Also among arts and entertainment highlights for the week beginning March 27, the Blue Man Group comes to the Paramount Theatre and “Eulogy” is being staged at West of Lenin.
Sports filmmaker Jonathan Hock directed this engaging documentary about the history of the fastball in baseball, as told through the careers of numerous legends. Now playing at the Varsity. For showtimes, see Page H6. For Tom Keogh’s four-star review, go to seattletimes.com/movies.
‘Ran’ and ‘A.K.’
Akira Kurosawa’s lavish variation on “King Lear,” often called the director’s masterpiece, had its American premiere in December 1985 at the Egyptian Theatre. It’s back, spiffed up for the digital age, at the SIFF Cinema Uptown. In addition to reviving “Ran,” SIFF is showing director Chris Marker’s “A.K.,” a revealing nonfiction film about the making of “Ran,” at the Film Center. For showtimes, see Page H6. For John Hartl’s four-star review of “Ran” and three-star review of “A.K.,” go to seattletimes.com/movies.
In this crossover episode, Supergirl meets The Flash, “the fastest man alive.” 8 p.m. Monday, March 28, on CBS.
Lucious, Cookie and the rest of the Lyon family are back in this popular drama. 9 p.m. Wednesday, March 30, on Fox.
Skagit Valley Tulip Festival
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Festival events including art shows, fun run, parade, bike rides, April 1-30, tulip fields in bloom at varying dates “according to Mother Nature,” bloom map online or call festival office for information; two display gardens, RoozenGaarde and Tulip Town, open daily. Skagit Valley Tulip Festival Office, 311 W. Kincaid St., Mount Vernon (360-428-5959 or tulipfestival.org).
Northwest Railway Museum train
Hop on a vintage train for a ride through the Cascade foothills to the top of Snoqualmie Falls from a Victorian-era depot. Stops include a new one at the Train Shed exhibit building. 11 a.m.-4 p.m. Saturdays-Sundays, April 2 through October, Northwest Railway Museum, Snoqualmie; $10-$22 (425-888-3030 or trainmuseum.org).
Though the bare-chested proto-punker Iggy Pop has hinted that he is on the verge of retirement, recent high-energy performances at South By Southwest and in New York City suggest he’s still giving it his all on stage. The 68-year-old rocker just released his 23rd album, “Post Pop Depression,” on which his snarling baritone proves as riveting as ever. With Noveller. 8 p.m. Monday, March 28, at the Paramount Theatre, 911 Pine St., Seattle; $61.25-$81.25 (877-784-4849 or stgpresents.org).
Worth a trip to Tacoma — the Man Booker-Prize-winning author of “A Brief History of Seven Killings” delivers a lecture, “The Books That Made Me Write Books.” 8 p.m. Tuesday March 29, Schneebeck Concert Hall, University of Puget Sound, 1500 N. Warner St., Tacoma; $20 (253-879-3100 or pugetsound.edu).
The acclaimed historian discusses “Rightful Heritage, Franklin D. Roosevelt and the Land of America.” At 7 p.m. Wednesday March 30, Folio: The Seattle Athenaeum, 314 Marion St., Seattle; $5 (folioseattle.org).
Actor and singer Sarah Rudinoff — who’s performed all over town, from the lovably dingy Re-bar to the grand 5th Avenue Theatre — performs a solo show that explores our collective relationship with social media, how people behave for the digital “audience” and the tension between “authentic” experiences versus mediated ones. “NowNowNow” is directed by David Bennett, known for his work on large-scale musicals, as well as the memorable “Torso” — Keri Healey’s haunting, bloody drama at Theater Off Jackson, which also starred Rudinoff. Wednesdays-Sundays through April 3 at On the Boards, 100 W. Roy St., Seattle; $23-$25 (206-217-9888 or ontheboards.org).
Blue Man Group
This brightly colored trio doesn’t say much, but the innovative three can make a lot of noise just the same — thanks to a deconstructed electronic soundtrack and their wacky instruments made mostly of PVC pipe and other stuff. The blue men franchise, known for its vibe of innocence crossed with “we know exactly what we’re deconstructing” is celebrating its 25th anniversary with a road trip that includes Seattle, Thursday-Sunday (March 31-April 3) at the Paramount Theatre, $35-$88.50 (877-784-4849 or stgpresents.org).
In this solo show, Kevin Kent plays Eleanor Mae, a spirit medium and professional mourner at the Boltens Memorials funeral home — and invites audience members to bring photos of loved ones for Eleanor to read. The premise might sound a little hokey, but Kent is a deeply gifted improviser, best known in Seattle for his often fearless and hilarious improvisational characters at Teatro ZinZanni. This is a rare chance to watch him break out of the dinner-theater cage and work with smaller audiences in even bolder directions. Kent has also assembled some of Seattle’s leading theater talent to assist him with the show: director Jennifer Jasper, solo performer David Schmader (as “content consultant”), musician and fellow vaudevillian Kevin Joyce and others. “Eulogy” should be a tragicomic treat. Thursdays-Saturdays through April 16 at West of Lenin, 203 N. 36th St., Seattle; $15-$20 (800-838-3006 or brownpapertickets.com).
Since he arrived at Pacific Northwest Ballet in 2005, artistic director Peter Boal has been stretching the city’s dance palette with new flavors of choreography, including “Director’s Choice,” his annual grab bag of dance — often contemporary, but not always — that he thinks audiences should see. The critical favorite this year seems to be “Memory Glow” by Alejandro Cerrudo of Hubbard Street Dance Chicago. “Memory Glow” involves giant rotating cubes, a soundtrack including Tom Waits and Alexandre Desplat and dancers stuck to walls by Velcro. Also up this year: Justin Peck’s “Year of the Rabbit” (with a score by Sufjan Stevens) and PNB ballet master/choreographer Paul Gibson’s “Rush,” last seen here in 2002. Thursdays-Sundays through March 27 at Pacific Northwest Ballet, McCaw Hall, 321 Mercer St., Seattle; $30-$187 (206-441-2424 or pnb.org).
Norman Lundin: ‘Spaces: Inside and Outside’
At first glance, the canvases of Seattle-based painter Norman Lundin look like moody realism — muted colors, lots of gray, rooms with ladders and cups and chairs. But, Seattle Times critic Gary Faigin writes, “what makes Lundin’s work contemporary is his interest in themes like the nature of paint, the interaction of line and form, and the dynamics of pure composition.” His “Mondrian’s Studio with the Lights Off (Blue Pitcher),” for example, is “a painting that can be viewed as a Mondrian-like grid as well as a rendering of a particular space.” 10:30 a.m.-5:30 p.m. Tuesdays-Saturdays through April 2 at Greg Kucera Gallery, 212 Third Ave., Seattle; free (206-624-0770 or gregkucera.com).