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Finding Jamie (A)

Well structured and perfectly paced, this simply delivered solo show tells a compelling story that seamlessly weaves together two generations of coming-of-age romance. Zac Williams is a charismatic narrator who, without the use of exaggerated voices or postures, clearly conveys a full ensemble of characters in conversation, balancing narration with dialogue to keep the show engaging. He manages the Video Cabaret in-the-round setup well (only one key monologue was delivered with his back to our side of the audience) and boldly keeps his staging barebones and the focus on the emotions of his story. Moving, funny, and sweet, Finding Jamie is a standout solo offering this year.

Inconsequential addendum: the show ends with Taylor Swift’s “I Knew It, I Knew You”, which seems as though it were written for this play (something strangely not true of Toy Story 5).

 

Mysteries and Lies (B)

This simple magic show from the affable and disarming James Alan showcases classic techniques and old school props like coins and cards. To my untrained eye, the technique seems pretty solid and every illusion seemed to work as intended. Alan could work on his showmanship, though. A bit more story structure and maybe a screen to help the people in the back see the table-top and close-up magic would go a long way.

 

Will and the Amazingly Obsessive Theatrical Vinyl Collection (B)

It takes a few minutes for Will Parry to get into the groove of this slumber party solo show based around their beloved collection of musical cast albums on vinyl. The song density doesn’t pick up until about halfway through. At its best, the show bounces brilliantly between impactful songs with thematic resonance. At its worst, there’s too much exposition as Parry lays the foundation of their chipper persona and takes time away from the endearing vulnerability they’re just starting to uncover when the show comes to an end. It’s the darkness underneath the light that holds all of this show’s interest. The greatest moments are when they dive into a heartfelt “Ring of Keys” from Fun Home or mash up Oklahoma’s “I Cain’t Say No” with Into the Woods’ “I Know Things Now”, both cases of perfect song choice providing key insight into Parry’s story, though they’re undermined a bit by over-explanation.

 

You Choose: An Improvised Murder Mystery (B)

When seeing an improv show, especially in a theatrical context, I want lots of structure. That’s what Howland Company’s You Choose gives its audience. We have a guide in the form of the inimitable Liz Johnston (who also doubles as a character in the story) and there are strong parameters that give the performance shape. We have a fixed setting, pre-determined characters (though who is playing whom is determined by random draw and the characters change at every performance), and a structure that keeps the show well-paced and the ending satisfying. Obviously with improv any given show is going to be a toss up on overall strength. The performance I saw was merely so-so despite the overall skill level of the cast but the floor is high with this much talent onstage and so much thought in the show’s development.

 

Harlem of the North (B-)

The book meanders and the acting is so-so at best in this over-packed drama about a young jazz singer. It doesn’t have enough song density to be a full musical but it doesn’t adhere to the diegetic rules of a “play with songs”. All of that said, leading lady Jemima Charles’ voice is like a human special effect, washing through the Factory Studio with incredible force and grace. The play isn’t much but Charles’ voice is everything.