The weather's chillin' and Uptight Seattleite begins our weekend arts calendar with his favorite NPR host, who's appearing tonight:

If it's not too late, and


Your Uptight Weekend Arts Planner

The weather's chillin' and Uptight Seattleite begins our weekend arts calendar with his favorite NPR host, who's appearing tonight:

If it's not too late, and if any of her production people happen to be reading this, I'd like to suggest that a costume change might not be out of order for Terry Gross' appearance tonight. To express her intellectual side, she could start the evening in one of those elegant Mao-collar jackets she sometimes wears. Then she could take a quick break and come back in a cute little denim jacket--like the one from the All I Did Was Ask book tour--to bring it back to the down-to-earth approachability that makes Terry Terry. When it comes to questions from the audience, I'm sure she'll be good natured about rehashing some greatest hits, like the inside story of the Gene Simmons interview. I hope there'll be time for more advanced queries as well. My own question requires a little preamble to explain the metaphor that informs its premise. Peripherals aside, there's no doubt about one thing: The kind of ovation that will greet this imp of grace and curiosity when she takes the stage. The Paramount, 911 Pine St., 467-5510, $25-$65. 8 p.m. UPTIGHT SEATTLEITE

Keep reading for more A&C picks after the jump...

FRIDAY (cont.)

NW New Works Festival

Aiko Kinoshita and Aaron Swartzman aren't necessarily "new"--the pair have been dancing in Seattle for several years, both together and separately, and the work they're presenting at the NW New Works Festival (through June 14) has been in development for months. But this latest chapter of their Home Bodies series looks to be a powerful evocation of close relationships and the web of intimate accommodations that long-time partners make with each other. In earlier sections of this ongoing work, they've built little rooms out of household objects, taking shelter among pillows and dishes. Now the props are gone, leaving just their bodies and their tender give and take. Among all the craziness that New Works usually celebrates, Home Bodies will be a sweet exception to the chaos. Tonight's Studio Showcase program also includes performance art, theater, and music. On the Boards, 100 W. Roy St., 217-9888, $14. 8 p.m. (Repeats 5 p.m. Sat.-Sun.) SANDRA KURTZ

Against the Current

Joseph Fiennes, a.k.a. "the guy who no one can believe shares DNA with Ralph/hasn't done shit since Shakespeare in Love," delivers an appropriately mysterious performance in this 90-minute rumination on suicide. Fiennes plays Paul, a financial journalist who lost his wife and unborn child to a tragic accident. (No, it's not 9/11.) Five years later, he convinces his best friend Jeff (Justin Kirk), an underachieving Manhattan bartender-actor, to accompany him by boat as he attempts to swim the length of the Hudson River, a scheme they'd hatched as boys. For the hell of it--or, as we later discover, due to her intrigue with Paul--schoolteacher Liz (Elizabeth Reaser) comes along, too. While Paul's moral/mortal dilemma here is plenty compelling, the real star is the scenic Hudson River Valley, aided by a haunting score and with noble supporting performances. Kirk is the designated mood-lightener who's nonetheless able to shed the sass of his Weeds character to reveal genuine spurts of more melancholy emotion. A Washington State native who'll attend SIFF with this film, Kirk has grown by leaps and bounds since he appeared at SIFF '02 in the mediocre thriller Outpatient. (Go rent HBO's Angels in America to see his brilliant turn there.) At the age of 40, he's well on his way to establishing himself as a great character actor, and Against the Current does nothing to diminish such momentum. (NR) Uptown, 511 Queen Anne Ave. N., 448-2186, $8-$10. 9 p.m. (Also: 11 a.m. Sun., June 7.) MIKE SEELY


How bad do you want that baby? Do you really, really, really want a child? Birth and horror belong together, dating past Rosemary's Baby and into folklore. But Paul Solet then adds New Age philosophy, veganism, and aggressive feminism to the mix--eliciting laughs and gasps in equal measure. Three strong women are at odds in Grace: pregnant Madeleine (Jordan Ladd), her meddling, baby-crazed mother-in-law (Gabrielle Rose), and the imperious naturopathic doctor (Samantha Ferris) determined to keep men out of the birthing room. (And out of the bedroom, if you know what I mean.) Against the advice of her male doctors (boo! miss!) Madeleine carries her high-risk pregnancy to term, calling her miracle baby Grace. And yes, Grace turns out to be something of a problem child. "You don't understand," the mother insists, "She's special! She needs special food!" The mother-in-law and her hired physicians disagree. The naturopath is more sympathetic, but her professional judgment may be clouded by a certain past, ahem, with Madeleine. Surely destined for midnight movie status and a long life on DVD, Grace should probably be avoided by pregnant women. But for guys about to become fathers, it supplies a valuable message: See, this is what you leave behind. (NR) Egyptian, 801 E. Pine St., 448-2186, $8-$10. 12 a.m. (Also: Pacific Place, 9:30 p.m. Sat., June 6.) BRIAN MILLER


Punk Rock Flea Market

Even though it's called the Punk Rock Flea Market, don't worry: It's not limited to half-full bottles of fuchsia Manic Panic and hand-studded leather jackets. No, this is a bona fide cornucopia of trash-turned-treasure. You can pick up everything from bicycles to appliances to toys to records (and not just records by the Sex Pistols or Clash, either). In this context, the term "punk" refers more to the DIY, homespun nature of the event, which also includes vegan treats, tarot card readings, and tattoo booths. Plus, while plenty of shindigs like this one offer live music, the jams tonight--beginning around 6 p.m.--are actually listenable. And the lineup is as diverse as the wares: punk (Keg), metal (Kled), and hip-hop (Specs One). Belltown Underground Events Center, 2407 First Ave., $1. 10 a.m.-10 p.m. SARA BRICKNER

Seattle Rep Costume and Prop Sale

I've always harbored fantasies of becoming an actress. Not necessarily to bask in the limelight; I'm far too shy for that. I would be in it solely for the costumes. The urge to dress up like the Queen of England on any given Tuesday is probably why I've resisted the whole Renaissance Faire thing. I think I might get a little too into it, if you know what I mean. My level of sanity (and credit rating) will be tested at the Rep's Costume and Prop Sale. They're clearing out their closets and unloading hundreds of costumes, props, and wigs from the last 36 seasons. (They haven't had a sale like this since 1974.) Prices go from $10 to $1,000. Some of the more elaborate pieces will be offered in a silent auction. Sizes run from a women's 0 all the way up to a men's 48 suit. And costumes range from the Shakespearean to gorilla suits. So if next week you see a girl picking up a six-pack down at QFC in a turquoise kimono, she's, um, just practicing for a play. Seattle Repertory Theatre, 155 Mercer St. (Seattle Center), 443-2210, Free. 10 a.m.-4 p.m. SUZIE RUGH

At West of Pluto

Maybe I'm over-conditioned by The Office and all those Christopher Guest mockumentaries to find deadpan humor everywhere, but I thought a lot of this very cinema-vérité film about francophone high-schoolers in Quebec--maybe more than intended?--was pretty funny. (Two guys, discussing names for their band, suggest Never Break My Nose and Microwave Distortion; assigned in class to give an expository speech about his passion, one kid chooses peanut butter.) It's not a documentary, but it looks like one, mainly because nothing in the lives of these middle-class kids is exaggerated. They're bored and alienated, but not melodramatically so. The few adults depicted are not clueless and malignant. No one's implausibly beautiful (actual acne and unfortunate mid-pubescent attempts at facial hair can be seen). And the dramatic incidents are merely the sort of things dumb under-entertained kids do, not jolting bloodbaths. The camera just follows around a dozen or so characters, from a day at school to a parents-out-of-town, beer-and-make-out party that gets out of control. It's believable--except for the absolute absence of cell phones; what year is this?--and compelling every second. (NR) Harvard Exit, 807 E. Roy St., 448-2186, $8-$10. 7 p.m. (Also: 1:30 p.m. Sun., June 7.) GAVIN BORCHERT


Redwood Plan

The Cha Cha on Capitol Hill is typically thought of as a cavernous, hipster hellhole, and not a place where one would willingly go to see a band. But it's not fair to write off the Mexi-kitsch-laden watering hole entirely, given the fact that See Me River frontman Kerry Zettel (the handsome, tattooed fellow most likely pouring your drink upstairs) isn't just one of the nicest, most talented musicians in the city, but also a bona fide local music fan and the man who thoughtfully books the Cha Cha's occasional live shows. Tonight it's the Redwood Plan, Lesli Wood's smashingly successful new pop-punk configuration, and Hostas, the promising, bass-heavy trio featuring Visqueen drummer Ben Hooker. Besides, it's a Sunday night: the douchebag quotient will undoubtedly be markedly lower. Cha Cha Lounge, 1013 E. Pike St. 322-0703. 9 p.m. $6. HANNAH LEVIN

The Slants

Sure, it's easy to dismiss The Slants as a novelty act. Simon Young (formerly of the Stivs), formed the band by posting ads that called for Asian musicians in ethnic supermarkets across Portland. Once the lineup was completed, the band began playing gigs at--where else--anime conventions. The approach earned them a devoted fanbase of Asians, Asiaphiles, and geeks galore. And it's actually well deserved, given the quality of their music. The Slants create synthesizer-driven songs drenched in sexy beats, erratic guitar rifts, and the occasional plucking of a koto. Their 2007 demo album Slanted Eyes, Slanted Hearts--reworked and re-released last year--is a dark dance album comparable to records by electro-rock bands like The Faint and Depeche Mode. Many of the songs grapple with race relations, but even non-Asians can relate to their pain when they sing about loneliness and feeling like outsiders. With the New Up, Klover Jane. Nectar Lounge, 412 N. 36th St. 632-2020. 8 p.m. $6. ERIKA HOBART

The Karamazovs

The play's the thing in Petr Zelenka's adaptation/transposition of Evald Schorm's stage version of Dostoyevsky's The Brothers Karamazov, played out like an Eastern European take on Vanya on 42nd Street. Instead of an empty theater, a Czech theater troupe arrives in Poland (speaking not a word of the Polish) and rehearses their play in a massive Polish foundry, a massive, ancient relic filled with machinery that becomes the sets. The actors transform the industrial surroundings (where Lech Walesa himself once spoke to the growing Solidarity movement - the "solidarity" tag is emblazoned on a beam) into a world of their own by the conviction of their performance and the audience of workers (including a night watchman mourning the death of his son) is captivated. As was I. The conceit overcomes its contrivances to create riveting theater, so much so that the minor conflicts going on behind the scenes pale next to the drama on this makeshift stage. At times you want the camera to ignore the actors until they enter the stage once more, leaving behind the petty concerns of the modern players for the epic clash of father, sons and brothers. (NR) Harvard Exit, 807 E. Roy St., 448-2186, $8-$10. 11 a.m. SEAN AXMAKER

The Market: A Tale of Trade

Nobody has a cell phone yet, but in the mid-'90s, a hustling street merchant in the Turkish shadow economy realizes there will be fortunes to be made from the device. Only problem, he has no capital to buy a government license. Then, as if in answer to his prayers at the mosque, this gambling, hard drinking, rarely-at-home husband and father receives a windfall. Thieves have stolen a supply of medicine needed by the local hospital, which hands Mihram (the sly, soulful Tayanç Ayaydin) a wad of cash to drive to Azerbaijan for the medicine and smuggle it back home. So: here's a chance for the small-time hustler to do good, to turn over a new leaf. Or he could misuse the money for his cell-phone scheme. Or, and this is where The Market becomes morally compelling, he could try to do both. Aided by a woeful old uncle in Azerbaijan, Mihram barters his stake, fools border guards, and humiliates a gangster in a high-stakes card game. Then he, the consummate haggler, marches into a medical clinic like a gunslinger. "There's always a price," he tells his uncle. But in this parable of globalization, where petty smugglers are connected to international markets, Mihram ultimately discovers that he has his price, too. And it's being set far above his head. (NR) Uptown, 511 Queen Anne Ave. N., 448-2186, $8-$10. 1:15 p.m. (Also: 7 p.m. Tues., June 9.) BRIAN MILLER

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