Recent Stories with tag bruno beltrao

Bruno Beltrao and Grupo de Rua's "H3". Photo by Anns V. Koiij.

The first thing my guest asked me upon leaving On the Boards last Thursday, after seeing Brazilian choreographer Bruno Beltrão's company Grupo de Rua, who are their first US tour with H3, was, "Did you respond to that more because you're a man?"

It's a fine question to ask. Not that women in the audience weren't responding—you could almost hear the panting at the end, as eight physically ripped, sweating (and most shirtless to boot) Brazilian dancers took their bow—but Beltrão's H3 is an almost Mametian (in terms of its masculinity, rather than its misogyny) exploration of men interacting with men, from the opening moments, where a pair of dancers stare down the audience, to the closing moments of chaos, the dancers each taking more and more expressive and athletic poses on an increasingly darkened stage. In between, H3 offers a detailed examination of the way men establish themselves among their peers, compete with one another, and ultimately turn to machismo as a means to exist in the world.

H3 unfolds in three distinct sections. The first is essentially narrative, centering on one dancer's character. As the show opens, he stands next to a far more self-assured counterpart, trying to follow his lead in staring down the audience. Then the weaker of the two begins to move, only to be shown up by his more assured and accomplished counterpart. Then, one by one, the other dancers move onto the stage, each in turn seeking to establish his own skills and ability. Ultimately, the original dancer finds a partner whose moves he carefully follows and thus is able to establish himself within the group.... (more)

This weekend, starting Thursday, On the Boards is presenting Brazillian choreographer Bruno Beltrão's Grupo de Rua (through Sunday, tickets $24). Fast-paced and hip hop-influenced, this is the antidote to the sort of contemporary dance that can turn off casual audiences. The company has been touring the piece they're presenting, H3, for the past few months, and have scored some excellent reviews around the country. Just hurry to get your tickets—Friday and Saturday are already sold out.

Jessie Underhill, Marya Sea Kaminski, Susanna Burney, and Ellen Elizabeth Steves in Electra at Seattle Shakespeare. Photo by Erik Stuhaug.

After the long schmaltzy holiday season, The SunBreak's arts desk is inundated with press releases, production photos, and scheduling conflicts as the entire performing arts community seems to be ramping up for the new year. So as I try to dig myself out of this mess, here's the abbreviated list of what I want to make sure someone is seeing.

Vaud Rats at the Balagan (Jan. 7-16, tickets $12-$15). K. Brian Neel has a reputation around town as a great solo performer (personally, I've only seen his work with Helsinki Syndrome), and I can only assume it's well earned. Vaud Rats is an evening-length solo ukelele operetta about a down-and-out vaudevillian. And everyone who's seen earlier incarnations claims it's genius.

14/48: The World's Quickest Theatre Festival at ACT (Jan. 8-16, tickets $20). Last time I tried to write this out, I got it wrong, so I'm being extra careful this time. Here's how it works: This Thursday night, Jan. 7, a random theme is going to be pulled out of a hat and given to seven playwrights. They're going to go work all night writing up seven 10-minute plays. In the morning, they hand these over to directors, who have until eight at night (when the curtain goes up) to get the actors rehearsed, the props and set built, and everything else ready to go. Then on Friday night, the whole thing starts over for a batch of seven more plays for Saturday. Okay, got it? It's a rollicking good time to be had by all.

Electra at Seattle Shakespeare (Jan. 8-31, tickets $22-$36). Sophocles' story of a daughter pissed at her mom for killing her dad (true, he had a lover, but then so did she) never gets old. Or does it? Normally, I'd say yes, but directed by Sheila Daniels and starring Marya Sea Kaminski in the title role, you're not liable to find a better production anytime soon.

Whim W'Him's 3Seasons at On the Boards (Jan. 15-17, tickets $18). Easily the most anticipated dance event of the month, PNB principal Olivier Wevers' company Whim W'Him is presenting its first evening-length work: a new ballet choreographed by Wevers featuring a score adapted from Vivaldi's Four Seasons by local composer and Cornish prof Byron Au Yong. I caught a preview performance of the work in rehearsal last week, and would love to be the first person to describe Wevers' work without using the word "whimsy." But there was definitely whimsy, as well as wit, bonhomie, drama, a wee bit o' sexy, and everything in between.... (more)