Performance Picks


If you haven't already, here's why to check out Mike Daisey's one-man show, which premiered years ago at Seattle's old Speakeasy and went on to net him an acclaimed New York run: Daisey (above) is that rare solo performer who knows that he is as capable of being as big a fool as the rest of us. His witty reminiscence of three years in Jeff Bezos' empire just before the dot-com bust is whip-smart, and cuts the Master's hubris right down to the core, but Daisey never falters from damning himselfand, by extension, the rest of usfor so hungrily believing. As he told the Weekly back in 2001, "the biggest horror is realizing that you are giving yourself over to an idea, a dream, and a leader completely. " That horror is just as relevant in 2003. Intiman Theatre, Seattle Center, 206-269-1900. $10-$42. 7:30 p.m. Sun. and Tues.-Thurs.; 8 p.m. Fri.-Sat.; 2 p.m. matinees Sat.-Sun. and Wed. Nov. 19. Ends Sat. Nov. 22. STEVE WIECKING


Choreographer William Forsythe is certainly one of the heirs of George Balanchine in his desire to expand classical dancing to match the speed and amplitude of contemporary life. In his "Artifact II" (above, with PNB's Jeffrey Stanton and Patricia Barker in foreground), it's as if the dancers' joints have been replaced with elasticized steelthey are both powerful and labile, slicing through the Bach score like knives. Now that Forsythe's home company in Frankfurt is being dissolved, our best chance of seeing this work, and keeping this repertory alive, is in companies like PNB. This week's program also includes Val Caniparoli's "Torque," Lynne Taylor-Corbett's "Mercury," and "Palacios Dances" by Kent Stowell. McCaw Hall, 321 Mercer St., 206-292-ARTS. $16-$125. 7:30 p.m. Thurs. Nov. 6-Sat. Nov. 8. Also 2 p.m. Sat. Nov. 8 and 1 p.m. Sun. Nov. 9. SANDRA KURTZ


As instruments go, the clarinet was a latecomerthe first composer to really exploit its characteristics was Mozart, and even then it had a lot of developing still to do. Now it's one of the most versatile voices in the orchestra, with a huge range of pitch (it can hang with the flutes or the bassoons), dynamics (nothing can play at the very edge of audibility like a clarinet), and color (it has extremes of shrillness or mellowness, not to mention plenty of special effects). Houle's recital next week covers the 20th-century avant-garde's fascination with this protean instrument, from Stravinsky's Three Pieces (1919) to Thiodlac by UW professor Joël-Francois Durand and Houle's own Apnésie, plus works by Berio, Carter, Messiaen, and others. Brechemin Auditorium, UW School of Music, 206-685-8384. $8-$10. 7:30 p.m. Wed. Nov. 12. GAVIN BORCHERT

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