Jay Irwin - Page 47

Political intrigue, shifting loyalties and two powerhouses vying for victory over the other while advisors whisper their own agendas in their ears. No, it's not the upcoming Presidential campaign although one does resonate with the other. No, this is ACT's production of "Mary Stuart" directed by Victor Pappas and starring two grande dames of local theater, Anne Allgood and Suzanne Bouchard. And with this much history and pedigree on stage, what you end up with is a cutting machination woven together with humor, heart and venom.

Seattle Musical Theatre is starting off their new season of musicals through the decades with the 50's tuner, "The Pajama Game" by George Abbott, Richard Bissell, Richard Adler and Jerry Ross and direction from local theater veteran David Edward Hughes. With an evening full of fun and frothy numbers the watchword for the evening could really only be described as "hot" but in both good and bad ways.

Seattle Musical Theatre is not only bringing back a "humdinger" of an old classic but also has two local theater veterans at the helm. Theater Critic/Actor/Producer/Director David Edward Hughes and Actor/Choreographer Harry Turpin take on this fun and frothy charmer. Add to that two up and coming local powerhouses, Derek Hansen and Kirsten deLohr Helland in the leads of Sid, the pajama factory's new foreman and Babe, the union leader who's just looking for another seven and a half cents an hour and there's bound to be some "Steam Heat" with this show. I recently sat down with director Hughes and choreographer Turpin to take a look as their careers, lives and of course how it is playing 'The Pajama Game'.

There's really nothing like the first time you see one of your favorite shows. The first time I saw "Hairspray" I leapt to my feet on the final note. The first time I saw "West Side Story" I was on the edge of my seat for these tragic lovers. And the first time I saw "Les Miserables" I wept through the entire thing. There really is nothing like the first time. And the 5th Avenue's current touring production of "Les Miserables" is really nothing like my first time. With its complete lack of subtlety and heart, the only thing it has going for it is the amazing voices singing these wonderful songs.

If there's one thing that irritates me more than anything else it's someone else's therapy on stage. If it's wrapped up in an engaging story then I'm willing to overlook a lot but when it's just an author working out their issues for all to see, then don't waste my time. And while Annex Theatre's current show "The Strange Misadventures of Patty, Patty's Dad, Patty's Friend Jen, and a Whole Bunch of Other People" isn't completely camped out on the psychologists couch and has some really wonderful performances and moments, at times it felt a little forced and self indulgent.

Right from the first few notes of the overture, whether you're familiar with the show or not, a musical theater lover's ears will register the familiar lilt of a Gershwin melody reminiscent of "Rhapsody in Blue" and cause you to settle in your seat a little more with a contended sigh. At least that's what happened to this musical theater lover as he ventured just a little outside his normal realm and into the world of opera to catch Seattle Opera's breathtaking production of "Porgy and Bess".

Do you remember those Choose Your Own Adventure books like "The Cave of Time" from when you were a kid? The kind that would give you choices on how the story would continue like, "If you continue toward the ranch, turn to page 8. If you go back into the cave, turn to page 10." Well, Theater Schmeater's current production of "Adventures in Mating" by Joseph Scrimshaw has taken that formula and amped it up into a hilarious and rollicking evening where the audience decides the fate of two lonely people on a blind date.

Look out! The aliens are coming! … or the monsters … or the mysterious virus … or the woodchucks? Well which is it? That's one of the questions Wing-It productions is attempting to answer with their latest improv show "Project: B-Movie". And while it seemed to be a bit of an off night for the gifted performers the night I attended, there were still some hilarious touches, innovative staging and lots of laughs.

Last night the incredible talent from Contemporary Classics stepped up to the mic once more for the 11th installment of their wildly popular "New Voices" series, spotlighting new works from composers around the country. Some local composers and some abroad, some new-ish pieces and some brand spankin' new for this show, Host Brandon Ivie and Music director R.J. Tancioco gathered together some of the most obscenely talented performers in the area to blow the doors off ACT Theatre and there was not a door standing when they were done.

There's really nothing like the first time you see one of your favorite shows. The first time I saw "Hairspray" I leapt to my feet on the final note. The first time I saw "West Side Story" I was on the edge of my seat for these tragic lovers. And the first time I saw "Les Miserables" I wept through the entire thing. There really is nothing like the first time. And the 5th Avenue's current touring production of "Les Miserables" is really nothing like my first time. With its complete lack of subtlety and heart, the only thing it has going for it is the amazing voices singing these wonderful songs.

Right off the bat let's just get out there what Sarah Ruhl's "In the Next Room, or the Vibrator Play" is about. It's in the title for Pete's sake. Yes, the show is about vibrators and their use in the 1880's. Yes, THOSE kinds of devices and activities that usually are not discussed in polite society. So I'll try and be as delicate as I can for my more sensitive readers. But beyond the obvious, the show deals with a small group of people as they come to grips with … er … I mean … get in touch with their … um … DAMN, this is harder than I … uh … well, they discover more about their true feelings. Yes the show is slightly naughty but in a delightful way with depth and humor and ACT's production is presented with beauty and skill.

Right from the first few notes of the overture, whether you're familiar with the show or not, a musical theater lover's ears will register the familiar lilt of a Gershwin melody reminiscent of "Rhapsody in Blue" and cause you to settle in your seat a little more with a contended sigh. At least that's what happened to this musical theater lover as he ventured just a little outside his normal realm and into the world of opera to catch Seattle Opera's breathtaking production of "Porgy and Bess".

I'm not always the biggest fan of transplanting established shows to another time or place. "Hamlet" doesn't need to be set in space and "Our Town" without that old time Grover's Corners feel would just be wrong. And don't even get me started on the thought of moving "Oklahoma". But sometimes, when it's well thought out and well executed, it works. Such is the case for the modern reimagining of Andrew Lloyd Webber's rock opera, "Jesus Christ Superstar" currently at Village Theatre. But while I appreciated the concept and approach, some of the cast left me wanting.

If there's one thing that irritates me more than anything else it's someone else's therapy on stage. If it's wrapped up in an engaging story then I'm willing to overlook a lot but when it's just an author working out their issues for all to see, then don't waste my time. And while Annex Theatre's current show "The Strange Misadventures of Patty, Patty's Dad, Patty's Friend Jen, and a Whole Bunch of Other People" isn't completely camped out on the psychologists couch and has some really wonderful performances and moments, at times it felt a little forced and self indulgent.

Do you remember those Choose Your Own Adventure books like "The Cave of Time" from when you were a kid? The kind that would give you choices on how the story would continue like, "If you continue toward the ranch, turn to page 8. If you go back into the cave, turn to page 10." Well, Theater Schmeater's current production of "Adventures in Mating" by Joseph Scrimshaw has taken that formula and amped it up into a hilarious and rollicking evening where the audience decides the fate of two lonely people on a blind date.

Take a much beloved Disney hit animated musical written by the incomparable Alan Menken, Howard Ashman and Tim Rice and turn it into a big flashy Broadway musical directed by recent Tony award winner Casey Nicholaw fresh off 'The Book of Mormon'. Sounds like a no brainer, right? What can go wrong? Well, plenty as is evidenced by the 5th Avenue Theatre's most recent pre-Broadway tryout, 'Aladdin' which more resembles a Disney park show than a legit stage musical.

One of Seattle's younger theater companies is really starting to show its maturity. At only two years old STAGEright Theatre has shown it can consistently put on quirky, engaging and underdone pieces, with a minimal production budget and do them well. And their latest endeavor, "Melancholy Play" by Sarah Ruhl, is no exception.

Look out! The aliens are coming! … or the monsters … or the mysterious virus … or the woodchucks? Well which is it? That's one of the questions Wing-It productions is attempting to answer with their latest improv show "Project: B-Movie". And while it seemed to be a bit of an off night for the gifted performers the night I attended, there were still some hilarious touches, innovative staging and lots of laughs.

There are very few new and original stories in the world today. Most things are just a rehash or new take on the familiar formula. Boy meets girl and complications arise. This is the standard romantic comedy premise that's been around since Tarzan met Jane or Tracy met Hepburn. Such is the case with the culture clash romantic comedy from Yussef El Guindi, "Pilgrims Musa and Sheri in the New World" currently at Seattle's ACT. With crisp and engaging dialog, El Guindi has taken an interesting new spin on the same old formula.

In this world that we call theater, there are three main things devotees look for. First, you need a good script. Well, as anyone familiar with the musical "Little Shop of Horrors" by Howard Ashman and Alan Menken knows, this show has one of the best scripts around. Plus you want a good cast and the performers at the Boxcar have shown they are beyond simply good. And finally you want a director that can take that script and those performers and guide and stage them in such a way that it makes the whole thing come alive and if they can do that in a way that no one has done before and still stay true to the piece, then all the better. So with those elements you at least want one of them. If you have two, you're in for a good night. But when you have all three, as is the case with Boxcar's production, all you can do is hold on and brace yourself for an experience that will stay with you for years to come.