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Seattle Repertory Theatre

The Belly Rules the Mind: Eat at the New Armory

June 26th, 2012 by Seattle Repertory Theatre

food court

A rendering of the new Armory/Center House! (Many of these renovations have already occured).

Venturing down to the Seattle Center soon to enjoy summer festivals and the Next 50 celebration? Then don’t miss out on the chance to check out the newly revamped food court at the Centerhouse (now called The Armory).

Now you may be wondering–why is Seattle Rep even talking about this? Let’s put it this way…the plethora of mouth-watering restaurants in the neighborhood makes it hard for our employees to honor that sack lunch they brought to work this morning. And besides, everybody loves finding a quick and tasty bite!

The revamped Armory isn’t your typical food court; some good stuff moved in recently and more will be coming soon! Think Eltana (wood-fired bagel cafe), Pie (savory and sweet flaky treats), Sweet Treats (think you can guess what this is), MOD PizzaCeres Roasting CompanySkillet, Dante’s Inferno Dogs, The Confectional, Bigfood (flatbread sandwiches, yum!) and Bean Sprout (health-focused cafe and kids’ cooking school). 

Kudos to Seattle Center for the revamp and providing folks with healthier options and more delicious choices. We’re thinking it will come in handy for those patrons this upcoming season who need  a quick bite before the show. (We definitely recommend trying the Chicken Pot Pie at Pie). 

There’s a Spanish proverb that says, “The belly rules the mind.”  Now go forth and eat!



Seattle Repertory Theatre

A Moment with Playwright Vincent Delaney

June 20th, 2012 by Seattle Repertory Theatre

Daddy/daughter hard at work: Vincent & Lila. Seattle playwright Vincent Delaney just returned to the Emerald City after having a staged reading of his new work Foreclosure performed in New York last week. An earlier reading of Foreclosure took place at Seattle Rep at the beginning of May as part of the Inaugural Seattle Rep Writers Group showcase.

We finally caught up with Delaney to ask a few questions about his new play and what’s next for him. 

About the play:

What happens when your best friends lose their home but refuse to leave it? Foreclosure examines what we really owe our neighbors and takes a sharply comical look at a modern collapse that shows no sign of ending.

SRT: What inspired you to write Foreclosure?
Foreclosure came from personal experience: we live in a tight cul de sac with three other families. All of us know each other, and the kids all play together. It’s warm, friendly, social.

I started thinking about the odd intimacy of neighbors–you know so much about each other, you’re friends (sort of), and yet there are boundaries. What happens when the boundaries fracture? And what might happen if your neighbor lost everything, and you were left standing? That was the genesis of the play. It led to questions about family, what we owe each other, and if we can truly survive when others are watching their world collapse.

(Our actual neighbors are wonderful parents btw, who are not the characters in the play…should they happen to read this!)

SRT: Tell us a bit about having the reading of Foreclosure in NYC. What was it like?
The reading in NY was thrilling. I was matched with a team of producers (the Broadway Consortium and Mondays Dark Theater Company) who were able to bring in investors to help move the play toward Off Broadway next season. One of the highlights was the producers panel afterwards, something I’ve never done. Instead of feedback on the script itself, the discussion was all about the viability of producing the play–everything from “is the title going to draw people in” to “what is the shelf life of this play, given how topical it is?” I found that discussion to be so illuminating, since I really had no idea how producers think.

SRT: How long have you been a playwright, and how did you get into playwriting?
I started as an actor (and still get to act from time to time, when my family lets me). Did an MFA in Playwriting in the 90s, tried to balance both careers, wasn’t doing too well at either. Around 2001 I finally realized I was a playwright who occasionally acted, not the reverse. But having started as an actor, I still see writing through that lens. Regardless of the style or genre, it always ends up being character driven. (Not that I’d want to be in my own stuff, but the dialogue always seems to feel as if I were personally in rehearsal.)

SRT: What do you like to write about?
Ideas come from everywhere. Three Screams came from a newspaper blurb about the repeated (and puzzling) theft of Munch’s painting. T or C came from my own terror at being a parent. 99 Layoffs came from hanging out with two fantastic actors (K. Brian Neel and Aimee Bruneau), who had asked me to write them a play. I think I swing wildly between genres (Foreclosure is serious, 99 Layoffs and ampersand are comedies), depending on how crazy I feel.

SRT: What’s the best and/or worst advice you’ve received about writing?
Worst advice: two years ago I wrote a comedy called ampersand, about a husband and wife who clone each other to improve their marriage. It’s high comedy, in the Feydeau style, with some Durangian wickedness thrown in. One of the first people who read it was a director who said it could never work as a play, the audience would understand nothing (and wouldn’t care), and my best hope was to turn it into a novel. The play just won the Reva Shiner Award from the Bloomington Playwrights Project, which is doing the second professional production next season. Glad I didn’t take that advice.

Best advice: don’t take any of this too seriously. (But don’t get lazy, either.)

SRT: Tell us something quirky about yourself. 
Quirky fact: when I’m not writing plays, I’m playing scooter soccer with kids at BF Day Elementary.

SRT: What’s next for you?  
What’s next: 99 Layoffs opens August 2nd at ACT, with the marvelous Aimee Bruneau and K. Brian Neel, directed by David Gassner. 

Foreclosure has a workshop at New Century Theatre this fall, ampersand opens in April 2013 in Bloomington, and hopefully we’ll have dates for the NY production of Foreclosure very soon.

This summer I’m trying to expand a ten minute play I wrote for New Century called Renditionation. It’s a comedy about enhanced interrogation.

Seattle Repertory Theatre

Meet Playwright Stephanie Timm

June 14th, 2012 by Seattle Repertory Theatre

Seattle Rep Writers Group playwright Stephanie Timm.

This Friday, June 15, marks the final staged reading in the Inaugural Writers Group Showcase.  Come see Stephanie Timm’s new play Rats in the Garden of Eden at the Rep’s PONCHO Forum at 3 p.m.–it’s free and open to the public!

About the play:

Rats in the Garden of Eden by Stephanie Timm, directed by Kathleen Collins
When Pearl shows up at her younger sister Opal’s doorstep with a suitcase and a box of “sensual products” to sell after a long, mysterious absence, she finds Opal living in an insular world of romance novels and poetry. Rats in the Garden of Eden explores what happens when someone has to choose between fantasy or reality—one leads to madness, the other to inevitable disappointment.

Read below for a little snippet about Stephanie and her new work. 

SRT: What inspired you to write Rats in the Garden of Eden?
A lot of little kernels inspired the play. I collect quirky news articles, and had one about a rat in a baby’s crib, and I got to thinking how that would affect that child growing up, dealing with a severe cosmetic abnormality like that. I was also inspired by True West by Sam Shepherd and Lonesome West by Martin McDonagh (which I think was inspired by True West). Both of these are about brothers, and I thought it’d be interesting to see that competitive dynamic played out between sisters. In many ways I think competition between sisters and between women is much more fierce and can be much more brutal.

SRT: How long have you been a playwright, and how did you get into playwriting?
In 1999, when I moved up to Seattle after graduating from Willamette University, I wanted to be an actor. I found it very challenging to find contemporary monologues for women my age to audition with. So I started writing those parts, first in a short, ten minute solo piece, then my first play The Frog, which I acted in. After being in two of my shows, I was totally in love with the writing and not the acting aspect. Ever since, I always write roles that I could play, roles for my “type” even though I don’t ever intend to act again. I want to always be creating good roles for women.

SRT: What do you like to write about?
I write a lot about the divided self. I am interested in those contradictory aspects of people, including myself.

SRT: What’s the best and/or worst advice you’ve received about writing?
The best advice I got about writing was when I went and saw Anna Quindlen read from a new novel. I remember she said, “If I sit around and wait for inspiration, I’ll never write anything. It’s when you ARE writing that you get inspired.” I have found that to be absolutely true. It’s when I’m in there, with the page, writing something that’s usually really bad, that I get the good idea.

The worst writing advice I ever got was from a teacher of mine who said, “I don’t give two shits what anyone else says about your draft. You need to listen to ME.” I think the most detrimental thing for someone’s work is a dictatorial teacher who insists they know what’s best for your play, instead of equipping you with tools to use and think for yourself when they are no longer around.

SRT: Tell us something quirky about yourself.
I’m an introvert posing as an extrovert.

SRT: What’s next for you?
I have been commissioned, along with composer David Austen, to write a new musical for 5th Avenue Theatre, as part of their brand new Alhadeff New Works Program. I am absolutely thrilled! In collaboration with composer Albert Evans, I wrote Rosie the Riveter! for their Adventure Musical Theatre program, and I had a great experience. I never saw myself writing musicals, but now that I’m doing it, I must say that I love it. Especially when I have such amazing collaborators!

Seattle Repertory Theatre

Stuck on what to get Dad? Try a SRT Gift Card

June 13th, 2012 by Seattle Repertory Theatre

Stuck on what to give Dad this weekend for Father’s Day? Or how about what to give that recent graduate, that soon-to-be newlywed couple, or the upcoming birthday girl?

Seattle Rep gift certificates make the perfect gift and are available through our box office (206-443-2222) or website. The best part? They never expire and can be used throughout our exciting 50th Anniversary season, highlighted below. . .

Pullman Porter Blues by Cheryl L. West—a world premiere production

A captivating coming of age story—woven with live blues music—that follows three generations of porters as they confront dark secrets from their past and tough truths about their future together. 

The Glass Menagerie by Tennessee Williams

An imaginative and intimate take on Tennessee Williams’ shattering classic, in which an aging Southern Belle longs for her youth and dreams of a better life for her children.

Inspecting Carol by Daniel Sullivan and the Seattle Repertory Theatre Resident Company

This quirky Seattle Rep classic goes behind the scenes at a struggling theatre’s annual slapdash production of A Christmas Carol—a hilarious spoof that makes for a night at the theatre that is anything but show business as usual. 

American Buffalo by David Mamet

Set in a run-down junk shop, three men of great ambition and low morals plan a heist of a customer’s valuable coin collection in Mamet’s modern masterpiece. 

Photograph 51 by Anna Ziegler

An intriguing portrait of British scientist Rosalind Franklin and her—often overlooked—role in the discovery of DNA’s double helix structure. A complex tale of how a courageous woman operated in a field dominated by men. 

Good People by David Lindsay-Abaire

This Tony-nominated New York hit is an insightful comedy of class and culture that focuses on Margie, a single mother from the wrong side of the tracks who seeks a fresh start with an old flame.  

Boeing-Boeing by Marc Camoletti, adapted by Beverley Cross

It’s the 1960s and swinging bachelor Bernard couldn’t be happier: he’s juggling three stewardess fiancés at his flat in Paris. But his fun soon turns to chaos in this riotous farce when all three arrive in town at the same time! 

Visit our website for more info about the 50th Anniversary season and buying gift certificates!

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