See if you can find a little Mickey shoe shine boy through out this video. The opera used the video from their past production in their publicity for this seasons production. Tiny Mickey in his first professional production.
“The Connection was first produced by the Living Theatre in 1959 as a collaboration between some of the great theatre artists of that time, including Living Theatre co-founders Judith Malina and Julian Beck. Blending live jazz with dialogue to create a live experience of chaotic sound and poetic frenzy, this play took home three Obies in 1960 including the award for Best New Play. This new production will give modern audiences an oppurtunity to experience the inventive structure and experimental techniques of the original off-off-Broadway hit. Featuring Mickey Rowe as Solly and Ray Larson, on trumpet, leading a four-peice jazz band.” -Marya Kaminski, City Arts Magazine August 2011 Issue
Mickey Rowe is attending the National Theater Institute at the 2010 Tony Award winner for best regional theater, the Eugene O’Neill Theater Center. Update: Be sure to check out me and a few of my classmates on the back cover of the March 2011 American Theater Magazine.
“Exhilarating! . . . especially poignant . . . a fun time for all . . . somehow both ancient and futuristic. . . the audience is invited to leave expectations behind and surrender as if in a trance.”
– Seattle Times
“Who but WET would challenge themselves, or their audience, with something as devilishly dark, low-tech, and delicious as this? . . . RoboPop! was created by the ensemble and further cements WET’s reputation in the top tier of theater artists working in the city today. . . . RoboPop! is a cultural Rorschach test well worth taking”
– Seattle Weekly
“WET’s production of their new, “ensemble generated” work, RoboPop! . . . has firmly planted itself in the heavenly sphere. RoboPop! is an exciting, charming, brilliantly designed and performed piece of alternative theater and a must see event for anyone who loves innovative and original live theater. . . . As for the actors, they all shine. This is very much an ensemble show. It is a tour de force for the actors.” Best of 2010 Article: “barely a day goes by that I don’t wish I could see it again.”
– Seattle Gay Scene
“Under flashing strobe lights and thumping techno, I turned to look at the elderly man sitting next to me at the opening night performance of RoboPop! And he was smiling. A slight smile, to be sure, maybe a smirk. But it was a sign of contentment if I’ve ever seen one. And that’s how it is with Washington Ensemble Theatre’s latest show, an 80-minute music video onstage that threatens to be too esoteric (there’s no dialogue), but manages to appeal to everyone with its sweet—not saccharine—storyline and outstanding tech elements. The whole show . . . is fresh, creative, and professional. In other words, exactly what I’ve come to expect from WET.”
– Seattle Metropolitan
“[RoboPop! will] restore your faith in the future of modern theater. . . . RoboPop! most certainly is one of the hottest tickets in town, and it would show great shortcomings in one’s personality if they didn’t at least make an attempt to attend a showing; you won’t be disappointed.”
– Teen Tix
“. . . since 2004, [WET] has created some of—no, the most exciting theater in Seattle.”
– The Stranger
“Some of the freshest theatre in the Pacific Northwest”
– American Theatre Magazine
“Think Daft Punk meets Romeo and Juliet; it’s part dance party, part rock
concert, part theatre performance and all fun. If you’re not into dancing,
you’ve got to see this show just to view the costumes (especially a bear-dress
by Heidi Ganser), set (off-kilter forced perspective by Andrea Bryn Bush) and
lighting (a design that would rival any Dave Matthews concert by Amiya Brown).
It is definitely some of the most creative and well-designed work I’ve seen on
stage in a long time. The video design by Wes Hurley actually changes the shape
of the set like some kind of theatrical acid trip. And then, there’s the music.
Wow. Just wow. A blend of some of the best pop and electronica combined with original
scoring from sound designer Brendan Patrick Hogan. Get your tickets now,
because the show has been selling out since opening weekend. If you have half
as much fun as the RoboPop! actor/dancers (John Abramson, Noah Benezra, Hannah
Victoria Franklin, Ali el-Gasseir, Libby Matthews, Mary Bliss Mather, Jillia
Pessenda, Erin Pike and Mickey Rowe) seem to be having, then you are sure to
leave the theatre doing a little dance of your own, or maybe starting a teddy
bear fight in the streets, but to understand this reference, you’ll have to see
the show. I’ll leave that up to you.”
– Seattle Scenester
“The Grind Show” at the Edinburgh Fringe Festival in Scotland
August 5 – 31 daily at C Chamber Street
Winner of Edinburgh Festival Insider’s “Best Newcomer Award 2009”.
“Physical and visually arresting. . . Darkly beautiful and disturbingly eerie.” Four Stars
– Edinburgh Festival Insider
“From a stunning beginning to the gorgeous ending, The Grind Show is an attack on the senses, an exploration of humanity and death, where nothing is what it seems . . . fantastically acted . . . An attack on the senses. . . . should not be missed” Four Stars
– Hairline Magazine
– Three Weeks
“A mix of slick physical theatre and naturalistic dialogue, The Grind Show follows a wide-eyed boy through a surreal circus. But when he asks difficult questions the surface begins to crack. Beneath these characters’ demented bravado lie the recognisable pressures and fears of life.” Four Stars
– The List
“Vigorous and promising physical theatre… uses it to maximum effect”
– The Scotsman
“The Grind Show reminded me why I got into acting in the first place. Excellent, world class stuff.”
– Richard Karn, Actor (Home Improvement, Family Feud)
Scare Tactics by John Longenbaugh
Seattle Weekly published on October 28, 2008
“Like a lot of 11-year-olds, I was obsessed with ghosts, vampires, zombies, and so forth. Fortunately for me, a couple of friends shared this geeky obsession, and we’d gather in my basement to construct spookhouses, where unwitting victims (aka my family) would be lured into a terrifying gauntlet of imitation cobwebs and spooky sound effects. . .
. . .The comedy/horror model is popular, and is the guiding principle of perhaps the most unlikely script ever presented at Seattle Children’s Theater, a stage adaptation of George Romero’s classic 1968 horror film Night of the Living Dead. Directed by SCT’s Linda Hartzell, the play (for kids 13 and up) steers a middle course between humor and fright. For some audience members, even this PG-13 production is a little too terrifying. Actor Mickey Rowe, who plays a zombie, was pulled aside after one show and told that there had been a complaint from an audience member that his shtick of sneaking up for a quick “Boo!” was too much and might lead to a heart attack or fit. “Considering I’m dressed as a Boy Scout, I didn’t think I was really all that scary,” he says, but he agreed to change his approach. “The next show, I leaned over and tapped this guy on the shoulder, so that there was no possibility of scaring him, and then I shouted something like ‘Bugabugaboo!’ It was a total flop. Since then, we’ve changed it back.
. . . Since I’ve got a gig tonight, Wednesday, Oct. 29, as one of about a dozen “guest zombies” in a 21-and-older version of Living Dead, I asked for some advice from Rowe to help make my portrayal convincing. What is a zombie’s motivation—aside from eating brains? “I guess on a deeper level, it’s to get the brains before the other zombies, which is hard because we all walk so slow. A lot of zombie acting comes down, like comedy, to timing. That’s really all you’ve got to work with.” I’ve been practicing my shamble all week, and with all due respect to a professional actor, he doesn’t know just how chilling I can be.”