See It This Week

Crater at Barboza, ‘The Big Meal’ at 12th Ave Arts, Emily Gherard at Bridge Productions

Crater. Photo by Allyce Andrew for City Arts.

Tuesday, Nov. 8
Standup comedy and pro wrestling are both gladiatorial pursuits. Performers in both arts embrace outsized personas that we can cheer for or against; there are “heels” and “faces.” Exaggeration is paramount. Victory and defeat play out in front of a live audience. Perhaps these similarities explain why half the comics I know are devoted pro wrestling fans, and also why many wrestlers have attempted to make the leap to comedy after retiring from the ring. Fresh off last year’s Netflix documentary The Resurrection of the Snake, Jake “The Snake” Roberts leaps the turnbuckle onto the standup stage. –Brett Hamil
Tacoma Comedy Club

Wednesday, Nov. 9 – Friday, Nov. 11
Back before they became arena-filling megastars, The Who brought a thrumming sense of anarchy to the first leg of the British Invasion. Jeff Stein’s addictive 1979 doc The Who: The Kids Are Alright may not be as great a rock film as The Last Waltz, but it does a great job of capturing The Who’s alternately impish and prickly energy—and the music clips decimate everything in their path-literally. –Tony Kay
Grand Illusion Cinema

Thursday, Nov. 10
These days the soul of funk music is perpetuated less by stage-filling live bands and more by DJs and electronic producers. From Flying Lotus to Dam Funk to Daft Punk to Mark Ronson, the voracious, sampladelic nature of electronic music has propelled the on-the-one tradition of funk into the future. Add to that cadre Soul Clap, the Boston-based duo of Elyte and Cnyce, to formerly nice Jewish boys who’ve fallen in thrall of the dance floor and now produce their own brand of slinky, disco-inflected eletro-funk and house music. Tonight they play an “open-to-close” set at Q—meaning the funk will flow for five continuous hours. Better start stretching now. –Jonathan Zwickel
Q Nightclub

Thursday, Nov. 10
Here’s a stupendous lineup of musicians pushing the boundaries of electronic music—and doing so from an all-too-rare female perspective. Crater is one of Seattle’s standout bands of 2016, a sinister, elegant push-and-pull between drums and keys swathed in reverbed vocals and luminous atmosphere. The duo’s supremely vibey debut album, Talk to Me so I Can Fall Asleep, is one of our favorites of the year. Hailing from Portland, Natasha Kmeto is a producer/singer whose postmodern R&B fuses her own powerhouse vocals with propulsive, house-influenced beats. Her music is sensuous and deeply felt, the kinda stuff that makes for intimate dance floor encounters. –Jonathan Zwickel

Thursday, Nov. 10 – Sunday, Nov. 13
Dan LeFranc’s musical, ensemble-driven The Big Meal is a beautiful beast of a play—scenes that shift on a dime, characters suddenly played by new actors—and New Century Theatre Company is pulling it off gorgeously. The play follows one family through generations and over supersized dishes at unidentified Midwest restaurants; each actor plays multiple characters as we move forward in time, the family’s younger generation becoming the older as a new generation enters the picture. The Big Meal sketches the painful, emotional and utterly recognizeable evolution of a family organism, lovely in its perfect ordinariness. I cried. The Big Meal runs through Nov. 19. –Gemma Wilson
12th Avenue Arts

Thursday, Nov. 10 – Thursday, Nov. 17
If previous incarnations are any indication, Cinema Italian Style 2016 will be a varied, peerlessly-curated tour through modern and classic Italian film. Highlights include an opening-night screening (with a party in the Penthouse at Hotel Sorrento) of Paolo Virzi’s reputedly awesome female buddy comedy Like Crazy, Valeria Golino’s Venice Film Festival award-winning performance in the drama Anna (For Your Love), and a 4K restoration of Etore Scola’s classic 1977 pairing of Sophia Loren and Marcello Mastroianni, A Special Day.  –Tony Kay
SIFF Cinema Uptown

Friday, Nov. 11 – Saturday, Nov. 12
Sarah Tiana is an LA comic from Calhoun, Georgia who’s managed to preserve a little of that Southern twang while joking about cosmopolitan topics like sex etiquette and single life.  She got her big break on Reno 911! in 2009 and went on to become a multi-tool player, writing for The Burn with Jeff Ross, The ESPY Awards and NFL comedy segments on Fox as well as hosting the red carpets for the Comedy Central Roasts and the CMA Awards. She’s a versatile and winsome performer. –Brett Hamil

Saturday, Nov. 12
Emily Gherard has been working at increasingly large scale in recent years, weaving shimmering graphite and thin threads of gray acrylic on paper to create abstract drawings as monumental in effort as they are quiet and tender in tone. Her mark-making process combines repetitive rigor with repetitive erasure—including processes like sanding and gently scraping off layers, in effect destroying hours or days worth of work in order to peel away at the strata below. The results are accretive landscapes haunted by the passage of time and marks, which call to mind geologic striations in stone or a smudgy scrim of rain veiling the landscape in the distance. In the latest offering, titled “Making Presence Known” at Bridge Productions, she delves further than ever into this process and the examination of layers of monochromatic tones and textures excavated from a void. Meanwhile, opening at Interstitial is Jennifer Mehigan’s “Watch Yourself Rot,” offering an excess of dense video, prints and installations based on internet imagery, mind-melting pops of day-glo, sex toys, cake, and all things lusty and femme. See these annd more during this month’s Georgetown Art Attack. Amanda Manitach
Bridge Productions, interstitial