“There will be… liberal use of stage blood, should occasion warrant it,” warns the email invite confirmation to “The Angel in the House,” a new play written and directed by Seattle’s Sara Porkalob.
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Guy Richie’s new action comedy “The Gentlemen” has one of those twisting, turning plots that’s hard to follow, and deliberately so.
Local performer and writer Susan Lieu had her one-woman drama “140 LBS: How Beauty Killed My Mother” pretty much perfected, in terms of performance, by the time she left town for a 10-city tour. But she didn’t figure on certain kinds of offstage drama.
The historical epic “Quezon’s Game” opens with a 1944 newsreel unfolding in a small screening room.
The Museum of History and Industry (MOHAI)’s exhibit “Beyond Bollywood: Indian Americans Shape the Nation” didn’t originate in Seattle. But MOHAI’s guest curator Amy Bhatt wanted to make sure that local audiences saw a special, unique version.
If you want to make it to the top, you have to start small. Award-winning Chinese American pianist George Li knows that from personal experience.
As you might well expect from a play called “The Brothers Paranormal,” certain thriller aspects of the paranormal goings-on have to remain hidden from the general public. But director Mimi Katano was willing to let a few pennies drop.
Folks showed up early and in long lines for the sneak preview in Seattle of Joon-ho Bong’s new film “Parasite,” winner of the prestigious Palme d’Or prize at the Cannes Film Festival. Bong’s seventh feature film, as a director, was the first film to win the prize with a unanimous vote from the judges, since 2013.
“When I was younger, I had a difficult time understanding what it means to be happa (half and half). What made me Japanese, and what made me Dominican? What does being American mean for a person such as myself? When my parents separated, my mother (Japanese) got custody of me, which is why I’ve spent most of my life exposed to Japanese culture. It wasn’t until later in life where I started to learn about Dominican culture through my Dad’s side in the Bronx, New York…
“Abominable” opens with a monster-eye view shot, fairly long, of the monster’s escape from a high-security detention area. Large, strong, and not verbal but capable of emotive grunts and hums, the huge beast fights its way to freedom, into the city beyond its prison—which, we learn quickly, is Shanghai, China’s most populous urban area.