Walter Stawicki remembers exactly where he was on May 30 last year, when his wife called to say she’d just seen a surveillance photo of their son on the news: Ian was holding a gun inside Café Racer, where five people had reportedly been shot. “I was on the freeway...around Northgate,” Stawicki recalled in an interview with Seattle Community Media. “I was going to get off at 50th and University,” less than a mile from the café.
As the Mariners ramp up their annual campaign, the best and the worst of Seattle baseball will come together at Safeco Field this season.
Longtime fans are already well acquainted with what the worst feels like: If you endured the wretched Mariners teams in the 1970s and ’80s, you remember two decades of joyless seasons in a concrete bunker, where the most entertaining aspect of the game was watching the burly, bearded Bill “The Beerman” Scott lead The Wave in a near-empty Kingdome.
Living in a port city means getting so used to seeing stacks of shipping containers that we hardly see them at all. But that’s not the case for Seattle artist Mary Iverson (maryiverson.com), a graduate of both UW and Cornish College, whose work brings the colorful metal boxes to the foreground. In her hands, the containers have a life of their own, vibrating against each other and sometimes leaving the port altogether, landing in such unlikely places as a river running through Yosemite National Park or the vast, dry scrub of the Palouse.
MUST WATCHKafka’s The TrialOngoing (4/5–4/28) — New Century Theatre Company is staging an appropriately claustrophobic new take on Kafka’s classic, The Trial, housed (also appropriately) in Seattle’s former INS building. Audience members are categorized and “processed” as they enter, and sit in a “jury box” to watch the unsettling proceedings. Starring veteran Seattle actors Darragh Keenan and Amy Thone, the play’s spookiest aspect is its modern day relevancy.
A few years ago I heard about an archaeological dig in China that unearthed a Chinese woman in her fifties who was so well preserved by her cypress wood tomb layered with clay and charcoal that she was perfectly intact, including her last meal of honeydew melon, the seeds of which were still in her stomach.
Most of the streets in the South Park neighborhood end at the Duwamish River. Local children and their parents often play and fish on the river’s shoreline, even gathering there for bonfires. Every spring, Concord International School 5th grade teacher Kate Ayers educates her students about the environmental issues that have plagued the waterway: that it’s a Superfund site; that the fish in the river aren’t always safe to eat; that after a trip to the river, kids should wash their feet to remove arsenic and other contaminants.
Seattle’s central waterfront is getting a huge, decade-long face-lift: a new tunnel for State Route 99, a new ferry dock, a new seawall, pedestrian promenades, maybe even a mist machine to remind summer visitors that they’re in Seattle. But so far, there’s no sign of those antique streetcars that rumbled down Alaskan Way in the 1980s and ’90s, captivating so many Seattle visitors.
Creatively focused, eco-obsessed, possessing an urban sensibility and locavore leanings, beautiful without being braggy—the new Bainbridge Island Museum of Art (BIMA) might well be considered the embodiment of the island community itself. And just as the residents prefer the island’s laidback vibe to Seattle’s comparative bustle, BIMA supporters and staff have no intention of trying to compete with mainland art institutions, such as Seattle Art Museum. Instead, the focus is on contemporary work by artists from the Kitsap and Olympic peninsulas and the western Puget Sound region.
Even as hipsters age and have kids, there are a few key things they’re unwilling to let go of, the foremost being good music. If they fill their iPods with the right stuff, these particular parents can steer their brood into the capable hands of local “kindiependent” rock bands like The Not-Its!, whose infectious blend of intelligent pop rock gets kids—and their parents—in the mood to groove.
As Swan Lake prepares for takeoff at Pacific Northwest Ballet (4/12-4/21), the company is posting some rehearsal videos that are pretty irresistible—in large part because they offer a peek at backstage ballet fashion, which never fails to mesmerize. How do the dancers end up wearing such a colorful mishmash of leotards, tights, heat wraps, flouncy skirts, shrugs and leg warmer-style knitted garments of varying lengths and locations? And how do they come up with such innovative ways to layer them?
There will be much ado, indeed, at SIFF (Seattle International Film Festival) this year. The festival opens with Joss Whedon's take on Shakespeare's Much Ado About Nothing, starring Alexis Denisof, Amy Acker, Nathan Fillion, and Clark Gregg. The film was shot in twelve days, uses the original text and apparently was edited on a laptop while Whedon was still in production for The Avengers. It also marks Whedon's debut as a composer, according to the press release.
When my husband and I first bought our home, we felt somewhat banished in pre-cool Ballard. (This was 2001, and the sleepy Scandinavian burg was the most affordable neighborhood closest to Lower Queen Anne, where we’d been happily living in an apartment.) But then we stumbled upon Ballard Market and discovered that the humble-appearing grocery store is a foodie heaven. And Ballard Avenue—though only a seed of what it is now (pretty much just Olivine, Habitude and Madame K’s brothel-themed pizzeria)—already had the spark of a happy, bustling place.