With talented cast and crew, 'End of Days' is a delight

The News Tribune
The Olympian



Amy Hill as Rachel Stein and Robert McConkey is Jesus

Rian Wilson as Nelson

photos by torstudios.com

End Days” at Harlequin Productions is two hours of hilarious weirdness featuring the strangest yet almost believable extended family you’ll ever fall in love with.

The Steins are nonreligious Jews who escaped New York City for the peace and quiet of the suburbs after 9/11. Arthur (Scott C. Brown) escaped the collapse of the twin towers, but 65 of his co-workers were killed. He has been severely depressed since then and can do nothing but sleep. His wife, Sylvia (Ann Flannigan) has found Jesus. Literally. She sees Jesus (Robert McConkey) and talks with him. Their 16-year-old daughter, Rachel (Amy Hill in exaggerated Goth garb and makeup) is now visited by Stephen Hawking (also Robert McConkey), whom no one else can see, and by their neighbor, teenaged Nelson Steinburg (Rian Wilson), who is infatuated with Rachel and is unable to function without wearing his white Elvis jumpsuit.

Sylvia is convinced that the rapture is coming soon, and she cajoles Jesus into telling her when – and he lets it be known that it is coming Wednesday.

A creation of playwright Deborah Zoe Laufer’s fevered imagination, “End Days” could easily come across as too artificial and absurd, but in the hands of Harlequin Productions’ cast and crew it is absolutely delightful. Much credit must go to director Linda Whitney and to each of the cast members for honing the peculiarities of their characters – Arthur’s disconnect with reality, and his underlying sweetness; Sylvia’s desperation and her love for her family; Rachel’s justifiable anger and rebellion; Nelson’s wide-eyed wonder at just about everything – especially Rachel and scientific theories; Hawking’s sly humor and Jesus’ charm. This cast, individually and in their interaction, makes these absurd characters as real as your next door neighbor.

Brown’s performance is an object lesson in the art of acting. He makes the slightest of expressions tell a lot about his psyche – the weariness in the way he props his head in his hand or picks his head up as if it weighs a ton and drops it back to the table. Nobody can fall asleep across a table the way he does. Nobody sleeps so entertainingly or so constantly, and Brown makes it laugh-out-loud funny and absolutely real.

McConkey does an imitation of Stephen Hawking that is as spot-on as Tina Fey’s Sarah Palin, and he plays a mostly silent Jesus as maybe not too bright but very accommodating. It is their subtlety that makes Brown’s and McConkey’s acting so effective.

By contrast, it is passion and energy that stand out in the work of Wilson, Hill and Flannigan. As just one of many examples is the strange way Rachel kisses Nelson. Such a kiss has perhaps never been seen on stage. It is simultaneously passionate and mechanical, like the kiss of a love-starved robot – it seems to be an act of the possessed. Wilson is palpably confused and excited. Sylvia’s seemingly unbalanced belief that her world and the people she loves will end may or may not be literally true by the end of the play, but Flannigan brilliantly portrays a fervor that is grounded in the character’s need to keep her people safe and whole.

Beyond a strange and humorous script and fine acting and directing, there are moments of inspired presentation (such as the afore-mentioned kiss) that were surely not in the script but were dreamed up by Whitney or her cast and crew. I don’t want to describe the best of these because they are better when you don’t see them coming, but I’m sure most audience members will recognize them: the way a particular set piece is brought on stage and the brilliant choice of a particular prop.

Kudos also must go to Jill Carter for the fine video projection used throughout to ease us through scene changes.

“End Days” is a bittersweet comedy about how real people cope with real tragedy and an apocalypse that may or may not be actually looming. It pokes fun at Jews and Christians, and especially believers in the rapture, without being disrespectful to any of them.

As of press time two of the Saturday shows were almost sold out, so I highly recommend getting tickets as soon as possible.


When: 8 p.m. Thursday-Saturday and 2 p.m. Sunday through Feb. 20, pay what you can Feb. 6 at 3 p.m.
Where: State Theater, 202 E. 4th Ave., Olympia
Tickets: $22-$33, rush tickets $12-$20 12 hour before curtain
Information: 360-786-0151; www.harlequinproductions.org

Native art

Preston Singletary blends old and new at Museum of Glass

Published in the Weekly Volcano, Feb. 3, 2010
Pictured: "Raven Steals the Sun," blown hot-sculpted and sand-carved glass by Preston Singletary (2001. Courtesy Museum of Glass

Preston Singletary's mid career retrospective exhibition at Museum of Glass blows the lid off many of my theories about glass and contemporary Native American art.

There is much to admire about traditional Native art - the symbolism, the reverence for heritage, the mystery and power of the imagery. But I am usually left cold by contemporary artists, Indian or white, who make their own versions of traditional totems, masks and baskets. And doing it in glass doesn't make it any better; it's still imitation.

There are exceptions. Joe Fedderson, for instance (recently featured at Tacoma Art Museum) creates thoroughly contemporary prints that are inspired by Native art, but which are patently his own.

Preston Singletary, on the other hand, makes traditional art with blown and cast glass. Not more contemporary art inspired by traditional art (despite claims to the contrary), but just the same stuff his ancestors made only with more modern methods and materials. According to my own often-expressed feelings about that sort of thing, I should disdain his work. But I have to admit his big show at MOG is mind-boggling. Perhaps it's the lighting and the size and variety of the show that is so impressive. The walls are dark and each artwork is individually and dramatically spotlighted. The overall impact is powerful and magical, and most if not all of the individual pieces are beautiful.

The best pieces are the most reductionist, the ones that are simple, clean and stark, such as "Raven Steals the Sun" and "Raven Steals the Moon." These are identical other than the objects held in the raven's mouths. Each is a highly stylized head of a raven with its open beak reaching upward. The colors are black and fiery red. "Sun" holds a red sphere in his beak; "Moon" holds a white disk with a carved frowning face. It is the simplicity and elegance of form that makes these works outstanding, and the better of the two is the "Sun" because it is simpler. The carved face on "Moon" detracts from the purity of form and makes it the less beautiful of the two. Or "Canoe Dishes," three very simple canoe-shaped dishes in translucent green, orange and blue. These are stunningly beautiful.

By contrast, the works I enjoyed least are the more elaborate designs such as some of the more complex masks and the large house front screens. There are stories and traditions behind these that may be fascinating, but the narrative overwhelms the visual impact, making them more enjoyable to think about but less enjoyable to look at than some of the simpler and purer forms. For example, the various pieces titled "Transference" illustrate one of many stories from Tinglit culture about Raven, but to understand the stories you would have to read the catalog or research Tinglit culture and history. Coming at it without knowledge of the stories, you see only a somewhat comical image of a man with a long tongue sitting on the back of a raven.

Many of the images, most especially the masks, are both comical and scary. Overall I was very impressed with the show, and I imagine if I studied the culture more I would enjoy it even more.

[Museum of Glass, Preston Singletary: Echoes, Fire, and Shadows, through Sept. 19, Wednesday-Saturday 10 a.m. to 5 p.m., Third Thursdays 10 a.m. to 8 p.m., Sunday noon to 5 p.m., general admission $12, 1801 Dock St. Tacoma, 866.4MUSEUM]


"I think Alec always let's the art get a hold of him, and then gives it a chance to see if it can hold on." He is very honest about how the art works or not, both from a academic, and a visceral point of view." - Paula Tutmarc-Johnson, Two Vaults Gallery - Read my column Visual Edge in the Weekly Volcano.

Gritty musical ‘Rent’ is a stunner

Reality’s bite: Tacoma Musical Playhouse masterfully presents tale of a motley crew

Published in The News Tribune, Jan. 29, 2010.
Top picture,front: Thaddeus Wilson as Angel; back left to right: Kevin L. Douglass as Tom Collins, Matt Posner as Mark, and Aaron Freed as Roger. Bottom, Alison Monda as Maureen.
photos by Kat Dollarhide

Seldom does an American musical come along that defines an era. In the 1950s, it was “West Side Story,” in the ’60s it was “Hair.” Toward the end of the millennium it was “Rent,” which, for the first time this year, has come available to community theaters.

The regional premiere of “Rent” at Tacoma Musical Playhouse is musical theater the way it is meant to be. The story, the sets and costumes, the acting and the music are stunning, sad, uplifting and transformative. Grab a seat and hang on for a dose of gritty and heartbreaking reality with tense and lovely relationships set to music.

“Rent” is not for everyone. The language is the language of the streets. The characters are a microcosm of the bohemian underbelly of society. They are casual about drugs and sex.

A contemporary update of Puccini’s opera “La Bohme” written by Jonathan Larson and directed for TMP by Jon Douglas Rake, “Rent” depicts a year in the lives of a motley group of young people living in an industrial loft in Manhattan’s East Village near the end of the 20th century. Mark (Matt Posner) is a filmmaker and the story’s narrator. Roger (Aaron Freed) is a musician and aspiring songwriter who wants to write just one great song before he dies. He is HIV-positive. His girlfriend has recently committed suicide. Tom Collins (Kevin L. Douglass) is an anarchist computer genius philosophy professor who falls in love with Angel (Thaddeus Wilson), a streetwise drag queen. They too are living with HIV. Joanne (Antonia Darlene) and Maureen (Alison Monda) are lesbian lovers. Mimi (Katin Jacobs-Lake) is an exotic dancer and drug addict. Benjamin Coffin III (Jesse Jonathan Smith) is the former roommate who sold out to the establishment. He married into a rich family and now owns the building the others live in. And finally, there is an outstanding ensemble cast who appear as various street performers, homeless people, cops, and the parents of the principal characters.

This is as good as any cast I’ve ever seen in a large production in the South Sound. Posner always is a strong singer and dancer, and as the narrator in “Rent” his unaffected style smoothly moves the storyline. Wilson plays Angel as sweet and gentle as he is audacious. His singing is soft and clear, while Douglass as Tom Collins is strong and confident and sings with power and majesty. Outstanding songs are brought to the stage by Darlene, with her powerful and sultry blues style, and Freed as a moody troubadour. Monda, who doesn’t emerge from the ensemble to fill her principal role until near the end of the first act, electrifies the theater with her comical, dramatic, acrobatic rendition of the song “Over the Moon.”

I saw this show at an opening weekend matinee, and that afternoon the cast and the scaled-down orchestra were a little slow to hit their stride. The title song and first big musical number did not have the electricity it should have. The drummer was too loud and a bit static. It was not until the rousing “Today for You” that the music soared.

Posner’s and Darlene’s sweet and comical “Tango Maureen” was wonderful. The big first act closing song, “La Vie Bohme” could raise the dead. This song and dance number with solos by not only most of the principals but also some excellent singers from the ensemble is an homage to “La Bohme,” as well as to the great table-dancing banquet scene in “Hair.”

Other musical highlights include Stacie Pinkney Calkins stepping forward from the ensemble to sing a breathtaking gospel-style solo on “Seasons of Love” and Douglass’ operatic and plaintive ballad to his dying lover, “I’ll Cover You.”

Also commendable are the industrial loft set designed by Will Abrahamse and Jon Douglas Rake, John Chenault’s’ lighting, and some terrific costumes that could have been gathered from local thrift shops or from cast members’ closets (no costume designer credited in the program). I especially loved Roger’s jacket and Mimi’s electric blue pants.

One final note: Larson, who wrote the book, music and lyrics, never got to see “Rent” in production. He died on the night of the final rehearsal without ever seeing an audience response to his creation.


When: 8 p.m. Friday and Saturday and 2 p.m. Saturday and Sunday through Feb. 14
Where: Tacoma Musical Playhouse at The Narrows Theatre, 7116 Sixth Ave.
Tickets: Adults $25, students/military $23, ages 12 and younger $18 (the show is not recommended for children younger than 15)
Information: 253-565-6867, tmp.org

Monument

Troy Gua’s memorial to loss at Fulcrum

The Weekly Volcano, Jan. 28, 2010

There are two Troy Gua shows at Fulcrum. The title show, Monument: A Memorial to Loss is installed in the small room to the left as you enter the gallery. Created especially for this exhibition, it is Gua’s sober commentary on the loss of life and limb in the wars in Iraq and Afghanistan. The other two rooms are filled with what gallery owner Oliver Doriss calls Gua’s bread and butter work — celebrity pop art portraits.

I won’t say much about Monument. It should be seen in person and contemplated with slow deliberation. It is stark, harrowing, sad, and a condemnation of the purposeful avoidance of reality in our mass media’s coverage of those wars. Which was, as we all should remember, official policy of the Bush administration.

The celebrity portraits are as slick and polished as custom made cars and as clever as the most inspired work of a Madison Avenue ad writer. They are tributes to iconic figures dead and alive from Marilyn Monroe and Albert Einstein to David Bowie and Boy George. And they are an homage to Andy Warhol — not cheap knockoffs of Warhol prints (those are a dime a dozen and not worth that), but serious tributes to Warhol’s genius and his fine sense of color and design.

Warhol elevated slick commercialism to fine art and made of laughable celebrity worship something akin to true reverence. He said he wanted to be a machine and was celebrated for obliterating the hand of the artist. His paintings could be, and in fact were, mass produced. But there were slippages and smears in his silkscreen prints. He never truly eliminated the personal touch in his portraits of Elvis and Marilyn and Mao. Gua’s portraits come closer to the impersonal look that was attributed to Warhol. They are more highly polished, and they truly look machine-made.

Some of Gua’s portraits are resin-coated Lightjet metallic prints. Others are resin-coated acrylic paintings. They all have high-gloss surfaces, but most especially the metallic prints. For the budget-minded there are smaller and larger versions of many of the portraits, and the smaller ones are very affordable.

Now for the truly clever part: each portrait is a double or triple portrait, one image superimposed over another. At first glance, for instance, you see the unmistakable visage and hair of David Bowie in "The Davids." But keep looking, and suddenly there appears the face of Michelangelo’s David. You know, the 17-foot tall statue of the beautiful young naked boy who killed the giant Goliath. Perhaps you never looked all the way up to his face.

All of Gua’s portraits morph from one person to another — often people who are such exact opposites that seeing them associated in this way can be shocking, such as "The Elton John Wayne," which melds the faces of the Duke, a homophobic entertainer, with Elton John, an openly gay entertainer. Or "The Queens of England," an actual queen of England with Boy George, the other kind of queen, who happens to be English. All but one of the portraits combine the faces of two iconic figures. The one exception is a portrait of Michael Jackson that is layered not with the image of another celebrity but with two very different images of Jackson, who notoriously changed his appearance over time.

Some of the other portrait combinations are Chairman Mao/Mickey Mouse, and Albert Einstein/Marilyn Monroe. Each of these portraits is a beautifully thought-out design, and Gua’s color choices are excellent. Many are in gray scale, some with just a touch of color, most notably on the lips. Others are monochromatic, and many use complementary color schemes. The colors in The Elton John Wayne are the most striking and also the most reminiscent of the kind of colors Warhol favored.
You really ought to get down to Fulcrum and see this show.

[Fulcrum Gallery, noon to 6 p.m. Thursday-Saturday and by appointment, through March 13, gallery talk and closing reception Feb. 18 at 6 p.m., 1308 Martin Luther King Jr. Way, Tacoma, 253.250.0520]

‘Over the River’: Warm slice of family life

Tacoma Little Theatre presents the tearjerker “Over the River and Through the Woods.”

Published in The News Tribune, Jan. 22, 2010
top photo, from left: Randy Clark as Nunzio, Larry Bommbarito as Frank, Dana Galagan as Aida and Syra Beth Puett as Emma
bottom, left to right: Emma, Nunzio and Chad Russell as Nick
Photo by Dean Lapin

“Over the River and Through the Woods” by Joe DiPietro is billed as a comedy, and DiPietro is best known for writing the books to musicals including “I Love You, You’re Perfect, Now Change” and his most recent, “Memphis.”

“Over the River” starts out as a warmhearted comedy but turns into a tearjerker that is too maudlin for my taste. However I’m sure it will pat the hearts of many audience members – the audience at Tacoma Little Theatre at Sunday’s opening weekend matinee was clearly touched.

DiPietro, who grew up in New Jersey, where this play is set, must have known grandparents or aunts and uncles who were very much like the elder Cristanos and Gianellis. How else could he have painted such vivid pictures? These people (which is how grandson Nick refers to them) are lovably quirky and obsessed with family and food.

“Tenga familia,” is the play’s leitmotif. It literally means I have family. But to the Cristanos and Gianellis it may more accurately mean life is family and family is life. So they are confused and disturbed when grandson Nick (Chad Russell) announces that he’s moving to Seattle. Nick’s parents and older sister have already moved away, and the old folks can’t understand why family members do not stay put.

Director Doug Kerr designed the very striking set, the Gianellis’ living and dining rooms. There are no walls. Rather, door and window frames and numerous empty picture frames hang in front of a black curtain. The audience sees actors through the walls as they approach doorways to make their appearance onstage. This bit of stage magic heightens the dramatic effect of periodically stopping the action while various actors directly address the audience. It is very effective way of allowing the audience into their thoughts and provides glimpses into the family from various viewpoints.

The acting throughout is stellar, although while Russell’s gestures and facial expressions are spot-on for the character he’s portraying, they are too exaggerated in some places. In certain scenes, especially with Caitlain (Stacia Weber), the girl his grandparents try to match him up with, and when speaking directly to the audience Russell is outstanding, but he goes overboard when he expresses his frustrations with the grandparents. Granted, Russell is playing a character who is so excitable that – well, I won’t give that away – but still he needs to tone it down just a notch.

Larry Bommbarito as Frank Gianelli, Dana Galagan as Aida Gianelli, Randy Clark as Nunzio Cristano and Syra Beth Puett as Emma Cristano are all outstanding. I don’t think there was a single gesture or inflection from any of them that was not just right. And Weber in her first ever stage appearance comes across as a real pro. She is absolutely believable and natural.

Aida’s refusal to hear what anybody says as she keeps offering food – her panacea for everything, Frank’s stubbornness and good humor, Emma’s motherly concern and fervent prayers, and Nuzio’s too-loud expressiveness are all funny and endearing. The family’s gathering for a game of Trivial Pursuit is as funny as any such scene ever acted out.

If DiPietro had not over done the sentimentality and if he had cut out the final scene, which is nothing more than an extended and unnecessary epilogue, “Over the River” would probably compare favorably with such comic classics as “You Can’t Take it With You” or great situation comedies like “All in the Family.”


When: 7:30 p.m. Friday and Saturday and 2 p.m. Sundays through Feb. 7
Where: Tacoma Little Theatre, 210 N. I St., Tacoma
Tickets: $16 adult, $24
Information: 253-272-2281, www.tacomalittletheatre.com

Inside outsider

Steven Suski’s strange world invades SPSCC

The Weekly Volcano, Jan. 21. 2010
Pictured: "Planted Foot" and "Middle Ages."

Steven Suski’s paintings in his solo exhibition at South Puget Sound Community College have the look of outsider art. “Outsider” is a label generally applied to self-taught and/or mentally ill artists. To the best of my knowledge, Suski is not mentally ill, and I don’t know what kind of training he has had, but his paintings have that look — wild, somewhat crude and primitive looking, with highly personal iconography. Makes you want to get into his head.

His drawing style reminds me a lot of Fay Jones.

Suski finds old paintings in such places as garage sales and thrift shops and paints over them, always allowing a little bit of the original to show through. He also paints over his own earlier paintings and collages. The results are textured and layered paintings with odd imagery and hints at other images like time capsules in found art, as if mid 20th century art were something excavated from an ancient culture. He paints mythical figures, noir detectives, super heroes, mysteriously sexy women and strange forms that look like human organs. His figures are painted over and under textured and patterned backgrounds. The paintings hint at narratives that are never fully fleshed out.

"Planted Foot" and "Foot Tree" are two large acrylic paintings with contour drawings of feet in thong sandals, both painted with white lines over unrelated images and patterns. "Foot Tree" is particularly inventive in that the feet and legs look like a tree trunk and simultaneously like the torso of a female body. These are among my favorites in the show, along with "Bone Garden" — another painting that makes extensive use of white contour lines. This painting is mostly white-on-white and is the closest thing to an abstract painting in the show. The forms look like worms and human organs, and the painting style reminds me a lot of the late work of Phillip Guston.

Along one wall is a group of paintings that look like images of zombies or similar horror-show creatures. These look a little bit too contrived and overly dramatic, but one of them, called "The Mummy," has some fascinating and energetic brushwork.
Another favorite is a little painting called "Three on a Light." It looks like an illustration from a 1940 detective novel. At the top, three shadowy figures are lighting cigarettes all at the same time and off the same lighter. Underneath — again with what seems to be a Suski signature mark, white contour drawing with see-through imagery behind it — is a hand holding a cigarette pack, but the cigarette pack is a skeleton head. The anti-smoking message may be too obvious, but it’s a good painting. I especially like the painted Benday dot pattern in the background.

"Middle Ages" is one of the most enigmatic pictures in the show. It seems to be telling a story, but I can’t imagine what the story is. The pink and green color combination is almost perfect, but the green should be closer in value to the pink.

[South Puget Sound Community College, through Feb. 28, Thursday-Friday noon-4 p.m. and by appointment, 2011 Mottman Rd. SW. Olympia,]

"For me, just one of the cool things about Alec's art critiques, is that he always notices something that got by me, and that surprises me (maybe even perplexes me a bit) because I think I am so observant. I think he just looks completely and openly from Alec's point of view 100%, no pretense, and that keeps what he thinks and has to say about the work, always interesting and unique." - Paula Tutmarc-Johnson, Two Vaults Gallery. See Alec Clayton's Visual Edge every week in the Weekly Volcano.

Enjoy irony, humor, drama at Olympia Little Theatre’s latest

The Olympian, The News Tribune, Jan. 14-15
Pictured (back, left to right): Deya Ozburn as Minka, Barbara-Ann Smith as Lucy, front: Brian Jansen as Gerald. Photo by Toni Holm.

Olympia Little Theatre’s latest production is “Murderers,” one of many unique plays from the prolific pen of Jeffrey Hatcher, who has given us memorable plays such as “Three Viewings,” “Murder by Poe,” “Dr. Jekyll and Mr. Hyde,” “Compleat Female Stage Beauty,” and the stage adaptation of “Tuesdays With Morrie.”

Hatcher also was a longtime writer for the television series “Columbo,” which becomes apparent early in “Murderers.”

“Murderers” is a set of three monologues related only in that all of the murderers are connected in some way with the Riddle Key Luxury Senior Retirement Living Center and Golf Course in Riddle Key, Fla.

I saw a dress rehearsal a week before opening night.

This play is not a murder mystery. There’s never any doubt as to whodunit. It is a sardonic comic drama. The three actors step on stage and each announces, “I am a murderer” as if at a meeting of Murderers Anonymous.

After that opening, they appear one at a time to tell their stories and act out the parts of the various people involved.

Here’s the structure of the play: curtain, tell story, curtain; repeat three times, each with a different actor and a different set.

In order for such a bare-bones and unorthodox play to be entertaining, the story lines must the brilliantly plotted, the monologues must be intelligent and sparked with humor and drama, and the acting must be superb.

Under the co-direction of Kathryn Beall and Toni Holm, Olympia Little Theatre scores high on all three.

The actors are Brian Jansen as Gerald Halverson, Barbara-Ann Smith as Lucy Sticker, and Deya Ozburn as Minka Lupino.

Jansen burst onto South Sound stages three years ago with a mesmerizing performance in “Picasso at the Lapin Agile” followed by a hilarious role in “Take Me Out.” Then, after doing a small role in Harlequin’s “Shining City,” he dropped out of acting for more than a year.

It’s good to see him back in one of his most challenging roles yet. He opens this play standing on a bare stage in front of a bench, the only set piece (I can’t explain this set without giving away the plot).

He explains that like murderers in everything from James Bond movies to “Columbo” he wears a black tie and dinner jacket. His mother told him formal occasions call for black ties and murder is a formal occasion.

With this, he sets the tone for the black humor and constant references to staged murder mysteries that will resonate throughout all three monologues.

Jansen is convincing as the murderer and does wonderful things with his eyes and body language to draw the audience in. We know he’s going to kill someone, but not who or how, and the suspense builds dramatically as he gives hint after hint before his tale comes to an ironic climax.

I don’t remember seeing Smith in prior shows, but according to her credits in the program for this show I must have seen her in “Moon Over Buffalo.” How could I have missed her? She is fabulous.

Smith plays the oldest of the characters, 78-year-old Lucy who hates it when a former rival for the love of her husband shows up in the retirement village. Of the three scenes, Smith’s provides the most comedy. Her character, Lucy, is feisty and loveable.

Minka Lupino, played by Ozburn, is anything but loveable. She is a devious and heartless mass murderer, and Ozburn plays her with glee. She throws her full body into the roles of various characters such as a drunk with a terrible cigarette cough and an ageing mystery writer who talks with a rasp and drags a crippled foot behind him.

This is an intelligently written and well-acted play.

I highly recommend it.


When: 7:55 p.m. Thursday-When and 1:55 p.m. Sunday through Jan. 24
Where: Olympia Little Theatre, 1925 Miller Ave., NE, Olympia
Tickets: $10-$12, available at Yenney Music Company on Harrison Avenue (360-943-7500) or http://www. buyolympia.com/ events
Information: 360-786-9484, olympia littletheater.org