James Marsters Press Archive

source: The Seattle Times
published: October 3, 1996
author: Misha Berson

“Crazy For You,” book by Ken Ludwig, songs by George and Ira Gershwin. At Jane Addams Theatre, through Oct. 19. 363-2809. “Twelfth Night” by William Shakespeare. At the Ethnic Cultural Center through Oct. 27. 467-1382.

Garnished with gems from the George and Ira Gershwin songbook, on musical grounds alone “Crazy For You” made a good Broadway bet. The charms of the 1992 Tony Award-winner extended beyond the gold-plated score, however.

source: The Seattle Times
published: January 16, 1996
author: Lauren Ray Pollard

“The Investigation,” by Peter Weiss, directed by Liane Davidson. Produced by New Mercury Theatre and A Theatre Under the Influence at Brown Bag Theatre in the Newmark Center, 1401 Second Ave., Thursdays-Sundays, through Jan. 28. 524-6887.

When it premiered in 1965, Peter Weiss’ “The Investigation” did so on 17 German stages simultaneously. Weiss, best known for his 1964 play “Marat/Sade,” forged “The Investigation” out of transcripts from the 1964 Auschwitz war-crimes trial and, as a result, set a new benchmark in the field of documentary theater.

source: The Seattle Times
section: Entertainment, Page: C5
published: October 2, 1996
author: Joe Adcock

If Shakespeare’s 1601 romantic comedy “Twelfth Night” were a 1940s MGM musical, the result would be something like the current Seattle Shakespeare Festival production.

Shakespeare’s song lyrics are set to big band swing. Women wear slinky satin gowns that cling and sway when they tango, fox-trot, waltz or Charleston with the tuxedoed men (which they do very often).

source: The Seattle Times
published: March 4, 1996
author: Misha Berson (Seattle Times Theater Critic)

“Scotland Road” by Jeffrey Hatcher. Directed by Eddie Levi Lee. Produced by Empty Space Theatre, 3509 Fremont Ave. N. Tuesdays-Sundays through March 30. 547-7500.

The sinking of the RMS Titanic is one of those epic disasters we can never seem to get enough of.

Dozens of books, scores of magazine stories, several Hollywood movies and numerous TV documentaries on the subject have not slaked our fascination with the 1912 tragedy at sea. Even novelist Thomas Hardy had something to say about the debacle, in his haunting poem “Convergence of the Twain.”

source: The Seattle Times
published: October 14, 1996
author: Tom Orr

Theater review “Macbeth” by William Shakespeare. Directed by Terry Edward Moore. Produced by Seattle Shakespeare Festival at the University of Washington’s Ethnic Cultural Theatre, 3940 Brooklyn Ave. N.E. Plays in repertory with “Twelfth Night” through Oct. 27. 467-1382.

source: Seattle Post
published: October 24, 1996
author: Joe Adcock (Theatre critic)

Some thoroughly admirable poets are thoroughly detestable people, or so we often gather from memoirs written by great poets’ significant others. This admirable/detestable dichotomy certainly applies to Shakespeare’s greatest poet, Macbeth.

source: Seattle Post
published: 1996
author: Joe Adcock (Theatre critic)

In the title role of Macbeth, actor James Marsters mutters the famous lines, “Tomorrow and tomorrow and tomorrow creeps in this petty pace from day to day . . .” That’s all very well for a murderous medieval Scottish king. But not for Marsters. He’s about to move into the fast lane.