A decade ago the orchestra was badly broken. After ten years of huge progress the SSO is playing better than it ever has and is a model of reinvention. And now another crossroads.
When cities invest in the visitor market (hotels, convention centers, festivals) they are ordinarily playing a final, desperate card in economic development.
What explains the flagging fortunes of Bumbershoot, which has over the past 20 years become less and less distinctive, spectacularly more expensive to attend, and suffered diminished attendance and an increasingly unsustainable business model?
The existential question is what exactly Intiman is at this point. The speed at which money has been raised so far suggests there's still a constituency willing to find out, but the Big What is still an open question.
One wonders, as former Seattle Symphony exec Deborah Rutter reinvents the cultural center to reach wider audiences with striking architecture, whether that might have happened (or still could happen) at Seattle Center.
Seattle Opera’s current staging of Cenerentola is mostly fun to watch. It is also a great example of how much work having fun can be, on both sides of the imaginary footlights.
Going to the new Burke is like sneaking into the back of a factory in full swing—except this one has glass walls, lots of animal bones and fur and color.
One of Seattle's primary theatres dodges a bullet and soldiers on. The question is should it?
The new Burke Museum opens up virtually all its work spaces to public view. A curator says that at first, some staff members were skeptical, but by now, everyone seems all in.
The suggestion from Pittsburgh is not to keep trying to sell season tickets and individual tickets at the usual high prices ($50-$120), but instead to adopt the museum model.