Jay Irwin - Page 13

Dear Readers, let me start off by saying, I am not a fan of "Cats". Neither the musical nor the animal (it would seem I'm allergic to both). Way back, when I was a young musical theater geek, I saw one of the early tours and I remember sitting there during the opening number perplexed. I whispered to my theater companions who adored the show, "They keep saying a word. What is it?" "Jellicle," they responded with pride. "Great," I said, "what the hell is a jellicle?!" "It's a made-up word. It's from the T.S. Eliot poems that the show is based on." And thus, my disgust for the show began as the entire thing is about a word that has no real meaning. In the opening song they even point to the audience (and I swear they were pointing at me) and comment that there's still someone who doesn't know what it means. "What does it mean?" they ask brightly. And they never answer their own question! But it won several Tony Awards and many people love it so I'm going to try and slog through this but forgive me if my disdain peeks through.

The word that springs to mind when I think of Seattle Public Theater's current production of Ruby Rae Spiegel's "Dry Land" is "gratuitous". That's the first thing I think of. Not "intense" or "gripping" as the climactic scene was, or "raw" or "honest" as much of the dialog between the young girls felt, but "gratuitous" as all of that is overshadowed by a production that felt the need to, I don't know, shock or fill time? The play is already shocking, and the filler just diluted that shock, so I am only left with "gratuitous".

Ah, the restoration comedy. Those bawdy little comedies from the 1600's and 1700's with ill-mannered aristocrats being put through their paces. Now let's take one of those, spice it up with a bit of modern flair, pepper in some of the funniest damn people in town, and a hilariously ridiculous three person band with some original songs and what you'll have is the joyous, bound to go off the rails at any minute, high-speed train ride that is Seattle Shakespeare Company's current production of "She Stoops to Conquer".

A few years back I was fortunate enough to see Lucas Hnath's wonderful play, "A Doll's House, Part 2" on Broadway and was blown away. So, when the Seattle Rep announced it as part of their season I was absolutely thrilled. Then when they announced the powerhouse cast of some of Seattle's finest actors, Pamela Reed, Michael Winters, Khanh Doan, and Laura Kenny in the play, I was over the moon. This should be a slam dunk! Which then begs the question from me, "What happened?" as the performance I saw last night felt stiff and disjointed at times as if the actors were simply reading from the script. It picked up a bit by the end, but this is certainly not what I've come to expect from the Rep.

Dear Readers, as I'm sure you're aware, we are blessed with an abundance of riches here in Seattle with the local talent who grace our stages, if you know where to look. Well, currently the treasure map leads right over to Taproot Theatre and X marks the spot on the Isaac Studio Theatre where they are producing "Always… Patsy Cline" starring two gems, Cayman Ilika and Kate Jaeger who will rock you, crack you up, and maybe even bring a tear to your eye with their absolute brilliance.

K.I.S.S. It's the best advice you can give anyone in acronym form; meaning, Keep It Simple Stupid, and it's the mantra that the folks at Village Theatre should have taken to heart when attempting to stage Simon Stephens' brilliant play, 'The Curious Incident of the Dog in the Night-time'. Now, you may say, 'But Jay, the Broadway and touring productions were anything but simple.' And that's true, but unless you can pull off that level of stage wizardry, then you need to go in another direction. Unfortunately, Village went in another direction but also kept everything quite complex throwing everything they could think of on stage, none of which really worked completely, resulting in a mish mash of inconsistencies and a play that didn't communicate what it should.

When the basis of your play, such as Nick Jones' "Trevor" currently being offered from MAP Theatre, is a real-life story, the gist of which could probably fill up a report on the news and was probably germinated from there, the journey to get to that inevitable conclusion is everything. And while some of the dialog in Jones' journey tended to meander a bit, the journey the MAP Theatre performers took us on with their performances made us really care for these characters and root for their success even as we could see the oncoming train barreling down on them. And it's that caring, that empathy that keeps us with them and watching even though we want to look away from what we know is coming, heartbreak.

Over the years, Dear Readers, I've seen many productions of Shakespeare's oft-produced tragedy 'Romeo + Juliet'. So many productions from so many levels of professionalism with so many different takes on how to tell the story. And to be honest, only one of them even came close to bringing the story of the star-crossed lovers to life. That is until now. ACT's current production with its vibrant staging and top-notch cast incorporating Deaf and hearing actors using American Sign Language in conjunction with the Shakespearean text has created a new standard by which all other R+J's must be judged from here on.

Are you in the mood for a good scare? A creepy tale that will stay with you all the way home and make you turn on every light once you get there. No? Then you'd better stay away from the Seattle Rep and their current production of "The Woman in Black" on tour from London. Sure, this production has plenty of giggles and lighter moments but there's also a severe creep factor and several moments to make you jump out of your chair.

With any luck most of us will bypass any connection to opioid or heroin addiction. I know going into Book-It Repertory Theatre's current production of Tom Hansen's "American Junkie", I knew nothing of that world except what you might catch on TV. But what this gritty memoir and gripping performances do is give a much more intense and visceral look into this world while still mixing in humor and hope making this a fascinating ride.

Before any theater company even considers attempting Elton John and Tim Rice's rock musical "Aida", they need to have, at the very least, four things in place. An awesome band to back up the amazing ensemble. A dashing Radames and a larger than life Amneris, both with fantastic pipes of their own, and of course a killer Aida who can handle the powerful, belt your face off in the back-row songs she has to sing throughout. Enter Seattle Musical Theatre who has had a rocky time of it as of late but has been struggling to make a comeback. And with their current production of "Aida" and I'm thrilled to report from that list; check, check, check, and CHECK!!! Now before we move on I must inform you that thanks to Snowmageddon 2019, Seattle Musical Theatre had to cancel their entire opening weekend of this production, and by the time this is up after me seeing it over the second weekend you'll only have one weekend left. Start making plans for seeing it during that weekend while you read the rest of this.

Yes, Dear Readers, it's "Uncle Vanya" … again. Now, don't get confused. I know I just reviewed this a few weeks ago but this is a different production. This is Theatre9/12, those plucky actors who pour over scene work week after week until they come up with a full play they'd like to present, this time it's Annie Baker's adaptation of Chekhov's "Uncle Vanya". They're all about the performance and not so much on the frills since there's usually little in the way of sets or elaborate costumes and they perform at the Trinity Church Parish Hall. And while they usually bring in a fantastic piece, this time it felt they focused a bit too much on individual scene work and not so much on connecting with each other as the play felt like so many performances in a vacuum.

The idea of stunt casting, the practice of taking a big name and putting them in a role just to get butts in seats, has always terrified me. And I've seen it result anywhere from the sublime such as Neil Patrick Harris killing it as "Hedwig" to the shudder inducing Molly Ringwald completely out of her depth as the world's oldest taxi dancer in "Sweet Charity". And while the 5th Avenue's couple of stunt casts, specifically rock royalty Micky Thomas of Starship as club owner Dennis and Galen Disston of the Seattle rock band Pickwick as the romantic lead Drew, in their current production of "Rock of Ages" were nowhere near the latter, when it came to delivering a line or executing some choreography, you could definitely tell the musical theater folks from the rockers. However, when it came to wailing out some amazing rock songs, those stunt casts had no equal, so all told, it amounted for a pretty awesome show. But we'll get to specifics in a minute.

OK, so putting up a dark and moody production of Anton Chekhov's 'Uncle Vanya' may sound redundant but remember, this is The Seagull Project. They've spent the last eight years killing it with all things Chekhov and now with the completion of the main plays, the dark and moody tone isn't so much the story but the way it's presented that thrilled.

If you're going to put up a new musical, such as Annex Theatre's current world premiere 'The Devil and Sarah Blackwater' you need a few things on board. First, an editor, to make sure that the show and the story is as tight and clear as you can make it. And second, a music director to present the vocals of the show in their best light. After seeing opening night, it seems to me that Annex had neither of these elements for a show that, while having some potential and talent, just seemed to wander around purgatory in search of its next bit.

Seattle Public Theater is currently offering a play you've probably never heard of, "Fire Season". And you've never heard of "Fire Season" because it's a World Premiere having been written by author Aurin Squire under the auspices of having won the inaugural Emerald Prize, Seattle Public Theater's new play award. So yes, "Fire Season" is a brand-new play that you've probably never heard of … but you need to.

In David Henry Hwang's play "M Butterfly" there's a few things you can take away. First there's the actual historical comparison to the real relationship between French diplomat Bernard Boursicot and Shi Pei Pu, a Peking opera singer. Second there's the cultural lesson of Westerners predilection to view Easterners in a certain, subservient light. And finally, there's the love story between a man trapped in a world and profession that used him and another man who claimed he didn't know his lover was also male. All those things should add up to a fascinating evening, unfortunately the current production at ArtsWest is told to us in such a bland and static way that the evening is just plain boring.

After a shaky start (sorry to all you folks who got bumped from the Wednesday performance) the 2017 Tony Award winner, "Dear Evan Hansen" is here at the Paramount. Now, I managed to catch this phenomenal show on Broadway when it was still in previews, so I got to see the original cast. The cast I'm sure all you fans of the show are familiar with from the cast recording from having listened to it over and over again. Well not to worry, as much as I loved the originals, this cast is just as sublime and not a carbon copy but putting in their own spin on this incredible story and characters.

Steven Dietz is touted as being 'one of America's most successful, prolific living dramatists' (The Seattle Times, 2018) and it's no surprise given his rich, engaging characters, raw, honest dialog, and stories that feel effortless as they slip in the emotional knife before you know it. Such is certainly the case with his 2004 work, "Last of the Boys", currently showing at the Seattle Rep.

Dear Readers, if you deem to venture into the sultry world of Can Can's newest show, "Bonbon", you may walk away with several feelings. First, you'll probably have a need to hit the gym more because, well, damn! Second, there's the impetus to slink and sashay down the street afterward humming a sexy torch song (and since you may have had a few drinks while there, this may actually happen). And finally, you may come to the strange realization that you've never wanted to be a suspender or garter (or possibly both) so much in your entire life. But whichever of those feelings you let overtake you, what you will have is a kick ass evening filled with song, dance, and enough finely toned skin to give the peep show across the street a run for its money. But, of course, all in the best of taste.