Performance Picks


Greg Carter and Craig B. Wollam's scenic design for Marcus Goodwin's Jane Austen adaptation is a stage featuring nothing more than some curtains and a floor decorated with sweeping, elegant black strokes of writingfitting, since the beauty of director Jane Jones' Book-It production is how a world can be completely realized on stage using little more than very able bodies and some truly magnificent words. As the most self- possessed of the yet-to-be-married Bennet sisters, Jennifer Lee Taylor (above, center) gives a literate, luminous performance that would surely please Austen herselfElizabeth seems more beautiful the more she stumbles into her grand love affair with the difficult Mr. Darcy (Andrew DeRycke, catching all of Darcy's noble, amusing artlessness). The entire company is excellent, and Jones' measured direction takes the time to earn the swooning heights of the final, fabulous clinch. ACT Theatre, 700 Union St., 206-216-0833. $15-$26. 7:30 p.m. Thurs.-Sat.; 2 p.m. Sun. Ends Sun. Feb. 15. STEVE WIECKING


One of the ironies of dance is that as performers continue to develop their interpretive powers, it becomes harder to maintain their physical skills. Age and injury frequently spell the end to a dance career, even as a performer matures artistically. Next Stage is part of a new trend in dance companies that defies this form of "early retirement," creating work specifically for mature dancers that showcases their formidable talents. Enough, the company's winter program directed by Dominique Gabella, examines the roots of conflict and the possibility of changeappropriate topics for a group that aims to "keep [our] physical and intellectual freedom until the end." Broadway Performance Hall, 1625 Broadway Ave., 206-325-6500. $12-$16. 8 p.m. Thurs. Jan. 22-Sat. Jan. 24. SANDRA KURTZ


Together for 27 seasons, they've left their mark on the entire quartet repertory, from Bach to commissioned works, including acclaimed Deutsche Grammophon box sets of Haydn, Mozart, Beethoven, and Bartok. Especially brilliant are their performances of Shostakovich's fifteen quartetsfor insight into the tormented Soviet genius's mind, the Emerson's recordings rival those of the Borodin and Beethoven quartets, the legendary ensembles Shostakovich himself collaborated with. Next week's recital climaxes with Shostakovich's Ninth Quartet from 1964, preceded by Joan Tower's Incandescent (2003) and Debussy's Quartet in G Minor. Meany Hall, UW campus, 206-543-4880. $32. 8 p.m. Wed. Jan 28. GAVIN BORCHERT

comments powered by Disqus

Friends to Follow