December 2024 – Shows I've Seen

Black Nativity – Concert Musical – 2024 Review – Intiman Theatre & The Hansberry Project

@showsiveseen Langston Hughes's "Black Nativity" #Christmas #concert #musical by @Intiman Theatre & The Hansberry Project. Truely a worthy yearly tradition of the Seattle #holiday season. That #black #gospel church #choir was dynamite! Closes this weekend. Review: showsiveseen.com/10975 Photos: Joe Moore Director: @valeriecurtisnewt2 Music Direction: Sam Townsend, Jr. Choreo: Vania C. Bynum Stage Manager: Neen Williams-Teramachi #theatre #showsiveseen #xmas ♬ My Way Is Cloudy – Latrice Pace & Various Artists

Elevator Thoughts (aka Tweet): Black Nativity Christmas concert musical by Intiman Theatre & The Hansberry Project. Truely a worthy yearly tradition of the Seattle holiday season. That black gospel church choir was dynamite! Closes this weekend.

Recommendation:
See it, especially if you love black gospel choir music.

Was This the First Time I Attended a Production of this Show? No, I attended the same production last year, and this year’s version felt 85% identical. They also seemed to have improved how the second act addressed the 4th wall. I’m curious how much the script and songs differ in productions by other theatre companies since there seems to be so much inherent leeway for deviation.

Would I See It Again 3 Years from Now? Yes, in fact, I’d probably attend next year again!

Mainstream Appeal: Medium to high

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

My Synopsis (No Spoilers): The first act was a church concert-style musical reenactment of the Biblical nativity story. The second act was mostly an interactive sing-along with some non-sing-along numbers.

Synopsis from the Licensor or Theatre Company: Langston Hughes’ Gospel Song-Play returns in this newly reimagined production! Celebrate the season with a cast of more than 30 actors, dancers, soaring vocalists, a live band, and a rousing city-wide gospel choir. Audiences will have the chance to raise your voice and sing-along during this stirring and joyful holiday musical for families of all backgrounds and beliefs. Don’t miss your chance to experience this treasured Seattle tradition as Intiman presents the second year of the new Black Nativity.

Type: Concert Musical and Sing-along

World Premiere: No

Several or Few Scenes: Several, but they weren’t presented as traditional live theatre since it was more of a concert than a musical.

Several or Few Settings/Locations: Several, but they weren’t presented as traditional live theatre since it was more of a concert than a musical.

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: You’ll probably appreciate this more if you grew up in the Christian church.

Defined Plot/Storyline: No, since it was more of a concert than a musical.

Live Band/Orchestra: Yes

Union Actors: 5

Total Actors: 5 main actors + 5 dancers + 16 choir members

Perceived Pace of the Show: Medium to fast speed

Was there an intermission? Yes

Length (Including Any Intermission): 2 hours

Other Rave(s) Not Mentioned Above

Unlikely Theatre Fan: I already shared my initial thoughts on this show in my review last year, but this year, I attended with my sister and experienced the performance through her fresh eyes. Now, she can’t stop thinking about it, and we both agreed we should have brought her kids along so they could experience church in a way that’s rare to find since Seattle is so homogenous and the least churched city in the USA. Now, she’s eager to make Black Nativity an annual tradition with me, which is surprising given that she’s not usually a fan of musicals or live theater.
Choir: Even though the choir was relatively small (16 members), they were on fire!
Interactivity: I usually don’t prefer interactive elements in live theatre, but it felt fitting for this Christmas performance. There was a singalong, an offertory, kids decorating a tree, opportunities to share our holiday traditions, and even a fun lesson on how to clap/sway in a black church.

Rant(s)

Audience: The audience could have used a bit more energy. You can’t fully capture the spirit of Black church with amazing performers and a tepid crowd. Kudos to the performers for maintaining their energy despite the lack of audience enthusiasm. Oh Seattle…

Other Musing(s) and Observation(s)

Pregnancy Belly: It was weird not seeing a pregnancy belly on Mary (played by DaeZhane Day) … but it probably would have been equally as weird to see a pregnant woman dancing as energetically.
Song List Highlights:
- “Mary Did You Know”: My sister was moved to tears during this song. Then we laughed when Mary nodded in response to the question, “Mary, did you know?” The choir later joined in with an unexpectedly dynamite burst of energy.
- “The Night That Christ Was Born”: Kearia Keke Duncan’s arms must be incredibly strong to support her graceful angel wings dance. Additionally, the soloist was outstanding.
- “Jesus Oh What a Wonderful Child”: Obviously when emulating the style of Mariah Carey’s version, this song was crowd pleaser.
- “Oh Holy Night”: The acapella harmony at the lyrics “fall on your knees” was incredible.
- “Have Yourself a Merry Little Christmas”: Josephine Howel was an amazingly effortless powerhouse with an interesting voice.
- “Total Praise” + “Hallelujah, Salvation and Glory”: I love that they included these black gospel staples even though the songs weren’t Christmas themed.

Theatre Company: Intiman Theatre & The Hansberry Project

Venue: Seattle Central College’s Broadway Performance Hall

Venue Physical Address: 1625 Broadway, Seattle, WA 98122

Price Range: $65-110

Ticket Affordability Options: The ticketing website offers honor code discount options for students, military, industry, … or anybody. They also offer 20 free rush tickets 1 hour in-person before each performance.

Dates: December 4 to 29, 2024

Seating: Assigned Seating

Parking: Ironically, the uncovered parking lots on Harvard Avenue across Seattle Central College are cheaper than street parking.

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Pictures: See production pictures below by Joe Moore.

Cast and Production Team: See pictures below.

Rontrell J. Brimmer, Antwoin Parmer, and DaeZhane Day. Photo by Joe Moore.

Shaunyce Omar, Yusef Seevers, Felicia Loud, and Esther Okech. Photo by Joe Moore.

The cast of *Black Nativity*. Photo by Joe Moore.

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/

Final Full Review: https://www.showsiveseen.com/black-nativity-concert-musical-2024-review-intiman-theatre-the-hansberry-project/

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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.