Jay Irwin - Page 45

What do you do with a dated overdone musical that every High School on earth has done in order to make it fresh for a professional run? Well, you could pair up with a local dance theater to punch up those outrageous dance sequences to give the audience something new. That's exactly what the 5th Avenue Theatre did when they teamed up with Spectrum Dance Theater in order to try and polish up their production of "Oklahoma". The problem is that it punched up a bit too much and made it feel a bit too new. Luckily the leads of the show still knew how to tell the story and that's what made the show enjoyable.

For musical theaters "A Chorus Line" is pretty much the holy grail of musicals. Most people love it and it has some of the most iconic and recognizable songs and characters out there. But few theaters are brave enough to tackle it especially smaller regional or community theaters, and with good reason. You basically need an entire stage of ethnically diverse triple threats (amazing dancers, singers and actors) to pull it off. And while I don't think I saw any true triple threats at SMT's current production, I did see a few two and a halfs and a bunch of twos.

A German transvestite walks into a bar in communist occupied East Berlin. No, that's not the build up to some crude joke but the premise of one of the most beautifully written and intriguing plays of this century, "I Am My Own Wife" currently playing at the Seattle Rep. With over 30 characters all played by the incomparable Nick Garrison, what makes author Doug Wright's play even more remarkable is that it's true.

The word riveting just doesn't seem to cover the experience of watching the World Premiere of Charles Waxberg's, "A Shade of Green" currently being offered from Theatre 9/12. No, riveting doesn't cover the intense ethical debate wrapped in a gripping game of cat and mouse, nor does mesmerizing. No, those adjectives just don't cover it so I'm really only left with, DAMN!

The Seattle theater scene has presented us with some amazing shows this last season and I felt it necessary to recognize some of the incredible talent and shows I was fortunate enough to see. And as you can see, in a few categories, I couldn't even settle on just one winner. So, without further ado, I present the 2011 BWW Critic's Choice Awards (Jay's Picks)!

When tackling a play such as "Rosencrantz and Guildenstern Are Dead", as is currently being tackled by Seattle Public Theater, you need to make sure you have two powerhouse actors in the titular roles, especially when putting in the twist of casting women rather than the traditional men in the roles. Check! Mission accomplished there. And as amazing as these women are, I have to say the production could have used a little more variation in pace as it rarely wavered from the breakneck speed with which it began.

There are certain authors whose shows I never miss if possible. Lynn Ahrens and Stephen Flaherty, Terrence McNally, and Howard Ashman to name just a few. These are people whose work I rank among my favorites for the richness and compassion in their writing. Well, after yet another stunning work such as "How to Write a New Book for the Bible", currently playing at the Seattle Rep, I think I have another new favorite in Bill Cain.

Which is better, the idea of having children or actually having them? That's the question posed by the current show from Theater Schmeater, "Cradle and All" by Daniel Goldfarb. And while I felt the play itself lacked a solid ending, the show manages to be a fun and funny look into the joys and hardships of parenting and an excellent character study of two disparate couples.

Whether or not we are cheering for a certain character in a play needs to come from more than just being told that someone is the protagonist or good guy. We must feel something for the character based on the feelings the actors put toward that character. And ultimately I think this is why Seattle Shakespeare Company's current production of "Coriolanus" fails so miserably.

For certain shows there's really nothing like a big, fully realized production complete with all the professional singers and dancers that only Broadway can provide. "West Side Story" is definitely one of those shows with its killer Leonard Bernstein and Stephen Sondheim songs and Jerome Robbins choreography; usually only professionals can cut it. And although the current touring production at the Paramount is lacking a bit of the heart and with one almost unforgivable technical gaff, it's definitely got the professionals to being it to life.

Let me just start out saying that I don't like this show. Right from the moment it first came out and I first heard the cast album, I thought it was forced and a little pretentious. Then I saw a touring production and came to understand it more and I got where they were going with it but still found it a little forced and pretentious. That is until I saw Balagan's production which was packed with so much unbelievable talent and honesty that I can't help but change my tune on this show and proclaim it as one of the first must see shows of the new year.

It's a small wonder that Rodgers and Hammerstein's "Cinderella" keeps getting dusted off and trotted out every few years. A small wonder due to the fact that there are so many versions of it. And I mean versions of the R&H musical with numbers being removed and others being added in from other shows. And while I felt the 5th Avenue's current production, directed by Brandon Ivie, really only came alive in Act Two, it's not the worst production I've seen … but not the best either.

So which of Santa's lists are you on? The Naughty or the Nice? Well for those of you that lean toward the Naughty then I probably saw you last night at the most interesting holiday diversion I've seen in awhile, "Mezzo Lunatico" at Teatro ZinZanni. Burlesque and Drag acts coupled with irreverent holiday songs and you have a fun evening that'll make you stop thinking about your visiting in-laws for a little while. And while the show lacked some focus at times, all in all it was a deliciously decadent good time. Hosted by Seattle's Premiere Fancy Lady Ben DeLaCreme, and Santa of course, this late night holiday offering shows us that Christmas doesn't have to be all sugar plum fairies and candy canes and that there's room for sex, booze and tits at this time of year. Burlesque performers Iva Handfull and The Heavenly Spies were on hand for the later of those. I especially liked Iva's ode to Black Friday shopping. Even DeLaCreme managed to doff her frillies as the naughtiest girl to ever sit on Santa's lap. Breakdancing crew the Massive Monkees gave us a lesson in dealing with bullies (although I'm still uncertain what that one had to do with the holidays). But the highlights of the evening I'd say had to come from the singers. A Capella singing group, Captain Smartypannts offered us the most interesting rendition of "The 12 Days of Christmas" as well as every Christmas special ever made told in just a few minutes. And recently thawed from a block of ice 1920's singing duo, The Vaudevillians had us on the floor with their antics and reclaimed song stylings. And I have to mention host DeLaCreme and her hilarious retelling of the nativity story set to Lady Gaga's "Born This Way". So the booze was flowing, the performers as well as the waiters and waitresses were quite scantily clad and the acts kept us hooting for more. Seriously, if you weren't on the naughty list before the show, you would be after. So if you're looking for a break from the visiting family, you could do a lot worse than a night of debauchery at Teatro ZinZanni's holiday offering "Mezzo Lunatico". Or you could bring the in-laws with you. Either they'll love it as much as you or they'll be so offended they'll never visit again. Either way, it's win-win. "Mezzo Lunatico" performs at Teatro ZinZanni December 16th and 17th. For tickets or information on this or future shows, contact the Teatro ZinZanni box office at 206-802-0015 or visit them online at www.dreams.zinzanni.org.

In June of 2002 I had an experience that would alter my perception on how good musical theater could be. That was when I saw "Hairspray" for the first time. It was the pre-Broadway run at the 5th Avenue Theatre. I had heard a bit of "Welcome to the 60's" on the radio commercial and thought to myself, "This sounds pretty good." Little did I know what I was in for the night I saw it. Little did I know that I would be introduced to one of my favorite shows of all time and to a character that I would long to play for years to come.

It's a small wonder that Rodgers and Hammerstein's "Cinderella" keeps getting dusted off and trotted out every few years. A small wonder due to the fact that there are so many versions of it. And I mean versions of the R&H musical with numbers being removed and others being added in from other shows. And while I felt the 5th Avenue's current production, directed by Brandon Ivie, really only came alive in Act Two, it's not the worst production I've seen … but not the best either.

I've said it before and I'm sure I'll say it again since it keeps coming up, I personally cannot stand other people's therapy on stage. And if you must put up some theatrical therapy, at least frame it in an interesting story. And while the Seattle Rep's current production of "Circle Mirror Transformation" isn't necessarily author Annie Baker's therapy, it is the therapy for her five characters and no, they're not that interesting.

Not since "Contact: The Musical" have I seen such an ill conceived new musical roll into town. But the latest new musical to get a mainstage run at Village Theatre brought up from their "Village Originals Festival"; "Take Me America" is just that.

I've always counted on the Rep to bring in the new and fresh stuff to the Seattle Theater community. And while I understand their nostalgic aspect of choosing to bring back a perennial favorite with their current production of "Sylvia" by A.R. Gurney, I have to question "why this one?" which has become such a staple of smaller theaters and High Schools around the country since the Rep's first production in 1994. But looking beyond that, this production manages to infuse itself with tons of heart and charm and even turns in some extraordinary moments.

There are many words I can use to describe Seattle Shakespeare Company's current production of "A Midsummer Night's Dream". But the one word that kept popping up so many times while watching it was "HOT!" This production is just plain hot as director Sheila Daniels has put together a fearless production that puts in all the love, lust and sex you could ask for while also throwing in a bit of a twist and still keeping Shakespeare's ethereal comedy true to itself and fun as hell.

The nominations are in and the field has been set. And now it's time for you to get out and vote for your favorites in the hopes that they will be the recipients of a 2011 BroadwayWorld Seattle Award. Who will get Best Lead Actor? Who will score Best Musical? And who will take hope our newest category of Best Local New/Original Musical/Play ?