Jay Irwin - Page 18

I'll admit, Dear Readers, that when I saw the cast list for Village Theatre's current production of Stephen Sondheim and James Lapine's classic Into the Woods I was quite excited. It was (and is) quite a list of powerhouse talent and not the usual suspects for a Village show. But Sondheim's show, as much as it's done by every professional house, community theater, or school is by no means a bulletproof show and something egregious must have happened (or didn't happen) between then and now as the production I saw last night, while technically good with well sung songs lacked any kind of emotional resonance, heart, stakes, or even connection between the characters. And for a show like this, pretty singing is not enough.

It's a world we may not know much about, that of old school Chinatown, with their family associations and insider customs. Hell, Lauren Yee grew up in this world and even she seems to be cut off from it and her Father Larry Yee runs the Yee Family Association. But that's the point of her play King of the Yees currently playing at ACT. Bur before you think this is another one of those dreadful family therapy on stage shows (and you know how I loathe those, Dear Readers) the show, with its quick witty dialog goes to a delightful meta and eventually metaphysical place making it an absolute joy.

Let's set the Way Back Machine to the 2014/2015 season where the 5th Avenue Theatre touted the pre-Broadway tryout of a new musical comedy called Something Rotten! . Many musical theater geeks, myself included, were quite excited at the premise of this new tuner but then the theater Gods frowned upon us and smiled on them as they announced they would go right to Broadway. The show had a respectable run on Broadway despite getting a few tepid reviews from the New York critics but now it's back and the question remains, did we miss out and was the show worth the wait? Well I can say that the show is incredibly stupid and silly, filled with crass and bawdy humor and more musical theater references than you can shake a jazz hand at. But above all, it's FUN! If you're looking for some deep meaning then, by all means look elsewhere but if you want to laugh and don't mind repeated phallic jokes then this could be right up your alley.

Dear Readers, it's my unfortunate job, at this moment, to tell you of a show that you'll probably never get to see. Public Works Seattle's "The Odyssey" at the Seattle Rep kicked off last night and unfortunately for those who don't already have tickets, is only running through Sunday and, I believe, is already sold out.

Playwright Ayad Akhtar is one of the darlings of contemporary theater with his Pulitzer Prize winning play "Disgraced" as well as his acclaimed "The Invisible Hand" (my favorite of his) getting production after production around the world. He manages to take on seriously hot button topics and expose them with rich and engaging characters and his "The Who and the What", currently playing at ArtsWest and co-produced with Pratidhwani, is no exception. But his shows are by no means bulletproof. These characters need to be performed with engagement so they really connect with the issues and each other and as a result with the audience and that's where the ArtsWest production fails. They don't fail completely but enough that what could have been a searing social-political family drama comes across like a tepid sit-com.

Hello, Dear Readers. I recently got the chance to sit down with Seattle Theater staple David Edward Hughes to pick his brain on his career, his views on the state of local theater and, most importantly, his new theater company Sing Out Louise! Theatricals which will be announcing their inaugural season at their gala event on August 26th. An evening guaranteed to be filled to the brim with songs old, new and strange.

Well, Dear Readers, it's my favorite weekend of the year again. The weekend when Village Theatre gathers together all the best musical theater talent and presents readings of five up and coming new musicals. Yes, it's the 17th Annual Village Originals Festival of New Musicals or as I like to call it, Musical Theater Nerd Paradise. They presented us with some really outstanding works and while I can't review them, I can still tell you about the shows themselves.

A few years back I had the great fortune of seeing Simon Stephens' brilliant play, "The Curious Incident of the Dog in the Night-time" on Broadway. By intermission I was visibly shaken and by the end I was an emotional mess. But seeing it again last night for its current run at the Paramount Theatre, and having a little bit more familiarity and perspective on it I recognized one key thing. This show is easily not for everyone (an attitude I could not fathom when I first saw it). Personally, I was still affected but with its deliberate in your face staging and off-kilter central character I can see how it might be tough for some to connect to the piece while others will be blown away.

There are certain shows out there that, while being engaging and performed well, make you feel like you're missing something. Many of the plays of Tom Stoppard are that way for me in that, unless you've taken a master class on that particular subject matter, you may not get the full impact. The World Premiere of Moby Pomerance's "Alex & Aris", currently playing at ACT, falls into this category. Stirring performances and crisp dialog but unless you've taken the prerequisite class on Greek history you may fall behind.

Don't let this worry you but it's time to summon the Devil. Well that's the conceit of the current show at Cafe Nordo, "Sundown at the Devil's House". And while they may not summon up THE Devil they do summon up some delicious food, hilarious and touching antics and rockin' music making for a devilishly good time.

There are certain things that spring to mind when thinking of a Jane Austen story. Blistering on again, off again romances. Sweeping emotions. And of course, Colin Firth emerging from a lake. Well the new musical adaptation of Jane Austen's "Persuasion", currently playing at Taproot Theatre, may not have Colin Firth but the romances and emotions are there in spades.

It's not a revival of an old classic. It doesn't have the cache of a recognizable movie title. And it's got a synopsis that may make some people weary. All of these reasons could be why there were far too many empty seats at last night's opening night of "Fun Home" at the 5th Avenue. And that fact of the open seats makes me incredibly sad as this Tony Winner for Best Musical deserves so much more attention as it's one of the most honest, raw and real musicals around today. I cannot urge you enough to see this show.

I always hated mowing the lawn as a kid but it was one of the chores with which I was saddled. So, if someone told me they invented a grass that only needed mowing once a year I'd be all over that. But some might not appreciate this new revelation and do anything to stop it. This utterly absurd premise is the crux of new play written by Seattle favorite R. Hamilton Wright and being offered by MAP Theatre. And while the premise may be absurd what's not absurd is the clever writing and fantastic performances in a show that'll have you reeling with laughter.

Some plays are light bits of fluff, perfect for an evening's entertainment filled with laughs and warm fuzzy feelings. Others, however, take you to a dark and intense place filled with foreboding and anger and, if you're lucky, some gripping performances. Theatre22 and ACTLab's west coast premiere of Theresa Rebeck's "Downstairs", currently playing ACT, is definitely the latter and definitely has those gripping performances. In fact, I'll even go as far as to say it has some of the best performances I've seen all year.

Take a silly yet beloved movie that breeds nostalgia in all who love it and turn it into a musical. It's the way of the world of musical theater anymore. Sure, we still get some original pieces but the safe money for producers is on the recognizable name. Sometimes it works and sometimes it crashes and burns. 'Legally Blonde' works, 'The Wedding Singer' kind of works, and 'Amelie' definitely did not. And now the latest to join the ranks of those movie translations to musical theater is trying things out at the 5th Avenue Theatre. I am, of course, referring to 'Romy and Michele's High School Reunion, The Musical'. A cute and quirky little romp that has potential but needs some serious help before it falls into the 'it works' category.

Are you adverse to fun or having a good time? If so, then just stop reading now and move on. If not, keep reading and then get yourself down to ACT to catch "The Legend of Georgia McBride" for some fabulous numbers, fake boobs and hell on heels all wrapped up in a fun and engaging story.

The 1998 Sam Mendes staging of Kander and Ebb's classic "Cabaret" has come through the Paramount several times. And why not? It's a great show and a big crowd pleaser. But it requires a cast that gets the show and the tone to be done right. Fortunately for us the current tour at the Paramount is a shiny (or rather intentionally not shiny) example of how good this show can be and why it's still an enduring classic.

Give me a good old fashioned play with a good old fashioned structure; a beginning, a middle and an end. Or if not, if you insist on a slice of life play, at least have something interesting to say about said life. Instead, what Will Eno's play, "The Realistic Jones", the current offering from New Century Theatre Company, gives us is an hour and 40 minutes of somewhat clever dialog from some stuck, sad people that I wouldn't want to spend 5 minutes with let alone an entire play.

In our current society where the issues of race and education are everywhere it's refreshing when a story comes along that still brings up those issues and provokes the conversation but without lecturing. T. Geronimo Johnson's book "Welcome to Braggsville" is such a story with its gripping story and vibrant characters and Book-It Repertory Theatre has brought that story to life with some outstanding young performers.

The Sondheim classic "Sweeney Todd, The Demon Barber of Fleet Street" is one of those shows that everyone wants to put their own stamp on. It's an incredibly rich show and quite difficult to perform requiring a killer cast (pun intended). There have been concerts, productions where the actors play the instruments, and now an Off-Broadway production where they actually serve the audience hot pies. And locally it's been done to excess. Now ArtsWest has thrown their razors into the ring with their own particular take on this anti-hero by offering it up with a diverse cast and in a somewhat timeless era London. And while there are some decent voices up there, overall the cast lacks character intent and the diversity and time shift lend nothing to the story and at times muddy it.