Jay Irwin - Page 25

I'll be honest, there were several elements that gave me trepidation before seeing Seattle Immersive Theatre's current production of “Romeo + Juliet” the other night. The immersive nature of it (seems to be the resurging trend and not always done well), the idea of tromping around an abandoned storefront, and the fact that while I love Shakespeare's “Romeo + Juliet” I've never actually seen a production I truly liked just to name a few. But all my fears were soon dashed as I entered a superbly crafted realm housing the best production of the play I have ever seen and culminating in a theatrical experience I'll remember for years to come.

There are certain theatrical experiences out there that are your "vegetables". The shows that make you think about your life, choices, and the world around you. And then there are shows like "9 to 5: The Musical" which are basically dessert. Those fun bits of fluff that aren't going to change your world but make for a yummy, candy coated evening. Sure there's a bit of 1980's women's lib sprinkled on top but it's still just mostly fluff. Luckily the current production from Seattle Musical Theatre is fluff loaded with talent and a hell of a good time.

It's one thing when a play is meaningful and important, something most plays strive for. It's another thing when a play tries to be meaningful and important. And it's yet another thing when a play insists that it's meaningful and important. Unfortunately Tracey Scott Wilson's play 'Buzzer', currently playing at ACT, falls squarely into that second camp and teeters to fall into the third.

Dear Reader (It only seems appropriate to start this review off with that), sometimes a show comes along that feels like a no brainer. A show that's fairly bulletproof and if a theater does it well enough with enough pieces in place then it'll be a crowd pleaser. 'How to Succeed in Business Without Really Trying' is one of those shows. You're bound to walk away from it with something you enjoyed. Which brings me to the current production at the 5th Avenue Theatre. They've managed to take this pleaser of a show so far beyond the bare minimum making this gem shine with so much brilliance that you may need sunglasses.

Let me start by saying that I've never seen the original movie of "Bullets Over Broadway" all the way through. I'm just not a Woody Allen fan. So a musical interpretation of it didn't exactly thrill me. So what about the current production turned me around? Was it the story? It's cute but nothing life changing. Was it the music? All the songs are minor adaptations of old standards from the 1920's and 30's so not really. No, it was the cast currently playing at the Paramount that took this fun show and amped it up to zany hilarity and made it an absolute delight.

Peter Shaffer's stirring play "Amadeus" can move you to the point of tears, but only when it's done well. It is by no means a bulletproof play. Unfortunately the current production at Seattle Public Theater, while managing a few interesting performances, really just stands out as having an unfocused concept and is about as engaging as a history lecture.

Clifford Odets built a career off of writing dramas that dealt with class inequality and social injustice in the depression era. His first ever produced play, "Waiting for Lefty", certainly falls into that category. And while the current production from Theatre9/12 does manage some stirring performances, they can't escape the bleak nature of the play itself as Odets drives home over and over the inescapable nature of the era.

Who hasn't wanted a 'do-over' when on a date? Maybe you say the wrong thing, maybe you run into your ex or maybe you trip the waiter, which causes him to knock over a flaming dessert that burns the restaurant to the ground. We've all been there, right? Well according to Nick Payne's beautiful play 'Constellations', currently playing at the Seattle Rep, we might take solace in that there are multiple universes with multiple versions of us who might say or do something a little different.

Most of us fell in love with Maurice Sendak's enchanting book "Where the Wild Things Are" when we were kids and still kids today all know of the tale of Max's journey to the island of the Wild Things. But how many kids actually get to join in on the Wild Rumpus? Well now kids in Seattle can with the award-winning, internationally acclaimed production from Vancouver's Presentation House Theatre performing at Seattle Children's Theatre. This highly interactive stage production actually makes Wild Things out of your kids (more than they already are) and takes them on a magical journey that is just as amazing for the adults as it is for the kids.

Stephen Adly Guirgis has made a name for himself for creating glimpses inside the worlds of the rougher and edgier parts of town. Places inhabited by junkies, hookers and criminals like those in his shows 'In Arabia We'd All Be Kings' currently at Theater Schmeater and 'The Motherf**ker with the Hat' currently from Washington Ensemble Theatre (yes, we have two Guirgis shows in town right now). But while the characters in both shows are well written and developed and thoroughly engaging, those in 'In Arabia …' seem to be lacking a complete narrative or plot making it more of a character study than a story.

First off if you're expecting to see a Tippi Hedren lookalike being chased by animatronic birds in Strawberry Theatre Workshop's current production of "The Birds" then you'll be quite disappointed. This is not an adaptation of Hitchcock's film but of Daphne du Maurier's book. But even though we never really see the attackers, the evening still contains a good amount of creepiness. After all, the monsters in our minds are scarier than anything they could show us.

In Beth Henley's play "Crimes of the Heart", currently playing at Village Theatre, the character of Meg says, "To talk about our lives. It's an important human need." Well an important theatrical need is for the characters in a play to listen to each other and not just wait for their next bit but there was very little listening going on in the show I saw last night and that was just one of the issues that sapped the heart right out the show making this Pulitzer Prize winning play feel more a sitcom.

Power shifts, betrayal, adultery, rape, murder and lots and lots of blood. No it's not the latest Tarantino film but it might as well be as Seattle Shakespeare Company puts up their latest effort, "Titus Andronicus" but with a dark and edgy grindhouse feel. But beyond all the blood there's still some wonderful Shakespeare behind it and some stirring moments from the cast.

As you may know, Dear Readers, I recently criticized another currently running show for having shock for shock sake with not enough narrative. So when I see a title like "The Motherf**ker with the Hat", the current offering from Washington Ensemble Theatre, I get a little worried that I may be in for more of the same. And while the show may have more F bombs than you can shake a hat at and there is a very clear warning of language and nudity posted at the theater, the difference is this play just portrays an honest and real look at the lives of its characters and what results is a funny and heartfelt show where the "shock value" fades into the background in favor of a wonderfully developed and ever evolving story.

In theater, as with any art form, playwrights can walk a fine line between telling a riveting and honest story and saying things simply for shock value. Ayad Akhtar's Pulitzer Prize winning play "Disgraced", currently playing at the Seattle Rep, walks that line. And while on the whole this extremely powerful piece opens its audiences up to an examination of who we are at our core, in retrospect I'll admit to feeling a bit manipulated as I recall harsh one-liners piled on top of each other culminating in a crescendo of shock. Effective shock but at times dipping its toe over the line into shock for shock sake and feeling a bit contrived.

Dear Readers, I hope you've all fared well over the holidays and had a good time with your families. It's been a tumultuous year with lots of great theater for us to take in. And so I'm pleased to share with you some of the best things I saw this past year and the ones that I felt worthy of getting my Critic's Choice Awards for 2015. So settle in and allow me to expound on all the amazing I saw over the year. The envelope please.

That unstoppable juggernaut that is 'The Book or Mormon' is back in Seattle and just as deliciously fun as ever. We all know how good the show is. We all know we're going to laugh our butts off at the crass humor while falling in love with the wonderful characters and infectious musical theater gold. So it all really just rests on the cast for this particular tour and let me say, they bring it as usual and even add in a few elements I've not seen in the show before.

In Horton Foote's beautiful play "A Trip to Bountiful" we care about the journey because we care about Carrie and the characters around her. Unfortunately in Morgan Ludlow's new play "Ruth and the Sea", currently playing at Annex Theatre from Pacific Play Company, we have few chances to get to know or like Ruth and her family as we mostly just end up seeing them be bitter and snarky to each other. That coupled with some forced dialog and exposition and clunky story structure, and what amounts is a journey that I wish I hadn't taken.

It's been 200 years since Jane Austen's incorrigible matchmaker "Emma" first came on the scene in print and since has spawned film versions, adaptations and has never been out of print since its release. And while the current adaptation from Book-It Repertory Theatre keeps the mischievousness and attitudes alive, at times if feels a little too static making this romp drone on a bit.

Everyone has their own personal hallmarks that the holiday season has arrived. For some it's catching that favorite movie on TV such as "It's a Wonderful Life" or "The Sound of Music", for others it might be heading downtown to see the lights and carolers. But for me in my own warped and twisted way, the holidays cannot begin until I get to see the latest irreverent collection of insanity from Lisa Koch and Peggy Platt (a.k.a. Dos Fallopia). And while this year's offering of "Ham for the Holidays: Who's Afraid of Virginia Ham?" currently at ACT is a bit light on the holiday themes, it doesn't mean it's at all light on the comedy.