SGN Oct 19, 2018 - Part 2

Arts & Entertainment

Seattle Opera’s Turn of the Screw a chilling psychological thriller

by Sharon Cumberland

SGN A&E Writer

SEATTLE OPERA

THE TURN OF THE SCREW BY BENJAMIN BRITTEN

LIBRETTO BY MYFANWY PIPER

MARION OLIVER MCCAW HALL

October 13 (Opening Night cast continues 10/17, 10/24 & 10/27)

October, with its long, spooky path into Halloween, is the perfect moment to see The Turn of the Screw, Benjamin Britten’s chamber opera based on Henry James’ classic ghost story. Everything necessary to be creep-ed out is here – a remote manor house with an absent Lord, a timid governess, a pair of orphaned children, and a weird pair

see SEATTLE OPERA page 4

A Thousand Splendid Suns is a stunning work of art

by Miryam Gordon

SGN A&E Writer

A THOUSAND SPLENDID SUNS

SEATTLE REPERTORY

THEATRE Through November 10

TRIGGER WARNING: There is a peculiar difficulty for people (mainly female) who might want to see A Thousand Splendid Suns, the masterfully mounted co-production with San Francisco’s American Conservatory Theater, which opened Wednesday at see SPLENDID SUNS page 6

SGN EXCLUSIVE INTERVIEWS:

Harvey Fierstein’s acclaimed Casa Valentina at Erickson Theatre

Oct. 19-28

SGN talks with actor/director Derek Villanueva and actor Tom Stewart

by MK Scott SGN Contributing Writer

CASA VALENTINA

LESSER-KNOWN PLAYERS AT THE ERICKSON THEATRE October 19-28

You may have seen the ads and video on Facebook or ads in Seattle Gay News or director Derek Villanueva on the cover of the current Unite Seattle Magazine. What is even more intriguing is the Seattle Premiere of Casa Valentina from Harvey Fierstein (the award-winning playwright who brought us Kinky Boots and Newsies, as well as Torch

see CASA VALENTINA page 3

Seattle Women’s Chorus is making jubilant noise

by Miryam Gordon SGN A&E Writer

SEATTLE WOMEN’S CHORUS “HEAR ME ROAR”

October 12-13

@ Seattle First Baptist Church October 20 @ Highline Performing Arts Center (Burien)

The Seattle Women’s Chorus is making jubilant noise – it’s their 15th anniversary and their current concert focuses on energetic empowerment of women. Gathering in the sanctuary of the Seattle First Baptist Church this past weekend, the women performed a range of both classic songs and see “ HEAR ME ROAR ” page 3

“HEAR ME ROAR”

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covers of up-to-date rockers. If you missed their Seattle performances and would love to see them, they will perform in Burien this Saturday.

The first song of the concert is a history of humble beginnings. “Genesis” says first there was “a potluck.” That belies a much longer story of struggle to convince the leaders of the already-venerable Seattle Men’s Chorus to stretch and add a Women’s Chorus. It was by no means a simple proposition and the growing pains were both difficult for some and a no-brainer for others at the same time.

Today, just as the Men’s Chorus is one of the largest male choruses in the world, the Women’s Chorus is one of the largest female choruses in the world. Yep, right here in Seattle! You’d think New York or Los Angeles would have bigger LGBTQ choruses, but you’d be wrong.

The first act includes Katy Perry’s “Roar,” which gives the event’s title some connection. A wonderful Bulgarian wedding song, “Svatba,” is a complicated, sophisticated arrangement that shows how well the women can manage another language and foreign rhythms. But Artistic Director Paul Caldwell tells us that it’s far from a simple, happy wedding song. It references the sometimes difficult transition of very young girls into marriage, often for economic reasons.

A Gertrude Stein piece, we’re told, is said to be the first time in modern history that the word “Gay” is used to mean homosexual and the Chorus sings “Quite Regularly Gay” where Stein repeats that word over and over, perhaps to make it perfectly clear.

A current hit, “Scars to Your Beauti-

ful,” has a particularly standout soloist, Tara Street! Most every soloist chosen from either Chorus is a great one. The Choruses are blessed with fantastic talent. Street sounded like she could go out and cut a demo record right this minute and hit the radio with it! (For those who might want to read the beautiful lyrics from Alessia Caro’s song, here’s the link: https://www. google.com/search?q=scars+to+your+beau tiful&rlz=1C1CHFX_enUS647US648&oq =scars+to+you&aqs=chrome.0.0j69i57j0l4 .2199j1j7&sourceid=chrome&ie=UTF-8 )

Toward the end of Act 1, the featured concert soloist joins in. Alexandria Henderson is a talented musical theater per-

former who just performed as Elle Woods in Legally Blonde – The Concert, produced by Showtunes Theatre Company, and last year had a critically acclaimed role in Dreamgirls at Village Theatre. In Act 2, Henderson gets to belt full out in an homage to dearlydeparted Aretha Franklin.

The Chorus producers didn’t realize, when they booked Henderson, that her mother was Robin D. Henderson who had performed with them for the Randy Rainbow concert last year and had such a great reception for her participation! Apple, meet Tree.

The uncredited encore is Helen Reddy’s “I Am Woman,” and its lyric “hear me roar” is another reference that adds to what the

title says the concert is about. The concert is packed with power and the song choices are brief and powerful. Caldwell’s choice of music is providing more lyrical strength to the SWC singers and the harmonies are rich and powerful. It’s a fun event!

Also, the SWC continues its strong partnerships with significant non-profits whose missions are close to the women’s hearts. For this concert, the focus was on Lambert House and Ken Shulman, the executive director, gave a moving speech about the power of connection for those LGBTQ teens who are in such need of finding people “just like themselves” and even saving lives.

Song Trilogy, La Cage Aux Folles and more) comes a powerhouse gut wrenching play that stormed Broadway in 2014. Now, the same group, Lesser-Known Players, that gave us Priscilla, Queen of the Desert at the Bainbridge Performing Arts Center last year, presents the Seattle premiere of Harvey Fierstein’s Casa Valentina. This production appears at Capitol Hill’s Erickson Theatre Off Broadway (1524 Broadway) for eight performances only Oct. 19 through Oct. 28. Tickets at $15$35 in advance at casavalentina.brownpapertickets.com and at the door, if available.

Following is a brief description about the play written by the Manhattan Theatre Club where the play premiered on Broadway:

“Back in 1962, most men went to the Catskill Mountains to escape the summer heat, but others took the two-hour drive to escape something else entirely: being men. Nestled in the land of dirty dancing and borscht belt comedy sat an inconspicuous bungalow colony that catered to a very special clientele: heterosexual men whose favorite pastime was dressing and acting as women. It was paradise for these men –white-collar professionals with families – to spend their weekends discreetly and safely inhabiting their chosen female alter egos. But when they got the opportunity to share their secret lives with the world, these “selfmade” women had to decide whether the freedom they would gain by emerging from hiding was worth the risk of personal ruin.

“Infused with Fierstein’s trademark wit, this moving, insightful and delightfully entertaining work offers a glimpse into the lives of a group of unforgettable characters as they search for acceptance and happiness in their very own Garden of Eden.”

I had a chance to chat with Derek Villanueva earlier this week.

MK Scott: What attracted you to the play?

Derek Villanueva: I’ve always been a big fan of Harvey Fierstein’s work, and over the last 18 months I’ve been reading a large number plays. While I’ve directed films before this will be my theater directorial debut, so I was searching for that perfect work that really spoke to me. When I read Casa Valentina I fell in love with the work and knew it was something special. I was shocked to learn that it hadn’t already been performed in the Seattle area, so I jumped at the chance to license it for its Seattle premiere. On the surface it’s not a play that has the broadest appeal – a play about cross-dressing mostly heterosexual men at a Catskills resort in the 60’s. But like all of Harvey’s work, the characters are so rich

and the play so layered and human that it’s truly universal in what it has to say about identity, acceptance and finding your tribe. As I researched the play and the underlying historical facts about the resort and its historical namesake, the Chevalier d’Eon, the rich detail was truly icing on the layer cake. Valentina has seven characters.

MK: How different is each character?

Derek: Each of the characters in this play are fully formed humans, with incredibly unique life circumstances, origin stories, and internalized conflicts – so they are all wonderfully original. In fact, if it weren’t for this secret commonality of cross-dressing they would probably not be friends or have any reason to spend time together. But because of the commonality of their rejection and shame, they seek this

safe space where they can live out, if only for brief moments of time, an important core part of who they are without judgment or the threat of physical violence. They have found their safe, accepting tribe.

MK: I know that you were in Bainbridge Performing Arts’ musical Priscilla, Queen of the Desert last year, and now your company Lesser Known Player’s is putting on Casa Valentina. What’s going on over on Bainbridge?

Derek: It’s the water! Actually, I think it’s great that all sorts of communities and theater companies are staging plays that have representations that are even just a bit out of the mainstream. Today we see so much division and polarization, which I believe is fueled by lack of experience, understanding and empathy. So, while Casa Valentina’s characters aren’t explicitly LGB, they are definitely queer. And the fight over whether a newly forming non-profit organization for crossdressing men explicitly forbid homosexuals from joining forms one of the main conflicts, along with the requirement to be publicly out as transvestites, which in the 1960’s could land you in jail or worse.

MK: I have heard and seen that your marketing campaign has been sensational with still identifying each character and even a video. Where did the idea come from?

Derek: The video idea came because I’m a filmmaker, so I brought that eye (and equipment) to the table. The power of theater is the intimate, real-time connection when the character takes over the actor and forms a relationship with the audience. The more we see each character as a wonderful, beautiful human being, and not just painted with a broad brush and dismissed as scary or “other,” the more power a work like Casa Valentina can have. So, I wanted to create that same kind of connection in the marketing material and video on digital platforms was the perfect way to do that.

Seattle Opera goes full Hitchcock with The Turn of the Screw

by Alice Bloch

SGN A&E Writer

SEATTLE OPERA

THE TURN OF THE SCREW BY BENJAMIN BRITTEN

LIBRETTO BY MYFANWY PIPER

MARION OLIVER MCCAW HALL

October 14 (Sunday Night cast continues 10/20, 10/26)

Based on a horror novella by Henry James, The Turn of the Screw is an intensely troubling opera. In the fine production now playing at Seattle Opera, stage director Peter Kazaras emphasizes the disquieting nature of the drama – which takes place in an isolated English mansion haunted by ghosts, and touches on child neglect and abuse, sexual misconduct, madness, and suicide – by creating a creepy atmosphere reminiscent of the Hitchcock film Rebecca

The basic unanswered question of the James novella is whether the ghosts are real or whether the central character, the governess, is going crazy and imagining them. The Britten opera can also be staged to focus on this question, but Kazaras opted instead to highlight the desperate situation of the orphaned, traumatized children Miles and Flora. (For more discussion, see dramaturg Jonathan Dean’s smart essay “What the Heck Is The Turn of the Screw Really About?” at seattleoperablog.com.)

Although The Turn of the Screw is a chamber opera, with a six-singer cast and a thirteen-musician orchestra, it succeeds brilliantly on the Seattle Opera mainstage. In the performance I attended, all cast members rose to the musical and dramatic challenges of the work. Boy soprano Forrest Wu

as Miles sang beautifully and acted with conviction; he made the audience feel the character’s confusion and suffering. (For a review of Opening Night, which featured Rafi Bellamy Plaice as Miles, see Sharon Cumberland’s article in this issue.) As the Governess, soprano Elizabeth Caballero

gave a fearless, highly emotional performance. Tenor Benjamin Bliss, who played the ghost of the deceased valet Peter Quint, was equally impressive; his calling out to Miles in a quiet high voice made me shiver.

The orchestra is perhaps the most important character in this opera, and conductor Constantin Trinks led a flawless performance of Britten’s gorgeous, eerie score. It was a special treat to see all 13 musicians, holding their instruments, come onstage during curtain calls.

Sets designed by Robert Dahlstrom for Seattle Opera’s 2014 production of Don Giovanni were skillfully repurposed to become the haunted mansion, with many doors and moving parts. Projections designed by Adam Larsen and lighting designed by Connie Yun were marvelously effective and evocative. Deborah Trout’s costumes perfectly placed the opera in mid-20th-century England.

If you’re thinking that this opera might be just the thing for Halloween, Seattle Opera general director Aidan Lang was thinking along the same lines. The entire audience of the closing performance on October 27 is invited to a costume party backstage. For more information and to buy tickets, go to seattleopera.org.

of dead people haunting the mansion where they mysteriously died. Henry James’ psychological thriller has translated perfectly to the operatic medium (pun intended), posing unanswerable questions: Is the governess seeing things or are the ghosts really there? Have the young orphans, Flora and Miles, been abused in a way that goes beyond neglect? Why does Miles think he’s a “naughty boy,” and what does “naughty” mean in this context?

The opera’s title helps set the tone since the screw being turned is an ancient torture device – the thumbscrew – used to compel information from an unfortunate victim. But since anyone will say anything under conditions of fear and torture, the opera keeps us in doubt while different clues surface concerning the evil that has happened at the mansion. Though the story was written in 1898 and composed into an opera in 1954, this tale of secrets and wickedness – projected onto paranormal forces – has deep resonances in today’s #metoo movement, and in the relationship of hyper-wealth to corruption that fills the news every day. We can’t overlook the fact that the Oxford English Dictionary defines the use of the verb “screw” as slang for sexual intercourse as early as 1719 (Suffolk Country Court General Session; “The sd. Mr. Boyd screwed Mr. Longs Maid of Charlestown.”) No, it’s not your fevered imagination that reads sex into the title – it’s actually, really there. And the sexual anxiety that throbs through this opera is made all the more scary because children may be involved – though we’re not sure – it could all be in the Governess’ fevered imagination.

Chief among the clever directorial choices in this impressive production is the casting of real boys to sing the role of Miles. Opening Night audiences heard the wonderful Rafi Bellamy Plaice, a young man who won the Choir Boy of the Year award in England in 2017. His voice is amazingly mature and consistent through all registers – and how a young teenager can project into an opera house is a mystery to me. He handled the very sensitive role of Miles with a perfect combination of innocence as an actor and sophistication as a singer. His aria “Malo, Malo” (“Bad Boy”) was delivered with chilling precision and heart-rending sorrow as Miles exposes his fear of having been corrupted by the evil Peter Quint. I’m sure I join everyone who loves treble voices in hoping that this marvelous singer, when he comes through puberty, will possess a voice as compelling in his adulthood as it is in his youth.

Everyone else in the cast was fantastic as well – this was a case in which all sing-

ers rose to the level of each other. Elizabeth Caballero, in the demanding role of the Governess, is as innocent and desperate as an isolated young woman facing ghosts should be – alternately powerful and whimpery. Soraya Mafit, as Miles’ little sister Flora, is an adult who has sung such grownup roles as Tytania in Britten’s A Midsummer Night’s Dream, and Suor Genoveva in Puccini’s Suor Angelica. But her small stature, understated acting – along with the oversized doll she carried – created the illusion of innocent, exploited childhood. My favorite ghost was performed by Ben Bliss, who was both the narrator – the neglectful Lord who tells the young Governess never to disturb him with letters – and the ghost of the evil Peter Quint. His role is essential to make the audience understand why the Governess is frozen in her resolve to take action that might save the children. Bliss is as scary as a ghost as he is devastatingly handsome and mesmerizing as the narrator. Caught between love for the handsome aristocrat and terror at the prowling, vengeful Peter Quint – what is a poor governess to do? As she informs the housekeeper when Miles is expelled from school for mysterious sins: “I will do nothing. I will say nothing.” Spoiler alert: Bad choice, Governess.

Adding to the Halloween quality of the evening is a setting made primarily of projections by Adam Larsen that melt and transform from the train station, to the train, the countryside, and finally the mansion where optimism collapses into terror. Britten’s music has a creepy, modern quality, though with a set of lovely aria-like pieces. Since it’s a chamber opera the orchestra is very small – one cello, one viola, two violins, one bass, four woodwind, one horn, piano, harp, and a really impressive array of percussion to convey all the heart-beat, skeleton-like sounds that ratchet up the anxiety embedded in the music. The musicians came on stage to take a bow on opening night – the first time I’ve seen the whole orchestra join the singers and directors. Constantin Trinks, from Germany, made his debut as a conductor for Seattle Opera, and we can only hope to see him again. He handled his small forces with all the dynamism and drama the complex music required, while guiding his young singers with a sure hand.

As I left McCaw Hall on opening night I heard patrons debating the meaning of the ghosts, the nature of the evil committed, and the very creepy, mysterious ending. They were fully engaged in the way any opera

company hopes the audience will respond. I was a bit surprised to hear a couple of operagoers say they liked the story more than the music – but when I looked to see who was speaking, they were among the older folks for whom opera is meant to be more melodic than atmospheric. To me the music sounded contemporary but not strange – it was exactly what was needed for this story.

And hey – it’s October! Time for atmospheric chills and thrills! Britten’s opera is much more than a scary story for Halloween, however. It is a masterpiece of contrasts between hope and despair, optimism and terror, and an ultimate comment on the price we pay for neglecting our children, and for not speaking the truth when necessary. Both the music and the subjects are apt commentary for today, with the complex, multi-layered music it takes to tell such a story.

For those who have ears to hear – and eyes to see something really exciting – get thee to McCaw Hall for The Turn of the Screw. The production run through October 27 (and, as Alice Bloch notes in her review of Sunday’s performance, if you attend on the last day you get to go onstage in costume for a masquerade party!).

Come From Away still a fun and uplifting show

by Miryam Gordon SGN A&E Writer

COME FROM AWAY

5TH AVENUE THEATRE

Through November 4

If you saw the pre-Broadway production of Come From Away at the Seattle Repertory Theatre (co-produced by the 5th Avenue Theatre), you can be assured that the national touring post-Broadway production is still:

• a charm-filled, energetic performance;

• a simply designed, clean, homey set with musicians on stage;

• a stirring story about the immediate effects of the 9/11 attacks on airplanes that were in the flight at that time and scheduled to arrive in the United States. With air space declared “closed” and all flights being diverted to any nearby airport, 38 of them got diverted to a tiny town in Newfoundland called Gander;

• an uplifting account of how a tiny town of 9,000 people and surroundings came together to provide for more than 7,000 frightened passengers, plus exotic animals!

12 energetic actors change into multiple roles, both Canadian and other, to illustrate all the people involved in this massive tale. Since planes were grounded for five days, suddenly Gander and nearby towns had to feed, clothe, administer medically, house, and equip thousands of strangers with all kinds of material. People were desperate for cell phones and news sources and access to their families all over the world.

Different diets had to be accommodated. Pharmacies had to provide emergency amounts of prescriptions. There were babies and seniors and everyone in between. But the towns rallied and provided, and as we learn from the musical,

SPLENDID SUNS

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Seattle Repertory Theatre. Many hearts are torn and weeping from current politics, and this piece is likely to exacerbate that pain.

This is one of the most stunning pieces of theatricality to grace our stages – and for that reason, it would really be a shame if you miss it. It is a beautifully told tale with gorgeous technical aspects, top-of-their-game acting, and a sensitive adaptation by Ursula Rani Sarma of Khaled Hosseini’s book. This production is absolutely one of the highest level theatrical experiences one can have.

The story, however, is almost unrelentingly bleak. It accurately reflects women’s experiences in most of the world, even though it focuses on two women in Afghanistan around the time the Taliban take over. Every horrible event in a woman’s life that you can imagine happens in this play. And then some.

The opening scene belies all to come as young Laila (Rinabeth Apostol) helps her mother and father pack (ex-local actor John Farrage has a lovely moment as her father) to leave their home in Afghanistan for Pakistan. They are being driven out by insurgents and bombings and have finally decided to escape.

Then, a bomb falls directly on their home and Laila’s parents are killed. She wakes in the home of a neighbor, Rasheed (Haysam Kadri) who has rescued her, but we learn that he had his eye on her for a long time to become his second wife. His first wife, Mariam (Denmo Ibrahim) is furious but helpless to stop him.

Laila had hoped to get to Pakistan to reunite with a close teenage friend, Tariq (Antoine Yared), but when Rasheed brings home a man to tell her Tariq is dead, she seems to have no choice but to marry Rasheed. Some folks may not consider sex under these circumstances “rape,” but it’s hard to accept, and even harder when Rasheed immediately shows his true colors

some stayed up round the clock to make it all happen.

There is a whole ton of “exposition” (via narration) in this show. The actors have to tell the audience a lot about who they all are to set the stage for how they interact. Some people may not like the device and feel it’s a bit clunky, but it’s hard to see another way to tell this story.

This show has little in the way of Broadway “flash.” The costumes are street clothes and minimal changes, like pulling out a crushable hat from a pocket, or a scarf, or throwing on a new jacket. The changes are more accomplished by vocal shifts in accents.

The guts of the script are really about the “small” interactions between real peo -

ple. A moment of realization was when a man who spoke only English tried to speak to some Africans who did not speak English. He sees a Bible and is able to remember a specific verse by number that was about not feeling afraid, that strangers will help. Though the Bible the Africans carried was not in English, the numbers of the verses were all the same.

Tiny moments of connection and friendship in adversity lift the script into a heavenly mix of support and warmth. It is absolutely a “feel good” show.

All of that is present in the touring show, along with a talented cast of tour talent. There are some issues, though, with seeing this iteration. Having seen this at the Seattle Rep-

as a raging abuser.

When Laila protects Mariam from his rage, Mariam begins to bond with Laila, and their prison life (women cannot leave the house without a man, and other strictures levied by the Taliban) becomes just a bit easier to bear.

The hardships continue, thick and fast, throughout this long play. Laila has a baby girl, a little early perhaps, we learn, and they attempt a disastrous escape. Horrors occur when they are returned “home” and things continue to get even worse.

Director Carey Perloff (Artistic Director at A.C.T.) imbues the piece with poetry from the first moments. Actors drag others onto the stage on carpets, including musician David Coulter, who plays a saw and

ertory Theatre, some significant differences dilute the heady feeling of that first experience. Part of it is that the 5th Avenue is quite a lot bigger than the Rep. Most of the audience is much farther away from the stage.

Those who see the show on Broadway are seeing it in the Gerald Schoenfeld Theatre, which has a capacity of 1084 seats. Touring companies get what they get on the road, and the 5th Avenue has a seating capacity of 2100. That 2x’s capacity makes a big difference to audience’s experience.

The sound system on “Opening Night” at the 5th Avenue might have been malfunctioning. They’d publicized recently that they had upgraded their sound system, but the mushiness of the sound mix made it almost impossible to determine what the lyrics were in the big group numbers. Even some of the normal dialogue was hard to distinguish.

The lyrics in this show are very important. They help tell the story and cut down on the spoken narration. They’re fun. We should hear them.

So, it’s harder to have the same connection with those “small” moments of interaction that this libretto lauds and highlights. After all, it’s not the grand gestures that provide meaning to every day life, it’s the little stuff that surprises and delights in its unexpectedness.

If you have never seen the show, it’s likely to be a rollicking good time, but bring anything you can to help you hear if you have any difficulties in that arena.

For more information, call 206-6251900 or go to www.5thavenue.org.

Discuss your opinions with SGNCritic@ gmail.com or go to www.facebook.com/ SeattleTheaterWriters. More articles can be found at MiryamsTheaterMusings. blogspot.com.

small percussives and creates a magical soundscape! The set (by Ken McDonald) is wide open, but the back of the stage has a carving that looks metal with designs stamped out for streaming light, and a whorl of metal wire in a huge circle that becomes the sun when lit by designer Robert Wierzel’s lights. Additionally, there is a metal sculpture of wires along the back wall that can look like mountains or barbed wire, again depending on lighting.

The lead women feel emotionally so present that the audience is bound to their journey throughout. Their acting is part of what makes it so hard on viewers because you believe them, even as you see the theatrical devices everywhere.

The trigger warning is made to help you

see the production, not to drive you away. If you can arm yourself with tissues and a will to live through this journey, you can see how important a story it is to see on stage. If you pay attention to news, you know that these lives are not unique. Indeed, women in most of the world are faced with similar struggles, maybe sometimes not as overt, but still we are a long way from “liberation, baby.” For more information, call 206-4432222 or go to www.seattlerep.org.

Discuss your opinions with SGNCritic@ gmail.com or go to www.facebook.com/ SeattleTheaterWriters. More articles can be found at MiryamsTheaterMusings. blogspot.com.

MK: You are also on the cover of Unite Seattle Magazine’s October issue and you had written an article focusing on Diversity in the Theater. Give us a preview.

Derek: I’m very appreciative of that opportunity and visibility. I had to make decisions about how to cast Casa Valentina, and I consciously chose to cast the best actor rather than “safer” stereotypical choices. For example, Jonathon would typically be played by a nebbish waspy ~30-year-old. I had the opportunity to cast an amazing young actor, Tony Magaña, Jr , who I know our audiences will love. I believe that anyone who can give visibility to artists needs to really think hard about pushing the boundaries, and not just “casting to type.” The world is so rich in its diversity, and we must find ways to expose and benefit from that richness.

MK: What is coming up next?

Derek: Right now, I’m 100% focused on doing justice to Harvey’s work and putting on a memorable and touching series of performances of Casa Valentina. I know it has the power to move people, and I know that my talented group of actors, musicians and set designers will be doing that during our run. I continue to look for other works that speak to me and that I think need to be seen. I’m also keeping my toe in the Los Angeles and Seattle film scenes. The great thing is that the experiences acting in plays and musicals and now directing a play bring a new tonality to how I approach films, in the same way that you can see a little of my film background in how this play is staged as well as in its marketing. I love the process of trying out new creative challenges. It’s what keeps me fresh, engaged, and helps me find my voice and purpose.

MK: Burning Question: After I had met you at the cover shoot, I realized that I had seen you in a feature film and Queer cinema favorite, Longhorns, that played the Gay Film Fest in 2011. What was it like working on that film?

Derek: I had an amazing time on that shoot. First, the director, David Lewis, is an

amazing director and all around great person. I was so in love with the process of making films that I deputized myself as an unofficial gaffer, because I really wanted to understand every part of the process of film production. The rest of the cast was great fun, too. We shot the exterior shots in Grass Valley, CA (outside San Francisco), and got to know the local gay community there, which was a hoot. The inside shots were done in a studio in Oakland, and the cinematographer and crew were so creative in getting amazing shots in a small space. I had the opportunity to be in Longhorns because I had co-written with my partner and starred in a short called Little Love about a year earlier that was directed by Quentin Lee and had been on the gay film circuit as a companion short to his feature The People I’ve Slept With. That was really my introduction to film, and it’s now become the focus of my creative expression. I still love Longhorns and everyone who helped that get made. It’s funny, I’ve been approached on the dance floor in Spain by people who recognize me from Longhorns, so things have a funny way of traveling out to all parts of the world and making a difference. So that’s my hope for me and for everyone, really, that we are all doing things that we are passionate about, that we are putting ourselves out there, and letting that travel wherever it may go, and hopefully it touches people and makes the world just a little bit better.

Seattle actor Tom Stewart loosens up in challenging drag role

I have personally known Seattle actor Tom Stewart since 2015 Arouet’s production of The Children’s Hour as Joseph through last year’s SMT production of My Fair Lady as Henry Higgins. Stewart also plays with so much energy and passion in his roles that I had to ask him about his performance of the cross-dressing title role as Valentina. I also chatted with Stewart over Facebook.

MK Scott: What attracted you to the role of George/Valentina?

Tom Stewart: Harvey Fierstein first. I didn’t know the play, but I’ve enjoyed his work. I read the script and liked the roles of Charlotte and George/Valentina. I’m always looking for something that might challenge me. That sounds like a total actor cliché (and it is), but the challenge is more than just wearing a dress and heels. George is a man scared of completely losing himself to this other persona that’s he’s built, Valentina. He fears he’s disappearing. Valentina is jealous of the fact that George is seen as a real person and she is not. She wants the world to know that she’s “a person, not an aberration.” So the conflict is between Charlotte and the community George has built, but it’s really between George and Valentina.

MK: What are the differences of

George and his drag persona, Valentina?

Tom: George is fading and Valentina is growing. George looks to Val for advice and guidance, while Val doesn’t seek George’s opinion. George, at this point in his life, has geared everything to underpin Valentina; he has the resort, writes for a transvestite magazine, has gathered a group of like-minded friends who can understand and support him, has a wife who aides him as Valentina while maybe not fully understanding either. With Valentina, she sees George as someone one to be jealous of, but to also pity. They both come up with rules to make boundaries to reinforce and strengthen their world.

MK: What have been the challenges to this role?

Tom: Opening myself. I can be a fairly closed off person in everyday life and stepping on a stage in a different persona is freeing but involves stripping all the crap you had to build up for your protection away. It can be a painful and revealing process. First, we had to build enough trust with Derek and then among the cast to do that. Never easy. I think we’ve succeeded.

MK: What is next for you?

Tom: I’m doing The Veteran’s Day Project in November in Tacoma, and then Death of a Salesman in February at The Slate, and working on staging Bobby in ’68 my show about Robert Kennedy’s run for the presidency in June. And probably a few other things during that time as well. Stay tuned!

Lesser-Known Players presents the Seattle premiere of Harvey Fierstein’s Casa Valentina at the Erickson Theatre Off Broadway (1524 Harvard Ave) from Oct 19 to 28, for eight performances only. Tickets at $15-$35 in advance at casavalentina. brownpapertickets.com and at the door, if available.

MK Scott is the Editor-at-Large for Unite Seattle Magazine. Check out the site at uniteseattlemag.com.

Pulpy Bad Times a violently retro slice of noir-soaked ambiguity

by Sara Michelle Fetters

SGN A&E Writer

BAD TIMES AT THE EL ROYALE

Now playing

On the border of California and Nevada sits the El Royale, a rundown hotel where guests can choose to stay in whichever state that suits their sensibilities. On a cold January night in 1969 a group of disparate characters find themselves at this perpetually empty locale. There’s the cocksure vacuum salesman Laramie Seymour Sullivan (Jon Hamm), eager to use his expense account to stay in the swanky bridal suite on the California side of the hotel. Also, there is the friendly Father Daniel Flynn (Jeff Bridges), interested in staying in the Nevada section but unable to choose which cabin, four or five, that he would prefer. Also joining him in the Battle Born State are the quiet R&B singer Darlene Sweet (Cynthia Erivo) as well as an angrily aggressive woman (Dakota Johnson) who refuses to write her name in the registry. All together it’s the largest group of customers hotel clerk Miles Miller (Lewis Pullman) has seen in quite some time, and to say they have him jittery would be understating the obvious. Nothing is what it seems. Father Daniel wants to find a specific room for a reason. Laramie Seymour Sullivan’s gigantic vacuum case doesn’t actually contain a display model but only the facsimile of one. The nameless visitor has another, slightly younger woman she keeps referring to as

“Ruth” (Cailee Spaeny) tied to a chair in her room. As for Darlene, she’s really the only one content to be who she actually is, transforming her own room into a makeshift studio in order to practice for an upcoming show in Reno. But even she has a secret hiding in her past, one that she’s worried if anyone were to find out about she’d potentially never work as a singer ever again.

This is only the tip of the iceberg as far as the convoluted pulp fiction noir aesthetics of writer/director Drew Goddard’s Bad Times at the El Royale are concerned. A follow-up to The Martian and Cloverfield screenwriter’s 2012 directorial debut The Cabin in the Woods, this change of pace effort is a convoluted tale of moral and societal degradation only told at epic length yet still primarily

set inside one isolated central locale. It is a treatise on what people are willing to do to survive, what they will give up to get ahead and the sacrifices they will make in order to do the right thing. It is a story of forgiveness and faith, of resilience and honesty. Most of all it is just a giant mélange of human wreckage attempting to either repair itself or tear additional limbs off of an already mutilated torso, the physical and psychological scars of violence begetting more of the same as events spiral out of control.

It’s a cruel movie. There’s no denying that. Goddard takes no prisoners, and just as soon as I was starting to become curious about a character or wonder what it was they were going to try and do next suddenly they would be dispatched with a cold, almost callous indifference that left me gasping for air. Just as suddenly the director would circle around and view important events from an entirely different point of view. Almost as quickly he would do so again, in a way crafting a circular Rashomon where the truth of a situation can only be surmised after viewing every angle of the event in as meticulous a fashion as possible. It’s masterfully executed, Goddard handling it all with an assured confidence that’s astonishing. But this also means the story can be painfully drawn out. It takes time to look at so many various events from multiple points of view, even more so when the director allows each scene to move at its own individualistic pace. Goddard and cinematographer

see BAD TIMES page 8

Emotionally byzantine Hate U Give easy to love

by Sara Michelle Fetters SGN A&E Writer

THE HATE U GIVE

Now playing

After witnessing her childhood friend Khalil (Algee Smith) fatally shot by a police officer during a late-night traffic stop, 16-year-old Starr Carter (Amandla Stenberg) is unsure of what the right thing to do is. Her father, Maverick (Russell Hornsby), is a reformed gang member who after serving time in prison now owns and operates a respected grocery store in their small, closeknit community of Garden Heights. Her mother, Lisa (Regina Hall), is a nurse at the local hospital, while her older half-brother Seven (Lamar Johnson) and younger brother Sekani (TJ Wright) help round out the family. Together, they all know Starr is under immense pressure and that ultimately it is her decision alone whether or not she wants to go public as being the only eye-witness to this horrific incident.

There are complications, not the least of which is that, in order to keep them out of trouble and ensure they’ll get the best education, Maverick and Lisa ship their three kids to an upper-class, predominately white private school about forty minutes away from their home. Starr doesn’t want to stand out to her classmates as the “poor kid from the projects,” and coming forward publicly outside the anonymity of the Grand Jury would mean doing just that. More pressingly, she also doesn’t want to anger Garden Heights’ most powerful drug lord, King (Anthony Mackie), her father’s former best friend who also just happened to be employing Khalil as well. Even though the tragic traffic stop had nothing to do with King’s business, and even though the young man was unarmed and didn’t do anything to warrant being shot, Starr knows uttering the criminal’s name out loud could make her and her family a target for the drug runner’s goons, and the thought she could put any of them in jeopardy, no matter how selfless her intentions might be, gives her understandable nightmares.

Based on the novel by Angie Thomas, The Hate U Give is one heck of a motion picture. The late Audrey Wells (Under the Tuscan Sun, Guinevere) has composed a screenplay that is richly complex, intelligently nuanced and subtly introspective, Starr’s story an operatic tour de force that grows in intensity as the teenager achieves an even greater sense of purpose while discovering a titanic inner strength she never knew she possessed. An undeniable triumph for director George Tillman Jr., a filmmaker who has long flirted with greatness with films like Soul Food, Men of Honor and Notorious yet has sadly never

BAD TIMES

continued from page 7

Seamus McGarvey (Anna Karenina, Atonement) stage a plethora of exquisitely intimate tracking shots that, as masterful as they might be, also call attention to themselves for their inherent theatricality. It’s a double-edged sword, this technical virtuosity also stalling out the narrative on more than one occasion. Yet, when Bad Times at the El Royale is glorious it is magnificently so. The story weaves in and out in ways that combine the best of Quentin Tarantino, Samuel Fuller, Robert Altman, Dashiell Hammett, Mickey Spillane and Raymond Chandler with absurdist aplomb. Better, Goddard allows his talented cast the freedom to explore their characters in any number of wildly eccentric and morally complicated ways. As such, by the time the survivors make it to the final act, even if they were beyond salvation, I still found myself caring about whether they would live or die, the emo -

achieved it, this movie is a compelling punch to the gut.

There’s a lot to unpack. The glory of this adaptation is that it seldom preaches. While Tillman and Wells do have to spend a lot of time having Starr or Maverick, or in some cases the teenager’s police officer uncle Carlos (Common) or determined civil rights attorney April Ofrah (Issa Rae), explain rather succinctly and in no uncertain terms what is currently going on or what a particular group of people might be thinking at any given moment, these passages of exposition still feel natural, still come across as affectingly authentic. There are few occasion where melodrama overwhelms the situation, the filmmakers instead allowing the inherent emotions swirling within this cultural, social and personal maelstrom to bubble to the surface at their own organic pace. Little is forced on the audience, and if not for a few instances of coincidence utilized to amplify the tension of the situations Starr and her family find themselves dealing with, there is a precision to the film’s narrative progression that’s just about perfect.

Tillman and Wells could easily have beaten the audience over the head with didactic forcefulness. They could have chosen to preach instead of trusting the viewer to put all of these various bits and pieces together for themselves. They could have stuffed their points about social injustice, white privilege, gender disparity and political indifference down everyone’s throats and called it a day. Yet the two filmmakers refuse to do that.

tional investment I felt as the story went down the home stretch well beyond my initial expectations.

Bridges is his superlative self, allowing the secrets Father Flynn is trying to hide to rise to the surface with an intuitive mutability that suits his character perfectly. Erivo is even better. Her Darlene is a determinedly soulful iconoclast who is filled with far more inner strength, and even more innate goodness, then she realizes. The way the singer responds to Father Flynn’s truths when they are revealed to her captured my attentions in their entirety, Erivo giving these moments an arresting authenticity that knocked me cold. Johnson is also wonderful, but the less said about her mysterious character the better, while Pullman is close to spectacular as Miller searches for salvation and absolution while at the same time trying to put his actions on the ground in Vietnam far behind him as he does so.

Then there is Chris Hemsworth. He’s playing a charismatic California cult leader known as Billy Lee, and while Goddard shows glimpses of him throughout the first

While not entirely free of a heavy hand, even the instances where Tillman might bring down his gavel just a little bit more forcefully than he needed to (most notably whenever he’s focusing on the subplot involving King) still reverberate through the theatre with authority. It’s a fascinating balancing act, and as difficult to watch as things became there was never a moment I wanted to pull my eyes from the screen. Not one.

A lot of this has to do with how warm, affectionate, loving and downright funny the film frequently is. This is a tough situation. The painfully tragic undertones fueling this complex drama are undeniable. But grief and comedy are almost always intertwined, and Wells’ script fearlessly allows laughter to fill the dark void at any number of surprising occasions. She also isn’t afraid to let her characters get angry or to be afraid. She lets them show how uncertain they are of their own feelings, the script treating indecision as an agonizing fact of life and not a trait to be ridiculed, diminished or most of all ignored.

Known to most as Rue from The Hunger Games, even though I didn’t care for Everyone, Everyone or this past summer’s The Darkest Minds, I’ve been saying for a while now just how terrific an actress Stenberg is fast becoming. Here, as Starr, she magnificently comes into her own. This is a bravura performance, and I could feel each and every inch of her emotional journey as the young woman struggled to figure out what she wanted to do. Stenberg cuts to straight to the truth with shattering mini-

two-thirds, one can’t help but wait in constant anticipation eager for this man to arrive at the El Royale and become an actual physical presence inside the story. When he finally does materialize it proves to have been well worth the wait. Hemsworth saunters and slinks his way into the center of the frame, his masculine gravitas oozing a type of dangerous magnetism that I couldn’t ignore. He takes over so completely he almost cripples the film as it’s hard to maintain interest in anyone else whenever he’s on the screen. And yet, Billy Lee is just another piece of the puzzle, and when things finally explode seeing the carnage he’s left in his wake turns out to be one of the major points of emphasis Goddard has been so carefully building towards.

I’m admittedly being vague about a lot of this on purpose. I don’t want to talk about the secrets of the hotel or the things that have made Miller such a shell of a person. I’m not speaking about the marvelous prologue that sets the template for much of what is to follow, and I’m not about to reveal who Johnson’s character is and why Ruth means so

malist brevity, and I was often caught off guard by how she could transition through so many varied states of being with such unvarnished intimacy. The actress crushed my heart and uplifted my spirits while also breaking me down to tears at the drop of a hat, and as unforgettable characters go Starr has vaulted near the top of my 2018 list entirely thanks to her.

The rest of the cast is also exceptional, most notably Hornsby, the passionate depth of his performance busting stereotypes and perceptions in ways that deserve to be discovered fresh and without any spoilers from me. There is also a deft, understated turn from K.J. Apa as Starr’s clueless boyfriend Chris that charmed the socks right off of me, while Sabrina Carpenter had a couple of moments as her private school classmate and supposed best friend Hailey that shook me senseless. Unsurprisingly, Hall is also superb, and while she could likely play a role like Lisa in her sleep that does not mean she brings any less maternal conviction or undiluted parental authority to her performance whatsoever.

There’s so much more I could say, but ultimately I feel like The Hate U Give has to be experienced knowing as little about what is going to happen or how each character is going to interact with the others as possible. Tillman and Wells have transformed Thomas’ source material into something urgently important, yes, but even better they’ve also managed to make one heck of an entertaining motion picture. See this one immediately.

much to her. Goddard has a lot going on and for the most part he’s able to keep all of these varying dramatic balls in the air successfully, rarely losing sight of where he wants to go while at the same time serving up an engaging and entertaining story audiences will hopefully thrill over.

If they will or not I have no idea. The marketing for the film has sold Goddard’s opus as some sort of lean, mean noir-drenched suspense flick filled with pulpy mayhem and bloody chaos, and while those last two items certainly exist, they do so in the context of a character-driven opus unafraid to take its time and develop things slowly. For my part, I really enjoyed Bad Times at the El Royale even when I got angry at it for callously killing off a character or two that I’d started to have affection for. But this is still a nifty little ultraviolent throwback I’m eager for audiences to get a look at, their various reactions, whether they be positive, negative or somewhere in-between, certain to provoke wildly divergent discussions worthy of further conversation.

Michael Myers and Laurie Strode return in Halloween

by Sara Michelle Fetters SGN A&E Writer

HALLOWEEN

Now playing

On Halloween night in 1978, teenager Laurie Strode (Jamie Lee Curtis) survived an attack from escaped mental patient Michael Myers (Nick Castle) while babysitting. Her friends were not so fortunate. All told Michael murdered five people before his psychiatrist Dr. Loomis put six bullets into him only for him to somehow survive and get re-incarcerated back inside the Smith’s Grove sanitarium, and ever since that terrifying evening Laurie has been methodically making plans in case this unholy force of nature were to break free of his chains and return back to Haddonfield to finish what he started 40 years prior.

That night is tonight. It is again Halloween and Michael has escaped captivity. Much to the annoyance of her daughter Karen (Judy Greer) it’s just this eventuality Laurie has been preparing for. She’s determined to end Michael’s reign of terror. But when her granddaughter Allyson (Andi Matichak) becomes caught in the crossfire, Laurie must rethink her plan. Not that this matters to Michael. He’s determined to kill everyone he encounters, his eventual confrontation with the only victim to have escaped his knife many years ago something he’s been silently waiting for ever since that night came to its violent conclusion.

There’s a lot to unpack as it pertains to director David Gordon Green’s direct sequel to John Carpenter’s timeless 1978 horror classic Halloween. The most pertinent thing to know? It’s the first entry in the long-running series of slasher films featuring Myers where Carpenter has been actively involved since 1981’s Halloween II. But in that case he and co-creator, screenwriter and frequent collaborator Debra Hill didn’t really want to continue the story of Michael Myers and Laurie Strode, their ideas about where to take the Halloween franchise next far different than what the studio had in mind. They had visions of creating something that’s familiar to today’s moviegoers but unthinkable in the 1980s and that’s the idea of a “shared universe.” Signing on to write, produce and score Halloween II allowed the two the freedom to make 1982’s Halloween III: Season of the Witch. But with its box office failure Carpenter appeared to be resigned to being finished with the franchise for good, content to pick up a series of residual checks from the various studios that have greenlit sequels and reboots over these past four decades.

The next thing to know is that, with Carpenter’s blessing, Green and his co-writers Danny McBride and Jeff Fradley have taken the Myers/Strode story back to the beginning. Gone are all of the sequels, and not just the Laurie-less entries Halloween 4: The Return of Michael Myers and Halloween 5, but also the films Curtis did appear in, most notably the aforementioned Halloween II and 1998’s Halloween H20. None of them exist in the newest incarnation of the story, things picking up 40 years later with Laurie a recluse still suffering from PTSD with two failed marriages, a daughter who seldom speaks to her and a granddaughter she frustratingly seldom gets to see while Michael remains incarcerated in Smith’s Grove under the supervision of Dr. Loomis’ protégé Dr. Sartain (Haluk Bilginer). All that other stuff? It’s gone, erased from the timeline, Green and company returning the story to its roots as outlined by Carpenter and Hill back in 1978.

Green proves, somewhat surprisingly, to be an inspired choice to pull this off. This is because, not only does he trust in Carpenter and Hill’s original conceit, but also thanks to his feel for intimate interpersonal minutia which his work on such films as George Washington, Joe, Prince Avalanche and Snow Angels has made abundantly clear. He makes a point to put character dynam-

ics first ahead of all the blood, gore, violence and mayhem, grounding this new chapter in Laurie’s story in issues regarding posttraumatic stress, how violence begets violence, parental neglect and how the pursuit of vengeance can irrevocably stain everything it touches. He makes the relationship triangle between Laurie, Karen and Allyson the heartfelt, painfully emotional soul of the story, their collective pursuit of reconciliation, understanding and even forgiveness the most important aspect of the tale.

Additionally, he and his co-writers return Michael Myers to being “The Shape.”

Described so memorably by Donald Pleasance’s Dr. Loomis in the 1978 original as “purely and simply…evil,” that is what he has become here once again. There is no rhyme to what Michael is doing. There is no reason. As obsessed as Dr. Sartain becomes in trying to ascertain what it is that fuels Michael’s actions the truth is that he refuses to believe what Dr. Loomis proclaimed and that is, as human as he looks, the physical body is only an empty shell, mindless violence and mayhem the only traits living within. This returns Michael to his terrifying status as an unstoppable bogeyman, and so the thought anyone could die, no matter who they are or how important or insignificant to the story they might be, exists from the moment he escapes Smith’s Grove to the second he and Laurie once again face one another down one-on-one.

Some of the plotting is a little contrived to the point of being silly. The narrative leaps in logic required to get all three Strode women out to Laurie’s isolated fortress as well as making sure Michael ends up there as well are fairly ludicrous. Additionally, the construct of having a pair of British jour-

nalists (Rhian Rees, Jefferson Hall) inadvertently be the instigators for Michael’s latest killing spree is rather laughable, and if not for the total commitment of the two actors during the expected moment when they realize the monster they’ve come to research cannot be studied I doubt I’d have cared about either of them whatsoever. The film also wastes a delicately balanced performance from veteran character actor Will Patton as a Haddonfield police officer who was there 40 years earlier when Michael’s first night of carnage came to an end. He’s excellent, but the story doesn’t seem to know what to do with him, and the way his character is ultimately dealt with comes perilously close to being inexcusable.

No matter. Greer is wonderful, her Karen having far more layers and emotional complexity than it initially appears, Green allowing her to play things close to the vest until the precise moment she’s no longer required to do so. Newcomer Matichak is also quite good, and I loved the authenticity of all the scenes between Allyson and her high school friends. It’s apparent the filmmakers went out of their way to study that aspect of Carpenter’s original, each teenager a fully-formed, realistic human being, and as such when some of them meet their end at Michael’s hand the overall weight of their demise is bone-chilling.

Yet, in what will likely come as no shock to anyone, Curtis is the true draw here, and much like she did in Halloween H20 she does not disappoint in her return to the character that launched her career. Laurie continues to fit the actress like a glove. She slips inside of her with ease, the depths of pathos and pain bubbling within instantly palpable. Curtis crafts a performance that

is devastating in its little nuances, watching her remain committed to her family no matter what the cost while at the same time battling those internal demons left by Michael’s knife back when she was still a senior in high school gut-wrenching in their intimacy. It’s a bravura performance that goes well beyond the expected, the levels of angst and grief coupling with a form of selflessly naked empathy are continually moving in their fascinating specificity.

There are the requisite callbacks to the original Halloween. There are also some rather nice bits of homage paid to both Halloween II as well as Halloween III: Season of the Witch. Carpenter, working with his son Cody Carpenter and musician Daniel A. Davies (Condemned ), delivers a kickbutt score that stands out on its own outside of his iconic work for the 1978 film. As for Michael Simmonds’ (The Lunchbox) menacing, methodically propulsive cinematography, the layering of darkness, shadow and light is exceptional, and while it does call to mind Dean Cundey’s spectacular work on the original, the uncomfortably lush layering of the images give the material a unique imprint that’s unnervingly glorious.

The same can be said for Green’s Halloween. It respects Carpenter’s film. It understands it, following in its footsteps with confidence. But the filmmaker has also made his own movie, told his own story, infusing it with a powerful, almost mournful grace that transcends generations as it becomes its own primal, expressively resonant thing. This next chapter of the story is undeniably its own distinctive thing, Michael and Laurie’s return to greatness as thrillingly bloodcurdling as it is joyfully welcome.

Heartrending The Guilty a breathlessly tense real-time thriller

by Sara Michelle Fetters SGN A&E Writer

THE GUILTY

Now playing

On desk duty until an investigation into one of his prior cases reaches a conclusion, veteran police officer Asger Holm (Jakob Cedergren) is doing his best to get through the remaining hours of his shift covering the Emergency Services phone line. But with his day drawing to a close and the strong likelihood he’ll be returned to active duty in the morning, the seasoned investigator receives a call that forces him to reevaluate everything he thought he knew about law enforcement. A woman, pretending to be speaking with her six-year-old daughter, has called Emergency Services to let the police know she’s been kidnapped and is deathly afraid for her life, only giving Asger the most basic and nondescript information about her whereabouts and who has her before being forced to hang up the phone.

Putting back on his detective hat, the police officer is determined to figure out who this woman is, who it is that has her and the location of their final destination. Asger begins to look at this case as a way for him to redeem himself for past mistakes, even going so far as to promise to the woman’s daughter he’ll make sure her mother comes back alive even though any outcome, let alone that one, is far outside his personal control. Trapped in the Emergency Services call center, the officer attempts to put the pieces of this abduction puzzle together utilizing the only weapon he has at his disposal: the phone. But as

Asger helps outside units close in on the woman and her abductor he also begins to question whether or not he’s let his emotions get the better of him, wondering if he’s doing more harm than good by being so proactive in going beyond the call of duty his present job at Emergency Services typically calls for.

Denmark’s official submission for the Best Foreign Language Film Academy Award, director Gustav Möller’s lean, mean psychological thriller The Guilty is perfect. Featuring a sensational lead performance from Cedergren, this intimate marvel is a suspense-filled shocker that builds to an explosively emotional climax that had me choking back tears as it delivered one gutwrenching punch to the gut after another. Taking place entirely inside the Emergency Services call center and with only minimal input from the supporting cast, this is as focused and as meticulously plotted a real-

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It’s entirely self-contained with only one primary set with two separate rooms. The first is the larger call center where Asger first receives the initial cry for help. The second is a smaller office where Emergency Services officers can take any of the more challenging calls in relative seclusion. Möller transitions between each room with kinetic efficiency, cinematographer Jasper J. Spanning’s camerawork achieving an effortlessly elegant dynamism that only amplifies the emotional upheavals Asger is forced to deal with whether he wants to or not. The film is also edited by Carla Luffe as if the entire drama were resting on the edge of a freshly sharpened knife, tension ratcheting up bit by bit as events steamroll towards their inherently devastating conclusion.

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Cedergren is magnificent. With only a small handful of other officers in the call center, the actor spends most of his time either interacting with others over the phone or sitting in the office alone as he aggressively tries to figure out what he needs to do next in order to ensure this woman survives the night and he can keep his promise to her child. Cedergren does a superb job of letting his internalized emotions burst forth little by little as he learns more about what is going on and gets closer to helping facilitate this kidnapped caller’s escape. It’s a wonderful bit of creative dexterity, the pure physicality of what he’s called on to accomplish far more difficult than it might initially appear. It all builds to a moment of profound, unfiltered honesty that is both heroic and damning all in the same breath, watching Cedergren during this moment leaving me more than a bit shell-shocked by the time it came to an end.

Ultimately, The Guilty isn’t the suspense-thriller a viewer might imagine it is going to be. Sure it is tense, and without question the central conceit of an Emergency Services phone operator working against time to help facilitate the rescue of a kidnapped woman is unnerving. But as great as all of that might be, and it is magnificent, Möller and his co-writer Emil Nygaard Albertsen have crafted something much more intimate, far more human than I anticipated. It asks tough questions about right and wrong that straddle the line between good and evil with heartrending clarity, and no matter how selflessly pure the act innocence and guilt still mix via an uneasy symbiotic relationship with neither attribute able to exist without the companionship of its polar opposite counterpart.

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Meetings Events Activities

TO GET A CALENDAR LISTING: To have your meeting or event considered for the Community Calendar, please mail, fax, or drop off details to: SGN, Attn: Community Calendar, 1707 23rd Ave., Seattle, WA 98122. SGN phone: (206) 324-4297. E-mail: sgn2@sgn.org.

INCLUDE: Date, time, location, contact phone # for publication (if possible), brief description of event & sponsoring organization. DEADLINE: Tuesday 5pm.

NOTE: 10-digit dialing has come to the Seattle area. The (206) area code must now be used to dial local calls. Location of meetings/events is in Seattle unless otherwise noted.

SATURDAY - October 20

TWIST: SEATTLE QUEER FILM FESTIVAL

10/11-10/21 twistfilmfest.org

Seattle Frontrunners Fun Run. 9am. Greenlake (outside Evans Pool). Every Saturday. GLBT running & walking club sponsors weekly runs, monthly potlucks, track & field activity, annual Run With Pride. (206) 4488518. www.seattlefrontrunners.org.

Transfaith Weekend. 9:30-4pm. A free event for Trans people to connect over faith and community. Visit https:// mylucc.org/trans-faith-weekend-sign-up for location and to RSVP. (Continues Sunday, Oct. 21 with Trans Faith service at 1:30pm at Liberation UCC.)

Athletes and Eating Disorders. 10am-12 noon, UW Kane Hall, [Address TK]. Former collegiate and pro athlete Patrick Devenny shares his personal story of recovery from bulimia. He now seeks to raise awareness of eating disorders in men. Sponsored by the Eating Recovery Center, (212) 886-6718. Positively Living Coffee Social. 10am-12 noon. Cupcake Royale, 1111 E Pike St. Every Saturday. Casual social get-together for the HIV community. (206) 9571600. Sponsored by LIfelong.

Rainbow Walk for LGBTQ Elders 50+ - Green Lake Walk. 12 noon-1pm. 7201 E Green Lake Dr. N. Every Saturday - Come Rain or Shine! - Meet at the Wading Pool (along the north end of the lake). Hot coffee and beautiful Rainbow umbrellas to use “just in case.” For info, call (206) 393-3400. Wheelchair-friendly walk. (Also Sunday and Thursday.) Sponsored by Generations Aging With Pride.

Lambert House Queer Rec. 1pm. 1818 15th Ave. Meets 3rd Saturday each month. Outdoor & indoor adventures for youth ages 22 & under. www.lamberthouse.org

Seattle Prime Timers Monthly Potluck. 2pm. Wallingford Community Senior Center, 4649 Sunnyside Ave, Suite 140. Meets 3rd Saturday most months. Cost: $4 per person (please try to bring exact change) to help pay for room rental. Please bring a dish that will serve eight or more to share. Free parking in the large lot. Enter under front-door stairs and look for signs to the right. Convenient to bus routes 26, 31, 32, 44, and 62. Info: www.seattleprimetimers.org.

Oasis Youth Center in Tacoma - For Gay, Lesbian, Bisexual, Transgender & Questioning Youth, Ages 14-25. 6pm-12 midnight. Call for location & details. Every Saturday. (253) 671-2838. www.oasisyouthcenter.org.

Lambert House Halloween Dance. 8pm-12 midnight, All Pilgrims Church, 500 Broadway E. For LGBTQ+ and allied youth ages 13-22. Food, music, drag show, costumes encouraged. Drug- and alcohol-free event. Suggested donation $10-20, no one turned away. Info: www.lamberthouse.org.

Seattle Women’s Chorus: “Hear Me Roar.” 8pm, Highline Performing Arts Center, 401 S 152nd St, Burien. Join SWC in celebrating its 15th anniversary with songs of strength, survival, and hope. Tickets and info: www. seattlechoruses.org.

SUNDAY - October 21

TWIST: SEATTLE QUEER FILM FESTIVAL 10/11-10/21 twistfilmfest.org Center for Spiritual Living. 8:25, 9:45, 11:30am. 5801 Sand Point Way NE. Blessings & we hope to see you soon! (206) 527-8801 ext 203, www.cslseattle.org Gay Men’s Bowling in Everett 9:30am. Glacier Lanes, 9630 Evergreen Way, Everett. Every Sunday. Spectators welcome. Join us for lunch afterwards! Sponsored by the Snohomish County Gay Men’s Task Force. For info email John at johndmarsh@mac.com; www.gaysnohomish.org University Lutheran Church. 9:30am Worship, 10:30am Coffee Fellowship, 11am Adult Forum & Education Hour. 1604 NE 50th St. All are welcome. We choose love. (206) 525-7074. universitylutheranseattle.org

Baha’i Prayer & Fellowship Circle. 10am. Pearl Warren Bldg, 606 12th Ave S. Meets 3rd Sunday each month. Share prayers, readings, thoughts & music. All backgrounds, all faiths welcome. (206) 391-2188. Plymouth Church United Church of Christ. 10am Worship. 1217 6th Ave. Love your (LGBTQ) neighbor as yourself. (206) 622-4865, plymouthchurchseattle.org

Ethyl Forever Car Club, Pacific NW Region Lambda Car Club Monthly Tire Kick/Social. 10:30am. Randy’s Restaurant, 10016 E Marginal Way S (south of the Museum of Flight). Meets 3rd Sunday each month. This monthly informal auto enthusiasts event starts with breakfast at this location with a show & tell and continues to a chosen point of interest. Open to all LGBTQ persons & friends who have an interest in the automobile, not just collector or performance vehicles. ethylforever@hotmail.com

community calendar

Welcome Table Christian Church. 9:45am Meditation; 10:30am Worship; Labyrinth 2nd Sundays 1-4pm. 1322

S Bayview St. A welcoming and affirming community since 1987. welcometablecc.org

St. Clement’s Episcopal Church. 10:30am Worship. 1501 32nd Ave S. Great music. Dynamic preaching. Holy communion. Encountering the transformative and unconditional love of God in Christ. Join us! www. stclementseattle.org

Seattle Sunday Bowling. 10:30am. West Seattle Bowl, 4505 39th Ave SW (at SW Oregon St). Open bowl every Sunday for the GLBT community & friends. You don’t have to worry about how you bowl! $6.50 + $3 shoe rental. (425) 785-4729.

Emerald City Metropolitan Community Church Seattle. 11am Worship. Chapel at University Temple United Methodist Church, 1415 NE 43rd St. MCC is a progressive Christ-centered faith community committed to providing a nurturing environment for individual & community growth thru Jesus Christ while celebrating unity in diversity. MCC is Seattle’s oldest Gay-friendly church. (206) 325-2421, www.mccseattle.org.

Meditation for GBT Men. 11am-1pm. Cal Anderson House, 400 Broadway. Suitable for beginning & experienced meditators. Sponsored by Dharma Buddies. Contact Forrest Rode, (206) 920-6117, or Doug Allison, doug.l.allison@gmail.com. Find us under “Dharma Buddies” on Meetup.com or at DharmaBuddies.org. (Women are invited to contact our sister meditation group at www. LotusSisters.org.)

St. Paul’s Episcopal Church. 11:15am (also 7:30am, 9am, 5pm). 15 W Roy St. We are an accepting, progressive, Anglo-Catholic parish, renewing its people for their Christian lives in today’s world through worship, spiritual formation, engagement in the arts, and acts of compassion. www.stpaulseattle.com

Holy Covenant International Christian Community Church. 12 noon. 4525 19th Ave NE. Outreach to the LGBT community. holycovenantccc@gmail.com

Just for Today (NA). 12-1:15pm. SASG, 115 15th Ave E, Suite 201. Every Sunday. Drop-in 12-step Narcotics Anonymous group open to anyone in recovery. (206) 322-2437; www.sasgcc.org

New Beginnings (SLAA). 12 noon-1pm. SASG, 115 15th Ave E #201, O’Neil Room. MEETS DAILY (except Saturday). Sex and Love Addicts Anonymous is a 12-step/12- tradition-oriented fellowship of men and women who share their experience, strength and hope to overcome sex and love patterns of addiction. (206) 322-2437; www.sasgcc.org

Paths to Recovery Al-Anon Family Group. 12-1:30pm. Seattle University Student Center, 901 12th Ave, Room 122. Every Sunday. LGBTQ supported. The Al-Anon Family Groups are a fellowship of relatives & friends of alcoholics who share their experience, strength & hope in order to solve their common problems. We believe alcoholism is a family illness & that changed attitudes can aid recovery. Greater Seattle AIS 24-hour number (206) 625-0000; www.seattle-al-anon.org

Rainbow Walk for LGBTQ Elders 50+ - Green Lake Walk. 12 noon-1pm. 7201 E Green Lake Dr. N. Every Sunday. (See related listing Saturday at noon for details.) (206) 393-3400. Wheelchair-friendly walk. Sponsored by Generations Aging With Pride. Orca Swim Team Workout. Sun: Afternoon; Mon/ Weds/Fri: Evenings; Tues/Thurs: Mornings. Seattle University, Redhawk Center, 14th Ave & E Cherry St. Pre-registration required. Orca Swim Team workouts are for both competitive & recreational swimmers. www. orcaswimteam.org

Transfaith Weekend. 1:30pm, Liberation UCC (meets at Madrona Grace Presbyterian), 832 32nd Ave. A free event for Trans people to connect over faith and community, concluding today with Trans Faith worship service. Visit https://mylucc.org/trans-faith-weekendsign-up for information.

Rain City Soccer Club - Kickabout. Sunday afternoon usually at 3pm. Location varies. Join us for Seattle’s mostly-weekly mostly-LGBTQ pickup soccer game. We play an organized, 2-hour scrimmage on nice fieldturf surface. Sometimes there is a brief training/practice session before we play. Usually there is a “one-beer” after the scrimmage. To sign up visit www.raincitysoccer.org Seattle Poly Potluck & Discussion Group. 5-8pm (contact for new location). Meets 3rd Sunday each month. For people interested in polyamorous, open, and ethically non-monogamous relationships. $5 donation; please bring a potluck dish. This event is open to the public. Look for us on Facebook or Meetup. Shame to Grace (SAA). 6-7:30pm. SASG, 115 15th Ave E, Suite 201. Every Sunday. Sex Addicts Anonymous is a fellowship of men & women who share their experience, strength & hope with each other so they may overcome their sexual addiction & help others recover from sexual addiction or dependency. Seattle SAA helpline (206) 237-8828, SAA International Service Organization 1-800-477-8191. (206) 322-2437; www.sasgcc.org Pride League Bowling. 6:30pm. West Seattle Bowl, 4505 39th Ave SW. Every Sunday. Regular league bowling. Jeff, (206) 932-3731; leagues@wsbowl.com.

Integrity/Puget Sound. 7pm Worship & Fellowship. St. Mark’s Cathedral, Thomson Chapel, 1245 10th Ave E. Integrity is an international ministry of Gay & Lesbian Episcopalians, their friends & families, dedicated to education, support & service within the Church & the GLBT community. (425) 226-2746.

Noche Latina - Latino Night. 10pm. Capitol Lounge, 916 E Pike St. Every Sunday. Go-go dancers at 10:30pm; drag show at midnight. 21+ ID required. $10 cover. Co-sponsored by Entre Hermanos.

MONDAY - October 22

Rainbow Walk for LGBTQ Elders 50+ - Volunteer Park Walk. 12 noon-1pm. 14th Ave E & E Prospect St. Every Monday - Come Rain or Shine! - Meet at Black Sun sculpture across from museum. Hot coffee and beautiful Rainbow umbrellas to use “just in case.” For info, call (206) 393-3400. Sponsored by Generations Aging With Pride.

SLAA New Beginnings: 12 Steps of SLAA. 12-1pm. SASG, 115 15th Ave E, Suite 201, in the O’Neill Room. Every Monday. SLAA step-study meeting starting with Step One in “A Gentle Path.” The meeting is open to anyone interested in doing 12-step work. No matter where you are in the steps, or if you haven’t begun, feel free to join us. Books, paper, and pens provided. You need only bring your willingness to grow!

SOBER On Meds. 1-2pm. SASG, 115 15th Ave E, Suite 201. Every Monday. 12-step group open to anyone in recovery & living on a medicine regimen. (206) 3222437; www.sasgcc.org

Strength Over Speed (SOS). 2-3:30pm. SASG, 115 15th Ave E, Suite 201. Peer support for Gay and Bisexual men recovering from crystal meth addiction. www.strengthoverspeed.org. (206) 322-2437; www. sasgcc.org

Orca Swim Team Workout. Evening. Seattle University, Redhawk Center, 14th Ave & E Cherry St. (See Sunday afternoon listing.)

Freely Speaking Toastmasters. 7pm. Seattle Unity Church, 200 8th Ave N. Every Monday (except holidays & the last Mondays in August & December). Seattle’s only LGBT speaking club. www.FreelySpeaking.org Lotus Sisters South Seattle/Columbia City Meditation & Dharma Discussion. Gather at 6:45pm; sit at 7pm. Meets 4th Monday each month. Short presentation with discussion to follow. Oriented to LBTQ sisters. Email us or call (206) 550-5587 for details and location; www. LotusSisters.org. (Wheelchair accessible.)

PFLAG/South King County Monthly Meeting. 7pm. Unitarian Universalist Church, 25701 14th Pl S, Kent Meets 4th Monday each month. Parents & Friends of Lesbians & Gays is a national support organization for parents, spouses & families of GLBT persons, as well as those sexual minorities. PFLAG/Puget Sound: (206) 325-7724.

Trans Youth Group. 7-8:30pm. Lambert House, 1818 15th Ave. Every Monday. A chance for youth to talk with others about their experiences & concerns related to identifying as Transgender. www.lamberthouse.org Lambert House Art Night. 7:30-9:30pm. 1818 15th Ave. Every Monday. Bring your ideas & let’s have some fun. (206) 322-2515, www.lamberthouse.org

Destiny/Unity AA Meeting in Tacoma 7:30-8:30pm. Christ Episcopal Church, 310 N “K” St, Tacoma. Every Monday. LGBTQ-friendly AA meeting. (253) 474-8897. (Also meets Fridays.)

Washington Gender Alliance Support Group Meeting in Shoreline 7:30pm. Center for Human Services, 17018 15th Ave NE, Shoreline. Every Monday. www. washingtongenderalliance.com

TUESDAY

- October 23

Orca Swim Team Workout. Morning. Seattle University, Redhawk Center, 14th Ave & E Cherry St. (See Sunday afternoon listing.)

LGBTQ+ Group. 1:15-2:15pm. Orion Center, 1828 Yale Ave. Every Tuesday. A group for LGBTQ youth ages 13-24 & their allies. Sponsored by Youthcare. (206) 622-5555.

Rainbow Walk for

2-3pm.

&

Every Tuesday - Come Rain or Shine! - Meet at Statue of Liberty statue. Hot coffee and beautiful Rainbow umbrellas to use “just in case.” For info, call (206) 393-3400. Wheelchair-friendly walk. Sponsored by Generations Aging With Pride. LGBTQ Questioning &

Renton.

Confidential. Snacks provided. Bring friends or come alone - anyone 12-18 is welcome. Questions? Call Sarah Hardin, (425) 271-5600 ext 155, or email sarahh@rays.org Strength Over Speed (SOS). 6-7:30pm. SASG, 115 15th Ave E, Suite 201. Peer support for Gay and Bisexual men recovering from crystal meth addiction. www.strengthoverspeed.org. (206) 322-2437; www. sasgcc.org

ALISS - Aging Lesbians in South Seattle Evening Gathering. 6:30-8pm. Southeast Seattle Senior Center, 4655 S Holly St, Rainier Ave S & S Holly St., Social Hall. Meets 2nd & 4th Tuesday each month. This is a group primarily for Lesbians but all are welcome to attend. Facilitator: Fai Coffin; Cost: FREE. Metro route 7. Wheelchair accessible. Kate, (206) 722-0317; www.sessc.org.

Diverse Harmony. 6:30-9pm. Seattle First Baptist Church, 1111 Harvard Ave. Every Tuesday. Diverse Harmony is the nation’s first Gay/Straight Alliance Youth Chorus. Youth ages 13-22 are welcome regardless of sexual orientation. www.diverseharmony.org

LGBTQ MS Connection/National MS Society. 6:308pm. Swedish Conference Center, Cherry Hill Campus, James Tower, 550 17th Avenue, Room E, 1st Floor. Meets 2nd & 4th Tuesday each month. MS Connection is a support group with the goal of providing a safe environment for the LGBT community to express their experiences and the impact of MS on their lives and the lives of their loved ones, as well as provide support for one another. Contact Shelly at (206) 250-5002 or LGBTMSConnection@gmail.com.

No Man’s Land - For Female-Identified Youth, Ages 22 & Under. 7-8:30pm. Lambert House, 1818 15th Ave. Every Tuesday. Topics range from family issues to school happenings to like/lust/love relationships. All Queer females welcome. Come discuss how smart. strong Queer women live their lives. (206) 322-2515, www.lamberthouse.org

PFLAG/North Seattle Monthly Meeting. 7-9pm. Haller Lake United Methodist Church, 13055 1st Ave NE. Meets 4th Tuesday each month. (206) 325-7724 or northseattle@pflagseattle.org. PFLAG, a national organization founded in 1972, provides support, education and advocacy for families and friends of Gay, Lesbian, Bisexual, Transgender and Queer persons and is committed to moving LGBTQ equality forward. Tuesday Night Sex Addicts Anonymous (GLBTQI). 7-8:30pm. All Pilgrims Christian Church, 500 Broadway E (enter at 509 10th Ave E; buzz in, Colonial room). Every Tuesday. SAA is a fellowship of men & women whose primary purpose is to stop addictive sexual behavior & help others recover from sexual addiction. Seattle SAA helpline (206) 237-8828. SAA International Service Organization 1-800-477-8191. Different Drummers. 7:15-8:30pm. Every Tuesday. Hand drumming classes for Gay men. It’s easy, it’s fun & anyone can do it! Learn traditional African & AfroCaribbean rhythms & basic hand drumming techniques. Experience connection, community & spirituality. Drums are provided. For info & location call Dennis at (206) 363-4500 or www.outdrum.com

Men’s Discussion Group. 7:30-9pm. SASG, 115 15th Ave E, Suite 201. Every Tuesday. Peer group for Gay & Bi men. (206) 322-2437; www.sasgcc.org

Here & Now Gay & Lesbian AA Meeting in Tacoma 7:30pm. Christ Episcopal Church, 310 N “K” St, Tacoma. Every Tuesday. Spiritual Empowerment. 7:30-9pm. SASG, 115 15th Ave E, Suite 201. A vibrant drop-in workshop for those of any spiritual belief. (206) 322-2437; www.sasgcc.org Washington Gender Alliance Open Support Meeting in Bellingham 7:30-9pm. St James Presbyterian Church, 910 14th St., Bellingham. Every Tuesday. (360) 445-2411; www.washingtongenderalliance.com. (See Wednesday listing at 7:30pm for details.)

Seattle Otters Water Polo Team. 8-9:30pm. Medgar Evers Pool, 500 23rd Ave E (at E Cherry St). Every Tuesday & Thursday. GLBT & GLBT-friendly co-ed water polo team is open to all who want to play. Beginners & experienced players welcome. Check our website for up to the minute details, or call the Otter Hotline (206) 414-8797. www.otterpolo.com.

Seattle Poetry Slam. Doors 8pm, Show 8:30pm. Rebar, 1114 Howell St. Every Tuesday. A spoken word poetry event that features a weekly open mic, feature poet, and slam (poetry competition). Come out and express yourself. LGBTQ- & QTPOC-friendly; all genders welcome. $5. 21+. seattlepoetryslam.org

WEDNESDAY

- October 24

Mature Friends Walk Around Greenlake. 11am. Meet up at 10:50am with a group of older men gathered at the north end of the parking lot that is next to the boathouse along the southwest side of Greenlake. Every Wednesday. Walk around Greenlake followed by lunch at a local restaurant. www.maturefriends.org

Mature Friends Dining Out Luncheon. 12 noon. Roosters Restaurant, 611 Broadway E. Meets 2nd & 4th Wednesday each month. Just drop in - no RSVP required. MF is a social organization for Gay men & women, 40 years & over. www.maturefriends.org Rainbow Walk for LGBTQ Elders 50+ - Volunteer Park Walk. 12 noon-1pm. 14th Ave E & E Prospect St. Every Wednesday. (See related listing Monday at noon for details.) For info, call (206) 393-3400. Sponsored by Generations Aging With Pride. True Colors: Connecting LGBTQ Teens in Shoreline 4-5pm. Every Wednesday. Discussing your important issues, building a supportive community. For information, location & to REGISTER call Lindsay Bagley (206) 362-7282 x 8018 or email lbagley@chs-nw.org

Living Positively. 5-7pm. Lifelong, 1016 E Pike St., 3rd Fl. Every Wednesday. Social and support group for the HIV community with various topics for discussion and conversation. (206) 957-1600 or www.lifelong.org. Sponsored by Lifelong.

GenPRIDE Community Conversations Series. 5:30pm. GenPRIDE Center, 401 Broadway E, Suite 223 (second floor level above QFC next to gym). Come meet with other LGBTQ community members as we talk about many facets of growing older. These talks will be in the form of group discussions to discover some of the myths and stigmas about mental health and how to make the experience of aging a positive one. The series starts by asking the question: “Has aging been a blessing or a curse for you?” Let’s talk about it as we dive into the question. Conversations are led by George Dicks and community experts with an emphasis on the impact to our lives and our mental health. Sponsored by Seattle Counseling Service for Sexual Minorities.

community calendar

GLOBE (GLBTQ Loving Ourselves, Becoming Empowered): A Support Group for GLBTQ+Youth (14-20) serving Snohomish County & surrounding communities. 6-8pm. Phone or email for location. Every Wednesday. Sponsored by PFLAG Everett. Brenda, (425) 263-2908. globeleaders@hotmail.com

Queer Seattle Book Club. 6pm. SASG, 115 15th Ave E (upstairs). Every Wednesday. This month’s title is “The Diamond Setter” by Moshe Sakai. https://faculty. washington.edu/swittet/SGLBookClub/ Queering Politics Forum. 6pm, Southside Commons, 3518 S Edmunds St. Highlights LGBTQ leaders and voices on voter initiatives including I-1639 (gun safety), I-940 (police de-escalation), I-1631 (climate pollution fees), I-1634 (“grocery tax” ban), Prop 1 (Seattle Education Levy), and the pending I-1000 (restoring affirmative action). Free admission. Sponsored by LGBTQ Allyship. Visit them on Facebook for more information.

Lotus Sisters Meditation & Dharma DiscussionNorth. 6:15-8pm. Ravenna Bryant neighborhood. Every Wednesday. Call (206) 525-7295 for location. www. LotusSisters.org.

Center for Spiritual Living. 6:30pm-Meditation, 7pmService. 5801 Sand Point Way NE. Blessings & we hope to see you soon! Info (206) 527-8801 ext 203, www.cslseattle.org

Seattle Frontrunners Fun Run. 6:30pm. Volunteer Park, 14th Ave E & E Prospect St. Every Wednesday. Meet at Black Sun sculpture across for museum. (See Saturday at 9am.)

Orca Swim Team Workout. Evening. Seattle University, Redhawk Center, 14th Ave & E Cherry St. (See Sunday afternoon listing.)

Ingersoll All-Trans Drop-In Support Group. 7-9pm. Seattle Counseling Services, 1216 Pine St, Suite 300. Every Wednesday. All Transgender, Gender Variant, Gender Queer, Gender Questioning, allies, family & friends are welcome. This is a drop in group to get & give support, social interaction & information for the whole Gender community. No fee, donations welcome. www. ingersollcenter.org

Mature Friends Weekly Bridge Group. 7pm. Wallingford Community Senior Center, lower level of Good Shepherd Center, 4649 Sunnywide Ave N. Every Wednesday. All levels welcome. MF is a social organization for Gay men & women, 40 years & over. www. maturefriends.org

SEAMEC Monthly Meeting. 7pm. 1605 12th Ave, Suite 21. Meets 4th Wednesday each month. SEAMEC interviews, researches & rates candidates for public office on issues of concern to the LGBT community. www. voteseamec.org

Washington Gender Alliance Open Support Meeting in Everett 7:30-9pm. Everett United Church of Christ, 2624 Rockefeller Ave, Everett. Every Wednesday. Trained peer facilitators lead a structured support meeting helping people deal with issues of gender identity & expression. All adults are welcomed, including those who are questioning, allies, or identify as FTM, MTF, Transgender, Queer, or Intersex, among others. (360) 445-2411; www.washingtongenderalliance.com.

THURSDAY - October 25

Orca Swim Team Workout. Morning. Seattle University, Redhawk Center, 14th Ave & E Cherry St. (See Sunday afternoon listing.)

Safe and Sober (AA). 12 noon-1pm. SASG, 115 15th Ave E, Suite 201. Open meeting of Alcoholics Anonymous. (206) 322-2437; www.sasgcc.org

Aging Ballard Lesbian Exchange (A.B.L.E.) Monthly Lunch Get-Together. 12 noon. Ballard NW Senior Center, 5429 32nd Ave NW. Meets 4th Thursday each month. Look for the A.B.L.E. sign on the table. We are Lesbians, 60 years (generally) and up, living (mostly) in the north half of Seattle. The purpose of this group is to connect, socialize, and support each other. We have been meeting since 2015. The purpose of this group is to connect, socialize, and support each other. The group hosts evening potlucks, outings and get-togethers. Cosponsored by Puget Sound Old Lesbians Organizing for Change. (PSOLOC).

BABES Women’s Support Group/Lunch Meeting. 12 noon-2pm. Call for location. Every Thursday. The BABES Network is a peer led agency; a sisterhood of women facing HIV together. (206) 720-5566 or 888-2921912; www.babesnetwork.org.

Rainbow Walk for LGBTQ Elders 50+ - Green Lake Walk. 12 noon-1pm. 7201 E Green Lake Dr. N. Every Thursday. (See related listing Saturday at noon for details.) For info, call (206) 393-3400. Wheelchair-friendly walk. Sponsored by Generations Aging With Pride. Oasis Youth Center in Tacoma - For Gay, Lesbian, Bisexual, Transgender & Questioning Youth, Ages 14-25. 4-10pm. Call for location & details. Every Thursday. (253) 671-2838, www.oasisyouthcenter.org (Also Fridays 4-10pm & Saturdays 6pm-12 midnight.)

Seattle Weavers’ Guild Annual Show and Sale (10/2510/27). Thurs: 5-8pm, Fri: 10am-6pm; Sat: 10am-5pm Bloedel Hall, lower level, St. Mark’s Cathedral, 1245 10th Ave E. Thousands of original fiber pieces by member artists, including towels, rugs, tapestries, blankets, baskets, and much more, plus demonstrations of various weaving techniques. Free admission and parking. For more information visit www.seattleweaversguild.com. Women On Top Networking. 5:30pm, Space Needle. Seattle’s premier social and business gathering for professional female and gender-diverse people. This

is 2018’s final Women On Top gathering. Sponsored by Greater Seattle Business Association. Register at www.thegsba.org.

Everett-Snohomish County Friendship Dinner for persons living with HIV/AIDS, their friends, and for those who want to support them. 6pm. Trinity Lutheran Church, 2324 Lombard Ave, Everett. Meets last Thursday each month. For further information, please call 360-202-3978. Sponsored by AIDS Project Snohomish County (APSC) and Gay Men’s Task Force. B-GLAD (Bisexual, Gay, Lesbian, Trans & Questioning Adolescent Drop-In Group). 6:30-8pm. Call for location. Every Thursday. Sponsored by Youth Eastside Services, which offers many programs for GLBT youth. (425) 747-4937.

Boys Group - For Male-Identified Youth, Ages 1422. 7-8:30pm. Lambert House, 1818 15th Ave. Every Thursday. Youth take the opportunity to talk about issues that relate to their everyday lives, with the facilitation of a male volunteer. (206) 322-2515 ext 16. www. lamberthouse.org

21st Century Bowling. 7pm. West Seattle Bowl, 4505 39th Ave SW. Every Thursday. Regular league bowling. Jeff, (206) 932-3731; leagues@wsbowl.com.

Buddhism & Recovery. 7:30-9pm. SASG, 115 15th Ave E, Suite 201. Every Thursday. A meditation/recovery group. (206) 322-2437; www.sasgcc.org

Gay Fathers Association of Seattle. 7:30-9pm. Group Health, 201 16th Ave E, Central Bldg, Lower Atrium. Every Thursday. Support meetings for Gay fathers & Gay men who are currently or previously married. Safe, anonymous, non-judgmental environment of caring fathers & friends. You are not alone. For information, community events & “questioning” visit www.gfas.org or our message board at http://groups.yahoo.com/groups/ gayfathersseattle

Gay Male Sexuality & Relationships. 7:30-9pm. SASG, 115 15th Ave E, Suite 201. Every Thursday. Ongoing support group open to Gay and Bisexual men. (206) 322-2437; www.sasgcc.org [NOTE: Please contact the facilitator prior to attending.]

Seattle Otters Water Polo Team. 8-9:30pm. Medgar Evers Pool, 500 23rd Ave E (at E Cherry St). Every Tuesday & Thursday. (See Tuesday listing at 8pm.)

FRIDAY - October 26

Seattle Weavers’ Guild Annual Show and Sale (10/2510/27). Thurs: 5-8pm, Fri: 10am-6pm; Sat: 10am-5pm Bloedel Hall, lower level, St. Mark’s Cathedral, 1245 10th Ave E. Thousands of original fiber pieces by member artists, including towels, rugs, tapestries, blankets, baskets, and much more, plus demonstrations of various weaving techniques. Free admission and parking. For more information visit www.seattleweaversguild.com.

Ageless in Recovery (AA). 12 noon-1pm. SASG, 115 15th Ave E, Suite 201. Every Friday. A drop-in AA group for 55+. (206) 322-2437; www.sasgcc.org

Rainbow Walk for LGBTQ Elders 50+ - Kubota Gardens Walk. 12 noon-1pm. 9817 55th Ave S. Every Friday - Come Rain or Shine! - Meet at the corner of 55th Ave S and Renton Ave S. Hot coffee and beautiful Rainbow umbrellas to use “just in case.” For info, call (206) 393-3400. Wheelchair-friendly walk. Sponsored by Generations Aging With Pride. Road to Recovery (SLAA). 12 noon-1:30pm. SASG, 115 15th Ave E, Suite 201. Every Friday. Ongoing 12step group for sex and love addicts. (206) 322-2437; www.sasgcc.org

Oasis Youth Center in Tacoma - For Gay, Lesbian, Bisexual, Transgender & Questioning Youth, Ages 14-25. 4-10pm. Call for location & details. Every Friday. (253) 671-2838, www.oasisyouthcenter.org (Also Thursdays 4-10pm & Saturdays 6pm-12 midnight.)

LGBTQ & Allies 18+ Free Friday Night Drop-In Volleyball. 6-7:45pm. Miller Community Center, 330 19th Ave E. Every Friday. 206-684-4753. Orca Swim Team Workout. Evening. Seattle University, Redhawk Center, 14th Ave & E Cherry St. (See Sunday afternoon listing.)

Strength Over Speed (SOS). 6-7:30pm. SASG, 115 15th Ave E, Suite 201. Peer support for Gay and Bisexual men recovering from crystal meth addiction. www.strengthoverspeed.org. (206) 322-2437; www. sasgcc.org

Game Night. 7pm-11pm. SASG, 115 15th Ave E, Suite 201. Every Friday. Card games, board games and fellowship. (206) 322-2437; www.sasgcc.org

Lambert House Queer Movie Night. 7-9:30pm. Lambert House, 1818 15th Ave. Every Friday. Lambert House is a nationally-recognized activities & resource center for GLBT & questioning youth, ages 14-22. (206) 322-2515, www.lamberthouse.org

Rain Country Dance Night. 7-11pm, lessons at 7:15pm. The Cuff, 1533 13th Ave. An evening of country-western dancing for the LGBTQ community. FREE. www.raincountrydance.org.

Destiny/Unity AA Meeting in Tacoma 7:30-8:30pm. Christ Episcopal Church, 310 N “K” St, Tacoma. Every Friday. LGBTQ-friendly AA meeting. (253) 474-8897.

(Also meets Mondays.)

LGBT Friday Night Al-Anon Family Group. 8-9pm. SASG, 115 15th Ave E, Suite 201 - in the O’Neill Room. Every Friday. The Al-Anon Family Groups are a fellowship of relatives & friends of alcoholics who share their experience, strength & hope in order to solve their common problems. We believe alcoholism is a family

illness & that changed attitudes can aid recovery. Greater Seattle AIS 24-hour number (206) 625-0000; www. seattle-al-anon.org; (206) 322-2437; www.sasgcc.org

SATURDAY - October 27

(See previous Saturday for ongoing activities.) Seattle Weavers’ Guild Annual Show and Sale (10/2510/27). Thurs: 5-8pm, Fri: 10am-6pm; Sat: 10am-5pm Bloedel Hall, lower level, St. Mark’s Cathedral, 1245 10th Ave E. Thousands of original fiber pieces by member artists, including towels, rugs, tapestries, blankets, baskets, and much more, plus demonstrations of various weaving techniques. Free admission and parking. For more information visit www.seattleweaversguild.com. HalloQueen: A Royal Ball. 8pm-1am. Backyard, 3820 S Ferdinand St. Backyard will transform into a spooktacular wonderland for Columbia City’s premier Halloween party. HalloQueen will feature a costume contest, drag performances, DJ set, drink specials, plus more surpises and special guests. Back by popular demand is the fabulous Andrew Scott, our host and costume judge who will make you WERK for cash prizes and swag. See you there, Queens! www.facebook.com/events/209020426510931/ Mature Friends Monthly Potluck. 6pm. Wallingford Community Senior Center, Good Shepherd Center, 4649 Sunnyside Ave N, Suite 140. Monthly potluck meets last Saturday most months. MF is a social organization for Gay men & women, 40 years & over. www. maturefriends.org

SUNDAY - October 28

(See previous Sunday for ongoing activities.)

No Safeword Writers Group. 1pm. See website for location. Meets 2nd & 4th Sunday each month. For info & location, www.nosafewordwritersgroup.org

Seattle Prime Timers Rap Group. 1:30-3pm. SASG, 115 15th Ave E #201. Meets 4th Sunday each month in the Ian MacKintosh Room. This month’s topic: How Do Gay Men Round Out Society? www.seattleprimetimers.org

Trick-or-Treat on the Waterfront. 12 noon-4pm, Waterfront Park on Pier 58, 1401 Alaskan Way. Bring your little ghouls and goblins to the Seattle waterfront for trickor-treating at 20 participating businesses, plus a photo costume contest and fun with costumed characters. Free, family-friendly. Sponsored by Friends of Waterfront Seattle. Visit their Facebook page for more info.

COMMUNITY RESOURCES

Allyship - an organization of LGBTQ individuals fighting for economic and social justice. www.LGBTQAllyship. org, allyship@yahoo.com, (206) 279-8169.

American Veterans for Equal Rights - www.aver.us Another Gay Social Club! - www.meetup.com/AnotherGay-Social-Club/ Bellingham/Whatcom County - www.theslowlane. com/guide.html

BiNet Seattle is a mixed gender, social group for Bisexuals, their partners & other Bi-friendly folks - www. binetseattle.org.

Bremerton/Kitsap County - www.outwestsound.org

Cascade Rainbow Community Center (Mount Vernon) - (360) 840-8499 and on Facebook.

COLAGE unites people with LGBTQ parents and caregivers into a network of peers and supports them as they nurture and empower each other to be skilled, self-confident, and just leaders in our collective communities - www.colage.org

Central Washington University GALA Hotline: (509) 963-1994.

DIFFA/Northwest (Design Industries Foundation Fighting AIDS). (206) 763-8885; www.diffanorthwest. org

DOMESTIC VIOLENCE & SEXUAL ASSAULT: Crisis Clinic, (206) 461-3222 (24 hour line); King County Sexual Assault Resource Center (KCSARC) - 24-hour crisis line for information, support, & medical & legal assistance: 1-888-99-VOICE; Northwest Networksupport & advocacy for Bisexual, Trans, Lesbian & Gay Survivors of Abuse & Dating Violence, (206) 568-7777 (voice), 517-9670 (tty), www.nwnetwork.org; Pierce County Domestic Violence Helpline: Teresa, (253) 798-4166; Seattle Counseling Service for Sexual Minorities - offers on-going support groups for men: 323-1768; Seattle Police Dept Domestic Violence Unit, (206) 684-0330; State Wide Domestic Violence Hot Line, 1-800-562-6025. In an emergency call 911 Report domestic violence and sexual assault. Equal Rights Washington - (206) 324-2570; www. equalrightswashington.org Everett/Snohomish Cty - www.gaysnohomish.org Freely Speaking Toastmasters - www.freelyspeaking.org

Gay City promotes wellness in LGBTQ communities by providing health services, connecting people to resources, fostering arts, and building community. Gay City Health Project’s Wellness Center provides anonymous & confidential HIV/STD testing. 517 E Pike St. More info or to schedule an appointment, (206) 860-6969. www.gaycity.org

Gay & Lesbian National Hotline (GLNH): 1-888-THEGLNH (1-888-843-4564). Non-profit, peer-counseling, information & local resources telephone hotline for GLBT people across the country.

Generations Aging With Pride empowers elder LGBTQ adults to live with pride and dignity by promoting, connecting, and developing innovative programs and services that enhance belonging and support, eliminate discrimination, and honor the lives of older members of our community - (206) 393-3400; info@gapseattle.org; gapseattle.org

GLSEN/WA - Gay, Lesbian, Straight Education Network - (206) 330-2099; www.glsenwa.org

1533 13th Ave. - 323-1525

SEATTLE

BATHS

SEATTLE

BATHS

CLUB Z - (men)

1117 Pike near Boren - 622-9958

HOT HOUSE SPA & SAUNA - (women)

CLUB Z - (men)

1117 Pike near Boren - (206) 622-9958

SW corner of Pike & 11th

(stairs behind Wildrose) - 568-3240

HOT HOUSE SPA & SAUNA - (women)

STEAM WORKS - (men)

SW corner of Pike & 11th

1520 Summit - 388-4818

(stairs behind Wildrose) - (206) 568-3240

STEAM WORKS - (men)

1520 Summit Ave - (206) 388-4818

RESTAURANTS & BARS

88 KEYS - 315 2nd Ave. S. - 839-1300

BALTIC ROOM - 1207 Pine St. - 625-4444

RESTAURANTS & BARS

THE BOTTLENECK LOUNGE

2328 E. Madison St. - 323-1098

88 KEYS - 315 2nd Ave. S - (206) 839-1300

C.C. ATTLE’S BAR & GRILLE

BALTIC ROOM - 1207 Pine St. - (206) 625-4444

1701 E. Olive Way - 726-0565

THE BOTTLENECK LOUNGE

2328 E. Madison St. - (206) 323-1098

RETAIL SHOPS

DIESEL BAR - 1413 14th Ave. - 322-1080

GLO’S - 1621 E. Olive Way - 324-2577

HOT MAMA’S PIZZA - 700 E. Pine St. - 322-6444

BABELAND - 707 E. Pike St. - (206) 328-2914

JAZZ ALLEY - 2033 6th Ave. E. - 441-9729

CASTLE SUPERSTORE #17

JULIA’S - 300 Broadway Ave. E. - 860-1818

1017 E. Pike St - (206) 204-0126

KREMWERK - 1809 Minor Ave. #10 - 682-2935

DIEGO PELLICER - 2215 4th Ave. S - (206) 624-0070

MADISON PUB - 1315 E. Madison - 325-6537

DOGHOUSE LEATHERS

NEIGHBOURS - 1509 Broadway - 324-5358

1312 E. Pike St. - (206) 257-0231

OUT WEST - 5401California Ave. SW

EMERSON SALON - 909 E. Pike St. - (206) 323-7437

FANTASY UNLIMITED

THE PINE BOX - 1600 Melrose Ave - 588-0375

POCO WINE ROOM

2027 Westlake Ave. - (206) 682-0167

1408 E. Pine St. - 322-9463

1510 1st Ave - (206) 624-1784

POKE BAR - 1542 12th Ave - 402-5178

HASHTAG - 3540 Stone Way N - (206) 946-8157

PONY - 1221 E. Madison St. - 324-2854

HERBAN LEGENDS - 55 Bell St - (206) 849-5596

HERB(N) ELEMENTS

PURR - 1518 11th Ave. - 325-3112

R PLACE - 619 E. Pine - 322-8828

11013 Lake City Way NE - (206) 535-8769

RE-BAR - 1114 Howell at Boren - 233-9873

ROOT TABLE 2213 NW Market St. - 420-3214

LAUGHING BUDDHA TATTOO

1534 Broadway - (206) 329-8274

THE CANTERBURY - 534 15th Ave. E. - 322-3130

CHANGES IN WALLINGFORD

CAPITOL CIDER - 818 E Pike St. - (206) 397-3564

C.C. ATTLE’S BAR & GRILLE

2103 N. 45th - 545-8363

1701 E. Olive Way - (206) 726-0565

SEATTLE EAGLE - 314 E. Pike - 621-7591

SHORTY’S 2222 2nd Ave - 441-5449

THE NEW YORK XCHANGE

STOUT -1530 11th Ave - 397-3825

225 Broadway E. - (206) 726-3300

TOULOUSE PETIT

ONYX LEATHER

THE CRESCENT - 1413 E. Olive Way - 720-8188

THE CANTERBURY

THE CUFF COMPLEX

534 15th Ave. E - (206) 322-3130

CHANGES IN WALLINGFORD

2103 N. 45th - (206) 545-8363

THE CRESCENT

1413 E. Olive Way - (206) 720-8188

THE CUFF COMPLEX

1533 13th Ave. - (206) 323-1525

DIESEL BAR - 1413 14th Ave. - (206) 322-1080

GLO’S - 1621 E. Olive Way - (206) 324-2577

HOT MAMA’S PIZZA

700 E. Pine St. - (206) 322-6444

JAZZ ALLEY - 2033 6th Ave. - (206) 441-9729

JULIA’S - 300 Broadway Ave. E - (206) 860-1818

KREMWERK - 1809 Minor Ave. #10 - (206) 682-2935

THE LUMBER YARD

9619 16th Ave. SW - (206) 695-2007

MADISON PUB - 1315 E. Madison - (206) 325-6537

NEIGHBOURS - 1509 Broadway - (206) 324-5358

OUT WEST

5401California Ave. SW - (206) 937-1540

THE PINE BOX - 1600 Melrose Ave - (206) 588-0375

POCO WINE ROOM

1408 E. Pine St. - (206) 322-9463

POKE BAR - 1542 12th Ave - (206) 402-5178

PONY - 1221 E. Madison St. - (206) 324-2854

QUEER BAR - 1518 11th Ave - (206) 687-7491

R PLACE - 619 E. Pine - (206) 322-8828

RE-BAR - 1114 Howell at Boren - (206) 233-9873

ROOT TABLE 2213 NW Market St. - (206) 420-3214

SEATTLE EAGLE - 314 E. Pike - (206) 621-7591

SHORTY’S 2222 2nd Ave - (206) 441-5449

STOUT -1530 11th Ave - (206) 397-3825

TOULOUSE PETIT

601 Queen Anne Ave. N - (206) 432-9069

UNICORN - 1118 E Pike - (206) 325-6492

UNION - 1318 E. Union St. - (206) 328-1318

WILDROSE - 1021 E Pike - (206) 324-9210

ZIPPY’S GIANT BURGERS 9614 14th Ave SW - (206) 763-1347

1605 12th Ave. #8 - (206) 328-1965

601 Queen Anne Ave N - 432-9069

UNICORN - 1118 E Pike - 325-6492

OZ - 3831 Stone Way N - (206) 251-0630

PACIFIC NORTHWEST SHOP

4411 Wallingford Ave. N. - (206) 535-6920

PANACHE - 225 Broadway E. - (206) 726-3300

PONDER - 2413 E Union - (206) 420-2180

RUCKUS - 1465 E Republican St - (206) 257-4805

TABOO ADULT VIDEO

9813 16th Ave SW - (206) 767-4855

TRUE LOVE ART GALLERY & TATTOO

1525 Summit Ave. - (206) 227-3572

UNDER U 4 MEN

709 Broadway Ave. E - (206) 324-6446

UNCLE IKE’S

2310 E Union St - 1-800-GET-DRUGS 501 15th Ave E - 1-800-GET-DRUGS

9822 15th Ave SW - 1-800-GET-DRUGS

WILD AT HEART

1111 NW Leary Way - (206) 782-5538

BELLINGHAM

LOVER'S

193 Telegraph Road - (360) 752-1862

RUMORS CABARET 1119 Railroad - (360) 671-1849

DES MOINES

ADULT AIRPORT VIDEO 2 21635 Pacific Hwy S

ADULT

LOVER’S - 112 SE Everett - (425) 353-3607

LOVER’S - 3402 Broadway - (425) 252-8754

KENT

WILDROSE - 1021 E. Pike - 324-9210

ZIPPY’S GIANT BURGERS

5633 Airport Way S - 466-5954

9614 14th Ave SW - 763-1347

LOVER’S - 25801 104th Ave. SE - (253) 852-1720

RETAIL SHOPS

THE FANTASY SHOP 604 Central Ave. S - (253) 850-8428

CASTLE SUPERSTORE #17

NASHVILLE’S SPORTS BAR (Drag Shows) 114 - Railroad Ave. N - (253) 852-0909

1017 E. Pike St - 204-0126

DOGHOUSE LEATHERS 1312 E. Pike St. - 257-0231

LA CONNER

EMERSON SALON - 909 E. Pike St. - 323-7437

HASHTAG - 3540 Stone Way N - 946-8157

NEW YORK EXCHANGE

THE HERON INN & WATERGRASS DAY SPA 117 Maple Ave. - (877) 883-8899 info@theheron.com

225 Broadway E. - 726-3300

ONYX LEATHER - 1605 12th Ave. #8 - 328-1965

OZ - 3831 Stone Way N - 251-0630

PANACHE

OLYMPIA

225 Broadway E. - 726-3300

RUCKUS 1465 E Republican St. - 257-4805

DARBY’S CAFE

THE FANTASY SHOP 9630 16th Ave. SW - 762-3299

211 5th Ave. SE - (360) 357-6229

LOVER’S 3959 Martin Way E, Suite D - (360) 456-7300

TABOO ADULT VIDEO 9813 16th Ave SW - 767-4855

JAKES - 311 4th Ave. E - (360) 956-3247

TOYS IN BABELAND - 707 E. Pike St. - 328-2914

UNDER U 4 MEN

PORT ANGELES

709 Broadway Ave. E. - 324-6446

MAPLE ROSE INN 112 Reservoir Rd - (800) 570-2007

UNCLE IKE’S 2310 E Union St - 1-800-GET-DRUGS

SPOKANE

501 15th Ave E - 1-800-GET-DRUGS 9822 15th Ave SW - 1-800-GET-DRUGS WILD AT HEART 1111 NW Leary Way - 782-5538

ANDY’S - 1401 W. 1st Ave. - (509) 747-0304

THE BLIND BUCK

BELLINGHAM

204 N. Division St. - (509) 343-9425

GLOBE BAR AND KITCHEN

LOVER’S 193 Telegraph Road - (360) 752-1862

204 N. Division St. - (509) 443-4014

NYNE BAR AND BISTRO

RUMORS CABARET 1119 Railroad - (306) 671-1849

232 W. Sprague Ave. - (509) 474-1621

DES MOINES

EVERETT

KENT

LA CONNER

TACOMA

CASTLE SUPERSTORE

OLYMPIA

PORT

SPOKANE

TRI-CITIES

TACOMA

TRI-CITIES

TUKWILA