Jay Irwin - Page 28

Anne Washburn's hit play "Mr. Burns, a post-electric play", currently playing at ACT, does a fine job at exploring the genesis of mythology and still keeps itself very funny. But that exploration tends to draw itself out a little too long with too little payoff for the time spent.

From the moment you set foot into Cafe Nordo for their current production of "Sauced" you're struck with the wonderful sense of being transported back to the 1930's. But then, with all their ambience and commitment to tone you're no longer in Cafe Nordo but in the Diamond Club. And once there you should prepare yourself for mystery, intrigue, love, lust and betrayal all set to some gorgeous 30's tunes and served up with a five course meal and drinks for which every new bite causes an "oh my God!" moment.

I'm all for a tribute to a wonderful composer such as Stephen Schwartz. But the new musical 'Snapshots' currently playing at Village Theatre feels less like a tribute and more like theft. OK, maybe theft is too strong of a word since Schwartz is aware of the show and has given his blessing but it's definitely appropriating someone else's good works with not much new to say.

With the creative team of Richard Maltby, Jr. and David Shire at the helm, I had high hopes for the new musical 'Waterfall' currently playing at the 5th Avenue Theatre. With a pedigree like those two have there would have to be something to grab onto in the show, right? Unfortunately this adaptation of the Thai musical 'Behind the Painting' based on the novel by Siburapha offered nothing but a clunky story and nuance free music and lyrics that elicited no passion or romance, which for a love story is deadly.

There's a reason why Joshua Harmon's play "Bad Jews", currently playing at Seattle Public Theater, has been such a hit all over the country. Because it manages a trifecta with its wonderful script as it takes a sensitive subject of religion and infuses it with rich characters, hilarious language and heart. And the cast and crew over at Seattle Public Theater have grabbed onto this with both hands to make this a fantastically vicious and funny show.

From the title of Book-It Repertory Theatre's current production, “What We Talk About When We Talk About Love”, you might think this could be a lovely and romantic date night possibility. Well, nothing could be further from the truth as this collection of four Raymond Carver stories seem to focus on the more mundane, banal and vicious elements of relationships and come across more like Carver exorcising his own demons. So not only is it someone else's therapy on stage but on page as well and was, frankly, boring.

Arguably one of the greatest American playwrights, Arthur Miller rarely goes in for the flash or quirky with his works but simply tells a story. And those stories, such as 'A View From the Bridge' currently performing at the Seattle Rep, build with a sublime slow burn and sneak up on you until, before you know it, have you in their grip and won't let go. And the cast and crew of this current production truly understand that and deliver some finely layered and complex performances making Miller's work shine all the more.

Kim Rosenstock's play "99 Ways to F**k a Swan" currently being offered from Washington Ensemble Theatre is not going to be everyone's cup of tea with its outrageously bizarre themes and extremely dark and twisted humor. But if you can see your way past its surreal nature, the language, the nudity and (as the title would suggest) some frank discussions on bestiality what you have left is a stunningly performed and beautifully crafted twisted love story that deserves attention.

World War II soldiers trying to survive in a POW camp, we've seen this story many times before. But in Vincent Delaney's "The Art of Bad Men", currently being offered from MAP Theatre, we see a different side of the POW experience, from the point of view of the German soldiers being held in America. And while the play was filled with superb performances and some quite powerful moments it lacked a unifying thread to draw its disparate stories together.

Tennessee Williams' 'Suddenly Last Summer', currently performing at Theater Schmeater, is not often produced, but why? Maybe because it's a one-act or maybe because it feels like it lacks an ending or maybe because it's even a little too dark and twisted for fans of Williams. Whatever the case, Schmeater's production manages to take on this dark journey and thanks to some committed and focused performances, make it seethe with power and intrigue.

No hip hop remixes, no ridiculous stunt casting, just good old fashioned Broadway caliber talent putting on a classic musical, that's what you get when you go see "Annie" currently playing at the Paramount Theatre. And there's a reason it's a classic, it's just that good.

I'll admit that during Act One of the final show for this year's Intiman Theatre Festival, "Bootycandy", I kept thinking, "What the hell am I watching?" It was interesting and funny but felt disjointed with so many disconnected scenes. But by the end when they pulled them all together and I saw where they were going I was able to grab hold of that "aha" moment that you don't always get in theater.

It's one of Shakespeare's more raucous comedies so in order to do it right it's best to just let it happen and not get in its way too much. Luckily director Jane Nichols and the folks at Seattle Shakespeare Company understand that about "The Comedy of Errors" but that didn't stop them from adding in some glorious bits of slapstick and physical comedy to this already funny tale, elevating it to hilarious.

As hearing people we may think that the advancement and availability of cochlear implants would be welcomed with open arms by the deaf community. But what Don Nguyen's play "Sound", getting its world premiere production from Azeotrope at ACT, points out to us, the cultural effects of suddenly being able to hear can be far greater than the medical ones. But while the plight of those in the story was impactful I didn't feel the play itself offered much in the way of a resolution and thereby much of a message.

In our jaded and cynical world sometimes our inner cup of hope and romance can get a little low and we can use something to refill it. Well never fear romance seekers as ACT's World Premiere production of Steven Dietz's "Bloomsday" is here. This sweet little charmer is bound to fill up the romance cup of even the most jaded among us, at least a little bit.

ArtsWest has taken on a huge risk by putting up the Green Day musical 'American Idiot' on their intimate stage. Not only by trying to fit this large spectacle in their space but also literally reconfiguring their floor plan and utilizing multiple areas within their theater to create an immersive experience in addition to the regular observational one. With so much going on, a cast of 31 and a full band this could have been a full on train wreck. But director Eric Ankrim and his crew have taken this super risky venture and spun it into pure gold.

Let me start out by saying I do not like "Jesus Christ Superstar". I think it is a completely overrated show. Repeating the same lyric 50 times does not make a song! So it's more than an annoyance that every few years someone feels the need to resurrect it (pun intended). I mean in the past eight years I've seen it four times. In fact the current production at Seattle Musical Theatre is the third production in four years where they've chosen to set it in a post-apocalyptic world. I can only attribute its constant remounting to religious fervor and a mass familiarity with the source story. So I'm going to try and keep my disdain for the piece in check and focus on the performances. Unfortunately, as good as the performers were vocally, there was a severe lack of depth in these iconic characters plus a bad sound system which didn't aid the performers in getting me through the afternoon.

The tragic circumstances and attitudes of Lillian Hellman's "The Children's Hour" may still have some resonance in today's more accepting world but the power and stakes of the piece when set in the unforgiving 1930's feels so much greater than the more progressive 1980's as the current production from The Intiman Theatre Festival updates it to. But even with the change in era and place the piece still hits hard especially in the more than capable hands of director Sheila Daniels.

Sometimes we forget with all the flashy shows out there what can be done with a minimal bit of stage wizardry and a whole lot of talent. But then a new company comes along just starting out and they remind us. The New Alchemists may be brand new and small but they know how to tell a good little story with their first production, "Eaten Voices".

If you're a company thinking of doing the rock musical of 'Spring Awakening' you need to be ready for it, not only as it's such a difficult show but since it was just done in the area a few years ago and to such acclaim. And while I applaud fledgling company Chandelier Production's courage in taking on such a tough show not to mention their model of using their proceeds to support local LGBTQ charities such as Peace from the Streets by Kids from the Streets, their current production shows that they are not mature enough of a company to handle this demanding show as there were so many issues vocally, theatrically and technically.