Jay Irwin - Page 12

Cafe Nordo has come to be known in town for their sumptuous meals and fun, frothy and fascinating shows but this time they've outdone themselves with "The Champagne Widow". With a book by Opal Peachey and Music by Annastasia Workman and Lyrics by Peachey, Workman as well as director Billie Wildrick, this wholly new and original work goes beyond their usual good time and adds heartbreak and even a bit of an education, not only about the creation of Champagnes but the unsung women responsible for many of the great achievements in Champagne.

I used to hate Arthur Laurents, Leonard Bernstein, and Stephen Sondheim's "West Side Story". My only exposure was the movie and I found the story flat and unconvincing. I mean, an entire song just repeating her name? Geeze, learn how to write a lyric. But then a touring production came through town and they got it. They understood what they were singing about and knew how to convey it. And then I got it too. He only needs the one word because it's all he wants to hear. And I fell in love with the show but only when it's done well. Since then I've seen many productions of varying levels of quality. Now comes the current production from the 5th Avenue Theatre and Spectrum Dance Theatre and while it has some moments and some good dance sequences thanks to choreographer Bob Richards who did his darnedest to reproduce the original Jerome Robbins choreography, it lacks the ability to convey the story and the love thanks to some lackluster lead performances and staging and intent from director Bill Berry that just didn't get it.

Dear Readers, back in 2011 I was fortunate enough to see a play entitled "The Brothers Size" at a local theater. It was an evening that shook me to my core theatrically. I mention this, not to compare it with Antoinette Nwandu's "Pass Over", currently being offered at ACT, but to explain that not from that day to this has a show destroyed me emotionally as "Pass Over" did last night. Now you may say it's because I'm a sap or due to some "white liberal guilt" and to that I say, "yeah, probably." But also, it's entirely due to the insanely brilliant play and performances bringing to light such prevalent injustice.

Dear Readers, there are shows out there that are all dessert and give you the fun and fluff. A certain pee-soaked musical comes to mind. Then there are the shows that slip the meaningful messages or vegetables in with the yummy portions to trick you into enriching your mind and soul. There's a baseball show currently running that fits that bill. And then there are the shows that are all nutrition. Shows that are so meaningful and full of raw significance that some may not be ready to handle them. Such is "Blackbird" currently running at 18th & Union produced by White Rabbits Inc and Libby Barnard. That's not to say you can't enjoy those nutritious morsels on some level especially considering the stirring performances but know that while your mind and soul may be richer at the end, the rest of you may walk away feeling not so great. Or, as happened with one patron the night I saw it, you may not be able to handle it and may need to leave. But with the subject matter, the theater knows this may happen and even encouraged it.

Back in 2002, Dear Readers, I became obsessed with a new play from Richard Greenberg, "Take Me Out". Already a fan of Greenberg's works, this story of a high profile Major League Baseball player coming out was quite intriguing. I got ahold of the script and my obsession grew. I annoyed all my friends about it until they too found out about its glory. And then a local production hit town and my obsession was locked, and this Tony Award winning play has since become one of my all-time favorites. So, if you know my work, you know how picky I'll be about this. And I'm thrilled to say that my favorite play has been done absolute justice in the current production from Strawberry Theatre Workshop over at 12th Ave Arts and you all NEED to go see it.

Nia Vardalos' stage adaptation of Cheryl Strayed's book "Tiny Beautiful Things", currently playing at the Seattle Rep, on the surface may seem like just a string of Strayed's advice columns, but when you peel back the layers and dive deeper it becomes so much more. As we get into the advice, we also get a glimpse into the woman who gave it, painting a portrait of a woman who's been through a lot and come out wiser on the other side.

Stephen Sondheim and Hugh Wheeler's "Sweeney Todd, the Demon Barber of Fleet Street" is arguably a masterpiece of American Musical Theatre. It's haunting, thrilling, and heartbreaking when it's done right. But in order to do it right you need to understand and be able to convey this complex story and characters as well as sing some quite difficult music. Unfortunately, the current gender bent production from Reboot Theatre Company chose to forsake that story for comedy and sight gags leaving a confused, under baked, sloppy mess.

Dear Readers, you know when you leave a play and you just feel unsatisfied? Maybe the performances weren't up to snuff or the direction faltered, but you have trouble putting your finger on why you feel this way. Such was my experience last night at Seattle Public Theater's Northwest Premiere of Tanya Barfield's "The Call". I walked to my car wondering why this hadn't hit me harder. The performers were all top notch and the direction from Annie Lareau was lively and flowed beautifully. And then it hit me, Ms. Barfield was simply trying to tell me too many stories and with so many flying about, none of them quite stuck the landing.

Say what you want about Sir Andrew Lloyd Webber but at least he's consistent. Consistently borrowing from others as is evident in the most recent offering from the Paramount Theatre, 'his' musical version of the 2003 movie 'The School of Rock'. And while it has adorable kids, absolutely shredding it with their vocals and musical chops on stage, it also has utterly forgettable and repetitious songs (at least the ones actually written by Webber and lyricist Glenn Slater) and a lead who takes mugging to a whole new, annoying level.

'Million Dollar Quartet', that Rock and Roll spectacular, has long held a special place in the hearts of Village Theatre patrons owing to it being one of those shows that made a name on Broadway after having its beginnings in the Village Originals workshops. Well, those prodigal sons (and daughter) have returned to Village's stage and this new cast, while still paying homage to the iconic characters, are definitely putting their own spin on the roles. And it amounts to a rockin' good time!

Dear Readers, you may have never heard of the 1996 indie film "The Spitfire Grill". If so then it stands to reason you've never heard of the musical of the same name. Well, Showtunes Theatre Company is here to rectify one of those gaps in your knowledge as they've resurrected the not often done musical and are giving it their usual amazing concert treatment. And with this lovely story and the incredible talent they bring together, the result is a stirring show filled with heart, laughter, and tears and a wonderful little musical that begs to be seen.

Dear Readers, when seeing the west coast premiere of Christina Ham's "Nina Simone: Four Women", currently at the Seattle Rep, if you're expecting a light, jukebox musical about the works of Nina Simone then you may be disappointed and you probably don't know much about Nina Simone in the first place as you couldn't really call her style "light". But what you are in for is a searing look at how Simone branched out from American Songbook covers to her own distinct style of songs that spurred the civil rights movement.

Dear Readers, I am not the intended audience for 'The Lightning Thief: The Percy Jackson Musical', currently playing at the 5th Avenue Theatre, and if you're over the age of twelve and a musical theater aficionado like me, I suspect it's not for you either. However, if you are indeed a pre-teen or younger or a parent looking for something to thrill your kids or maybe even give them an introduction to theater, this may be perfect for you. Because of that, we're going to have two reviews in one here. One to point out why I think it appealed to kids and one to explain why I couldn't leave the theater fast enough.

Since the joint production between the 5th Avenue Theatre and ACT of "Urinetown" was announced I heard far too often from people that they wouldn't want to see that. A stupid musical about pee? "I don't care for shows that are all bathroom humor," I would hear. And I'd have to defend this wonderful show explaining that it's a super funny, well written show, yes with peeing as the basic setting, but that it was so much more as it pokes fun at government corruption and is an homage to famous musicals who came before. I guess Little Sally from "Urinetown" was right that nothing can kill a show faster than bad subject matter or a bad title. But then her stating that is why this self-referential, meta show works so well. It knows it's ridiculous and it embraces it. And the same could be said for this wonderful production that went for every bad joke with brilliant comic timing and then some.

Sit in a crowded attic room, 24 hours a day, 7 days a week. You never get to go outside, and during the day you can't make any noise. If you do, monstrous people will find you can take you away to be killed simply because you're different from them. Do this for two years. Now, one last thing, have a positive attitude the entire time. Such is the ordeal Anne Frank, a 13-year-old girl, her family and others had to endure during the German occupation of Amsterdam between 1942 and 1944 and, of course, the subject of one of the most famous accounts during World War II, "The Diary of Anne Frank", currently being presented in play form at Seattle Children's Theatre. But beyond the lovely performances and impactful presentation, hopefully viewers will come away realizing how fortunate we are for the freedoms we still have and how important it is to look out for those that are being marginalized.

Dear Readers, in my capacity as a reviewer and as a musical theater geek at large, I've been privileged to witness more than a few out of town tryouts, those plucky wanna-be Broadway shows taking a shot in another city. Both here at home and abroad, I occasionally get a glimpse at greatness in the making, and yes, some at the 5th Avenue Theatre. I remember marveling at the glory of 'Memphis' and not being able to contain my enthusiasm or stay in my seat during the curtain call of 'Hairspray'. But not all are winners. (I'm looking at you, 'Princesses'.) So, each and every time the 5th Avenue announces their next great new musical, I'm a little trepidatious even when the show is from two of my favorite composers, Lynn Ahrens and Stephen Flaherty, not to mention directed and choregraphed by the indomitable Susan Stroman. So along came 'Little Dancer' which many whom I mentioned it to thought was an Elton John jukebox musical. (Wrong lyric, guys. That's 'Tiny Dancer'.) Then the show was changed to 'Marie', possibly owing to such confusion and finally to 'Marie, Dancing Still'. But whether they want to call it 'Little Dancer', or 'Marie, Dancing Still' or 'How Degas Got His Groove Back', what they have is a bona fide, must see, must cry throughout, accept no substitutes, hit in the making and a definite addition to my list of shows I was honored to catch early on.

Lily Verlaine and Jasper McCann return to the Triple Door for their 11th season with their adaptation of Lewis Carroll's "Alice in Wonderland", "Through the Looking Glass, The Burlesque Alice in Wonderland". And while "Wonderland" might seem a perfect setting for a Burlesque show, since the whole thing can be looked at as a giant drug trip, any adaptation should use more than just the characters and name as a backdrop. Unfortunately, that's not the case here as the evening is simply a series of numbers, strung together with the loosest of Wonderland threads holding it together, and so much thrown at the audience in order to obscure the downfalls of the show that it really only serves to spotlight the downfalls.

Dear Readers, when I hear those three potentially terrifying words "one person show" I imagine a self-indulgent ride through self-aggrandizing memories that begin with the cliche "Oh hey, I didn't see you there…". But Gin Hammond's "Returning the Bones" currently playing at the Erickson Theatre from Book-It Repertory Theatre could not be further from that stereotype with an absolutely mesmerizing piece that demands to be seen.

From the moment you set foot inside the theater at 12th Ave Arts to catch Washington Ensemble Theatre's current production of Charise Castro Smith's "Feather's and Teeth" you'll be struck with two things. First, the desperately trying to be idyllic 1970's family home that's slightly off kilter from the brilliant set by Pete Rush, and second, the earworm of Nancy Sinatra's insistent "It's Such a Pretty World Today" boring its way into your head thanks to the pitch perfect sound design from Maggie L. Rogers, both setting a delightfully askew tone for what's about to happen. And both setting up the fantastic journey with a fantastic design team and fantastic actors and fantastic staging making for a … say it with me … a wonderfully creepy show. (I told you things were a little off, right? Don't expect the expected.)

Cafe Nordo is known for their sumptuous meals combined with fun, lighthearted shows and rollicking music. A Nordo show basically promises a good time, or so I thought. While I didn't have a terrible time at their most recent offering, "Jitterbug Perfume", since I don't think it's possible to have a terrible time at a Nordo show, I will say I feel they bit off a little more than they could chew (pun intended). With a convoluted story and an overpowering band, the show failed to offer their usual evening that you could melt away into, but instead I found myself having to work way too hard.