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Back to the Future: The Musical – Review – Paramount Theatre

@showsiveseen Just saw "Back to the Future: The #Musical" at the Paramount Theatre from @broadwaycom Seattle & @Seattle Theatre Group. Starring Caden Brauch & Don Stephenson. Stunning projections & a vibrant celebration of 80s/50s culture, fashion, & music! The story was easy to follow, though the DeLorean tech had a few bumps. Definitely a fun ride through time! Closes 12/22/24 Review: showsiveseen.com/10639 Director: John Rando Music/Lyrics: Alan Silvestri & Glen Ballard Stage Managers: Eric Sprosty, @Caitlin Kellermeyer, Malashia Carter, & Domingo Mancuello Conductor: Matt Doebler Choreography: Chris Bailey #BackToTheFuture #DeLorean #timeTravel #theatre #showsiveseen @Back to the Future Broadway ♬ It's Only a Matter of Time – Olly Dobson

Elevator Thoughts (aka Tweet): Just saw Back to the Future: The Musical at the Paramount Theatre from Broadway Seattle & Seattle Theatre Group. Starring Caden Brauch & Don Stephenson. Stunning projections & a vibrant celebration of 80s/50s culture, fashion, & music! The story was easy to follow, though the DeLorean tech had a few bumps. Definitely a fun ride through time! #BackToTheFuture #DeLorean #timeTravel

Recommendation:
See it, especially if you enjoyed the movie.

My Synopsis (No Spoilers): A teenager from the 1980s accidentally travels back in time to the 1950s and must find a way to return home to the 80s without drastically altering the course of history.

Synopsis from the Licensor or Theatre Company: Great Scott! Back to the Future, the beloved, cinematic classic is now a Broadway musical. Winner of the 2022 Olivier Award for Best New Musical, four WhatsOnStage Awards, including Best New Musical, and the Broadway World Award for Best New Musical, Back to the Future: The Musical is adapted for the stage by the iconic film’s creators Bob Gale (Back to the Future trilogy) and Robert Zemeckis (Forrest Gump) and directed by the Tony Award®-winner John Rando with original music by multi-Grammy® winners Alan Silvestri (Avengers: Endgame) and Glen Ballard (Michael Jackson’s “Man in the Mirror”), alongside hit songs from the movie including “The Power of Love,” “Johnny B. Goode,” “Earth Angel,” and “Back in Time.” When Marty McFly finds himself transported back to 1955 in a time machine built by the eccentric scientist Doc Brown, he accidentally changes the course of history. Now he’s in a race against time to fix the present, escape the past, and send himself… back to the future. When Back to the Future hits 88mph, it’ll change musical theatre history forever.

Attended Performance Date: 12/10/24 – Opening Night

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Dynamic

Prior Exposure/Knowledge Required: No, but you’ll probably appreciate/enjoy this more if you saw the movie.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actors: All

Total Actors: Too many to count

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.75 hours

Was This the First Time I Attended a Production of this Show? Yes

Would I See It Again 3 Years from Now? Maybe

Mainstream Appeal: High

Other Rave(s) Not Mentioned Above

Story: In most live theatre shows, I often need a few scenes before fully grasping the storyline. However, this musical stood out for its clarity and accessibility, making it easy to follow right from the beginning, even without prior familiarity with the movie.
Mother: The scenes and songs involving the mother’s (Lorraine played by Zan Berube) misguided romantic love for her time traveling son were delightful, darling, … and oedipal! “Pretty Baby” and “Something About That Boy” reminded me of retro girl group songs like “My Boyfriend’s Back” or the songs from The Marvelous Wonderettes.
1950s Hazards: In the song “Cake,” the 1950s ensemble ironically and cheerfully boasted about things from that era that are now recognized as harmful, such as leaded gasoline, cigarettes, asbestos, and DDT insecticide.
1980s and 1950s: This show celebrated the distinctive culture, music, and fashion of both the 1980s and 1950s. The musical opened with an overwhelming vomit (in a good way) of garish tubular 80s aesthetics like blaring rock music, workout spandex, preppy plaid, jean jackets, fanny packs, headbands, scrunchies, leg warmers, Polaroid cameras, corniness, bully/geek caricatures, and mullets. This gaudy display starkly contrasted with the more subdued, clean-cut, Grease-like ambiance of the 1950s that emerged later in the performance. Tim Hatley (Scenic/Costume Designer) truly did a remarkable job.
Seahawks: The slight reference to the Seattle Seahawks and the 12th fan was a nice wink to the audience. I wonder if the cast performs similar gags at other cities.

Rant(s)

DeLorean Technical Difficulties: Although this production introduced the DeLorean in a spectacularly flashy manner, the iconic vehicle experienced significant technical difficulties at the climax of the show. Such is the unpredictability of live theatre! The performance paused multiple times as the DeLorean repeatedly stalled with the following projected message. I lost count of the scene re-attempts and false starts (perhaps five?) which extended the show by over 45 minutes while the audience gradually trickled out in the dark. Since ‘the show must go on,’ the cast and production team ultimately drastically altered the final scenes, and it was evident that substantial portions were cut. Imagine my FOMO! This is a glaring example of the risks inherent in productions with complex technical requirements. Among the 500+ shows I’ve seen, this was undoubtedly the most severe technical mishap I’ve witnessed. Thankfully, no one was hurt. Kudos to the team for their valiant efforts to continue. I can only imagine the adrenaline coursing through stage managers Eric Sprosty, Caitlin Kellermeyer, Malashia Carter, and Domingo Mancuello during this crisis.

Other Musing(s) and Observation(s)

“21st Century” Song: The second act opener was a thrilling, visually spectacular display, featuring futuristic projections and a light show that beautifully illustrated the concept of the space-time continuum with some surprising stage magic at the end. The only drawback was both the lead singer and the background vocalists were difficult to understand because of poor sound balancing.
Projections: It is easy for productions to overly rely on projections as a crutch for scenery and this show was no exception. However, it was a well-chosen artistic decision from video designer Finn Ross to utilize projections when depicting the DeLorean vehicle speeding. It was also a clever technique to project video onto a transparent screen between the audience and actors to simulate rain and stairs.
George McFly: Burke Swanson’s interpretation of George McFly reminded me of a funny sloth.
Formulaic Artificiality: This musical felt overly artificial and formulaic. Despite the well-executed production (and the fact that I kind of love musical formulas), it came across as too commercialized, as if it was conceived solely to capitalize on the movie’s popularity rather than make a dent in the American theatre canon. While that is already innately difficult for musicals based on movies, it’s still possible like with the superficial Legally Blonde. Back to the Future: The Musical lacked soul, leaving me feeling disconnected. Perhaps my opinion would differ if I saw the movie first.

Theatre Company: National Tour from Broadway Across America and Seattle Theatre Group

Venue: Paramount Theatre

Venue Physical Address: 911 Pine Street, Seattle, WA 98101

Price Range: $40-150 plus the insane Ticketmaster fees. Buy your ticket at the box office to avoid the exorbitant fees. Down with the Ticketmaster Live Nation monopoly!

Ticket Affordability Options: Seattle Theatre Group might partner with an organization you’re affiliated with for discount tickets. For example, I believe UW employees/students are eligible for an organization discount.

Dates: December 10 – 22, 2024

Seating: Assigned Seating

Parking: Paid street parking and paid garage parking. The best parking garage is under the convention center w/ the entrance on Pike around the Pike and Terry intersection. Last I checked, this is one of the cheapest, least busy, and closest garages. Alternatively, you can probably find street parking as you move closer to the West Precinct (810 Virginia St, Seattle, WA 98101). Do NOT park where the Paramount subscribers park. Last I checked, they usually park in the garage attached to the Cheesecake Factory. It’ll take you at least 30 minutes to exit that garage after the show.

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Pictures: See production pictures below by Matthew Murphy and Evan Zimmerman.

Cast and Production Team: See pictures below.

Pictured (L-R): Don Stephenson (Doc Brown) and Caden Brauch (Marty McFly). Photo by Matthew Murphy and Evan Zimmerman, 2024.

Pictured (L-R): Zan Berube (Lorraine Baines), Burke Swanson (George McFly), Caden Brauch (Marty McFly) and the Company of *Back to the Future: The Musical*. Photo by Matthew Murphy and Evan Zimmerman, 2024.

Pictured (L-R): Don Stephenson (Doc Brown), Caden Brauch (Marty McFly), and the Company of Back to
the Future: The Musical. Photo by Matthew Murphy and Evan Zimmerman, 2024.

Cartreze Tucker (Goldie Wilson) and the Company of Back to the Future: The Musical. Photo by Matthew Murphy and Evan Zimmerman, 2024.

Pictured (L-R): Burke Swanson (George McFly), Ethan Rogers (Biff Tannen), Caden Brauch (Marty McFly), and Zan Berube (Lorraine Baines). Photo by Matthew Murphy and Evan Zimmerman, 2024.

Caden Brauch (Marty McFly) and the Company of *Back to the Future: The Musical*. Photo by Matthew Murphy and Evan Zimmerman, 2024

Credits from the Encore Spotlight program.

Happy Christmas, Jeeves – Play – Review – Taproot Theatre

@showsiveseen Nathan Kessler-Jeffrey & @Heidi's "Happy #Christmas, Jeeves" #play at @TaprootTheatre. Starring @MocapMinute & Calder Jameson Shilling. A heartwarming comedy for the #holidays w/ funny gags. Review: showsiveseen.com/10926 Photos: Robert Wade Director: Karen Lund Stage Manager: Mackenzie Breda #showsiveseen #theatre #holiday #xmas ♬ Better Together – The Jilettes

Elevator Thoughts (aka Tweet): Happy Christmas, Jeeves play at Taproot Theatre. Starring Richard Nguyen Sloniker & Calder Jameson Shilling. A heartwarming comedy for the holidays with funny gags.

Recommendation:
See it if you’re looking for a funny Christmas-themed play.

My Synopsis (No Spoilers): Bertie is simply hoping for his “Christmas pudding” this holiday season (aka a peaceful, uneventful staycation). But, as always, friends and family chaotically drop by uninvited. Can Bertie and his ever-loyal valet, Jeeves, manage to salvage his Christmas pudding?

Synopsis from the Licensor or Theatre Company: Step into the whimsical world of Bertie Wooster and his impeccable valet, Jeeves, in this brand-new holiday play. All Bertie wants for Christmas is a quiet night at home with no relatives, but his tranquility is shattered by a love-smitten pal and the impending arrival of the meddling Aunt Agatha. Join the mirth and mayhem in a delightful comedy that will tickle your fancy and warm your heart.

Type: Play

World Premiere: Yes

Several or Few Scenes: Several

Several or Few Settings/Locations: Just one – A living room

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: No, but you’ll probably appreciate this play more if you’re familiar the PG Wodehouse’s “Jeeves” character.

Defined Plot/Storyline: Yes

Union Actors: 1

Total Actors: 7

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 125 minutes

Was This the First Time I Attended a Production of this Show? Yes

Would I See It Again 3 Years from Now? No

Mainstream Appeal: Medium

Other Rave(s) Not Mentioned Above

Aunt Agatha: Kim Morris delightfully portrayed a bellicose strict aunt. It must be fun to play such a spirited role.
Gags: The script cleverly incorporated two funny gags. Firstly, there was a two-sided misunderstanding involving terminal illness. And secondly, there was a running joke of visitors knocking at the door just as Bertie mentioned them in conversation.
Audience: The opening night audience was energetic with laughter and even audibly awww-ed during a hugging moment.

Other Musing(s) and Observation(s)

Lady Bittlesham: I always pity actors like Nikki Visel (playing Lady Bittlesham) who must wait for more than half of the show to finally appear on stage in the second act. However, I did enjoy her predatory cougar-like scene. At least her character was mentioned several times before she appeared, which made her arrival feel more natural with anticipation. It’s definitely stranger when a character shows up out of nowhere with little setup. If I’m not mistaken, I recall this weirdness happening with one of Nikki’s previous roles in Taproot Theatre’s The Book of Will, when her character appeared in the second act without any prior introduction.
Costume: Oh my, those culottes Claude (played by Joe Moore) wore could have been a dress or elephant pants!
Scenic Design: The grand door in the back of the set was beautifully designed (and weirdly not the front door), but it seemed more appropriate for American opulent 1980s than Jeeves’s early British 20th century era.

Theatre Company: Taproot Theatre

Venue: Jewell Mainstage at Taproot Theatre

Venue Physical Address: 204 N 85th St, Seattle, WA 98103

Price Range: $35-65

Dates: November 27 to December 31, 2024

Seating: Assigned Seating

Parking: Paid lot or usually-free street parking. I always find free street parking on Greenwood Ave just South of the theatre.

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Pictures: See production pictures below by Robert Wade.

Cast and Production Team: See pictures below.

ichard Nguyen Sloniker and Calder Jameson Shilling in *Happy Christmas, Jeeves* at Taproot Theatre. Photo by Robert Wade.

Joe Moore and William Eames in *Happy Christmas, Jeeves* at Taproot Theatre. Photo by Robert Wade.

Rachel Guyer-Mafune and William Eames in *Happy Christmas, Jeeves* at Taproot Theatre. Photo by Robert Wade.

Calder Jameson Shilling and Richard Nguyen Sloniker in *Happy Christmas, Jeeves* at Taproot Theatre. Photo by Robert Wade.

Production credits from the Encore program.

Disney & Cameron Mackintosh’s Mary Poppins – Musical – Review – The 5th Avenue Theatre

@showsiveseen @Disney & Cameron Mackintosh's "Mary Poppins" #musical at @The 5th Avenue Theatre. Mallory Cooney King (& Allison Standley understudy) uncannily emulated Julie Andrews's original role. Skillful choreography, magical stage effects, & an incredible ensemble in a well-executed production. Closes 12/29/24! Review: showsiveseen.com/10838 Photos: Tracy Martin & Mark Kitaoka Director/Choreographer: Denis Jones Stage Manager: @jkh Music Director: Matthew Smedal #MaryPoppins #theatre #showiveseen #Disney ♬ Supercalifragilisticexpialidocious – Fresh Forte

Elevator Thoughts (aka Tweet): Disney & Cameron Mackintosh’s Mary Poppins musical at The 5th Avenue Theatre. Mallory Cooney King (and Allison Standley understudy) uncannily emulated Julie Andrews’s original role. Skillful choreography, magical stage effects, and an incredible ensemble in a well-executed production. Closes 12/29/24! #MaryPoppins

Recommendation:
See it if you enjoy family-friendly shows.

My Synopsis (No Spoilers): A whimsical nanny descends from the skies, bringing joy and life-changing adventures to a London family in need of a little magic.

Synopsis from the Licensor or Theatre Company: With a spoonful of sugar, Mary Poppins flies across the stage in a brand-new production just for The 5th Avenue Theatre audiences. Precocious children Michael and Jane Banks have exhausted every nanny—that is, until Mary Poppins drops in on a strange breeze. Revel in the spectacle of this chimney-sweeping epic that sees them traverse the roofs of London to encounter colorful characters in a fantastically magical world. Based on the beloved film, this ageless tale is a celebration of imagination that reveals the childlike wonder all around us.

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Dynamic

Prior Exposure/Knowledge Required: No, but you’ll probably appreciate this more if you watched the movie.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actors: All

Total Actors: Too many to count

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.75 hours

Was This the First Time I Attended a Production of this Show? Yes

Would I See It Again 3 Years from Now? Yes if I wanted to show my kids (if I even have kids in the future) or my nephews the magic of live theatre.

Mainstream Appeal: Medium

Other Rave(s) Not Mentioned Above

Stage Magic: The show was filled with magical stage effects, including Mary Poppins descending/ascending through the sky, appearing out of nowhere, transforming a cake, and pulling an incredible array of props (including a bed!) from her seemingly bottomless bag.
Clever Stage Transitions: Speaking of sudden appearances, the production did a great job of revealing each household member behind a semi-transparent screen between the actors and the audience during the show’s introduction. It was reminiscent of how Mrs. Cormey’s tent seemed to appear out of nowhere near the end of the second act.
Toy Scene: The sentient toy scene was fantastically unsettling, with the actors skillfully mimicking the unnatural movements of the toys. The impaled clown heads added a disturbingly effective touch. The stuff of child nightmares!
“Feed the Birds” Song: I don’t know why, but the ballad “Feed the Birds” (sang by Cristin J. Hubbard) was unexpectedly beautiful and moving—definitely a tearjerker!
Ensemble: The ensemble’s demeanor and costumes evoked the spirit of the ensemble-lead “Ascot Gavotte” (my favorite song from My Fair Lady), especially in the park and bank scenes. I loved their severe and stiff delivery of “Precision and Order” at the bank.
Tap Dance: The grand tap dance number from choreographer/director Denis Jones in “Step in Time” was thrilling. The costumes exuded a Newsies: The Musical vibe. There were moments when the chimney sweeps tapped the floor with staffs, creating a fascinating effect like coordinating three tap feet. I wish we saw more of that unique element in the routine. But overall, the ensemble nailed the synchronicity of “stepping in time.”
Miss Andrew Antagonist: Miss Andrew (also portrayed by Cristin J. Hubbard) was a wonderfully wicked villain, with her operatic notes in “Brimstone and Treacle” adding to her commanding presence. You know you have a great villain when the audience can’t help but cheer for them.
Supercalifragilisticexpialidocious Choreography: The ensemble performed the song while spelling out several words using alphabet signs, requiring precise coordination to ensure everything was executed flawlessly. Any mistake with the alphabet signs would have been immediately noticeable to the audience. It was like a bell choir, where each performer is responsible for two notes (or letters), and the success of the song depends on perfect timing from everyone.
Mary Poppins Portrayal: The makeup/hair/costume director Shannin Strom, along with lead actress Mallory Cooney King (and understudy Allison Standley), did an excellent job emulating Julie Andrews’ iconic original Mary Poppins. For some reason, the understudy had to step in during the second act. But honestly, I wouldn’t have noticed if the stage manager neglected to announce the change. I would have simply thought the original performer had mustered extra energy. Oh, the magic of live theatre!
Favorite Line: “Last week, he [your husband] said you were neither use nor ornament.” What a deliciously cutting very English remark!

Other Musing(s) and Observation(s)

Drug Use: Coming from a healthcare professional who is unabashedly pro-medication, the drug use in this story was wild! You don’t want to clean the room? Here’s some meth to enhance the experience. You talked back to your parents? Here’s some ipecac as punishment! Terrific child rearing back then!

Theatre Company: The 5th Avenue Theatre

Venue: The 5th Avenue Theatre

Venue Physical Address: 1308 5th Ave, Seattle, WA 98101

Price Range: $40-169

Ticket Affordability Options: The 5th Avenue Theatre often partners with organizations you’re affiliated with for discount tickets. For example, they sometimes offer a discount for my employer affiliation. Rush tickets are also available day-of at the box office.

Dates: November 22 to December 29, 2024

Seating: Assigned Seating

Parking: When I don’t walk to the theatre or park on the street, I park in the paid garage at the Motif Hotel northwest of the theatre. The entrance is on 5th Ave. Do NOT park in the APA Coast Seattle Downtown Hotel garage (entrance on 6th Ave). That’s where most of the audience (and I think the subscribers) parks, so it’s a nightmare to leave. However, the APA Coast Seattle Downtown Hotel garage is the closest garage to the theatre and you can access the theatre through a tunnel if you want to avoid the elements. But, in my opinion, this benefit is not worth the time wasted leaving the garage.

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Pictures: See production pictures below by Tracy Martin and Mark Kitaoka.

Cast and Production Team: See pictures below.

Mallory Cooney King and Danny Gardner in Disney and Cameron Mackintosh’s *Mary Poppins*. Photo Credit: Tracy Martin. Courtesy of The 5th Avenue Theatre.

The cast of Disney and Cameron Mackintosh’s *Mary Poppins*. Photo Credit: Tracy Martin. Courtesy of The 5th Avenue Theatre.

Gia Pellegrini, Liam Kuriatnyk, and Mallory Cooney King in Disney and Cameron Mackintosh’s *Mary Poppins*. Photo Credit: Mark Kitaoka. Courtesy of The 5th Avenue Theatre.

Danny Gardner, Gia Pellegrini, Karen Skrinde, Liam Kuriatnyk, and Mallory Cooney King in Disney and Cameron Mackintosh’s *Mary Poppins*. Photo Credit: Mark Kitaoka. Courtesy of The 5th Avenue Theatre.

Preview Post – Black Nativity – Concert Musical – Intiman Theatre and The Hansberry Project

Black Nativity concert musical w/ singalong from Intiman Theatre and The Hansberry Project. Performing till 12/29/24. Stay tuned for my full review of this year’s production or read my review of last year’s production now. #blackChurch #xmas #christmas

Tickets: https://www.intiman.org/black-nativity/

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Blithe Spirit – Play – Review – Seattle Rep

@showsiveseen Noël Coward’s "Blithe #Spirit" #play at @Seattle Rep. Unique interaction between the living & the dead. Beautiful set (by Carey Wong), neat stage magic, & funny astral bigamy! Closes next weekend. Review: showsiveseen.com/10771 Director: @Allison Narver Stage Manager: Jamie J. Kranz #theatre #showsiveseen #medium #ghost ♬ death of the party (sped up) – Amanda Frances

Elevator Thoughts (aka Tweet): Blithe Spirit play at Seattle Rep. Unique interaction between the living and dead characters. Beautiful set, neat stage magic, and hilarious astral bigamy! Closes next weekend.

Recommendation:
See it.

My Synopsis (No Spoilers): A séance gone wrong summons the spirit of a remarried man’s dead wife and chaos ensues.

Synopsis from the Licensor or Theatre Company: When Charles arranges a séance in his home as research for his upcoming novel, scatterbrained psychic Madame Arcati accidentally summons the spirit of his late wife, Elvira—which infuriates his current wife, Ruth. Charles suddenly finds himself caught in a supernatural love triangle and his attempts to fix the situation only make things worse. Filled with sparkling wit and hysterical hauntings, Noël Coward’s irreverent classic comedy will provide an otherworldly alternative to your usual holiday fare, and appeal to anyone who ever longed to see “Downton Abbey” go completely off the rails.

Type: Play

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Just a living room

Static (Stationary) or Dynamic Set: Stationary

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: Yes, but it was heavy on the dialogue

Union Actors: All

Total Actors: 7

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Was This the First Time I Attended a Production of this Show? Yes

Would I See It Again 3 Years from Now? Probably not, but it was good.

Mainstream Appeal: Medium

Other Rave(s) Not Mentioned Above

Stage Magic: I’m still wondering how the feather duster and fireplace poker came to life. I didn’t see any cables!
Cross-astral Communication: The actors uniquely and hilariously depicted how ghosts selectively haunt their chosen victims. For instance, when a living character tried to communicate with an invisible ghost, the actor often avoided eye contact with the ghost character and spoke to the wrong direction. It took great skill for the actors to switch between interacting with the living characters and the dead characters.
Scenic Design: Carey Wong designed a beautiful living room set that evoked a greener-toned version of the Tiffany jewelry aesthetic, with added ornamentation and elegant accents. Unfortunately, the dining room at the back was mostly out of the audience’s view and was used only sparingly in scenes.
Medium: Anne Allgood portrayed an entertainingly eccentric medium with quirky trance moves.
Lobby Amusements: Similar to Seattle Rep’s previous The Skin of Our Teeth, the theatre provided an assortment of games in the lobby to pass the time before the show and during intermission like Jenga, chess, billiards, tic tac toe, and connect four. The automatic piano was also a nice touch inspired by the play’s ghost theme.

Rant(s)

Fast-paced Dialogue: The play hit the ground running with its rapid-fire dialogue reminiscent of Gilmore Girls. Interestingly, I overheard other audience members making the same comparison with the Gilmore Girls. The play’s dialogue was so fast that I struggled to keep up during half of the first act. I remember this problem also plagued Seattle Rep’s previous major production The Skin of Our Teeth.
Randomness and Inconsistencies: There were several moments that felt random, disjointed, or out of place. For example, why spend several minutes watching the maid clean, when it didn’t seem to advance the plot in any way? Similarly, the montage of the exorcism didn’t align with the tone or energy of the play. There were also times when the ghost suddenly was invisible to the audience, which undermined the consistency of its visual representation. If a ghost will appear on stage to the audience, its visual presence should remain consistent throughout the show.
Maid: The audience seemed to enjoy the maid character, played by Sophie Kelly-Hedrick, but I was not amused. The character pandered too heavily on exaggerated, slapstick humor, often reduced to a simpleton with a babyish voice, random screaming outbursts, primitive grunting, and overly subservient responses like ‘yes-um.’ Her actions felt more barbaric than comedic. Plus, we don’t need comedic relief in a comedy play. While I didn’t find her amusing, the character’s resolution in the second act provided some redemption. On a side note, Sophie’s appearance reminded me of Alex Dunphy from TV’s Modern Family.

Other Musing(s) and Observation(s)

Seasonality: While I applaud Seattle Rep for not producing a cliche holiday-themed show (the grinch in me thinks Christmas shows are typically dreadful), this play would be better-suited for October’s Halloween season.

Theatre Company: Seattle Rep

Venue: Bagley Wright Theater at Seattle Rep

Venue Physical Address: 155 Mercer St, Seattle, WA 98109

Price Range: $20-108

Ticket Affordability Options: See the theatre’s official pages about discounts and pay-what-you-can performances

Dates: November 29 to December 22, 2024

Seating: Assigned Seating

Parking: There are paid lots and paid street parking. I usually park on Mercer to the West of 1st Ave. There’s usually also plentiful street parking around Safeway. If there’s an event in Seattle Center or Climate Pledge Arena, street parking is usually limited and much more expensive.

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Pictures: See production pictures below by Nate Watters.

Cast and Production Team: See pictures below.

Gin Hammond, Kirsten Potter, and Arlando Smith in *Blithe Spirit* (2024). Photo by Nate Watters.

Kirsten Potter in *Blithe Spirit* (2024). Photo by Nate Watters.

Sara Waisanen, Gin Hammond, Anne Allgood, Arlando Smith, and Nate Tenenbaum in *Blithe Spirit* (2024). Photo by Nate Watters.

Arlando Smith, Anne Allgood, Gin Hammond, Sara Waisanen, and Nate Tenenbaum in *Blithe Spirit* (2024). Photo by Nate Watters.

Gin Hammond, Sara Waisanen, Sophie Kelly-Hedrick, Nate Tenenbaum, and Arlando Smith in *Blithe Spirit* (2024). Photo by Nate Watters.

Anne Allgood, Sara Waisanen, and Gin Hammond in *Blithe Spirit* (2024). Scenic design by Carey Wong. Photo by Nate Watters.

Kirsten Potter, Arlando Smith, and Anne Allgood in *Blithe Spirit* (2024). Photo by Nate Watters.

Production credits from *Encore* program.

Drag: The Musical – Review – New World Stages

@showsiveseen Front-row seats to Tomas Costanza, @alaskaalaskaalaska, & Ashley Gordon's "#Drag: The #Musical" at New World Stages. Starring Alaska Thunderfuck & Nick Adams. Farewell @Joey McIntyre🔹 & hello Adam Pascal. I laughed & cried in this ostentatious feel-good irreverent show. Review: showsiveseen.com/10470 Photos: Matthew Murphy Director/Choreographer: Spencer Liff Music Direction: @Andrew Orbison Stage Manager: Jennifer Rogers & Matthew Herrmann #camp #theatre #showsiveseen #offbroadway #DragQueen #DragShow #lgbt #gay #queer @DRAG: The Musical ♬ Drag Is Expensive – Nick Adams & Max Von Essen & Monét X Change & Divina De Campo & Lagoona Bloo

Elevator Thoughts (aka Tweet): Front-row seats to Drag: The Musical at New World Stages. Starring Alaska Thunderfuck & Nick Adams. Farewell Joey McIntyre and hello Adam Pascal. I laughed & cried in this ostentatious feel-good irreverent show. #camp

Recommendation:
See it, especially if you enjoyed Kinky Boots the Musical or Priscilla, Queen of the Desert the Musical … or just plain drag!

My Synopsis (No Spoilers): Dueling drag clubs struggle to stay afloat financially.

Synopsis from the Licensor or Theatre Company: Two Drag Houses, both alike in indignity, vie for supremacy in a wig-snatching, diva-licious journey of fashion, family, and forgiveness. Leave the lip syncs at the door, darling. Get ready for Drag realness: REAL singing, in a REAL theater, with REAL DRAMA. After their bitter split, fishy queen Alexis Gilmore opened her club, The Fishtank, as glamourpuss Miss Kitty established The Cathouse. Heels click and tensions rise as old wounds are opened and the two clubs fight to survive.

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Stationary

Prior Exposure/Knowledge Required: Obviously, you’ll appreciate this more if you’re gay.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actors: All

Total Actors: 18

Perceived Pace of the Show: Medium to fast

Was there an intermission? No

Length (Including Any Intermission): 110 minutes

Was This the First Time I Attended a Production of this Show? Yes

Would I See It Again 3 Years from Now? I’d consider it

Mainstream Appeal: Medium

Other Rave(s) Not Mentioned Above

Simple Storyline: The storyline was thankfully easy to follow just like in Back to the Future: The Musical. There are some shows out there (especially plays) that could use some dumbing down.
Brendan: While the script was irreverent and light on depth (which isn’t necessarily a bad thing), there were genuinely touching moments, particularly with Brenden (played by young actor Yair Keydar) as he navigated his self-discovery. In the song “I’m Just Brendan,” I was moved by his interaction with the actor in the mirror. It resonated with the gay kid in my past who lacked a gay role model growing up.
Costumes: Naturally, a drag-themed musical demands a dazzling and diverse repertoire of costumes, and costume designer Marco Marco delivered just that. The pièce de résistance was undoubtedly the giant-assed hat featured in the funeral scene.
Nick Adams: Nick Adams’s toned and muscular silhouette interestingly contrasted to his drag queen persona as Alexis Gillmore. He truly embodied the lyric that he was a “the cheerleader and the quarterback.”
J. Elaine Marcos: As a Pinoy, I loved how J. Elaine Marcos spoke a Filipino auntie accent as one of the characters she portrayed. Represent!
Gags: Throughout the show there were repeating funny gags like Pus Puss DuBois’s eyebrows or the mystery of Alexis and Kitty’s falling out.
Gay-ish Pop Culture References: The script was filled with hilarious references to gay-ish pop culture like Cats, Britney Spears, Golden Girls, Shakira, Miley Cyrus’s “Wrecking Ball,” and Hillary Duff’s iconic TikTok dance trend. My favorite moment was when a queen quoted Mommie Dearest with “I’m not mad at you. I’m mad at the dirt!”
Nick Laughlin: Puss Puss DuBois (played by Nick Laughlin) was a hilarious mix of Jennifer Coolidge and a southern belle.
via GIPHY

Rant(s)

Romantic Side Story: I was disappointed that the love interests were cis heterosexual characters. This is a gay show for crying out loud! At least one of the love interests need to be LGBT.

Other Musing(s) and Observation(s)

Female Drag Queens: I was surprised to learn that cis heterosexual females could be drag queens.
Soundtrack: Strangely (or more like “obviously”), the soundtrack didn’t nearly evoke the same feeling as experiencing the songs performed live. I’m actually thinking about deleting the soundtrack from my Broadway playlist except for “Drag is Expensive.” I love the “Ohhhhhhhh” chorus harmony in that song!
Singing: Every time I attend a drag-themed musical, I’m always a bit worried they’ll lip-synch like in a typical drag show. Fortunately, all the drag performers in this show sang.
Seat Choice: Choose tickets at “house left” or “house center” away from the band. It’s almost never a good idea to sit close to the band in a musical because the accompaniment often drowns out the vocals. That being said, my “house right” tickets were acoustically not terrible.

Venue: New World Stages – Stage 3

Venue Physical Address: 340 W 50th St, New York, NY 10019

Venue Classification: Off-broadway

Price Range: $47-184

Ticket Affordability Options: Check out the show’s website for online rush or lottery tickets. You can also likely buy discount tickets at the TKTS booth.

Dates: 10/21/24 was opening night. As of 12/12/24, Telecharge was selling tickets as far as 3/30/25.

Seating: Assigned Seating

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