Jay Irwin - Page 8

Back in 2004, Tina Fey brought us the movie “Mean Girls”, a cute little teen comedy that could have been just another blip in a bevy of teen comedies were it not for the stellar writing of Ms. Fey and a killer cast. Because of that, the movie has become a bit of a classic in the genre. A shining example of how to do it right. Then Fey, along with husband Jeff Richmond for the music and Nell Benjamin for the lyrics chose to convert her classic into a Broadway Musical. They brought over all that stellar writing from the movie, and that’s part of the problem. The other part of the problem is that the new elements, the music and lyrics, don’t quite live up to the writing. So, what we’re left with is a faded carbon copy of the original that while still fun, isn’t quite as “Fetch” as the original.

Can Can keeps bringing the goods in show after show and their current show, “Masquerade” is no exception. But then why would it be when “Masquerade” features some of the best numbers from previous shows such as “Bon Bon”, “Peacock”, “El Dorado” and more. But even with all these hits from the past, they still manage to surprise with each new show.

Like so many companies, Pony World Theatre was in the middle of rehearsals back in March of 2020 when everything shut down due to the pandemic. Now cut to October of 2021 and things are starting to happen again in the theater community and among them is Pony World’s second shot at the West Coast Premiere of Blake Hackler’s harrowing play, “What We Were”. And while the play is a tad predictable, it’s no less hard hitting especially with the powerful performances from the small cast.

If you’ve been to the Can Can Culinary Cabaret, Dear Readers, you know pretty much what to expect. Amazing singers and dancers, high energy acrobatics, and loads of tantalizing flesh. You also expect to see Jonathan Betchtel, with his bawdy humor and gravity defying glutes, he’s been a staple there as the emcee for the past 15 years. So, you can imagine my surprise when I attended their current production of “Zombie Cheerleaders Return” and Jonny was nowhere to be found, instead having the evening helmed by their resident chanteuse, Jasmine Sim. And while this resulted in a very different show than I was used to, it was no less delightful.

The 1970’s and early 80’s had a lot to set it apart but nothing more than the three D’s, Disco, Disease, and Denial. Even as the Gay rights movement was starting to put LGBT folks into the spotlight, their very existence was threatened by an insidious plague that seemed to target only them (mostly gay men), AIDS and HIV. A plague that was largely unmentioned by the country's administration. But they still found moments of exuberance and freedom within the Disco clubs. And this is what “amber”, an installation from Washington Ensemble Theatre aims to explore.

There’s a pandemic raging across the world, the streets are filled with Nazis, thugs, and the mentally unstable out for blood, and big corporations want to take away your livelihood and cast you out for not being able to pay your bills. No, I’m not talking about the reports from last night’s 11 o’clock news but an all too familiar set of circumstances from a 1994 play, “Marisol” by José Rivera, currently being offered from The Williams Project. And while the circumstances of the play, as well as our own world, seem bleak, this outstanding production from the always amazing Williams Project can give us a little hope.

Dear Readers, I have some amazing news for you. Everyone’s favorite denizen of bawdy jokes, killer moves and more skin than you can shake a tassel at, The Can Can, is back. And now bigger than ever. With their expanded cast, in their new space, and a blinding amount of rhinestones, their show signifying their resurgence from the pandemic, “Glitter Gala”, proves to be a welcome return to theater filled with tons of happiness.

Dear Readers, as we inch back into the world of live theatrical experiences, the excitement to put out incredible art is palpable. And when you have a stunning outdoor venue such as the Cave B Winery Estates in George, WA, not to mention some of the A-listers of Seattle theater talent involved, that excitement can be overwhelming. But don’t let that excitement blind you to when a show just is not there, as was the case with “How Can I Love You” from Composer Rand Bellar and Playwright, Librettist, and Lyricist Vince Bryan.

Dear Readers, it’s so good to be able to call you all that again. I’m so pleased to announce that live theatre has returned to the Seattle area. That doesn’t mean we’re completely back to normal, but it is a start, as The Williams Project has put together “The Campfire Festival”. And with its rotating slate of shows, they remind us of what we’ve been missing, and longing for.

The lives of prisoners are a well-known trope for many dramas. The inmate and the Nun in the film “Dead Man Walking”, two unlikely allied prisoners and a figment in “Kiss of the Spider Woman”. The genre is visited time and time again as it’s a world few of us, thankfully, have experience in, opening all new doors of emotional stakes. However, you need to have those emotional stakes for it to work. Furthermore, those other examples work as they are conversations between people in the same room. Keiko Green’s virtual offering from ACT, “Wad”, however misses the mark on both of these aspects. With a method of communication that makes no sense and a non-existent story arc, the show amounts to an unengaging and often times infuriating evening only saved by two engaging actors.

Dear Readers, I’m back! It’s been almost nine months since I’ve had the privilege of sharing with you the theatrical goings on in Seattle thanks to the restrictions of the pandemic. And while I hope everyone is staying safe, and I know there are bigger things out there to concern ourselves, I have lamented the loss of live theater every day. I’m sure, like me, many of you have sated your theatrical fix somewhat with the virtual fare streaming from all over the world, but there’s been nothing locally for me to review for you (at least no one asked … until now). As we all digest our respective Thanksgiving dinners and prepare ourselves for socially distant holiday celebrations, the folks at ArtsWest have put out a little holiday cheer. An early Christmas present, if you will, in the form of a mini-musical from the mind of Justin Huertas, writer of such shows as “Lizard Boy” and “Howl’s Moving Castle”, with “A Very Merry Kraken Tea Party”, a sequel to last year’s “The Last World Octopus Wrestling Champion”.

I've often talked about the embarrassment of theatrical riches that we have in Seattle. We have several companies that bring us new works, many of which have made their way on to Broadway. We have a wealth of extremely talented performers who constantly wow us with their gifts. And we have a reputation that brings in talented others to play in our sandbox. But we also have a local connection to one of America's most acclaimed playwrights, August Wilson, and so we get things like the Tony nominated Broadway production of Wilson's a?oeJitneya?? remounting at the Seattle Rep with the Broadway director, Ruben Santiago-Hudson, and several of the Broadway cast.

Radial Theater Project is currently presenting an adaptation of George Orwell's classic dystopian nightmare a?oe1984a??, and don't even THINK about saying anything good about it. Big Brother has sent down orders from the Ministry of Truth that there is nothing good about this production and it has no good performances or redeeming qualities, and everything is un-good. But if you know anything about the Ministry of Truth, you know everything is the exact opposite there and that holds true here as this production is a spectacular, riveting telling of this horrifying story and you need to see it. Just don't tell The Thought Police I said that.

Henry James' novella a?oeThe Turn of the Screwa?? is considered by some to be a classic of horror literature. A suspenseful story of ghosts and insanity that leaves each reader with a different viewpoint on what just happened. To be perfectly candid, I'd never read it and so my first exposure to it was last night's Book-It adaptation and production. And honestly, the way it was presented, I found it as suspenseful as a fly in a glass of milk, eliciting vaguely interesting questions of a?oewill she drowna?? or a?oewill she fly awaya??, but most of all a?oedo I really care?a?? All I know for certain is that I don't want to drink it anymore.

Dear Readers, you may recall that several years ago there was a new musical that came through town, about Princesses (even called that), that many consider, including myself, to be one of the worst things they've ever seen. But as bad as it was, it had three things going for it. First, there was a story built around a Father's love for his daughter. Second, there was a hunky boy-band type, who may have creeped many out with his utterly rapey song a?oeJust Say Yesa??, but he was still pretty. And third, and most importantly, the show featured one truly great song that spotlighted the quirkier and subordinate a?oePrincessesa?? of the bunch. Cut to 2020 and enter the 5th Avenue Theatre's latest new musical venture, a?oeBlissa?? that, while having no real connection to that other one, blissfully and coincidentally contains those three elements and runs with them, while tossing the rest of that dreadful show into the infernos of musical theater hell (along with the likes of a?oeFlashdancea?? and a?oeLove Never Diesa??). And while a?oeBlissa?? may still have some work to do to make it truly shine (which we'll get to in a minute), it's still a delightfully fun romp into the woods with some Princess archetypes who aren't the norm but should be.

With more and more younger people getting involved with politics and saving the planet, the question raises, what is the responsibility of the older generation, the generation that caused many of the problems, to clean up their own messes? Such a question is posed in Lucy Kirkwood's commanding play a?oeThe Childrena??, currently on stage at the Seattle Rep. But far beyond just an evening of recriminations, this delicious onion is peeled back layer by layer, thanks largely to a superb ensemble, until everything is laid bare. And once it is, it's over, allowing the audience to make up their own minds.

You gotta love those Disney Imagineers. They repeatedly manage to take those beloved Disney movies and reimagine them for the stage, taking them far beyond a simple rehash with some new songs into a whole new world (yes, I know, wrong show reference). And a?oeFrozena?? currently playing at the Paramount Theatre is no exception, in fact it may be the standard by which all the others will be judged. That's not to say that the effects are all that the show has going for it. We're also gifted with some insanely talented performers and some fantastic staging and choreography that totally defrosted my cold heart, as I was ready to have a MEH evening and ended up with so much more.

Most people are familiar with at least some works of the renowned playwright Arthur Miller. a?oeThe Cruciblea??, a?oeAll My Sonsa??, a?oeThe Pricea??, and of course a?oeDeath of a Salesmana?? to name a few. But one of my favorites, and a somewhat lesser known Miller, is his a?oeThe Creation of the World and Other Businessa??. Not a household theatrical name, but it tends to get dusted off every now and again for actors who want to sink their teeth into something juicy and stretch themselves. Enter Theatre9/12, whose mission statement is all about letting actors stretch and sink their teeth into the goods, so it's no surprise that their current offering is a?oeThe Creation of the World a??a?? but with some slight twists. Some worked, some didn't, but in true Theatre9/12 style, the end result is a powerhouse evening.

As a white man I can recognize the privilege that has been afforded me throughout my life. That's not to say I didn't work hard for what I've achieved, nor to say I haven't had hard times, but that underlying privilege has always been there. But is recognizing your privilege enough? How far do you go to counteract it? Do you accept it when it's presented? Do you resent it when it works against you? These heady questions are at the center the Joshua Harmon's comedy a?oeAdmissionsa??, currently playing at Seattle Public Theater. You read that right, comedy. Just like his previous hit a?oeBad Jewsa??, Harmon manages to tackle some hot button topics and spin them so you might not notice you're thinking about them since you're laughing so hard.

In Timberlake Wertenbaker's play a?oeOur Country's Gooda??, currently being offered from Strawberry Theatre Workshop, they say theatergoers should have three things. They should pay attention. How could you not with some of these incredible performances happening from the ensemble? They should be able to use their imaginations. Yes, you will need that as the ensemble of 11 play 22 roles, but with their commitment to their characters, it's not difficult to see who's speaking. And they should have patience. This is where I felt I faltered a bit last night. The show, which clocks in at 2 hours and 45 minutes including the intermission, drags on a bit at times, especially in Act One as things are getting set up.