Antibalas Afrobeat Orchestra

ALSO: Isamu Noguchi, Three Sisters, High Noon, annd Anne Bogart/SITI.




Brooklyn's retro-funk movement has been responsible for not only some of the snazziest funk grooves to grace your record store in the past few years but also a few of the best live acts around. If Antibalas Afrobeat Orchestra isn't the best of these, it's certainly the biggest: a 13-piece juggernaut that plays in the style of the late, great Nigerian rabble-rouser and bandleader Fela Kuti. Coming off last year's exceptional Who Is This America? (Ropeadope), they've got Government Magic, a new EP's worth of songs to play out for 10, 13, 20 minutes at a time. DJ Darek Mazzone opens. 9 p.m. Fri., June 10. $12 advance. Chop Suey, 1325 E. Madison St., 206-324-8000. MICHAELANGELO MATOS




If you know Volunteer Park's Black Sun or the Federal Building's Landscape of Time, then you've had the peaceful pleasure of being introduced to the work of one of the 20th century's greatest sculptors, Isamu Noguchi. Seattle Art Museum's retrospective promises to deepen that acquaintance, with four rooms full of Noguchi sculptures, stage sets, and furniture designs, presented theatrically by another 20th-century art giant: multimedia auteur Robert Wilson (Einstein on the Beach). Opens Thurs., June 9. 10 a.m.–5 p.m. Tues.–Sun. (open until 9 p.m. Thurs.). Ends Mon., Sept. 5. $7–$10. Seattle Art Museum, 100 University St., 206-654-3100, LYNN JACOBSON




You should probably just line up whenever playwright Craig Lucas and director Bartlett Sher join artistic forces. Their creative chemistry resulted in the stirring Singing Forest last season, and is currently gracing Broadway in a shimmering, Seattle-born musical adaptation of The Light in the Piazza (which just bagged six Tony Awards last Sunday). Sher helms Lucas' new translation of the Chekhov play, a masterpiece about a trio of siblings (Judy Kuhn, Julie Dretzin, and Alexandra Tavares, pictured left to right) and their timeless, touching lessons in love. Low-price previews begin Fri., June 10. Opens Wed., June 15. 7:30 p.m. Tues.–Thurs.; 8 p.m. Fri.–Sat.; 2 p.m. matinees Sat.–Sun. Ends Sat., July 9. $27–$46. Intiman Theatre, Seattle Center, 206-269-1900 or STEVE WIECKING




When Gary Cooper portrayed Marshal Will Kane in 1952, he was 28 years older than Grace Kelly, who played his bride, and their age difference provides perhaps the greatest point of poignancy in Fred Zinneman's classic Western. Here's a lawman who certainly deserves to retire—and deserves a prize like Kelly. Yet he gets absolutely no help from his townsfolk during the countdown before the Miller gang (including Lee Van Cleef) arrives to kill him. Some complained at the time that the theme of an upright man abandoned by his community was anti-Western (or even anti-American), especially when directed by a European and produced by Hollywood liberal Stanley Kramer. Maybe so, but Cooper (who took the Oscar for his role) looks all the more heroic for the cowardly backdrop, and his final disgust lays a path to the future Western antiheroes of Clint Eastwood and Sergio Leone. Fri., June 10–Thurs., June 16. $5–$7.50. Grand Illusion Cinema, 1403 N.E. 50th St., 206-523-3935. BRIAN MILLER




The last time director Bogart brought her heralded SITI Company to town, she was busy contemplating the occasional torments and self-imposed confinement of the artistic process in the striking, Virginia Woolf–inhabited Room. She hasn't shifted into simpler, sunnier climes, in case you were wondering. Death and the Ploughman, her latest movement/theater experiment, is Bogart's take on a piece written in 1401 by Johannes Van Saaz about a widowed farmer and his discussion of faith, loss, and life with the grim reaper. Van Saaz's confused grief—he'd lost his own wife in childbirth—has been translated here by playwright Michael West. 8 p.m. Wed., June 15–Sun., June 19. $25. On the Boards, 100 W. Roy St., 206-217-9888 or STEVE WIECKING

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