Jay Irwin - Page 2

First off, Dear Readers, I want to wish the Seattle Rep a Happy 60th Birthday this week. They’ve had an impressive run. Having said that I wish I had a better Birthday gift for them as their current production of Louisa May Alcott’s classic “Little Women”, as adapted by Kate Hamill, was not all I hoped it would be. It’s a cute show with some good performances but an incomplete telling of this iconic tale.

I know what you’re thinking, Dear Readers. “Didn’t you just review this one?” Yes, it’s only been a little over a year since “Hadestown” came through town. But with the number of people I know personally alone who just could not get tickets last time, I’m not surprised it’s back playing at the Paramount. So here we are again. “But why see it again? And what more could you have to say?” First, I would see this show a thousand times and love every minute. And second, I could talk about this masterpiece from Anaïs Mitchell forever. But I’ll try and focus on this production.

The Seattle Rep is certainly known for bringing in some rare gems over the years. I still geek out over shows like “The Brothers Size”, “An Iliad”, and of course “Come From Away”. And this season is kicking off brilliantly, in no small part to the shimmering, magical jewel currently playing, “Islander”.

Dear Readers, I firmly believe that the smaller theaters in the area can accomplish anything that the bigger budget theaters can. Strawberry Theatre Workshop is a prime example of this as I’ve seen some stellar things from them over the years. Unfortunately, their current production of the musical “Miss You Like Hell” feels like maybe they bit off a little more than they could chew.

Dear Readers, last night I discovered at “Cambodian Rock Band”, the latest collaboration of ACT and the 5th Avenue Theatre, that I am officially a cranky old man. This is an astounding play from an astounding playwright but infused with a rock concert vibe. Now, I’ve never been a concert guy and while the adage, “If it’s too loud then you’re too old” doesn’t really apply as it wasn’t too loud, I did find the ending “concert” to be too long. We’ll touch on that more in a minute, but did I mention how astounding this play is?

Dear Readers, it struck me last night, while watching The Can Can’s current production of “The Hitchcock Hotel” of the intersection of horror, humor and sex. Any horror movie fan knows that a good laugh is the perfect way to release that tension after a good scare. And sex certainly plays a part in horror, not only that any good horror movie killer is going after the teens fooling around, but also consider those fun, spooky, and sexy icons such as Lily Munster, Morticia Addams, Elvira, Mistress of the Dark, or anyone in The Rocky Horror Show. So, the Can Can’s horror burlesque fits right in there, dancing that line of spooky, fun, and sexy. And while I don’t think anyone will be terrified at their fright fest, they’ll certainly laugh while being titillated.

While watching the opening routine in “Passengers”, currently playing at the Seattle Rep, I found myself seeing a move I knew. We referred to it as a “coffee grinder” in my tap-dancing days and I was totally able to pull it off … when I was nine. Also, that was the only time I watched this incredible group of artists perform anything I’d be remotely able to do. Lucky for us we don’t have to. We can just sit and watch with awe, and I recommend you all do!

Author Ken Ludwig has certainly had a prolific career filled with some wonderful gems, “Crazy for You”, “Lend Me a Tenor”, and “Moon Over Buffalo” to name just a few. So, Village Theatre’s new production of his 2017 work, “Sherwood: The Adventures of Robin Hood” sounds like a rollicking good time. Unfortunately, this new retelling of a classic adventure meanders about awkwardly not knowing what it wants to be. And that’s just one of the two big problems of a production that just laid there hoping the audience would find something funny in it.

In these tumultuous theatrical times, it’s of little surprise that The 5th Avenue Theatre would head back under the sea with a remount of “Disney’s The Little Mermaid”. I mean, they just did it back in 2016. But it’s a crowd pleaser and I suspect a bit of a cash sea cow so here we are.

Dear Readers, I’m thrilled to say that my opinion of “Tina, The Tina Turner Musical”, currently playing at the Paramount, has changed. I saw it way back in 2018 in London and was not impressed. The show, while having tons of talent, also had tons of problems. Fast forward to now and it seems like some of those issues have been fixed. Some, but not all. But still making for a better evening than I expected.

The Can Can has never been one to shy away from sexual boundaries. Hell, emcee Jonathan Betchtel will flirt with anyone he lays his eyes on. But now with their new show, “Crimson and Clover”, they’ve ventured into their first unabashedly queer storyline, still with their usual sparkle and humor. And the result is, of course, another deliciously sexy winner.

Dear Readers, The Queens have arrived at the Paramount with the North American Tour of “Six” and attention must be paid to these divas. Maybe you’ve seen bits on late night shows or performances on the Tonys but there’s nothing like catching this Tony winning show live.

One thing that can be said about Book-It Repertory Theatre, Dear Readers, is that they know how to surprise and thrill. Their 2016 productions of “The Brothers K” still live rent free in my head. So, when I heard they were tackling a novel such as Stanislaw Lem’s “Solaris”, currently playing at the Center Theater, I was dubious but excited. Taking on this Sci-Fi/thriller/love story is not an easy thing to do. It’s been attempted many times including a few movies, the most recent in 2002 with George Clooney, but to put the Solaris Space Station up on stage sounded like a stretch. But then, I did say they always surprise, and they did this time, as well as thrill.

In the musical theater world, there are classics and then there are Classics (with the big “C”). Jerry Herman’s “Hello, Dolly!” is certainly a big “C” Classic and I’m here to fight anyone who says different. It’s a delicious throwback to the Golden Age of musicals and certainly a star vehicle for the right star. And speaking of the right star, the current production of “Dolly”, currently playing at Village Theatre, shows just how good this Classic can be with the incredible Bobbi Kotula in the title role who proves that she’s not a star, but a Star!

I’ve seen many productions of “Les Misérables” over the years, Dear Readers. I’ve seen local productions and tours. I’ve seen with the turntable and without. And, of course, I’ve seen good and not so good productions. And with all those viewings under my belt, I had to ask myself, “do I need to see it yet again?” And the answer I got last night was a resounding yes. When it’s a production as good as this one that can remind you how amazing the show is, you absolutely want to see it again.

Dear Readers, just as theater professionals have unique ways of communicating a story, so too do children have their own ways of communicating their issues, especially when traumatized. Now take those two unique perspectives and combine them and you get the singular “Wolf Play” by Hansol Jung, currently playing at ACT. And it’s this unique perspective that explodes this already touching story into an experience not to be missed.

He’s a Seattle favorite. He inspires magic and wonder and just brings a smile to the faces of those who see him. No, I’m not talking about Justin Huertas, composer of the locally (and beyond) renowned musical “Lizard Boy” (about to make its Off-Broadway premiere in NYC, by the way), although I might as well be. No, I’m referring to the Fremont staple of the Troll statue under the Aurora Bridge. That devilish creature clutching a Volkswagen Beetle is beloved by all who pass through. Well now Huertas has come along with his own take on how this stone giant came to be, with his long awaited “Lydia and the Troll”, currently playing at the Seattle Rep. And a few technical issues aside, it’s just more wonderful from this up-and-coming composer who is about to take New York by storm.

Dear Readers, I’m baaack! It’s been months since we’ve spoken or even since I’ve been in a theater due to a medical issue that’s kept me homebound. So, one of my favorite shows, Stephen Sondheim and Hugh Wheeler’s bloody masterpiece “Sweeney Todd, The Demon Barber of Fleet Street”, currently playing at the 5th Avenue Theatre, felt like a great choice to dip my toes back in the theatrical waters. And I’m happy to report it was a mostly fantastic return. I say, “mostly” as while it was a super solid production, especially from a tight and gifted ensemble, there was one element, and a rather large one at that, that kept me from being truly immersed in this macabre world. But we’ll come to that in a bit.

Dear Readers, you know I find one person shows to be problematic. Often, they get into maudlin territories and end up being someone else’s therapy on stage. So, I was dubious when Seattle Shakespeare Company announced Debra Ann Byrd’s one woman show “Becoming Othello: A Black Girl’s Journey” to start off their 2023. As Byrd stepped onto stage at the Center Theatre, I took it as a good sign that we didn’t get the cliché, “Oh, I didn’t see you there” as if we’d intruded on her private moments. Instead, we got not words but song and movement offering up prayers to her ancestors who got her to where she is today. And then what followed was 90 minutes of a raw, well-paced, well-constructed look into this amazing woman who broke down the barriers erected in front of her by centuries of selfish oppression. Also, what followed was a hell of a way to start off 2023.

Dear Readers, I don’t need to tell you, it’s been a crazy year. Many theaters just coming back to life or ramping up again post pandemic. But even with all the chaos, Seattle still comes up with some amazing shows from theaters large and small. Here’s a list of my personal picks for outstanding shows and performers from the past year, 2022.