Seattle Weekly, April 22, 2015

APRIL 22-28, 2015 I VOLUME 40 I NUMBER 16

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ARTS THE RETURN OF ANGRY HOUSEWIVES PAGE 16 THE NEW KURT COBAIN DOC PAGE 24

e l Taf Two o s n w o T of s e s s a m d e ric y o e t n s i o h m a e How th tor reshaped ge 10 c a e P s . h e c g e a the t ogging vill l

Musical Chairs

Will this no-BS housing advocate take Sally Clark’s seat? By Casey Jaywork Page 7

Hipsters Go to Heaven

Pacific Gold pulls from Against Me! lyrics and church hymns. By Dave Lake Page 30

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inside» April 22–28, 2015 VOLUME 40 | NUMBER 16 » SEATTLEWEEKLY.COM

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JUNE 19

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news&comment 7

MUSICAL CHAIRS

BY CASEY JAYWORK | Only eight

candidates are left vying for Sally Clark’s City Council seat. Who’s the front runner?

Plus: pushes for pay equality and Border Patrol accountability seem to be on track.

10 THE CIVIC WAR

BY ELLIS E. CONKLIN | It’s a tale of two Snoqualmies: Residents of the historic logging village and the affluent new housing development on the Ridge haven’t quite reconciled.

food&drink

14 A QUIXOTIC QUEST

BY NICOLE SPRINKLE | One component

of Café Nordo’s new culinary-theater show tilts at Midwest blandness; the other succumbs.

14 | FOOD NEWS/THE WEEKLY DISH

arts&culture 16 STILL ANGRY?

BY BRIAN MILLER | Seattle’s longest-

running ’80s stage show is back.

16 | THE PICK LIST 21 | STAGE | La Ronde as sexed-up

improv theater.

22 | PERFORMANCE 23 | VISUAL ARTS

24 FILM

Kurt Cobain documentary, World War II, and a mystical Russell Crowe.

26 | FILM CALENDAR

28 MUSIC

Bands embrace the spiritual: Some go metaphysical, others Christian.

31 | THE WEEK AHEAD

EDITORIAL Senior Editor Nina Shapiro Food Editor Nicole Sprinkle Arts Editor Brian Miller Music Editor Kelton Sears Editorial Operations Manager Gavin Borchert Staff Writers Ellis E. Conklin, Casey Jaywork Calendar Assistant Diana M. Le Editorial Interns Olivia Anderson, Kate Clark, Warren Langford Contributing Writers Rick Anderson, Sean Axmaker, James Ballinger, Michael Berry, Roger Downey, Alyssa Dyksterhouse, Jay Friedman, Margaret Friedman, Zach Geballe, Chason Gordon, Dusty Henry, Rhiannon Fionn, Marcus Harrison Green Robert Horton, Patrick Hutchison, Seth Kolloen, Sandra Kurtz, Dave Lake, Terra Clarke Olsen, Jason Price, Keegan Prosser, Mark Rahner, Tiffany Ran, Michael A. Stusser, Jacob Uitti

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Administrative Coordinator Amy Niedrich Publisher Bob Baranski 206-623-0500 COPYRIGHT © 2015 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 PUBLI SHED 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.

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APRIL 24TH-26TH F R I D AY- S AT U R D AY 1 0 - 6 S U N D AY 1 2 - 5 PERSONAL APPEARANCE BY A R M A N S A R K I S YA N S AT U R D AY

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“I love what Ambassador Rick Steves and appointees Wiz Khalifa and Snoop Dogg have been able to do to hasten legalization.”

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The plot thickened for state auditor Troy Kelley last week when, as reported by Rick Anderson, the former state legislator was indicted for tax evasion (“A Grand Jury Indicts Troy Kelley for Falsifying His Taxes, But the State Auditor Refuses to Resign,” April 16). “The 10-count indictment was followed by widespread calls for Kelley’s resignation,” Anderson wrote, “including a demand from Gov. Jay Inslee that the auditor ‘resign immediately.’ ”

HIGH TIMES

Michael A. Stusser recently jumped into his timetraveling El Camino and reported on the future of marijuana (“4/20/20 Vision,” April 15, 2015).

“Overall, legalization in 2020—as a (still) relatively new public experiment—is going swimmingly,” he wrote. “With 20/20 vision, it’s clear the end of prohibition is in sight.”

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I too have seen the future and from 2025 it looks great. I love what Ambassador Rick Steves The indictment and the story state he is accused and appointees Wiz Khalifa and Snoop Dogg of criminal conduct since he took public office have been able to do to hasten legalization as auditor. This seriously movements worldwide. I went Send your thoughts on compromises his duty as to Chris Christie’s vape lounge the state’s ethics and finanin Hoboken and it sucked. But this week’s issue to cial watchdog, and he’s what I’ll always cherish the most got no choice but to hand letters@seattleweekly.com is the amazing group of cannabis over his job to a caretaker. pioneers who have become famBrian Sonntag has already said he’d step in. ily. Peace from the future.

Pete Karr, via seattleweekly.com Eric Ogden, via seattleweekly.com If you’ve cheated on your taxes, you should resign from office. Period. kreativg, seattleweekly.com If he won’t resign, impeach him. Then give him the maximum possible sentence for costing the taxpayer all the money it will take to convict him.

Russell Noyes, via seattleweekly.com FOLLOWING THE LEAD

Will these same services be offered to people without an active criminal case, or are we letting the police department become the gatekeepers to social services? If so, I can see some potential downsides that need to be considered. domenic feeny, via seattleweekly.com So basically you have criminals, 58 percent of whom continue to be criminals, receiving special consideration from government agencies, who then mislead the public, claiming the program is a success when it isn’t. Sounds wonderful.

Bill Hussein O’Stalin, via seattleweekly.com Try things. If they work, keep with them. If not, tweak and try again. So much becomes possible when we try. sherifffruitfly, via seattleweekly.com

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And, finally, in last week’s Seattleland, famed child molester Mary Kay Letourneau returned to once again parade her completely effed family before the entire world, courtesy of a new show from Barbara Walters (“Mary Kay Letourneau’s Latest Show: Married With Children,” April 15, 2015). “She plans to ask a court to end her obligation to register as” a sex offender, noted Rick Anderson. “Then she will return to teaching, she thinks.”

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I really can’t imagine the state lifting the registration requirement, particularly now that she has revealed she wants to return to the classroom—the scene of the crime. And woe be the school that might hire her and have to endure the blowback.

JBarber, via seattleweekly.com One would think that they would have stayed under the radar, but the kid is 31 now and I guess we have to hear that it was love. Mary Kay is a very fucked up individual. It was a crime, dumbass.

Michael Taylor, via Facebook Sad sad sad. He never had a childhood. She took it away from him.

Dee Heaton Savage, via Facebook Oh Lawd, NOOOOOOOO! We had a 15–20year break from this woman! Thank you, Barbara Walters, for bringing her back to light!

Vernita Ward, via Facebook E Comments have been edited for length and clarity.

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Nina Shapiro detailed the revival of LEAD in last week’s edition (“Changing Fortunes,” April 15, 2015). The “innovative program that provides lowlevel criminal offenders with intensive social services rather than giving them jail time . . . is being embraced like never before,” she wrote.

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Hot Seat

The Long Road to Equal Pay for Equal Work

Tim Burgess says he wants a caretaker to replace Sally Clark, but with so much at stake, is a firebrand more likely?

BY KATE CLARK

O

BY CASEY JAYWORK

JOANNA KRESGE

n Friday, Mayor Ed Murray signed off on a city ordinance that would allow four weeks of parental leave for all City of Seattle employees.

Notice the word parental—that means both moms and dads will enjoy these new benefits.

But the real winners here are the city’s working women, as this new legislation moves Seattle a bit closer to equal pay for equal work. Councilmember Jean Godden, the leading advocate for C.B. 118356, said in a statement: “Retention of female employees and their mobility into higherpaying positions can be improved when paid parental leave is encouraged for both men and women, narrowing the gender-pay gap.” In the recent past Seattle has lagged behind other cities when it comes to equal pay for equal work. So ...

Low Income Housing Institute executive director and potential interim councilmember Sharon Lee is no fence-sitter.

A

gess, Rasmussen, and formerly Clark) and the activist wing (Licata, O’Brien, and Sawant).

The council is expected to do some heavy lifting on the issue of skyrocketing rents this year, so we can expect even a short-term “caretaker” to have a serious impact on issues related to the housing crisis, such as whether to institute linkage fees or, potentially, rent control.

With these specific issues at the forefront of

the council’s agenda, the applicant who seems most prepared to dive in is Sharon Lee, executive director of the Low Income Housing Institute and a former city hall staffer. Lee’s application also stood out for its lack of bullshit. Not satisfied with only describing her extensive experience as a nonprofit developer, she went on to detail what specific kinds of legislation she would push for—such as a new housing levy in 2016 and a rule that Clark was working on that would give the city and housing nonprofits a chance to bid on affordable housing sites.

With experience in low-income housing advocacy that stretches back to the Reagan era, Lee believes she’s uniquely qualified to navigate the treacherous waters into which low-income renters have been plunged by our city’s titanic rent increases. And she says she’s ready to fight for lower-income tenants, not to mention the homeless. “The problem with some members of City Council . . . is they have a hard time making tough decisions,” she tells Seattle Weekly, adding that she won’t have this problem. “Why be a fence-sitter when you can make a difference?”

Lee’s application harangues former Human Services Department interim director John Oka-

moto (a fellow finalist) for what she describes as bureaucratic apathy toward the plight of an ill child. “Shockingly, Mr. Okamoto refused to release $100 of tax payer revenue” for a “four year old girl [who] was sick and should not sleep outdoors or in a congregate shelter,” she writes.

“Recently,” she adds, “I learned that HSD had $40,000 in excess, unspent shelter capacity funds at the end of 2014 that it decided not to use!”

During the meeting in which Lee learned that she was a finalist, two separate groups of protesters interrupted the proceedings (or as I like to put it, they voted Seattle-style). One was an orangeshirted army predominantly of middle-aged white ladies, who shouted down both the mayor and the council president after the council declined to vote on emergency legislation that would send two Seattle elephants to a sanctuary instead of a zoo. Nonviolent but apoplectic, they were gently shoved out by City Hall security. More successful was a group of pissed tenants who, lined up behind the public-comment podium in a solid wall of indignant flesh, claimed that they’d been evicted from the Citadel building near MLK Jr. Way and South Othello Street with only 20 days’ notice. Burgess, after hearing their pleas, promised that the council would look into it.

As she strolled out of chambers after the meeting, Lee grinned impishly and tacked her message onto that of the protesting tenants. “I was so impressed by the Citadel people who showed up around the displacement,” she said, to resist what she terms “economic eviction.”

“You just raise the rent high enough and people just have to leave.” E

cjaywork@seattleweekly.com

What are we doing? This year, finally, amendments were written to the Equal Pay Act, which was passed in 1943 and hasn’t been tweaked since. While that law does prohibit wage discrimination, it allows for many loopholes that the amending House Bill 1646 seeks to prevent. HB 1646 prohibits employers from asking their employees to keep their wages secret and protects women who ask about or discuss their wages from retaliation.

(Currently employers can punish employees for discussing wages.) Two other bills that seek to help equalize the positions of males and females in the workplace have been proposed in the 2015 legislative session: HB 1356 requiring paid sick days and HB 1273 requiring paid extended leave.

What’s next? All these bills were passed by the House earlier this year—but none of them, unfortunately, by the Senate committees in time for the April 1 cutoff. So no statewide legislation will be implemented until 2016 at the earliest. A study released in March by the Women’s Funding Alliance, “The Status of Women in Washington,” says that at the rate we’re moving, the wage gap in Washington will not close until 2071—just in time for our granddaughters. E

news@seattleweekly.com

SEATTLE WEEKLY • APRIL 22 — 28, 2015

nd then there were eight—applicants, that is, to fill the empty seat on the Seattle City Council.

When Sally Clark quit Seattle’s legislative body earlier this month to work at the University of Washington, she hit the start button on a 20-day countdown. By the end of that window, the city charter requires the council to select Clark’s replacement—someone council president Tim Burgess, the self-described “traffic cop” of the replacement process, has said will be a “caregiver.” This replacement, according to Burgess, mustn’t run for election this fall, must be experienced in the machinery of city government, and must have social-justice bona fides.

In the end, there can be only one. But in the beginning, there were 44 applicants—then 43, after former councilmember Peter Steinbrueck stepped down over the weekend. That number got whittled down further during the council’s regular session on Monday, when Burgess announced the names of the eight applicants who had been mentioned as a top choice by at least three sitting councilmembers: Jan Drago, Noel Frame, Sharon Lee, Sharon Maeda, David H. Moseley, John Okamoto, Sheley Secrest, and Alec Stephens.

This lucky octet—call them the Municipal Eight—will deliver brief presentations and withstand questions from the council and comments from the public on Friday, April 24. The council will finally choose the one, true Clark replacement the following Monday. In the event of a tie, Seattle Weekly suggests oiled arm-wrestling matches.

Much of what’s at stake in the choice of an interim member is the balance of influence between the council’s conventional faction (Bur-

Where do we stand now? According to a study by the National Partnership for Women and Families in April 2013, a Seattle woman working a full 40-hour week makes, on average, 73 cents for every dollar a full-time Seattle man makes—four cents lower than the national average. The study explains that if not for this gap, a Seattle woman would be able to pay for 16 more months of rent or buy 118 more weeks of food. Several other states—California, New York, and Colorado, to name a few—have equality-assuring measures, such as paid sick-leave laws, temporary disability insurance, and paycheck transparency protections, already cemented into their legal system.

But at this point in time, neither Seattle or Washington as a whole do.

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(4/22) Joshua Roman A Community-Curated Concert of Cello Suites

Crossing Over

TOWN HALL

A federal ruling and a leadership change in Blaine has the Border Patrol changing its approach with an aim to protect immigrants’ civil liberties.

BY NINA SHAPIRO

O

SCIENCE

ARTS & CULTURE

COMMUNITY

(4/23) Jennifer Jacquet with George Dyson Using Shame as a Catalyst for Reform (4/24) YWCA presents Improving Race Relations, Health in a Digital Age (4/24) Sandy Tolan ‘The Power of Music in a Hard Land’

Racial profiling is down, but that didn’t keep Melchor Ramos, center, from being hassled.

Border Protection, the agency that encompasses the Border Patrol. Harris says he was personally selected by Kerlikowske, who indicated a desire for “top-notch law-enforcement professionalism.”

Upon coming to the Northwest, Harris says he immediately grasped that “We have to change completely our footprint and ways we interact with the community.” He notes that he instituted new training procedures, including ongoing instruction on “how to protect the civil rights and civil liberties of the people we deal with,” and attends a quarterly roundtable in Seattle with immigrant advocates and the Department of Homeland Security’s civilrights and civil-liberties director.

He also stresses that his agents are currently focused on catching “immediate cross-border violators”—that is, people caught sneaking across the border, not longtime residents like Vargas. In addition, Harris says, echoing recent federal directives, agents are most interested in criminals and terrorists, “those causing harm to the country.”

Immigrant advocates along the northern border and on the Olympic Pensinula say that the Border Patrol has sharply curbed its reliance on racial profiling. “Things are definitely a lot calmer than they used to be,” says Lesley Hoare, a member of the Forks Human Rights Group. Yet the issue has not entirely gone away.

At around 4:30 in the afternoon on November 23, three Hispanic men were driving home to Forks after a long day of timber cutting on the Quinault Indian reservation when they were stopped by two Olympic National Park rangers, according to two of the men detained. The ostensible reason: A light on the license plate of their truck was not working.

As in so many stops in the past, the agents quickly turned their attention to the men’s immigration status, in particular one whom they suspected of being here illegally. That man, who asks not to be identified for fear of retribution, says he questioned the rangers about their actions.

“You’re not Border Patrol,” he says he told them.

They called the Border Patrol, though, and demanded he wait until agents arrived.

Melchor Ramos, one of the other men in

the truck, says they also demanded that he wait, although he is a legal resident who has lived in the U.S. for 36 years. He says the same was true for the third man, an American citizen.

“I need to go. I’m wet and starving,” Ramos says he told the rangers. It was raining that day, and the men had been working in the soggy woods since 7:30 in the morning.

The rangers replied that the Border Patrol would be here “pretty soon”—which turned out to be an hour and a half. During that time, Ramos says, the rangers kept shining a flashlight in his face and forbade him and his co-workers from speaking Spanish together.

Ramos’ daughter, Marta, says she was “shocked” by the incident, especially since it came after the 2013 settlement in the class action lawsuit. Her brother Ismael was one of the plaintiffs in that suit—a citizen and former student body president of Forks High School who was stopped twice by the Border Patrol while still a teen.

Upset to see another family member detained, she wrote a letter of complaint to the superintendent of the Olympic National Park, which she says has not been answered.

Park spokesperson Barb Maynes says she has no details about the case. The Border Patrol’s Harris says he doesn’t know about the case either.

Ultimately, the two men legally here went home and the third—undocumented but in the country since 1996, the husband of a citizen and the father of two children born here—was taken to the Northwest Detention Center. He spent a month there and was released after immigration authorities agreed to review the case.

Yet the stop as a whole highlights the ambiguity that still infuses our nation’s immigration policy. A federal judge and top leaders at the Border Patrol may reiterate the importance of civil liberties. But NWIRP legal director Matt Adams notes that a Department of Justice guideline against racial profiling that came out in December contained a footnote that exempted law enforcement at the border. “That was a very disappointing blow,” he says. E

nshapiro@seattleweekly.com

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(4/27) Jillian Pintye Male Circumcision and Syphilis and Dan Grinnell Overcoming Barriers to Improve Dairy Farm Safety (4/27) Mitchell Gaynor Lifestyle Adjustments to Overcome Genetics (4/27) James Bradley The History (and Future) of U.S.-China Relations (4/28) Women’s Funding Alliance: Shelley Correll The Motherhood Penalty (4/28) Sold Out/Standby Only Joseph Stiglitz Income Inequality and American Democracy

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SEATTLE WEEKLY • APRIL 22 — 28, 2015

ne June morning in 2011, an Anacortes police officer pulled over a Hispanic man, supposedly for failing to signal a left turn. The traffic stop quickly turned into something else, however.

The officer suspected that the man, a local artist and longtime Anacortes resident named Gustavo Vargas Ramirez, was in the country illegally, and called the Border Patrol.

“Hold on to him for us,” a Border Patrol agent told the officer, who subsequently handcuffed Vargas and took him to the Anacortes police station. There, a Border Patrol agent named Wayne Hafstadt questioned the Mexican-born artist, who would go on to spend more than two months at the Northwest Detention Center.

Represented by the Northwest Immigrant Rights Project, Vargas later sued the federal government, claiming that he was illegally arrested by the Border Patrol. While the artist was, in fact, undocumented, the Fourth Amendment requires probable cause before any arrest is made. Instead, Vargas claimed, what Agent Hafstadt (as well as the local officer) did in his case was to profile him based on his race.

Last month, U.S. District Court Judge James Robart agreed. Agent Hafstadt was largely relying on “generalizations” like ethnicity to request the artist’s arrest—“generalizations that, if accepted, would cast suspicion on large segments of the law-abiding population,” the judge opined.

As Seattle Weekly reported then, in 2011, it was a time when both legal and illegal immigrants did in fact face constant suspicion and interrogations along the northern border and throughout the Olympic Peninsula.

The fear was palpable, especially after a Forks immigrant named Benjamin Roldan Salinas drowned in the Sol Duc River as he fled Border Patrol agents in May 2011. So was the anger.

In 2012, three immigrants from the Olympic Peninsula filed a class action suit, accusing the Border Patrol of unconstitutional practices. What made that suit particularly damning is that the plaintiffs were all American citizens who had been interrogated on the flimsiest of reasons.

Two of them were also corrections officers.

NWIRP and the ACLU, which jointly represented the plaintiffs in the case, won a landmark settlement in 2013 that required Border Patrol agents on the Olympic Peninsula to undergo training on constitutional practices. Now this latest ruling serves as notice all along the northern border that Latinos and other immigrants can’t be stopped and interrogated at random.

Surprisingly, the Border Patrol, which in the past vigorously defended its practices to Seattle Weekly and others, is not crying foul. After the lawsuits as well as a series of complaints by citizens, community groups, and members of Congress, the federal entity has changed its stance— and its leadership in the Northwest.

“It definitely was time for a new chapter in the Blaine sector,” says Dan Harris, the Border Patrol Chief Patrol Agent there. He arrived on the scene last May, just a few months after former Seattle police chief and federal drug czar Gil Kerlikowske became head of U.S. Customs and

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BY ELLIS E. CONKLIN Tensions linger as old-town Snoqualmie PHOTOGRAPHY BY BY HEIDI DILLEHUNT residents grudgingly adjust, even after nearly 20 years, to the thousands of newcomers who have flocked to “The Ridge.”

10

B

icycle bells and birdsong, sun-dappled lawns green as newly minted fairways. Stroller moms in black yoga pants running in place in front of Brunello Ristorante, where kids eat free on Sundays. Here, up high on selfcontained, rigorously planned Snoqualmie Ridge, the curvy streets named after old pioneers lead to shiny, handsome homes, most of them elegantly encircled by Sherwin Williams–stained fences and weedless parking strips smartly dressed with red maple, yellow wood, and flowering pear trees.

Even the April breeze seems arranged, like the soft northwesterly that on this twinkly, bright early-spring morning chaperones white cumulus clouds across the craggy granite peaks of Mount Si and causes blue pennants advertising Pulte Homes at the EaglePointe subdivision (nearly sold out) to flutter like beating wings on

“You can live on the RIDGE, and it’s all there, so you never even have to see the old town of Snoqualmie.”

and tan—house six ethnic eateries, a bistro and a deli, three family medical and dental clinics, four fitness salons, and a hot yoga studio, wonderfully named Twisted Bliss. At night, 30-something couples, many of them with the means to hire workday nannies, often crowd Ana’s Mexican restaurant, lured by bulging burritos and Ana’s house special: generously poured margaritas with fresh-squeezed lime juice and premium tequila.

“You can live on the Ridge, and it’s all there, so you never even have to see the old town of Snoqualmie,” says Carol Ladwig, editor of the weekly Snoqualmie Valley Record.

By mid-morning, “The Ridge,” as it is known, empties and grows quiet. Stay-at-home-moms, for the most part, dominate, and, with kiddies in tow, pack the two main coffee houses, SnoValley Coffee Co., and Starbucks, where children’s games and puzzles are at the ready. By 9 a.m., Microsoft’s Connector buses have done their job, whisking workers away to the company’s Redmond campus. Amazon is also an employee magnet, along with other high-tech concerns.

Snoqualmie Parkway is almost always clogged with westbound motorists, and backups at the Highway 18/Snoqualmie Falls exit, the main route to access the Ridge, can reach two miles or more during the evening commute. Some 42 per-

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Jacobia Street—the entry point, off Snoqualmie Parkway, to the site of dozens of new two-story cottages, colonials, and Craftsmans that have nearly filled 1,342 acres on this blunt western edge of the Cascade Mountains.

It brings to mind the phrase Jonathan Franzen chose to depict the fictional Midwest suburb of St. Jude in his 2001 novel The Corrections: “a miracle of niceness.” Nothing is out of place. Dog owners converging on the manicured expanses that wrap around the new Snoqualmie Community Center dare not leave home without their pooper-scoopers.

There are rules, many rules, that the residents, who pay an annual $300 assessment fee, must abide by. One cannot, for example, paint a deck without submitting to the Snoqualmie Ridge Residential Owners Association (ROA) a “home modification application.” Garage sales are verboten.

A city worker in a Bobcat empties the trash bins each and every morning along well-ordered Center Boulevard. Here, in “new Snoqualmie” ’s commerce sector, wood and stone buildings trimmed in muted colors—avocado, lime, mauve,

cent of Snoqualmie’s residents work outside town, according to city statistics. More than one-third of the families have children under 18. The average household income is $135,000; 24 percent of the Ridge population has graduate degrees; 9 percent possess Ph.D.’s.

Though the Ridge homes—average price about $575,000, according to the ROA—are relatively close together (6 to 16 units per acre), and while residents share the commonality of jobs in the high-tech industry, people simply don’t know, or care to know, their neighbors, says Snoqualmie Police Chief Steve McCulley. An imposing, barrel-chested man with a neck that could rival any NFL linebacker’s, McCulley has lived in his Upper Snoqualmie Valley haunt for 20 years and boasts that Snoqualmie is the third safest city in the state, behind only Duvall and Sammamish.

“We don’t have much crime at all, but we do get lots of barking-dog calls, and we’ll say, ‘Did you ever go over and talk to your neighbor about it?’ I mean, they’ve been there 10 years, and I’m thinking, ‘Go deal with it yourself.’ ” Not a soul lived on “The Ridge” before the first families (and first houses) took root in 1998. Today, 11,100 “ridgies”—as they have not-so-affectionately been dubbed by residents of the more modest

11

Tale of Two Towns » FROM PAGE 11 low-lying part of town—occupy 3,500 homes, with 500 more in the pipeline. “It’s like being a tourist in your own town,” says Ladwig.

When the last homes go up, probably within the next year or so, it will complete what the Weyerhaeuser Company, the world’s largest private lumber producer, began when it decided to get into the real-estate business nearly two decades ago: a $1 billion residential community, one of the largest of its kind in the U.S. In 2010, when the siege was running full-tilt, Snoqualmie was the fastest-growing city in all of Washington.

Imagine living in old historic Snoqualmie— home for decades to a mere 1,600 so-called “townies”—and coming to the startling realization that 85 percent of the city’s population all arrived in the past 17 years, and that they all live on a hilly ridge, a swath of just over two square miles, once devoted to Douglas fir?

“It’s so safe here, so nice and beautiful, with all the hiking trails and parks,” she continues, pushing her 2-year-old son, Carter, on the playground swing at Jeanne Hansen Community Park— recently christened in honor of the late former mayor who led Snoqualmie through a contentious time, 1987–97, helping the then-decaying former mill and logging town evolve into a booming community with the approval of Weyerhaeuser’s master-planned Snoqualmie Ridge development.

But, some wonder, at what price? As one retiree shooting eight-ball with a buddy one recent late afternoon at century-old Smokey Joe’s Tavern in the heart of old-town Snoqualmie explains, “It was too much, too soon for us to get used to. All them people came too quick.”

Few places offer such a stark contrast, with such disparate economic, cultural, and visual realities, as the two distinctly different communities that somehow make up one city. The old town is located three miles down Snoqualmie Parkway from the Ridge. It may as well be 3,000.

dominated Snoqualmie have quieted some. “But there’s still a real disconnect. I mean, we used to be a small town, and then it changed so fast, so dramatically. Everyone is trying to make it work, but there’s still some anger and frustration.”

The rapid growth put a severe strain on the Snoqualmie Valley School District, recalls retired assistant superintendent Don McConkey. “It was a real challenge to meet capacity, and when we drew the boundaries on who would stay at the Ridge and who would have to be bused to [the high school] in North Bend, that didn’t go over well.”

No question, many folks, most of them residing in lower Snoqualmie, haven’t adjusted well to the rapid incursion of newcomers. They feel outnumbered, overpowered, and generally resentful of the more well-to-do families who have settled here. “There are some old-timers who still won’t drive down the Parkway because they don’t want to look at it,” says Anna Sotelo, who owns the Mexican restaurant. “I know people who will take the long way around by going to the next

In fact, so striking is the dichotomy that Snoqualmie city officials are careful never to refer to the annexed wooded land as the Ridge or the historic village, incorporated in 1903, as “old” Snoqualmie.

“We are one city, even if it doesn’t seem that way,” says longtime council member Charles Peterson.

What has transpired in Snoqualmie is in some ways reminiscent of the dramatic metamorphosis of Seattle’s South Lake Union over the past several years. Many in Seattle embraced it as a welcome change, a high-density nirvana, while others took a far more jaundiced view (and continue to do so), arguing that the furiously paced development and the onslaught of badge-toting Amazonians—“the nerd herd,” as longtime SLU stalwarts derisively termed them—hijacked the neighborhood’s soul and robbed it of its character, history, identity.

Mayor Larson sees a parallel to an earlier era.

“What happened here was really similar to the anti-California backlash that Seattle saw back in the mid- and late ’80s,” he says. “And I’m not sure everyone has gotten over it yet.”

Traci Smith, a bookstore clerk at the Northwest Railway Museum in the older part of Snoqualmie, says the bitter divisions and resentments that once

exit up [off Interstate 90 heading east] so they can drive into town from North Bend.”

Some old Snoqualmie lifers still haven’t gotten over the city’s decision some years back to move the fire station and police headquarters to the Ridge, or the new $4 million library, financed by a $172 million bond passed by voters in 2004. Many in old Snoqualmie were plenty steamed that it replaced a branch in their part of town.

In 2007, then again in 2011,when a $56.2-million school bond issue went down to defeat, plans to build a second high school and a sixth elementary school failed to gain the necessary 60 percent supermajority, largely because suspicious old Snoqualmie voters felt the new schools would benefit only Ridge residents.

(In February residents finally did pass a $244 million school bond, which will pay for a new elementary school on the Ridge and to modernize and expand Mount Si High School, which will remain tethered, much to the relief of many veteran residents, in old Snoqualmie.)

Over coffee at Starbucks, Dave Battey, the town’s unofficial historian, muses, “I think there will always be an undercurrent of ‘us’ versus ‘them.’ ” A member of the city’s planning com-

Mount Si looms above this quarrelsome haunt.

SEATTLE WEEKLY • AP RI L 22 — 28, 2015

“It’s been like an arranged marriage, with no

12

divorce,” says Wendy Thomas, who bought the hardware store in old town 13 years ago. “And it was a marriage of two very different kinds of folks: those who made a living here working in the woods or at the mill years ago, and the newcomers—you know, the technical workers, better educated and so on.”

As Snoqualmie’s longtime Mayor Matt Larson, a tall lean man with a shy aw-shucks smile, puts it, “It has been a fascinating social experiment, all right. Sometimes I feel like I’m mayor of two cities, and since I live on the Ridge—we bought the 114th lot way back when—most people down here [in old town] don’t trust me as far as they can throw me.”

The social experiment has worked out just fine for Carly Eklund. She and her husband Tim managed to seize their slice of heaven almost two years ago. “We love it here. We were able to get a lot more house for the money,” she says. She and Tim, a tech worker at a chemical-distribution company in Redmond, thrilled to bid farewell to their onebedroom condo in Issaquah, found themselves a 2,400-square-foot, three-bedroom abode near the Jack Nicklaus–designed golf course.

mission during the great Ridge development debate in the late ’80s and early ’90s, Battey adds, “One of the reasons we decided to name the streets after old-time residents was to try and mitigate that us-versus-them feeling that they had.” It was also a key factor in locating the modern, airy $7 million City Hall, completed in 2009, in the older section of town.

No one doubts that both parts of town have benefited from the Ridge development, with new parks and trails, badly needed repairs to the decaying underground pipes in the old town, a new $20 million wastewater-treatment plant, and expanded police and fire services. In the past 15 years, the total assessed valuation of Snoqualmie has rocketed from nearly $300 million to $2 billion.

Still, old habits die hard. “People won’t admit it, but they still say there are ‘ridgies’ and ‘townies’ ” here, says Ladwig.

Says Chief McCulley: “It really has been a tale of two cities.”

“There’s still a real DISCONNECT . . . We used to be a small town, and then it changed so fast, so dramatically. Everyone is trying to make it work, but there’s still some ANGER and FRUSTRATION.”

Harold Erland: “You know, you get on board with change, or you fight it and be miserable.”

“I was born in a town that no longer exists.”

So Harold Erland begins on this late March morning after hobbling on two surgically repaired knees into a small cluttered office he occupies next to North Bend Community Church, where he runs Compassion Ministries. “Yes, it was called Snoqualmie Falls. It’s all gone now,” he says as the front-door window pane tinkles with raindrops and a cold gust tears at what’s left of the cherry blossoms on East Third Street.

Lost in reverie, Erland, 71, goes on, despite the sporadic interruptions of old-timers who come by to say hello after finishing the hot meal the church provides for free each Wednesday.

“Why, it was the largest town in the Snoqualmie Valley. Imagine. Once this was a place of dairy farms and loggers. My father was in the Army Air Corps during World War II. He was in the Marshall Islands. And he came home and he was a dairy farmer, and then he worked at the mill in Snoqualmie Falls for 40 years. My great-

word meaning moon, Snoqualmie is scattered for the most part along Railroad Avenue, where rusting rail cars languish on tracks that face old and worn, though quaint, business establishments.

The town is undergoing a significant makeover. The downtown block’s Railroad Avenue parking area has been replaced by a construction zone, with occasional one-lane shutdowns and delays as workers install underground power lines and new curbs, gutters, and sidewalks, as well as a boardwalk promenade that will include a kiosk explaining the city’s history. Downtown merchants are feeling the pinch from work that began last year and will continue well into sum-

“People who visit Snoqualmie Falls ask, ‘Is there really a town called Snoqualmie?’

It’s like we are a MYTHIC TOWN in the mist.”

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Wendy Thomas: “It was like an arranged marriage.”

mer. But few are complaining. They realize the town needs a serious facelift, and hope the new amenities will draw visitors.

“It’s not just people on the Ridge who might not come here all that frequently, but there are a lot of people who came to the falls and don’t even know we exist,” says Wendy Thomas, owner of Carmichael’s True Value Hardware. Sipping a cup of chamomile tea at the Black Dog restaurant, she adds, “People who visit Snoqualmie Falls ask, ‘Is there really a town called Snoqualmie?’ It’s like we are a mythic town in the mist.”

Thomas, a spry 51-year-old who faintly resembles Lily Tomlin, grew up in Bellevue, worked for a time on a fish-processing boat in southeast Alaska, and then got into the lumber business. She moved to North Bend, two miles from town, in 1991. Gazing across the room, her fingers forming a steeple, Thomas reflects on what the Ridge development has meant to Snoqualmie. “It really has been a fascinating and dynamic social experiment,” she says. “And now we’ve come to this place where people have had to adjust on both sides. And that’s still hard for some people. Everyone wants to move to a community and then close the gate behind them when they get there. They don’t want this ideal they had for the place spoiled.

“But people are finally getting used to it— kind of like you get used to an arranged marriage.” E

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great-grandmother came here from Indiana in a covered wagon.”

Snoqualmie Falls, born in 1917, was a company town. It belonged to Weyerhaeuser, which built for its loggers and millworkers 250 houses, a community hall, ball fields, a barbershop, a school, a post office, and a Japanese bunkhouse, located a fair distance from the Caucasian dwellings. “We even had a hospital,” Erland marvels. “I was born in it.”

The workers’ village was hailed by Weyerhaeuser as a “social experiment,” a sustainable community that would become a “permanent” home, wrote Don Fels in a 2010 article for the Snoqualmie Valley Historical Museum. In the late 1950s, the forests tamed and no longer offering an adequate harvest of Douglas fir, Snoqualmie Falls was abandoned. Turned out there was nothing permanent about it. Some homes were sold off to workers, but most were dismantled or moved to nearby Snoqualmie. The town that had been billed as a “planned community” disappeared.

Decades later, though, “planned community” was the precise term the lumber company used to promote Snoqualmie Ridge in 1987. Rather than fight county zoning regulations or wait 30 to 50 years for a new crop of Douglas fir saplings to mature, the company asked the depressed and desperate timber town of Snoqualmie to annex the underdeveloped ridge land and approve its plan to build thousands of new homes.

“We were in dire straits,” recalls Mayor Larson. “The mill was gone. Our infrastructure was falling apart. There were more stringent laws on water and land use, and there was a halt on dredging, and so there was even more flooding.

This [the Ridge development project] was about economic survival.”

Erland, an electrician at Puget Sound Electric for most of his working career, recalls the fierce debate that radiated through the community.

“It was a battle. People were really split,” he says.

“Most of the anti-growth people were in North Bend. We are connected here, and a lot of people just didn’t want to see the valley grow.”

He goes on. “But yeah, it was a dramatic change.

A lot of them [the newcomers] came without community ties. They were more education, more white-collar. Before, people just lived and worked here. Now they just sleep here. But that anger is pretty much dissipating now. The older generation is dying off. You know, you get on board with change, or you fight it and be miserable.”

Sandy Conway, secretary for Compassion Ministries in North Bend, is not altogether on board. Her perspective is harsher: “They came in and thought they could push people around.

It was obvious they looked down upon us, they with their $500,000 homes and we’re in our own $100,000 homes at the time.”

During the mid-2000s, when droves were settling upon the Ridge, things were far more fraught with jealousy, resentment, and downright anger, most of it emanating from longtime residents. Remembers Soleto, owner of the Mexican restaurant: “In the early days, it was like, ‘We hate the Ridge. They messed everything up.’ The locals still say that, but it’s not as out in the open as much now. People have worked it out. It’s no longer the hicks versus the socials like it was. The kids got through it, but it has taken the parents a whole lot longer.”

The old town hugs the icy, flood-prone Snoqualmie River. A mile away, the famous waterfall crashes down 268 feet over granite cliffs. One of the state’s most popular tourist destinations, it’s perhaps best known to the world for its appearance in the cult television series Twin Peaks. A Salish

13

food&drink

Café Nordo’s ‘Culinarium’ Opens

FoodNews

BY JASON PRICE

Former pop-up Kraken Congee has opened a brick-and-mortar location in Pioneer Square. Chefs Garrett Doherty and Shane Robinson took over the former Little Uncle space to bring their namesake classic dish and a selection of starters and sides. Mondays are lunch service only, with dinner Tuesday through Saturday. And if you haven’t gotten enough congee by then, you can go for brunch on Sunday.

Its first production is a spirited take on Don Quixote that’s undermined by its main character: food.

BY NICOLE SPRINKLE

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Don and leads them to a homeless encampment where fried fish skeletons are being cooked, lines like “It was so rustic to be ahead of its time” and “Everything is sourced within a mile” bring plenty of predictable laughter. When Sancho complains about the lack of salt, Don Nordo chides that “It’s how the chef wants it to be,” but adds that he has some salt in his pocket: “Himalayan.”

At this point, masked servers dressed in black bring the audience paper sacks (homeless style) of “Bacalao Tots & Mushroom Gravy,” which we unwrap and share with our fellow diners (there are about 10 tables of five). This witty, stylistic integration of the food into the performance takes it out of straightforward dinner-theater territory.

However, the cod is completely lacking in salt, the accompanying sherry watery. Almost all of the nine courses of “Midwestern Tapas” are, in fact, bland (save for a perfect little bite of ham on pecan/majon cheese brittle): the very thing Don Nordo is fighting against, which feels unforgivable. I wondered if perhaps this was meant to be ironic, though it seems doubtful given the price of the show.

As the Don and Sancho take on myriad food obstacles—a food factory, chain restaurants, a taco-truck park— brawls ensue and their world takes on a fantastical quality a la Don Quixote, with multiple visits from a sort of drunken angel of gastronomy, played to great comic effect by Kate Hess with a cabbage-topped head and a cheap bottle of wine in hand. It is she who tells the Don it is time to seize his destiny and “Your critics are coming.”

Come they do: a horde of taunting food writers (who spew sardonic lines like “Why does this taste like a funeral in my mouth?”) and angry McDonald’s workers (“No one has ever asked to see the chickens. There are no chickens”). For that

scene, we’re served tasteless “Chicken McCroquettes” with the mustard sauce in the center.

Disillusioned, the Don decides he must do

something truly mad and “almost ends the tale.”

Later, Sancho finds him slumped at a salad bar at Olive Garden (cue bowls of salad with glass vials of toppings like blue cheese, pickled onions, and a sardine-stuffed pickled pepper). It is here, about halfway through the three-hour show, that the performance finally develops—as if, when the Don comes out of his stupor, the play too finds its energy.

The live music—chords of Spanish guitar, bursts of flute and trumpet, and even the kitschy playing of kazoos, a miniature metal shopping cart, and colanders—has been a high point throughout the show, but now lends even greater ambience.

Scenes begin to feel like scenes (of which there are dozens, chapter-style in homage to the novel), rather than rote descriptions from the narrator; Sancho and the Don’s relationship gains heft, lifting it out of mere allusions to Don Quixote while allowing the jokes, delivered particularly well by Maximillian Davis as Sancho, to keep rolling. As the two vow to continue their quest, the performance’s quirky style gets even better. Insidious food-factory workers outfitted in yellow suits and goggles that resemble Breaking Bad’s Walter White bring us chorizo (the worst I’ve ever had) in a most disarming way, and a Food TV showdown between a sassy-mouthed mac-’n’-cheese food-truck owner and the Don and Sancho delivers pitch-perfect camp, though the accompanying tiny grilled cheese sandwiches with haloumi cheese and kimchi are serviceable at best.

In one of the better, more “serious” scenes of the night, a frosty-haired “Clone Queen” delivers a soliloquy about the sickness she suffers to make nature more sustainable, to engineer the most beautiful fruits and vegetables without bruises. Austere, icy trees made from plastic tubes and eerie notes from a cello seem to come straight from “her nightmares.”

When Don Nordo sums up the bleakness with the line “It’s the fear of not having a peach in December,” it feels prophetic rather than prosaic.

The team behind Café Nordo deserves applause for the ambition of Don Nordo del Midwest. From riffing on one of the most famous novels ever written to clever tricks of service and inspired costumes and staging, there are certainly magical moments here. But, sadly, the food—the show’s entire raison d’etre—is unapologetically bad. “The proof is in the pudding,” says the narrator at the end of the show. Given the state of the meal, that line becomes truly double-edged. E nsprinkle@seattleweekly.com

CAFÉ NORDO The Culinarium, 109 S. Main St., cafenordo.com.

7:30 p.m. Thurs. & Sun. ($65/$90 w/wine flight); 8 p.m. Fri.–Sat. ($75/$100). Ends May 31.

If you haven’t gotten your tickets yet, head to Brown Paper Tickets and reserve spots for Bastille Café & Bar’s rooftop dinner series, each Monday evening from mid-June through September, with limited seating for 10 diners. For $150 you’ll get a rooftop garden tour and a multi-course family-style meal with wine pairings.

Those of you into pop-ups should also check out Orchard by chef Vanessa Goldberg, who also owns the food truck How Pickle Got Out of a Jam. The five-course meal focuses on seasonal colors—the palest greens, purest whites, and most vivid pinks and reds—and will be served in the former La Bete/ Spaghetti Western space on April 30 at 7 p.m. Dishes include salt-baked trout with spring vegetable slaw, preserved Meyer lemon, and parsley; and roast chicken with rhubarb, saffron gnocchi, pea vine, fava, and mint. Tickets are $48 and reservations can be made at howpicklegotoutofajam.com. E morningfoodnews@seattleweekly.com

TheWeeklyDish

Meat & Bread’s porchetta sandwich.

BY BIANCA SEWAKE

BIANCA SEWAKE

SEATTLE WEEKLY • AP RI L 22 — 28, 2015

C

afé Nordo, a pop-up restaurant/ experimental cabaret-style performance (call it dinner theater if you like, though the folks behind it reject that term) has bounced among locations, including Theo Chocolate’s Fremont factory, for the past five years. Until now. The ensemble has claimed space in Pioneer Square’s Globe Building, the historic former home of the Elliott Bay Book Company, for its newly christened “Culinarium.” Its first production there, Don Nordo del Midwest, opened to a packed house last Thursday. You won’t see shelves of books, though, just exposed brick walls and high-ceilings.

I’d never been to Café Nordo, but I knew that food is the focus of its absurdist, comedic storylines; that actors and musicians interact and play among the audience; that “Nordo Lefesczki” is its mysterious (most likely fabricated) chef and main character, and that “dinner” itself is a kind of character. Besides that, I was in the dark (literally) when I entered the cavernous, barely lit space, where a tall, thin man lay motionless on the floor, ringed by audience members sitting at cabaret tables.

He was in fact Don Nordo (think Don Quixote), a brilliant chef who has yet to make his mark in the culinary world—so we are told by the narrator, the food critic who discovered him—but whose mission it is to save the Midwestern palate from blandness.

If you’ve ever been to a Café Nordo show, you’ll finally discover Chef Nordo’s fictional back story.

LO After getting fired from an ORNICEL C N H “agreeably dull” steakhouse JO because he tried to invigorate the menu, Don Nordo sets out to hire his own sous chef, posting an ad at the local Red Lobster.

Nordo names the applicant Sancho (of course), despite his claim that “I’m not Latino.” The two,wearing upsidedown colanders on their heads like helmets, set out on a series of food-inspired adventures that in the show’s first half seem designed mostly to set up jokes about our rabid foodie culture—territory that Portlandia has already thoroughly mined, and that feels somewhat trite. When the aroma of garbage beguiles the

Anyone who has made the trek up north has probably heard about the insanely popular Vancouver-based sandwich shop Meat & Bread. Lucky for you and me, 141 miles no longer stand in the way of getting our hands on these delicious sandwiches; the first U.S. location just opened on Capitol Hill. The one I always recommend to those who have never been is the porchetta sandwich ($10), a menu staple and one of the three sandwiches offered daily. The pork is slow-roasted to chewy, savory, juicy perfection.

Salsa verde—fresh herbs mixed with spices and olive oil—is spread on top, and it’s finished with crackling, which gives each bite a delightful, and tasty, crunch.

It’s all served on a little wooden cutting board with a dollop of house mustard on the side for dipping. E food@seattleweekly.com

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15

arts&culture

Still Angry After All These Years

ThisWeek’s PickList

Seattle’s longest-running stage hit is back.

We ask the creators why it was such an ’80s success.

BY BRIAN MILLER

SEATTLE WEEKLY • AP RI L 22 — 28, 2015

16

And that particular year we didn’t have a musical.

I’d never written a play or a musical. Even my partners were surprised when I said I wanted to write one. I used to walk from Capitol Hill to Pioneer Square to work. I’d been trying to work out an idea . . . One day I came up with the title on this particular walk: Angry Housewives.

I thought, “Oh, that’s funny.” And then on the same walk came “Eat your fucking cornflakes.”

It was a cool punk scene [at the time]. It was right before the grunge scene. A lot of our friends were in bands. Musicians hung out with actors who hung out with painters. We would do parties at the theater. A lot of times a punk band would play. All that wildness. Pioneer Square at the time was kind a cultural mecca for talent. We were in our 20s.

I think we started [leasing the theater] at $500 a month. It was a ridiculously low amount that seemed huge to us at the time. They’d just evicted a gay disco. They just locked the doors. We were paying [performers], like, a ridiculous $25 a week. Union actors couldn’t work for us. We were bringing home, like, $50 a week. At some point, we slept in the theater under the bleachers. That’s how we got away with rent. Those were the days

Ever since the debut of Carl Orff ’s Carmina burana in the 1930s, choreographers have been seduced by its rhythms and its bawdy medieval text. Usually the results come out like the best trip to the Renaissance fair, but Donald Byrd likes to switch things around; his version is more revival meeting than May Day festival.

Using a piano reduction of the score, Byrd focuses on a singular Everyman who sins and seeks redemption in Spectrum Dance Theater’s different approach to a well-know work.

(Through Sun.) The Moore, 1932 Second Ave.,

877-784-4849, stgpresents.com. $30–$40. 8 p.m.

SANDRA KURTZ

FRIDAY, APRIL 24

Slither

Playwright Collins in the early ‘80s.

when people were willing to work for us for $25 a week and beer.

I wasn’t married at the time. Angry Housewives might’ve been based partly on my mom. I didn’t have any political thought behind that particular play. I was all about the humor. It was funny to me to think of people my mom’s age playing punk rock. I laughed at the inappropriateness.

Truly, in that part of the ’80s, there were very few older rock-’n’-rollers.

We expected [Angry Housewives] to fail. It must have hit some kind of nerve. Quite honestly, I was baffled [by the show’s success]. I didn’t know what to think. I felt like, “I got away with something.” That was sort of a magical moment. Nobody saw it coming. I didn’t.

Chad Henry Anna [A.M. Collins] just had this

great idea. We put it together on a shoestring. It was just one of those timely things. It was kind of a women’s show. This was about the first time that there was an original piece [in Seattle musical theater] that focused on women’s issues. Anna drew on a lot of her own experience. It was an underdog story.

It was a real collaboration, and we had a terrific cast. We had a great opening night . . . and both the dailies came out with rave reviews. And it was almost sold out for the next seven years.

It had a few great numbers back to back that really killed it. Everybody remembers the song “Eat Your Fucking Cornflakes”—that was Anna Marie’s title, and I fleshed out the song and the lyrics. That just nailed it for the rest of the show.

The way it was staged was so much fun.

It was kind of an unbelievable moment. I always wished we’d known that it would be such a big hit, so we would’ve worked on it harder!

They planned a six-week run. The funkiness and simplicity of the original Pioneer Square produc-

Banks and Rooker work out some marital issues in Slither.

MICHAEL BRUNK

A.M. Collins Every year we did a new musical.

Spectrum Dance Theater

tion was one of its virtues. It would’ve kept going [beyond September ’89] if the theater hadn’t had so many problems. They just kept selling and selling tickets. I think there was a lot of return audience. We were just so grateful.

It didn’t do well in New York [in 1986]. It got really crappy reviews. But it’s had hundreds and hundreds of productions in Europe and Asia and Australia and Canada and all the major American cities. It became—dare I say it?—an international phenomenon. I was proud of it. It ran for years in other places. It was kind of a little miracle. It was so unexpected, so left-field.

Linda Hartzell It struck a chord. It’s sort of dated now. [The times] were so different then. I think it was the tail-end of the women’s-lib movement.

The atmosphere was that if you’re a woman, you’re gonna make coffee.

[The show was about] four diverse women who want to make some money [in a punk-rock contest] instead of selling Mary Kay. The show kept every aspect of who they were at home, and morphed that into what they thought would be symbolic of being a punk rocker.

It was a new musical with a lot of good music and a lot of good lines. It wasn’t your traditional rock-’n’-roll musical. Women loved it—“That’s us! That’s me!” It spoke to Middle America and made theater fun. Opening night, the audience just went crazy. It was like in a movie where the audience jumps to its feet. The reviews were raves. We didn’t think we had a show that would last longer than one or two weeks. E

bmiller@seattleweekly.com

ARTSWEST 4711 California Ave. S.W., 938-0339, artswest.org. $17–$36.50. Opens Thurs., April 23.

7:30 p.m. Wed.–Sat., 3 p.m. Sun. Ends May 24.

UNIVERSAL

Y

ou’d never know it today, but the present Trinity Nightclub on Occidental Avenue South (near Yesler) once housed the 90-seat Pioneer Square Theater. Operating at two venues during its 1980–89 existence (including a former porno theater at the base of the Smith Tower), PST was a mainstay of fringe theater during the Reagan years. The company had its biggest hit with Angry Housewives, originally planned as a short-run spring musical, which opened in April ’83 and ran for over six years until the theater’s collapse.

That’s another, sadder story than this one: how a plucky, locally authored musical about bored housewives-turned-punk rockers became a cult phenomenon, later exported to New York, London, and beyond, with stagings continuing to this day. There have been Northwest productions in Tacoma, Everett, and Bellevue since ’89, but ArtsWest’s revival (opening Thursday) is the first time Angry Housewives will be seen in Seattle since the era when Starbucks and Microsoft were small, Amazon didn’t exist, and you could still buy a house in this city on a single paycheck.

The whole notion of “housewife” is dated (what married woman today doesn’t work outside the home?), so Angry Housewives is now a period piece from a very different era.

Why’d it strike such a spark? We asked writer A.M. Collins (now living in Southern California) composer Chad Henry (now with the Denver Center for the Performing Arts), and director Linda Hartzell (of Seattle Children’s Theatre).

What follows is an edited, condensed version of their recollections.

THURSDAY, APRIL 23

The new cast at ArtsWest, left to right: Heather Hawkins, Chelsea LeValley, Ann Cornelius, and Janet McWilliams.

A pitch-perfect work of B-grade zombie-flick schlock, the 2006 Slither is way more enjoyable than it should be, thanks to a slew of gut-busting one-liners and a devilishly entertaining performance by veteran tough-guy character actor Michael Rooker. Playing a small-town South Carolina tycoon who morphs into a carcasseating, Fat Bastard-sequel squid-man after having his chest penetrated in the woods by alien ringworms, Rooker comes off as a hilarious cross between Jeff Bridges’ character in Starman and Phil Hartman’s Unfrozen Caveman Lawyer. It also doesn’t hurt that Elizabeth Banks, playing Rooker’s much younger gold-digging trophy wife, is hotter than Georgia asphalt. But beneath Slither’s gory sheen lies a cautionary tale: Marry for love, and things will break your way; marry for money, and your husband will turn into a jealous, bloodthirsty, cattle-devouring murderer.

(Through Tues.) Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com. $7–$9. 9:30 p.m.

MIKE SEELY

SATURDAY, APRIL 25

How to become a partisan

Since she arrived in Seattle from her native Italy in 2004 to attend the UW, choreographer Alice Gosti has been defying expectations and remaking conventions. More often than not, you’ll see her work in a space where you wouldn’t expect dance to be happening—like Airport Project, a solo she performed at airports in Reykjavík, Detroit, Frankfurt, and Seattle from 2006–08. Her latest

» CONTINUED ON PAGE 20

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arts&culture» » FROM PAGE 16

Craig Sheppard

In the through-the-looking-glass world of the Soviet Union under Stalin, Dmitri Shostakovich’s 24 Preludes and Fugues for piano were politically incendiary because they were politically noncommittal. What offended the Soviets so? The cycle’s seeming abstractness. This set of 24 fugues (works that present and develop musical themes via the layering of in[ter]dependent melodic lines), each in a different major or minor key and each prefaced by a free-form prelude, was condemned as “formalist.” But what perceptive listeners noticed in 1951, and what has engrossed pianists and audiences ever since, is the extraordinary wealth of expression Shostakovich evoked within structures of such dazzling com-

Paramount, 911 Pine St., 877-784-4849, stg presents.org. $41–$71. 7 p.m. DAVE LAKE

TUESDAY, APRIL 28

Joseph Stiglitz

JOANNE DE PUE

work begins as a participatory audience march leading to a church, where the performance will commemorate Italy’s April 25 National Liberation Day (the formal end of World War II). To research the piece, she traveled back to Italy to interview the aging few former WWII resistance fighters who had the courage to battle Mussolini and the Nazis. “What made you decide to act?,” she asked. And “How did you know what to do?” For the five-hour show, her interview texts become a libretto of sorts for the music, composed and performed by Hanna Benn (of the group Pollens and the St. Mark’s choir). Around Benn, an ensemble of dancers will respond to the interviewees’ answers. The processes those partisans describe—deciding the moment when a diverse group of individuals becomes an organized force—will structure the ensemble’s movements.

(By odd historical coincidence, Gosti learned, St. Mark’s was used as a temporary barracks and anti-

he’s being backed up by punks or a string quartet.

For this tour, Costello will be backed up by no one, accompanied onstage only by a selection of favorite guitars and a grand piano, all set in front of a massive CRT television. Set lists from the tour clock in around 30 songs, which include some of the expected hits, but also gems from deep in the catalog. In addition to some covers that help the frame the show, Costello will wax nostalgic and show videos that tell the story of his musical life. And what a rich one it is. The

aircraft-gun training center during WWII.) Start: 3:30 p.m. Velocity Dance Center, 1621 12th Ave., 325-8773, velocitydancecenter.org. $12–$20.

Performance: 4 p.m. St. Mark’s Episcopal Cathedral, 1245 10th Ave. E. SANDRA KURTZ

Sheppard away from the keys.

plexity and craftsmanship—namely, “the irony, the sarcasm, the tragedy,” as UW pianist Sheppard describes it. Tonight he’ll play the entire set of 24—two and a half hours of music—which he unhesitatingly calls “the greatest solo piano pieces of the 20th century.” Meany Hall, UW campus, 543-4880, music.washington.edu. $12–$20. 7:30 p.m. GAVIN BORCHERT

Norma Miller

When you think about swing dancing, and picture a woman at the apex of a lift, zooming over the head of her partner, you’re seeing Norma Miller. One of the original Lindy Hoppers, Miller helped develop the high-octane dance style, appearing in films and nightclubs as part of a specialty act that spent more time in the air than on the ground. Most of that airborne crew is gone, but Miller is still around—teaching, coaching, and telling fabulous stories about wonderful times. She’s touring with a new documentary about her life, The Queen of Swing, and you can ask her questions tonight and help her celebrate her 95th birthday. The Studios, 1801

Fifth Ave., 582-3878, thestudios.org. $30. 6 p.m.

SANDRA KURTZ

Should Hillary take up the income-inequality battle, like Sen. Elizabeth Warren, or, like the Republicans, run away from it? Many thought the Democrats could’ve fared better during the 2014 midterms had they assailed income inequality—a proven 30-year trend—and defended the Affordable Care Act (which, by averting catastrophic medical bills, helps the middle class remain middle class). After The New York Times’ Paul Krugman, our leading voice against income inequality is the Nobel Prize-winning economist Stiglitz, and he detailed his arguments comprehensively in 2012’s The Price of Inequality: How Today’s Divided Society Endangers Our Future (with a new preface in its latest paperback reissue, Norton, $13). Obviously his diagnosis didn’t tip the 2012 election in Congress, with the Tea Party/Obamacare backlash still driving the GOP’s recent wave of success. Looking forward to 2016, Stiglitz forthrightly advocates for more government regulation of financial markets. The postwar boom that lasted into the ’70s was an aberration, he writes. After that, “Some drew the wrong lesson from the collapse of the Soviet system. The pendulum swung from much too much government there to much too little here. Corporate interests argued for getting rid of regulations, even when those regulations had done so much to protect and improve our environment, our safety, our health and the economy itself.”

We’ll see if Hillary is listening or not. Town Hall, 1119 Eighth Ave., 652-4255, townhall seattle.org. $5 (sold out, with standby tickets only). 7:30 p.m. BRIAN MILLER E

20

Elvis Costello

season sponsor

title sponsor

producing partners

NESHOLM FAMILY FOUNDATION

Emily Chisholm and M.J. Sieber, photo by Nate Watters.

Though many solo acts have toured a stripped-down version of their band show to keep things interesting after decades on the road, few have a back catalog with the breadth and depth of Costello’s. From new wave to power pop, jazz to classical, the British bandleader has been a genre-hopping, critic-delighting musical hurricane for nearly 40 years. He’s rebellious and surly, studied and dignified—as comfortable paying tribute to Joe Strummer as he is crooning with Burt Bacharach. Not all of Costello’s explorations have been knockouts, of course, but across his 40-plus albums, his successes far outstrip the misses, whether

ANDY GOTTS

SEATTLE WEEKLY • AP RI L 22 — 28, 2015

SUNDAY, APRIL 26

Costello’s solo tour is called Detour.

P R O M O T IO NS EVENT S EE K LY »Performance M US IC W W W. S E AT T L E W E E K LY. C O M / S I G N U P

Opening Nights

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AR T S A ND E NT E R TA INM ENT

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ARTS & ENTERTAINMENT NEWSLETTER

Find out about upcoming performances, exhibitions, openings and special events.

SW FILE PHOTO

Herr Schnitlzer is not amused.

KUMA

Sex’D LAB AT INSCAPE, 815 SEATTLE BLVD. S., HAND WRITTENPRODUCTIONS.ORG. PAY WHAT YOU WILL. 7:30 P.M. THURS.–SAT. ENDS APRIL 25.

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JAPANESE FOR “BEAR”

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SEATTLE WEEKLY • APRIL 22 — 28, 2015

From pen pals to the personals to the Internet, people have been trying to get laid—er, create connections, for centuries. Inspired by Arthur Schnitlzer’s 1897 La Ronde, Sex’D teasingly toys with Gen-Y’s alternating approaches to friending and fucking.

While somewhat enjoyable, the end product is as gratifying as dry-humping in your parent’s basement.

Developed as an improv exercise by the Handwritten Productions ensemble (indulgently directed

by Lily Raabe), Sex’D comprises 10 scenes with two lovers each, with one character linking to the next scene. (Ten performers share the 20 roles.)

Schnitzler’s text is updated to explore how technology has affected romance—here via the gimmick of a single, shared online dating site (never mind that millennials are polyplatform). These serial daters variously seek connection, power, and self-discovery, though Sex’D never develops beyond a casual encounter (never mind AIDS).

Each pairing culminates in a choreographed dance simulating sex. And if you like that sort of thing, the cast also performs stylized erotic choreography between vignettes. The performers, who ad-lib their scenes each night, are brave, though the whole production verges on artistic masturbation. Appropriate to the ticket price, it’s like watching a bare-bones workshop. The vanilla design elements are as functional as the missionary position. Costumes presumably came from the closets of the all-volunteer cast. The character of Hank, a supposedly wealthy financier, looks to be wearing his graduation suit from 1992.

Sex’d is as unbalanced as Seattle’s dating pool: some moments and performers seduced me; others were fraught with performance anxiety. For me, the most humorous, touching, and realistic scene had performers Madison Jade Jones and Luke Sayler delivering droll dialogue and showing real chemistry. Since each night’s performance is different, however, there’s no guarantee that duo will be as good tomorrow. And lesser pairings I saw might well be better. Sex’D, like sex itself, is bound to be hit-and-miss: Tinder meets eHarmony.

Says one character, “If you are going to take the time to write a profile, then spell out ‘You’ instead of using the letter U.” I feel the same about Sex’D: There is potential here, but it needs to be thought out and written down. Then maybe I’ll swipe right. ALYSSA DYKSTERHOUSE E

21

Art by Kathleen Gustafson, 2015 Winner, AAOS Annual Poster Contest

2015 Fine Art Show

Fine Art, Photography, & Electronic Media Show THREE SHOWS IN ONE WEEKEND!

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W W W. S E AT T L E W E E K LY. C O M / S I G N U P

WEEKLY

NEWSLETTER

INI NG

W E E K LY

SEATTLE WEEKLY • AP RI L 22 — 28, 2015

FILM

22

The inside scoop on features, columns and reviews.

MUS I C

H APPY H OUR

arts&culture» Performance Stage

CHE/THE GATE Leonard D. Goodisman’s pair of one-acts.

OPENINGS & EVENTS

ANGRY HOUSEWIVES SEE PREVIEW, PAGE 16.

• BUNNIES Keiko Green’s dark tale of revenge and cannibal-

ism, based on The Bacchae, is inspired by the real-life Woodland Park rabbit infestation. Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $5–$20. Preview April 23, opens April 24. 8 p.m. Thurs.–Sat. plus Mon., May 11.

Ends May 16.

BUS STOP William Inge throws strangers together during a snowstorm. Jones Playhouse, 4045 University Way N.E., 543-4880, drama.uw.edu. $10–$18. Previews April 22–23, opens April 24. 7:30 p.m. Wed.–Sat., 2 p.m. Sun. Ends May 3.

CAT ON A HOT TIN ROOF Tennessee Williams’ dysfunctional-family classic. Kurt Beattie directs. ACT, 700 Union St., 292-7676. $15–$44. Preview April 22, opens April 23.

Runs Tues.–Sun.; see acttheatre.org for exact schedule.

Ends May 17.

FLUSHED In his solo show, Stokley Towles assumes the character of Ron, a treatment plant manager, to explore the question of sewage. (“Produced by 4Culture in partnership with King County’s Wastewater Treatment Division.”) New City Theater, 1404 18th Ave., 800-838-3006, brownpapertickets.com. $10–$15. Opens April 25. 7:30 p.m.

Fri.–Sat., noon Sun. Ends May 10.

H.P. LOVECRAFT: STAND-UP COMEDIAN! The title says it all. “Can Howie pull off one last sold-out gig before the human race is destroyed?” Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $5–$10. Opens April 28. 8 p.m. Tues.–Wed. Ends May 13.

THE LION, THE WITCH, AND THE WARDROBE A stage adaptation of C.S. Lewis’ Narnia tale. YTN Black Box at Emmanuel Episcopal Church, 4400 86th Ave. S.E., Mercer Island, 232-4145 x109, youththeatre.org. $10–$17. Opens April 24. 7 p.m. Fri.–Sat., 2 p.m. Sat.–Sun. Ends May 10.

LITTLE BEE Chris Cleave’s novel explores “‘the mutual incomprehension of the developing world and the developed world.” Center Theatre, Seattle Center, 216-0833. $25. Previews April 22–24, opens April 25. Runs Wed.– Sun.; see book-it.org for exact schedule. Ends May 17.

OPENLY WE CARRY/CARRY WE OPENLY Paul Mullin and Nick Stokes explore American gun culture in this double bill. Theatre Off Jackson, 409 Seventh Ave. S., 800838-3006, theatreoffjackson.org. $14–$16. Opens April 23.

8 p.m. Thurs.–Sat. Ends May 9.

OUTSIDE MULLINGAR Anthony and Rosemary are forced to let go of a longtime land feud, and romantic hesitancy, to find happiness in John Patrick Shanley’s recent Tony winner. Seattle Repertory Theatre, Seattle Center, 443-2222. $17–$102. Previews begin April 24, opens April 29. 7:30 p.m. Wed.–Sun. plus some Wed. & weekend matinees; see seattlerep.org for exact schedule. Ends May 17.

TAPE Gilmore Acting Studio gives Stephen Belber’s 1999 play maybe the least informative but still intriguing plot description ever: “It follows classical unities of action, time, and space, featuring three characters in a single plot narrative regarding their differing perspectives of past events, in one unbroken period of real time, in a single motel-room set.”

2220 N.W. Market St., gilmoreactingstudio.org. $24. Opens April 24. 7:30 p.m. Fri.–Sat. Ends May 23.

THREE HIGH CIRCUS SERIES Three separate shows in three runs, starting with Acrobatic Conundrum’s “The Language of Chance,” with aerial/dance/physical theater work devised by KT Niehoff and Elizabeth Klob. 7:30 p.m.

Tues., April 28–Wed., April 29. 12th Avenue Arts, 1620 12th Ave., 800-838-3006, acrobaticconundrum.com. $10–$40 ($50 for series pass). Series ends May 10.

E V E NT S

Eclectic Theater, 1214 10th Ave. $12–$25. 8 p.m. Thurs.– Sat., 2 p.m. Sun. Ends May 9.

THE CLOWN SHOW Physical theater from Cornish students. Cornish Playhouse Studio at Seattle Center, cornish.edu. Free. 8 p.m. Thurs.–Fri. Ends April 24.

CRADLE WILL ROCK Marc Blitzstein’s political musical made waves in the ’30s when the Federal Theater Project backed it. Raisbeck Performance Hall, 2015 Boren Ave., cornish.edu. Free. 8 p.m. Thurs., April 23 & Sat., April 25; 2 p.m. Sun., April 26.

DINA MARTINA—TONIGHT! All-new songs, stories, and videos from the incomparable, indescribable entertaineress, with Chris Jeffries on keyboard. Re-bar, 1114 Howell St., 800-838-3006, brownpapertickets.com. $20–$25. 8 p.m. Fri–Sat., 2 p.m. Sun. Ends April 26.

DON NORDO DEL MIDWEST SEE REVIEW, PAGE 14.

FAIL BETTER: BECKETT MOVES UMO Samuel Beckett’s work is explored through UMO’s unique physical theater. ACT Theatre, 700 Union St., 292-7676, umo.org. $30. 8 p.m. Wed.–Sat., 2 p.m. Sun., plus other matinees; see acttheatre.org for exact schedule. Ends April 26.

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A FUNNY THING HAPPENED ON THE WAY TO THE FORUM Sondheim’s Greek-inspired farce. Seattle

Musical Theatre at Magnuson Park, 7120 62nd Ave. N.E., Building 47, 800-838-3006, seattlemusicaltheatre.org. $20–$35. 7:30 p.m. Fri.–Sat., 2 p.m. Sun., plus 7:30 p.m.

Thurs., April 23. Ends April 26.

GOODNIGHT MOON Based on the bedtime book by Margaret Wise Brown and Clement Hurd, this musical debuted here in 2007. Seattle Children’s Theatre, Seattle Center, 441-3322. $20 and up. Runs Thurs.–Sun.; see sct. org for exact schedule. Ends April 26.

INTO THE WOODS Sondheim’s dark fairy-tale mashup, presented by STAGEright Theatre. Richard Hugo House, 1634 11th Ave., seattlestageright.org. $17.50–$22. 7:30 p.m. Fri., Sat., & Mon., 2 p.m. Sun. Ends April 25.

BREL IS ALIVE AND WELL & LIVING • JACQUES Belgian crooner Jacques Brel’s songs were IN PARIS

a touchstone for postwar Europe, their fragililty and terror, beauty and hopefulness a reflection of his world. It’s not a bad fit in our world, either, and this production of this 1968 revue, directed by David Armstrong, tries hard to make that point. Brel’s musical punch lines are crisp, his desperation real, his anger frightening. And the cast does a fine job of bringing these songs to life. MARK BAUMGARTEN ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $15–$49. 7:30 p.m. Tues.–Wed., 8 p.m. Thurs.– Fri., 2 & 8 p.m. Sat., 2 & 7 p.m. Sun. Ends May 17.

LIZARD BOY One component of Justin Huertas’ new musical is a look at relationships in contemporary Seattle, centered on a lonely young gay man, Trevor (Huertas), who, though scarred, needs to get back on that horse while trying to jump the hurdle separating meaningful connection from superficial one-nighters. Trevor has a unique backstory, though: As a kindergartener he was doused in the blood of a dragon that escaped from Mt. St. Helens—hence the mysterious mental connection that draws him to damaged rock star Siren (Kirsten deLohr Helland). Here the show pivots into extravagant comicbook fantasy, including superpowers, mind control, a dragon attack, and a climactic battle—yet, ineffectively, it’s played with exactly the same earnestness as the sliceof-life stuff. GAVIN BORCHERT Seattle Repertory Theatre, 155 Mercer St. (Seattle Center), 443-2222. $17–$67. 7:30 p.m. Wed.–Sun. plus some Wed. & weekend matinees; see seattlerep.org for exact schedule. Ends May 2.

NO WAY TO TREAT A LADY Douglas J. Cohen’s 1987 gore-free, family-friendly musical comedy was originally inspired by the Boston Strangler—according to source novelist William Goldman. Suffering a deadly devotion to his late mother, failed thespian Christopher “Kit” Gill (Nick DeSantis) dons various disguises and adopts different dialects whilst murdering women who remind him of her. The cat-and-mouse script smartly balances engaging action with witty dialogue and lyrics. ALYSSA DYKSTERHOUSE Village Theatre, 303 Front St. N. (Issaquah), 425-392-2202. $35–$67. Runs Wed.–Sun.; see villagetheatre.org for exact schedule. Ends April 26. (Also runs May 1–24 in Everett.)

PICASSO AT THE LAPIN AGILE The artist meets Einstein in Steve Martin’s absurdist comedy, presented by Twelfth Night Productions. Youngstown Cultural Arts Center, 4408 Delridge Way S.W., 800-838-3006, brownpapertickets.com. $15–$18. 7:30 p.m. Fri.–Sat., 3 p.m. Sun. Ends April 26.

ROBIN HOOD The evergreen adventure tale promises not to be too intense. But will it turn your kids to socialists?

Seattle Children’s Theatre, Seattle Center, 441-3322, sct.org. $20 and up. 7 p.m. Thurs.–Fri.; 2 & 5:30 p.m. Sat.; 11 a.m. & 2:30 p.m. Sun. Ends May 17.

SATURDAY MORNING CARTOONS Kids’ play ideas are brought to life by adult playwrights and actors in this omnibus. Pocket Theatre, 8312 Greenwood Ave. N., the1448projects.org. $5–$14. 10:30 a.m. Sat. Ends May 9.

SEX’D SEE REVIEW, PAGE 21.

TEATRO ZINZANNI: THE HOT SPOT “Love and magic in the digital age collide,” with Frank Ferrante and Dreya

P R O MO TIO NS

AR T S AND E NTER TAINMENT

CURRENT RUNS

ALICE IN WONDERLAND Andre Gregory’s avant-garde

take on Carroll, from 1970. Stone Soup Theater, 4029 Stone Way N., 633-1883, stonesouptheatre.org. $15–$25. 7:30 p.m. Fri.–Sat., 3 p.m. Sat.–Sun. Ends May 3.

BEAU JEST The Seattle Jewish Theater Company presents James Sherman’s comedy about a woman’s invented, then impersonated, boyfriend. Various dates and venues through April 26; see seattlejewishtheater.com for full info.

THE BEST OF ENEMIES In 1971 Durham, N.C., racism is the norm and segregation a fact of life, as confronted by two locals nominated to the federally mandated school-integration committee: a black civil-rights activist, Ann Atwater (Faith Russell), and a white KKK member, C.P. Ellis (Jeff Berryman). Enemies takes them on an inevitable journey toward reconciliation, along the way exploring notions of poverty and education that still bedevil the South today. ALYSSA DYKSTERHOUSE 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 April 25.

THE CAUCASIAN CHALK CIRCLE Bertolt Brecht’s political allegory. (I know, that doesn’t exactly narrow it down.)

Ballard Underground, 2200 N.W. Market St., 395-5458, ghostlighttheatricals.org. $12–$15. 7:30 p.m. Thurs.–Sun.; also 2 p.m. Sun., April 26. Ends May 2.

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Openings & Events LINDA DAVIDSON AND SAYA MORIYASU Road

Trip is a collection of new paintings from Davidson, featuring skies, landscapes, and rainbows. Moriyasu’s exhibit, Parlor, uses a variety of media to consider what might be called the inner life of her own ceramics studio. Opens Fri., April 24. G. Gibson Gallery, 300 S. Washington St. (Tashiro Kaplan Building), 587-4033, ggibsongallery.com. 11 a.m.-5 p.m. Wed.-Sat. Ends June 6.

Dance •

SPECTRUM DANCE THEATER SEE THE PICK LIST,

PAGE 16.

THE COMMON S E N S E Ten dancers, choregraphed

by Corrie Befort, perform a piece inspired by/interacting with Ann Hamilton’s installation. Henry Art Gallery, UW campus, 543-2280, henry.org. Museum admission $6–$10.

2:30 p.m. Sat., April 25.

HOW TO BECOME A PARTISAN SEE THE PICK LIST, PAGE 16.

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Classical, Etc.

• SEATTLE SYMPHONY A premiere, Divisions, by • • •

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A diverse group of artists takess throwaway items and creates recycled art. Opening reception, 5-8 p.m.

Thurs., April 23. Schack Art Center (Everett), 2921 Hoyt Ave., (425) 259-5050, schack.org. 10 a.m.-6 p.m.

Mon.-Fri. 10 a.m.-5 p.m. Sat. Noon-5 p.m. Sun. Ends May 30.

ANDREW WAITS Boondock is a photoseries exploring the vehicle as home. Opening reception 6-10 p.m.

Tues., April 28. Glass Box Gallery, 831 Seattle Blvd.

S., glassboxgallery.com. Noon-5 p.m. Wed.-Sat. Ends May 3.

VIP tickets – $50; Adults – $30; Youth: $10; Military: $20 A new musical by Alan Bryce, Centerstage Artistic Director, and 5-time Grammy Nominee, John Forster

Friday, May 1 through Sunday, May 24

Pre-show talk with author 1 hour before the show.

3200 SW Dash Point Road, Federal Way • 253-661-1444 • centerstagetheatre.com

Ongoing

TONY ANGELL The owls are not what they seem. From

the local sculptor, The House of Owls makes connections between these mysterious birds and humans.

Foster/White Gallery, 220 Third Ave. S., 622-2833, fosterwhite.com. 10 a.m.-6 p.m. Tues.-Sat. Ends April 30.

WALLY BIVINS The PNW executive director celebrates and concluds his tenure with Tell Your Friends “I’m an Artist!” Pottery Northwest, 221 First Ave. N., 2854421, potterynorthwest.org. 11 a.m.-5 p.m. Tues.-Fri. Ends May 1.

IMOGEN CUNNINGHAM 17 photographs of Cornish, its students, and founder Nellie Cornish, taken in 1935 by the pioneering Northwest photographer. Cornish College of the Arts, 1000 Lenora St., 726-5151, cornish.edu. 9 a.m.-5 p.m. Mon.-Fri. Ends June 30.

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EMERGE/EVOLVE 2014: RISING TALENTS IN KILNGLASS This traveling group show from Portland’s

Bullseye Glass Company gallery features about two dozen artists pushing the boundaries of their medium.

Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org. $5-$10. 11 a.m.-6 p.m.

Tues.-Sun. Ends June 14.

CHARLES EMERSON AND GUY ANDERSON The two painters take inspiration from the Northwest landscape. Sisko Gallery, 3126 Elliott Ave., 283-2998, siskoworks.com. 11 a.m.-5 p.m. Fri.-Sun. Ends May 3.

PETER FERGUSON Prime Meridian is a showcase of his new paintings, stylistically old school, yet featuring the whimsical, grotesque, and absurd. Also on display is Uchronia, a group show exploring alternate histories.

Roq La Rue, 532 First Ave. S., 374-8977, roqlarue. com. Noon-5 p.m. Wed.-Sat. Ends May 2.

CABLE GRIFFITH AND SARAH TEASDALE The artists’ paintings bring exterior landscapes into interior settings in their show, Coded Landscapes. Vermillion Gallery, 1508 11th Ave., 709-9797, vermillionseattle. com. 4 p.m.-midnight. Tues.-Wed., Sat.-Sun. 4 p.m.-2 a.m. Fri.-Sat. Ends May 9.

GROUP SHOW Night Life, from gallery artists Dianne Bradley, Karen Dedrickson, Lori Duckstein, and Sally Drew, is featured in the main gallery. In the guest gallery, Black Lives Matter deals with racism and violence. Columbia City Gallery, 4864 Rainier Ave. S., 760-9843, columbiacitygallery.com. 11 a.m.-7 p.m.

Wed.-Sun. Ends May 17.

MAÏMOUNA GUERRESI Inaugurating the new gallery is a selection of photos from the Italian/ Senegalese Guerresi, whose studio scenes have a highly ritualized, almost theatrical aspect. The images in Light Bodies are less individual portraits of women than idealized renderings of high priestesses (or even saints, though the iconography is mostly Islamic).

Colorful robes, chadors, and headdresses are elongated and enlarged, taking an almost architectural form; hats become minarets. Female bodies fall away, or become black voids, suggesting a kind of sublimation from flesh to spirit. Guerresi’s often-looming figures are like peaceful giants from myth, figures removed from our petty, earthly concerns. BRIAN MILLER Mariane Ibrahim Gallery, 608 Second Ave., 467-4927, marianeibrahim.com. 11 a.m.-6 p.m. Wed.Fri. Noon-5 p.m. Sat. Ends May 1.

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BY D IA NA M . LE

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

Send events to stage@seattleweekly.com, dance@seattleweekly.com, or classical@seattleweekly.com

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Use special code [Scotland] when purchasing online. Cannot be combined with other offers .

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

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A look back to ACT’s inaugural season in 1965.

Now–May 17

Buy tickets today or see it with an ACTPass!

acttheatre.org | 206.292.7676

SEATTLE WEEKLY • APRIL 22 — 28, 2015

Sebastian Currier, plus Grieg (the Piano Concerto with soloist Marc-André Hamelin) and Schumann. Benaroya Hall, Third Ave. & Union St., 215-4747, seattlesymphony.org. $35–$120. 7:30 p.m. Thurs., April 23, 8 p.m. Sat., April 25.

SIMONE DINNERSTEIN Seattle last heard her playing Purcell and Leonard Cohen with Tift Merritt; here the acclaimed pianist offers Debussy, Poulenc, and Schubert.

Meany Hall, UW campus, 543-4880, uwworldseries.org. $40–$45. 7:30 p.m. Thurs., April 23.

NEW FOREST A “site-specific listening and tea event” by peripatetic composer Nat Evans, plus graphic scores by John Teske and Nick Norton. Chapel Performance Space, 4649 Sunnyside Ave., N., johnteskemusic.com. $5–$15.

7:30 p.m. Thurs., April 23.

LAKE UNION CIVIC ORCHESTRA Arturo Márquez’s Danzon no. 2, plus two premieres. Town Hall, 1119 Eighth Ave., 652-4255, luco.org. $13–$18. 7:30 p.m. Fri., April 24.

SEATTLE SYMPHONY/UW ORCHESTRA Joining forces for Beethoven, Debussy, Ravel, and Stravinsky. Meany Hall, UW campus, 543-4880, music.washington.edu. Free.

7:30 p.m. Fri., April 24.

INVERTED SPACE UW’s new-music ensemble plays works gathered from a call for scores organized by the Washington Composers Forum. Brechemin Auditorium, UW School of Music, UW campus, washingtoncomposers org. Free. 7:30 p.m. Fri., April 24.

THE ESOTERICS In “Agonia,” music by Schnittke, Rorem, and Joubert, based on medieval poetry. At St. Stephen’s Episcopal Church, 4805 N.E. 45th St., 8 p.m. Fri., April 24, and Holy Rosary Catholic Church, 4142 42nd Ave. S.W., 3 p.m. Sun., April 26. $10–$25. theesoterics.org THE MET: LIVE IN HD The season ends with the redblooded double bill of Cavalleria rusticana and I pagliacci.

See fathomevents.com for participating theaters. 9:30 a.m.

Sat., April 25, encored 6:30 p.m. Wed., April 29.

CRAIG SHEPPARD SEE THE PICK LIST, PAGE 20.

CHANTICLEER Music old and new (well, newish) from this male chamber choir. Town Hall, 1119 Eighth Ave., 3257066, earlymusicguild.org. $20–$45. 8 p.m. Sat., April 25.

AUBURN SYMPHONY The bassoon’s in the spotlight, via Elgar and Vivaldi. Theatre at Mountainview, 28900 124th Ave. S.E., Auburn, 253-887-7777, auburnsymphony.org. $10–$34. 7:30 p.m. Sat., April 25, 2:30 p.m. Sun., April 26.

CITY CANTABILE CHOIR Their Earth Day concert offers gospel and Brazilian music. University Christian Church, 4731 15th Ave. N.E., 800-838-3006, citycantabilechoir.org. $15–$25. 7:30 p.m. Sat., April 25, 7 p.m. Sun., April 26.

PHILHARMONIA NORTHWEST Faves by Bach, Handel, and Vivaldi. St. Stephen’s Episcopal Church, 4805 N.E. 45th St., philharmonianw.org. $15–$20. 2:30 p.m. Sun., April 26.

ILLUMNI MEN’S CHORALE Singing sacred, classical, and contemporary pop. Kent Lutheran Church, 336 Second Ave. S., Kent, 800-838-3006, brownpapertickets.com. $5–$12.50. 3 p.m. Sun., April 26.

IAIN QUINN Music from this Florida State organist. Kane Hall, UW campus, 543-4880, music.washington.edu. $15.

3 p.m. Sun., April 26.

CANTUS You heard this Norwegian women’s choir sing traditional Sami music in Frozen. Plymouth Congregational Church, 1217 Sixth Ave., 800-838-3006, brownpapertickets. com, cantus.no. $10–$20. 7 p.m. Mon., April 27.

WENDY YAMASHITA Chopin and Mozart from this University of Hawaii pianist. Brechemin Auditorium, UW School of Music, 685-8384, music.washington.edu. $15.

7:30 p.m. Tues., April 28.

SAVING THE ENVIRONMENT: SUSTAINABLE ART

SPECIAL OFFER: SAT., MAY 2 • SUN., MAY 3

Illustration by Barry Blankenship

Weber. Teatro ZinZanni, 222 Mercer St., 802-0015. $99 and up. Runs Thurs.–Sun. plus some Wed.; see zinzanni.com/ seattle for exact schedule. Ends June 7.

TEN-MINUTE PLAY FESTIVAL Original works by Cornish students. Cornish Playhouse Studio at Seattle Center, cornish.edu. Free. 7:30 p.m. Sat.–Sun. Ends April 26.

TWELFTH NIGHT Cornish juniors take on Shakespeare.

Cornish Playhouse Studio at Seattle Center, cornish.edu.

Free. 2 p.m. Fri.–Sun. Ends April 26.

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arts&culture» Film PKurt Cobain: Montage of Heck RUNS THURS., APRIL 23–THURS., APRIL 30 AT SIFF CINEMA EGYPTIAN. NOT RATED. 132 MINUTES.

FILM MOVEMENT

What does she see in him?

Schnoeink and Friedel.

PAmour Fou

SEATTLE WEEKLY • AP RI L 22 — 28, 2015

RUNS FRI., APRIL 24–THURS., APRIL 30 AT GRAND ILLUSION. NOT RATED. 96 MINUTES.

24

In November 1811, in accordance with their suicide pact, the great German Romantic writer Heinrich von Kleist shot and killed Henriette Vogel on the shores of the Kleiner Wannsee outside Berlin. Then he shot himself in the head.

There are undoubtedly many ways you could tell this story, and some of them would be of the lip-trembling, violins-keening variety. Amour Fou isn’t that. Instead, Austrian director Jessica Hausner has fashioned a formal, feminist, wickedly humorous variation on history.

The movie suggests that Henriette (the placid Birte Schnoeink) is a Napoleonic-era version of a 1950s American housewife. She’s produced a daughter for her husband (Stephan Grossman) and is content to be his property, as she puts it.

But she has an empathetic reaction to the sad characters of Kleist’s story The Marquise of O, and when the author (Christian Friedel, from The White Ribbon) hears this, he focuses his sad-sack attention on the caged bird. The film treats Kleist as a foolishly doomy beatnik, pressing his case with Henriette based on a grandiose idea of what the ultimate gesture of love might be. She has her own reasons for going along with the plan.

Hausner previously directed Lourdes, a very odd and subversively funny 2009 film about a pilgrimage. Amour Fou is similarly irreverent toward its subject; it’s almost a parody of the Great Author subgenre. The look of the film is rigid and stilted; its costumes draped in rich colors, its wallpaper in vertigo-inducing patterns.

(No wonder Henriette goes from singing at parties to fainting on the couch.) Hausner has cast the movie brilliantly: We know volumes about wife, husband, and poet just from their faces and the way they move. Ideal as they are, the actors certainly aren’t allowed to act much—although Sandra Hüller, in just two or three scenes, is masterly at communicating her disbelief at Kleist’s ideas. She plays the woman initially invited to join him in the suicide pact, before his fixation on Henriette takes over. Hausner sympathizes

with her perspective, although it’s odd that in telling the story from the woman’s viewpoint, the film actually makes Henriette more of a victim than the historical version suggests. (In real life, according to traditional accounts, Henriette instigated the suicide plan.)

No such grand passions for this movie. It snickers at such nonsense, and if you get into its mode, you probably will, too. ROBERT HORTON

Little Boy OPENS FRI., APRIL 24 AT OAK TREE AND OTHER THEATERS. RATED PG-13. 100 MINUTES.

This home-front family drama of hope, friendship, and faith, shot through the sepia-tinged light and faded hues of nostalgia, is part of a new trend. Faith-based movies are increasingly breaking out of niche theaters and into wide release. Roma Downey and Mark Burnett, prior stewards of The Bible and Son of God, are executive producers of Little Boy, directed by Alejandro Monteverde in a Norman Rockwellstyle 1940s California seaside village (actually created in Mexico).

Pepper Busbee ( Jakob Salvati) is the adorable 7-year-old whose stunted growth makes him

Black Souls OPENS FRI., APRIL 24 AT SUNDANCE CINEMAS. NOT RATED. 103 MINUTES.

In a certain kind of Italian mob picture, you expect blood feuds, family feasts, and generational conflict. Certainly Francesco Munzi’s adaptation of a popular crime novel has all that, but it’s more family drama than shoot-’em-up.

Matteo Garrone’s recent Gomorrah went for flash and sizzle, revitalizing the somewhat tired mafioso genre. Munzi instead dwells on the quiet moments and inner lives of the Carbone clan, which hails from a hilltop village in Calabria (the toe of the boot that kicks Sicily); though its panEuropean criminal enterprise is run from Milan.

Handsome bull Luigi (Marco Leonardi) and bespectacled Rocco (Peppino Mazzotta) are the mobsters, while eldest brother Luciano (Fabrizio Ferracane) has remained an honest farmer back in the ancestral village. That it’s been ruined by earthquakes makes gray-bearded Luciano a figure living in the past; no surprise that his cokedup hothead son Leo (Giuseppe Fumo) wants to get the hell out. Again, there’s nothing novel about these well-paced clashes and conflicts. Nor does it help with the slow, sticky plot to chart the various grudges and obligations owed the rival Barreca and Tallura clans. The Carbones are inexorably undone from within, seemingly cursed by their own blood.

When Rocco’s red-haired Milanese wife (Barbora Bobulova) visits the Carbone village for a funeral, she’s repelled by the old village pieties and protocols. It’s like a smothering museum visit for her—and also a dismaying perspective on the underlying architecture of the family she’s joined.

Munzi may smack us with an unexpected ending, but mainly one feels the crushing pressure of the past. Luciano even takes a health tonic mixed with the grit from the village church’s collapsed stones. It’s poison, yet it’s all the Carbones know how to drink. BRIAN MILLER

HBO FILMS

Opening ThisWeek

Headed for HBO on May 4 (with companion book to follow), this fascinating documentary portrait will have strong appeal in Seattle—even among viewers for whom, like me, Cobaniana seems a completely exhausted subject, two decades after the Nirvana front man’s suicide. It’s a vivid, impressionistic, and often contradictory profile that reaches deep into the Cobain family archives. Director Brett Morgen (The Kid Stays in the Picture, Chicago 10) spent an arduous eight years haggling with widow Courtney Love and the now-22-year-old Frances Bean Cobain, who controls the archives and executive-produced the picture. (Love her or hate her, Love relinquished her interest, but is prominent in home movies and a recent interview.)

Local music writer Charlie Cross, in his necessary 2001 biography Heavier Than Heaven, has been through most of the same material, but Morgan now brings it to life with animated sequences (by Stefan Nadelman and Hisko Hulsing) and more. The movie’s too long, though never less than engrossing, and you can see why Morgen wrestled so long with the editing. What a short, rich, and troubled life his subject lived.

awareness here that colors the rest of the film.

Even as Cobain grasps for success, there’s the parallel feeling that it’s undeserved and fraudulent. Long before heroin entered his life, selfdisgust had seeped into his veins.

Like his source material, and true to the movie’s title, Morgen has made a fittingly unruly patchwork distillation of a messy, self-destructive life. Romanticism and myth have been cast aside.

A tidy documentary would only be possible about a less talented, less tormented artist. (Note: Morgen will attend Thursday night’s opening for a Q&A.) BRIAN MILLER

Young Kurt can’t leave his self-disgust behind in Aberdeen.

All the contemporary interview subjects have a somewhat self-serving agenda here. Gentle, concerned Krist Novoselic comes off the best (no sign of Dave Grohl, however). Love is candid where that candor can burnish her unapologetic, toughgirl rep. (Her daughter isn’t interviewed.) Cobain’s family still remains rather touchingly baffled by their son. And his Olympia girlfriend, Tracy Marander, provides perhaps the best window into the transformation of an ambitious young artist who hunkered down in her house with a fourtrack recorder and his notebooks, laying out the blueprints for his future band’s meteoric success (seen in concert clips and MTV interviews).

It’s from that period that Cobain’s cassettetape journals spring into animated vignettes.

(Do I detect a trace of Charles Burns here?)

The most remarkable of them, about trying to lose his virginity with a possibly disabled girl in Aberdeen, reminds me of a Raymond Carver story: concise, unsparing, brutal in its details, yet oddly compassionate toward all thwarted, unhappy parties. The episode ends in shame and a suicide attempt. There’s a mournful self-

look like either a sophisticated toddler or a juvenile understudy for The Wizard of Oz’s Lollipop Guild. His fun-loving dad (Michael Rapaport) is a POW being held by the Japanese, so Pepper—nicknamed “Little Boy” because of his inexplicable size—undertakes a mission of good deeds to please God and bring Dad safely home.

You know the story: The earnest, comic-bookcrazy kid takes Bible parables literally, and his hometown odyssey gives him strength, inspires the townsfolk, and makes everyone believe in miracles. Oh, and Little Boy also overcomes racism, when Pepper befriends Mr. Hashimoto (Cary-Hiroyuki Tagawa), the elderly Japanese man shunned by all save the local priest (Tom Wilkinson, picking up a few days’ work as the town’s worldly-wise conscience).

Little Boy is tonally uneven, jumping from hate-crime violence to sentimental scenes that may cause insulin shock. Once the film’s bullies and bigots serve their dramatic purpose, they all but disappear. Meanwhile the creepy undercurrent of affable town doctor Kevin James’ inappropriate attentions to Pepper’s mom (Emily

THE MOST DANGEROUS FILM EVER MADE!

Watson) is just shrugged off. But the biggest frustration with Little Boy is how—as so many religious dramas do—it simply rewards innocent faith with miracles, rather than exploring how it can console troubled individuals and pull communities together. Just because a prayer isn’t answered doesn’t make it less valuable.

Still, Little Boy wears its halo lightly, forgoing sanctimony and sermons. Which is great for secular audiences who, rather than movies strewn with sex and foul language, may prefer films wrapped in nostalgia, sentiment, and heartwarming affirmation. If it were less precious and a little smarter (clever historical twists carry the film only so far), it might even have had a chance here in godless Seattle. SEAN AXMAKER

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GR ANDILLUSIONCINEMA.ORG Joshua Connor (Russell Crowe) is a dowser, ���� NE ��TH STREET | ���-���� a man who can find water in the Australian AE: (circle one:) Artist: (circle one:) desert—a talent he will later employ when he ART APPROVED Angela Maria Josh goes searching for the bodies of his three sons, Heather Staci AE APPROVED 206.324.9996 all lost on the same day in the disastrous Tim Jane EmmettWorld Steve Ronnie siff.net CLIENT APPROVED War I battle of Gallipoli. This supernatural touch isn’t really necessary toConfirmation the film’s plot, Deadline: #: and it’s a curious choice for Crowe (this is his directing debut). Part of Crowe’s immense credibility as an actor is how grounded he is—woowoo stuff is really not for him. But the mystical hint is a sign of the film’s reach for significance, ABOUT FASHION I’VE SEEN.” and of Crowe’s desire to say a few things while -DAPHNE MERKIN, ELLE telling a very sincere story. “ The Water Diviner follows Connor to Turkey, newly stripped of its status as the Ottoman Empire and now (in 1919, that is) overrun by BEHIND-THE-SCENES LOOK AT ONE OF THE British troops searching the Gallipoli battleINDUSTRY’S GREAT MASTERS: RAF SIMONS.” field. The movie hints at the strangeness of the -DHANI MAU, FASHIONISTA impulse to find and memorialize the dead (Con“ nor’s whole purpose in traveling halfway across the world is to bring his sons’ bodies back to Australia). Yet eventually it forgoes this subject— ALL THOSE LOVELY AND REAL, HEARTFELT AND STRESSFUL, FUNNY AND COMPASSIONATE and Crowe’s convincing depiction of grief—to MOMENTS CAPTURED.” settle instead on melodrama. Connor strikes -JESSICA BUMPUS, VOGUE (UK) up a friendship with hotelkeeper Ayshe (Olga OPENS APR 23 | EGYPTIAN Kurylenko) and her impish son, escapes from One Week Only | Exclusive Presentation a train ambush on horseback, and runs afoul of Opening night with director Brett Morgen in person political unrest. Crowe is careful to trace the way Connor evolves from a Turk-hating outsider to a man who appreciates the wisdom and dignity of a local military chief (Yilmaz Erdogan). Yet this is the kind of movie that espouses universal brotherhood while settling for easy jokes about the Easterners and their exotic ways.

As a director, Crowe is earnest and old-fashioned, and there are movie-watching pleasures to be had here. Lord of the Rings cinematographer Andrew Leslie knows how to look at big open spaces so you sense the bones beneath the surface. The film gets bogged down in its many HE HAS A NEW VISION. flashbacks and sidebar dramas (of course Ayshe, THEY HAVE EIGHT whose husband died in the war, is menaced WEEKS TO CRAFT IT. by the husband’s brutish brother), and finally uncorks one too many unlikely coincidences.

Crowe has lavished a great deal of effort on this project, the subject of which is widely memorialized in Australia and New Zealand (the sacrifice OPENS APR 24| UPTOWN “Simply the best movie about fashion I’ve seen.” of thousands of soldiers was vividly told in Peter - Elle Magazine Weir’s 1981 film Gallipoli). The Water Diviner feels almost too careful in its desire to hit all the WWW.DIORMOVIE .COM right notes and do justice to all sides. Which SIFF CINEMA EGYPTIAN | 805 E Pine St SPECIAL ENGAGEMENTS makes it more of a war memorial than a living, START FRIDAY APRIL 24 SIFF CINEMA UPTOWN | 511 Queen Anne Ave N SUNDANCE CINEMAS SIFF CINEMA UPTOWN AMC PACIFIC PLACE 11 breathing movie. ROBERT HORTON E SIFF FILM CENTER | Seattle Center NW Rooms 4500 9TH AVE NE 511 QUEEN ANNE AVE. 600 PINE STREET

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arts&culture» Film Local & Repertory

Ongoing

EXCINEMA Shorts in this avant-garde omnibus come

5 TO 7 Brian (Anton Yelchin) is an unpublished 24-year-

from locals including Adam Sekuler and Reed O’Beirne.

(NR) Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema.org. $5-$9. 7 p.m. Tues.

MOMMY Xavier Dolan’s 139-minute domestic drama is a tornado of emotional (and sometimes physical) fury, with occasional joys sprinkled throughout. But man, is it a chore to watch. Teenage Steve (Antoine-Olivier Pilon) suffers from extreme ADHD and acts out in violent ways. He’s home with his single mother, Diane (Anne Dorval), who can’t handle him—no one could. In Dorval’s superb performance, we get a full portrait of this woman: a former wild child who is nobody’s idea of Mother of the Year, yet who watches over her son with wolf-like attention. Yet Dolan’s scenes tumble across the screen in a helter-skelter way, as though Steve’s mercurial moods were dictating the progress of the movie we’re watching. Dolan has also shot Mommy in a square aspect ratio. The overbearing technique (which opens up at a couple of key moments) increases the sense of claustrophobia, I guess, even though your eye gets used to it after a few minutes. (R) ROBERT HORTON SIFF Film Center (Seattle Center), 324-9996, siff.net. $7-$12. 7 p.m. Mon. NFFTY This year’s edition of the National Film Festival for Talented Youth features nearly 250 short films, screened in blocks, and made by directors aged 11 to 24. (NR) Cinerama (2100 Fourth Ave.) and SIFF Cinema Uptown (511 Queen Anne Ave. N.). See nffty. org for tickets and schedule. Thurs.-Sun. NOIR DE FRANCE The trench coat, the gun, the hat—take the standard props of American gangster flicks, give them a Gallic, movie-conscious spin, and you’ve got Le Doulos, a rarely-seen 1961 gem by JeanPierre Melville. It’s both homage and send-up of the double-cross plot, with particular reference to The Asphalt Jungle. Supremely charismatic Jean-Paul Belmondo plays a hood (also a police informant), who runs afoul of another. Is there no honor among thieves? That’s the moral/existential quandary Melville addresses, with unexpected results. Cops and robbers occupy the same black-and-white underworld, with a jazzy score and sexy broads. Man gets “nothing for nothing,” opines Belmondo, a cynical knight errant in an impeccable homburg. (NR) BRIAN MILLER Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org. $63–$68 series, $8 individual. 7:30 p.m.

Thursdays through May 21.

PLANETARY Guy Reid’s new eco-doc features NASA footage and environmentalist Bill McKibben. (NR) Grand Illusion, $5-$9. 7 p.m. Sun. ROAR Apparently updated by star/director Noel Marshall since its 1981 release, this is the infamous folly starring his then-wife Tippi Hedren and stepdaughter Melanie Griffith alongside a bunch of lions and tigers. Hedren was mauled on the set. No surprise that she divorced Marshall soon thereafter. See website for showtimes.

(PG) Grand Illusion, $5-$9. Fri.-Sun. ROPE Made in 1948, this stagebound thriller is not one of Alfred Hitchcock’s better works. James Stewart stars as the cagey detective on the trail of two Leopold and Loeb-style thrill killers (also closeted homos), played

by Farley Granger and John Dall. (See the 1992 Swoon for a more interesting take on the same material.) The real point of study here, for film buffs at least, is how Hitchcock famously filmed the drama in long, singlereel takes. See if you can spot the hidden edits every 11 minutes or so, when the camera passes close by a piece of furniture or a character’s back. Thanks to digital, films like Birdman and Russian Ark have pushed far beyond those single-magazine limits. (R) B.R.M. Central Cinema, 1411 21st Ave., 686-6684, centralcinema.com. $7-$9. 7 p.m. Fri. & Sun.-Tues.

THE TALES OF HOFFMANN This will be a treat: A new 4K digital restoration of the 1951 Michael Powell/ Emeric Pressburger musical fantasia, based on the famous Offenbach opera. Back from their The Red Shoes, ballerina Moira Shearer is dazzling—topped only by the colors and artifice of this glorious studio project. (NR) Cinerama, 448-6880, cinerama.com. $15. 10:30 a.m., 1:30, 4:45 & 8 p.m. Fri.-Tues WILD & SCENIC FILM FESTIVAL Eleven outdoorthemed shorts are screened, ranging from snowboarding to big-wall climbing. (NR) SIFF Cinema Uptown, washingtonwatertrust.org. $20 (includes reception).

5:30 p.m. Thurs.

YAKONA The San Marcos River in Texas, along with its indigenous peoples, are the subjects of this meditative new documentary by Paul Collins and Anlo Sepulveda, who’ll attend the screenings. Reception and live performance of the score are part of your ticket price. (NR) Northwest Film Forum, 1515 12th Ave., 267-5380, nwfilmforum.org. $12-$15. 7 p.m. Fri.-Sat.

SEATTLE WEEKLY • AP RI L 22 — 28, 2015

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old writer who papers the walls of his nice Manhattan apartment with rejection letters, completely unaware of his privilege. (Brooklyn we could maybe believe.)

He soon meets Arielle (Bérénice Marlohe), a beautiful 33-year-old Parisian who tells Brian that she’s got a husband and two children, but maintains an open marriage between the hours of 5 and 7 p.m. every weekday. And of course she’s the one who initiates the affair, after Brian hesitates for just one honorable nanosecond. Arielle is one of those effortlessly beautiful Frenchwomen, and Brian will be inspired by her muse. Sample voiceover: “She made me a writer. She made me a man.” Excuse me while I go vomit. Directed

by Victor Levin, a producer on Mad Men and a veteran TV writer, 5 to 7 is trying to be Gilmore Girls trying to be a Woody Allen movie. I had high hopes for Yelchin after his stellar performance in the indie romance Like Crazy. Unfortunately, he and Marlohe—while both very attractive—have no chemistry. But, as Brian says, “Progress is not linear.” (NR) DIANA M. LE Sundance GETT: THE TRIAL OF VIVIANE AMSALEM A woman (Ronit Elkabetz) files suit for divorce against her estranged husband, which takes years to untangle.

Why would it take years? Because the courtroom in Gett is not a civil one, but a religious one. The scenario feels like it was dreamed up by Franz Kafka on a grouchy day, but it’s one that is unfortunately still possible in Israel. Each grueling stage is enacted in the same cramped, dreary room, with much of the action played out across Elkabetz’s extraordinarily grave face (she was a memorable presence in the excellent 2001 Israeli film Late Marriage). She has to give a great performance with her face and body, because Viviane only occasionally has a voice—this matter is for the men to talk about and decide. The movie’s not entirely grim—there are colorful supporting characters and moments of comedy—but the experience is absolutely nerve-wracking. The star’s brother, Shlomi and Elkabetz, directs this unbearably claustrophobic drama. (NR) ROBERT HORTON SIFF Cinema Uptown & Film Center KUMIKO, THE TREASURE HUNTER The setup here might promise routine road comedy: A sad and lonely Japanese woman, who somehow believes the 1996 Coen brothers movie Fargo is a documentary, ventures from Japan to the frozen Midwest to find the cash Steve Buscemi buried in the featureless snow. Yet filmmakers David and Nathan Zellner have no interest in obvious gags. Half their movie is scene-setting in Tokyo, where dejected office drone Kumiko (Rinko Kikuchi, from Babel) is a Eleanor Rigby-like loner. More than shyness or defeat, an ever-widening distance separates her from the world beyond her imagination.

Kindly strangers, including a widowed Minnesota farm wife and a sympathetic cop (David Zellner), barely register. Unseen in Seattle, the Zellners’ prior two features, Kid-Thing and Goliath, also dealt with alienated loners. The well-crafted Kumiko can likewise be seen as a character study; though, like her supposed treasure, it’s not certain if that character actually exists. A stubborn obstinacy lies at Kumiko’s core, but also delusion—and possibly mental illness. (NR) B.R.M. Vashon MERCHANTS OF DOUBT Based on the 2010 book by Naomi Oreskes and Erik M. Conway, this doc lays out a convincing, follow-the-money trail from the tobacco industry’s postwar efforts to prevent (or forestall) government regulation to a profitable lobbying specialty today. Fake scientific experts and “teach the controversy” subterfuge have now infiltrated all public-policy debates where billions are at stake. Harvard historian Oreskes, prominent in the film, helps advance the thesis that PR consultants perfected a strategy of obfuscation and delay (“There is no consensus”) during our government’s decades-long war against Big Tobacco.

After those battles, a professional class of liars found eager new clients in the oil, chemical, and food industries. Merchants of Doubt is about D.C.’s permanent lobbying establishment and those false-front organizations always espousing individual liberty and responsibility. Constrained by fact, it’s not so entertaining as Thank You for Smoking, and most of its points are well familiar. And the consultants are winning. They’ve successfully tapped into a tribal belief system that trumps empirical evidence. “It’s all about distraction,” says Oreskes. (PG-13) B.R.M. Ark Lodge, Vashon THE SALT OF THE EARTH This is an unwieldy documentary portrait of the great Brazilian humanist photographer Sebastião Salgado, made by two authors: Wim Wenders (Wings of Desire, etc.), a professed fan who provides voiceover praise; and Juliano Salgado, the artist’s elder son, who’s part of the family enterprise. Stacked with stunning images (almost like a

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being swept along, too. Is Josh deluded and ridiculous? Of course he is, and yet that’s not the movie’s real source of laughter and inspiration. In denial about his fading eyesight and arthritis, Josh will discover that being foolish and confounded is good for the system, a tonic. If Jamie is a hustler, he’s also like a personal trainer—pushing his client (who forever picks up the lunch tab) into discomfort. Baumbach’s female characters aren’t so sharply drawn, though he provides nice supporting roles for Adam Horowitz (the Beastie Boys), as the only guy who can speak truth to Josh’s blind infatuation; and for Charles Grodin, who brings welcome, sour appeal as Josh’s disapproving fatherin-law. (NR) B.R.M. Sundance, Ark Lodge, Kirkland Parkplace, others WILD Though I have reservations about the fulsome emotional blasts of director Jean-Marc Vallée (like his Dallas Buyers Club), and though the adaptation

by Nick Hornby (About a Boy, An Education) leans rather too hard on the death of bestselling memoirist Cheryl Strayed’s mother (played by Laura Dern), this is a movie that—like its solitary hiker heroine—cannot be stopped. Reese Witherspoon’s ironclad casting makes matters even more inevitable. Here is a woman who bottoms out—with men, drugs, and grief—then straightens out while hiking 1,100 miles on the Pacific Crest Trail from California to Oregon, even without disavowing all her past actions. Wild is essentially a memory trip, presented non-sequentially, as Cheryl plods north. Various men figure in her past (including a brother), but none memorably. In the movie’s second half, more maudlin than its smart start, Wild is all about mommy. Yet don’t mistake Wild for an easy, conventional healing narrative (though healing does of course come at the end). Rather, it’s more a coming-to-terms account. Or as our heroine puts it, “Problems don’t stay problems. They turn into something else”—in this case a book and surefire hit movie. (R) B.R.M. Crest WILD TALES The opening sequence to Damián Szifrón’s Argentine anthology movie sets up a Twilight Zonestyle series of revelations, compressed into just a few minutes. Passengers riding on a suspiciously underfilled plane begin to realize that there might be a reason for their presence there, beyond the obvious business of getting to a destination. Szifrón wants to get his movie started with a bang, and he does—though the rest of Wild Tales doesn’t live up to the wicked curtain-raiser. But there are enough moments of irony and ingenuity to make it worthwhile. In one episode, a lone driver has a flat tire in the middle of nowhere, which allows the slowpoke he antagonized earlier to stop by and exact revenge. In another, an explosives expert becomes enraged by a parking ticket—rage that leads him to lose everything. But there’s a twist. A lot of these segments rely on a twist, a technique that doesn’t quite disguise how in-your-face the lessons are. The twists also can’t disguise the way some of the tales rely on illogical behavior to allow their plots to develop. Wild Tales is a showy exercise (you can see why Pedro Almodóvar signed on as a producer), and Szifrón has undoubtedly punched his ticket for bigger and better things. (R) R.H. Sundance WOMAN IN GOLD The last time Helen Mirren went up against the Nazis, in The Debt, it was really no contest.

So you will not be surprised to learn that the Austrian art thieves of the Third Reich fare no better against her Holocaust refugee Maria Altmann. Woman in Gold takes its title from the alternate, Nazi-supplied moniker for Gustav Klimt’s 1907 Portrait of Adele Bloch-Bauer.

Adele was Maria’s beloved aunt, and Maria became the plaintiff in a long-fought art-restitution case, begun in 1998, against the Austrian government. As Maria’s sidekick in this true-life-inspired tale, Ryan Reynolds plays the unseasoned young attorney Randy Schoenberg (forever judged against his genius forebear Arnold Schoenberg). This odd couple is obviously going to prevail against the stubborn, post-Waldheim Austrian establishment. As Maria says, “If they admit to one thing, they have to admit to it all.” Were the writing better, this would’ve made a good courtroom procedural, but director Simon Curtis (My Week With Marilyn) instead chooses to add copious flashbacks to the Anschluss era and Maria’s narrow escape from the Nazis. So while this is a serviceable star vehicle that depends on Mirren’s reliably purring V-12 engine, two other actresses play Maria at different ages—depriving us of the regular pleasure of her smackdowns upon poor Randy. (PG-13) B.R.M. Guild 45th, Pacific Place, Ark Lodge, Kirkland Parkplace, Cinebarre, Lynwood (Bainbridge), others

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pedestal), this overlong doc can feel like a promo reel for Salgado’s ongoing Genesis photo series. No outside voices or critics dare interrupt the master or his tribute.

Acclaim came in the ’70s and ’80s, as Salgado began haunting war zones, sites of famine and displacement, and scenes of brutal, back-breaking labor in the Third World. I have to say now that such stoic scenes of human misery and endurance have become commonplace, but that’s the legacy of Salgado’s success.

Salgado himself speaks in contented aphorisms— sometimes sounding like Bono, so secure in his compassion for the world’s poor and downtrodden, all of whom remain voiceless within his expensive, expressive frames. (PG-13) B.R.M. Seven Gables, others SONG OF THE SEA Dazzling in its visual presentation, though not so thrilling in its conventional storytelling, the Irish-animated Song features a plot is drawn from Celtic folklore, specifically the tradition of the selkie, those mythological shapeshifters who can live on land or sea, as humans or seals. Our hero is Ben (voiced by David Rawle), a young lad whose mother vanishes under dramatic circumstances the night his mute younger sister Saoirse is born. They live on a wee shard of an island with their mournful father (Brendan Gleeson), a red-bearded lighthouse-keeper, but a series of marvelous events lead Ben into a secret world of magical creatures and spell-spinning songs.

Director Tomm Moore lets the movie’s forward momentum run aground at various moments, but he and the Cartoon Saloon crew seem more interested in creating the gorgeous vistas that occupy virtually every frame.

The character designs follow circular, looping patterns, and the visual influences seem inspired by anime and the line drawings of 1950s-era UPA cartoons (Mr. Magoo is not forgotten, people). (PG) R.H. Crest TRUE STORY In this somber, fact-based account, journalist Mike Finkel (Jonah Hill) is soon booted from his plum gig at The New York Times Magazine for using composite characters. Back in snowy Montana with his girlfriend (Felicity Jones, from The Theory of Everything), his career is seemingly over. Then news comes that an Oregon man named Christian Longo (James Franco) has been arrested for killing his wife and three kids. Chris was arrested in Mexico while impersonating Mike—he’s a fan who later grants Mike exclusive jailhouse interviews. Mike hopes his book (published in 2005) will prove his redemption, but should we really be surprised that Chris is using him?

The stars and British director Rupert Goold are sure that Mike’s ingratiating himself with Chris, who has an agenda of his own, must mean something. Their character flaws and parallels will pay off, right? Hill has a knack for portraying earnest, sweaty, awkward characters lacking self-awareness; he’s good in his role, though Franco gives the superior, quieter performance. Still, this rather pat and schematic movie movie never gets beyond the obvious. (R) B.R.M. Guild 45th, Pacific Place, Lincoln Square, Kirkland Parkplace, Bainbridge, others WHAT WE DO IN THE SHADOWS The premise is ’90s-stale: basically MTV’s The Real World cast with vampires, presented as direct-address documentary.

This droll comedy comes from the brain trust behind 2007’s Eagle Vs. Shark: Jemaine Clement (Flight of the Conchords) and Taika Waititi, who play neck-biters Vladislav and Viago, respectively. Our three main vamps are a hapless lot. They can’t get invited into any of the good clubs or discos—ending up forlorn in an all-night Chinese diner instead. After all the aestheticized languor of Only Lovers Left Alive (and the earnest teen soap opera of Twilight), the silly deadpan tone is quite welcome. Clement and Waititi know this is a sketch writ large (forget about plot), so they never pause long between sneaky gags. The amsuing and essential conflict here is between age-old vampire traditions and today’s hook-up customs. These neckbiters have been at it so long that they’re only imitating old vampire stereotypes. Things have gotten to the point, Vladislav admits, where they’re even cribbing from The Lost Boys. (NR) B.R.M. Sundance, SIFF Cinema Uptown & Film Center, Majestic Bay, Tin Theater (Burien), others WHILE WE’RE YOUNG In outline, this is a routine Gen-X midlife-crisis movie: documentary filmmaker Josh (Ben Stiller) and producer wife Cornelia (Naomi Watts) are stalled in careers and marriage. He can’t complete his weighty, unwatchable opus (something to do with geopolitics and a disheveled Chomskyian scholar; together they’ve IVF’d once for kids, failed, and are settling into a staid, childless rut. They need a shakeup, and it arrives in the form of a spontaneous, fun-loving Brooklyn couple half their age: would-be documentarian Jamie (Adam Driver) and wife Darby (Amanda Seyfried). Noah Baumbach’s lively, careerbest comedy sends cynical Josh into unexpected bromance, and much of the movie’s charm lies in our

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arts&culture» Music

Our Bands Could Predict Your Life A handy spirit guide to friendship, futures, and Marvelous Good Fortune.

T

that includes a lot of people from real life, then it kind of becomes that.”

Marvelous Good Fortune has been many things over the years, never settling on a singular identity. It started within a play Foster wrote, For the World Is Hollow and I Have Touched the Sky, the first in a psychedelic trilogy following two friends in search of a cure for their loneliness. The play debuted at the University of Washington’s Cabaret Theatre in 2012, evolving into a full-fledged musical movie starring and produced with his friends. The music from the production prompted Foster and friends to take the fictional band of the script out into the real world and play shows. Marvelous Good Fortune’s shows involve

dressing up in cloaks and arranging set lists to tell the story of Foster’s scripts.

But Marvelous Good Fortune is only one part of a greater whole. Though not an official collective, Foster and his friends have spun off into Seattle’s version of the Soulquarians—in many ways, manifesting the original community-building intent of Foster’s play. The like-minded music and arts projects of burgeoning groups like the skateboard power pop of Sick Sad World, the freak disco-groove of iji, and queer production group Woedette all overlap with MGF. Foster and MGF wouldn’t be described as the leader, but instead are a sort of common denominator. With each artist there’s also a focus on the

ephemeral, whether visions from mushrooms or the subconscious.

“Psychedelic art is good art because it emulates dream worlds,” iji frontman Zach Burba says. “It shows people images that you may not take right away as what it is. Later, maybe you realize what that is, or maybe it just tells you something straight to your subconscious instead of straight to your ears or to your brain.”

The friends even all share their dreams. What started out as a collective dream journal has turned into a Facebook dream-sharing group, which they use to inspire one another’s art.

To help you navigate this overlapping Seattle arts dream universe, we’ve created a handy spirit guide.

SEATTLE WEEKLY • AP RI L 22 — 28, 2015

Woedette

28

Marvelous Good Fortune

Leader: Curran Foster Dreamweavers: Evan Easthope, Jake Jones, Zach Burba, Will Murdoch, Leena Joshi, Autumn Thomas, Derek Blackstone, Evan Anderson, Sam Peterson, Annie Chung Vision: Predicting the future with plays, films, and a psychedelic, freak-rock soundtrack.

Future: Psychic Training Camp, which will start as an actual training camp and then become a play and film, pre-production on second film.

Sick Sad World

Leader: Jake Jones Dreamweavers: Leena Joshi, Curran Foster, Gordon Baker Vision: “I just didn’t give a shit about being in a cool band anymore. I didn’t think anyone would like Sick Sad World when I started it.

I was doing it to be, like ‘What’s punker than punk?’ I hate punks. I want to punk punks. So I was like, ‘I’m just gonna make a really nice band and try hard to make it good.’ ” —Jake Jones Future: Debut album Fear & Lies, out May 12 via Help Yourself Records. Jones hopes to assist in a project called The Wig Show, a local arts talk show in which guests are required to wear wigs. He’ll co-host the show alongside Burba and Foster as their fictional band the Qiwi Boys.

iji

Leader: Zach Burba Dreamweavers: Jake Jones, Curran Foster, Evan Easthope, Will Murdoch Vision: The name iji is not confined to one pronunciation. For Burba, it’s about the image it portrays, with the dots above the letters forming an ellipsis, begging to be continued forever onward. “I consider this my life’s work . . . It’s supposed to be a completely open and free genre project that focuses mostly on pop and groove based music.” —Zach Burba Future: Latest album Whatever Will Happen, out June 2 via Team Love. Also working on a Beach Boys fan-fiction comic.

PHOTOS

COURTES Y OF THE

ARTIST/H ELP YOURS

ELF RECO

RDS

he smell of steaming rice and beans blends with the smoke of a sage smudge stick burning by the front door of a house-show venue in Ravenna. The ’70s-era thrift-store couches slowly begin to fill with laughing artists, reminiscing and anxiously chattering about a potlatch they’re headed to later. Curran Foster, the writer, director, and songwriter behind Marvelous Good Fortune, didn’t personally name this house that he lives in—a place known as “The Future.” Nevertheless, it eerily fits his metaphysical vision.

“I guess I’m trying to predict the future,” Foster says, criss-crossed on the floor. “The future that I want to see has always been highly based off of my desires for the kind of community I want to be a part of. And so then by making a play

BY DUSTY HENRY

Leader: Autumn Thomas Dreamweavers: director of photography Leena Joshi (who also creates her own videos and performs poetry separately).

Vision: “Because Woedette has been constructed by a queer person of color, it is a queer video-production house of color. The multiple identities I hold are now also held by Woedette . . . As [Leena and I] continue to work together, the creative process is further shaped not just for us but by us, and thus we are able to better transmit even deeper channels of our identity into our work.” —Autumn Thomas Future: Thomas and Joshi recently released a short film called sleep is over, soundtracked by a playlist curated by the band SLEEP∞OVER and a series of conceptual dance videos centered on the idea of synesthesia titled Furze & Whinstone. Next Thomas will direct a music video for Seattle electronic act Lilac, a video series with Joshi called Pluto and Scorpio set to Gucci Mane tracks, and a feature film. E

music@seattleweekly.com

INI NG

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arts&culture» Music

Hymns for Hipsters

Pacific Gold is the latest in a legacy of Seattle religious rock for the indie set.

BY DAVE LAKE

SEATTLE WEEKLY • AP RI L 22 — 28, 2015

W

30

hile Dan Koch was a student at Cal Poly in the early 2000s, he was simultaneously playing guitar in an up-and-coming guitar-heavy emo band named Sherwood.

Though he wasn’t majoring in criminology, some solid detective work late one evening uncovered that then-hot music site PureVolume reset its top tracks list every night at midnight Eastern, which gave him an idea.

The following night at 9 p.m. sharp Pacific time, he and his four bandmates drove to the school’s library, spread out across the 100 public computers, and played each of the band’s seven songs on every available machine. They immediately became #1 on the site. After weeks of repeating the hack, the band got the attention of an up-and-coming website called MySpace, which signed them to its newly formed partnership with Interscope Records.

Sherwood toured the world and lived its emo dreams, but eventually the band wound down as priorities changed. For Koch, that meant relocating to Seattle, getting married, and embarking on a career as a freelance composer. It also meant starting a new band, Pacific Gold, but this time without gaming the system or compromising his art.

The new band isn’t emo, and Koch is the front man this time. Also different: The band is religious. And though both groups have a pop sensibility, Pacific Gold brings to mind indie acts like Midlake or The Head and the Heart more than they do the Get Up Kids or Saves the Day. The idea for the band was twofold. One inspiration was the music that Koch heard at Capitol Hill’s Grace Seattle Church, where Phil

Peterson is chief musician of the Grace Seattle Experimental Orchestra (Peterson also plays in the band Tennis Pro). “Musically it was like nothing I’d ever heard in the church before,” Koch says. “His melodic and chord choices felt like leftovers of the grunge era. It was really inspiring.” The other was an Against Me! lyric: “We can be the bands we want to hear,” singer Laura Jane Grace belts on “New Wave.” What Koch decided he wanted to hear was a bunch of hymns that sounded like the Beach Boys.

Though Koch realized the band could potentially isolate audiences by making the project religious, the members of Pacific Gold hope audiences will see their theology as just one aspect of the music. The band prefers to play shows with other indie-rock acts rather than appearing on religious bills. “We try not to mention much about it when we’re playing live,” Koch says. “We don’t have an evangelistic strain at all. We don’t feel like it’s our job to clue people in to Christianity. So much Christian art is peddled first and foremost because of its message, and the piece of art is hobbled by that.”

To that end, the band tries to select hymns with subtler lyrical content. Only one song on their just-released debut LP, Sing My Welcome Home, has an overtly religious title: “Spirit of God.” Though according to a 2015 Gallup poll, Wash-

ington’s churchgoing population ranks among the smallest in the nation—just 24 percent of residents report they attend weekly—Seattle has a rich history of religious music. Tooth & Nail Records, home to scores of Christian acts including MxPx, Underoath, and Jeremy Camp, may not have the same cachet as Sub

Pop, but the label and its several imprints have sold 20 million records to both religious and secular audiences since 1993.

In 2012, Tooth & Nail’s director of A&R, Jonathan Dunn, left the company to launch Mars Hill Music, a label for the worship bands associated with Mars Hill Church (which at the time operated 15 churches across five states, before dissolving at the end of 2014 after controversy swirled about the conduct of pastor Mark Driscoll). The label’s goal was to reach culturemakers—specifically young men in Seattle, the demographic least likely to attend church. They eventually partnered with Tooth & Nail.

“Tooth & Nail has always been about bands that I love,” founder Brandon Ebel told the BadChristian Podcast last year. Ebel had noticed that there was a dearth in the marketplace of punk and hardcore bands with Christian values, so he set out to change that. “It’s been about music and being a Christian. I definitely want to support people that have a worldview similar to mine.”

The folks at BadChristian also have a label, BC Music, which released Sing My Welcome Home last month. Though everybody in the band is Christian, not everybody goes to church regularly—or even at all. “Not everybody agrees on the same view of God and what Christianity is,” Koch says, “so there’s actually a lot of theological diversity within the band.” E

music@seattleweekly.com

PACIFIC GOLD With The Weather, Mikey and Matty.

Columbia City Theater, 4916 Rainier Ave. S., 722-3009, columbiacitytheather.com. $8 adv./$10 DOS. 7:30 p.m. Sat., April 25.

TheWeekAhead

Wednesday, April 22

DASWASUP Gig presents a veritable Epcot Center of shred that might as well be called “Tastes of Punk from Around the World.” YOUTH AVOIDERS, the headliner, is a little melodic, a little mathy, a little raucous, and very French—Parisian, no less. So unless you parlez vous, you’ll just have to imagine what the lyrics mean in your head—but let’s face it, you’d never understand them at the music’s vociferous velocity anyway. Also: Oi garagers Dry Heaves out of Sheffield, UK; Austria’s own Catholic Guilt; and Seattle’s Bad Future and New Gods. Narwhal, 1118 E. Pike St., 325-6492, unicornseattle.com. 9 p.m. $8. 21 and up. WARREN LANGFORD Fifteen years after POLARIS was formed specifically as the house band for Nickelodeon’s The Adventures of Pete & Pete, the once-fake indie band decided to embark on its first-ever tour last year. Its only album to date is Music From the Adventures of Pete & Pete, comprising the 12 songs the band was commissioned to record for the show. Upon announcing this tour, the band also released a cassingle with two new songs, “Great Big Happy Green Moonface” and “Baby Tae Kwon Do.” Now if only the beloved Gilmore Girls fictional band Hep Alien would take themselves seriously.

With Scarves, Cotillon. The Crocodile, 2200 Second Ave., 441-4618, thecrocodile.com. 8 p.m. $18 adv. All Ages. DIANA M. LE

Thursday, April 23

You may not have heard of MAC DEMARCO if you’re not a chain-smoking hipster, but he is our Goblin King. His dirrrty appearance, creepy demeanor, and penchant for nudity all seem to add to his overall sexiness.

Call his guitar-based tunes slacker rock, jangle pop, or “jizz jazz,” as the Mac himself calls them. This silly billy keeps it loosey-goosey (some may call it lewd or raunchy) at his live shows. (I myself am still trying to get tickets to this sold-out show. So, um, if you have any, e-mail me!) With Dinner. The Neptune, 1303 N.E. 45th St., 682-1414, stgpresents.org. 7 p.m.

SOLD OUT. All ages. DML EYE OF NIX features lots of witchy/operatic vocals summoning Lord knows what—and on top of all that, my fellow druids and druidettes, you’re going to get a healthy globbing of thick sludge metal. Peel away from Street Fighter II, roll your eyes back in your head, and stomp to the front, ’cause this is one of those shows The Highline was built for. Let’s just hope they don’t open a hellmouth to Beelzebub’s inner chamber. I’m equally worried that metal of this caliber will collapse the stage area into a pile of expired edible panties/poppers left behind in the now-vacant Castle Superstore below. Are edible panties vegan? With Sioux City Pete and the Beggars, Countdown to Armageddon, the Witches Titties. The Highline, 210 Broadway Ave. E., 328-7837, highlineseattle.com. 7 p.m. 21 and up. WL

Friday, April 24

Bubbly and nutrasweet, HIBOU is like a jacuzzi full of Fruitopia. Freshly signed to Barsuk Records, the band’s tracks sound as though they were recorded on a marshmallow cloud in Kirby’s Dreamland. There’s a certain super-cute, eyelash-batting aspect to the tuneage that at times comes across a little strained, but hey, I like it! Keeps my toes tapping, even if it gives my dimples dimples. Just be careful: I think any more than an hour of this and you might find yourself waking from a diabetic coma three days later with pigtails and a mouth full of cavities. With Snuff Redux, Spirit Award. Cairo, 507 E. Mercer St., templeofcairo. com. 8 p.m. $7. All ages. WL

Saturday, April 25

If you are an aspiring wizard or witch, some of Seattle’s finest esoteric elders are turning the Good Shepherd Center into a magickal mecca tonight. GAREK JON DRUSS, the local synth-droner extraordinaire who bases his compositions on encrypted geometric drawings and has written music in specific pitches he believes “heals DNA,” will perform an original piece designed for “interior spaces,” which should sound amazing in a reverberant ex-chapel. Following him will be a lecture by Ouroboros Press publisher William Kiesel, founder of Seattle’s increasingly popular Esoteric Book Conference, who will speak on “Hermetic Enigmas in his presentation on the Language of the Birds,” which, from what I can gather, is a mystical language believed by occultists throughout time to be spoken by birds— and understandable only by “the initiated.” CAW-CAW (translation: Sign me up because this sounds amazing). Chapel Performance Space, 4649 Sunnyside Ave. N., chapelspace.blogspot. com. 7:30 p.m. $10. All ages. KELTON SEARS

Sunday, April 26

It’s hard to tell if FULL TOILET is genius or a joke. Its songs are comically short, the A-side of its 7” LP coming in at barely over four minutes. Our former Gwendolyn Elliott called it a “primordial, sludgefilled honey bucket churning with irreverent ramblings and blunt punk angst.” With zero Internet presence, Full Toilet keeps it totally punk rock. (Even Parquet Courts has a community Facebook page that someone set up for them.) I’d like to see whether the band can even come close to filling a 10-minute set.

With Gazebos, Levels, Damage Bouquet. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 3 p.m. $5. 21 and over. DML

TIMES SHOW TIMES.

can’t put my fing . . . WAIT! Is this grunge? Let’s dust off the old checklist. Quiet-before-the-storm song structure? Check! From Seattle? Nope, says right here: New York City. No, Vomitface, you’re not grunge. However, like myself, you may have delusions of grungeur®. Either way, these tracks definitely got that Kurt bleach on them. With So Pitted.

The Vera Project, Seattle Center, 956-8372, thevera project.org. $8. 7 p.m. All ages. WL

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MORGEN SCHULER

Legend has it that when LIGHTNING BOLT played No Space (now Cairo) in 2003, they set up in the middle of the steep section of Summit Avenue out front while a writhing mosh-mob all but engulfed them. Police came and calmly observed; everything was cool, yet no face was left unmelted by their signature staccato berserker. To this day, I’m still aghast at how two men can produce such a stampeding barrage of calamity. It’s akin to watching a fireworks factory combust. Sadly, I bet Neumos makes them play on the stage again— which will be a shame, but still totally worth it. With Liturgy. Neumos. 925 E. Pike St., 709-9442, neumos.com.

8 p.m. $15. All ages. WL It only could have been fate that brought us the rocking two-piece PONY TIME. Luke Beetham (bass) and Stacy Peck (drums) met in 2009 moving a stereo for a mutual friend. “I saw that Stacy had a strong back, so I was, like, why not offer her a job?” (Beetham owns an electric repair shop). The two became roommates and naturally asked themselves “Why not play music together?” They accidentally became Pony Time. And the rest was disco/garage-rock history. With The Ghost Ease, Mommy Long Legs. The Highline, 210 Broadway E., 328-7837, highlineseattle.net. 9:30. $7 p.m. 21 and over. DML

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Tuesday, April 28

WEEED

One could argue that any music could be considered stoner rock, but for WEEED, it’s deeply a part of the band’s identity and ethos. Last year the band released Feng Shui Capital of the World, its first album since adding an extra “e” to its name in an attempt to lessen the confusion with Vancouver band Weed. The boys of WEEED recently announced they’ve signed with Illuminasty Records, who will release their double vinyl LP, Our Guru Brings Us to the Black Master Sabbath (\m/) this summer. I’ll sign off this blurb the way the boys do on their socialmedia accounts: “Big ups and fat dubs.” With Shana Falana, Black Nite Crash. The Rendezvous, 2322 Second Ave., 441-5823, jewelboxtheater.com. 9:30 p.m. $6. 21 and over. DML

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odds&ends» Educating Jane

T

hey’re talking about opening a weed stand, or whatever, right next to my kids’ school,” the woman began, reaching for a plastic cup of wine during ArtWalk.

“I mean, they’re already getting drunk. Now this will make a second thing we’re allowing for!”

I gently reminded her that both of those things were illegal for minors, but she would have none of it.

“Seriously. The parties they go to are beyond,” she said, gazing at an out-of-this-world painting on the gallery wall. “From eighth grade on, there is alcohol HIGHERGROUND at most

BY MICHAEL A. STUSSER of their socials.

That’s already happening. So to add another drug that can mess up their minds . . . ” I understood the fear she was experiencing.

Parenting is terrifying. I get it; I had a teenage daughter once. (Good lord.) But one way to alleviate some of the fear about our kids having sex or smoking dope or getting shot on the playground is by clarifying some of the misinformation and having open dialogue. (That’s the theory.)

“To be honest, I’d rather have my kid on weed than alcohol, ma’am.” She was only a few years older than me, but we hadn’t been properly introduced. “I mean, alcohol kills 46,000 people a year, prescription drug ODs kill another 17,000. And let’s not forget cigarettes!” (440,000 deaths a year.)

“And so when it comes to these kids drinking and driving or smoking and driving . . . I’d prefer they had cannabis.”

Jesus. I’d wanted to come off as even-handed and open-minded, and now I was advocating that the youngsters hotbox in their daddy’s Chevrolet.

“Do you have kids!?” she inquired. “It’s hard enough. I mean, the store is going to be right there. At the foot of the school!”

I didn’t want to get into the specifics of her increasingly incoherent argument—in Washington state, recreational shops must be at least 1,000 feet from schools, playgrounds, libraries, game arcades, public-transit centers, or parks. But I did feel the need to make one point.

“I’m sorry, miss—what was your name?”

“Jane.”

“Hi, Jane. Can I call you Mary Jane?” (Blank stare.) “I’m kidding. Listen, I totally agree that we should try to keep drugs away from young people.”

I felt myself go into talking-points mode, but I couldn’t stop. “And I know this seems counterintuitive, but teen drug use has gone down in the states where it’s legal. That’s just a fact.”

I knew right when it came out of my mouth that it was too preachy, but I’ve learned a few things writing this column. One is that kids don’t know shit about cannabis, other than that it is, and always has been, easy to get. A new 2014 Health Use Survey shows that a significant number of 10th and 12th graders don’t believe there are risks in weekly marijuana use. (On this, they’re obviously pinheads—pot is not great for the developing brain.) It also found that parents were also clueless: Only 57 percent knew the legal age of recreational weed (as compared to 71 percent of kids), and only 63 percent understood you’re not allowed to grow it at home.

“Why make matters worse?” she railed, spilling chardonnay on my shoes. “There are already so many drugs: They take Ecstasy and prescription pills! I’m telling you—what I heard is that

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they walk right in and order, like a Starbucks or something.”

“Thing is, Jane, recreational-marijuana stores are not selling to high-school kids. They’re just like bars—they don’t want to get shut down for not checking IDs. Besides, whoever is selling your kid a bag of weed behind the Port-a-Pottys at Lakeside is not going to be asking if they’re 21, and there won’t be a warning label listing the THC levels.”

We stared at a painting that could have been a giant bong or a lovely vase—it kind of depended on your perspective.

“The new stuff is just so much stronger, you can OD on it,” she said with a smile-ish smirk that made me want to hug-strangle her. “I read something in the paper about synthetic marijuana killing these kids at a party in Florida.”

“Yes, and they should stop calling it marijuana.

AstroTurf would be a better name, because it’s not really marijuana. Jane, there are all kinds of deadly drugs out there, but pot’s never killed anyone. Not one person.”

I was going to ask her if she’d ever tried cannabis, but could tell I’d already pushed her personal boundaries. “Have you talked to your . . . daughter, is it? About weed?” I asked meekly. “About marijuana?”

Her eyebrows would have gone higher if they could have. “Talked? To her about pot?! What would we say? I mean, she knows we don’t approve.”

“That’s great! A recent study from the UW showed that kids listen to their parents more than anyone else—even their own friends. And the ones who know their parents disapprove are way less likely to try pot.”

“Well that’s good, I guess,” she replied, looking me in the eye for the first time.

“The other thing is that talking to kids about weed works better than punishment.” A raised eyebrow. “In this study [from the UW’s School of Social Work], students who got suspended after smoking pot kept smoking pot. But if the kid gets sent to a counselor, they’re 50 percent less likely to smoke!”

“I assume you get stoned.”

I pulled the wine bottle out of the tub of ice. “I use all kinds of legal drugs, Jane,” I said, topping us off. “Takes the edge off of being a grownup . . . ” E For more Higher Ground, visit highergroundtv.com.

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Employment Media

EDITOR Sound Publishing has an immediate opening for Editor of the Port Orchard Independent. This is not an entry-level position. Requires a handson leader with a minimum of three years newspaper experience including writing, editing, pagination, photography, and InDesign skills. editing and monitoring social media including Twitter, FaceBook, etc. The successful candidate: Has a demonstrated interest in local political and cultural affairs. Possesses excellent writing and verbal skills, and can provide representative clips from one or more professional publications. Has experience editing reporters’ copy and submitted materials for content and style. Is proficient in designing and building pages with Adobe InDesign.

Is experienced managing a Forum page, writing cogent and stylistically interesting commentaries, and editing a reader letters column. Has experience with social media and newspaper website content management and understands the value of the web to report news on a daily basis. Has proven interpersonal skills representing a newspaper or other organization at civic functions and public venues.

Understands how to lead, motivate, and mentor a small news staff.

Must develop knowledge of local arts, business, and government. Must be visible in the community. Must possess reliable, insured, motor vehicle and a valid Washington State driver’s license. We offer a competitive compensation and benefits package including health insurance, paid time off (vacation, sick, and holidays), and 401K (currently with an employer match.) If you are interested in joining the team at the Port Orchard Independent, email us your cover letter, resume, and up to 5 samples of your work to: hr@soundpublishing.com Please be sure to note: ATTN: EDPOI in the subject line.

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D I N I NG

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Employment Social Services

REPORTER (POULSBO, WA)

VISITING ANGELS Certified Caregivers needed. Minimum 3 years experience.

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Check out our website to find out more about us! www.soundpublishing.com REPORTER The award-winning newspaper Journal of the San Juans is seeking an energetic, detailedoriented reporter to write articles and features. Experience in photography and Adobe InDesign preferred. Applicants must be able to work in a team-oriented, deadlinedriven environment, possess excellent writing skills, have a knowledge of community news and be able to write about multiple topics. Must relocate to Friday Harbor, WA. This is a full-time position that includes excellent benefits: medical, dental, life insurance, 401k, paid vacation, sick and holidays. EOE . No calls please. Send resume with cover letter, three or more non-returnable clips in PDF or Text format and references to hr@soundpublishing.com or mail to: HR/GARJSJ Sound Publishing, Inc. 11323 Commando Rd W, Main Unit Everett, WA 98204

Employment Computer/Technology IT/Software Development ServiceNow Inc, provider of enterprise cloud IT applications, has openings in Kirkland, WA for Software Engineer - Monitoring (4816): Build and integrate software that acquires, analyzes, and visualizes large amounts of data regarding performance of our cloud services and infrastructure; Associate Software Developer (3468): Build IT Operations Management and Process Automation applications; Software Engineer - Quality (4512): Create quality test plans for products/features being developed by the Scrum team. Mail resume and reference job code to ServiceNow Inc Attn Global Mobility 3260 Jay St Santa Clara, CA 95054

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1450 Pinegrass Loop

Cle Elum, WA

4,629sf, 4BR, 3.5BA Resort Home

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