Comedy From Blue America, a New Show and New Home for Teatro ZinZanni, and More

The week’s best arts and entertainment.

Phoebe Robinson and Ilana Glazer hit the Moore for the YQY Comedy Tour on Saturday. Photo by Mindy Tucker

Phoebe Robinson and Ilana Glazer hit the Moore for the YQY Comedy Tour on Saturday. Photo by Mindy Tucker


Ilana Glazer & Phoebe Robinson As half the duo who make Broad City one of TV’s most richly funny half-hours, Ilana Glazer plays Ilana Wexler, a filterless slacker whose millennial self-absorption is almost as fierce as her righteous progressiveness—the perfect foil to Abbi Jacobson’s more cautious, self-conscious Abbi Abrams. On this stand-up tour, Glazer is joined by Robinson, a familiar face on late-night TV and one of the podcasting 2 Dope Queens. The Moore, 1932 Second Ave., $25–$100. 7:30 & 10 p.m. Sat., Nov. 18.


Teatro ZinZanni’s “Love, Chaos, and Dinner” is kind of a greatest-hits show to ease its move from Lower Queen Anne to Marymoor Park. All the elements that made you love the concept from the start are here: a four-course meal designed by Jason Wilson; fantastic cirque acts, including aerial practically over your table; cornball humor seasoned with double entendre; eclectic, crowd-pleasing music choices (from Offenbach to AC/DC); and audience-participation skits. Emcee Joe DePaul is in charge of the last of these, and he makes this one of TZ’s funniest shows, while Ariana Savalas makes her Seattle debut as the glamorous Madame ZinZanni. 6046 W. Lake Sammamish Pkwy. N.E., Redmond, $99–$179. 7 p.m. Wed.–Sat. (plus Tuesdays in Dec.); 6 p.m. Sun.; 11:30 a.m. matinees on selected Sun. Ends April 29.


Pancho Villa From a Safe Distance Graham Reynolds’ chamber opera explores Mexican influence on the culture and politics of West Texas, using the life and mythology of the Revolutionary hero as an entrance point. On the Boards, 100 W. Roy St., $23–$30. 8 p.m. Thurs., Nov. 16–Sat., Nov. 18, 5 p.m. Sun., Nov. 19.

Frequency/Kin of the Moon One is a year old, one is brand-new, but both these chamber ensembles are game to add to their lineup of traditional instruments. All four works on Friday’s concert by Frequency (Michael Jinsoo Lim, violin; Melia Watras, viola, and Sæunn Thorsteinsdóttir, cello) incorporate electronics. They’ll play music by Frances White, Daniel Bjarnason, and Richard Einhorn. PONCHO Concert Hall at Cornish College of the Arts, 710 E. Roy St., $19–$20. 8 p.m. Fri. Nov. 17. The members of “improvisation-­centric, technology-­friendly” Kin of the Moon—Leanna Keith, Kaley Eaton, and Heather Bentley—are themselves composers, and their debut concert includes their new collaborative piece (“an exploration of psychic weather control”) for viola, flute, and SuperCollider. Chapel Performance Space, Good Shepherd Center, 4649 Sunnyside Ave. N., $5–$15. 8 p.m. Sat., Nov. 18.


Chris Matthews If you’re a member of a minority community in this country, you can allow demagogues to pit you against other minorities, or you can make common cause with them, empowering yourselves. This latter was the special strength of Robert Kennedy’s political career, Chris Matthews asserts in his new biography, Bobby Kennedy: A Raging Spirit. It explores the evolution of this strength—despite his privileged upbringing, RFK faced enough anti-Irish Catholic sentiment to make him empathetic to other victims of prejudice—and suggests that his coalition-building ability can help Democrats fight the right’s ugly us-vs.-them-ism. Just two days after Lawrence O’Donnell visited Seattle, another contentious MSNBC host shows up with his own new book touching on the legacy of the ’60s. Temple De Hirsch Sinai, 1511 E. Pike St., $5. 7:30 p.m. Thurs., Nov. 16.


Follies One line from “I’m Still Here,” the ultimate anthem of diva survival from Stephen Sondheim’s 1971 musical Follies, seems to encapsulate one reaction to this polarizing show. As Carlotta, one of the former showgirls attending a reunion in a soon-to-be-demolished theater, puts it: ”First you’re another sloe-eyed vamp/Then someone’s mother, then you’re camp”—and it’s just this downward trajectory, a spectacle built of women reliving their past glories, that lead some to find it misogynist. (Productions’ tendency to cast actresses from the Whatever happened to… file only exacerbates this sensation.) Others find its nostalgia either distasteful or achingly moving, its view of marriage either depressingly bitter or affectingly realistic, its score either shallow pastiche or the greatest of them all—and as the years have rolled by, consensus has leaned more and more toward the latter opinion in each case. As both a love letter to theater and an unsparing look at the agony of relationships, it’s probably Sondheim’s Sondheimiest musical. This performance is from London’s National Theatre. SIFF Cinema Uptown, 511 Queen Anne Ave. N., $15–$20. 6:30 p.m. Thurs., Nov. 16. (Also noon Sun., Nov. 26 & 6:30 p.m. Mon., Nov., 27 at SIFF Film Center.)

See all Seattle arts events for the week, and beyond, on our new-and-improved calendar.

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