Jay Irwin - Page 30

Every now and again it's nice to have an evening with a quiet little play such as the Seattle Rep's current offering of "Dear Elizabeth". A play with no grand reveal, or overarching conflict to resolve. Just a simple story about a relationship. That may sound uninteresting and it could be but in the hands of a very gifted playwright and talented cast and crew this quiet tale still packs a punch.

There are some plays that are just kind of done to death. Everyone and their brother, high school and dog have done them. Thornton Wilder's "Our Town" is one of those shows. But there's a reason for that, it's a classic. And when these classics are tackled with style and heart as is the case with the current production from Strawberry Theatre Workshop, we're reminded how they've become such classics and why we should pay attention to what they still have to tell us.

Every season productions come along that are so good that they remind me why us theater folk perform, produce and see theater. Personally, these are the shows that recharge my theatrical batteries so I can sit through the not so great ones (I'm looking at you "Flashdance: The Musical"). Such a show is the latest installment from The Seagull Project, Chekhov's "The Three Sisters" which manages such clarity of story, intent and meaning that you can practically feel the pain and frustration in the character's lives along with them.

Charlotte Jones' "Humble Boy", currently playing at Seattle Public Theater, may not rock your world or alter your perceptions on life or anything like that but this sweet family dramedy has plenty of charm and humor. True it's a bit long winded at times but with such engaging performances and interesting characters, you can get over that and still walk away with a contented little sigh.

Get ready to let your inner kid loose in the circus while the adult in you marvels at the death defying feats as you take in the wonder that is "Cirque du Soleil: Kurios". And while the cohesive story of it all wasn't the most solid, the acts involved more than make up for it as they fly, contort and swing in super human ways.

Here in Seattle we are blessed with a ton of theatrical choices. I mean of course there are the big boys, the Rep, ACT, 5th Ave, etc. But we also have those small companies that may not have the funds for a helicopter to land on stage but instead invest their time and tiny amounts of money into turning in some thoughtful and engaging performances. One such company is Theatre 9/12. They perform in a church and I'm sure most of the set is borrowed but their level of theatrical craftsmanship is right up there with the best as is evident in their current production of Edward Albee's "A Delicate Balance" with its solid performances that will stay with you all night long.

A series of journal entries may work well as a literary device but as a theatrical endeavor it tends to fall flat. Unfortunately, Village Theatre's current stage interpretation of Jules Verne's famous novel "Around the World in 80 Days" falls into the latter category as the storytelling gets itself mired in such a passive voice that it just wasn't very interesting.

The Seattle Rep continues their long standing relationship with the works of one of America's greatest playwrights with their current production of August Wilson's "The Piano Lesson". As usual the show comes alive with a rich and stirring history only made more poignant through the stunning direction and performances.

Not since 'Flashdance' has a more ill conceived, and forced 80's movie turned stage show been forced upon the unsuspecting theater goers in Seattle. But unlike 'Flashdance', in 'Dirty Dancing' currently playing at the Paramount there weren't quite as many WTF moments to make it somewhat entertaining (in a train wreck kind of way). So what we were left with, save two stunning performances which we will get to in a minute, was a severe lack of storytelling, choreography and acting making this show not a train wreck but just plain bad.

Take the murderous rampage of "Heathers", the violent cultish attitudes of "Caged Heat" and the hair and clothes of "Working Girl" and you'd have the dark twisted romp of "The Secretaries", currently playing at Theater Schmeater. This macabre cautionary tale goes all out and over the top to give you a dark comedy that at the same time makes you double over laughing and cringe in horror.

Hello Possums! Everyone's favorite Dame is back for one final goodbye (potentially) with "Dame Edna's Glorious Goodbye, The Farewell Tour" currently at the Moore Theatre. And as usual she puts on a hilarious show that reminds us all why she's risen to the level of Megastar over her 60 years in the business.

I've said it before and I'll say it again, I typically have two main sticking points when it comes to Shakespeare productions. First that if you must transplant the time or locale of the piece, make it meaningful and second don't just say the pretty words but convey the intent behind them. And while Seattle Shakespeare Company's current production of "Measure for Measure" succeeds in the first regard, the latter only partially so, making some elements of the show feel stiff and forced.

Oh my! It's been a hell of a year for the Seattle Theatre scene and I can say we've been quite fortunate to see the incredible shows we have. So many amazing shows in fact that picking just a few stand outs (let alone a "best") is a near impossibility. But I have searched the deep dark recesses of my memory to find the shows and performances that really stood out and stuck with me beyond the evening and throughout the year. And so, without further ado, I'm thrilled to present the BWW 2014 Seattle Critic's Choice Awards (or Jay's Picks). Let the awesomeness flow!

You know how those 'Saturday Night Live' skits are where it's a fantastic premise and really funny to start out but then they have no idea how to end it so it drones on and on. Well the current off-kilter holiday production out at ArtsWest is like that. Filled with gut busting laughs and wonderful musical numbers in Act One but then turns into something very different in Act Two and keeps going on and on and ends about four different times.

Sometimes a bit of greatness, when combined with an equally great companion can form something so amazing that they surpass the heights to which they've already achieved. Such is the case with Tony Kushner's "Angels in America", the cycle of plays from August Wilson and, in my opinion, even Tarantino's "Kill Bill" saga. Well now we can add another set to the group as the Seattle Rep is now presenting the companion piece to the Robert Schenkkan's LBJ bio-play "All the Way" with the equally stunning "The Great Society". And if the first one grabbed you like it did me, then this one will only serve to extend that wild ride but in a very different way.

Considering the notes in the program say they have been working on Theatre22's World Premiere musical "The Hours of Life" for four years, I can only assume there have been a number of workshops of the piece. But in all that time did no one let the author, Paul Lewis, know that the framework for the show doesn't make sense? And that's just one of the many issues I had with this show that needs so much help I'm not sure it could be worth salvaging.

Strengthen up those smiling and laughing muscles because the insanity of one of my favorite holiday show alternatives is back with "Ham for the Holidays: Fear the Bacon" over at ACT. And let me tell you, they have upped their game and outdone themselves. My cheeks are still aching from all the laughter as they turned in one of their best holiday shows to date.

When the musical adaptation of "A Christmas Story" first came to the 5th Avenue Theatre back in 2010 for the pre-Broadway Premiere I was dubious at best. And my fears turned out to be well founded as the musical felt scattered and lacked the emotional core that the original story and movie had. Luckily for all of us when the show went on to New York it was retooled to trim out all the fat and now that it's back has had its heart restored with direction by Brandon Ivie. So what once felt like a desperate attempt to turn a holiday classic into a cash cow now feels like a delightful homage to the original and a simpler time.

What in the name of Theodor Geisel were they thinking? Not since that deplorable live action film version have I seen a worse retelling of the classic Dr. Seuss tale as 'How the Grinch Stole Christmas! The Musical' currently playing at the Paramount.

ACT and Director John Langs completely nailed it again and then some. I saw the production last year of ACT's Seattle tradition of "A Christmas Carol" and found myself struck by how well they conveyed this classic tale. And as much as I enjoyed it last year there was something even more magical and special in the air for this year's production (or they spiked my eggnog) as I completely found myself swept away by this incredible show and, yes, crying my eyes out.