Sankai Juku performs at Meany Center.

Books & Talks

James Arthur, Adèle Barclay, Keetje Kuipers, and Shazia Hafiz Ramji

Oct 2 All four poets converging at Open Books—Wallingford’s tiny, poetry-only shop—have Northwest connections, but the lone Washingtonian is Keetje Kuipers. Her recent collection, All Its Charms, contains 52 brief poems (rarely spanning a page each), many centered on her decision to become a single mother. Yet under Kuipers’s wise eye and keen voice, together they resonate and become not slight but rich. Open Books, Free

Classical & More

Keb’ Mo’

Oct 6 Today, electric bar bands often dominate the blues—three chords, strafed with generic licks. But guitarist Keb’ Mo’ sounds as if the full-voiced bluesmen of old (Robert Johnson, Mississippi John Hurt) stepped out of the dust and static of those 45s, gathered up some Americana and 1960s soul, and proffered a sound still vital. Moore Theatre, $27–$77

The Julian Lage Trio

Oct 12 The joy in virtuoso Julian Lage’s music comes from its constantly discursive improvisations. On the recent record, Love Hurts, his guitar phrasings, fluent and manifold, can seemingly support any verbal characterization: They flutter, trot, twist, float, roar, often on a moment by moment basis. Columbia City Theater, $23

Comedy

Joe List

Oct 4 & 5 As his name may imply, Joe List is firmly an everyman comic. He takes the quotidian fundamentals of stand-up—airports, gyms, napping—and approaches them with cockeyed self-deprecation. Maybe that’s a riff on how odd it is to hear “Welcome to the Jungle” by Guns N’ Roses at an airport or how the only thing he can afford to do at Bloomingdale’s is poop. Laughs Comedy Club, $20

Concerts

R.A.P. Ferreira FKA Milo

Oct 10 Rapper Rory Ferreira—formerly known as Milo and Scallops Hotel, now as R.A.P. Ferreira—better reflects the internet, at least its more positive aspects, than most of his peers. He owns a label, Ruby Yacht, and runs with that autonomy, releasing music that’s erudite, sample driven, and diffuse, each brief track part of a catalog so extensive for a young rapper that it feels infinite. Chop Suey, $15

Big Thief

Oct 26 Brooklyn folk rock band Big Thief released two albums this year—the first, U.F.O.F., recorded in a studio-barn in Woodinville. The title stands for “Unidentified Flying Object Friend,” and in this intergalactic amity, the band finds its subtlest work yet, forefronting Adrianne Lenker’s voice like fine dark thread, as it sews something new. Immediately after, they departed for El Paso and recorded Two Hands, a grounded record that acts as sibling and antithesis. Moore Theatre, $22–$25

Dance

Sankai Juku

Oct 17–19 Most descriptions of Sankai Juku—a group performing butoh, a Japanese reaction to modern dance—struggle to prepare new viewers for the actual performance. The language falls on the group’s metaphoric or naturalist qualities, as in this show, Meguri: Teeming Sea, Tranquil Land. But perhaps Sankai Juku is best addressed in its basic, physical particulars: Performers shave their heads, paint their bodies white, head to toe, and enact a slow-motion, interpretive, and sometimes discomfiting sort of ballet. Meany Hall, $61–$69

Theater

Indecent

Sept 20–Oct 26 In 1906, Sholem Asch wrote God of Vengeance, a play in which a Jewish brothel owner’s daughter falls for a prostitute instead of the rabbi’s son. It was a hit in Europe, but a scandal when, translated from Yiddish to English, it hit Broadway. Over a century later, Pulitzer Prize–winner Paula Vogel folds the story behind the production into her own musical play, Indecent. Seattle Repertory Theatre, $38–$82

Dracula

Oct 18–Nov 17 The fact can often get overlooked: Each time a play is performed it is a new piece of art. That omission only escalates when the story is as timeworn as Bram Stoker’s novel Dracula. Not so with this production. Seattle playwright Steven Dietz reworks his own 1995 adaptation of Dracula and situates Mina, the vampire’s bride-to-not-be, as the head detective. ACT Theatre, $27–$56

Visual Art

Ceci N’est Pas Une Pipe D’un Homme

Oct 3–Nov 23 The title translates to “This Is Not a Man’s Pipe,” a gendered riff on French surrealist René Magritte’s famous painting. This group show focuses on femme glass artists like Patricia Davidson and Karen Buhler. The latter’s intricate, whimsical works—like a diver captured at three points in her descent, before she plunges into rippling water—will make you forget the medium’s poster boys. Center on Contemporary Arts, Free

Cicelia Ross-Gotta

Oct 3–31 For three years, one of Cicelia Ross-Gotta’s family members has lived in a motel. In this exhibition, Feel Just Like Home, Ross-Gotta embroiders the motel’s online reviews onto swatches of cloth: “Needs to be demolished”; “I’d rather sleep under a bridge than stay here.” In doing so she examines the fuzzy line between housed and homeless, creating a slowly stitched and considered rejoinder to some of the web’s nasty, brutish, and short discourse. Gallery 4Culture, Free