Seattle Blog

Review of Kinyarwanda at the Langston Hughes African American Film Festival by Safaa D. Kinyarwanda tells the stories of Rwandans during the bloodshed of 1994 and the accomplishments of the people in resolving past issues by forgiveness in order to coexist and heal their nation.Director and writer Alrick Brown along with producer Ishmael Ntihabose draw material from accounts of genocide survivors compiling them into an artfully woven tale. The lens switches between the main characters who are linked to one another through an intricate web of love and hate, peace and violence, and eventually forgiveness and healing. The film begins with a love story between two young people then moves on to a Catholic priest about to be executed and then to the kind old Imam who does all he can to shelter those in need, showing different aspects of life during the Rwandan genocide.Though the streets are dangerous and no one opposing the eradication of Tutsis is safe, life goes on. Parties are held behind drawn curtains, children still play ball and young love does not stop. When the Tutsis and refusnik Hutus must flee the carnage, they take refuge in the grand mosque of Kigali. The mosque is the only safe place for them, as the Mufti proclaims Muslims to be forbidden from taking part in the genocide, instructing the mosques to open their doors to all people who seek asylum.Eventually the main characters, along with hundreds of others come to hide together in the great Mosque of Kigali and Madrassa of Nyanza. The Christians and Muslims, the Hutus and the Tutsis pray side by side, each in their own way. The people of Rwanda come together to protect, respect, and eventually forgive one another. They learn to look past the divisions that caused the strife, and become one people.This film is a rare find with a powerful message of hope and exculpation. It is a masterpiece, showing the human face of love, lurid anger, and the meaning of forgiveness.The chances to view this film are limited, and unfortunately this was the only showing in Seattle. You can go to the website kinyarwandamovie.com to learn more about the film and like them on facebook. If you have the chance, this is a movie that you shouldn’t miss.Even if you can’t see Kinyarwanda, the Langston Hughes African American Film Festival (LHAAFF) is continuing through May 8th. The line up for this year is amazing: Movies, Art, Music, Human Rights and local film makers. I hope to see some Teen Tixers at the Central Cinema during the week, or at the Quincy Jones Theater on Sunday. Don’t miss this opportunity. GO!Langston Hughes African American Film FestivalThrough Sunday, May 8thCentral Cinema & Quincy Jones Performing Arts Center at Garfield High SchoolMore info at langstonarts.org

Review of The Agony and the Ecstasy of Steve Jobs @ Seattle Repertory Theatre by Chloe P.Photo courtesy of Kevin BerneThe stage design is worthy of any Apple product: sleek and minimalistic, with a simple table and chair set before a frame of LED rectangles. The lights go down, and then back up; Mike Daisey, now occupying the lone chair, wastes no time launching into his monologue, The Agony and the Ecstasy of Steve Jobs, a stunning work of nonfiction weaving together stories of Apple, Steve Jobs, and the place where our technology is made. During the course of the approximately two hours of Daisey’s performance, he discusses his love of technology, the history of Apple and Steve Jobs, and the harsh reality of the Chinese “special economic sector” where all of our electronics originate. Daisey describes the piece as “examin[ing] our technology through a very personal lens.” He thinks “it’s very important that we examine these objects (technology) and the circumstances under which they are actually built, which we are very, very unaware of. And even when we think we’re aware of it, we aren’t really fully aware.”Mike Daisey in front of a famous monument to Deng Xiaopheng, in Shenzhen, ChinaPhotography courtesy of Ursa WazDaisey is a captivating performer, intense and engaging. His stories are at turns hilarious and chilling. His monologue manages to be both immensely entertaining and hauntingly relevant, as, through his interwoven testimonies, he drives home an unsettling truth behind the technology we use every day, Apple or otherwise, that will stay with you long after you leave the theater. In a time when it is essentially impossible to go a day without using or seeing a laptop, cell phone, iPad, or other piece of technology, Daisey’s message is something everyone needs to hear. As Daisey puts it, you will leave “jail-broken,” with opened eyes and, hopefully, a changed perspective.The Agony and the Ecstasy of Steve JobsSeattle Repertory TheatreThrough May 22Ages 14+ for profanityThe Seattle Repertory Theatre is also hosting a miniature Apple museum in conjunction with this performance, featuring various Apple products from the company’s beginnings to the 2000’s.

NFFTY: The National Film Festival for Talented YouthOne weekend only: April 28 - May 1SIFF Cinema, Cinerama & EMP|SFMMore info at nffty.orgWhat is NFFTY? NFFTY is the largest and most influential film festival for young filmmakers (age 22 and under). NFFTY occurs each spring in Seattle, Washington and includes up to 200 film screenings, filmmaking panels, film contests, parties, and opportunities for young filmmakers to network with industry professionals and each other. Young filmmakers from around the world submit feature-length and short films in narrative, documentary, animation, music video, experimental, and action sport categories. More than 10,000 film fans are expected at NFFTY 2011, April 28-May 1.To help you sort through the myriad offerings, here's NFFTY's MUST List for the 2011 festival:Panels packed with a Hollywood punch!This year's panels feature bright stars and bright minds such as Dana Brunetti (The Social Network), Valerie Van Galder (The Da Vinci Code, Pineapple Express), Hayden Black (Goodnight Burbank) and Oscar award-winner Martin Strange-Hansen (This Charming Man). These industry pros will discuss the latest in new media and distribution as well as how to put your own spin on storytelling.Sharing Your Vision in the Digital Age: Fri., 4/30, 11:30amStorytelling My Way: Fri., 4/30, 2pmFriday Night & Centerpiece ShortsThe films in these two screenings present some of the best youth-made films, or what many would argue are some of the world’s best short films, period. From comedy to drama, these films touch on everything from death and revenge to the joys of first love and recollections of the past. Heather Morris, Brittany from Glee, makes her directorial debut in the World Premiere of The Elevator. Stephen Baldwin makes a cameo in the coming of age drama The Perfect Hurl.Friday Night Shorts: Fri., 4/30, 7pmCenterpiece Shorts: Sat., 4/30, 7pmLate Night Comedy and Horror screenings (ages 13+)NFFTY is not a children’s film festival as many films deal with mature subject matter. NFFTY’s two late night screenings of suspense thrillers are sure to accelerate adrenaline. Late Night Comedy sponsored by Comedy Central’s Atom.com is full of laugh-out-loud innuendos and below-the-belt taboo. These programs not recommended for those under 13.Late Night Comedy: Fri., 4/29, 9pmLate Night Adrenaline: Fri., 4/29, 11pmOn the Edge of Your Seat: Sat., 4/30, 11pmDocumentariesThe only thing more compelling then a great story is when it comes from real life. The NFFTY documentary screening follows a young boy using music to heal others while he battles cancer, the tale of a young girl’s decision to not eat meat, an inside view of roller derby, and a behind the scenes look at the everyday issues facing Israeli and Palestinian youth.Through My Eyes: Sat., 4/30, 12pmReal Life Documentaries: Sun., 5/1, 11amA Film For Every Fan:LGBT. Foreign. Animation. Experimental. Music Videos. Action Sports. Social Justice.NFFTY 2011 has a film for anyone. A few unique programs:Animation!: Sat., 4/30, 1pmExperimental Cinema: Sat., 4/30, 3pmAction Sports: Sat., 4/30, 9pmMP3’d: Sat., 4/30, 1pmNFFTY Earth: Sun., 5/1, 1pmInternational Showcase: Sat., 4/30, 5pmClosing Night: NW SceneThis year NFFTY features a record breaking 40 films from directors from Oregon, Idaho, and Washington. Audiences can view some of the best of these at the closing night screening, followed by an awards ceremony.Closing Night: NW Scene: Sun., 5/1, 6:30pm

Bummer Summer @ NW Film ForumSummer's on its way - you can almost taste it, can't you? Yeah, it's coming, but it's not here yet. Luckily, the Northwest Film Forum has sent you a little lifeboat to tide you over in the form of Bummer Summer, a teen romance made by Olympia's Zach Weintraub. Weintraub also stars as the older of two brothers who are in love with same woman. From the Film Forum:"Winner of the 2010 Local Sightings Film Festival, Zach Weintraub's first feature is a mesmerizing debut. When you’re seventeen, even little things can seem like a major change. So it goes with Isaac, a teenager who, as his senior year in high school comes to an end, stares uneasily into the future. His confusion is compounded by the arrival of his older brother Ben, who comes home for the summer to take up with his ex-girlfriend Lila and set out on one last road trip before entering the world of responsibilities. The harmony the three youngsters seek over the weekend getaway quickly gives way to unexpected complications, as Isaac and Ben realize their shared feelings for Lila. Employing inventive storytelling, sensitive performances and deadpan humor, director Weintraub shows he's a talent to watch with this wry and touching portrait of youthful romance and potential."Watch the trailer:Bummer Summer closes on Thursday, so you only have a couple more days to catch it. Remaining show times are:Tuesday, Apr 26 at 07:00PMTuesday, Apr 26 at 09:00PMWednesday, Apr 27 at 07:00PMWednesday, Apr 27 at 09:00PMThursday, Apr 28 at 07:00PMThursday, Apr 28 at 09:00PMMore info at nwfilmforum.org

Review of This at Seattle Repertory Theatre by Sidney A.Photo by Chris BennionThis, the play written by Melissa James Gibson and directed by Braden Abraham, lives up to the expectations raised by the program, which boasted it to be “a huge hit” and presented it as the “West Coast Premiere.” Many things in life may pale under that kind of pressure, but This stands its ground and definitely comes out on top. This is the epic tale of four friends—plus a somewhat random Frenchman—fast leaving the flexibility of their 30s to wake up to their “real” lives. Loveless relationships, unfulfilling careers, and encroaching loneliness populate the story, potholes that threaten to rip relationships apart, tearing characters from the very friends who keep them together. Set in modern-day New York City, the set of This looks like a loft apartment, one so realistic-looking it appears that the occupants have merely stepped out. It becomes much more as the actors on stage come into their own, manipulating the props and various moving doorways with ease.Photo by Chris BennionThe story is told in fly-on-the-wall perspective, and feels fresh and new. This is a very candid, honest glance into the “dinky” lives of everyday people struggling to navigate in the big, wide world. Though the sets, costumes, and sound designs (by L.B. Morse, Christine Meyers, and Gino Scarpino, respectively) are exceptionally well done, those aspects of the performance are just smoke and mirrors for the heart and soul of the play, the actors and actresses (Hans Altweis, Cheyenne Casebier, Nick Garrison, April Yvette Thompson, and Ryan Shams as the aforementioned random Frenchman) just being on the stage, filling up the space with their bodies and voices. The actors act their parts with a passion and commitment that, for 85 minutes, makes the viewer forget these are real live people with their own real, live families and lives and that the New York City apartment on stage is not, in fact, reality.Photo by Chris BennionThis embroils the viewer into a whirlwind of humor and emotion, sorrow and joy, before plunging them back to earth at the end of the show, still mulling over the insignificant decisions that can so drastically change a person’s life.ThisSeattle Repertory TheatreThrough May 15NOTE: recommended for ages 16 and up for profanity, adult situations

Review of The Merry Wives of Windsor at Seattle Shakespeare Company by Emma Me.Candace Vance as Mistress Ford and Leslie Law as Mistress PagePhoto by John UlmanWhen two high-class English wives are left alone together, how much mischief can they manage to get themselves into? Mistress Ford and Mistress Page discover several sources of entertainment in Seattle Shakespeare Company’s production of The Merry Wives of Windsor. Filled with light-hearted trickery, clever acting, and stunning visual effects, this theater production embodies the true spirit of a Shakespearean comedy.While William Shakespeare is most widely recognized for his tragedies such as Romeo and Juliet and Hamlet, his comedies are equally memorable and entertaining. The recurring character of Sir John Falstaff, a plump old knight determined to acquire money, is of the most beloved Shakespearean characters in terms of comedic value. Falstaff once again becomes the object of hilarity in The Merry Wives of Windsor when he decides to simultaneously woo both Mistress Page and Mistress Ford, two wealthy, married women that supposedly take charge of their husbands’ finances. Confident in his charm, wit, and good looks, Falstaff attempts to lure the two away from their husbands in order to gain money. However, he is unaware that the women know of his plot and have plans of their own involving revenge and humiliation.Sean Patrick Taylor as Host and Gavin Cummins as Doctor CaiusPhoto by John UlmanSeveral harmless pranks are carried out at Falstaff’s expense involving a laundry basket and a rather large dress. As the two women entertain themselves, they must dodge several obstacles such as the suspicion of Falstaff and the unnecessary jealousy of their husbands. Mistress Ford’s husband fears for the future of his marriage so much that he visits Falstaff in disguise and hears of the entire plan. Unfortunately, Master Ford only motivates Falstaff to pursue Mistress Ford further, creating new complications for the wives.As all characters struggle to arrive at a happy ending, their unique personality traits and accents come through, captured marvelously by the actors. The costumes and props perfectly fit the time period, and enhance every scene. Class distinctions become obvious through clothing, especially when the voluminous gowns of the wives are placed side by side with Falstaff’s worn shirt, vest, and boots. The settings also undergo a dramatic shifts between each scene, for a series of backgrounds rotate into place, easily changing from the countryside near a large estate to the inside of the Garter Inn, a pub inhabited by peasants.Candace Vance as Mistress Ford and John Patrick Lowrie as Sir John FalstaffPhoto by John UlmanSimilar to Shakespeare’s other works, many subplots which revolve around the central theme appear as the story develops. From the beginning, Mistress Page struggles to find a suitable candidate for her daughter, Anne, to wed. As multiple men present themselves, each is more peculiar than the last. The true value of this subplot is the manner in which each suitor embraces his role and gives it a unique personality. One man, a French doctor who is ironically prone to injury, divides his time between pursuing Anne and honing his nonexistent sword fighting skills for revenge on a man who tricked him.The combination of entertaining pranks, abundant secrecy, and seamless choreography results in a stunning production of a Shakespearean comedy. Small touches of modern humor throughout the play are integrated into the script by the Seattle Shakespeare Company so as to enhance the original work. Falstaff’s misfortune becomes a benefit for everyone as the noble wives of Windsor plot to remain merry.The Merry Wives of WindsorThrough May 15thSeattle Shakespeare Company

NFFTY 2011Thursday, April 28 - Sunday, May 1 2011 The Seattle founded National Film Festival for Talented Youth is the largest youth film festival in the world. At the end of April, "NFFTY" will be holding its fifth consecutive festival, showcasing 225 films by filmmakers 22 and younger from all over the world. The festival hosts feature length and short films in narrative, documentary, animation, music video, experiment and action sport categories. With adult comedy and horror screenings (13 and older), a happy hour with free beer (21 and older), romance films with free coffee, and a family-friendly screening, these youth-made film are meant to entertain all ages. WATCH the NFFTY 2011 trailerphoto by Brandon Baker

Photo by Sol VillarrealThe Seattle Youth Commission exists to represent the interests of teenagers directly to local elected officials, and it presents a great opportunity for young people to engage directly with decision-makers on issues that are important to them. Do you have an opinion? Want to help influence policy and represent youth interests in the city? Love the idea of meeting with folks like Seattle’s Mayor, City Attorney, Police Chief, and City Councilmembers?Then this is the job for YOU!The Youth Commission is a big time commitment, but the more active, engaged young people who are part of the Commission next year, the more effective it’s going to be in representing the interests of as many different youth across the city as possible. The Commission is open to Seattle residents between the ages of 13 and 19, and the deadline to apply is May 4th; they’ll be doing interviews on a rolling basis as applications are received, so the sooner you apply, the better your chances of getting a good interview slot.The Seattle Youth Commission application is now online here: http://seattle.gov/sycCheck it out!

photo by Pierre Grosbois Review of Vivarium Studio's L'effet de Serge at On the Boards by Chloe L. From the moment the play starts you realize that this is not a play just like any other. The play revolves around Serge, skillfully played by Gaëtan Vourc'h, who is introduced to you as "someone who creates shows from 1 to 3 minutes in length.” While this introduction happens in the opening of the performance, by the time the ending of the play comes around, that is all you know about Serge-- he creates shows. Every Sunday, Serge invites one or two of his friends over for one of his shows, which are surprisingly average. Nothing about these "micro-performances" is created for any sort of shock and awe. Yet, after the show is finished, his audience member goes on about the magic and meaning of the performance, which you somehow missed. This antithetical reality leaves you wondering what they are so excited about, because the show was not as amazing as they are describing it to be. You wonder who these people are that are coming over to Serge's house and why they are there. By the end of the performance, these questions still linger in your head, and driving home you realize that it is a play without a point, something you rarely see. There was no moral, no ending, no climax, just one question: why? The show is mundane; it gives you a glimpse into someone's rather boring life. But you are somehow not bored, the audience passes the time always questioning what everyone on stage is thinking, what they are doing, and why. By the end of the play, you realize that the characters are doing nothing, just trying to make their lives worth something. They are searching for a piece of entertainment that they can't find elsewhere. You leave with more questions than answers, you leave wondering why you came. L'effet de Serge has already closed. Next up at One The Boards: Catherine Cabeen and Company • Into the Void Apr 28 - Apr 30

With its added performance on April 19 virtually sold out along with the rest of the run, Taproot Theatre is extending The Beams are Creaking. Originally slated to close on April 23, the show—by Douglas Anderson and directed by Karen Lund—now runs through April 30, with additional performances on April 28 at 7:30 p.m. and April 29 and 30 at 8 p.m. Tickets are now available through Taproot Theatre’s box office at 206-781-9707 and online at www.taproottheatre.org.Set in Germany in 1933, the Nazi party has taken power. In the face of the greatest evil of the 20th century, Dietrich Bonhoeffer battles questions of morality, political allegiance and religious conviction, and must make choices that could change the course of history. This true story will keep audiences on the edge of their seats.

Review of A Midsummer Night's Dream at Pacific Northwest Ballet by Bethany B.

Review of Gamelan Gadhon at Cornish College of Arts by Alyssa T. Soft-style gamelan music is the music of ancient princes. It’s the music you’d ask for as the king of Indonesia, surrounded by elephants in a room ornately decorated with rose petals, candles, and incense. It’s the kind of music you want to fall asleep to, and the kind of music that lulled my mind and lifted my spirits during Gamelan Gadhon's Cornish performance. But as much as I yearn to appreciate gamelan music while it was being played for me, as much as I would like to say I was absolutely blown away by the masterfully played world music of Cornish College of the Arts’ Indonesian-instrument playing group, Gamelan Pacifica (the parent ensemble of Gamelan Gadhon), the fact is I wanted to leave midway through the second song. Don’t get me wrong. The quality of the musicians is nothing short of topnotch, each instrument is a finely crafted work of art, and the strangely chaotic song compositions are brilliantly harmonized, but the presentation of this soothing, almost spiritual, style of music felt stifled. I have no doubts that “Gamelan Pacifica is among the finest ensembles in the United States devoted to the performance of gamelan music.” But after listening to the performance, I honestly feel the group would have been much more appreciated in an open and relaxed environment. Imagine walking down the Pike Place market on a warm day with the sun gently gracing your cheeks. Through the bustle of the crowd, you hear hints of the kendhang, the Javanese drum, which immediately spark your interest. As the curiosity of your ears pulls you towards the sound, a calm internal peace comes over you, and suddenly, you understand the serene expressions on the musicians’ faces. In a place of fresh air and energy, the power and beauty of the gamelan music is on full display. Now imagine a fairly small stage barely large enough to fit the musicians and their instruments, and seats that restrict audience members to sitting and staring. The results just aren’t the same. By saying what I am about Gamelan Gadhon, I don’t mean to pass any negativity onto Cornish College of the Arts whatsoever. In fact, I think they’re wonderful for bringing something so different and unconventional to Seattle. They did all in their capacity to bring gamelan music to Seattle, and they absolutely succeeded. All I’m doing is stating an opinion on temporal art I probably wouldn’t have realized had I not gone to Poncho Hall that night. For me, seeing something new and out there is always rewarding, regardless of whether I see perfection in the performance or not. If the same thing goes for you, and you haven’t seen world music yet, I encourage you to still see Gamelan Gadhon. This may be off-limits for me to say, but the end of this month, Gamelan Pacifica will be performing with guest dancers and musicians at Meany Hall [Editor's note: this performance is NOT Teen Tix eligible]. I hope you will give them a chance to rock your world. Next up in Cornish College of the Arts' Music Series: Jazz into Blues: An Evening with Kelly Harland Saturday, April 16 @ 8 PM More info at cornish.edu

A Midsummer Night's Dream @ Pacific Northwest BalletPhoto © Angela SterlingGeorge Balanchine once played an elf in A Midsummer Night's Dream. This was when he was a little kid in Russia, but he reportedly remembered numerous lines from the play and, after he grew up and became a world-famous choreographer, he loved to quote them (in, y'know...Russian).You won't hear many (or any) of those lines in PNB's celebrated staging of Balanchine's Midsummer. This is a story told through dance. And what a dance it is; dance writer Anita Finkel has called Balanchine's Midsummer“possibly the greatest narrative ballet of all time.” It's a big, lush, fantastical production with incredible dancing and a story you can follow. What's not to love?A Midsummer Night's DreamPacific Northwest BalletApril 8 - 17

How do set designers do what they do? Here's Seattle Rep design associate (and all around great guy) LB Morse talking about designing the set for the Rep's upcoming production This. You might be familiar with LB's work, even if you don't know it. As a light and set designer, he's recently helped create the worlds for Rep productions The K of D and Dancing at Lughnasa, Seattle Shakes' The Tempest, and "Awesome"'s West at On the Boards.Read more about LB here.ThisSeattle Repertory TheatreApril 8 - May 15Recommended for ages 16+ for profanity, adult situations

We love coming in to work on Monday and finding a twitter feed like this:(click to enlarge)Tears of joy. TEARS OF JOY! We love you, too, thundy08! Welcome to Teen Tix.And, if you're wondering what the rest of the buzz is about, you'd better read Ehrik A.'s awesome review of All My Sons at Intiman, which he praises as a "must-see."Happy Monday from Teen Tix HQ!

This is an awesome piece of writing. Your college essays must have thrived. :D

I have not seen this play, but reading your review makes me want to see it! You really highlight the actors and their acting abilities--nice job!

I agree George and Lennie were great and very believable as best friends. The ending was so poignant and moving.

Review of All My Sons at Intiman Theatre by Ehrik A.Chuck Cooper and Reginald JacksonPhoto by Chris BennionIn order to prepare for this review, I took a trip deep through the box-filled jungles of the family garage to procure a frail, dusty, water-damaged, and horribly annotated copy of All My Sons—thanks, Dad. Admittedly, I feared that going to review such a respected and reproduced classic as this set itself up to sounding a little like another one of my English papers without adding much that hasn’t already been said about this play. Synopsis: Set in America during the aftermath of World War II, Arthur Miller’s All My Sons explores the conflicting personal, familial, and societal commitments that ultimately limit the achievability of the American Dream.However, in her Intiman debut, director Valerie Curtis-Newton brings a new lens to Miller’s work by setting the play closer to home in Seattle's Central District with a non-traditional African-American cast led by Tony Award-winning actor Chuck Cooper. The decision works exceptionally well and adds a unique element to the show that not only fits the play’s themes, but also enhances them.Reginald Jackson, Nicole Lewis, Chuck Cooper and Margo Moorer Photo by Chris BennionThe story centers on factory owner Joe Keller (Cooper), who is suspected of allowing faulty airplane parts to be shipped, resulting in the deaths of 21 military pilots during World War II. Although Joe was eventually exonerated, his business partner Steve Deever was sent to prison for the crime. Nevertheless, the issue resurfaces again when the two men’s children begin to discover the answers to unresolved questions and ultimately find out the ethical dilemmas one may face when trying to achieve the American idea of success.The acting is consistently terrific with Joe, his wife Kate (Margo Moorer), and their son Chris (Reginald Jackson) standing out among the ensemble. Perhaps the best and most touching moments of the play occur when these three characters are on stage together, and each role equally contains the capacity for you to see a bit of yourself in their thoughts and actions.Whether or not the translation of a traditionally white cast of characters in the Midwest to an interracial one in our own Pacific Northwest is historically plausible is irrelevant. The characters’ race never distracts from the core issue of the play, and if anything, it sets the stakes higher as a chance at racial equality implicitly becomes a factor in the conflict between self-interest and self-sacrifice (this may not make sense now, but watch the play and have your questions answered!). Furthermore, the reimagining adds dialectical flair to the original text as the actors employ an African-American cadence, adding a more natural lightness and humor to the dialogue.This particular incarnation of All My Sons was a fitting way to kick of this crucial season at Intiman, taking a classic American story in an adventurous new direction. Uniformly thought-provoking and enjoyable, this one is a must-see.All My SonsIntiman TheaterThrough April 17

Review of Of Mice and Men @ Seattle Rep by Jamie K.Most people think of Of Mice and Men as a novel, but fewer realize that John Steinbeck himself adapted it for the stage in 1937, the same year that the book was published. The story examines the plight of migrant workers in the 1930s. The two main characters show what friends really are, with George leading the way, and Lennie always faithfully following him.Charles Leggett as Lenny and Troy Fischnaller as George. Photo by Chris Bennion. Troy Fischnaller and Charles Leggett play the unforgettable roles of George and Lennie. The memorable pair travel to a ranch to try to raise enough money to get a place of their own. My first impression of the portrayal of George was that he was too angry and mean. But as the show goes on, Fischnaller’s performance really grows on you. He provides just the right amount of anger, sympathy, sadness, and humor. Fischnaller really portrays the part the way it should be played: a tough man, who gets irritated rather quickly, yet has a soft side. Leggett, who plays the part of Lennie, makes you laugh, cry, and feel sorry for him. Leggett and Fischnaller make a great combination for the parts of George and Lennie, by convincing the audience of their deep friendship and loyalty.The other actors really show how versatile they are. Seanjohn Walsh plays the part of Curley. In the book, you see Curley as a hard, angry man with a hand full of vaseline. But instead Walsh plays the part stuck up and vain, which evokes a laugh every time he comes on stage. He adds a comedic side that helps people cope with the hard issues in the play.Charles Leggett as Lenny and Elise Karolina Hunt as Candy’s Wife. Photo by Chris Bennion. Seattle Rep has a history of putting up great sets. In this production they didn’t hit a home run. The set is very good, but it just doesn't stand out. In the production they show all of the houses without walls, which is fine, if you can make it work. But they don’t come through; a couple times actors walked through walls instead of the doorways. That was the only item in the production that wasn’t great.Of Mice and MenSeattle Repertory TheatreThrough April 10