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Seattle Times Footlight Award Winner.

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Love’s Labour’s Lost at Seattle Shakespeare Company

MothArmodo1

Mickey Rowe as Moth and David Quicksall as Don Armado at Seattle Shakespeare Company

-“It’s a delightful pair of comedic actors working brilliantly together.”

-“(Don Armado) has brilliant chemistry with Mickey Rowe as his manservant sidekick, Moth, who’s more than a bit smitten with his master. The homoerotic elements of this production are more than just a bit of wishful thinking…there’s cheeky and very physical interplay between many of the male characters in this play and none more obvious than between the Don and his Moth.”

-“Rowe is adorably pratfally in the role of Moth”.

-“A scene stealer is Micky Rowe as the small but agile Moth.”

Here is a great radio interview with the director talking about some of the Noel Coward songs I sing in the show, Moth’s likeness to Sancho Panza, and a surprise shout out from the interviewer talking about my last show, La Boheme. http://www.king.org/pages/15808858.php

La Boheme review:

“But, on the whole, this production is rock-solid and pretty enough to entertain a deaf man. The second act takes place in a bustling cafe and street scene with scampering children, a stilt walker, and all the hustle of a Disney cartoon feast.”

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You are humbly invited

I wanted to take a moment to invite you to my next four shows (my Season through March). With four incredible shows you should see. First is The Cat in the Hat at Seattle Children’s Theater directed by R. Hamilton Wright which runs Sep. 27 – October. 28. Next  is John Irving’s hilarious and heartfelt A Prayer for Owen Meany at Book-It Repertory Theater which runs Dec 4 – 23. And then: I will be reprising my role in La Boheme at Seattle Opera February – March 10 followed by Love’s Labor’s Lost at Seattle Shakespeare Company March 13 – April 7th.

Seattle Opera production of Giacomo Puccini's La Bohéme.

Mickey Rowe in Seattle Opera’s production of Giacomo Puccini’s La Bohéme.

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The Cat in the Hat straight from the National

I am so excited to tell you all that I was cast in the six actor version of The Cat in the Hat at Seattle Children’s Theatre which has come to us straight from The National Theater of Great Britain. SCT is an amazing organization and this is going to be an incredibly fun production. You can get tickets at http://www.sct.org.

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The Stranger reviews Romeo and Juliet

Romeo and Juliet at Arts on the Waterfront

by Anna Minard           www.artsonthewaterfront.com/press

ROMEO AND JULIET Stripped-down, ridiculous, and wickedly entertaining.

Waterfront Park                                       Fri-Sun at 7 pm. Through July

Down on the waterfront, right next to the aquarium, in the shadow of a Ferris wheel, you can see a two-person Romeo and Juliet for free. Mickey Rowe and Laurie Roberts, two young local actors, have adapted the play in a sweet and sometimes ingenious way—she plays Mercutio to his Romeo, he the Nurse to her Juliet. Some moments are ridiculous but wickedly entertaining, as when Roberts plays Tybalt and kills herself as Mercutio (it sounds confusing, but it works). The costume and prop and quick-change creativity is half the fun: They rig an umbrella to rain on itself with a water bottle on the tip and use an empty jacket and hat that stand in for Friar Laurence, each actor inserting one arm into each sleeve to animate it. The other props are water balloons and a pair of ladders, some milk crates, and a janky wig. Their website credits the lighting design to “the city of Seattle and sunset.”

Roberts’s Mercutio is guffawing and blustery and very funny, all limbs and leans and sneers. Rowe’s dorkily twitterpated Romeo makes just enough fun of the character’s schoolboy crush to turn down the play’s maudlin factor, which has overwhelmed other productions. It’s not perfect (the acoustics are poor, and the actors have to shout nearly every line), but it’s remarkably better than what you might expect when you approach the few rows of chairs lined up in Waterfront Park. The audience seems to be a combination of people there deliberately and people who stumbled over it. There’s an art show beforehand, live cello accompaniment by Brandon Smith, and more live music after every show. And Ivar’s down the street has a rewarding happy hour every day of the week that runs until closing time.

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Seattle Times Review of Mickey Rowe’s Romeo and Juliet

A bare-bones, energetic ‘Romeo and Juliet’ on Seattle’s waterfront

A review from the first weekend of Arts on the Waterfront’s free performances of “Romeo and Juliet.” The performances continue June 22-24, 30, and July 1, 2012, and include dancing to live bands after the show is over.    www.artsonthewaterfront.com/press

By Misha Berson

Seattle Times theater critic

7 p.m. Friday, Saturday and Sunday; also June 30 and July 1, Waterfront Park, 1300 Alaskan Way, Seattle; free

You could say “Romeo and Juliet” is about a pair of crazy, fired-up kids in love. And you could say the new, free mini-production of the play at Seattle’s Waterfront Park is the work of a pair of crazy, mixed-up kids in love with theater.

This feisty first effort by the Arts on the Waterfront group is bare-bones. Actor-producers Mickey Rowe and Laurie Roberts perform Shakespeare’s tragedy in a corner of the boardwalk with an expansive Elliott Bay view. At each performance they set up a couple dozen chairs and an ad hoc art exhibit, and after the show they invite you to stay and dance to a live rock band.

With a little budget and a lot of moxie, they brave traffic noise, the whoosh of a nearby fountain and a constant flow of passers-by to put across their version of the classic.

And, yes, you can transmit the essence of a romantic tragedy with modest means but a lot of creative exuberance and some humble props. A pair of tall ladders serve as a balcony and more. Sword duels are fought with water balloons. A frowzy wig defines Juliet’s nurse. And the music of cellist Brandon Smith sets the scene nicely.

The two-member cast, quick-change style, plays all the major characters, switching genders and roles as they tear around the staging area and barely pause for breath.

Forget subtlety: The actors shout to be heard (Rowe more effectively than Roberts) and resort to elemental pantomime to get across a condensed, hourlong version of the Bard’s text.

But there’s a punky esprit here that carries the day, recalling the great Shakespeare director Peter Brook’s notion of a “rough” theater that may be rugged and no-frills but is unmistakably alive.

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Mickey Rowe: Creating the Images of Falling

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