Sasquatch 2012 Line-Up Announced at Neptune Launch Party (Photo Gallery)

Sasquatch!
Luke Burbank, at the Sasquatch 2012 Launch Party.
Matthew Caws of Nada Surf.
Matthew Caws of Nada Surf.
Nada Surf's Matthew Caws.
The Physics at the Neptune.
The Physics at the Neptune.
The Physics at the Neptune.
The Physics.
The Physics.
Junip.
Junip.
Junip.
Junip.

(photo by Tony Kay)

Luke Burbank cuts up at the Sasquatch 2012 Launch Party. (photo by Tony Kay)

Nada Surf's Matthew Caws, at the Sasquatch 2012 Launch Party. (photo by Tony Kay)

Matthew Caws of Nada Surf. (photo by Tony Kay)

Nada Surf's Matthew Caws, live and solo at the Neptune February 2. (photo by Tony Kay)

The Physics get the crowd activated at the Neptune. (photo by Tony Kay)

The Physics at the Neptune. (photo by Tony Kay)

The Physics, rhyming about how they heart beer, at the Sasquatch 2012 Launch Party. (photo by Tony Kay)

The Physics, rocking the Sasquatch Launch Party crowd. (photo by Tony Kay)

Call-and-response with The Physics at the Neptune. (photo by Tony Kay)

Jose Gonzalez of Junip, live at the Neptune. (photo by Tony Kay)

Junip. (photo by Tony Kay)

Junip at the Neptune. (photo by Tony Kay)

Junip at the Neptune. (photo by Tony Kay)

Sasquatch! thumbnail
Luke Burbank, at the Sasquatch 2012 Launch Party. thumbnail
Matthew Caws of Nada Surf. thumbnail
Matthew Caws of Nada Surf. thumbnail
Nada Surf's Matthew Caws. thumbnail
The Physics at the Neptune. thumbnail
The Physics at the Neptune. thumbnail
The Physics at the Neptune. thumbnail
The Physics. thumbnail
The Physics. thumbnail
Junip. thumbnail
Junip. thumbnail
Junip. thumbnail
Junip. thumbnail

After weeks of fevered anticipation, rumors, and speculation, the final line-up for the 2012 Sasquatch Festival was revealed in an appropriately festive Launch Party at the Neptune Theatre last night. Tickets go on sale next Saturday, February 11, at 10 a.m., with a two-day Live Nation pre-sale taking place the previous Wednesday, February 8. Go to sasquatchfestival.com/tickets for more info, and you best be quick on the draw: It’s sure to sell out.

The final line-up for the epic Memorial Day Festival’s tenth go-round in as many years upholds Sasquatch’s usual heady mix of indie rock, hip hop, folk, electronica, and soul. There’s pretty much something for everyone among the army of acts overrunning the Gorge for Sasquatch, and the crowd packing the Neptune burst into spontaneous applause as the final roster unspooled.

The Launch Party, hosted by Too Beautiful to Live’s Luke Burbank, preceded the grand unveiling with a pretty stellar evening of live music. Matthew Caws of Nada Surf opened up the party with a solo acoustic set heavily weighed by selections from his band’s newest full-length, The Stars are Indifferent to Astronomy. The solo turn was his second of three live shows yesterday: Nada Surf played a gig at the Triple Door that afternoon, and the band zipped over to Ballard to play a sold-out Tractor Tavern show immediately after Caws left the Neptune stage. The Launch Party crowd was gifted a stripped-down, emotional set that framed Astonomy’s pop jewels in a sparsely-gorgeous backdrop, and Caws frequently brought to mind a less-caustic, more winsomely romantic Alex Chilton at several points (that’s a big compliment, incidentally).

Seattle hip hop crew The Physics followed up with the evening’s most party-centric stretch. The band’s crowd-stoking energy belied an almost mellow melodic and lyrical flow, aided immeasurably by swaths of funky guitar, lush backing vocals, and an assemblage of beats that favored subtly-flowing grooves over throw-down rhythms. Their sound should make for great hip-shaking and head-bobbing at Sasquatch (The Physics, as it turns out, will be playing the festival this year).

Closing act Junip come off as the shyest bunch of guys ever to step onto a rock stage, but the Swedish quintet sounded superlative in a live setting. Divorced from the detached sheen of their studio recordings, their blend of dreamy vocalizing, chiming guitars, warm analog synths, and insistent (real) drums and percussion wove a seriously hypnotic and oddly sensuous spell. It was so immersive, even the drunken blonde who bum-rushed the stage mid-set didn’t harsh the collective mellow.

So, yeah, the Launch Party live show sorta ruled, but the big pay-off remained the final announcement of the Sasquatch 2012 line-up. Below, please find the complete(-ish) roster of acts gracing the 2012 Sasquatch stage.

Music Acts:

Jack White
Beck
Bon Iver
Pretty Lights
The Shins
Tenacious D
Beirut
Girl Talk
The Roots
The Head and the Heart
Portlandia
Feist
Silversun Pickups
Metric
Explosions in the Sky
The Joy Formidable
Mogwai
Nero (DJ)
M. Ward
John Reilly and Friends
Childish Gambino
St. Vincent
The Civil Wars
Jamey Johnson
Little Dragon
Tune-Yards
Wild Flag
Blind Pilot
Wolfgang Gartner
Beats Antique
Apparat
Imelda May
The Sheepdogs
The Walkmen
Clap Your Hands Say Yeah
Mark Lanegan Band
Spiritualized
Blitzen Trapper
The Cave Singers
Shabazz Palaces
Fun.
Grouplove
Tycho
SBTRKT
STRFKR
Ted Leo and the Pharmacists
Deer Tick
Alabama Shakes
Imelda May
Dum Dum Girls
The Helio Sequence
Kurt Vile
Cloud Cult
Ben Howard
Here We Go Magic
Zola Jesus
The War on Drugs
Shearwater
Cass McCombs
Active Child
Trampled by Turtles
Charles Bradley and his Extraordinaires
Araabmuzik
Starslinger
L.A. Riots
Com Truise
We are Augustines
Unknown Mortal Orchestra
I Break Horses
Walk the Moon
Dry the River
Allen Stone
Pickwick
Hey Marseilles
Gary Clark Jr.
Purity Ring
Yellow Ostrich
Nobody Beats the Drum
Electric Guest
Coeur de Pirate
Lord Huron
Sallie Ford and the Sound Outside
Beat Connection
The Sheepdogs
Hey Rosetta!
Said the Whale
Howlin Rain
Gardens and Villa
Felix Cartal
Awesome Tapes from Africa
Craft Spells
Vintage Trouble
Poor Moon
Black Whales
Gold Leaves
Greylag
THEESatisfaction
Dyme Def
Fresh Espresso
The Physics
Sol
Metal Chocolates
Grynch
Spac3man
Don’t Talk to the Cops
Scribes
Fatal Lucciauno
Fly Moon Royalty
Katie Kate

Comedy Acts:

Nick Kroll
John Mullaney
Todd Barry
Beardyman
Rob Delaney
Pete Holmes
Howard Kremer
and the proverbial more, more, more…

Seattle’s Winter Getaway Secret, Sayulita, Gets a “Magic Pueblo” Makeover

Sunny little Sayulita, Mexico, would seem a world away from cloud-capped Seattle, but Alaska Air must still make good money keeping travelers shuffling between the two.

Sitting down for dinner at Los Afortunados, I fall into conversation with strikingly sultry brunette who perks up when I say I’m visiting from Seattle. “I used to work at Kell’s!” she says. Arranging some whale-watching at Riviera Nayarit Magical Tours, I discover that booker Enrique used to live in Federal Way. Out on the Chica Locca trimaran, in fact, I’m handed a bottle of Costco’s Kirkland water.

On my mid-January trip, I am also handed a cloud of construction-raised dust as Sayulita has just been designated a “Pueblo Magico” by Mexico’s secretary of tourism, making it one of over 50 towns that have been selected because they occupy some symbolic spot in tourists hearts. In Sayulita’s case, that spot has been, since the 1960s, lodged firmly in surfers’ hearts, and through a wonderful symbiosis, Sayulita has grown from a small fishing village to a slightly larger (pop. 4,000-5,000) surfing-fishing village that is mostly free of tacky tourism, but which speaks English startlingly well.

Perhaps this is thanks to the insular nature of surfing, and an agreement to keep the “good spots” quiet, but it’s also true that elsewhere in the “Riviera Nayarit” you can find all the luxe resort your pampered heart desires, so there’s been little reason to go tearing up Sayulita’s dusty cobblestones and replacing its tiny hotels, taco stands, indie art galleries, and yoga and massage and surf gear shops with despoiling chains.

Neither is that the aim of the Magic Pueblo program, but the surprise construction and its barriers to pedestrian traffic have hurt a few of the local businesses, and prompted the closure of at least one. The author of Sayulita Blog writes, “Said goodbye to a Blue Iguana owner Rick as he is about to close and return to Canada. Who will feed the iguanas?”

When it’s all done, by end of March 2012, Sayulita will have a renovated main plaza, utilities below ground, street lights, more sidewalks, and select pedestrian-only areas. It was rumored that the main street, Revolucion, would be pedestrian-only, but I can’t find official confirmation of that. On the health front, the federal authorities promise the “rehabilitation” of Sayulita’s entire water system, which I personally support, for what I suppose is the usual reason (i.e., drinking too much tequila and deciding to “risk it” on tap water for the subsequent dry mouth).

If that seems, to States-side eyes, like a lot of work to be done in a short time, I can vouch for a commendable haste, made possible by throwing a small army of construction workers at the project. Blocks of sidewalks are jack-hammered up in hours, the chunks carted away in trucks by day’s end. (I can’t say for sure, but the combination of heat, humidity, and variety of dusts may be behind the ferocious asthma I develop over my stay, only partly beaten back by Advair and albuterol.)

As for me, I have a good view of all the unsleepy excitement from my hotel just between Revolucion and Calle Jose-Mariscal: the Petit Hotel Hafa, run by Marina and Christophe Mignot. Sunset Magazine has rated them one of the West’s best romantic getaways, which as a solo traveler I can’t vouch for, even though I try my best to look available. In fact, I’m almost sure a couple breaks up while I am there, but you can’t blame the Moroccan-themed décor.

Sidebar: Everyone in Sayulita seems to surf. Christophe is from Perpignan, and if he’s not working on the hotel–they’re expanding to a seventh room from six–he’s surfing. Emma, who works in reception and at the associated jewelry/gift shop, surfs, and she’s from Ontario, originally.

Hotel Hafa is a bewitching mixture of handmade and found decorative touches, and simplicity: There’s no phone, no TV. Most of the rooms have A/C, but you have to request the remote control to run it ($6 per night). Large fans overhead, with their own quirks of noise production, are free, and you can stick your head in a mini-fridge if you need a cold more bracing. That said, there is free WiFi that extends through most of the hotel–I even get a few bars on the rooftop terrace where I pass out for a daily siesta. (The terrace also comes with a selection of on-the-house tequilas, though, for the record, that is not why I am passing out daily.)

I know next to nothing about Sayulita before arriving, and the staff directs me around town all week without complaint, even drawing me, by hand, a map of where to get chile rellenos my first night there. (That’s also when I have my first brush with an Ugly American, a woman who tells the proprietor of the charming restaurant that “I don’t like Mexican food.”) They also have opportunity to point out the pharmacy and Dr. Moy’s office across the street, where the closest ATM was, and where I can have laundry done. The beach I manage to find on my own, since it’s only two blocks away. They do not, however, warn me about the Land of the Giants-sized grande margarita at El Costeno, which is why I am now the owner of a hammock sold by a beach-strolling vendor.

I flew into the airport at Puerto Vallarta, and took a taxi to Sayulita, overpaying ($60)–the Sayulita taxi driver who takes me back charges me $40. I meet plenty of people who’d just taken the bus, which is a far more reasonable $2ish, but I always feel terrible about taking up extra room on public transit with baggage. The trip doesn’t seem to be much faster via taxi, if that’s a concern. A Canadian couple I chat with on the third story of Leyza’s Restaurant & Bar–30 feet up turns out to be where the cooler marine breezes blow–tell me the bus took them less than an hour. They are staying in Puerta Vallarta and have decided to bus out and back for a day-trip.

My day trip was suggested by one of the resort hucksters at the airport; they form a phalanx as you try to exit, shouting vaguely official requests at you to see if you’ll stop. I almost made it through when this well-dressed young man stepped up and asked if I needed a taxi, which I did. He led me over to a counter, and proceeded to give me 15 minutes of actually very sound sight-seeing advice before mentioning that he had a tip on an all-inclusive resort that I could visit, and perhaps put a deposit down on for my next trip to what he called the “blue-collar” Riviera.

He suggested, in his spiel, visiting Las Islas Marietas for snorkeling. The Marietas are a nature preserve, so you can’t go on them, but there is a cave you can snorkel into. I take a combination whale-watching/snorkeling/booze cruise ($75ish). We meet up in Sayulita at 9:30 a.m., and return around 6 p.m. From Sayulita, we taxi to La Cruz marina, where we embark on the Chica Locca. It’s a little more party-boat than I care for, but they provide meals and an open bar, and I have no complaints on the whale-watching score. If you bring binoculars, you can use them on the birds of the Marietas, as well as whales.

I slightly regret not going horseback riding, which you can do, as well. I have a feeling it’s a good way to see the unpaved countryside without dying of heat exhaustion.

Mainly, people come to Sayulita to surf, or learn how, and quite a few stick around for the 300 days of sun per year. The beach is home to an assortment of surfing instructors, and the waves closest to the downtown area are also nicest for beginners. Sergio, from the Sayulita Surf School, was quoting me something like $35 for an hour of lessons, plus the use of the board to practice for an hour or two afterward. (It’s something of a trick to exceed the $35 price tag in Sayulita–my hour-long deep-tissue massage at Nirvanna Spa & Massage, at $55, finally broke the barrier, but it may not have, because I paid in pesos and the exchange rate has been favorable to the dollar.)

If, like me, you find the ocean constantly conspiring to drown you, there is still a great deal of entertainment to be had watching the surfing action from the beach, which is colonized by various chaise lounges, chairs, and beach umbrellas. I never actually find out who owns all this beachy largesse, if it’s public or provided by restaurants and bars back up the beach, but when I sit down to see if anyone will pester me about renting time, no one ever does. You are, however, likely to attract the interest of prowling beach vendors, who besides hammocks will try to sell you shirts, hats, jewelry, art, pipes, and–if you go for the pipes–marijuana and cocaine, and it is intimated, anything else in that line.

My week is, of course, far too short. I am just figuring out the rhythms of Sayulita life when it’s time to pack up. One morning I wake a little before sunrise and go for a walk in the blessed coolness–I’m wearing just shorts and a T-shirt, it’s not at all cold, but when I stop in at El Espresso (I am from Seattle, after all, and I’m not on vacation from americanos), the staff are bundled against the chill in sleeveless down vests. El Espresso quickly becomes a morning ritual, actually, because in addition to pouring some great espresso, they have free WiFi, just like cafés back home. Even more like back home, I discover the man typing next to me at the bar is working on a screenplay.

Amid Celebration, Gay Marriage in Washington State Could Be Delayed by Referendum

Senator Ed Murray

The Senate’s Wednesday-night passage of legislation legalizing gay marriage in Washington State means that now the House of Representatives will have a chance to vote, sometime within the next few days to a week. The Senate’s 28-21 vote represented the larger hurdle–supporters are confident they have more than enough votes in the House.

Senate Bill 6239, publicly supported by Amazon, Microsoft, Starbucks, and Vulcan, opens the definition of marriage to between “two persons” (with the U.S. Supreme Court we have, this phrasing does open the door to corporate marriage). The addition of protections for religious institutions to continue practicing a less feature-rich form of marriage was enough to draw support from four Republican senators, though three Democrats voted against the bill.

The Nays were: Senators Baumgartner, Becker, Benton, Carrell, Delvin, Ericksen, Hargrove, Hewitt, Holmquist Newbry, Honeyford, King, Morton, Padden, Parlette, Roach, Schoesler, Sheldon, Shin, Stevens, Swecker, and Zarelli. But they could not rain on primary sponsor Ed Murray‘s parade. He would not call a “nay” vote a vote for bigotry, he said, but then neither could a “yea” be construed as an assault on family or religion.

“Marriage,” he insisted, “is how society says you are a family.”

But as in a fairy tale, the people whose antipathy has disinvited them from the wedding can’t help trying to spoil it. Following Governor Gregoire’s promised signature–“Tonight we saw the best of Washington and our leaders,” she said, after the vote–opponents of the legislation will have until June 6 to put gay marriage up to a public vote this year. According to Publicola:

If they submit what appears to be enough signatures (a minimum of 120,577 valid signatures are required to certify a referendum), according to Washington Secretary of State Sam Reed’s spokesman Dave Ammons, the new law would be in a state of “abeyance” until voters have their say on the referendum in November and the election is certified.

If the referendum signature-gathering falls short, gay marriage could begin June 7, 2012. If it’s successful, and the public still approves the legislation, gay marriage would be legal as of December 7, 2012.

What We’re Hearing This Month: Classical Music Picks for February

Looking for a concert to enjoy with your Valentine? An evening of live classical music makes for a classy date night. Sick of the cold and rainy nights? Stellar live music is a fantastic cure for the winter blues. Here’s what we’ve got on the calendar this month.

Feb. 2 – 5 — Experience some of the best chamber music concerts you’ll ever hear at Seattle Chamber Music Society’s Winter Festival, held this year at Benaroya Hall’s Nordstrom Recital Hall.

Feb. 6 — Classical Revolution is a global network of musicians dedicated to playing chamber music in casual, non-traditional settings. The Seattle Chapter will be performing and reading through works by Mendelssohn at Faire Gallery & Café on Capitol Hill.

The Ritz Chamber Players will perform at UW's Meany Hall on February 15.

Feb. 8 — Extraordinary 16-year-old pianist Jan Lisiecki makes his Seattle debut at the UW President’s Piano Series. It’s always exciting to hear an emerging talent.

Feb. 8 – 11 — Musicians from around the world will gather in Wallingford for the Seattle Improvised Music Festival, held in the Chapel Performance Space at the Good Shepherd Center.

Feb. 9 – 12 — Seattle Symphony plays Mussorgsky’s beloved Pictures at an Exhibition, along with works by Stravinsky, Jolivet, and Haydn.

Feb. 11 — Early Music Guild presents a semi-staged performance of Dido and Aeneas, Purcell’s delightful opera.

Feb. 15 — The remarkable Ritz Chamber Players return to the UW Chamber Music Series with a world premiere and works by Crusell, Dvorak, and Beethoven.

Feb. 18 – 19 — It’s always worth making the trip to catch a concert by the Auburn Symphony. This time it’s all about romance. Catch pieces by Berlioz and Chausson, as well as a performance of Liszt’s Piano Concerto No. 2 by local favorite Craig Sheppard.

Feb. 23 – 24 — Legendary violinist Itzhak Perlman joins the Seattle Symphony for works by Vivaldi, Mozart, and Beethoven.

Feb. 24 — Experience music from the other side of the Pacific with “Celebrate Asia” at Benaroya Hall. Jie Ma is a featured soloist on the pipa, and exquisite instrument from China.

Feb. 25 – Mar. 10 — Don’t miss Seattle Opera’s production of Orphée et Eurydice, a Gluck masterpiece not seen here in Seattle for 24 years.

Feb. 26 — Seattle Youth Symphony Orchestra performs at Benaroya Hall. This talented group of young musicians is as good as many a professional orchestra…and a lot less expensive to catch in action.

Hamelin Treats Seattle to a Cheery Shostakovich and Dolorous Schnittke

Marc-André Hamelin

It’s rare to have an entire concert of 20th-century Russian chamber music, and thanks go to the Seattle Symphony musicians and pianist Marc-André Hamelin, who put together the program of Shostakovich and Schnittke works performed last Friday night at Nordstrom Recital Hall.

Shostakovich’s Piano Quintet, Op. 57, may be in a minor key, but it’s one of the most cheerful chamber works the composer wrote. The ominous undercurrents which are rarely distant from his other works are absent here, and it can be enjoyed for just what it is, a well-designed, substantive work, full of melody.

Violinists Elisa Barston and guest violinist Natasha Bazhanov, violist Mara Gearman, and cellist Walter Gray, with Hamelin, caught the detail and the feelings which are widely different in succeeding movements: the first almost fantasia-like; the second with a haunting opening phrase (reminiscent of “Nahandove,” one of Ravel’s Chansons Madecasse); the third, a Scherzo, almost circus music, jaunty but with a hint of the macabre; and the fourth bright and peaceful though with what might be heard as a tolling bell.

Each of the strings players had moments of gorgeous tone, unpushed and warm, quiet and tender, while Hamelin, who could hardly have had more than one rehearsal, played as though he’d been with them for years.

Alfred Schnittke

Alfred Schnittke’s Piano Quintet, completed about 35 years after the previous quintet, is a very different work. This is full of sadness, as Schnittke mourned the death of his mother and then the death of Shostakovich. It’s not an easy work to assimilate, the atonal music having little by way of melody or comfortable harmonies. Violinist Mikhail Shmidt had worked with the composer in Moscow and described him as a modest, shy man who thought others’ music better than his own.

The piano role is spare. Every note counts, rather like the musical equivalent of a drawing by artist Paul Klee, and several times Schnittke includes an insistent repeated note which continues for some time.

Most notably in the first movement, this is at the top of the piano and struck so that it is more percussion than tone for most of its repetition, only towards the end becoming more gentle and singing. The strings meanwhile play in dissonant harmony in long notes which sound something like a hive of bees, and in the second movement a slightly bizarre waltz creeps in. Only by listening carefully does one discern the subtleties Schnittke has embedded in the music throughout.

And by watching. At the end of the first movement as the music became quieter and quieter, with only the piano remaining, Hamelin’s hands came off the keys and one could see his fingers moving above them in total silence. An unfortunate burst of clapping marred that hushed, unusual ending, from a part of the hall where the hands could not be seen. Shmidt and Hamelin were joined by violinist Artur Girsky, violist Sayaka Kokubo, and cellist Meeka Quan DiLorenzo in a performance given enthhusastic applause at the end.

First and shortest of the evening was another work impelled by grief. At eighteen, Shostakovich wrote this Prelude and later a companion Scherzo, for string octet, after the death of a friend. They are astonishing works for a teenager, harmonically sophisticated, intense, frenzied, eerie and grim, each part resolving only towards the end, expressing the anger towards death of a young man. The eight string players together gave it a strong performance.

Seattle Theatre is Big Winner in New Gypsy Rose Lee Awards

Yaegel T. Welch, Eddie R. Brown III, and Warren Miller in Seattle Rep's Gypsy-winning production of The Brothers Size

The weakness of Seattle theatre, if you ask me, is mainly that not enough people know about the extent of it, and how good and varied it is. In large part, you can correlate the size of a theatre’s audience with its marketing budget. It’s not easy to get a glimpse of Seattle theatre as a whole, then, just in media-parceled pieces as we crank out a review of this or that show.

That’s why I was excited to participate in the brainchild of Seattle Theater Writers founder, Miryam Gordon, the Gypsy Rose Lee Awards.

It’s not that there aren’t drama awards in Seattle–there are Misha Berson’s Footlight Awards in the Seattle Times, and the Gregory Awards, voted on by members of Theatre Puget Sound, but Seattle was missing a Drama-Desk-y entry, one that captured more of the passionately critical embrace in which theatre and reviewers are locked.

So Seattle Theater Writers, uniting 11 local theater writers and reviewers, goes a long way to generating a critical consensus (or something sufficient) for the year in review, and also for productions across the Equity (actors’ union) and non-Equity spectrum. Following are the 2011 winners of the first annual Gypsy Rose Lee Awards, 2011 also marking the centennial year of the entertainer’s birth in Seattle, just FYI.

It wasn’t easy, and I wish there were a convenient way to let you in on the reams of emailed backroom debate. I’ll quote Miryam on the epic battles and compromises:

Determining winners for the Gypsys was a difficult process. We had over 460 nominees across 32 categories and had to make some tough choices. This demonstrates the enormous variety of excellent theatrical performances last year in Seattle, as well as the variety of opinions from our writers!

And now…the envelopes, please:

Excellence in Production of a Play: Equity: The Brothers Size (Seattle Repertory Theatre). Also recognized: O Lovely Glowworm (Or Scenes of Great Beauty) (New Century Theatre Company). Non-Equity: Sick (New City Theater). Also recognized: Live from the Last Night of My Life (Theater Schmeater).

Excellence in Production of a Musical: Equity: Iron Curtain (Village Theatre). Non-Equity: The Drowsy Chaperone (Seattle Musical Theatre).

Excellence in Direction of a Play: Equity: Juliette Carrillo, The Brothers Size (Seattle Repertory Theatre). Also recognized: Valerie Curtis-Newton, All My Sons (Intiman Theatre). Non-Equity: Karen Lund, Brownie Points (Taproot Theatre Company). Also recognized: Wayne Rawley, Live from the Last Night of My Life (Theater Schmeater).

Excellence in Direction of a Musical: Equity: Steve Tomkins, Iron Curtain (Village Theatre). Non-Equity: Brandon Ivie, The Drowsy Chaperone (Seattle Musical Theatre).

Excellence in Performance as a Lead Actor: Equity: Michael Patten, O Lovely Glowworm (Or Scenes of Great Beauty) (New Century Theatre Company). Non-Equity: Jaryl Draper, How I Learned To Drive (Stone Soup Theater).

Excellence in Performance as a Lead Actress: Equity: Anne Allgood, Mary Stuart (ACT Theatre). Also recognized: Carolee Carmello, Saving Aimee (The 5th Avenue Theatre). Non-Equity: Elizabeth Kenny, Sick (New City Theater).

Excellence in Performance as a Supporting Actor – any non-lead: Equity: Todd Jefferson Moore, A Midsummer Night’s Dream (Seattle Shakespeare Company). Also recognized: Joshua Carter, Mary Stuart (ACT Theatre). Non-Equity: Aaron Lamb, An Ideal Husband (Taproot Theatre Company). Also recognized: Nick Edwards, Shipwrecked (ArtsWest).

Excellence in Performance as a Supporting Actress – any non-lead: Equity: Bobbi Kotula, Iron Curtain (Village Theatre). Also recognized: Terri Weagant, A Midsummer Night’s Dream (Seattle Shakespeare Company). Non-Equity: Stacie Calkins, Hairspray (Seattle Musical Theatre).

Excellence in Performance as an Ensemble: Equity: Cast of The Brothers Size (Seattle Repertory Theatre). Non-Equity: Cast of Brownie Points (Taproot Theatre Company). Also recognized: Cast of A Lie of the Mind (Collektor).

Excellence in Set Design: Equity: Roger Benington, O Lovely Glowworm (Or Scenes of Great Beauty) (New Century Theatre Company). Also recognized: Mikiko Suzuki MacAdams, The Brothers Size (Seattle Repertory Theatre). Non-Equity: Mark Lund, Something’s Afoot (Taproot Theatre Company). Also recognized: Michael Mowery, Live from the Last Night of My Life (Theater Schmeater), Richard Schaefer, Arms and the Man (Seattle Public Theater).

Excellence in Costume Design: Equity: Harmony Arnold, O Lovely Glowworm (Or Scenes of Great Beauty) (New Century Theatre Company). Also recognized: Catherine Hunt, In The Next Room, or The Vibrator Play (ACT Theatre). Non-Equity: Deborah Sorenson, Pygmalion (Sound Theatre Company). Also recognized: John Allbritton, Hairspray (Seattle Musical Theatre).

Excellence in Lighting Design: Equity: Geoff Korf, The Brothers Size (Seattle Repertory Theatre) . Non-Equity: Tess Malone, Duel of the Linguist Mages (Annex Theatre). Also recognized: Dave Hastings, Crooked (Theater Schmeater).

Excellence in Sound Design: Equity: Matt Starritt, The Brothers Size (Seattle Repertory Theatre). Also recognized: Matt Starritt, The K of D (Seattle Repertory Theatre). Non-Equity: Christopher Overstreet, Duel of the Linguist Mages (Annex Theatre). Also recognized: Larry A. Ryan, Live from the Last Night of My Life (Theater Schmeater).

Excellence in Musical Direction: Equity: RJ Tancioco, Iron Curtain (Village Theatre). Non-Equity: Josh Zimmerman, Hairspray (Seattle Musical Theatre).

Excellence in Choreography or Movement: Equity: Sonia Dawkins, The Brothers Size (Seattle Repertory Theatre). Also recognized: Noah Racey, Guys & Dolls (The 5th Avenue Theatre). Non-Equity: Lack of consensus.

Excellence in Local Playwriting: Elizabeth Kenny, Sick (New City Theater). Also recognized: Scotto Moore, Duel of the Linguist Mages (Annex Theatre).

Excellence in Local Composing: Lack of consensus.