Friday, June 1, 2018

Building the Wall one night only at Tacoma Little Theatre

By Alec Clayton
Published in the Weekly Volcano, May 31, 2018
Scott C. Brown and Iesha McIntyre, photo by Randy Clark
Pulitzer Prize and Tony Award-winning playwright Robert Schenkkan’s timely political thriller Building the Wall comes to Tacoma Little Theatre for a one-night-only staged reading directed by Randy Clark, founder of Dukesbay Theatre, and starring Scott C. Brown and Iesha McIntyre.
Called a “must see show” by The New York Times and “a mesmerizing and shocking new play that simmers with of-the-moment urgency." By The Hollywood Reporter, Building the Wall is a ripped-from-the-headlines thriller set in a not-too-distant dystopian future. President Trump has been impeached after declaring marshal law following a terrorist attack on Times Square. Millions of undocumented immigrants have been detained in overflowing private prisons. Rick (Brown) is in prison awaiting what may be a death sentence and is being interviewed by Gloria (McIntyre) a history professor. 
“Rick is just an ordinary man put in an extraordinary situation,” Brown says. “He is a victim of circumstances outside his control, trying to make the best of the situation he finds himself in. Or is he? That is the elegance of this play: It doesn't expressly lead viewers down a path, but rather starts to unravel facts, and slowly lets the audience make its own decisions. It is hauntingly powerful, provocative, and I hope it will be discussed by those who see this production.”
Clark says, “I found this script last September down in Ashland, Ore. at the Shakespeare Festival's book store and immediately knew I had to produce it. I believe our country is in crisis and this is a well-written play about how far our fear might drive us. There are many ways that we can respond as citizens, and our way is to respond through the arts. The play is an important statement about how quickly our current policies about immigration can get out of hand and become truly criminal. Our country is in crisis at the moment and this play shows where it could head if the right circumstances came along and we gave into the burgeoning atmosphere of fear.” 
McIntyre and Brown worked together a few years back in a production of Doubt for Gold From Straw Theatre. She worked with Clark on Dukesbay's presentation of Never Again, about the Japanese-American incarceration during World War II.
I picked Brown as Best Actor three times for my “Critics Choice” in The News Tribune, as Salieri in Amadeus,  as Randle McMurthy in One Flew Over the Cuckoo’s Nest, both at Lakewood Playhouse, and as Bobby in Sins of the Mother at Harlequin Productions. He’s also been in more than a dozen Feature length films, and a number of TV/New Media series and in well over 30 local plays. 
This staged reading is free to TLT members and pay-what-you-can to all others.
Building the Wall, 7:30 p.m., Thursday, June 7, Tacoma Little Theatre, 210 North I St. Tacoma, 253.272.2281,

Tacoma Ocean Fest

By Alec Clayton
Published in the Weekly Volcano, May 31, 2018
"Kelp Forest" reclaimed plastic by Barbara De Pirro, photo courtesy the artist
Former Tacoma News Tribune art writer Rosemary Ponnekanti with the help of curator Lisa Kinoshita has pulled together an amazing arts festival to take Place June 10 at the Foss Waterway Seaport, 705 Dock St., Tacoma. The event called Tacoma Ocean Fest will feature photography, eco-sculpture, film, dance, music, an aerial circus, painting, poetry, hands-on marine science for all ages, paddleboarding and kayaking and more.
“I got the idea (and the first grant) when The News Tribune cut my job last year, and since then I've been working to bring together some pretty cool ocean-related art,” Ponnekanti says. “Come celebrate World Ocean Day weekend with me and help protect our ocean. It's going to be an amazing festival and I'm working so hard for it, along with a bunch of talented, generous people. 
“As humans, we need to collectively step up to protect our ocean from plastics, chemicals, sound pollution, warming and the rest. I really believe that together we can do it. That's what Ocean Fest is all about.”
A major visual art component is Barbara De Pirro’s suspended sculpture “Kelp Forest.” She used hundreds of reclaimed plastics to create this environmental installation. She collected, washed, cut and reassembled more than 300 plastic bottles to be suspended as a mass of kelp forest high within Foss Waterway Seaport Museum, enabling visitors to walk underneath it's ghostly form, which Ponnekanti describes as swaying gently above our heads. De Pirro "makes ethereal beauty out of trash,” Ponnekanti says.
I first discovered De Pirro’s work when she did a Spaceworks installation called “Vortex Plastica” in 2010. In the eight years since then I have reviewed her art many times, and I never ceased being overwhelmed with the otherworldly beauty of it.
Annie Crawly is an underwater photographer and filmmaker. She will be showing works called “Our Ocean and You” including photos of whales, sea lions and octopi, as well as photos of the devastation of plastic trash strewn on beaches. Crawly will be the keynote speaker at the festival.
Mike Coots is a Hawaiian photographer and shark advocate who lost a leg to a tiger shark 20 years ago. He will be showing shark photographs. He has appeared on “National Geographic,” the “Travel Channel” and is an Instagram sensation.
Ponnekanti says, “The reason I chose these three artists — other than the clear ocean theme in their work — was how their work encompasses pure art, journalism and sport. I have been a fan of Barbara's semi-abstract eco-sculptures for a while. They take materials usually considered debris and remake them into something imaginative and otherworldly, a reminder that beauty can come out of anywhere, but also a reminder that as humans we make a lot of trash and we need to deal with it.”
Other events and performances at Ocean Fest include performances by cellist Gretchen Yanover, aerilist performances by Deanna Riley, flamenco dance by Mrisela Fleites, songs by Kim Archer, Tacoma City Ballet's "Whale Song," and West African dance by Tacoma Urban Performing Arts Center. And all of that is just a fraction of the art and entertainment to be enjoyed.
Tacoma Ocean Fest, 11 a.m. to 4 p.m., June 10, Foss Waterway Seaport, 705 Dock St., Tacoma, free.

Tuesday, May 29, 2018

Cinder Edna returns to Olympia Family Theater

Olympia Family Theater brings back a local legend
by Alec Clayton
Published in the Weekly Volcano

from left: Justin Valdez as Prince Rupert and Mandy Ryle as Cinder Edna, photo by Alexis Sarah
Olympia Family Theater premiered Cinder Edna five years ago, almost to the day, and now they’re bringing it back with some revisions and a larger cast. A local actor not involved in either production called it a legend and wondered if it was too soon to bring it back. I think not. I think the time is just right.
Based on the children’s picture book by Ellen Jackson and adapted for the stage by local actor and writer Ted Ryle, with music by Ryle and Miriam Sterlin and arrangements by Mark Thome, Cinder Edna offers a wise modern version of the Cinderella story that, among other delightful twists, points out that marrying a prince might not be the best thing a young maiden can aspire to.
from left: Mark Alford as Prince Randolph and Mandy Ryle as Cinder Edna, photo by Alexis Sarah
Cinder Edna (Mandy Ryle) is Cinderella’s next-door neighbor. Both are poor step children who slave for their heartless step mothers (who, in this modernized version of the fairy tale spend all their time on their cell phones as do their other daughters). That’s where the similarity ends. Unlike her pitiful neighbor, Cinder Edna is a budding young entrepreneur who cooks delicious dishes and sells them, with the cooking and the sales transpiring behind her clueless step mother’s back. While Cinderella (Corissa DeVerse) wears her glass slipper’s and a beautiful gown to the Prince’s ball, transported in the magical pumpkin coach (a sweet nod to magical tradition), Cinder Edna wears a sensible dress and loafers and catches a bus to the ball.
And there are two princes, one for each of the Cinders. Prince Randolph (Mark Alford) is a narcissist in love with his image in the looking glass. Prince Rupert (Justin Valdez) is the practical brother who runs a recycling business.
The arrival of the pumpkin coach — in sections that are danced in by actors — is a magical moment that could rival any big-stage production even though it is simply painted cut cardboard.
There are lines that are hilarious because they are so true, such as when it is pointed out that the glass slipper is just a shoe that would easily fit at least a quarter of the women in the kingdom.
The ensemble cast is great. DeVerse was a great choice for Cinderella. She has an outstanding voice. Valdez is a likeable Prince Rupert. In an amazing range of roles from Johnny in American Idiot at Lakewood Playhouse to Kyle in OFT’s Fishnapped, Alford’s acting ability continues to amaze. He is captivating as Prince Randolph, but this prince is too one-dimensional for an actor of Alford’s statue, and his preening and looking-glass gazing becomes a little too often repeated by the middle of the second act. Other actors in supporting roles stand out, notably Jesse Morrow as Edna’s step sister and Jennifer Cariaso as the fairy godmother. And, of course, there is the title role of Edna, played marvelously by Ryle. She brings this made-up character to life and makes her real, down-to-earth, big-hearted and lovable. And she sings up a storm.
Finally, a big shout-out to director Jen Ryle, choreographer Vanessa Postil, and set designer Jill Carter.
Cinder Edna, 7 p.m. Friday, 2 p.m. Saturday-Sunday, through June 3, $19 adults, $16 military, $13 youth,, 612 4th Ave E, Olympia, 360-570-1638.

Saturday, May 26, 2018

My Fair Lady at Tacoma Musical Playhouse

By Alec Clayton
Published in The News Tribune, May 25, 2018
From left: Eliza Dolittle (Leischen Moore), Col. Pickering (Gary Chambers) and Henry Higgins (Jonathan Bill), photo by Kat Dollarhide
For a fun three hours of musical entertainment you can’t go wrong with a well-staged production of Lerner and Lowe’s perennial favorite “My Fair Lady” – even if you’ve seen it many times before. This one never gets old. And Tacoma Musical Playhouse’s production is as good as any you’re likely to see from a regional company.
The story, adapted from George Bernard Shaw’s “Pygmalion,” recounts what happens when an arrogant, self-centered but brilliant professor of phonics bets he can teach an uneducated woman who butchers the queen’s English to speak and act so graciously as to be passed off as a high-class lady.
The gentleman professor is Henry Higgins (played marvelously by Jonathan Bill, most recently seen as Frank Abagnale Sr. in “Catch Me If You Can”). The “guttersnipe” (Higgins’s descriptive term) is the poor cockney flower girl Eliza Doolittle (Leischen Moore). The friend with whom Higgins makes the bet is Col. Hugh Pickering (Gary Chambers). I can’t imagine better casting for these three major characters. Bill plays Henry Higgins as snooty and full of himself, but with a subtle undercoat of well-concealed humanity. Chambers, who has been outlandishly good in many recent plays at Lakewood Playhouse, nicely underplays Col. Pickering as one of the most down-to-earth characters in the play. And Moore shimmers and captures the audience’s heart as the delightful Eliza. She is funny and loveable, she sings wonderfully and handles the changes in accents with ease – or seeming ease, as she probably worked like the devil to make it look easy.
Outstanding in supporting roles are Andrew Fry as Eliza’s drunken, scheming father, Alfred; Diane Bozzo as Henry’s mother; Colin Briskey as the simpleton Freddy Eynsford-Hill, who falls helplessly in love with Eliza; and Marion Reed as Henry’s house servant, Mrs. Pearce. Reed’s strong voice stands out distinctly in ensemble songs.
As it happens in many musicals, there is usually some star-quality ensemble actor who stands out in the big production numbers. In TMP’s “Catch Me If You Can” that stand-out ensemble actor was Cameron Waters, and here he is again as an unnamed drunk cohort of Alfred Doolittle. I could hardly keep my eyes off him, especially in the song and dance “With a Little Bit of Luck.” Watch for him to start showing up in leading roles soon.
What makes “My Fair Lady” so enjoyable is first that the story, while being a bit of fluff on the surface, skewers the pretentions of the upper class and pokes at the lower classes in a delightful and non-judgmental way; and second because it is filled with great music. How could you not enjoy songs like “Wouldn’t it be Loverly,” “Get Me to the Church on Time,” “I Could Have Danced All Night” and “On the Street Where You Live”?
John Chenault’s lighting, John Douglas Rake’s direction and choreography, Jeffrey Stvrtecky’s music and Bruce Haasl’s sets hardly need mentioning, as they are always terrific. To that list of worthies, I should add Jocelyne Fowler for outstanding costume designs.
“My Fair Lady” is a long show at three hours, but the time flew by for me.

WHEN: 7:30 p.m. Friday-Saturday, 2 p.m. Sunday, through June 10
WHERE: Musical Playhouse at The Narrows Theatre, 7116 Sixth Ave., Tacoma
TICKETS: $22-$31
INFORMATION: (253) 565-6867,

Friday, May 25, 2018

Pastel Society International at American Art Company

By Alec Clayton
Published in the Weekly Volcano, May 24, 2018
“Contemplating Conservation” pastel by LaDonna Kruger, courtesy American Art Company
Two big shows are running simultaneously at American Art Company, Women in Wood and the 32nd NW Pastel Society International Exhibit. As if that were not enough, they are also showing some excellent fiber art, including some terrific work by local favorite Jill Nordfors Clark.
Women in Wood features wood pieces by 13 women woodworkers from around the country, including turned wood, bent and carved wood and more. 
The pastel show is precisely what you might expect from a pastel invitational, highly traditional work executed with admirable skill. Landscapes abound, along with a few portraits and a smattering of abstracts. The exhibition is all about color, light and texture. The colors are predominantly in the warm spectrum and glow like sunlight on a field of flowers, of which there are many examples in this show. Take, for instance, the dappled light in Mary McInnis's "Shadow Spread," a forest scene of light through leaves casting shadows on a dirt path, or the blinding sunlight in Lynda Lindner's "Unschooling," a picture of two children wading in the surf. Or the subdued light of Deborah Henderson's "Departure," a painting of ducks taking flight from a pond depicted in subtle shades of gray. Or the scorching hot purple, pink and orange of LaDonna Kruger's "Contemplating Conservation," a picture of crowds standing by a body of water (there’s an ominous quality to this, as if the people are marching lemming-like to their execution).
Texture becomes a driving force in some, such as the velvety softness of Janice Wall's "River of Dreams," depicting sunlight through heavy clouds on a mountain stream, or the gritty texture of Kathryn Fehlig's landscape "Hillside of Rabbit Brush," which looks like the artist coated the paper with gesso or some kind of gel and gouged it with a fork, let it dry and then painted over it with chalky pastel colors. Or Eve Miller's "Marsh Textures," which looks like it was painted though the mesh of chicken wire.
The wood pieces include a lot of abstract work, many pieces inspired by animals and seed pods, and a lot that seem to have been inspired by Northwest Indian art. There are also a lot of intricately carved miniature sculptures that are fascinating in their detail, such as Tania Radda's intricate and colorful "Leaf Tea,” a carved teapot with sensual tendrils growing out of it. And there are a lot of pots, some that look like ceramics and some that look like glass, but all of which are made from wood.
One of my favorite pieces in the wood show is "Quadrant" by Merryll Saylan, an iconic wall-hanging, target-like sculpture with soft and subtle color modulations. Another favorite is Kristin Le Vier's "Talisman for the Home," two bent wooden spoons with little green snakes winding around them. This one is funky and clever, and its simple forms are lovely.
Co-curator Betty Scarpino is represented with some fine works, including "Eggs & Crate," a carved white egg with curvilinear forms like a yin-yang symbol in a nest of shredded paper inside a wooden box. She did this one in collaboration with Dixie Biggs.
If you like your art traditional, recognizable and pretty, these shows at American Art Company might be exactly what you’re looking for.
NW Pastel Society International Exhibit, Tuesday-Friday 10 a.m. to 5:30 p.m., Saturday 10 a.m. to 5 p.m., through June 16, Women in Wood, through July 7, American Art Company, 1126 Broadway Plaza, Tacoma, 253.272.4327,

Friday, May 18, 2018

Photo: “Cathedral” mixed-media sculpture with headphones, table and chair by Andy Behrle, courtesy 950 Gallery

The Light We Hear
Andy Behrle’s audio sculptures at 950 Gallery
by Alec Clayton
Published in the Weekly Volcano, May 18, 2018
“Cathedral” mixed-media sculpture with headphones, table and chair by Andy Behrle, courtesy 950 Gallery
I introduced Andy Behrle’s audio sculpture show The Light We Hear in this column last week but did not see the show until after that column was printed. Now, after seeing the show, I offer a more in-depth look at it.
Behrle, who lives near Yakama, seems to be something of a scrounger who haunts flea markets and garage sales for old radios and record players and cameras, refinishes them, guts them and turns them into multi-media, interactive, music-making sculptures and installations with modern technology. (The music in some pieces consists of various electronic sounds unlike what many might expect of music.) Many of them include film or video, particularly images of moving water, and each comes with instructions for playing. Gallery manager Gabriel Brown says each one is specific to a place.
A few examples:
“Cyclone-o-phone” mixed-media sculpture with headphones, table and chair by Andy Behrle, courtesy 950 Gallery
“Cyclone-o-phone” is one of the most beautiful pieces in the show. It is a radio-turntable in a highly polished wooden cabinet. A hinged door opens to the inside where a turntable once sat, but instead of the turntable there are chemical-lab beakers, flasks and test tubes, and inside the largest flask is an active water spout or cyclone which casts rainbow reflections.
Nouveaualso resides in a beautiful old wooden radio cabinet, this one from the 1940s, but instead of the interior workings of the radio there is a video screen with footage from two cameras at Lake Celilo on the Columbia River, one filming the movement of water on the lake’s surface, and the other filming the sky as seen from under the water. The audio portion is the sound of the water.
Some get quite complicated. A record player called “Magnavox Astrum” contains a modern sound board visitors can play with to adjust record speed and choose between classic or electronic modes of play and change the rhythm. This one was a lot of fun.
Not all the pieces are in old radios, record players or cameras. There is one quite beautiful and meditative piece involving sound and moving images in a modern flat screen television, and Behrle’s most recent piece is a video projection on a wall that looks like a modern mandala but is, in fact, made up of images of the sun seen at different wavelengths.
I confess that the science and technology involved in many of these works are beyond my comprehension, and I was not overwhelmed with the beauty of the audio aspects, but I loved the visual elements. The water images are mesmerizing. I appreciate the nostalgic element and the classic design of the old radios and record players. Like me, I suspect that each viewer will find certain parts of this show more interesting than others; but all, I’m sure, will find much to like.
950 Gallery is the renamed Spaceworks Gallery on Pacific Avenue (entrance on South 11th Street).
The Light We Hear at 950 Gallery, 1-5 p.m. Thursdays (until 9 p.m. Third Thursday), or by appointment, through June 21, reception 5-9 p.m., May 17, 950 Pacific Ave. Suite 205, Tacoma, 253-627-2175,

Friday, May 4, 2018

Talley’s Folly at Olympia Little Theatre

By Alec Clayton
Published in the Weekly Volcano, May 3, 2018
from left, Jeremy Holien and Silva Goetz, photo by Jim Patrick
Talley’s Folly is a sweet romance with an unlikely couple, the daughter of a wealthy garment factory owner in Missouri and a Jewish immigrant from the East Coast. This two-person, Pulitzer Prize-winning play takes place during World War II in one act (97-minutes long with no intermission) and in a single setting, a boathouse on a river not far from St. Louis.
Matt (Jeremy Holien) and Sally (Silva Goetz) had an affair a year ago that did not end well — he calls it an affair; she denies it was any such thing — and now he has returned to try and win her back. Like so many love stories, it starts off as an apparent comedy in which the lovers are at each other’s throats, gradually evolves into a serious drama, and of course, ends with a kiss.
They meet in secret at the boathouse down the hill from her family home.
Before going any further, I need to say something about the boathouse. Constructed by Chester Derry, Evan Froyland, Mike Gurling and Paul Malmberg (no set designer credited), it is a boathouse built to look like a gazebo. It is a beautiful set, far too beautiful to ring true. If nothing else, it should be more rustic with wood flooring instead of the white sheet board that didn’t exist in 1944. The use of a green tarp for water was ingenious and looks very much like a river thanks to lighting by Jacob Viramontes.
The play opens with Holien in character as Matt breaking the hell out of the fourth wall by walking into the space from the lobby onto the water where he stays to tell the audience what is about to happen, including how long the play is going to be and that it will be presented as a waltz in three-four time. And then in a truly funny comic bit, albeit stolen from The Complete Works of Shakespeare (Abridged), he repeats everything in fast motion for the benefit of people who came in late. 
Giving credit where credit is due, a play that is nothing but dialogue between two characters, with no action and no set changes (think My Dinner With Andre), is a huge challenge for the actors and the director (Jim Patrick), and all three rise to the challenge. Goetz plays Sally as feisty, sweet and loveable despite being angry throughout much of the play. She excels at the small gestures that create character. One gets the impression there’s much more to her than just the angry young woman frustrated with this man who has come back into her life. And when she finally lets her frustrations and anger explode, it is deeply affecting. Holien plays Matt as an intellectual who uses humor as a weapon. He displays talent for mimicry as he imitates the voices of other people in Sally’s life. His mannerisms are, well, a bit overly mannered.
The end of the play, after about 90 minutes of verbal war, is taut, heart-wrenching and ultimately sweet. And then Matt breaks the fourth wall for just a moment to tell the audience goodbye. These moments at the beginning and end when Matt talks to the audience are totally unnecessary. Pulitzer Prize or not, Lanford Wilson’s script would be better if he had cut those bits. 
Talley’s Folly, 7:25 p.m. Thursday-Saturday and 1:55 p.m. Sunday, through May 13, Olympia Little Theatre, 1925 Miller Ave., NE, Olympia, $11-$15, available at Yenney Music, 2703 Capital Mall Dr., 360.786.9484,

Senior Art Show at University of Puget Sound

By Alec Clayton
Published in the Weekly Volcano, May 3, 2018
painting by Kiri Bolles, courtesy University of Puget Sound
If the 12 artists represented in the Senior Art Show at University of Puget Sound’s Kittredge Gallery are an indication of what the future of art in the South Sound holds in store, the future shall be bright.
The Senior Art Show is Puget Sound’s annual exhibit of studio-based senior thesis projects by studio art majors represent the culmination of their studies at UPS with anywhere from a single piece to a dozen or more from each artist, with each artist’s work expressing a theme of their choosing.
Mairan Smith’s four oil-on-canvas paintings deal with “the ideas of intimacy, power and consent.” They are paintings of sleepers. Two of the paintings picture individual sleepers, vulnerable and alone, unaware they are being spied upon by the voyeur-artist. Apropos of the stated theme, the artist wields the power; the subjects have ostensibly not granted consent. The other two paintings are of couples sleeping together but with their bodies positioned at angles away from each other. The light and shade in all are dramatic, and the paint is applied in flat blocks of color with little modulation. Stylistically they teeter somewhere between the photo-realism and the more painterly realism in the Edward Hopper mold. I wish Smith had gone more in one direction or the other, either of which would have been more confident statement.
Similar to Smith’s paintings are Kiri Bolles’s surrealistic paintings of isolated figures, one male and four female. They are each carefully painted and realistic, like Smith’s paintings but leaning more toward trompe l’oeil painting. Each figure could be a fashion model, but for the addition of something strange. Bugs, flowers, and other things foreign to the body are seen crawling on or emerging from the bodies. These foreign invaders represent illnesses both physical and emotional, as indicated by the titles. One includes real (or perhaps silk) flowers projecting out of holes cut into the painted body of a woman. These are shocking images skillfully painted.
The most beautiful and most personally revealing, intellectually and emotionally challenging, are Emily Katz’s relief collage pictures of vaginas, each constructed of newsprint, rice paper, other papers and flower petals. There are eight of these, each a constructed vaginal shape on a white board standing on an arc of sculpture stands. On the backs of each are engraved stories of the artist’s thoughts as she studies herself in the mirror over time, beginning as a young girl, expressing confusion, shame, and eventual acceptance and strength. As an example, she writes on one, “I never thought sex was supposed to be pleasurable for me.” Looking at the eight as a group and then studying the slight variations in each can be an enrapturing experience in purely visual terms. Combining this with the experience of reading the stories may be eye-opening and even embarrassing or frightening for some viewers.
Sam Crookston Herschlag displays strikingly beautiful minimalist sculptures in wood, steel and copper leafing. The shapes are elegant, and the contrasts between the deep brown of the wood and the brilliance of the gold leaf enhances the purity of shape, color and texture.
No matter your taste in art, you will surely find something to like in this show of future art stars.

Senior Art Show, Monday-Friday 10 a.m. to 5 p.m., Saturday noon to 5 p.m., through May 13, Kittredge Gallery, 1500 N. Warner St., Tacoma, 253.879.3701

Saturday, April 28, 2018

Debra Van Tuinen at Arts Walk

By Alec Clayton
Note: When parts of this article were published in two different publications, OLY ARTS and the Weekly Volcano, I decided publishing it on my blog was duplicitous, but on second thought, I think it needs to be published as a single article

Debra Van Tuinen’s latest paintings in oil over acrylic are the culmination and apotheosis of a long and ongoing career in art. They are large (many up to 88 inches in height), bold and brimming with color. These larger paintings are from her latest series. Each painting in the series and you can expect to see as many as 20 to 25 of them in this spring Arts Walk, plus many of her smaller works in encaustic.
Typically the larger paintings are two colors only, swathes of a bright color such as white, yellow, red or blue, over a field of a darker color. Free flowing like waves washed upon a beach, the bright colors are applied in wide and rhythmical strokes that vary from transparent washes to places where the paint builds up into heavy, opaque ridges.
These paintings are abstract but inspired by nature. In addition to these, Van Tuinen will be showing a large selection of her latest works in encaustic on wood panels. Local art lovers know she has been famous for her encaustic paintings for decades. These latest ones are abstractions based on waterfalls and other elements of nature and employ sumi painting techniques and dark passages reminiscent of Franz Kline’s black and white paintings but with complex layering and transparencies.
Van Tuinen was already well known in the Olympia area when I moved here in 1988, and she’s been working tirelessly ever since. Many locals will remember her studio down by the Farmers Market and the large encaustic painting that for years hung over the reception desk at the Olympian office when it was on 4th Avenue. She has also shown her work in galleries all over the states. When I visited her studio to see her latest works, she was getting ready to send paintings to Atlanta. Her work is represented by galleries in Bellevue; Portland; Bridgehampton, New York; Calgary; Denver; Los Angeles; Vancouver, BC; and London, England. This is big time, folks. She's the real deal. Just now as I am finishing this article I got an email from Van Tuinen saying, “My gallery in LA just called yesterday and they love the new work.  He is presenting 14 of the large paintings to his client and collector. I am feeling really good about this because I am painting what I love and worked toward for so many years.”
She will be showing at Waterstreet Café during Arts Walk. Also showing at Waterstreet will be sculpture by Bob Coble.
Arts walk is Friday, April 27, 5-10 p.m. and Saturday, April 28, noon-8 p.m. Waterstreet Café is at 610 Water Street, Olympia.

Friday, April 27, 2018

Review: The Pillowman
By Alec Clayton
Published in The News Tribune, April 27, 2018
from left: Andrew Fry, Jacob Tice and Christian Carvajal, all photos by Dennis K Photographer
“The Pillowman” at Tacoma Little Theatre is a dark and brutal comedy not suitable for children or for the squeamish, but brilliantly written by Martin McDonough and staged by director Blake York.
This is the first play set outside of Ireland by celebrated Irish playwright McDonough, author of the Academy Award-winning “Three Billboards Outside of Ebbing, Missouri” and the plays “The Beauty Queen of Leenane” and “The Lieutenant of Inishmore.”
Jacob Tice and Christian Carvajal

Sean Neely and Jacob Tice
The setting for the play is a bleak police interrogation room in an unnamed totalitarian state (there are hints, including some character names, that it is somewhere in Eastern Europe). Katurian (Jacob Tice) and his brother Michael (Sean Neely) are brought in for questioning about a string of gruesome murders of young children. The cops who question them in a gallows-humor spin on a good cop-bad cop routine are Tupolski (Andrew Fry) and Ariel (Christian Carvajal). The reason the brothers are suspected is many of Katurian’s short stories resemble the murders. When Katurian finds out, Michael, whom Katurian describes as childlike and "slow to get things,” is there and being kept by the police in another offstage interrogation room, Katurian is infuriated.
All the four major characters are complex and multi-layered men, and each, with the possible exception of Michael, turns out to be quite different than they at first seem. The “good cop” is sly, manipulative and cold-hearted beneath his kindly exterior, and the “bad” cop, who is anxious to torture and brutalize both Katurian and Michael, turns out to have a heart after all.
McDonough’s writing is intricately and beautifully constructed and full of surprises. The story is both bleak and funny, with hints of Tom Stoppard and Franz Kafka, and even Grimm’s fairy tales, which are alluded to by Katurian. The jailhouse setting reminds me of Theater Artists Olympia’s production of George Orwell’s “1984.”
Tice is proving to be one of the South Sound’s most versatile actors, totally different in every role he takes on. As Katurian he appears to be sponge-like, adapting his personality to suit the situation from moment to moment, and achingly vulnerable throughout. His character is never off stage.
Carvajal plays Ariel as an almost insane brute, bursting with constrained nervous energy. It’s worth the price of admission just to watch the way he smokes a cigarette (no actual smoke).
Fry plays Tupolski as one of the kindest and most normal of a group of bizarre characters, but audiences can sense his underlying sadistic streak.
Seattle actor Neely, new to Tacoma stages, is simply stupendous as Michael. His physical quirks and hesitant manner of speech perfectly express the psyche of an abused person. Neely and Carvajal each auditioned only for their particular roles and no other, and each said Michael and Ariel, respectively, were dream roles.  
There are four other actors who do not have speaking roles, who are excellent but about whom I shall not say anything because the scenes they are in should come as a surprise, and I do not want to spoil it. It’s a great bit of staging by Blake.
“The Pillowman” is not recommended for children younger than 13. There is as much profanity as in a Tarantino movie, and there is violence, blood and a gunshot. Yet despite all the gore, there is much humor and a heartfelt look into the complexities of human beings.

WHEN: 7:30 p.m. Friday-Saturday, 2 p.m. Sunday, through May 6
WHERE: Tacoma Little Theatre, 210 North I Street, Tacoma
TICKETS: $20-$24, pay what you can May 3
INFORMATION: (253) 272-2281,

Thursday, April 26, 2018

Olympia Arts Walk 2018

"These Three Things" metal sculpture by Lisa Geertsen, courtesy of the artist.
Lisa Geertsen A Show of Hearts
by Alec Clayton
Published in the Weekly Volcano, April 26, 2018
Seattle metal sculptor and blacksmith Lisa Geertsen will be the featured artist at The Washington Center for the Performing Arts during Olympia’s Arts Walk Friday and Saturday, April 27-28. Her show will continue until June 22.
She will be showing about 40 pieces from the “Show of Hearts.” The works are sculpted metal hearts — not Valentine’s hearts but the organs that beat in the chests of humans and other animals. Many of them are wall-hanging pieces, and others are free standing. They range in size from one to five feet in height. There will even be one as small as three inches that she will be wearing as a pendant around her neck at the opening.
She began the series in 2005 and hopes to create 100 pieces before moving on to something else. She says she’s about halfway to reaching that goal, and works from the beginning to current pieces will be included in the show.
I began this project with ‘Release Your Heavy Heart’, an interactive sculpture I made for a fundraising event,” Geertsen says. “This spawned the idea of the heart series. These works stem from words ... song lyrics, common phrases, books, poems, names of plants, things I hear people say ... I begin with the words and interpret them into metal. This is my challenge and I love it.”
Geertsen’s work ranges from architectural fabrication to site-specific sculptures. She is the owner of Firelight Forge. She is a blacksmithing instructor and Metal and Stone Sculpture Studio Manager at Pratt Fine Arts Center since 2007.
Outside the Center, Student Orchestra of Greater Olympia’s “Pet the Instruments” will perform, while a Hand’s On Children’s Museum activity will take place in the Black Box.
Olympia’s spring Arts Walk is two days of art, entertainment and a wide mixture of activities in hundreds of venues all over downtown.
Saturday will be the dedication of the Music Out Loud Mosaic, mosaics embedded in the sidewalks honoring local music legends Vern Eke (design by Jennifer Kuhns), Steve Munger (design by Nathan Barnes) and Bert Wilson (design by Michele A. Burton). There will be a walking tour of the mosaics beginning at noon Saturday at the corner of 4th Avenue and Chestnut.
Possibly the largest and most exciting art exhibit during Arts Walk will be new paintings by Debra van Tuinen, truly one of Olympia’s best loved visual artists. She will be showing 50 or more recent paintings, many as large as 88 inches in height. They are bright and vibrant abstract paintings based on natural phenomena such as waterfalls and waves washed upon a beach, depicted in free flowing areas of nuanced colors applied in wide and rhythmical strokes that vary from transparent washes to places where the paint builds up into heavy, opaque edges. These paintings will be shown along with works by Bab Coble at Waterstreet Café.
In Sylvester Park there will be a free speech area. Smooth jazz guitarist Vince Brown will perform at The Mouse Trap and other venues. Artist Faith Hagenhofen will show work at Pete Lea’s Automotive. Chris Maynard will show his intricate feather creations at Capitol Florist. China Star’s art will be at the Brotherhood Lounge. Mia Shulte’s beautiful abstract paintings will be on display at Fosbre Academy, and all this is but a tiny fraction of what’s on tap for Arts Walk.
The famous Element of Spirit Luminary Procession will be Friday night at 9:30 and the Procession of the Species Saturday at 4:40 p.m. Complete details and a map to all activities and exhibitions are available at
Arts Walk, April 28-29, various venues downtown Olympia

We Sit Together the Mountain and Me

Anne Appleby  at Tacoma Art Museum
By Alec Clayton
published in the Weekly Volcano, April 26, 2018
"Moving Trees," single-channel digital pojection, by Anne appleby, courtesy of the artist and Anglim Gilbert Gallery, San Francisco
There are artists with whom art lovers simply cannot connect. They can’t enjoy their work even though they understand and appreciate its importance. Picasso is a prime example. Surely everyone knowledgeable of art appreciates the importance of his work, yet there are many who, despite this appreciation, cannot stand the harsh distortions of some of his images. Mark Rothko is another artist we can admire, but whose paintings are boring to many people — some who do not like Picasso or Rothko or other acknowledged masters might even be ashamed to admit their dislike. I say all this by way of explaining my reaction to Anne Appleby’s art now showing at Tacoma Art Museum. I admire the work, dedication and intelligence manifested in her paintings, but they leave me feeling as blank as her mostly monotone canvases.
Appleby lays down layer after layer of paint — up to 20 layers, I was told — to create a luminescence that mirrors the light of the snow-covered mountains near her home studio in Montana’s Elkhorn Mountains. I can’t imagine any other artist being so close to nature.
“I think my role is to capture beauty. I think so because it's the central doctrine of so many religions — it's the reverence for the creator of the creation. It’s a feeling, like beauty, both inside and out,” Appleby says.
Many of her paintings are executed in multiple panels, each panel a square or rectangle of what appears to be a single, unmodulated color representing trees or mountains during different seasons or times of day. There are subtle modulations in color and texture, however, that can be detected only with extreme attention to detail.
I must confess that I am like the people who might be capable of appreciating certain masterworks even though they might not particularly enjoy them. The appreciation of art might be mostly intellectual, but the enjoyment of art rests on pure gut feelings.
I trust some of my readers — hopefully many — will be able to get the full contemplative and reverential effect of Appleby’s paintings.
“I’m interested in getting people to slow down a little bit, so they can see the world differently by awakening their sensibilities,” Appleby says.
One large gallery at TAM is filled with her paintings, most created within the past year or two. In addition to the paintings, there is a digital projection that runs on a 3-minute, 24-second loop called “Moving Trees.” The screen hangs from the gallery ceiling like a room divider. On it we see trees slowly moving in the wind as snow drifts down. Like some of the paintings, but perhaps even more compelling, this digital image creates the feeling of standing among the trees on the mountain and being engulfed in nature.
I hope readers of this column will take the artist’s advice and “slow down a little bit, so they can see the world differently.”
Anne Appleby, We Sit Together the Mountain and Me, Tuesday-Sunday, 10 a.m. to 5 p.m., through June 3, $13-$15, third Thursday free 5-8 p.m., Tacoma Art Museum, 1701 Pacific Ave. Tacoma,

Friday, April 20, 2018

Hart James’s Zen at Allsorts Gallery

by Alec Clayton
Published in the Weekly Volcano, April 19, 2018

Dog Head Falls.  Dissolving Rock.  Vermont Studio Center,” oil and charcoal on canvas by Hart James, courtesy Allsorts Gallery
Hart James is fairly new to the Olympia art scene. I first saw her work in 2013, at which time she was showing a group of flowery collages that verged on surrealism. Soon after she began showing solid, heavy landscapes perhaps influenced by Cezanne.  landscapes that were solid and somewhat heavy looking in a Cezannesque manner. Tree trunks and limbs were painted as strong angular marks that broke the canvas into flat fields of color, and mountains were slabs of heavy paint.
Over the past year she has been posting pictures on Facebook that indicate her painting has taken giant leaps forward, especially since spending a winter studying at the Vermont Studio School. Now South Sound art lovers get to see some 20 of these new paintings at Allsorts Gallery in Olympia. And they are stunners — vibrant, energetic paintings of mountains, lakes and rivers in a thoroughly modernist manner verging on conventional 1950s Abstract Expressionism. 
James’s latest paintings are in oil and charcoal on canvas, some stretched but unframed and others not on stretchers but tacked directly to the wall. They are gutsy. She attacks the canvas with an odd combination of gusto and finesse. Many of the ones in the front room are referred to in titles written directly on the canvas as “Sketches,” and there is clearly a sketchy quality to them. The paint application is thick in areas with large swaths of paint slathered on, and thin as water in other areas with washes of color that soak into the canvas run in rivulets. This group of paintings are the strongest and liveliest in the show. The paintings on stretched canvas in the other room have a more painterly, less sketchy look. We see more rocks and sky, and clearly defined mountain ranges and trees. Her use of charcoal enlivens the surface with angular and jagged black lines that in many instances look like dry brush or oil stick drawing.
There is a triptych called “Makah Spirits” that harkens back to earlier work. In general, I have a personal objection to diptychs and triptychs because that they appear gimmicky. If the artist wants a 24-inch by 54-inch painting, why not paint it 24-by-54 instead of three 24-by-18 panels? All that does is break the painting into three sections, and the edges between the panels add nothing. In this painting, however, the lines created by the edges add a needed stabilizing element to a painting that without those lines might be too chaotic. 
It is impossible to pick a single favorite painting in this show, but if I were forced to I would choose “December Sketch, Doghead Falls, Vermont Studio Center.” I see it not as a painting but as a drawing in oil and charcoal. The directness and spontaneity of this one is wonderfully uplifting. It looks as if she jotted down the shape of a mountain and a flowing river coming down from it in a few quick strokes, capturing the essence of the scene in one swoop of frantic energy, as if years of hard work and study coalesced in a momentary burst. This painting was done only four months ago. If it and others in the series are indicative of where James is going, she has arrived. She is also currently showing paintings in the gallery at South Puget Sound Community College and at the Department of Ecology.
Allsorts is a pop-up gallery in a private home. Hours of operation are limited.

Zen by Hart James, 5-7 p.m. Fri.-Sat, and during Arts Walk and by appointment, through April 28, artist reception 4-7 p.m. April 22, All Sorts Gallery, 2306 Capitol Way S, Olympia,,  323-254-6220