SGN October 3, 2014 - Section 2

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Seattle Gay News

ARTS & ENTERTAINMENT Issue 40, Volume 42, October 3, 2014

courtesy of

by Albert Rodriguez SGN A&E Writer ELTON JOHN KEY ARENA September 27 From “Funeral for a Friend/Love Lies Bleeding” to “Circle of Life,” and so much in between, music legend Elton John rocked a huge crowd at Key Arena last weekend. The 67 year-old performer provided Seattle fans with nearly three hours of live material, zigzagging from album to album from his lengthy career. John opened his show with a trio of entries off Goodbye Yellow Brick Road, his 1973 classic recording that commemorated its 40th anniversary in 2013, including a delicate rendition of “Candle in the Wind.” “We’re very glad to be back in this great city,” John said to everyone as he looked around the arena. He sat at the piano for every number, and in between most songs stood, bowed and waved to the audience. Wearing a sparkly midnight blue two-piece suit with tailcoat and red-rimmed tinted glasses, he interacted here and there, but mainly just played hit after hit. “Philadelphia Freedom” had a

Elton John

nice swing to it, as a giant bejeweled chandelier flashed in red, white and blue colors. He followed that up with back-to-back wonderful deliveries of “Goodbye Yellow Brick Road” and “Rocket Man (I Think It’s Going to Be a Long, Long Time)” that got many concertgoers belting out each of the choruses. But it was “Your Song” and John’s seminal hit “Tiny Dancer” which received the most appreciative responses, nostalgic gems that resonate personally with people, and tunes that have been used in weddings, high school dances, and memorable films, such as Moulin Rouge. “I Guess That’s Why They Call It the Blues” was absolutely lovely and found the mega star hanging on impressively to the final note, and lovelier was “Oceans Away,” from last year’s release The Diving Board, that John dedicated to Seattle singer-songwriter Brandi Carlile, in attendance, who he stated “is one of my favorite artists.” “Don’t Let the Sun Go Down on Me” was performed amidst an orange glow, provided by the lighting and a tangerine-colored illuminated chandelier, that projected onto the oval-shaped stage with an see ELTON page 7

John Ulman

Maya Sugarman in Mary’s Wedding

by Miryam Gordon SGN A&E Writer MARY’S WEDDING NEW CENTURY THEATRE COMPANY (AT WEST OF LENIN) Through October 11

Two shy teenagers at the start of World War I fall in love and cope with class, war, first crushes, honor, and duty in New Century Theatre Company’s production of Mary’s Wedding by see Mary’s Wedding page 5

When the Egyptian Theatre closed down on June 27, 2013 it was like a piece of Capitol Hill’s – and by extension Seattle’s – soul was ripped cleanly right out of it. For film lovers it was a sad day, another sign that gentrification of the neighborhood was reaching its zenith and further proof that small, one-screen cinemas were quickly going the way of the Dodo. When it was announced during the opening of this past summer’s Seattle International Film Festival that SIFF had entered into an agreement to reopen the theater, it was a moment for celebration. Now, four-plus months later, that day has arrived, the Egyptian’s door unlocking and its sign being turned back on for this weekend celebration (October 3-5) featuring a litany of past classics that all played the venue once upon a time. This past Wednesday afternoon I sat down with SIFF Artistic Director Carl Spence to discuss the reopening of the theater and what

SIFF

by Sara Michelle Fetters SGN A&E Writer

Carl Spence

this means for SIFF’s long-term Film Festival. There aren’t a lot plans. Here are some of the high- of theaters that are available to us lights from that conversation. in the summer for a 25-day period like the Egyptian always has been. Sara Michelle Fetters: Why From a selfish perspective, we was it so i¥mportant to save the wanted to preserve that venue. Egyptian? Why did SIFF feel so Second, frankly the theater is part passionately about this? of our [SIFF’s] fabric since the beginCarl Spence: There are a num- ning of the festival. The Egyptian was ber of reasons. For one, [the Egyp- [built] by the founders of the festival. tian] is one of the flagship locasee Egyptian page 9 tions for the Seattle International


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