Seattle Gay News
Issue 30, Volume 46, July 27, 2018
Arts & Entertainment
Disenchanted is enchanting
Disenchanted – Photo by Fiely Matias
by Miryam Gordon SGN A&E Writer DISENCHANTED MAMCHES PRODUCTIONS (AT 12TH AVENUE ARTS) Through August 18
Brad Cerenzia, it turns out, is a social media frenzy – and he’s applied it to his new company, Mamches Productions, for his new production, Disenchanted. It’s a musical he fell in love with when it came out in 2014 and
see DISENCHANTED page 4
Seattle AIDS Memorial Pathway selects lead artist
Horatio Hung-Yan Law – Photo by Jason Huff
Community leaders, in partnership with the City of Seattle, are poised to move forward on a plan to create an AIDS memorial on Seattle’s Capitol Hill. In March 2018, The AMP: AIDS Memorial Pathway and Seattle’s Office of Arts & Culture issued a call for artists to
submit qualifications for the project, which will be a physical place for remembrance and reflection, utilizing technology to share stories about the epidemic and the diverse community responses to the crisis and pro-
see AIDS MEMORIAL page 3
“A story about all of us” Introspectively incisive Eighth Grade an A-plus stunner Chatting Eighth Grade with writer/director Bo Burnham and actress Elsie Fisher
Elsie Fisher in Eighth Grade – Photo courtesy of A24
by Sara Michelle Fetters SGN A&E Writer EIGHTH GRADE Now playing
Standup comedian and actor Bo Burnham makes his directorial debut with the shockingly astute, movingly introspective coming-of-age drama Eighth Grade. A look into the life of middle school student Kayla
see EIGHTH GRADE page 6
Director Bo Burnham with Elsie Fisher on the set of Eighth Grade – Photo courtesy of A24
Writer/director Bo Burnham’s Eighth Grade is sensational. The story of a young middle school student, Kayla (Elsie Fisher), the movie is a coming of age marvel that held me continually spellbound as its authentically naturalistic narrative played itself out
to conclusion. As I wrote in my theatrical review, “This is a movie that refuses to shy away from some fairly dark realities yet at the same time doesn’t dwell on them in ways that feel exploitive or supercilious. Instead,
see EIGHTH INTERVIEW page 6