October 2024 – Shows I've Seen

Vladimir – Play – Review – Manhattan Theatre Club & New York City Center

@showsiveseen @Manhattan Theatre Club's "Vladimir" #play at @New York City Center starring Francesca Faridany, Norbert Leo Butz, & David Rosenberg. For a play named after Putin, I was surprised how little it was personally about him! Clever accent switching acting method. Closes 11/10/24! Review: showsiveseen.com/10040 Photos: Jeremy Daniel Director: Daniel Sullivan Stage Management: Shanna Allison & James FitzSimmons #russia #press #journalism #russian #theatre #showsiveseen #Vladimir ♬ delulu – NESYA

Elevator Thoughts (aka Tweet): Manhattan Theatre Club’s Vladimir play at New York City Center starring Francesca Faridany, Norbert Leo Butz, & David Rosenberg. For a play named after Putin, I was surprised how little it was personally about him! Clever accent switching acting method. #russia #press #journalism #russian

Recommendation:
See it if you’re interested in modern Russian history.

My Synopsis (No Spoilers): Two journalists navigate the challenges of conspiracy and repression in Putin’s Russia. It’s a cautionary tale about societal complacency and maintaining the status quo. If you can’t lick ’em, join ’em?

Synopsis from the Licensor or Theatre Company: This haunting world premiere unfolds in Moscow, where an independent journalist covering Putin’s first term struggles to maintain sanity and hope in increasingly hostile circumstances. She finds herself on the brink of an explosive story — but as danger mounts for her and her sources, she questions whether her bravery will make any difference at all. Written by Erika Sheffer, Vladimir is about standing up to immorality no matter the cost, when you know your nation is headed for disaster. Directed by Tony Award winner Daniel Sullivan.

Attended Performance Date: 10/26/24 – If you’re interested in this show, buy your tickets now since it closes 11/10/24!

Type: Play

World Premiere: Yes

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) Set? Yes

Prior Exposure/Knowledge Required: You should know some general post-USSR Russian history from the past 30 years.

Defined Plot/Storyline: Yes

Union Actors: 7

Total Actors: 7

Perceived Pace of the Show: Slow to medium

Was there an intermission? Yes

Length (Including Any Intermission): 2.25 hours

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: Low to medium

Other Rave(s) Not Mentioned Above

Accent Switching: The actors portraying Russian characters cleverly spoke American-accented English to convey that they were talking in Russian, and they also spoke Russian-accented English to convey that they were talking in English. I overheard fellow audience members enthusiastically praising this novel acting technique. It reminded me of the play English.

Other Musing(s) and Observation(s)

Energy: The entire production exuded a harsh subdued austere energy through the acting, scenic design, and lighting. It was a quietly intense show … matched by an audience that barely clapped! Lighting designer Japhy Weideman created a visually dark “cloak and dagger” atmosphere, except for the spotlights illuminating the actors and the scene’s key props. The black abundance in the photos below clearly show this effect. The lighting was sometimes strikingly severe, for example against the startlingly white wedding dress costume. Additionally, the Mark Wendland’s scenic design was utilitarian, contributing to an overall energy that felt distinctly Russian.
Putin: It’s interesting that the play was titled “Vladimir,” yet the script seldom mentions Putin. Perhaps this is beneficial though. I believe there is no such thing as bad publicity. Any negative or positive press coverage on an individual amplifies their influence and power. Even former President Trump’s considerable popularity is partially attributed to his negative press coverage. The fact that the play barely mentions Putin and espouses personal integrity shines light on the complicit Putin enablers (and Trump-supporting Republicans?) who look the other way for their own survival, benefit, or power.
Parallels: The descriptions of the historical Russia-Chechnya conflicts curiously mirrored what we’re hearing today in the Israel-Palestine conflict.

Theatre Company: Manhattan Theatre Club

Venue: New York City Center – Stage I

Venue Physical Address: 131 W 55th St, New York, NY 10019

Venue Classification: Off-Broadway

Price Range: $79-119

Ticket Affordability Options: See the show’s website for information on rush tickets, student tickets, and “$30 Under 35” tickets.

Dates: September 24 – November 10, 2024

Seating: Assigned Seating

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Pictures: See pictures below by Jeremy Daniel.

Cast and Production Team: See after pictures below.

Olivia Deren Nikkanen and Francesca Faridany in Manhattan Theatre Club’s production of *Vladimir* by Erika Sheffer, directed by Daniel Sullivan. Copyright 2024 Jeremy Daniel.

Erik Jensen and Norbert Leo Butz in Manhattan Theatre Club’s production of *Vladimir* by Erika Sheffer, directed by Daniel Sullivan. Copyright 2024 Jeremy Daniel.

David Rosenberg and Francesca Faridany in Manhattan Theatre Club’s production of *Vladimir* by Erika Sheffer, directed by Daniel Sullivan. Copyright 2024 Jeremy Daniel.

David Rosenberg and Jonathan Walker in Manhattan Theatre Club’s production of *Vladimir* by Erika Sheffer, directed by Daniel Sullivan. Copyright 2024 Jeremy Daniel.

Norbert Leo Butz, Erik Jensen and Jonathan Walker in Manhattan Theatre Club’s production of *Vladimir* by Erika Sheffer, directed by Daniel Sullivan. Copyright 2024 Jeremy Daniel.

Francesca Faridany and Erin Darke in Manhattan Theatre Club’s production of *Vladimir* by Erika Sheffer, directed by Daniel Sullivan. Copyright 2024 Jeremy Daniel.

Norbert Leo Butz and Francesca Faridany in Manhattan Theatre Club’s production of *Vladimir* by Erika Sheffer, directed by Daniel Sullivan. Copyright 2024 Jeremy Daniel.

Preview Post – Primary Trust – Play – Seattle Rep

Congrats to Seattle Rep on the opening night of their Primary Trust play production. Performing till 11/24/24. Stay tuned for my full review! #loss #coping #Grief #growth #friendship #loneliness #connection #trauma #babySteps #anxiety

Tickets: https://www.seattlerep.org/plays/202425-season/primary-trust/

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Preview Post – Mrs. Loman is Leaving – Play – ACT Theatre

Congrats to ACT Theatre’s opening night of their 48th world premiere play Mrs. Loman is Leaving. Performing till 10/27. Stay tuned for my full review! #DeathOfASalesman

Tickets: https://acttheatre.org/2024-25-season/mrs-loman-is-leaving/

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The Skin of Our Teeth – Play – Review – Seattle Rep

@showsiveseen Thornton Wilder's "The Skin of Our Teeth" Public Works #play at @Seattle Rep. Good execution of a script you'll either love or hate. Wonderful scenic design by Stephanie Kerley Schwartz. Several Seattle-themed easter eggs. Closes next weekend. Review: showsiveseen.com/9959 Director: Dámaso Rodríguez Stage Manager: Bret Torbeck #showsiveseen #theatre #civilization #humans ♬ did i tell u that i miss u – adore

Elevator Thoughts (aka Tweet): Thornton Wilder’s The Skin of Our Teeth Public Works play at Seattle Rep. Good execution of a script you’ll either love or hate. Wonderful scenic design by Stephanie Kerley Schwartz. Several Seattle-themed easter eggs. Closes next weekend. #civilization #humans

Recommendation:
See it if you enjoy 1) Seattle Rep Public Works productions, 2) weird random scripts, 3) or The Play that Goes Wrong

My Synopsis (No Spoilers): Allegorical history of human civilization portrayed by a prototypical family of 4 and their maid.

Synopsis from the Licensor or Theatre Company: Imagine: You’ve been married for 5,000 years, raised a couple of kids, and survived multiple catastrophic disasters. But with the world constantly teetering on the edge of collapse, would you have the strength to save the human race, over and over again? Join the Antrobus family on a time-bending romp from the age of the dinosaurs, to our 21st century election year, to what might just be the end of the world as we know it. Featuring an epic-sized cast and dozens of community guest stars, Thornton Wilder’s action-packed comedy is a love letter to human endurance.

Attended Performance Date: Opening Night 10/2/24 – Keep your eyes peeled for preview posts on my website and social media if you want earlier notification of shows I’ve seen. Production closes 10/20/24.

Type: Play

World Premiere: No

Several or Few Scenes: 4-5 scenes

Several or Few Settings/Locations: 4-5 locations

Static (Stationary) Set? Mostly no. Each scene changed the set significantly.

Prior Exposure/Knowledge Required: No, but you might appreciate the play more if you’ve lived in Seattle awhile or if you’re familiar with the history of the human race.

Defined Plot/Storyline: No

Union Actors: 7

Total Number of Actors: 27 actors per performance – 13 of those slots rotate between 3 groups of the Public Works community member pool every night. Members of the audience are also selected to participate every night.

Perceived Pace of the Show: Slow to medium

Was there an intermission? Yes, two intermissions. Three act shows should be banned!

Length (Including Any Intermission): 2.5-2.75 hours

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

Would I See It Again 3 Years from Now? No

Mainstream Appeal: Low to medium

Other Rave(s) Not Mentioned Above

Scenic Design: Stephanie Kerley Schwartz did a great job designing the sets. The first act was in a mid-century modern rambler home with a cozy 1970s feel like the set in ArtsWest’s Snowed In. The second act took place in a bright flashy convention stage and then a waterside boardwalk. The third act bookended in a significantly modified version of original home.
Telegraph Boy: For a 7th grade kid, Theodore Detrano did a great job portraying the Telegraph Boy.
Human Civilization References: Little nuggets of major human civilization milestones or references were scattered throughout the show like the wheel, alphabet, tomato cultivation, silk, and the Ice Age. It was fun unearthing these references like digging up chocolate chip cookie dough in a pint of ice cream.
Symbolism: In the same token, it was also thought-provoking for the audience to decipher the various symbols and hidden messages like Cain/Abel, Adam/Eve, Noah’s Ark, and a commentary on refugees.
Arcade Games: Free skee ball, hoops, pac man, and pin ball were available in the rotunda before the show and during the intermissions. I suggest moving this setup closer to the main lobby because I’m sure many audience members were unaware these were available.
Rinse and Repeat: I’m always intrigued by the theme that history repeats itself. It reminds me of the Battlestar Galactica TV show reimagining from the 2000s.

Rant(s)

Random Weirdness: The script was absolutely dreadful. It started out with nonsensical gibberish and finally developed into something more followable but filled with random bizarre Portland-like weirdness. There was a dinosaur, a mammoth, “Jingle Bells,” “Auld Lang Syne,” the biblical Moses, and the Greek poet Homer. That being said, the esteemed Thornton Wilder wrote the Pulitzer-winning script, and the audience seemed to enjoy the cheap laughs. But I think “the emperor is naked.” Don’t get me wrong though. The execution, acting, and production value of this show was very good, but it’s shame that the effort was spent on a terrible script. The show was a smorgasbord of wonderful theatrical elements, but there was low coherence just like a plate of random cuisines at a casino buffet.
4th Wall: Several times, characters interrupted the play and broke the 4th wall. I’m usually not a fan of this theatrical technique. It often feels like a contrived attempt to seem relatable to the audience.
Pre-produced Video: I’m also typically not a fan of pre-produced video featured at a stage performance. I find that it often cheapens the experience of live theatre. If I wanted to see a recording, I’d stay home.
- Update (10/13/24): A reader corrected me that the newscasts (including the one at the beginning of act one) was actually live transmitted in real-time to the audience. However, the racing video (an homage to Seattle Mariners games) at the beginning of act two was pre-animated.

Other Musing(s) and Observation(s)

Seattle Brands: In line with recent Public Works productions, the show referenced several Puget Sound brands. They even featured Molly Moon and Cupcake Royale at the intermission concessions. It definitely would appeal to audience members with Seattle pride. I’m curious if this branding resulted in sponsorship/advertising donations.

Theatre Company: Seattle Rep

Venue: Bagley Wright Theater at Seattle Rep

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

Price Range: $20-101

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

Dates: September 26 – October 20, 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 pictures below by Bronwen Houck.

Cast and Production Team: See after pictures below.

Sara Hennessy, Emily Kuroda, Rachel Guyer-Mafune, Chip Sherman, and Carlos Lacámara in *The Skin of Our Teeth* (2024) at Seattle Rep. Photo by Bronwen Houck.

Emily Kuroda, Carlos Lacámara, and members of the cast and community ensemble of *The Skin of Our Teeth* (2024) at Seattle Rep. Photo by Bronwen Houck.

Sara Hennessy, Sunam Ellis, Carlos Lacámara and members of the cast and community ensemble of *The Skin of Our Teeth* (2024) at Seattle Rep. Photo by Bronwen Houck.

Laura Crotte and members of the cast and community ensemble of *The Skin of Our Teeth* (2024) at Seattle Rep. Photo by Bronwen Houck.

Members of the cast and community ensemble of *The Skin of Our Teeth* (2024) at Seattle Rep. Photo by Bronwen Houck.

Bradley Goodwill and members of the cast and community ensemble of *The Skin of Our Teeth* (2024) at Seattle Rep. Photo by Bronwen Houck.

Mike Wu, Chip Sherman, Emily Kuroda, Rachel Guyer-Mafune, and Viviana Garza. Photo by Bronwen Houck.

My Lord, What a Night – Play – Review – Taproot Theatre

@showsiveseen Deborah Brevoort's "My Lord, What a Night" #play at @TaprootTheatre. Starring Kataka Corn & Mark Emerson. Engaging dialogue, beautiful juxtaposition of opposites, timely message, thought-provoking quotes, & good exploration of dilemmas. Mah lawd! Closes next weekend 10/19. Review: showsiveseen.com/9904 Photos: Robert Wade Director: @Bretteney Beverly #showsiveseen #theatre #AlbertEinstein #Einstein #MarianAnderson #civilRights #racism ♬ Dere´s no hiding place down here – Kosti Vehanen & Marian Anderson

Elevator Thoughts (aka Tweet): My Lord, What a Night play at Taproot Theatre. Starring Kataka Corn & Mark Emerson. Engaging dialogue, beautiful juxtaposition of opposites, timely message, thought-provoking quotes, and good exploration of dilemmas. Mah lawd! Closes next weekend.

Recommendation:
See it if you enjoy plays that are more dialogue than action.

My Synopsis (No Spoilers): Two famous opposites (Albert Einstein and Marian Anderson) meet and become friends. Together they struggle with the best way to respond to racism.

Synopsis from the Licensor or Theatre Company: Based on the real-life friendship between famed contralto Marian Anderson and physicist Albert Einstein. Marian Anderson is denied lodging after delighting a sold-out Princeton audience. When her long-time fan, Albert Einstein, invites her to stay in his home, the two begin a lifelong friendship. Watch as they grapple with their responsibility as an artist and scientist in a world plagued by racial segregation and a looming world war.

Attended Performance Date: Opening Night 9/20/24 – Keep your eyes peeled for preview posts on my website and social media if you want earlier notification of shows I’ve seen. Get your tickets now since this production ends 10/19/24!

Type: Play

World Premiere: No

Several or Few Scenes: I think there were only 2-3 scenes

Several or Few Settings/Locations: One – Albert Einstein’s living room

Static (Stationary) Set? Yes

Prior Exposure/Knowledge Required: No, but you might appreciate the play more if you’re familiar with Albert Einstein, Marian Anderson, or western world history.

Defined Plot/Storyline: No, it was mostly dialogue

Equity Actors: 3

Total Number of Actors: 4

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2 hours

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: Low to medium

Other Rave(s) Not Mentioned Above

Juxtaposition: The unexpected friendship between an eccentric scientist and an artiste blossomed beautifully on-stage. It was also refreshing to see two people, famous in their own realms, admire each other despite their opposite passionate pursuits. The right and left brains unite!
Dialogue: While I’m usually not a fan of plays heavy on dialogue and low on action, the discourse between the characters was engaging. I especially enjoyed the way Marlette Buchanan delightfully delivered Mary Church Terrell’s lines. However, a part of me wondered if that character was pandering too much to the audience as a stereotypical colorful older black woman caricature.
Hair and Makeup: Throughout the entire first act, I didn’t realize Mark Emerson played Albert Einstein until I saw his picture in the lobby during intermission. This transformation reminded me of how I didn’t recognize Cassi Q Kohl in Taproot Theatre’s The Hello Girls.
First Act Song: There was a lovely segment in the middle of the first act when Marian Anderson (played by Kataka Corn) entranced the audience with a vision and an acapella song.
Dilemmas: The script explored the arguments for/against each action (or inaction) well. There were seemingly no correct answers. You’re damned if you do and damned if you don’t.
Quotes: There were several thought-provoking quotes throughout the script. One example was something like “the treatment of the Negro is no different than the treatment of Jews” and it stood out the most since I disagree. Both groups were treated terribly throughout history (and I know it’s not a competition), but one group arguably had/has it way worse.

Other Musing(s) and Observation(s)

First Act: Like many shows, the first act was better. But the first act also could have probably afforded to end earlier.
D Flat: Anderson and Einstein’s obsession with D flat was kind of weird. This is coming from someone who occasionally sings and plays the piano.
Marian Anderson’s Music: I’ve never heard of Marian Anderson or her music before attending this play. After the show, I curiously searched for her music recordings, and I’d have to say it was boring and stuffy. The music in my TikTok reel about this show was the most upbeat song I could find. But this is coming from someone who’s favorite artist is Lady Gaga and favorite genre is showtunes. 🙂

Theatre Company: Taproot Theatre

Venue: Jewell Mainstage

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

Price Range: $25-62

Dates: September 18 to October 19, 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 pictures below by Robert Wade.

Cast and Production Team: See after pictures below.