[Rose-movies] Rose Theatre Newsletter for July 5, 2005

[The Rose Theatre]

This week's newsletter includes:
    * LOOK AT ME starts Friday, July 8
    * HOWL'S MOVING CASTLE starts Friday, July 8
    * STOP MAKING SENSE Friday & Saturday at Midnight
    * MAD HOT BALLROOM held over
    * LORDS OF DOGTOWN ends Thursday, July 7
    * BATMAN BEGINS ends Thursday, July 7
    * CHARLIE AND THE CHOCOLATE FACTORY starts Friday, July 15
    * LADIES IN LAVENDER starts Friday, July 15
    * MARCH OF THE PENGUINS starts Friday, July 29
    * Annual Outdoor Movie at Memorial Field August 20
    * Admission Prices
    * Gift Suggestions
    * Coming Attractions
    * Rose Theatre Movie Challenge
                                   ______________________________________________________

Show Times: Tuesday, July 5 - Thursday, July 14

LOOK AT ME - showing in the Rose Theatre
July 8-14               4:00, 7:00

HOWL'S MOVING CASTLE - showing in the Rosebud Cinema
July 8,9                7:20, 9:40
July 10-14              7:20

STOP MAKING SENSE - showing in the Rose Theatre
July 8,9                Midnight

MAD HOT BALLROOM - showing in the Rose Theatre
July 5-7                4:30
July 8-14               4:30 - moves to the Rosebud Cinema

LORDS OF DOGTOWN - showing in the Rose Theatre
July 5-7                7:20

BATMAN BEGINS - showing in the Rosebud Cinema
July 5-7                4:00, 7:00
                                ______________________________________________________

LOOK AT ME
Directed by Agnes Jaoui
Cast: Marilou Berry, Agnes Jaoui, Jean-Pierre Bacri
Rated PG-13 for brief language and a sexual reference.  In French with 
English subtitles.  110 min.  <http://www.sonyclassics.com>

LOOK AT ME does so many things so well, it's difficult to know where to 
begin.  Is this new French film most impressive for its sharp and incisive 
writing?  For acting that crackles with intelligence and skill?  For 
directing that is energetic and engaged?  Or for the impressive fact that 
the same two people have a hand in all those good things?

That would be the husband-and-wife team of Agnes Jaoui and Jean-Pierre 
Bacri.  LOOK AT ME, which stars both writers, is the admired winner of the 
best screenplay award at Cannes, and a smart and tartly entertaining 
enterprise that is a tiptop character study and a whole lot more.

For LOOK AT ME not only displays a formidable gift for creating characters 
and involving us in their stories, it also has points to make, ideas it 
wants us to consider about the world and the way it tends to function.

LOOK AT ME's target is how obsessed with the surface of things our society 
has become; how concerned with physical appearance and, more dangerously, 
with celebrity it has become fashionable to be.

With pointed and acerbic charm, LOOK AT ME shows us the unmistakable ways 
success can mar the human equation.  With devilish humor it illustrates how 
the pursuit and worship of fame and beauty confuse, change and derange 
everything they touch, ruining relationships and instigating bad 
behavior.  This may be a French film, but its connection to Hollywood, at 
least by implication, is unmistakable.

Although LOOK AT ME has multiple characters, it centers on a pair of 
protagonists, a famous and famously curmudgeonly father and the defiantly 
overweight daughter he has no patience for.  These deeply frustrated family 
members are united by more than their relationship.  They invariably 
exasperate each other and everyone they come in contact with.

What makes LOOK AT ME such a deeply satisfying experience is its ability to 
combine insightful character portraits like this with wickedly funny 
situations that slyly skewer all-too-human weaknesses.  It's no wonder 
Jaoui and Bacri in their pre-writing days never came across films with 
these qualities.  There simply aren't any others around.  (Excerpted from 
LOS ANGELES TIMES)

"A masterful social satire.  An absolute gem"-NEW YORK DAILY NEWS.  "An 
intoxicating treat.  A scalpel-sharp comedy"-Elle.  "Stiletto-sharp"-THE 
WALL STREET JOURNAL.  "Gloriously insightful"-NEWSDAY
                                _______________________________________________________________

HOWL'S MOVING CASTLE
Directed by Hayao Miyazaki
Cast: With the voices of Jean Simmons, Christian Bale, Emily Mortimer, 
Lauren Bacall, Billy Crystal
Rated PG for frightening images and brief mild language.  119 
min.  <http://www.disney.com/castle

HOWL'S MOVING CASTLE, freely adapted from a children's fantasy novel by 
Diana Wynne Jones, is the latest animated tour de force from Hayao 
Miyazaki, the director of among other masterpieces, PRINCESS MONONOKE, MY 
NEIGHBOR TOTORO and SPIRITED AWAY.  Admirers of his work, which is wildly 
imaginative, emotionally intense and surprisingly gentle, will find much to 
appreciate in this film because it demonstrates, once again, his visual 
ingenuity and his sensitivity as a storyteller.  For newcomers to his 
world, HOWL'S MOVING CASTLE is a fitting introduction to one of modern 
cinema's greatest enchanters.

Mr. Miyazaki's heroines tend to be plucky young women who combine guileless 
decency with tough-mindedness.  During their journeys, they often encounter 
wise older women who sometimes serve as foils, sometimes as mother 
figures.  Ms. Wynne Jones's novel, which Mr. Miyazaki encountered in 
Japanese translation a few years ago, allows him to combine these two types 
in to a single character.  His heroine, Sophie, starts out as a shy 
18-year-old hat maker, but then a witch's curse transforms her into a 
stooped, gray-haired 90-year-old.  At first horrified by the change, she 
comes to embrace it as a liberation from anxiety, fear and 
self-consciousness, and discovers in herself a new zest for adventure.

There is certainly plenty of adventure in store.  Mr. Miyazaki's capacity 
for narrative invention has yet to find its limit, and this movie is filled 
with strange and marvelous creatures and incidents, some inspired by the 
book, others entirely of his own devising.  His images have a richness and 
delicacy that is almost too much to take in at one viewing, as the mood 
shifts from pastoral quiet to operatic spectacle.  Rolling hills and tidy 
streets give way to whirling celestial battlefields, and moments of 
exquisite tenderness alternate with scenes of violence and destruction.

These and other wonders are designed and executed with the delicate texture 
of hand-drawn animation, a disappearing art in the age of smooth, shiny 
computer-animated movies.

Sophie, in both her incarnations, joins an impressive sisterhood of 
Miyazaki heroines, whose version of girl power presents a potent 
alternative to the mini-machismo that dominates American juvenile 
entertainment.  As HOWL'S MOVING CASTLE makes ravishingly clear, coming 
into one's own is the most heroic - and magical - experience of 
all.  (Excerpted from THE NEW YORK TIMES, ENTERTAINMENT WEEKLY & THE 
SEATTLE POST-INTELLIGENCER)

"If you think you are too old or too jaded for the ingenuity and wonder of 
'Howl's Moving Castle,' you better check to see if your heart is still 
beating"-THE NEW YORK OBSERVER.  "An absolute triumph on every level that 
even tops his Oscar-winning 'Spirited Away'"-MAXIM.  "Watching this film is 
like no other moviegoing experience...a journey into a dream world where 
anything can happen"-ENTERTAINMENT TONIGHT.
                                ________________________________________________________________

STOP MAKING SENSE*
Directed by Jonathan Demme
A performance film of the Talking Heads; not rated.  88 min.

 From the opening frames of Jonathan Demme's STOP MAKING SENSE, it's 
apparent that this is a rock concert film that looks and sounds like no 
other.  The sound is extraordinarily clear, thanks to the pioneering use of 
24-track digital recording.  And the film's visual style is as cooly 
iconoclastic as Talking Heads itself.  Mr. Demme has captured both the look 
and spirit of this live performance with a daring and precision that match 
the group's own.  STOP MAKING SENSE is, to quote one of its songs, "same as 
it ever was" - perhaps the best rock concert movie ever made.

Be that as it may, it should be experienced with other moviegoers, 
preferably in a theater with the stereo cranked up.  Unlike such heavily 
edited concert films as MONTEREY POP and THE LAST WALTZ, this one suggests 
the experience of a live performance.

It's wired star, David Byrne, just keeps on giving a concentrated energy 
back to the audience, his fellow performers and the camera.  With his 
hollow-eyed stare and bizarre gestures, Mr. Byrne is surely one of the 
oddest rock singers; he's also one of the most galvanizing.  His studied 
casualness is matched by a fierce intensity.  Even his most peculiar 
gestures have an originality and a mesmerizing strangeness.

And Mr. Byrne's vocals maintain their lucid, unsettling energy throughout 
the performance (the film actually draws upon four 1983 concerts at the 
Pantages Theater in Hollywood).

Mr. Demme, in addition to avoiding any visual monotony, has gracefully 
tailored the film to suit the band's stage show.    STOP MAKING SENSE owes 
very little to the rock film-making formulas of the past.  It may well help 
inspire those of the future.  (Excerpted from THE NEW YORKER & THE SEATTLE 
TIMES)

"One of the greatest rock movies ever made"-ENTERTAINMENT TONIGHT.  "A dose 
of happiness from beginning to end...close to perfection"-PAULINE KAEL.  "A 
rock concert film that looks and sounds like no other...as coolly 
iconoclastic as the Talking Heads itself"-THE NEW YORK TIMES.  "The most 
thrilling, most exhilarating, simply the best rock film yet"-CALIFORNIA 
MAGAZINE.  "Completely brilliant"-SMASH HITS MAGAZINE

*Warning: This movie is meant to be played loud, and it will be.
                                ________________________________________________________________

MAD HOT BALLROOM
Directed by Marilyn Agrelo
Cast: Jatnna, Amber, Wilson, Priscilla, Vai-Wen, Ronnie, Michael, Zeb, 
Cyrus, Tara
Rated PG for some thematic elements.  105 
min.  <http://www.paramountclassics.com/madhot

The more unlikely the cultural marriage, the better it plays on-screen, 
which is why the incongruous combination of gritty New York City public 
school kids and the rarefied, privileged world of ballroom dancing makes 
MAD HOT BALLROOM a documentary experience to savor.

Warm, funny and very difficult to resist, this engaging film combines the 
charm of SPELLBOUND with the kinetic energy of STRICTLY BALLROOM in a way 
that will make you want to laugh, cry and do a little dancing yourself, 
maybe all at the same time.

Directed by Marilyn Agrelo, MAD HOT BALLROOM couldn't exist without a 
program, run by the American Ballroom Institute, that has brought trained 
teachers to what at last count was some 7,000 fourth and fifth graders in 
68 elementary schools across the five boroughs.

More than that, the kids take part in an annual citywide competition that 
encompasses the program's five dances - fox trot, merengue, rumba, tango 
and swing - and culminates in an emotional dance-off for the enormous 
trophy that goes to New York's No. 1 dance team.

Still a few years from the mad hormones of adolescence, the film's fourth 
and fifth graders, glimpsed on the dance floor and in candid moments 
outside school seem hardly likely to embrace the physical touch and 
constant eye contact ballroom dancing demands.  But the wonder of MAD HOT 
BALLROOM is that these kids embrace dance and even get to love it.  Hungry 
for a shot at accomplishment, the young dancers get all but addicted to the 
chance to do something well and feel good about themselves in the 
process.  And because they are not old enough to dissemble and hide their 
feelings, these kids' earnestness, their disappointments and their joy are 
all easy for us to read and share.  (Excerpted from LOS ANGELES TIMES)

"An out-of-left-field delight.  Can you resist this movie?  Don't even 
try"-NEWSWEEK.  "You'll waltz out exhilarated"-NEW YORK.  "Comical and 
genuinely touching"-THE NEW YORK TIMES.  "A smashing mix of good story and 
authentic spirit"-THE EXAMINER
                               ______________________________________________________________

LORDS OF DOGTOWN
Directed by Catherine Hardwicke
Cast: Heath Ledger, Emile Hirsch, Victor Rasuk, Nikki Reed, Rebecca De 
Mornay, Johnny Knoxville
Rated PG-13 for language, sexual situations and mild violence.  105 
min.  <http://www.LordsOfDogtown.com>

When the sullen and fearless blond teenager boys in LORDS OF DOGTOWN ride 
their skateboards, never pausing to think about anything that isn't 
directly in front of them, the movie joins them right on the pavement, 
racing forward with grungy velocity, showing us what the skaters are seeing 
and feeling as they ride along back alleys, dilapidated asphalt 
playgrounds, and any other available surface: a world of trash 
transcended.  The camera, sharing the high, threads its way through a 
double row of cars, and it's like a moment out of a Jerry Bruckheimer chase 
thriller, except that there's nothing at all fanciful or exaggerated about 
it.  The sequence gives you a charge because it's entirely real - a 
God-on-the-street's-eye view of skateboard heaven.

The year is 1975, and the daredevil boarders are the original skate punks. 
They're from Venice and Santa Monica, a.k.a. Dogtown, a rough-and-tumble 
"ghetto by the sea" that's never been touched by the stoned karma of surf 
culture.  LORDS OF DOGTOWN is a docudrama, rare in its grit and 
authenticity, that also strives for the mythical youth-rebel excitement of 
something like 8 MILE.  We see the introduction of urethane wheels, which 
allow the skaters to grip any surface, and we meet Skip Engblom, the 
bedraggled burnout of a surf-shop owner who organizes the kids into the 
Zephyr Team, which becomes their debauched surrogate family.  Skip is 
played by Heath Ledger, who gives a witty performance as a sloshed old lion 
who still has some bite left.

Catherine Hardwicke is the rare director whose work is at once kinesthetic 
and delicate.  She stages LORDS OF DOGTOWN with a rushing, 
caught-on-the-fly realism that may, in the end, prove more artful than 
commercial, yet she makes her characters vibrant and full.  The contrasting 
temperaments of the brash, moonstruck Tony, the chivalrous Stacy, and the 
moody, troubled Jay come to the fore gradually, as they're confronted with 
success.  The three become stars, boy kings of the '70s media/endorsement 
culture, and in different ways it tears each of them apart.  But that, the 
movie says, is tied to the nature of what they invented: a sport that never 
had any motive beyond the go-for-broke impulse of flying off the next 
curve.  (Excerpted from ENTERTAINMENT WEEKLY)

"A blast from start to finish"-THE NEW YORK TIMES.  "A dazzling daredevil 
ride"-ROLLING STONE.  "Heath Ledger delivers an Oscar-caliber 
performance"-FOX-TV.  "'Lords of Dogtown' is above all things a movie about 
the ideal family.  Because director Catherine Hardwicke understands the 
joys and fears of teenage life, her accomplished film explores the search 
for a safe nest as thoroughly as it defends the right to take 
flight.  Hardwicke and screenwriter Stacy Peralta succeed with their 
yearning tale"-THE DENVER POST
                                ______________________________________________________________

BATMAN BEGINS
Directed by Christopher Nolan
Cast: Christian Bale, Michael Caine, Morgan Freeman, Gary Oldman, Katie 
Holmes, Liam Neeson
Rated PG-13 for violence.  140 min.  <http://www.batmanbegins.com>

Batman is back.  After four films about the caped crusader, beginning 
famously in 1989 with Tim Burton's Gothic original and ending infamously in 
1997 with Joel Schumacher's version, until Warner Bros. brought in 
Christopher Nolan, the 34-year-old gifted mind behind MEMENTO, whose 
no-frills approach was just what the bloated Batman saga needed.

The film is a stylistic rebirth.  Nolan's vision doesn't have a trace of 
comic-book-movie excess; it's a globetrotting epic - Bruce Wayne goes to 
Bhutan! - in a mold of the adventure movies he grew up adoring.  "We were 
thinking about David Lean and John Huston," says co-writer David 
Goyer.  "Not STARLIGHT EXPRESS."

The rugged charm of BATMAN BEGINS, which stars Welsh actor Christian Bale, 
lies partly in its refusal to join the visual-effects arms race that the 
summer-movie season has lately become.  When Nolan does turn to digital 
wizardry, he uses it to amplify the action, not supply it.  "I think 
there's a vague sense out there that movies are becoming more and more 
unreal," says Nolan. "The demand we put on ourselves was to be as 
spectacular as possible, but not depend on computer graphics to do it."  In 
BATMAN BEGINS, most of the fireworks come from old-fashioned places: story 
and character.  (Excerpted from NEWSWEEK)

"One of the year's best films.  It's the 'Batman' movie I've been waiting 
for"-Roger Ebert.  "A rugged, rousing adventure"-NEWSWEEK.  "A brilliant, 
complex, intelligent action thriller"-NBC-TV
                                _________________________________________________________________

CHARLIE AND THE CHOCOLATE FACTORY starts July 15
Directed by Tim Burton
Cast: Johnny Depp, Freddie Highmore, David Kelly, Helena Bonham Carter, 
Noah Taylor, Missi Pyle, James Fox, Deep Roy and Christopher 
Lee.  <http://www.chocolatefactorymovie.com>

The combination of Burton and Depp has a certain pedigree.  A quirky, 
off-the-wall, downright weird pedigree.  And this adaptation of Roald 
Dahl's children's classic is no exception, with Depp's surreal sweets-maker 
Willy Wonka odder and creepier than Gene Wilder's 1971 interpretation.

A complete review of CHARLIE AND CHOCOLATE FACTORY will appear in next 
week's newsletter.
                                ________________________________________________________________

LADIES IN LAVENDER starts July 15
Directed by Charles Dance
Cast: Dame Judi Dench, Dame Maggie Smith, Natascha McElhone, Miriam 
Margolyes, David Warner, Daniel Bruhl.  105 
min.  <http://www.ladiesinlavendermovie.com>

Charles Dance's LADIES IN LAVENDER teams two of Britain's grandest dames, 
Judi Dench and Maggie Smith, in an endearing film of subtlety and 
charm.  This lovely period picture, set in Cornwall in 1936, also boasts 
the inimitable Miriam Margolyes and David Warner.  It is a pleasure from 
start to finish.

But those hoping to see two pedigreed felines arch their backs and claw at 
the scenery will be disappointed.  The most high drama unleashed by either 
sister is the discreet, disapproving little hiss that Janet (Dame Maggie) 
releases in reaction to the romantic disorientation of her emotionally 
vulnerable younger sister, Ursula (Dame Judi).  Otherwise, Dame Maggie 
keeps her withering hauteur firmly in check.

One morning after the latest piece of major weather has blown by Cornwall, 
what should the sisters discover on the rocky beach below their home but an 
unconscious young man washed up by the angry sea?  The rest of the movie 
explores the identity of this mystery guest, as the doting duo revive and 
nurse him back to health with the assistance of a local doctor.

In this fading, sentimental genre peopled with grand dames (usually 
English) making "grande" pronouncements, the world revolves around tea, 
gardening and misty watercolor memories.  Terence Rattigan and Noel Coward 
perfected the Comfy Movie's tone of stiff-upper-lip sadness and nobility 
leavened with enlightenment.

As its romantic score (composed by Nigel Hess and played by Joshua Bell) 
billows and swells, LADIES IN LAVENDER suggests a more level-headed 
variation of HUMORESQUE.  Here, at least, nobody ends up walking into the 
sea in an alcoholic funk to the strains of the "Liebestod" wafting over the 
radio.  Joan Crawford had to die for our sins.  These staunch English 
ladies wouldn't dream of making such a stupid sacrifice.  (Excerpted from 
LOS ANGELES TIMES & THE NEW YORK TIMES)

"An idyllic, enriching and amazing cinematic experience.  Radiant."-NEW 
YORK OBSERVER.  "Exquisite performances by Judi Dench and Maggie Smith"-THE 
WASHINGTON POST.
                                 ___________________________________________________________

  MARCH OF THE PENGUINS - starts July 29

Tired of human movie stars, with their over-hyped romances and breakups, 
their arrests and trials, their mindless talk-show chitchat?

Maybe it's time for new screen idols.  And here they come, in their elegant 
black and white plumage, trudging along the ice in a majestic waddle like a 
procession of formal maitre d's.  They don't have press agents or makeup 
people.  And simply by going about their business - finding mates, hatching 
eggs, hunting food in one of the harshest terrains on Earth - they are 
riveting.

The stars of MARCH OF THE PENGUINS, the wonderful new documentary by French 
filmmaker Luc Jacquet, are exotic, funny, glorious birds.  And this 
80-minute movie, narrated by actor Morgan Freeman in comforting basso 
tones, should trigger a wave of penguin frenzy - and perhaps more awareness 
that these birds (like many other species)  are endangered by global warming.

"Mind-blowing.  A real life action movie"-NEW YORK MAGAZINE.  "Birth, 
death, romance, danger...don't miss it"-TIME OUT NEW YORK.  "An amazing 
achievement"-ENTERTAINMENT TONIGHT.
                                ______________________________________________________________ 


Annual Outdoor Movie at Memorial Field August 20

Mark your calendars for the Rose Theatre's Annual Outdoor Movie under the 
stars at Memorial Field.  The fabulous RHYTHM PLANET will once again kick 
off the evening with great dance music.  There will be a drawing for two 
six-month passes to the Rose, and at dusk - 8:45ish - E.T.: THE 
EXTRA-TERRESTRIAL will light up our big inflatable screen.

Bring a blanket (couches optional), the whole neighborhood, a picnic 
dinner, and a warm jacket for an evening under the stars.  Rose Theatre 
popcorn with all the seasonings will be waiting for you.

Admission: $5 adult, children 12 and under $3.  Gates open at 6:30.
                                _______________________________________________________________

Admission Prices
General admission to the Rose is $8, senior citizens (62+) $7, children (12 
& under) $6.  The matinees are $1 less.  The box office opens thirty 
minutes before the first show of the day and tickets are only sold for the 
next show once the preceding show has either sold out or started.

Assisted listening devices are available by request at the concession.
Both auditoriums are handicap accessible, as well as the main floor 
restroom.  If you phone our office (360.385.1039) ahead of time we'll be 
happy to reserve for you the designated seating area in either the Rose 
Theatre or Rosebud Cinema.
                                ___________________________________________________________

Gift Suggestions

Rose Theatre T-Shirts - $16.00
Rose Theatre Sweatshirts - $32.00
Admission Gift Certificates - $8, $7, $6
Discount Cards - $35.00 - (five admissions) Saves $1 on each general 
admission ticket.
Concession Gift Certificates for any denomination
                          ______________________________________________________________

Coming Attractions*

LADIES IN LAVENDER - July 15 - Two of Britain's grandest dames, Judi Dench 
and Maggie Smith star in this endearing period piece about two sisters 
whose lives are changed when a stranger suddenly appears.  "A wonderful 
tale of hidden emotions and feelings"-NEW YORK POST.  "Exquisite 
performances by Judi Dench and Maggie Smith"-THE WASHINGTON 
POST.  <http://www.ladiesinlavenderthemovie.com>

MARCH OF THE PENGUINS - July 29 - Morgan Freeman narrates this visually 
stunning documentary about the remarkable journey of the Emperior 
penguins.  <http://www.marchofthepenguins.com>

MURDERBALL - tba - Winner of the Audience Award at this year's Sundance 
Film Festival, this inspirational documentary profiles quadriplegic rugby 
players.  "Mesmerizing.  Creates a new definition of courage"-ROLLING 
STONE.  "Fierce, funny"-PREMIERE.  <http://www.murderballmovie.com>

MY SUMMER OF LOVE - tba - A beautifully told, disarming story from 
Polish-born director Pawel Pawlikowski about two young women of very 
disparate backgrounds colliding into a risky, beguiling 
affair.  "Seductive, spellbinding.  A sly and wonderfully atmospheric 
gem"-NEWSWEEK.  "Thrilling and deliciously charged"-VANITY 
FAIR.  <http://www.mysummeroflovemovie.com>

YES - tba - Sally Potter's new film is a stylish meditation on love, world 
politics, science and happiness.  Potter began writing the story in the 
day's following September 11, and the result is a film that responds to 
that catastrophic event in Potter's own unique voice.  "It's as if Ingmar 
Bergman, William Shakespeare and Dr. Seuss had collaborated on a 
project"-THE WASHINGTON POST. <http://www.sonyclassics.com>

SIN CITY - July 22 & 23 - Midnight at the Rose

*schedule subject to change.
                               ________________________________________________________

Rose Theatre Movie Challenge:  What was the inspiration for David Byrne's 
big suit in STOP MAKING SENSE?

Rules: Answers must be e-mailed to moviechallenge at rosetheatre.com with Rose 
Theatre Contest in the subject line.  One winner will be selected at random 
from correct responses received by midnight, July 8 and will be notified by 
e-mail.  Your free pass will be held at the box office so you must include 
your name along with your movie challenge answer.  Passes are good for 30 days.
                               ________________________________________________________

Last Week's Question:  One of the judges for the final dance competition in 
MAD HOT BALLROOM used to reside in Seattle.  Identify this person.

Answer:  Ann Reinking

Congratulations to BO, our winner this week.
                               ________________________________________________________

Soundtracks to movies featured at the Rose Theatre are available at Quimper 
Sound Music & Media, 901 Water Street, Port Townsend.

E-mail addresses are collected only for the Rose Theatre Newsletter.  They 
are not transferred to any third party for any reason.  Our complete 
Privacy Policy is available at <http://www.rosetheatre.com>
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