Either somebody really has it in for ReAct Theater Company, or bad luck is dogging it. The company lost $3,000 worth of period props and costumes in a 2003 break-in at the Bathhouse and $1,500 of electronic gear from Richard Hugo House in 2005. Its storage locker on Martin Luther King Way South was pillaged last weekend, just before the opening of the company's production of Michael Brady's To Gillian on Her 37th Birthday. Reason to suspect malice or payback: What sort of aftermarket is there for World War II–era military pajamas and thrift-shop furniture? ReAct Artistic Director David Hsieh isn't pointing any fingers, but he hopes the perpetrators drink the case of beer they took, since it's 12 years old and likely to make them sick. ROGER DOWNEY
The 5th Avenue Theatre is once again looking to recapture that Hairspray magic—this time with a new musical version of the John Waters film Cry-Baby, which starred Johnny Depp. The show will debut in February 2007, before heading to Broadway. Meanwhile, the 5th's last Big Thing, The Wedding Singer, is still set to open on Broadway in late April, despite middling reviews here. Also on the 5th's upcoming season: a dance-theater version of another Johnny Depp movie, Edward Scissorhands, crafted by It Boy choreographer Matthew Bourne; the Bollywood musical Bombay Dreams; Stephen Sondheim's Company; White Christmas; Camelot; and West Side Story. Subscriptions: 206-625-1900 or www.fifthavenuetheatre.org . . . . Seattle Rep also just announced its 2006–07 season. Notable in the lineup is My Name Is Rachel Corrie, which was in the news recently when New York Theatre Workshop put a planned production on ice, fearing political controversy. Also up: Doubt, a Pulitzer Prize– winning look at the Catholic Church; a new adaptation of The Great Gatsby; and August Wilson's Gem of the Ocean, among others. For info: 206-443-2222 or www.seattlerep.org . LYNN JACOBSON
WHAT'S THAT NOISE?
A few glitches delayed last Thursday's debut of Robb Kunz's electronic installation We Are Here to Disrupt . . . . It was scheduled for noon, but Kunz and assistants at that point were still untangling extension cords and plugging in his 11 speakers, arranged in a 50-foot circle in Westlake Park. By 1:07, the lush chaos of Kunz's sound collage, based on field recordings of Seattle art-protest band Infernal Noise Brigade, rang out in the first of several weekend airings. On Saturday, a gloriously sunny afternoon brought a large crowd to hear Kunz's work and enjoy a live performance at 4:30 by the INB: a half-dozen brass, lots of percussion, eight dancers (martial formations, baton twirling, a dash of capoeira flavor, and good old T&A shaking), all clad in black with orange accents. Well aware of the INB's penchant for causing a ruckus at WTO meetings and other political events, a knot of bike cops stood outside See's Candies keeping benign watch—six or seven at first, melting away to two during the INB's incident-free performance. GAVIN BORCHERT