Jay Irwin - Page 35

Well this is it, Dear Readers. The trip has come to an end (sigh) and even as I type this I am winging back to the Emerald City and leaving the Mothership behind. It's been an exciting trip with tons of thrilling theater. But before we wrap up, we still need to talk about one more show, "If/Then'.

It's day four Dear Readers, it's almost all over (sigh), and it's all slowing down. Only one show last night and only one more remaining. But let's not focus on the sadness of having to leave the Mothership soon, let's focus on killing the mean, popular kids.

Day three was yet another roller coaster of emotions as we went from the tragic yet beautiful to the hilarious. I guess I planned this schedule pretty well. Let's start with the beyond words amazing Audra and then we'll move on from there.

Day two, my three show day, is behind me Dear Readers and it was an absolutely exhilarating one filled with laughs, tears, and culminating in a stunner of a show. But we'll get to Neil in a minute.

Greetings Dear Readers. The lure of the Mothership was finally too great and I have returned to her to see what kind of wisdom she wants to impart. Yes, I have returned to New York to avail myself of the fabulous new shows the city has to offer.

OK let me start off by saying, Babs she ain't and thank God for that. OK, now before you all form the lynch mob, I love Babs. But if anyone is going to even attempt to put on "Funny Girl" the worst thing they could do it try to pass off an imitation of an icon. And Sarah Rose Davis in Village's current production manages to pull off carrying the show with aplomb while still putting her own stamp on the role.

William Finn's shows are not easy to produce. Maybe that's why (with the exception of Spelling Bee) they're not done as often as they deserve. And his largely autobiographical "A New Brain" is no exception with its emotional storyline and rich score not to mention some odd staging elements it requires. So if you're going to produce it you'd better have all your ducks in a row. Well all of the ducks are there for the current production from STAGEright now performing at the Cornish Playhouse Black Box but some of them didn't quite stay in that row.

The main characters in the new musical version of "A Room with a View" spend their time trying to figure out who they want to become. Unfortunately the show itself also has an identity crisis, as it could never figure out what kind of show it wanted to be. And that, combined with songs that rarely got off the ground and never moved the story along, left the show a muddled mess being sung by some powerhouse talents who deserve better.

A Shakespearean classic directed by Sheila Daniels. Sounds like a dead lock winner right? Unfortunately Seattle Shakespeare Company's current production of "King Lear", while having some moments of power, ultimately left me wanting. Wanting for what? That's tough to say. There were so many little things needling me about the production that didn't quite work that they almost overshadowed what did. But ultimately it amounted to an inconsistency of pacing and performance that left me, like Lear, out in the cold facing the storm (such as it is but we'll get to that later).

As Americans we tend to love to witness a good familial car wreck. That's why dysfunctional family dramas are so popular (not to mention the hoards of people behaving badly on reality TV). But long before the Weston's of Osage County hurled their first insult or popped their first pill, George and Martha of Edward Albee's classic dark comedy “Who's Afraid of Virginia Woolf?”, currently playing at the Seattle Rep, were knocking back two or three or 15 stiff ones and letting the secrets and venom fly. And Albee's play feels just as fresh today as it ever has, due in no small part to this pitch perfect production. So I guess bad manners never go out of style.

It's not based on a book or a movie or (God forbid) a TV show. It isn't the dusted off classics from some forgotten pop icon. What Balagan Theatre has brought us with the world premiere of "Ernest Shackleton Loves Me" is a quirky, fresh and completely original new musical and one of the most exciting things I've seen in musical theater in years. It's the whole package!

There's a plot device that has annoyed me since I was a kid. Sitcoms use it a lot. It's where the main character keeps lying and/or making obviously poor decisions which keeps digging them deeper and deeper into a hole until you just want to scream at them, "Just tell the truth and do the right thing already!" In sitcoms it all gets resolved in a fun way in 22 minutes and everyone learns a valuable lesson. But when this plot device is combined with the nation's current economic woes as is the case with Laura Marks' play "Bethany", currently playing at ACT, that frustration with the characters never seems to end leading to a bleak evening which left me asking, "why?" Is this a journey we need to take or is it simply frustration for frustration's sake and shining a spotlight on the plight of some to make others without the plight feel better about their lives?

A world premiere play from one of Seattle's best, Stephanie Timm, directed by one of Seattle's best, Darragh Kennan and from one of Seattle's best theatre groups, New Century Theatre Company. Seems like a dead lock winner right? But while I still found "Tails of Wasps" currently playing at ACT thoroughly engaging and interesting I wasn't so blown away by it as I have been by others from this group. And yes, I may be holding them up to a higher standard, but that's what you get for consistently being on the top.

Balagan Theatre is bringing one of the oddest topics for a musical to the Seattle Rep with the world premiere of "Ernest Shackleton Loves Me". From anyone else this might seem like a stretch but from the minds of Valerie Vigoda and Brendan Milburn, who brought us the likes of Striking 12 and Sleeping Beauty Wakes, along with book writer Joe DiPietro, a story about a single mother/musician who begins a Skype conversation with Ernest Shackleton as he journeys across the Antarctic is just a jumping off point for something magical. I recently sat down with co-author and one of the leads of the show Valerie Vigoda along with fellow cast mate Wade McCollum to discuss this odd pairing.

Psst! Hey Buddy! Yeah you! You lookin' for a good time with some scantily clad performers who are ready and willing to do whatever you want while putting on a hell of a show? Well then you'd better hop in your time machine and head back the 1960's because Seattle doesn't do that anymore. But luckily we have "Seattle Vice" now performing over at ACT which takes a look back at those grittier days of Seattle in the 60's where the booze and the boobs flowed freely.

A musical about imprisonment, homosexuality, fascist regimes, revolutionaries, morphine addiction and a movie star; must be Kander and Ebb because only they could pull it off so beautifully. But their "Kiss of the Spider Woman" is not often produced possibly due to its harsh themes but also that it's a very difficult show to stage and perform with its rich nuances. And while the current production at SecondStory Repertory has some wonderful performances, ultimately the choices and in some cases additions to the show made it lack the passion and danger the show needs to up the stakes of its story.

You're a cute little new musical that has workshopped itself at Village in their Village Originals program twice before. You have an interesting storyline and a fun little gimmick. You start off a little weak but there are sparks of potential. So why would you completely abandon that cute storyline and gimmick by Act Two and then proceed to beat your audience over the head with a tired message of letting time work things out? (A message that made no sense for what preceded by the way.) Unfortunately this is the question I found myself asking at Village Theatre's "The Tutor". Sure the performers shine but they shine in a show that has no idea what it wants to be or where it wants to go.

I always question the wisdom of these smaller theaters working with almost no budgets putting up these big flashy Broadway shows. They're not going to have the funds for lavish sets and racks of fancy costumes. But even without all that Seattle Musical Theatre managed to take Mel Brooks' "Young Frankenstein" and create an evening of naughty fun with some truly solid performances.

When Seattle Shakespeare Company hits one out of the park they do it with gusto. Such is the case with their current production of Oscar Wilde's battle of witty banter, "The Importance of Being Earnest". They've managed to take Wilde's delightful romp and made it even more delightful by executing it with magnificent precision in all aspects. If I had to find one drawback with the production it's that it ended as I, for one, was having entirely too good a time.

I'll admit to a certain amount of trepidation when going to see the world premiere of "Royal Blood" by Sonya Schneider at West of Lenin. I mean a world premiere play about a dysfunctional family with characters based on the author's relations. It sounds like one of my least favorite things in theater, someone else's therapy on stage. Not to mention that everyone wants to be "August: Osage County" these days. And sure, while there were a few elements that read a touch predictable, fortunately what I got was a fresh storyline with gripping dialog from an ensemble of outstanding actors which amounted to a thoroughly engaging evening.