Here There Are Blueberries – Play – Review – Seattle Rep, La Jolla Playhouse, and Tectonic Theatre Project

@showsiveseen Happy closing performance to Moises Kaufman and Amanda Gronich's "Here There Are Blueberries" #play from @Seattle Rep, @La Jolla Playhouse, and Tectonic Theater Project. Thoughtful scenic design, projection design, and sound design by Derek McLane, Bobby McElver, and David Bengali respectively. Well-executed, riveting, and chillingly relevant. Review: showsiveseen.com/14604 Photography: Kevin Parry Stage Mgr: Jacob Russell #photograph #photographs #theatre ♬ 2 Little 2 Late – Levi & Mario

Elevator Thoughts (aka Tweet): Happy closing weekend to Moises Kaufman and Amanda Gronich’s Here There Are Blueberries play from Seattle Rep, La Jolla Playhouse, and Tectonic Theater Project. Thoughtful scenic design, projection design, and sound design by Derek McLane, Bobby McElver, and David Bengali respectively. Well-executed, riveting, and chillingly relevant.

Recommendation:
See it if you’re okay with shows that are not heavy on a linear story


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

If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Yes

My Synopsis (No Spoilers): A Holocaust museum acquires a scrapbook from the Auschwitz concentration camp containing photographs exclusively of Nazi personnel, with no Jewish prisoners depicted. The play investigates the origins of these images and the unsettling story behind each of these pictures.

Synopsis from the Licensor or Theatre Company: In 2007, a mysterious album featuring Nazi-era photographs arrived at the desk of a U.S. Holocaust Memorial Museum archivist. As curators unravel the shocking truth behind the images, the album soon makes headlines and ignites a debate that reverberates far beyond the museum walls. Based on real events, Here There Are Blueberries tells the story of these historical photographs—what they reveal about the perpetrators of the Holocaust, and our own humanity.

Type: Play

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Mostly dynamic

Prior Exposure/Knowledge Required: You need to be at least remotely familiar with the Holocaust.

Defined Plot/Storyline: Not fully defined, but there was still some story linearity with the museum staff to weave each photograph together.

Live Band/Orchestra: N/A – But occasionally one of the actors played the accordion

Union Actor(s): All

Total Actor(s): 8

Perceived Pace of the Show: Medium speed

Was there an intermission? No

Length (Including Any Intermission): 90 minutes

Other Rave(s)

  • Nazi Photographs: The script offered a unique perspective by focusing on how Nazis lived in Auschwitz. It was a viewpoint rarely explored in mainstream narratives, which typically center on Jewish prisoners. Through a plethora of images, the production showed the seemingly ordinary daily life of the perpetrators with a track and field event, a vacation resort, Christmas celebrations, working women relaxing, a singing gathering (where they celebrated a certain major mass genocide), and innocent children living feet away from the gas chambers. The pictures depicted a deceptive, almost idyllic normalcy. It was a chilling reminder that ordinary people are capable of extraordinary cruelty. Who’s behind the ICE mask and who’s wearing the MAGA hat?

    The script depicted Nazis as people – not monsters – and forced us to confront the uncomfortable truth that atrocity can emerge from everyday individuals. It pointed out that it’s easier to assign culpability to people portrayed as monsters than people portrayed as run-of-the-mill citizens. At the same time, the production was careful not to glorify or elevate the perpetrators. It navigated a delicate, controversial balance with nuance. The images would disturb most viewers, while unfortuantely a neo-Nazi might even find the depiction appealing. But the script’s intent was clear to see the opposite perspective of this atrocious history without excusing it.
  • Background Audio: Much like a museum providing background audio to complement its exhibits, this production paired each image with its own carefully crafted soundscape by sound designer Bobby McElver. The audience was treated to an audio backdrop of women laughing, men singing (accompanied by Marrick Smith on accordion), and women enjoying blueberries. It all created a layered, immersive experience that brought the still images to life.
  • Scenic Design: The visuals were thoughtfully designed and executed by scenic designer Derek McLane, evoking the feel of an industrial museum curated with precision. Actors moved among projection “easels,” allowing them to display additional photographs or zoom in on details. The gas-chamber-like door at the end was a haunting detail underscoring the gravity of the Holocaust narrative.
  • Projection Design: Interestingly, the projection designer David Bengali briefly employed two technically ambitious effects that hinted at greater possibilities. One involved live recording an actor on stage and projecting it in real time, while another used an overhead projector (unless it was just a prerecorded video) reminiscent of Book-It Theatre’s staging of Everything Is Illuminated. Typically, a production that invests in such complex technology integrates it throughout the show. But here, each device appeared for only a few minutes, leaving the audience wanting more.
  • Relevance: This play feels incredibly timely given current events surrounding ICE. In a few years, when another playwright inevitably tackles the ICE events we’re seeing today, there will be even more visual documentation thanks to ubiquitous smartphone cameras. But will history deniers dismiss those images as AI-generated?

Theatre Company: National Tour from Seattle Rep, La Jolla Playhouse, and Tectonic Theatre Project

Venue: Bagley Wright Theater at Seattle Rep

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

Dates: January 21 – February 15, 2026

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Photos: See production photos below by Kevin Parry Photography.

Cast and Production Team: See after photos below.

Barbara Pitts, Jeanne Sakata, and Delia Cunningham in Here There Are Blueberries at the Wallis Annenberg Center for the Performing Arts. Photo by Kevin Parry Photography.
Barbara Pitts, Jeanne Sakata, and Delia Cunningham in Here There Are Blueberries at the Wallis Annenberg Center for the Performing Arts. Photo by Kevin Parry Photography.
Nemuna Ceesay and Scott Barrow in Here There Are Blueberries at the Wallis Annenberg Center for the Performing Arts. Photo by Kevin Parry Photography.
Delia Cunningham and Scott Barrow in Here There Are Blueberries at the Wallis Annenberg Center for the Performing Arts. Photo by Kevin Parry Photography.

The Wiz – Musical – Review – Paramount Theatre

@showsiveseen “The Wiz” #musical national Tour at Paramount Theatre (Broadway at The Paramount / Seattle Theatre Group). Starring @cimone (understudied by @cyniah.elise) as Dorothy. Delightful standout @EAL as Scarecrow. Powerhouse vocals often felt like a hoppin' #Black church service, full of spirit and rhythm. "Ease on down the road" to see this modernized production before closing 2/15/26. Review: showsiveseen.com/14669 Director: Schele Williams Music Director: @Victor.Simonson Music Supervisor: Joseph Joubert  Choreo: @JaQuel Knight Stage Mgr: Marshall Lee Smith Jr #WizardofOz #theatre #musicalTheatre @THE WIZ on Broadway ♬ Ease On Down The Road – Nichelle Lewis & Avery Wilson & Kyle Freeman & Phil.

Elevator Thoughts (aka Tweet): The Wiz musical national Tour at Paramount Theatre (Broadway at The Paramount / Seattle Theatre Group). Starring Dana Cimone (understudied by Cyniah Elise) as Dorothy. Delightful standout Elijah Ahmad Lewis as Scarecrow. Powerhouse vocals often felt like a hoppin’ Black church service, full of spirit and rhythm. “Ease on down the road” to see this modernized production before closing 2/15/26.

Recommendation:
See it, especially if you enjoy Todrick Hall YouTube videos reenacting iconic movies.


Was This the First Time I Attended a Production of this Show? No, I’ve seen it 2 times previously.

Would I See It Again 3 Years from Now? Yes

Mainstream Appeal: High

If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Yes

My Synopsis (No Spoilers): Inspired by the classic tale The Wonderful Wizard of Oz and reimagined through a vibrant modern Black cultural lens, The Wiz retells the journey to Oz with a soulful score.

Synopsis from the Licensor or Theatre Company: This groundbreaking twist on The Wizard of Oz changed the face of Broadway—from its iconic score packed with soul, gospel, rock, and 70s funk to its stirring tale of Dorothy’s journey to find her place in a contemporary world. With direction by Schele Williams (The Notebook, revival of Disney’s Aida), choreography by JaQuel Knight (Beyoncé’s “Single Ladies,” Black Is King) and additional material by Tony-nominated and Emmy-nominated writer and TV host Amber Ruffin (The Amber Ruffin Show, Late Night with Seth Meyers), this dynamite infusion of ballet, jazz, and modern pop brings a whole new groove to easing on down the road. Everybody rejoice!

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: You should be remotely familiar with any adaptation of The Wonderful Wizard of Oz.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actor(s): All

Total Actor(s): Too many to count

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Other Rave(s)

  • Scarecrow: Elijah Ahmad Lewis portrayed a colorful and delightfully frenetic Scarecrow. Lewis showcased the breadth of his acting range shifting from high-energy shrieking flamboyance, to comedic impressions of Dorothy, then flipping effortlessly into a swaggering deep voiced persona for a “what-up-girl” punchline effect. Beneath it all, his singing voice was unexpectedly smooth and polished.
  • Music: This vibrant reimagining of The Wizard of Oz fully embraced Black culture, transforming the theatre into something akin to a joyful Sunday church service. From the start, Kyla Jade (as Aunt Em) set the tone with “The Feeling We Once Had,” delivering it with the emotional resonance of a classic church solo, reminiscent of CeCe Winans.

    That spirit carried into “Be a Lion,” staged with such fervor that you half expect the audience to rise to their feet, hands lifted, making their way to the front in response to an altar call. Jade later returned as the wicked witch Evillene, bringing the house down with “No Bad News,” backed by gospel choir-style vocals and punctuated with tambourines. The number earned an extended ovation that was cut hilariously short when Evillene told the congregation to shut up.

    Glinda’s “Believe in Yourself,” performed by Daja M Rice (understudy to Sheherazade), felt like another affirming church special music number. And in “If I Can Feel,” the Tinman (portrayed by D. Jerome) channeled smooth, contemporary R&B balladry like Brian McKnight.

  • Poppy Field: The poppy field scene unfolded like a retro 1970s fever dream, complete with the the sultry pulse of a funky wah-wah guitar. Afrotastic poppy sirens reminiscent of Diana Ross from The Wiz movie seduced the heroes into a hypnotic, beauty-salon fantasia, where resistance dissolved into indulgent, spa-like surrender.
  • Closed Captions: This performance included closed captions, which was a rare and welcome touch. I wish musicals embraced this accessibility as consistently as opera.
  • Emerald City: The Act 2 opener catapulted us into Emerald City with visuals like Wizamania from Wicked plus the swagger of hip-hop in an extended, vogue-inspired dance sequence. The production uniquely reimagined Emerald City as a pulsating nightclub, where the bouncers exuded cutting, drag-queen–level attitude. As RuPaul might say, “The library is open!”
The Library Is Open Rupaul GIFfrom The Library Is Open GIFs


Other Musing(s) and Observation(s)

  • Animated Projections: Reminiscent of the recent Spamalot at The 5th Avenue Theatre, this production relied on animation slightly too much as a crutch. The projections usually enhanced the experience like in the second-act opener with its Tokyo neon-green abstractions. But when they depicted literal scenery, the effect felt artificial, gimmicky, and cheap like in the wicked witch’s factory lair with its spinning gears. A simple rule of thumb for theatre: projections work best when they suggest abstractions rather than replicate scenery.
  • Comparison to Traditional Productions: Speaking of The 5th Ave Theatre, this production felt markedly different from the more traditional local production that The 5th Ave Theatre staged. The energy in the national tour seemed concentrated in the newer key moments, leaving some scenes feeling unusually subdued. The show opened slowly like starting a karaoke night with a ballad. And throughout the rest of the show, there were more voids than expected, again reminiscent of the recent Spamalot at The 5th Avenue Theatre. Even the vanquishment scene followed by the “Everybody Rejoice” song celebration lacked a full climactic punch. While the production’s efforts to modernize the musical were commendable, I wonder if at an expense they siphoned momentum from the original show’s more classic, beloved moments. Ultimately, while this was an enjoyable performance, I still found myself preferring the traditional rendition from The 5th Avenue Theatre.

Theatre Company: National tour brought by Broadway Across America and Seattle Theatre Group

Venue: Paramount Theatre

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

Price Range: $55-190

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 still eligible for an organization discount.

Dates: February 10 – 15, 2026

Seating: Assigned Seating

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

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Photos: See production photos below by Jeremy Daniel.

Cast and Production Team: See after photos below.

Alan Mingo Jr as The Wiz in the North American Tour of THE WIZ. Photo by Jeremy Daniel.
D. Jerome as The Tinman, Dana Cimone as Dorothy, and Elijah Ahmad Lewis as The Scarecrow in the North American Tour of THE WIZ. Photo by Jeremy Daniel.
Kyla Jade as Aunt Em and Dana Cimone as Dorothy in the North American Tour of THE WIZ. Photo by Jeremy Daniel.
Kyla Jade as Evillene and the ensemble of The Wiz in the North American Tour of THE WIZ. Photo by Jeremy Daniel.
Sheherazade as Glinda and Dana Cimone as Dorothy in the North American Tour of THE WIZ. Photo by Jeremy Daniel.
The ensemble of The Wiz in Emerald City in the North American Tour of THE WIZ. Photo by Jeremy Daniel.
Cal Mitchell as The Lion, Dana Cimone as Dorothy, D. Jerome as The Tinman, and Elijah Ahmad Lewis as The Scarecrow in the North American Tour of THE WIZ. Photo by Jeremy Daniel.
Credits from the printed ENCORE program.
Credits from the printed ENCORE program.
Credits from the printed ENCORE program.
Credits from the printed ENCORE program.

Spamalot – Musical – Review – The 5th Ave Theatre

@showsiveseen Monty Python’s "#Spamalot" #musical national tour at @The 5th Avenue Theatre. Silly, corny, and fully self-aware, with lyrics and jokes updated for the modern age. The tap numbers absolutely deliver. Starring @Major Attaway as #KingArthur. See it before it closes 2/15/26. Review: showsiveseen.com/14645 Director/Choreo: Josh Rhodes Music Supervision: John Bell Conductor: Jonathan W Gorst Stage Mgr: Matthew Brooks #Camelot #theatre @Monty Python’s Spamalot ♬ Look On The Bright Side Of Life (All Things Dull And Ugly) – From "Life Of Brian" Original Motion Picture Soundtrack – Monty Python

Elevator Thoughts (aka Tweet): Monty Python’s Spamalot musical national tour at The 5th Avenue Theatre. Silly, corny, and fully self-aware, with lyrics and jokes updated for the modern age. The tap numbers absolutely deliver. Starring Major Attaway as King Arthur. See it before it closes 2/15/26.

Recommendation:
See it if you enjoy silly British comedy.


Was This the First Time I Attended a Production of this Show? No, I’ve seen the national tour twice before this.

Would I See It Again 3 Years from Now? Eh, I think 3 times is enough for me.

Mainstream Appeal: Medium

If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Yes

My Synopsis (No Spoilers): Parodies of King Arthur legends

Synopsis from the Licensor or Theatre Company: SPAMALOT, which first galloped onto Broadway in 2005, features a book & lyrics by Eric Idle and music by John Du Prez and Eric Idle. The original Broadway production was nominated for fourteen Tony Awards and won three, including Best Musical. The musical comedy lovingly ripped off from the film classic, Monty Python and the Holy Grail, has everything that makes a great knight at the theatre, from flying cows to killer rabbits, British royalty to French taunters, dancing girls, rubbery shrubbery, and of course, the Lady of the Lake. SPAMALOT features well-known song titles such as “Always Look on the Bright Side of Life,” “The Song That Goes Like This,” “Find Your Grail” and more that have become beloved classics in the musical theatre canon.

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: You need to be remotely familiar with King Arthur legends. It might help if you also saw the film Monty Python and the Holy Grail.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actor(s): All

Total Actor(s): Too many to count

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Other Rave(s)

  • Tap Dance: The tap numbers (choreographed by director Josh Rhodes) were a highlight, especially in the Vegas-style “Camelot” and the encouraging “Always Look on the Bright Side of Life.” Several performers even took to tap-dancing on tables, which was a nice touch that ensured the audience appreciated the intricate footwork. We in the orchestra level often miss this because of our vantage point. First world problems, I know.
  • Modern References: The production loaded the script and lyrics with contemporary references. At its best, this was genuinely funny. I loved the parody of the recent viral Miss Universe France meme. At times, though, the show relied too heavily on this device, to the point where the references felt forced rather than clever. Moments like dropping modern songs (Demon Pop Hunters) mid-scene or inserting in references like “67″ (is that even in anymore?) felt like they were trying too hard. What began as quick satire occasionally tipped into gratuitous excess.

Rant(s)

  • Sound: Compared to the last two national tours I’ve seen of this show, the sound felt noticeably less expansive. It was quieter and less fluid. The production didn’t seem to fully fill the space. In earlier tours, both the band and vocals carried a richer, more enveloping presence. I don’t know if increasing the volume could even help. By contrast, most local 5th Avenue Theatre productions tend to sound more robust and complete. Even The Wild Party recently by Sound Theatre Company (a semi-equity production in a much smaller venue) felt fuller and more immersive sonically.
  • Animated Projections: The use of animation often feels like a cost-saving substitute for traditional scenic design. And when the visuals lean heavily into obvious CGI, it ultimately cheapens the production’s overall quality.

Theatre Company: National tour brought by The 5th Avenue Theatre

Venue: The 5th Avenue Theatre

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

Price Range: $50-180

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 and my apartment complex. Rush tickets are typically also available the day of the performance at the box office.

Dates: February 4 – 15, 2026

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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Photos: See production photos below by Matthew Murphy and Evan Zimmerman.

Cast and Production Team: See after photos below.

The cast of the North American Tour of SPAMALOT. Photo Credit: Photo by Matthew Murphy and Evan Zimmerman.
The cast of the North American Tour of SPAMALOT. Photo Credit: Photo by Matthew Murphy and Evan Zimmerman.
(L-R) Steven Telsey, L’ogan J’ones, Chris Collins-Pisano, and Connor Coughlin in the North American Tour of SPAMALOT. Photo Credit: Photo by Matthew Murphy and Evan Zimmerman.
(L-R) Leo Roberts and Amanda Robles in the North American Tour of SPAMALOT. Photo Credit: Photo by Matthew Murphy and Evan Zimmerman.
(L-R) Delaney Benson, Meridien Terrell, Claire Kennard, and Lindsay Lee Alhady in the North American Tour of SPAMALOT. Photo Credit: Photo by Matthew Murphy and Evan Zimmerman.
Chris Collins-Pisano and Ensemble in the North American Tour of SPAMALOT. Photo Credit: Photo by Matthew Murphy and Evan Zimmerman.
Amanda Robles and Ensemble in the North American Tour of SPAMALOT. Photo Credit: Photo by Matthew Murphy and Evan Zimmerman.
Credits from the ENCORE printed program.
Credits from the ENCORE printed program.
Credits from the ENCORE printed program.
Credits from the ENCORE printed program.
Credits from the ENCORE printed program.

The Wild Party – Musical – Mini Review – Sound Theatre Company

Happy closing weekend to Sound Theatre Company’s production of The Wild Party musical at Center Theatre. Starring Jasmine Jean Sim and Jason Kappus. Bursting w/ big-band showstoppers. Each character’s featurette song delivered electric stage presence and powerhouse vocals backed by a glorious ensemble and band. Only 2 more performances left till closing on 2/8/26.

Tickets: https://soundtheatrecompany.org/2026-season/the-wild-party/

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Preview Post – Baskerville: A Sherlock Holmes Mystery – Play – Village Theatre

Congrats to Village Theatre on opening night of their Baskerville: A Sherlock Holmes Mystery play production. 🔍🎭 Catch it in Issaquah through February 22, then in Everett through March 22. Stay tuned for my full review!

Tickets: https://villagetheatre.org/see-a-show/baskerville/

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