by Milton W. Hamlin - SGN A&E Writer

An era ended last weekend with the closing of Thumper's restaurant and bar after nearly 22 years of serving Seattle's diverse GLBT community. For entertainment fans, Thumper's shuttering also means the end of Thumper's Cabaret On The Hill music series. Many possibilities existwatch Bits&Bytes for future developments.

As one GLBT era ends, another continues to develop. ArtsWest, the ambitious theater in West Seattle, has drawn strong GLBT support from the beginning. It's programming often includes an out-and-out Gay themed play each season and several other titles with strong GLBT appeal. Tick, tick&Boom!ArtsWest current offeringis undoubtedly one of the strongest productions the theater has ever staged. It also has strong appeal to Seattle's GLBT stage fansthe hero's openly Gay best friend is a major character. Read on:

"HEY, BIG SPENDOR," SWEET CHARITY RETURNS TO SEATTLE

Charity Hope Valentine, the gal with her heart on her sleeve, returns to Seattle this week in a touring production of the Tony Award winning Sweet Charity. Molly Ringwald headlines the tour. My heart be still--the star of Sixteen Candles, The Breakfast Club and Pretty In Pink is all grown up and turning tricks as a dance hall hostess. Sweet Charity continues with five performances this weekend at the Paramount. Check it out. TICK, TICK&BOOM! EXPLODES AT ARTSWEST IN WEST SEATTLE

Off-Broadway's tick, tick&Boom! arrives in the Emerald City with an astoundingly good production at ArtsWest in West Seattle. The show was unfinished and in a different format when its creator, Jonathan Larson, died just before the off-Broadway opening of his Rent, a show mixed with Gay, Lesbian, Transgendered and straight characters that went on to Broadway and walked off with the Tony Award for Best Musical of the Year. Larson, who had a long history of medical problems, went to the emergency room repeatedly the night he died. Just ready to turn 36, Larson's medical concerns were dismissed as anxiety attacksRent had just had its off-Broadway final dress rehearsal. He returned home and died of a brain aneurysm before dawn. Rent opened the next day, as scheduled, and Larson was the talk of the town. Rent moved to Broadway, where it continues more than a decade later, and went on to win the Tony and the Pulitzer Prize for drama.

Originally a one-man show developed to raise money for his long-dreamed Rent project, tick, tick&Boom! was reconceived and restructured by a team of other writers mainly David Auburn who would go on to win his own Pulitzer Prize for Proof. Much of Boom! is clearly autobiographical. Jonathan (Nick DeSantis in a solid, appealing performance) is about to turn 30 and not happy with the thought. It's 1990 and his best friend since grade school is openly Gay, and it's no big deal. John W. Bartley, a tall, handsome actor with a chiseled profile, is a perfect Michael for the production. Jessica Skerritt, a seasoned Seattle stage and cabaret performer (and Tom Skerritt's talented niece), is incredible as Susan, Jonathan's girlfriend who is planning his 30th birthday party while secretly wondering if the relationship is ending. Skerritt and Bartley double in other minor roleseven the rock band gets a few lines in group scenes. The production is directed with polish by Christopher Zinovitch, ArtsWest's artistic director, and Brandon Ivie, a 21 year old who has directed off-Broadway's The Last Five Years and john & jen, two of Bits&Bytes' favorite Seattle productions of the past several seasons.

Larson's score for Boom includes terrific numbersThirty/Ninety which opens the show, Sunday, an elaborate parody of Sondheim's Sunday In The Park With George, a philosophic Real Life, and See Her Smile, a heartbreaking story of the breakup of a relationship. A few of the numbers smack of being trunk songs, songs written and discarded from other productions, but all are worth hearing.

ArtsWest's set, cleverly designed by Will Abrahamse, and the stylish costumes by Elizabeth Warren add to the show's success. The setremnants of over-scale clocks with Roman numerals, elaborate clock hands scattered about the multi-leveled stage, etcis simple but perfect for the show. This reviewer cannot imagine a better production of Boom!in New York or any other city. Strong, strong voices from all three cast members highlight the show.

The production continues through Nov. 4 with performances Thursday through Saturday nights plus Saturday and Sunday matinees. Tickets and information at 938-0339. Be sure to ask for a free season brochure. Two of the upcoming titles have clear GLBT subject matter.

AUDIENCES LOVES STEVE MARTIN'S UNDERPANTS AT ACT

Ending its 41st season, ACT Theater finally has an audience-pleasing hit on its hands with the lively production of The Underpants, Steve Martin's wild and wacky adaptation of a long forgotten 1911 German comedy by Carl Sternheim.

Audiences clearly love the broad, broad farcea man across from this scribe in ACT's theater-in-the-round nearly fell out of his chair repeatedly because he was laughing so hard. Many critics, including this writer, were less enthusedboth Kurt Beattie's broad direction and Martin's script, which veers from clever sexual innuendo to tasteless bathroom jokes, lack focus.

ACT's cast, however, deserves total praise. Season subscribers seem jubilant with a snappy farce to end the often dreary 2006 season, single ticket buyers are flocking to the word-of-mouth hitall to the good. The Underpants continues through Nov. 12. The theater's ACT-Out cocktail party for GLBT theatergoers is tonight. Complete details and reservations are available at 292-766.

MARK COTTER BRINGS LISTEN TO MY HEART TO CABARET DE PARIS

Direct from New York, Mark Cotter brings his Listen To My Heart cabaret show to Seattle's Cabaret de Paris stage at the downtown Crepe de Paris. Cotter, with Broadway, off-Broadway and major touring credits, has moved from the New York musical theater stage to the cabaret stage.

This is where I am most at home, Cotter said, explaining his shift to the cabaret stage. I love the intimacy and the connection that takes place between me and the audience. There is nothing quite as special as a night of cabaret.

Cotter is a tall, handsome man with big, booming voice. His autobiographical cabaret opens with many songs from recent off-Broadway productions from the new group of songwriters who may turn out to be the Rodgers & Hart or the Kander & Ebb of their generations. Many of these newer songs have become cabaret classics on their own. All were well done and well received by the intimate audience last Saturday night. Later in the show, which, wisely, runs with no intermission, Cotter adds some selections from The Great American SongbookAs Time Goes By was an obvious favorite with the patrons.

Listen To My Heart continues through tomorrow, Saturday night, this weekend. There is a chance the cabaret show will be extended through Nov. 4---check with Crepe de Paris. Reservations and details at 623-4111. The 50-minute show has a $20 cover and is available in a dinner/cabaret package or on a show only basis. Seattle's Daryl Spadaccini, a regular pianist at Thumper's for several years, provided solid keyboard for Cotterafter only a one hour rehearsal.

MIRROR STAGE MOUNTS BEE-LUTHER-HATCHEE ON PLAY READING SERIES

One of the more intriguing theatrical events for serious Seattle stage fans is the periodic play readings in the Feed Your Mind series sponsored by Mirror Stage Company.

Cultural diversity took the focus in Bee-Luther-Hatchee by Thomas Gibbons. The story concerns an African-American book editor who publishes the memoirs of a 72-year old black woman. With a torn from the headlines back story, the play involves painful questions of race, literary license, honesty, celebrity and money. Mirror Stage offered two performances last weekend at Pigott Auditorium at Seattle University. Watch this space for November's selection. Bits&Bytes has enjoyed every Feed Your Mind program he has attendedchances you will, too. Check it out.