Sounders Play “Biggest Game Ever” Tonight–Will Anyone Be There?

Tonight the Sounders play their first game of the season, the first leg of the team’s CONCACAF Champions League quarterfinal against Mexican team Santos Laguna. Everyone from Q13 to the Sounders organization itself contends that this is a key game in franchise history. Yet it seems likely to be played at a half-empty Century Link Field.

The game isn’t part of the regular season ticket package. All tickets have been sold separately. As a result, instead of the rollicking 38,000 Sounders-crazy stadium the team can expect for MLS games, the team may be playing to more empty seats than full ones. As of last week, only 16,500 tickets had been sold, despite prices as low as $15 per ticket. It’s likely that a considerable number of those tickets were sold to Mexican League fans rather than Sounders supporters. And with freezing temperatures expected for the 7 p.m. kickoff, it’s hard to imagine a large walk-up crowd.

I’m going, coated with as much wool as a sheep. I implore you–come on out! Plenty of good seats are available, at prices far below what you’d normally pay for them, for one of the biggest games in Sounders history. If just for the benefits of radiating body heat, the more the merrier!

You’re ignoring me, aren’t you? Fair enough. As Yogi Berra once said: “If people aren’t going to come out to the ballpark, how are you going to stop them?” But, it brings up the question: Are Sounders fans really fans of Sounders soccer? Or are they just fans of the Sounders game experience?

Mull that one over, then we’ll talk about the game itself, which you can watch from your warm home on Fox Soccer Channel.

The big on-the-field question for the Sounders is whether newly acquired striker Eddie Johnson will start. Johnson, a former U.S. National Team player, has been struggling with a hamstring injury. If Johnson doesn’t start, former Mexican League player Sammy Ochoa probably will, and you’ll see Johnson make his Sounders debut as a sub.

The Sounders’ quarterfinal opponent, Santos Laguna, is currently fourth in the top division of Mexican soccer. In other words, they are no joke. Oribe Peralta is Santos’ leading goal scorer this season, with 5 in 9 games. He’s listed at 5’10” and looks kind of skinny, so I’m going to assume he’s fast and has incredible skill. The Sounders can counter with speedy defender Jhon Kennedy Hurtado. When those two end up near each other, that’s the matchup to watch.

From inception, the Sounders have dreamed big. “I see a team that plays so well together that they can get on the field in any country in the world and play competitively,” owner Joe Roth said in December 2007, more than 20 months before the franchise’s first game. Tonight the Sounders will take the biggest step toward that vision. Would be nice if their fans were there to see it.

A Footloose Orphée? Blame the French

Dancers Daniel Howerton and Roxanne Foster as Blessed Spirits (Photo: © Elise Bakketun)

There’s not as much dance in Seattle Opera’s Orphée et Eurydice (which plays March 7 and 10 before closing) as there could be; stage director José Maria Condemi decided to cut the 20 minutes of celebratory dance that ends Gluck’s opera. But there’s still plenty, choreographed by the Athenian Yannis Adoniou, enough to confuse the opera newcomer who has prepared more for, you know, singing. (Read our full review here.)

Blame (or praise) the French, whose catholic tastes demanded that they get a little, or a lot, rather, of ballet along with their opéra. That’s one reason why the Ballet de l’Opéra de Paris is the oldest national ballet company in the world. We owe it all to King Louis XIV, who wearied of the quality of dance provided by the nobles in his court, and founded a royal dance school. One thing led to another.

(Dance isn’t the only evidence of French influence in Orphée. The tragic Greek myth becomes, in the opera, a lesson for lovers: The way to win someone back, Amour tells you, is not to look at them. Solid advice, but of course soft-hearted Orphée has trouble with it.)

In Condemi and Adoniou’s hands, the dances are as functionally important as arias, in terms of telling the story. Just as an aria might allow William Burden’s Orphée to bare his soul, the dances express mourning, emotional roadblocks, the serenity of companionship. Adoniou’s idiom here is much more modern dance than ballet (his dancers–Daniel Howerton, Scott Bartell, Kate Chamberlin, Roxanne Foster, Kyle Johnson, Marissa Quimby, Demetrius Tabron–are barefoot), but their movements are nonetheless balletic.

Adoniou, who danced classical ballet himself, before joining Alonzo King LINES Ballet, says, “I didn’t want to be in a form where everything had been determined by someone else a hundred years back. I was interested in today.”

When you see his choreography for the Furies, it’s such an inextricable part of the opera that it’s difficult to imagine it being danced on its own. You understand what Adoniou means when he says, “With the Furies, it’s a struggle for survival, about pushing through the most difficult, uncomfortable experience in your life.” The dancers surround Orphée and impersonate a taffy-like prison.

Only occasionally do you recognize formally specified movements: the men lock arms, shoulder to shoulder, and the women lean back, arms outstretched–it’s an arrangement they will echo in the Elysian Fields section of the opera. But when the Furies do it, it feels like chainlink fencing with barbed wire on top; when the Blessed Spirits do it, you can see the men are supporting the women as they let go of past hurts and angers. That idea is picked up again with arms curved in front, forming a bowl, and then lowered, widening, as it all pours out.

Having elaborated on that, Adoniou has the dancers pair up, sliding carelessly down a green sward. There’s an element of folk dance to the steps of their pas de deuxs, then the willowy women are lifted up, then pantomime a fatal swoon, again and again. It’s both poignant and, in repetition, reassuring. The women rise again, to dance. This section–minus the hillside tobogganing–would, I think, stand on its own. It’s not the kind of dance that leaves you struck dumb by its innovation, or emotional heft, but its playfulness and serene joy are purely tonic.

Convicted Rapist Arrested Tying Up 6 Female UW Students in Their Home Was Allegedly “Low Risk”

“On 3/5/12, at approximately 3:30 a.m.,” goes the understated police blotter report, “officers responded to a house in the 5000 block of 20 Av[enue] NE to a report of a burglary in progress.”

What they found was something a little different than the already upsetting prospect of a home invasion. The man they booked into jail would turn out to be a convicted rapist, and he would be charged with “Burglary, Robbery, Attempted Rape, Unlawful Imprisonment and Kidnapping.”

On The Stranger‘s Slog, Cienna Madrid skipped understatement and titled the incident “Every Woman’s Nightmare” (packaging it with a story about a convicted stalker who’s still stalking women downtown). When you read the description of how events progressed, it sounds like a horrific crime was barely averted, thanks to one of the young women calling 911 successfully (two others dialed but couldn’t get through in time). Here is the Seattlepi.com summary:

The man then had the six women, all aged 19-21, lie on the floor on their stomachs so he could bind their hands with tape. When he ran out of tape, he tore a lamp cord from the wall as sparks flew, and used the cord to tie up the rest of the women, the victim said. At one point, the man forced a woman to take off her clothes, police said.

35-year-old Robert D. Hitt, after serving 10 years for a rape in 2001, was released in January 2012. He was classified as a low-risk to reoffend by the Indeterminate Sentence Review Board but was also “under lifelong supervision by the state Department of Corrections (DOC),” reports the Seattle Times. Given this most recent arrest, neither of those two statements seems to carry the accuracy you’d demand when a Level 2 sex offender is released back into society. It feels particularly damning to learn that he had just completed subsequent sex-offender treatment program last Thursday.

In March of last year, I wrote a post titled–I hoped alarmingly–“After PALS: Mentally Ill with History of Arson, Murder & Sex Offenses Return to King County.” It was about how the Washington State Legislature was consistently defunding programs that kept dangerous offenders out of the community. Trying to get readers worked up, I wrote:

Are you upset? Are you angry that legislative “austerity” takes precedence over your safety? Then sit down and count to ten, because the reason PALS is closed is this: Its budget was cut until it became too expensive to run, and then it was shuttered.

I can’t say anything about this particular case, and why Hitt was determined to be “low risk,” but budgetary pressures are likely to play a role in general strategies of incarceration and release to the community. If you have no middle ground between prison and the over-promise of “lifelong supervision,” you will continue to read stories like these. (A Seattle Times editorial cheers Senate budget cuts “principally to social programs,” raising again the question of whether they read their own paper’s news, and can connect dots.)

Judging from the comments sections, some Seattle residents would like simply to execute sex offenders, rather than pay for programs like PALS, which used to keep us safer without needing to become murderers ourselves. That sounds like a different kind of nightmare.

Living Bridges Brings the Circus to Georgetown

There’s great pre-show entertainment at Circus Syzygy’s Living Bridges, a work in progress hosted by Georgetown’s School of Acrobatics & New Circus Arts (SANCA) through March 11 (tickets can be purchased through Brown Paper Tickets, here). The box office is set up in the middle of a gym full of students learning handstands, aerial work and other skills like those that Syzygy performs with a mix of virtuosity and comedy. The contrast is inspiring.

As with most theatrical events, this performance begins with a preshow reminder about cell phone etiquette, only this announcement quickly turns into the theatrical highlight of the evening. Mick Holsbeke’s clown act, which accompanies the increasingly detailed pre-show instructions, establishes his character as the audience’s on-stage surrogate through whom we’ll experience the show. Just as that character gets comfortable the stage is invaded by acrobats that turn this quiet evening into a turbid scene that suggests The Cat In The Hat. They are a chaotic yet pleasant force, Thing 1 and Thing 2 on Prozac, taking easy pleasure in their acrobatic antics.

While Holsbeke is the production’s most fully defined character, later scenes suggest some degree of character for particular acrobats. Terry Crane pushes this the farthest in a series of bits in which he tenaciously pursues another acrobat. Crane also tends to let the audience see how hard he is working in his aerial work whereas the rest of the troupe maintain the traditional poise of the trade in their acts. The focus feels equally engaging and incongruous: I hope Syzygy will find ways to incorporate it dramatically as the piece develops.

Giulio Lanzaframe also develops some character as he tries on a bit of clowning with a lamp and book, but he impresses more with his juggling and slack line. Holsbeke’s invisible rope act is the best of the clown bits and hints at a journey for his character, who may be fighting back against the interlopers with an earthbound mimicry of Crane’s aerial expertise.

Marie-Eve Dicaire’s hand-balancing act makes upside-down splits look as languid and pleasurable as a yawn and a stretch in the afternoon sun. That she nonchalantly knocks over piles of stones in the process revives the casual anarchy of the initial sequence. Oddly, the rest of the ensemble, who had carefully and somberly piled those stones into a cairn colonnade, seems unmoved by her blithe destruction.

In their trapeze act Ben Wendel and Rachel Nehmer manage to combine professional cool with sensual heat. The driving blues accompaniment and lighting changes didn’t hurt but it takes little more than a look or a touch from these performers to put a sexual charge into the waning minutes of the show.

The run of this show is just getting started, but when it does close the troupe will complete development of the project in Toulouse. You might hold out for the finished production, hoping to find your way to France, but in catching Living Bridges during its SANCA run you only risk a sudden urge to sign up for tightrope walking classes.

A Non-Gambler Looks at Vegas

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The fountains of Bellagio, as seen from the Eiffel Tower Restaurant (Photo: MvB)

The dancing waters of Bellagio (Photo: MvB)

St. Mark's Square along the Grand Canal, Las Vegas (Photo: MvB)

Indoor gondola rides (Photo: MvB)

A view of Treasure Island from the Palazzo (Photo: MvB)

The MGM Grand (Photo: MvB)

The Palazzo, from poolside (Photo: MvB)

More poolside Palazzo (Photo: MvB)

The view of Palazzo's pool from the 17th floor (Photo: MvB)

A demo new suite at the MGM Grand (Photo: MvB)

A Palazzo suite's bathroom (Photo: MvB)

A Palazzo suite (Photo: MvB)

The Palazzo sleeps on Sealy (Photo: MvB)

Under Construction (Photo: MvB)

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Can you believe I let forty years slip past before visiting Vegas for any length of time? It’s not that I don’t gamble at all, but after an hour or two, I’m generally looking for something more distracting. There, Las Vegas is more than willing to help out, even though it’s paid for by people who put more energy into losing money than I can muster. Bless them, because that means Vegas can offer the rest of us luxury suites for weekend getaways with great entertainment value, even if you don’t pony up for the multitude of Cirque du Soleil shows going on at any given time.

A word about me: You know that drunk guy wandering the Strip with his bros, sucking on one of the two-foot novelty drinks and bellowing, “WE’RE HERE!” sporadically, as if he’s occasionally blacking out and coming back? I’m a few feet ahead of him, wearing a suit and wondering if the Bellagio’s Monet exhibit ($15) is worth stopping off for. He has his boozy binges, I have my Vitamin D fix to secure later, napping in the sun by the pool. “Homo sum, humani nihil a me alienum puto,” isn’t that what we say? Vegas is large, it contains multitudes.

I flew Alaska Air from SeaTac and stayed at the Palazzo for two nights, which ran to almost $1,000, plus a $20 resort fee that offered access to their Canyon Ranch SpaClub, internet, a daily newspaper, and a daily coffee, among other little benefits. Many times when you open the door to a “luxury suite” you are a little let down; that was not the case for me at the Palazzo. It was spacious, handsomely furnished, well-appointed (three flatscreens). There was a sunken living space with wraparound couch, and a remote-controlled Roman blind that revealed a view of the Strip.

My Escalade from the airport cost $49 plus tip (my return-trip taxi, $30 plus tip). Vinny the Escalade operator was a more informative and gregarious host, pointing to all that had changed in the Vegas skyline. Vegas was an easy town to get into trouble in, he advised me, so I should be careful not to get carried away. “These women won’t even look at you during the day,” he said, “but at night, they get pretty chatty.” He was a family man, so all that was behind him. But still, he said, even the housewives dress like hookers, and gave a Big Apple shrug. If I liked sports, he mentioned, I had to stop in at Lagasse’s Stadium at the Palazzo (it’s the “ultimate” in sports book dining).

In fact, I ended up stopping in at the Paris Las Vegas Hotel & Casino for lunch in their Eiffel Tower Restaurant, which happens to overlook the Bellagio’s fountain show. (The Palazzo overlooks Treasure Island’s Sirens of Ti pirate show. This begins not to seem accidental.) The atmosphere in the mock Eiffel is a little precious–my waiter swapped out a white linen napkin for a black one that went with my suit–but lunch is not outrageous. They had a prix fixe lunch, that benefited a local charity, for $30. The filet of trout meunière was comparable to what you’d pay at Chinook’s, which does not give views on the Bellagio’s fountains.

Every resort and hotel does their best to keep guests on their property, and the layout of the Strip colludes with that territoriality: Built for cars, cars, and only cars, the Strip wears down pedestrians with a series of skybridges that keep you out of sight of drivers. Still, if you’re down from Seattle and the sun is out, you might as well hoof it. (Especially if you’re from Seattle, you will happily drop $5 to take the Vegas monorail back.) Each property offers some kind of frontage attraction; down at New York New York there was a live band out on a sidewalk stage, and an unusual number of people having their heads shaved in public.

Bellagio gets enough ink, apparently, because their PR people asked that I look into the MGM Grand instead, whose rooms “are undergoing a huge $160 million renovation and they are beautiful.” They’re so proud, they have a model suite set up in the lobby, along with their usual giant golden lion. I was just passing through, but it reminded me of the Las Vegas I’d more expected, with advertisements for David Copperfield and a Rainforest Café.

I was very happy with the Palazzo, which is connected to the Venetian, as I discovered when I checked in at the Venetian and discovered I was actually booked into the Palazzo. Together, they and their convention center form the “largest five-diamond hotel and resort complex in the world.” Their attraction is the indoor Grand Canal, which is fronted by “Shoppes” bearing the familiar names of Cole Haan, Burberry, Barney’s, and restaurants and bars perpetrated by celebrity chefs. It’s easy to giggle at the faux-Venetian decor, but it’s also an achievement that Walter Benjamin would have gazed at with eyes wide.

For the flâneur who hopes to beat the desert heat, the Grand Canal shops provide an arcade oasis, with unending window displays, ever-changing Venetian vistas, and ceaseless people-watching. Las Vegas, it turns out, is the apotheosis of people-watching: You have everyone from the bachelorettes stilting around in heels and slinky dresses, to the families in T-shirts emblazoned with place names, to packs of conventioneers feigning camaraderie, to bleary-eyed slots junkies blinking at the enormity of St. Mark’s Square while they spoon their minestrone. (It’s perhaps instructive that what’s missing are the great cafés–there are only a few coffee shops, and they tend not to offer acres of seating.)

The gnocchi at Postrio was fluffily delightful, but more so when coupled with the subversive thrill of eating “outdoors,” in a large square…in the U.S. Yes, there’s a sentimentalist feel to the broad Venetian brushstrokes, and no, those arched windows don’t have anything behind them, but everyone there is behaving just like a European sitting down for dinner in their local square. If you’re so inclined, you can spend hours pondering the reversibility of signifiers, what connective tissue links the prosaic food court with the European plaza, why people fly across the country for ersatz conviviality.

If you’re honest, you will do so with cognizance of your complicity in Vegas, which, after all, only exists to make you happy. On an art gallery window, I saw the words “Da Vinci Exclusive,” which I kept turning over in my head all weekend, trying to imagine if foresighted Leonardo had pre-imagined Vegas and its need for “status” art, and worked out a centuries-spanning contractual exclusive. But of course not. That’s not what Vegas means. It’s not in the city to be so distressingly literal. The water you see in the desert is not really water, just excited light. Try to take it in.

The side benefit of a Las Vegas trip is that, sunlight aside, Seattle compares so favorably in many areas, certainly when it comes to food and drinks. I had the chance to compare my Cuban sandwich and Negroni at Sammy D’s FIRST Food & Bar with a Cuban sandwich and an unnamed concoction at Linda Derschang’s Smith on Capitol Hill, after I’d gotten back. Smith won easily on the sandwich side (better bread, more piquant sauce), and won again (though it was closer) on the drink side. I had no complaints about FIRST’s Negroni, but it was not in the class of the Negroni I’d had at Clyde Common in Portland.

This is not the place to get into the varied merits of Tavern Law, Canon, or Sun Liquor, to name a few without walking far–Liberty, practically at my doorstep–but I think it’s easy to forget how far people are willing to fly to taste what we think of as “local” talent.

Wait, Boston Will Be First in U.S. to Fly 787?

Boeing 787 Chief Pilot Randy Neville presents a Dreamliner model to Japan Airlines Senior Vice President for the Americas Hiroyaki Hioka. (Photo: BOEING)

It’s more than a feeling–it’s a fact. A Boeing 787 Dreamliner landed in New England for the first time ever this past Sunday, in preparation for Japan Airlines‘ launch of a Tokyo Narita-to-Boston route. As of April 22, 2012, JAL will fly four times per week (flights JL007 and JL008) between Tokyo Narita and Logan International, switching over to daily service on June 1.

All Nippon Airlines will offer direct SeaTac-to-Tokyo Narita flights by mid-2012 earliest, but Seattleites will be flying the same old boring planes to Japan on Delta and United for a while yet, despite their orders of 18 and 50 787s, respectively. A United-ordered 787 provided a photo op for President Obama recently, in his visit to Seattle, but United plans to put the new plane in service first on its routes between Houston and Auckland, New Zealand; and Houston and Lagos, Nigeria.

The largest 787-9 can hold “just” 250 to 290 passengers (for comparison, a 747-400ER can hold up to 524), so airlines like United are directing it first to longer but less-popular flights, where the 787 can fly full and help them rake in savings on fuel. United’s first 787 will carry 219 passengers.

Boeing has a 787 on tour throughout March. Now up is Newark, New Jersey; next, Mexico City, Phoenix, San Diego, Long Beach, and Salt Lake City.

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