Bonanza 2000, the latest chapter in Seattle's Printer's Devil's festival of new works, will highlight plays from Naomi Iizuka (Aloha, Say the Pretty Girls) Dmitri Lipkin (Cranes) and Bonanza regular Lawrence Krauser (Horrible Child). Performances began March 6 and run through May 23.
A way of spotlighting new Seattle playwrights and writers from across the country, Bonanza will be adding new programs to the normal scheduled readings and workshops. This year Bonanza Talks discussions on March 20, April 10 and May 1 will allow non-theatre professionals to lead talks about theatrical works in a larger context and the Baby Bonanza evening (April 10) to present short works at the beginning of development.
The Bonanza festival schedule follows:
March 6, 7: The Language of Angels by Iizuka, directed by Kip Fagan
March 13, 14: Given Fish by Melissa James Gibson, directed by Melissa Kievman
March 20, 21: Wall Street Made Simple by Krauser, directed by Krauser
March 27, 28: Albuquerque Wedding by Scot Auguston, directed by Stephen Hando
April 3, 4: Full House Style by Julia Edwards, directed by Kristen Palmer
April 17, 18: Pensacola by Caridad Svich, directed by Kristin Newborn
April 24, 25: Albuquerque Wedding
May 1, 2: Atom & Eve by David Vegh, director TBA
May 8,9: The Elephant Play by Lipkin, director TBA
May 15, 16: Normal by Duke Novak, Mara Hesed, Adam Greenfield, directed by the same
May 22, 23: Untitled by Shelia Callaghan, directed by Sheila Daniels
Several of the plays and playwrights have plans beyond the Bonanza. Iizuka is currently at work with Anne Bogart and the SITI Company on the Orson Welles-inspired War of the Worlds. Gibson's play [sic] will have its New York premiere at Soho Repertory Theatre in the fall of 2000. Auguston's 1999 Bonanza entry, The Canard, will have a full debut at Annex this year. All performances in the Bonanza are pay-as-you-leave. Consolidated Works, the chosen venue for the series, is located at 410 Terry Avenue North. For further information and scheduling, call (206) 328-2690.
-- By Christine Ehren