CenturaOnline.com WANTS TO purchase minerals and other oil & gas interests. Send details to P.O. Box 13557, Denver, Co 80201

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Contact Peter Muller at Seattle Weekly for advertising rate info! 206-467-4364 Ms. Christina's Psychic and Tarot Card readings!

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FIGHT HATE GROUPS. TEACH TOLERANCE. SEEK JUSTICE.

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Work with Grassroots Campaigns on behalf of the nation’s leading organization on monitoring and fighting hate groups. Earn $1480-$2280/ month.

Full-time / career. Call Holly at 206-329-4416

The Elements for A PERFECT GETAWAY

2013lcvgB 2013lcvgB 12/27/12 12/27/12 10:30 10:30AM AM Page Page11

VA seeks adults with schizophrenia and adults without schizophrenia for a research study investigating how genetics may affect the development of schizophrenia. • Participants should be age 18-65 with no current drug or alcohol problems. • Participants will be paid $15/hour for their time and provided lunch.

Please call: 206-277-1163 New! Increased Compensation For Egg Donors! Get paid for giving infertile couples the chance to have a baby. Women 21-31 and in good health are encouraged to apply. $5,000 compensation. Email Amy.Smith@integramed.com or call (206)301-5000

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www.LoveLaConner.com 360.466.4778 Bring this ad by the Visitor Center at 511 Morris Street and receive a complimentary coupon book.