Check Out This Exhibit at the Henry Art Gallery

KADER ATTIA TURNS FRAGILE FORMS INTO POWERFUL STATEMENTS

The current exhibit at the Henry Art Gallery is Attia's first in the U.S., organized by chief curator Elizabeth Brown. Attia's reputation precedes him in this country, not because he's a rising star in Europe, but because of widely circulated photos of his work. At the Henry, Attia re-created "Ghost," an installation of 150 kneeling figures made of aluminum foil; "Rochers Carres," an evocation of a concrete beach; "Oil and Sugar 2," a DVD projection; and an untitled table with a few plastic bags on its surface -- blue, pink, white and covered in advertising. "Ghost" is great in reproduction, especially when viewed from the front, where kneeling figures lift their heads and reveal themselves as empty sacks.

It is meant to be anonymous and fragile, and it's powerful for that reason. "Rochers Carres" memorializes no fallen. It's a bittersweet homage to a man-made beach in Algeria that Attia visited as a child. The video, "Oil and Sugar #2," opens with a pristine white fortress that falls apart after greasy black motor oil is poured on it. Metaphorical meanings are clear, but what makes the piece is the lightness of its delivery. I love the plastic sacks on a plywood table, each nearly as light as the air. Each is a gesture, a momentarily frozen dance of a lowly material, a thing resting before being swept up again in the wind. Henry Art Gallery, University of Washington, 15th Avenue Northeast and Northeast 41st Street; 206-543-2280. henryart.org. (Regina Hackett, Seattle PI)

Extraordinary, Daring Performance at ACT Theatre

Don't miss this chance to experience truly awe-inspiring contemporary theatre from the internationally lauded Ilkhom Theatre Company, hailing from Tashkent, Uzbekistan.

White White Black Stork

by Elkin Tuichiev, Mark Weil


March 14 - April 6

Directed by Mark Weil

ACT Theatre


White White Black Stork, adapted from stories by Abdulla Kayri, resembles a modern-day Romeo and Juliet and takes place at the end of the 20th century. It features a Sufi Muslim boy and girl born in the old city of Tashkent, both dreamers who do not observe the social conventions of their Sufi community. The boy falls in love with another boy, but submits to an arranged marriage to the girl, who also has another love. Their wedding leads to despair, family quarrels and untimely tragedy.


Here's what The Stranger says: http://www.thestranger.com/seattle/Content?oid=537696


Here's what Radio Free Europe says: http://www.rferl.org/featuresarticle/2008/03/84e43138-d56e-416f-8a96-1cb360366b9a.html



Here's what Seattle Gay News says: http://www.sgn.org/sgnnews36_11/page21.cfm

Seattle Theatre Group's new season: dance, much more

By Misha Berson

A pan-African version of "Le Sacre du Printemps" ("The Rite of Spring") created by Algerian choreographer Cie Heddy Maalem, a program of dances set to Mozart by Mark Morris Dance Group and a new show by tapmaster Savion Glover titled "Bare Soundz" are some of the many attractions slated for Seattle Theatre Group's dance-rich 2008-09 season.

STG, the nonprofit manager of the historic Paramount Theatre and Moore Theatre, will also join forces with Seattle's Early Music Guild to import the Monteverdi opera "La Favola d'Orfeo" ("The Legend of Orpheus," coming Feb. 6-8, 2009), in a production by Milan's renowned opera troupe La Venexiana.

Also expected: the U.S.-based touring show "Kungfu Theatre: Tales from the Beijing Opera" (April 17); new works by Seattle's Donald Byrd and his Spectrum Dance Theater (April 25 and 26); and such popular, ongoing STG programs as Silent Movie Mondays (weekly in June 2009), "Dance This" and "More Music @ The Moore" (May 9).

STG will continue to offer mix-and-match subscriptions, which allow patrons to get a discounted package and preferred seating by ordering advance tickets to at least three shows of any genre.

"The system has worked very well for us," said STG executive director Josh LaBelle. "In the current season our subscriptions are up 9 percent, to about 17,000, over the previous year." He notes that overall attendance is healthy too: roughly 537,000 tickets sold to STG-sponsored shows.

People can assemble their own STG packages from dozens of 2008-09 Moore and Paramount events.

Some other choices:
Children's touring stage shows by musician Dan Zanes (Dec. 6 and 7), the Backyardigans (Oct. 25 and 26) and others.

Jazz concerts, such as a salute to Blue Note Records (Jan. 8) and an evening with McCoy Tyner (Nov. 14).

Touring Broadway musicals, running on a calendar-year season that was announced earlier ("Avenue Q," "Spring Awakening," "Phantom of the Opera").

Comedy shows, among them the Comedy Addiction Tour (Oct. 3), and stand-up gigs by Paula Poundstone (Nov. 15) and Carlos Mencia (Oct. 11).

Popular individual artists, including experimental performer Laurie Anderson (Oct. 16) and singer Linda Ronstadt (Oct. 23).

"This system fits our mission best," said LaBelle. "We want people to explore diverse artistic experiences. We're not just about Broadway and pop concerts."

Next season, LaBelle is continuing his plan for STG to bring more international attractions to its venues — an expensive proposition, but one he is strongly committed to. To be successful, he said, such ventures take partnering with other arts organizations. In addition to working with the Early Music Guild on the Milan opera import, the African "Le Sacre du Printemps" is part of a continuing partnership with On the Boards to present works by leading contemporary African performing artists.

More about the STG 2008-09 season and subscription purchases: http://www.theparamount.com/ or 206-467-5510.