The Stranger

This is Herb Gardner's 1962 comedy about Murray Burns—a cranky womanizer, comedian, and anti-nebbish—and his nephew, whose loose talk about life with his uncle has attracted the interest of the child-welfare service. Murray has to decide which he prefers: his eccentric independence or keeping his nephew out of the foster-care system. Murray (based on Jean Shepherd, who wrote and narrated A Christmas Story) may be stubbornly anticonformist, but the comedy—full of vintage zingers that still land—is deeply ambivalent about growing up. (Intiman Theatre, 201 Mercer St, 269-1900. 2 and 8 pm, $10–$52. Through June 17.) by Brendan Kiley

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In the 1990s, thousands of parents were abandoning their children while their state, Mongolia, was transforming its socialist economy into a capitalist one. Many of these children moved into manholes under the streets of Mongolia's very cold capital, Ulaanbaatar. These children would have died if not for the warmth from a system of steam pipes that heated the city's upper-class homes and businesses. The documentary focuses on the lives of three children (from 1998 to 2008). As the three get older, another form of suffering (besides poverty) begins to absorb them—lovesickness. Even here, under the freezing city, in this vicious network of steam pipes, love is a powerful and dangerous drug. (Pacific Place, 600 Pine St, thestranger.com/siff. 6:30 pm, $11.) by Charles Mudede

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Here we have two totally distinct electronic musicians both working at the top of their game. The Juan MacLean's latest, The Future Will Come (DFA), expertly mixes Human League–style synth-pop (with female vocal counterpoints supplied by longtime collaborator Nancy Whang) with classic house to craft surprisingly sincere songs about robots and humans, love and heartbreak. On the Field's new one, Yesterday and Today (Kompakt), the Swedish producer expands his blissed-out, microsampled techno with increased live instrumentation (including a little drumming from Battles heavyweight John Stanier) for an album as sublime as his debut, only with more subtlety and depth. (Nectar, 412 N 36th St, 632-2020. 8 pm, $15, 21+.) by Eric Grandy

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On June 1, 1909, the Alaska-Yukon-Pacific Exposition (catchy name!) had its grand opening, becoming Washington's first world's fair. An upside-down house and natives of the Philippines were among the "exhibits." A whole bunch of events will mark the 100th anniversary, including Seattle artists Dawn Cerny and Patrick Holderfield remixing it all up with flags and posters that look back with an eye to what's better and what's worse since 1909. What's worse: no more upside-down house. (Gallery4Culture, 101 Prefontaine Pl S, 269-8674. 9 am–5 pm, free.) by Jen Graves

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Skream, based in London, helped to pioneer dubstep's dark, pitiless sound, evocative of bleak urban landscapes. Though he reportedly marred his last Seattle performance with some mixing gaffes, Skream is one of dubstep's foremost producers and pioneers. His own productions radiate swarming, stalking bass frequencies and sinister atmospherics infused with soulfulness. How will Skream's chest-caving dubstep seem in Pioneer Square? Odd—but this unlikely setting could enhance Skream's powerfully disorienting selections. (Trinity, 111 Yesler Way, 447-4140. 10 pm, $12 adv/$15 DOS, 21+.) by Dave Segal

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Shellac frontman Steve Albini is one of those sharp-witted curmudgeons who's always seemed older than his years. Now he's nearly 47, and it doesn't seem odd that he still cranks out Mensa-level tough-guy rock that's as tense as a Mexican standoff. Shellac—which also includes drummer Todd Trainer and bassist Bob Weston—has wrenched out five riveting albums of immaculately analog-recorded dissonance and white-knuckled dynamics. Go for the tightly executed molten rock; stay for the barbed between-song witticisms. (Vera Project, Seattle Center, 956-8372. 7:30 pm, $13/$12 with club card, all ages.) by Dave Segal

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