Jay Irwin - Page 23

When the Seattle Rep announced their season and I saw they were taking on Paula Vogel's incredible play a?oeIndecenta?? I was thrilled. But even more so I was surprised as to how many of my friends hadn't heard of it. I mean, it was nominated for a Tony, and even had the entire thing shown on PBS at one point. But still it was only the major theater geeks that had this one on their radar. Well, now that it's here I'm pleased to state that the Rep's production completely met and exceeded my expectations and now I can share my thoughts on this stunning play with you, Dear Readers, and explain why you need to catch it.

Dear Readers, a few years back I was fortunate enough to see a production made possible by ACT and the Kenan Fellowship in Directing, a?oeGuards at the Taja??. A show that still sticks with me to this day. And I say a?oefortunate enougha?? as it was only on stage at ACT for a few performances. Now ACT has brought us the latest recipient of the Kenan Fellowship, Rey Zane, and her production of Anna Jordan's a?oeYena?? and I can tell that this brutal and gripping play will also be one to stick with me thanks to some stunning direction and performances.

A really good Café Nordo show needs more than a good premise and good food. It needs a good script that really tells the story, complimenting the food, and a good pace. Their current incarnation, a?oeViolet's Attica??, has a wonderfully creepy premise which leads us into a fabulously whimsical meal. But the script and pace, while having some fantastic moments, suffer from too many long, drawn out sequences with little payoff.

Really bad puns, noir-ish intrigue and juggling; what more do you need for an evening's entertainment? Well you're in luck, as the Northwest's celebrated comedy juggling troupe, The Flying Karamazov Brothers is back reviving their noir thriller a?oeClub Sandwicha?? at the Broadway Performance Hall. And while at times it may seem like they don't have a clue what's going on, trust me, these gifted performers and improvisors know exactly what to do, even when it all goes wrong.

Craig Lucas and Adam Guettel's soaring romantic and tragic musical a?oeLight in the Piazzaa?? is not often tackled a?? thank the theater Gods. I'm not saying it's bad by any stretch of the imagination, it's just that I'd hate to see every small company, without the resources to handle it well, take it on. Fortunately, they've built in a few traps that may dissuade. First off, it's not your typical, rollicking musical with songs you'll be singing after. Second, there's all that Italian that your cast needs to learn and deliver authentically. And finally, it's some tough music. It needs to be done by insanely talented professionals who can handle these beautiful melodies that fly up into the rafters (often in Italian) as well as the heartfelt story. Enter Showtunes Theatre as they begin their 20th season, who routinely gather together the cream of the crop of Seattle artists for just a few weekends, books in hand, and you'll find yourself gifted with the mind-blowingly gorgeous evening that is their current production of a?oeLight in the Piazzaa??.

Dear Readers, let's set the way-back machine to May of 2005 when a musical theater geek got to take his first trip to New York and see his first Broadway shows on Broadway. He sat there in Circle in the Square and marveled at a new William Finn show called a?oeThe 25th Annual Putnam County Spelling Beea??. Now this was during its previews so not a lot of buzz on it yet, which made it even more special, as he got to experience its greatness as it unfolded. He laughed, he cried, he fell in love with this silly little show. Obviously that geek was me. Since then I've seen numerous productions here and abroad. The show is a staple of musical theaters as it's inevitably a winner. I wouldn't say it's bulletproof but it's bullet-resistant. As long as you have a decent cast that can have fun playing kids, you're good. But few have taken me back to that original moment and evoked the tears at the end or from one particular song a?? until now.

If you're an aficionado of theater here in Seattle, then you've probably heard of Yussef El Guindi or at least seen one of his plays. An ACT 2018 core member, this prolific writer has had numerous plays around Seattle and beyond. And when reading the synopsis of his current piece making its World Premiere at ACT, a?oePeople of the Booka??, you may think you know what to expect and what hot button topics he'll hit upon. And he does. But he also manages some literary acrobatics bringing in surprise after surprise making this a deliciously complicated show with an ending that may leave you with more questions than when you came in.

Equity. Joy. Imagination. These were the words conveyed to us by Angie Kamel, the Director of Public Works at the Seattle Rep, before the opening performance of Public Works' production of “As You Like It”. And as with their inaugural production of “The Odyssey” back in 2017, those words say it all. Bringing together people from all walks of life across Seattle, professionals and non-professionals alike, to tell a story in such a positive way brings joy and imagination to life in the most equitable way possible.

Washington DC may have the Koch brothers, but we have a Koch brother and sister, specifically David and Lisa Koch. Two of the funniest humans out there, they've brought their delicious satire to Seattle and abroad for years. In fact, 20 years ago their 70's pop duo parody a?oeThe Carpetersa?? were all the rage at Cabaret de Paris. Well, they've reunited that delightful original cast, and brought in some new friends, to make The Carpeters live once again in a concert of their original show, a?oeThe Carpeters: Uncomfortably Close to Youa??. And with the insane laughter and applause, the roof of the Triple Door may never be the same.

Context is Key. Without context, your message can be completely lost. Such has happened with Washington Ensemble Theatre and their season opener, Aleshea Harris' a?oeIs God Isa??. If you look up information on the show or even read the promotional material put out by the theater, the show a?oeInspired by Spaghetti Westerns and Afro-punk, this electrifying play follows twin sisters who go on a killing spree to exact revenge on their creatora?? bringing up notions of allegory and some comedic undertones. In fact, from what I could find about the original production, that's where they aimed. But here they've missed the mark on the context and are left with a story of violence and revenge leaving me, after the show, to ask a?oewhya??.

Eighty percent of having a successful show is casting. If you have the right cast, even the dullest show can shine. However, that means the opposite is also true. You can have a good play, such as Eisa Davis' a?oeBulrushera??, currently being offered from Intiman Theatre, but if the cast isn't there, then neither is the decent storytelling. In the case of Intiman's show, the cast is mostly there, but one glaring weak link sapped the energy and emotion from a piece that should be filled with energy and emotion.

Dear Readers, you've often heard me extoll the prowess and brilliance of The Williams Project. Just last week I raved about how dedicated and tight their ensemble was when presenting the other show they have running in repertory, a?oeSmall Craft Warningsa??. But now that insanely talented ensemble has come in with William Saroyan's 1939 Pulitzer Prize winning drama a?oeThe Time of Your Lifea?? and taken things a step beyond simply performing the play, but deconstructing it with a rotating ensemble.

Dear Readers, remember way back in December when the crazy minds of The Habit showed up at Seattle Public Theater with one of the most hysterical parodies ever, a?oeA Very Die Hard Xmasa??? Well I'm thrilled to tell you that they're back, this time tackling the a?oeRaiders of the Lost Arka?? movies (minus a?oeCrystal Skulla?? since that one was an abomination) and showing off how amazing they are at the lost art of satire with the brilliant a?oeIndy Jones and the Raiders of the Last Temple of the Doomed Arka??.

It's that time of year again. One of my favorite times of year. That time when I get to spend the weekend at Village Theatre checking out the shows brought together by the folks at Village, spotlighting new works around the country. Some amazing, some needing work, but all showing promise. Now, of course, I can't review any of these. They're all still works in progress and not fully staged. But I can share what went on over the weekend as a potential coming attraction of musicals to come to a theater near you.

The Williams Project, that small theater company that burst onto the Seattle theater scene in 2014 with their incredible a?oeOrpheus Descendinga?? is back with the first of two shows within their a?oeBar Playsa?? series. This time it's Tennessee Williams' a?oeSmall Craft Warningsa?? and with this, they once again show what a dedicated company, committed to actually paying their actors, can do with an interesting space, a little money, and a lot of talent.

If you're like me, Dear Readers, you grew up with that indelible classic film, a?oeWilly Wonka and the Chocolate Factorya?? starring the amazing Gene Wilder (and hopefully not that abomination with Johnny Depp). Or maybe you found yourself getting lost in the pages of the Roald Dahl novel, a?oeCharlie and the Chocolate Factorya??. Whichever it is you probably found yourself longing for an Everlasting Gobstopper, or wanting to meet an Oompa Loompa, or terrified of that nightmare infused boat ride in the original film. Whichever version you preferred, rest assured there's something for everyone in the current musical incarnation, bearing the same name as the novel, currently on tour and at the Paramount Theatre. There are a few sound issues, and they've taken a few liberties with the characters to punch it up to modern day, but the whimsy and yearning for a?oePure Imaginationa?? is still quite present.

a?oeThis will happen to you.a?? That's one of the opening sentiments of Joan Didion's a?oeThe Year of Magical Thinkinga??, currently playing at ACT. a?oeThis will happen to you.a?? She's referring, of course, to the fact that everyone, sometime in their life, will have to deal with the death of a loved one. Maybe you already have. Maybe you're dealing with it right now. Or maybe you've been lucky enough to avoid it thus far, but it will happen to you. How you will deal with it, well, that's the question. But how Didion dealt with it and the eloquence she used in conveying her personal tragedy to the world is the crux of the play and the folks at ACT handle that with honesty, vulnerability and openness.

Whenever I see a play, Dear Readers, I want that play to just tell me a story. I want it to flow nicely, build at a steady pace, and have a good payoff. I don't necessarily need the trappings of superfluous gimmickry. If the added bits lend themselves to the piece or the story, that's great, but when they interrupt the flow of the show, that's when I have issue. The current piece from Intiman Theatre, "The Events", certainly has a powerful message and is performed by two very gifted actors, but the "gimmicks" only allowed for the show to feel disjointed and the sustained tension to be lost.

Sound Theatre Company, with their season theme of "Un-Erasable" focusing on diversity and "hyper invisibility" of some in America, have started off their season with a stunning piece, "Citizen: An American Lyric" based on the poetry of Claudia Rankine and adapted for the stage by Stephen Sachs. But beyond keying in perfectly to their theme and kicking off the season with a bang, they've coincidentally presented a piece that has tremendous resonance to what's happening in the news today, with the incidents between Serena Williams and Billie Jean King as well as Hurricane Barry in New Orleans giving an all too harrowing reminder of the events of Hurricane Katrina.

Edie Brickell and Steve Martin's 'Bight Star', currently playing at Taproot Theatre, has a lovely and heartbreaking story, but is a musical that suffers from two things. First, it can never quite come to terms with which era it's in, and second (and most importantly) it's a musical that doesn't have very good songs.