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The Weekend List: The arts and culture guide to Seattle's good life

Zoe/Juniper's wild, beautiful dance moves, charming animal animation and saucy, historical cabaret.

Zoe | Juniper’s BeginAgain

The last time I saw a Zoe|Juniper creation, I was lying on a dance floor, watching videos on the wall and ceiling, and feet and legs were doing their thing all around my head. I loved it for several reasons: 1) You could hear the dancers’ breathing and there’s nothing quite like being immersed in something. And 2) I was on the floor. Seriously, who thinks of something like that? This is the newest full-length production by the Seattle-based husband-and-wife duo (Zoe Scofield is the dancer; Juniper Shuey is the lighting/video whiz) who never fail to stoke the flames of creativity. Hurry, hurry, though. As of Thursday afternoon, only the Sunday show still had tickets available.

If you go: Zoe|Juniper’s “BeginAgain,” On the Boards, March 27 – March 30. ($12-$20). — F.D.

Seattle Vice

Here’s a descriptor you don’t find in a press release everyday: “a lively, historical peep show.” But that’s what this cabaret musical is offering — a production that aims to whisk you back to Seattle’s seedier past. Based on a book by journalist Rick Anderson, the musical spans 80 years. Director/composer Mark Siano opted to focus on 1965, “when this city was really hopping and really dirty at the same time.” There’s an 18-person cast, barely-there (I’m assuming) costumes, and a band playing music that’s a mix of 1960s groove rock and loungesque Vegas songs. I’m just curious how the James Gandalfini-esque Seattle crime boss Frank Colacurcio is going to be cast. Please, let him be clothed.

If you go: Seattle Vice, ACT Theatre Bullitt Cabaret, March 28 – April 19. ($20-$35).  — F.D.

*Stereotype

You have one last chance to head to Georgetown and take in this small but provocative show about the labels and vulnerabilities and the brutality that surrounds race. The work here, by 6 artists, is (no surprise) unsettling – poems that upend nursery rhymes and turn them into racist songs; a video that juxtaposes the joy of an elephant being freed from captivity, alongside horrific footage of an elephant on a rampage that is shot dead. The work that caused me to linger and absorb deeply is a piece by Barbara Earl Thomas, a call-and-response essay about the comments she endured from whites as an African American child. You speak fluent English and you are so articulate!/Yes, and thank you. Thomas is slated to swing by the gallery after 1 p.m.

If you go:  Stereotype, Length Width Height gallery, noon to 4 p.m. on March 29. Free. — F.D.

*Ernest & Celestine

Charming animation, complete with an accordion-heavy soundtrack, illuminates the story of Ernest and Celestine, a bear and mouse who are friends in a world that is very much against them. Cute, funny and totally twee, this is a film whose storyline and animation are  mesmerizing. It’ll come as no surprise that Ernest & Celestine scored a 97 percent on Rotten Tomatoes; was nominated for an Oscar for Best Animated Feature, or that Didier Brunner, one of the film’s three directors, was the producer of The Triplets of Belleville. It’ll be showing for a VERY limited run — one week only at the Seven Gables Theatre. So go and be overwhelmed by cuteness.

 

If you go: Ernest & Celestine, Seven Gables Theatre, March 28- April 4th, ($10). All ages. — N.C.

The Black Lips

Tempting as it may be to write off The Black Lips as one more blues-rock band with black in their name, consider this: Creating super avant-garde music is commendable, but so is the ability to breathe new life into a classic genre. The Lips are deft at this and they pull from more styles (surf, blues, grunge and punk) with alacrity similar to Blitzen Trapper.


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