The car that was, won't be.
Sorry that took so long. I had to drive a ways to deliver the last cake. I got a few text messages on the way up, one reading:
When are we gonna know about the theater award? You've got me in a tizzy!
And Comte wrote in the comments on this post:
C'mon, when are you going to announce the Theatre Genius? Give 'em the damned cake already! The suspense is KILLIN' me!
Your long, theater-geek nightmare is over. The winner(s) of this year's Stranger Genius Award for theater are these guys:
As I wrote in a short-list entry for the Cody Rivers Show a few years ago:
Andrew Connor and Mike Mathieu say they perform "high-octane sketch comedy," but that undersells their uniqueness. "Avant-comedy" would be better. A stream of delightful weirdness burbles through the Cody Rivers Show.
There are tight Fosse-style dance routines with kayak oars and Viking costumes, infomercials in French about how to deal with "les gens difficiles," and boys manically and nonsensically destroying everything onstage while trying to make a present for their mother. Then there's the one I like to call Chez Fuck-With-Your-Head: An audience member is selected to sit at a small table on the stage. Strange, alien noise rumbles over the theater's speakers. The boys come out as excruciatingly clumsy, slow-motion waiters dressed in full biohazard suits. Their actions are simple and stupid—pouring the water glass to overflowing, making a viscous concoction with a blender, glaring at their increasingly uncomfortable guest—but their indescribably ominous presentation pushes the bit past comedy into something disturbing and great.
They've only improved with age—the Cody Rivers Show is a generative duo that doesn't just make comedy: They make performance art that just happens to be funnier than most comedy and more physically precise than most dance. They've also begun to take over as producers—SketchFest, the Suitcase Festival, and so on.
They began in Bellingham, have wooed Seattle, and will soon belong to the world. They've already conquered the Canadian Fringe circuit and next month Andrew Connor will tour Japan.
I showed up at the deli of Bellingham's Community Food Co-op with their cheap, highly processed sheet cake. The boys were eating figs and soup and had a pile of collards they had just bought. They looked at the cake—which read "You're a Friggin' Genius"—and began beaming. Mike stood up. "Can I hug you?" he asked.
PADANG, Indonesia (Reuters) - Thousands may have died in an earthquake that struck the city of Padang on Indonesia's Sumatra island, a minister said on Thursday, with officials saying many victims remained buried under toppled buildings.
The 7.6 magnitude quake hit Padang on Wednesday afternoon, knocking over hundreds of buildings, but with communications patchy it was hard to determine the extent of the destruction and loss of life...
At the Crocodile tonight, the nightlife industry will be gunning hard for the three candidates that they think will reverse a trend of anti-nightlife policies in the city. The Presidents of the United States of America and Krist Novoselic are performing for the high-ticket shindig—up to $350 a person for VIP passes, but tickets are being sold on a sliding scale—for mayoral candidate Mike McGinn, county executive candidate Dow Constantine, and city attorney hopeful Pete Holmes.
David Meinert, a nightlife advocate who is producing the show, says, “I believe these three candidates can change the future of this region." All of them support local culture and transportation, he says, whereas their opponents would rather put “more money in a so-called law-and-order agenda and highways." The three candidates will divide the donations equally.
“It’s a $200 suggested donation but they can give what they can,” Meinert says. “We don’t want tot turn a bunch of people away.” He says tickets will be available at the door. A VIP event at Via Tribunali in Belltown begins at 7:00 p.m., and music and speeches at the adjoining Crocodile run from 8:00 to 11:00 p.m. More info here.
Full Disclosure: The Stranger’s promotions department sponsored this event by donating a quarter-page ad. But The Stranger’s promotions department has no influence over our editorial content.
Skillet, Skillet, Skillet. The food's so good.
But so much drama!
In 2007 came the first temporary closure by the health department (then, unrelated, the trailer broke).
This June, one of Skillet's trailers was temporarily shut down again for "Operating without valid food business permit or plan approval / Potentially hazardous foods at unsafe temperatures / Inadequate facilities to control temperatures of potentially hazardous foods / Handwashing facility not working / No available hot water." At that time, owner Josh Henderson said the regular trailer had some problems, and a new one didn't have a fridge or the proper permits. Because of a contract with the Mariners, he said, "we had to roll the dice. Unfortunately we rolled the dice on the wrong night. We made a choice, we made the wrong one."
And now, yesterday, this:
An unapproved trailer located at 1250 S. 1st St, Seattle serving food by the establishment "Skillet" was closed by a Public Health food inspector on September 29, 2009, 5:45 pm for operating without a valid food business permit. The trailer will be reopened when the person in charge of the establishment completes all of the requirements for a legal mobile food establishment...
By phone, Henderson said Skillet was back up and running as of this morning. According to him, this is "stupid health-department shit. Our health department [permit] lapsed and we basically forgot to pay it in time. I’m just tired of the health department—there’s no collaboration, it’s just more of a police force... I thought I was communicating with them and being on the up and up, but that move last night... It was discouraging to say the least. I don’t really care, they can shut us down 10 times in a row and I’m just gonna keep going."
Stranger intern Alexander P. Brown just discovered an intriguing, and egregious typo in this Reuters headline:
Imagine if Hugh Jackman and Daniel Craig somehow made babies. The world would not survive under the immense weight of that combined hunkiness.
In my review of Pacific Northwest Ballet's Romeo and Juliet, which I referenced on Slog yesterday, I dissed Kent Stowell's version of Romeo and Juliet for its chasteness. Specifically, I placed it squarely in the classical line of ballets—the kind of ballet with "Nobody copping a feel. No kissing—no way. Love is a platonic thing that is impressive and repressive and wears its hair in a bun. It's nothing to do with sex."
Turns out I am a liar. A commenter pointed it out to me yesterday:
Hold on a minute, Jen. Have you ever seen Kent Stowell's Romeo and Juliet? Juliet has a whole lot of hair flowing (remember Patricia Barker?), there IS kissing, and during the bedroom pas, there's a lengthy downstage-left full-length feel.
on September 29, 2009 at 3:20 PM
Wondering about this, I asked PNB's spokesman, Gary Tucker, and he confirmed that, indeed, there is hair, kissing, and at least some feel-copping. He even provided photographic evidence.
Well, now I feel sheepish. I saw Stowell's version (just once), but I honestly don't remember any of those. I recall very little heat, in fact. (Regulars who can compare both, am I misremembering?)
On the particulars, alas, I am a liar. I'm sorry. I suppose and hope that my main point stands: that Maillot's Roméo et Juliette is unprecedentedly hot for this story on this stage—and not by a little but by a lot.
Go to First Thursday tomorrow night, of course.
There's an unexpected pleasure at Lawrimore Project, in addition to Leo Berk's show: Susan Robb's new doubled/mirrored aerial photographs in the back room. (Put the two together and you have, well...)
Last chance to see Eric Elliott at James Harris.
Drew Daly and Tim Roda (his son has grown up so!) at Greg Kucera.
Matthew Offenbacher and Tony de los Reyes at Howard House.
Last chance for the historical photographs by Lartigue, Wolcott, and Cunningham at G. Gibson.
And just a $10 donation wins you a ticket to win ALL the art in the members' show/fundraiser at PUNCH this month—if you don't enter, you're crazy.
More on First Thursday at this cool site.
Jimmy Kimmel. Sarah Silverman. Sex Tape. Unfortunately, it looks like this tape doesn't exist. But, oh, the good times we could have had, internet.
Post by news intern Alexander P. Brown
An unknown thief has stolen $30,000 from the Kids Company, a Ballard-based business that runs extracurricular activities inside Seattle elementary schools, according to a recently released police report. But it's unclear who stole the money or whether the dough can be recovered.
On September 14, the company's accountant noticed that $25,000 had been transferred into their general account from one of the company’s other accounts without authorization, the report says. The accountant contacted the Sterling Savings Bank to inquire what happened, but the report doesn't explain if the bank provided an answer.
The next day, the report says, another unauthorized transfer was made; this time $30,000 was removed from the Kid's Company's account and deposited into the account of a business in Florida, where it was then forwarded to the Ukraine. Hackers also scrubbed several employee records from the company's payroll database, and they got access to the bank account numbers of every employee at the business. But the police report says that company accountants then stopped the unknown thieves from transferring another $30,000.
Kid’s Company may be unable to get back the stolen money, the report says. Sterling Savings reportedly told the company that the bank could not refund the money due to regulations of the Automated Clearing House (ACH) electronic network, the fund transaction network where the theft occurred.
Seattle Police referred Kid’s Company officials to the FBI and local-law enforcement departments in Florida, which declined to take the case. The Kids Company filed the case with Seattle Police Fraud/Forgery Unit. Calls to the business have not yet been returned.
North Seattle resident Sheryl Passarge shares an e-mail that she sent to Maria Cantwell last night after the senator went to bat for the public option. The subject line: "You stood up today."
Dear Senator Cantwell,
I heard you on the news tonight. For the first time in many, many years I felt something like "pride" for you as a Senator representing me and the state of Washington.
You stood up for the Public Option in the Senate Finance Commitee.
It was just a few months ago that I heard you on KUOW saying that you could not support a Public Option because there were not enough votes in the Senate to pass a Public Option.
(Strange computing to my ears.) But I wasn't surprised. It was the same Maria Cantwell that I had come to know as the Senator that would vote "Yes" on going to war against Iraq (October 2002.) I remember watching you on TV, making your comments about why you were going to vote "yes" and I remember still wondering why you were going to vote "yes." I figured it was for the same reason that your friend, Hillary Clinton, was voting "yes"—that other Senators would be voting "yes" and so you would vote "yes," too.
(Still strange logistics to me. Seems so juvenile—like a kid who says "Everybody else is doing it, so so will I.")
That was exactly Senator Max Baucus' reasoning today. Booooo, Max Baucus.
But YOU stood up for the Public Option. In your committee!
Why the change, Senator?
Could it be that, over the past several months, you have been listening to your constituents?
I hope so.
If so, I applaud you. You did the right thing today. And I am so pleased. Thank you for supporting a Public Option in the Senate Finance Committee today.
My story on Cantwell's stand is HERE.
It's always a pleasure to be named Hack of the Day by a publication I've never heard of. Many thanks for the honor. I realize you are just trying to entertain readers, so I won't quibble with the fantastic number of inaccuracies in your editorial. But it was especially dishonest of you to suggest that the story was about the war on drugs, no? The piece was about law enforcement's inability to find much more than big pot plantations and a few growers and harvesters—how they couldn't get to the money guys back in Mexico.
Reporter, The Oregonian
Yeah, yeah—it's always a "law enforcement" piece when someone complains about a biased, unbalanced report about pot. But the particular kind of law enforcement you were reporting on is a part—
a huge part—of the War On Drugs. Hello? Helicopters? Your report takes us to the front line of the War On Drugs.
And "this is what the government/law enforcement is doing" pieces typically get around to this question: "is what the government is doing working? is it effective?" Not yours. You're not alone, though: there are lots of dumb fucking drug war stenographers at daily papers all over the country who neglect/refuse to ask that question. You're all part of the problem and seemingly proud of it. And, hey, I'd never heard of the Oregonian before i moved to the Pacific Northwest. So we're even.
Anxious to hear about the other "inaccuracies."
You should stick to sex advice.
Those inaccuracies, Bryan?
Our exchange goes on—and on and on and on—after the jump.
If the candidate for City Attorney is elected:
Under my tenure, I will not charge another minor marijuana possession offense—either in conjunction with other charges or standing alone. Period.
On his show last week, Conan O'Brien said the following "joke:"
The Mayor of Newark, New Jersey wants to set up a citywide program to improve residents’ health. The health-care program would consist of a bus ticket out of Newark.
Wokka-wokka! Because Newark sucks, am I right? Well, Cory Booker, the mayor of Newark (and the star of the great political documentary Street Fight, and, incidentally, a man who will eventually become President of the United States of America), has responded to the joke:
I know Booker's response isn't the funniest thing in the world, but the man is totally my next political crush.
Incumbent Tom Carr and Pete Holmes, who are both running for City Attorney this year, are answering a slew of questions over in Electionland until 3:00 p.m. You can read their answers here.
And the candidates have clear differences. For instance, one readers asks, "Why is it legal for companies to wheat paste advertisements, but if you're an artist or band wheat pasting you can be cited and prosecuted?"
Carr starts off by distinguishing paste from glue:
Actually, it is not illegal to paste signs onto utility poles, as long as the signs conform to the city sign code, as found on the City of Seattle website. Glue is prohibited. Companies that paste signs can only do so if they follow the same sign code as artists or bands: signs must conform to size limitations, have a date posted and be removed.
Holmes shoots back:
From the beginning of the incumbent's first term in office, he has been hostile to First Amendment rights. His crusade against handbilling, posting on utility poles, etc., was finally slapped down in court at great expense to the City.
Joe asks if the city attorney should publish legal opinions online—why or why not?
The City Attorney does not provide policy opinions. It is my job to remain neutral on civil matters. According to both the City Charter and state law, the City Attorney provides legal advice to the 9 city council members — individually and collectively — as well as the mayor and departments of the city. Because these communications are in the form of legal advice, they fall into attorney-client privilege, in much the same way that a citizen would get. Under state law, an attorney is prohibited from releasing legal advice without the consent of the client.
But Holmes disagrees:
City Attorney legal opinions will once again be published by Law Department under my tenure. Obvious exceptions include personnel and other matters, for instance, that are otherwise protected under law (the right of privacy in the Washington Constitution, among others).
Not only can this procedure prevent unnecessary relitigation or reassertion of settled matters, it is the very product of the Law Department that is funded by Seattle citizens. They have the right to see opinions that are produced with taxpayer dollars.
On pot laws, Carr says that decriminalization should happen at the state level—not by changing the city's enforcement—while Holmes says, "The citizens of Seattle have already spoken clearly that they want marijuana arrests and prosecutions to be the lowest priority." He adds, "I support decriminalizing marijuana, that is a clear difference between myself and Mr. Carr. He is still prosecuting 200 marijuana possession cases a year."
Comment and vote on the answers over HERE.
Alex Schweder, 2007's Stranger Genius in Visual Art, is showing a major work this season at San Francisco Museum of Modern Art—a work that he first created for Suyama Space, under the curatorship of Beth Sellars, the same year he won the Genius.
That first version of the piece was made entirely of transparent plastic whose internal shapes you were able to subtly discern only as the structure inflated. From what I wrote about it:
The action of A Sac of Rooms Three Times a Day at Suyama Space happens at mealtimes (9 am, 12:30 pm, 4 pm) and takes about an hour. In its latent state, a 21-by-28-by-9-foot clear vinyl sac rests on the wood floor, puddled like a memory of mercury, and with other sacs inside it. The exterior sac is modeled after a 500-foot bungalow. But the clear sacs inside (shaped as rooms, a staircase, fireplace, toilet, and sink) are modeled after a larger, 800-foot bungalow. As the whole inflates, the innards push against each other and the skin uncomfortably, resembling distended organs. The sculpture becomes a quivering apparition with stitches, and also a complex architectural drawing in thin air. It is kin to Do-Ho Suh's sewn structures, but unenterable, and it's introspective and fat, like Whiting Tennis's cow trailer or Erwin Wurm's talking house, but as basal and involuntary as a fish or a dream.
Now, in its second incarnation as part of the show Sensate, curated by SFMoMA's Henry Urbach from the museum's permanent collection (SFMoMA acquired the piece—SAM/Henry, where were you on this one?), the piece is titled A Sac of Rooms All Day Long and includes black lines that articulate the interior. It becomes a very different piece this way; a drawing as much as a sculpture, and even in some parts a sort of painting as the layers fold up and in on each other to create fields of webby depth.
Ticket info on Line Out.
Episode 61 of the Brain Science Podcast features the Chief Science Officer (Allen Jones) of the Allen Institute for Brain Research.
The brain is really all about those functional divisions, and it’s very important to understand how those functional divisions relate to the underlying biochemistry of those places. The underlying biochemistry of those places is driven by the genes that are turned on in them.The institute is currently doing for the human brain what it did for the mouse brain. But, of course, to map the human brain, you need human tissue; and to get human tissue, you need dead humans. No guessing is required to know why my favorite section of the generally excellent interview concerns this aspect of the institute's research—obtaining the brains of dead humans:
I would say that every aspect poses its own unique challenge in scaling to the human brain. Right out of the gate it’s just getting human brain tissue. Obviously human brain tissue is coming to us postmortem, and the postmortem tissue—especially from what we’re gunning for, which is normal human brain tissue from people that are between the ages of 20 and 60—those are typically coming from accidental death of some sort. So, there’s a lot of logistics that have to happen to make sure that you can get high-quality human The longer that a brain is sitting there after death and before we’re actually able to obtain the tissue and freeze it down, you have issues where the tissue is starting to degrade, and the RNAs that we would like to measure—which are telling us at what level a gene is turned on—are starting to degrade. So, there are important things that relate to that.
And what is a normal brain? Meaning, what is not a bad brain?
[One that has] no history of psychiatric disease. You certainly don’t want [one with] a history of drug abuse or a history of alcoholism. So, there are a number of things that we’re screening for up front that we want to avoid.A good dead brain must be very hard to come by.
All the cakes have been delivered except one.
So far, the winners are:
Visual art—Jeffry Mitchell.
Organization—Pacific Northwest Ballet.
And theater? Get comfortable. You'll have to wait.
Jeffry Mitchell and Joey Veltkamp were innocently sitting in a corner of Cupcake Royale this morning when we arrived with Mitchell's Genius cake, at which point Mitchell turned bright red, cried, wiped his eyes, said thank you, cried again, wiped his eyes again, and then said he would like to call his mother.
She was not in. Neither was his brother. "He's one of a brood of nine, you know," said Veltkamp, a fellow artist and the awesome Best Of blogger.
Mitchell, eventually put both hands in the air, which caused Veltkamp to say, "Two paws up," and it also caused his owl belt buckle to be seen in full ("it digs into my belly," he said sheepishly), which caused me to be jealous, because it is a great belt buckle.
This is, undeniably, Jeffry Mitchell's year, and Jeffry Mitchell is, undeniably, a genius.
Eventually, the artist Leo Saul Berk (hey!) called Mitchell's phone and became the first person Mitchell told about the award. "Isn't that good?" Mitchell said in his characteristic half-sheepishness/half-straight-upness. "Yeah, I'm all teary and happy," he continued. Berk asked to talk to me. "You couldn't have picked a better person!" Berk announced immediately.
We agree, Leo.
Here's what I wrote about Mitchell in "The 25 Greatest Works of Art Ever Made in Seattle":
Jeffry Mitchell, Pickle Jar with Silver Elephants, 2007
Two same-species lovers with long protuberances: Jeffry Mitchell poses gay love as ridiculously encoded, only discussable via elephants or elephantine euphemisms, or in childish terms. There are difficult ideas here (and considered traditions, too, like the Quaker pickle jar the underlying form is based on), but you come to those later. First you hit the surface: a forest pile of flowers and berries and vines and tree branches and pretzels and hidden rabbits and a horseshoe and what looks like the face of a bear. These are fat fleshy loops made out of breakable ceramic, coated—but only coated, and only lightly—in the refinement of pretty white and platinum luster. Underneath, in the earthenware itself, unperfected finger pinches and crude little marks are still visible: There's always the memory of softness. Instead of irony there is wonder, humor, humility, and a warmth so intense you may as well call it love. Actually, that's it: No other Seattle artist has come close to producing as much sheer love as Jeffry Mitchell.
See the jump for a picture of how happy these awards make not only the receiver, but the giver. I love Genius Day!
UPDATE: Mark your calendars for the party. It's November 13 at the Moore!
I took this picture moments ago of the Stranger Election Control Board interviewing City Attorney candidate Pete Holmes (left front) and incumbent Tom Carr (to Holmes's left):
Have you ever really, really needed to get out of that desk-side conversation with HR? Maybe you just broke up with your special ladyfriend (and you happen to be sitting in front of your computer), and you really need to get out of there. Now you have an out: Where's My Cell Phone. Just go there put in your number and click the Mark It Ring! button. If the dudes in Glengarry Glen Ross had this, they totally could have skipped getting bitched out by Alec Baldwin.
All previously announced HUMP! 5 screenings are sold out—they sold out in 24 hours—so we've added two shows: Friday at noon and 2. Once we get comps to all the folks who submitted films for HUMP! there may be a few additional seats released for other screenings. But we won't be adding any more screenings. These are the only two shows we can add to the schedule this year. Get your HUMP! tickets while you can.
In the sunny front window of Cafe Pettirosso this morning, local filmmaker Zia Mohajerjasbi (young, gracious, a few minutes late) received his sheet cake, declaring him the 2009 Stranger Genius in Film. He seemed confused, then excited, then confused again. "Your timing is really perfect," he said. "Three days ago I was sitting at my desk saying, 'November 1st I'm quitting.'"
In last year's Genius Awards shortlist, Charles Mudede wrote this about Zia:
The eye of the Hollywood studio sees little more of Seattle than the Space Needle; the local filmmaker, however, sees a dynamic relationship between the urban and the natural, between concrete and trees, between outside and inside. In his latest video for Blue Scholars, "Loyalty," director Zia Mohajerjasbi contrasts the rural with hiphop's multicultural solidarity. A group of urban youth walk across a field of wild grass. Though we do not see a single building, we never feel that we are anywhere else but in the middle of Seattle.
UPDATE: Congratulate Zia (and all the other 2009 Geniuses) at the great, big, fun Genius Awards Party! November 13 at the Moore! Hooray!
A former Roman Catholic bishop from Nova Scotia is facing child pornography charges. Raymond Lahey, the former bishop of the diocese of Antigonish, is known as the man who oversaw a $15-million settlement with people who said they had been sexually abused by priests in the diocese dating back to 1950. He was returning to Canada from the United States when he was arrested at the Ottawa Airport last week after members of the Canada Border Services Agency performed a random check of his laptop computer.
Lahey has been charged with distributing and selling child pornography.
But it's no big deal—the numbers of priests distributing and selling child pornography probably doesn't top 5%, and no doubt the Jews are doing it too.
I wrote about Levine earlier this year:
It is kind of a shame that Stacey Levine's stories have to be published in the form of a book. It's not that they should appear in e-books or anything so mundane as that. Rather, I wish it were somehow possible to hire elfin booksellers to sneak into your home and hide Levine's stories in odd places—inside a cereal box, tucked into a pair of swimming trunks, taped to the back of the oven—so that you could discover them at random and, perhaps, inopportune times. Levine's stories are rare and mysterious things, and confronting them in a book makes them feel less wondrous somehow.
It's a testament to Levine's magnificent eye for detail that she immediately fixated on the "Crisco rose" on the cake. Then, like almost every writer who has ever won the Genius Award (with the obvious exception of Sherman Alexie), she expressed some concern about being the center of attention at our huge Genius Awards party, but it was fun to watch her gradually pump herself full of courage. She will be lovely and you all will see her there. What will Levine do with the $5,000 dollars? "I can finally afford new printer cartridges!"
Don't cops have better things to do than break kids arms "like twigs" because they're, OH MY GOD, skateboarding? This whole scene is modern day Over The Edge-ism. I really don't understand it.
You know what today is?
Genius Cake Day. Today, four artists and one institution will win Genius Awards—one in film, one in literature, one in theater, one in visual art, and one arts organization. (See winners from previous years here.)
All morning, The Stranger's arts editors have been ambushing artists in cafes and offices, handing them cakes that read "You're a Frickin' Genius." Some have laughed, some have cried, some have sat in stunned silence.
It's been fun.
We hand out Genius Awards—$5,000, a big party at the Moore, a long and glowing profile of the artist—for many reasons: Sometimes we reward lifetime achievement. Sometimes we reward potential. Sometimes we reward big institutions. Sometimes we reward tiny, low-to-the-ground guerrilla groups. Sometimes we reward people who need the money. Sometimes we reward people who don't.
We're capricious that way.
This year's winner for institution is Pacific Northwest Ballet.
When PNB was looking for a new artistic director a few years ago, it made a genius move by hiring Peter Boal—an artist instead of an administrator, someone connected to the new work happening in New York and beyond. Boal has breathed new life into the city's ballet.
As I wrote in a review of PNB's homage to Jerome Robbins:
Since 1977, when Kent Stowell and Francia Russell took over, PNB has been an outpost for the Balanchine legacy, a kind of NYCB West. But Stowell and Russell virtually ignored Jerome Robbins, performing only two of his ballets in 28 years.
Since Peter Boal took over PNB in 2005, he has staged four Robbins ballets and will add two more ("West Side Story Suite" and the famous "Dances at a Gathering") to the repertoire next season. Boal has been gently prodding PNB out of its fustiness with more modern choreographers and sexy print ads. All Robbins is a welcome coup from that admirable campaign, introducing Seattle to the other—more populist and comical, but no less important—genius of New York City Ballet.
Kent Stowell and Francia Russell worked hard to bring Seattle a reputable ballet. But Boal and his staff have kick-started their legacy into PNB 2.0.
Boal has kept the old Balanchine favorites in the repertoire, but has imported new, sexy, and vital choreographers into the building: William Forsythe, Marco Goecke, and Benjamin Millipied. Boal has replaced Kent Stowell's Romeo and Juliet with Jean-Christophe Maillot's steamy Roméo et Juliette. (See Jen Graves's review here.) These days, PNB is on fire—and big Seattle arts institutions who are due for new leadership in the next few years should follow the ballet's lead. (I'm looking at you symphony, opera, and Seattle Rep.)
We burst into a development meeting Boal was having in his office this morning. "Oh my," he said, beaming. "We love The Stranger. The staff will be so excited to hear about this."
"Well," he said to his meeting as we walked out the door, "this day is starting off well."
Click here to get all the details.
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