Seattle Review: Next Tuesday
Driving onto 19th Street, I didn't know what to expect from the new fringe group, Washington Ensemble Theatre. I had heard the opinions of my friends, but I had never actually experienced a WET show myself. Walking into their quaint and cozy lobby, art plasters the walls and you get a real sense of community. Once inside the 50-seat house, this little hole-in-the-wall space becomes even more likable, with a stage that's about 3 feet wide and movie-theatre seats that bounce back and forth. If anything, it's simply worth going to this show to sit in the seats.
But, gladly, there are many more reasons to see WET's current show, Next Tuesday, the third in their inaugural season. Directed skillfuly by Steve Pearson, Next Tuesday is a pure movement piece with no spoken dialogue (only singing by one ensemble member, and random mutterings by a drunk character), that dramatizes the events of a Tuesday outside any old stoop or front door. We see garbage men, construction workers, couples rushing off to work, children rushing off to school, first dates, overcrowded parties, and much more in the 90 minute one act. I never thought I would be so enthralled simply by people walking silently across a stage.
Pearson (the director) and the ensemble have created a thoroughly interesting and entertaining pice of theatre, using something that everyone in the audience can relate to: every day life. The laughs and reactions from the audience weren't forced by the actors, and they weren't out of pity from the audience, they were simply natural reactions. Part of the fun of the night was to experience everything one goes through with the rest of the audience. Knowing that feeling of having your car alarm go off, or taking your dog to go to the bathroom, or having door-to-door petitioners on your stoop. They've taken simply everyday events and turned it into extraordinary theatre. The ensemble of Darrick Clayton, Marya Sea Kaminski, Marc Kenison, Jonathan Martin, Michael Place, Alex Tavares, and Anya-Maria Ruoss work splendidly together. I would single them all out individually, but this review is getting long.
Besides the necessarilly simple yet attractive sets (by Jennifer Zeyl), costumes (by Heidi Ganser) and lights (by Jessica Trundy), and the simple yet engrossing play (based on an earlier piece Pearson performed in), one of the greatest achievements in the piece is the sound design by Matt Starritt. In a piece with no dialogue, both the action and sound are what keeps the audience with the story; director Pearson and sound designer Starrit obviously worked very closely to ensure a quality product. Ranging from eclectic dance beats, to cello sonatas, to simple clicks in rhythm, one was never bored or overwhelmed, and each song fit the mood perfectly.
WET is made up of a group of graduates from UW's School of Drama. Of the ensemble company, two hold BA's, one is still an undergrad, and the rest are graduates of UW's acclaimed graduate program, and I can see why I've heard such wonderful things about it. These performers are truly in their element. And from the list of the advisory board (including Jon Jory and KJ Sanchez), this group definitely has some heavy hitters behind them.
I'm sad I caught this show so late in it's run, because now I can't tell more friends to see it. For a Friday night, I've never been more entertained. And if you wait until next Tuesday, you'll be sorely disappointed, for the run ends Monday March 14.
-Ethan John Thompson
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