Elevator Thoughts (aka Tweet): Angela Poe Russell and Dionne McClain-Freeney’s world premiere musical Aviatrix by Seattle Public Theater w/ Macha Theatre Works starring Haley Dortch. It’s shows like this that remind me why I attend local smaller theatre – for a chance to uncover a rare, unexpected worthy gem like this. With a solidly written, eclectic score, this runaway hit is ready for a major stage. Run, don’t walk, to snag rush/waitlist tickets to this sold-out show before it closes in 2 days.
See it!
Was This the First Time I Attended a Production of this Show? Yes
Would I See It Again 3 Years from Now? Yes, I’m curious what this would look like on a major stage.
Mainstream Appeal: Medium
If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Absolutely
My Synopsis (No Spoilers): This biographical musical chronicles the extraordinary ascent of Bessie Coleman, charting her historic journey to become the world’s first Black female aviator in the face of gravity and systemic prejudice.
Synopsis from the Licensor or Theatre Company:
Type: Musical
World Premiere: Yes
Several or Few Scenes: Several
Several or Few Settings/Locations: Several
Static (Stationary) or Dynamic Set: Stationary
Prior Exposure/Knowledge Required: I imagine you’d appreciate this show more if you were familiar with Bessy Coleman. I personally had never heard of her before this show.
Defined Plot/Storyline: Yes
Live Band/Orchestra: Yes
Union Actor(s): 1
Total Actor(s): 12
Perceived Pace of the Show: Medium speed
Was there an intermission? Yes
Length (Including Any Intermission): 2.5 hours
Other Rave(s)
- Surprise Hit: I will admit, I was not planning to post a full review of this production. But while watching the show, I felt compelled to share the news about this unexpected sleeper hit. It evoked that rare thrill of discovering a worthy gem out of nowhere like the time I attended Sidecountry Theatre’s Murder Ballad (twice). Perhaps my impression was amplified by initially low expectations since it was a world premiere at a tiny venue with a premise that I mistakenly assumed would feel dry and overly preachy, akin to the tone of Suffs. Instead, it proved to be a mature work in a theatrical landscape often cluttered with half-baked world premieres. This is one of those rare productions that clearly has a bright future ahead in a more substantial venue like Village Theatre.
- Powerhouse Vocals: There was something truly special about the actors portraying Bessie Coleman’s blood relatives. Crystal Hairston (as Bessie’s mother, Susan) possessed an effortlessly powerful voice, established immediately in her introductory number “Go Where You’re Lead” and “Enough.” Later, she effectively channeled that vocal strength into a wailing lamentation during the heart-wrenchingly mournful song, “Broken.” Gerald Germajesty Price (as Bessie’s brother, Walter) matched this effortless vocal prowess. He showcased his natural charisma pairing his smooth tone with equally smooth moves. Samara Jeffrey (as Young Bessie) also delivered promising vocals in “The Cards We Must Play.” I only wish she was given more opportunities to show off the impressive chops she previously displayed in Intiman Theatre’s Black Nativity.
- Music: Dionne McClain-Freeney’s score was a masterfully eclectic blend of gospel, jazz, and spoken-word poetry, elevated by well-designed harmonies and wonderful chord progressions. Even the intentional dissonance during the bomb scene was remarkably effective. The gospel influences shone brightly during the church service scene, complete with the signature polyrhythmic clapping of a Black church, as well as in the rich “Closer to Yes.” I found myself genuinely smiling during the gospel-infused moments of “Faith” and the Act I finale, “Nothing and Everything.” The latter featured a determined, classic Broadway-style melody that served as a perfect, triumphant act one break, functioning much like “Defying Gravity” did for Wicked. Act II opened with a lively French number, “Je Suis Là,” followed by elegant jazz sequences as Shana Emile (as Josephine Baker) sang “Josephine’s Pressure” in a nightclub setting. However, the standout jazz moment was the charming dance scene between Bessie (played by Haley Dortch) and Claude (played by Donovan Mahannah) during “When One Becomes Two.” It was a sophisticated, jazzy love song boasting sweet harmonies, nostalgic retro vibes, and superb chord progression.
- Spoken Word: The production uniquely incorporated un-melodized, spoken-word interludes. There were similarities with Hamilton, but the execution here leaned much closer to the rhythmic cadence of flow poetry. The only other theatrical work I have seen utilize this specific storytelling style is Vietgone.
- Band-Actor Synergy: Occasionally, the conductor (composer and lyricist Dionne McClain-Freeney) and the band directly interacted with the actors. While breaking the fourth wall in this manner usually falls awkwardly or forced in other shows, it felt entirely organic here.
- Design: Scenic designer Parmida Ziaei crafted a stage backdrop reminiscent of an airplane fuselage, utilizing gill-like structural panels. This design worked in beautiful tandem with lighting designer Dani Norberg’s background illumination behind the “gills.” Watching the stage open to reveal an airplane seat and propeller was a nice surprise.
- Tap Dance: Elijah Spreier was a wonderful ensemble member, seamlessly shifting between several roles like a Frenchman and an announcer. But where he truly shined was during his unexpected tap dance solo. My only complaint was that it felt like a tease. He left the audience wanting much more tap dance from choreographer Lexi Warden.
Rant(s)
- Odd Moments: The production had some minor “turbulence”. The rapid scene changes between cities could have benefited from transitional music rather than awkward silence. Additionally, there was an odd choice during a flashback moment when pre-recorded lines played over the sound system while the actor who delivered it stood silently on stage to depict Bessie’s memory. As a general rule, if the actor is physically present in the scene, the recording is unnecessary. Simply let the actor recite the line live.
Other Musing(s) and Observation(s)
- Narrative Focus: I was initially surprised that the book did not establish Bessie Coleman’s desire to fly earlier in the plot. Instead, her motivation began as a generic longing for “something more,” rather than a specific yearning for the sky. For much of the runtime, the narrative felt less focused on aviation itself, especially given the rapid progression to her becoming a pilot in Act II. However, in hindsight, this structure served the musical well. By grounding her initial ambitions in universal longing, the story was more relatable, allowing the audience to easily map their own dreams and aspirations onto Bessie’s journey.
Theatre Company: Seattle Public Theater and Macha Theatre Works
Venue: Bathhouse Theater at Greenlake
Venue Physical Address: 7312 West Green Lake Dr N, Seattle, WA 98103
Price Range: 10-100 USD
Ticket Affordability Options: You can self-select $10 price-accessible seats on the ticketing website.
Dates: May 15 – June 7, 2026
Seating: Assigned Seats
Parking: Free plentiful parking lot of Greenlake Park, which is adjacent to the theatre.
Like/Comment/Share my Social Media Posts About this Performance:
Buy a Ticket or Learn More:
Cast and Production Team: See after photos below.
AVIATRIX
BOOK AND LYRICS BY ANGELA POE RUSSELL
MUSIC AND LYRICS BY DIONNE MCCLAIN-FREENEY
DEVELOPED WITH AND DIRECTED BY AMY POISSON
Cast
- BESSIE COLEMAN – Haley Dortch*
- YOUNG BESSIE COLEMAN / ENSEMBLE – Samara Jeffrey
- JOSEPHINE BAKER / ENSEMBLE – Shana Emile
- PEARL / Ensemble – Angela M. Thomas
- SUSAN / Ensemble – Crystal Hairston
- MS ATKINS /Ensemble – Melissa M. Owens
- WALTER / Ensemble – Gerald Germajesty Price
- CLAUDE / Ensemble – Donovan Mahannah
- WILLIAM WILLS / Ensemble – Elijah Spreier
- ROBERT ABBOTT / Ensemble – Christopher Prince
- JESSE BINGA / Ensemble – Tommie Burton
- Ensemble – Ben Barton
*Member of Actors’ Equity Association
Band
- Keyboardist / Carl – Dionne Mcclain-Freeney
- Drummer – Aimee Zoe
- Bass – Fredy Andrés
- Woodwinds – Medearis Dixson
- Guitar – Anand Landon
- Sub Music Director / Keyboardist – Rebecca Smith
- Sub guitar – Jack Gravalis, Cameron Schneider
- Sub drummer – Rick Weber
Production Team
- Music Director – Dionne Mcclain-Freeney
- Assistant Director / Vocal Coach – Kataka J. Mackenzie
- Lighting Designer – Dani Norberg
- Scenic Designer – Parmida Ziaei
- Costume Designer – Carlisia Minnis
- Sound Designer – Lisa Finkral
- Sound Engineer – Colin Pace
- Props Designer – Robin Macartney
- Choreographer – Lexi Warden
- Production Stage Manager – Bailey Dobbins
- Assistant Stage Manager – Indira Rampersad
- Production Assistant – Riley J Ellis
- Scenic Charge – Cailin Short
Sponsors & Special Thanks
Sponsored in part by:
The Hansberry Project
Celebrating, Supporting and Presenting the work of Black Theatre Artists since 2006.
Special Thanks:
George Wing, Brian McDonald—Invisible Ink, Josh LaBelle, AJ Epstein, Nathan Young, Reboot Theatre, PNW Scenic, Aisha Ellis.
