Time and tea

It’s funny. I am at BAT quite a bit. I love it here. I think BAT does great work and is an asset to Burien and the theater community at large. But I am rarely at BAT without a list of things to do or people to meet.IMG_0726

Today is an exception. BAT is having its bathrooms deep cleaned. (This was a donation from a great local janitorial service.)

I was not going to be here today, but as things turned out, I was the one selected to let the janitorial service in. So, I am here waiting for my replacement to arrive, so we have someone from BAT on-sight to answer any questions.

Since I had not planned on being here, I have some unscheduled time at BAT. I hunkered down in BAT’s concessions room. I made some tea and started to read a script. (The script is good, but the relative quite is seductive.)

The quiet and a little tea, has given me a chance to enjoy BAT’s space. This is a comfortable room. I can see why so many people come to a show a little early, get a cocktail and sit and chat in here before the show starts.

BAT lives (thanks to its donors, volunteers and patrons) in a retired school building, located at 14501 4th SW in Burien. BAT has been here since the school was surplussed by the School District in 1980. Over those 36 years, at times it was just BAT here, at times the City of Burien all but pushed BAT out, and there is a constant threat that the building will be torn down to make way for another City building.

At first, in the 80s and 90s, BAT had the use of the building rent free. After the City took over the building from King County, the City started charging BAT rent. Over and over the month rent has increased. (BAT’s dream is space of its own, one without the potential of the building being torn down around it.)

Much has changed for the better in the space, even in the last few years, but much has stayed the same. One thing that has changed, for the better, is the feel of the concessions room. I feel at home. BAT does what it can so you feel at home at BAT too.

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Thanks for the Season

BAT’s 36th season has come to a close. BAT has already begun work on its 37th, the Bat-logo-final-color2016-17, season. But before that adventure gets fully underway, BAT wants to thank its donors, volunteers, sponsors, and patrons, without whom BAT could not survive, much less flourish.

This has been an amazing season. BAT opened with The Addams Family the Musical. It was a smash hit. Full houses left singing and looking for Uncle Fester on the moon.

Next came A Christmas Twist, a comedy mashup of your Holiday favorites, with a little added adventure and characters. A crowd pleaser, to be sure.

Then a Victorian love story, In the Next Room, or the vibrator play. History, love, comedy, and vibrators. Who could ask for more? Although the vibrator was just a prop on which to hang the love story, BAT did hear from a few who chose not to come and see what the show was really about. Those who made it to the show heaped praise on BAT and made sizable donations during the run of the show!

Finally, the award-winning psychological thriller, The Letters. This cat and mouse game, with just two actors on stage the whole time, kept everyone on the edges of their seats until the very end. The script, actors and production values were amazing.

IMG_0673Now it is Summer. BAT has a showcase of new works written by its very own playwriting group, the Seattle Playwright Studio, and some sketch horror comedy from Turbo Turkey on tap. A few great weekends of theater, and some upgrades to BAT’s space, and then on to the Fall and yet another grand season of better live theater!

But to be frank, none of this would be possible without BAT’s marvelous donors, volunteers, sponsors, and patrons. Thank you, thank you, thank you all for being such an important part of BAT’s family!!! See you at a show!

PS There is still time to donate to BAT: DONATE HERE!

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Thanks!!!

BAT is humbled. There are not enough words to thank everyone who supports BAT!!! Bat-logo-final-colorWhether you were part of Give Big or have helped at other times during the season, thank you, thank you, thank you!!!

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A season of sets

Set design is a many splendid thing. If you noticed this season at BAT the sets got 21920413675_373b246512_k 21920412265_d0ef5dd2a2_k 21733541359_04d7df8a0a_kprogressively smaller. This was, I suppose, planned in that the shows got progressively smaller.

Set design follows the needs of the show. But within the confides of the number of exits needed (exits are the location where the acts come on and off stage), and the number of locations where the show takes place, there is much room for creativity.

Each set designer brings his or her own vision to the show. This is part of why no two productions of the same show look alike.

This season, BAT’s resident set designer, Albie Clamenti, designed the first thee sets of the season; The Addams Family the Musical, Christmas Twist, and In the Next Room or the vibrator play. Maggie Larrick, BAT’s own 23375783936_f65dee903c_kmanaging director, designed the set for BAT’s final show of the season, The Letters. Over the course of the season, I got a chance to talk to both about how they design.

Each designer starts by reading the script and getting their vision of what the show needs and how they see each location in the show. For a period piece, that is one set in a 23106347100_f6b158d27f_kspecific time, research is done to see what that time and place looked like. For The Addams Family, time was spent watching old television shows. Even though The Addams Family was not located in the TV house, we still wanted the “Addams” feel.

Set designers try to bring the audience into the show. While theater can, and sometimes, is done without a set, the set’s role is to enhance the theater goer’s experience. Over time, I have discovered it is the little things, often barely noticed that distinguishes a great set from an adequate set. For example, snow on the windows in the winter; plugging the vibrators into to the light sconce because in 1889 there were no wall outlets; or getting the wall treatment to look like it would have at that time.25201768576_a0c5d82ade_k 25228052395_137d277d11_k

Of course, key to any set design is to come in within budget. At BAT our budgets are small. What you see has much more to do with the creativity of the designers than money. One key way to keep the budget low is to use stock pieces as much as possible. Re-use, recycle is the way of good design. If you have been watching closely, some set pieces have been in every show. They are repainted and altered as needed.

Albie told me a story of another designer who was saying, “Wouldn’t it be nice to build everything new for every show?” Of course not. There is not enough time or money in the budget to build new. To Albie and Maggie that designer’s comment was a 25201773386_ae251e9112_zsign that the designer did not fully understand the needs of small theater.

Some sets are huge. The Addams Family spanned the entire front wall of the theater. While The Letters takes up less than the full proscenium. While A Christmas Twist used the stage to create a number of locations, The Letters put the set off to one side of the stage to let the audience know something was off center in the show. Location and design help take you to new places.

Once the set is designed, the design is presented to the director for approval. The set is to 25709779083_2dd3dde520_ksupport the directors vision of the show, after all. Sometimes the set designer brings detailed drawings. At BAT, Sketchup seems to be the drawing program of choice. But at times, the drawings as still by hand on paper, on occasionally the drawings are on one of BAT’s chalkboards.

Once the director signs off on the design, it is shown the the actors, so they can get an idea of the world the will be living in while on stage.

Looking at the season’s sets, which one(s) do you like the best? Which one help move the story forward the best?

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The Letters is a play for our time

An except of an interview with John W. Lowell:

BK: Why do you think a play about 1930’s Russia is still relevant to today?Letters-web-art

John W. Lowell: For one simple, disturbing reason: they did stuff like that; we still do stuff like that. the young sailor who’s in prison, Bradley Manning, is going
to become an unperson because he provided the material for Julian Assange and Wikileaks. For the rest of his life he will be behind bars because he shared information that may or may not have been “classified.” But what I find incredibly troubling is that he has no recourse. There will be no public trial; there will be no chance to have his day in court. And then there is Guantanamo Bay, filled with unpeople. In short, though, The Letters takes place in the soviet union, it is not about the soviet union. It is about what happened this morning and what may happen tomorrow.

This is definitely a show to see – Get your tickets now!

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The Letters – Artistic Director’s note

The Letters is about a time, much like our own. Then, as now, history was being edited toLetters-web-art fit a new narrative.

But this is not a story about great world events. It is a story about two people and the power each has, or does not have, over the other, as the world around them shifts in ways they cannot control.

I am reminded of the end of Casablanca, “[I]t doesn’t take much to see that the problems of [two] little people don’t amount to a hill of beans in this crazy world.” Yet the universal struggle of those little people gives us a glimpse into their time and into what makes us human in a world on verge of cataclysmic change.

The Letters is set in 1931 Russia, in the days leading up the Great Purge or the Great Terror: a campaign of political repression in the Soviet Union from 1936 to 1938. The paranoia that would scar the Russian psyche had already taken root in the Ministry where Anna Borisovna and the Director work.

The Letters would be little more than letters on a page but for the hard work of the director, actors, designers, crew, and volunteers that shared their skills with us. Thanks to all of them, and thanks to everyone in the audience for sharing in this thriller with BAT.

ONLINE TICKETS

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It’s a show

There is a time in every production when, despite the amount of work left to be done, the Letters-web-artsolid feeling among the designers that this is a show and it has, or will very soon, come together. In some shows, that feeling does not occur until sometime during tech week, With The Letters that feeling occurred last night.

There still is a lot to do, but from now on it is cosmetic. BAT is happy The Letters will go on, and it will be a very good show. It is very good feeling when that moment of knowing it has all come together occurs, maybe even a little better because this is last show of the 2015-16 season. There is no reason to wait getting your ticket, HERE. You will be entertained!

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Allan plays The Letters

Letters-web-artBAT has had the joy of working with Allan Loucks, a composer extraordinaire. If you have been coming to BAT shows, you have heard Allan’s work. For The Letters Allan in back. Not only did he compose and record the incidental music for The Letters.  (including a chorus), but Allan and a IMG_0673drummer are playing the pre-show and intermission music live. (A feat they have done for other shows at BAT.)

This time they will be playing back stage with this view.

BAT first meet Allan when he composed a full score for Dracula. A show BAT produced in 2007. Since, Allan has scored and composed music for many shows at BAT. Allan also wrote BAT’s musical logo

To say Allan is talented is an enormous understatement. BAT is pleased to work with Allan again on The Letters. He is longtime member of the BAT family.

Come hear Allan’s work. Get your tickets to The Letters HERE.

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The Letters – Press Release

Psychological thriller The Letters

creates suspense at Burien Actors Theatre

(March 30, 2016 – Burien, WA) – Burien Actors Theatre’s next production, the psychological thriller The Letters, performs April 8 through May 1.Letters-web-art

The Burien Actors Theatre production features live music performed pre-show and at intermission, specialty drinks themed to the show and free on-site parking, plus an opening night party.

“THE LETTERS”

In The Letters, written by John W. Lowell, a Ministry Director calls Anna, a bureaucrat, into his office for a meeting. It is 1931 in the Soviet Union and things aren’t what they seem. The interview becomes a suspenseful game of cat and mouse in which being the last to flinch may mean the difference between life and death. Based on Soviet efforts to edit composer Tchaikovsky’s letters, this taut thriller is a vivid slice of paranoid life under Stalin.

Performances are Fridays and Saturdays at 8 p.m., and Sunday matinees at 2 p.m. at Burien Actors Theatre, 14501 4th Ave. S.W. in Burien.

Ticket prices range from $7 to $20. Student tickets are just $10. For tickets, special deals or other information, go to www.burienactorstheatre.org or call 206-242-5180.

The Letters is sponsored by the City of Burien, 4Culture and the Mark Restaurant & Bar.

THE CAST, DIRECTOR AND DESIGNERS

Beau M.K. Prichard is directing a talented cast, together with assistant director Barbara Cawley: Devin Rodger (Anna) and Michael Mendonsa (Director). Incidental music was composed specifically for this production by Allan Loucks and performed by The Crown Hill Chorale under Loucks’ direction. Designers for the show are: Maggie Larrick, set; Craig Orsinger, lighting; Cyndi Baumgardner, props; Helen Roundhill, costume; and Tony Cochran, sound. Live music will be performed preshow by Allan Loucks and Dan Seese.

Photographs and Cast Bios available upon request; please contact Maggie Larrick at 206-949-9554. Continue reading

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A Play Can Change Meaning Even While Its Words Don’t

BAT is blessed to work with so many talented people. BAT’s actors, directors, designers, running crews and volunteers are all so amazing, at times it takes my breath away. Occasionally, BAT also works with a writer who is both a joy and very giving.

BAT does not focus solely on new works, but BAT does its share of works that are Pacific Northwest premiers. And every odd year, in the Spring, BAT holds a playwrights festival for works of Washington playwrights that have never been previously produced, the Bill and Peggy Hunt Playwrights Festival. During the Festival, BAT produces four new works, two one-acts and two full-length plays, over the course of four weeks.

BAT’s next production, The Letters by John W. Lowell, is having its Northwest Letters-web-artPremier at BAT from April 8 through May 1. This is my favorite script of the season, and BAT has done some outstanding theater this season. This season was the best of better live theater.

John W. Lowell is one of those very special people, who is also a playwright. BAT often gets manuscripts from author’s agents. I read them all. Some of the scripts I read are has produced. Of those, very once in a great while, BAT gets to work with a writer who makes personal contact with BAT, and takes an active interest in the production. Not in the micromanaging the production way, but in the being there to help the production succeed. Such is John W. Lowell.

I love The Letters. One of the reasons I like the play, beyond its excellent writing, is that is speaks to the re-writing of history, that I see so often. We delete the parts of our history that don’t fit the current narrative.

For example, yesterday I was talking to a props with a exhibit designer/builder for the Smithsonian in Washington DC. The Smithsonian is preparing an exhibit about slavery in America. We were talking about the exhibit and its section on the use of slaves to grow rice in South Carolina. The amazing cruelty of slavery, and the board use of slavery has been written out of much of US history. And during an election year, many politicians’ past records on issues are re-written to fit a new narrative. And it goes on and on. So, I asked John W. Lowell what event was he thinking about when he wrote The Letters? He kindly sent me this: Continue reading

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