Jay Irwin - Page 47

Saint or Sinner? That's the question that the latest new musical tryout at the 5th Avenue Theatre is wanting us to answer with the bio-musical, "Saving Aimee". Problem is, as charismatic and engaging as the lead is, the book and songs don't engage enough to care for the answer.

Oh my holy hell! The rehearsals are keeping me hopping. Sorry for the lack of blog entries but I have been crazy busy trying to learn all those dances and songs. And I don't even have the lion's share. Our poor Tracy (Kate Moyer) only has three numbers she's not in!

I guess it's just human nature to wonder what became of our beloved childhood icons when they grow up. Owe it to some sense of fictional closure if you must. And such is the subject of Balagan Theatre's season opener "Dog Sees God: Confessions of a Teenage Blockhead" by Bert V. Royal and directed by M. Elizabeth Eller as we look at the Peanuts gang as they are allowed to progress beyond their childlike state into angst ridden young adulthood. Unfortunately the current production tends to focus on the angst and not so much on the adulthood.

OK, so I find it an interesting coincidence that there are two (kinda) clowning shows in town right now. "Humor Abuse" over at the Rep (which I reviewed a few days ago) and now the tour of "Blue Man Group" over at the Paramount. And really the two couldn't be more different from each other. While "Humor Abuse" is subtle and sweet, "Blue Man Group" is loud and in your face. And while the latter is definitely fun, I think I prefer the former.

Many of us think of our families as a big circus but Lorenzo Pisoni has special insight on the real thing as he had to run away from home in order to NOT be in the circus. Drawing from his memories growing up in the Pickle Family Circus, Pisoni and director Erica Schmidt have concocted a show that is part memoir, part clowning and all simply wonderful in "Humor Abuse", currently playing at the Seattle Rep.

It's that time of year again. Time to make your voices heard for your favorite shows and performances from the 2011 Seattle Theater Season. Last year's inaugural Seattle awards were so much fun that we just had to bring them back.

On the surface, Seattle Public Theater's current production of David Mamet's "The Cryptogram" is a simple family drama. But then, this is Mamet and nothing is simple. Especially when you add in his glorious language and it goes from simple story to sublime dance of words. And while I enjoyed the language and the Mamet-ness of it all, I ultimately walked away more than a little confused.

So it's been a short yet productive week for me. I only had two music rehearsals myself. But we got through the intricacies of "Timeless to Me", "Welcome to the 60's" and "Can't Stop the Beat" and I love them all! But I have my work in store for me. Gotta do 'em justice.

One part circus, one part play, one part performance art and a dash of improv for good measure, put all that together and you have Teatro ZinZanni. And for those that have never seen a Teatro ZinZanni show before (as I was before the other night) you may be a little put off by the price tag. But remember this is a show AND dinner. And if their current show "Bonsoir Liliane!" is any indication, then it's well worth it. A magical evening from beginning to end filled with hilarity, breath taking feats, and a sumptuous meal. What more could you ask for?

In June of 2002 I had an experience that would alter my perception on how good musical theater could be. That was when I saw "Hairspray" for the first time. It was the pre-Broadway run at the 5th Avenue Theatre. I had heard a bit of "Welcome to the 60's" on the radio commercial and thought to myself, "This sounds pretty good." Little did I know what I was in for the night I saw it. Little did I know that I would be introduced to one of my favorite shows of all time and to a character that I would long to play for years to come.

Not since "Contact: The Musical" have I seen such an ill conceived new musical roll into town. But the latest new musical to get a mainstage run at Village Theatre brought up from their "Village Originals Festival"; "Take Me America" is just that.

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'.

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".

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".