Ronald K. Brown/Evidence, Delaware, and Andras Schiff

Ronald K. Brown/Evidence

The spirit of Billie Holiday permeates choreographer Brown's Blueprint of a Lady, but the voice belongs to celebrated jazz vocalist Nnenna Freelon (pictured, with Brown's company, Evidence), who generated the project. She croons Holiday standards alongside Brown's group of exquisite dancers and film/video work by Robert Penn. More evocative than straight biography, Blueprint aims to dispel the "victim" label Holiday often wears with a view of "a vibrant woman in turbulent times." Meany Theater, University of Washington, 206-543-4880 or $40. 8 p.m. Thurs. Oct. 13-Sat. Oct. 15. SANDRA KURTZ


There are puppets. There are video projections. There's a cacophonous mini-symphony to accompany a session of waffle-making. Writer Tim Sanders and director Matt Fontaine's "subtle spectacular" is weird and wanky and should have been insufferable but, man, is it fun. Or, rather, it's Awesome—the moniker of the seven-man theatrical band whose pop invention and buoyant, harmonious anarchy lend the show's tender melancholy several notes of hope. Imagine a '70s concept album staged live in some underground club in Greenwich Village during the '80s and you'll have at least half an idea of what's going on in Re-bar; the place hasn't been filled with this kind of communal energy since Hedwig packed up her wig. Don't bother asking what it's supposed to be about—just let it make you feel good. Re-bar, 1114 Howell St., 206-706-4789 or $14. 8 p.m. Thurs.-Sat. No show Thurs. Oct 13-Fri. Oct. 14. Ends Sat. Oct. 29. STEVE WIECKING

Andras Schiff

When Beethoven sought composition lessons from Haydn, they tried each other's patience. The two geniuses never quite "got" each other: H thought B a little too brusque, personally and musically; B thought H a bit of a fogey (and not the most industrious of pedagogues, either). But Beethoven ultimately paid his teacher the highest homage by picking up the symphony, the string quartet, and especially the piano sonata where Haydn left off. Schiff, whose skill with linear clarity and beauty have made his recordings of Bach the most acclaimed since Glenn Gould's, should be an ideal pianist to illuminate the two composers' interconnections. For next week's recital, he's chosen from Haydn the somber Variations in F Minor and the Sonata No. 34; from Beethoven, two sonatas, Op. 31 No. 1 and the sweeping "Waldstein." Meany Hall, UW campus, 206-543-4880 or $45. 8 p.m. Wed. Oct. 19. GAVIN BORCHERT

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