February 2025 – Shows I've Seen

Preview Post – Time Stands Still – Play – Thalia’s Umbrella

Congrats to Thalia’s Umbrella on the opening night of their Time Stands Still play production. Performing at 12th Ave Arts till 3/15/25. Look out for my full review! #photographer #reporter #journalist

Tickets: https://timestandsstill.brownpapertickets.com/

Final Full Review: https://www.showsiveseen.com/time-stands-still-play-review-thalias-umbrella/

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The Hula-Hoopin’ Queen – Play – Review – Seattle Children’s Theatre

@showsiveseen "The Hula-Hoopin’ Queen" #play at Seattle Children's Theatre starring @kataka.j.mackenzie (or understudy Neely Seams). Celebrating a nostalgic tight-knit neighborly #community culture that modern society now lacks. #Kids don't play in the streets anymore! Colorful #hulaHoop-themed #Harlem facade set (from Parmida Ziaei) that opened like a dollhouse. Review: showsiveseen.com/11897 Photos: Truman Buffett Photography Director: Jacole Kitchen #showsiveseen #theatre #hulahoops ♬ Work Hard – Tony Brown & Chantelle Readman

Elevator Thoughts (aka Tweet): The Hula-Hoopin’ Queen play at Seattle Children’s Theatre. Celebrating a nostalgic tight-knit neighborly community culture that modern society now lacks. Kids don’t play in the streets anymore! Colorful hula hoop-themed Harlem facade set (from Parmida Ziaei) that opened like a dollhouse.

Recommendation:
See it if you want your kids to experience live theatre.

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

If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Only if they were taking kids

My Synopsis (No Spoilers): Kameeka dreams of being crowned the best hula-hooper in Harlem, but her ambition comes at a steep cost: her friendships and responsibilities. As she grapples with her pursuit of glory, Kameeka must decide if her goal is worth the sacrifices it requires.

Synopsis from the Licensor or Theatre Company: Three Harlem girls vie for the crown of The Hula-Hoopin’ Queen, encouraged and mentored by the community elders in master playwright Gloria Bond Clunie’s spirited adaptation of Thelma Lynne Godin’s book. A sweet, funny, and energetic slice-of-life reminder of the essential loops that bind our communities.

Type: Play

World Premiere: No

Several or Few Scenes: A couple

Several or Few Settings/Locations: Few

Static (Stationary) or Dynamic Set: Mostly static, but one of the Harlem homes opened up to show the interior like a dollhouse.

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: Mostly yes

Union Actors: 2

Total Actors: 6

Perceived Pace of the Show: Medium speed

Was there an intermission? No

Length (Including Any Intermission): 70 minutes

Other Rave(s)

Miz Adeline: I always enjoy Michelle Blackmon’s portrayals on-stage. In this production, she played Miz Adeline, the beloved community matriarch.

Rant(s)

Sound: The production would have greatly benefited from microphones. Even sitting up close, I struggled to catch many lines. I can only imagine how difficult it must be for those in the back rows. Perhaps they were counting on young kids having particularly sharp ears compared to this aging millennial?

Other Musing(s) and Observation(s)

Competition: I can’t say that I agree with the message that winning means sacrificing friendship. If there’s no winner, where’s the fun in competition? It reminds me of the flawed weak “everyone gets a trophy” mentality, which undermines the value of true competition.
Target Audience: Unlike many other productions at Seattle Children’s Theatre that appeal to a broad range of ages, this show seems to be specifically geared towards younger audiences what with the “calamity” involving cake. In contrast, productions like The Snow Queen, Luchadora!, The Boy Who Kissed the Sky, and Diary of Anne Frank offer a more mature script and plot that adults without kids can easily appreciate.

Theatre Company: Seattle Children’s Theatre

Venue: Charlotte Martin Theatre at Seattle Children’s Theatre

Venue Physical Address: 201 Thomas St, Seattle, WA 98109

Price Range: $20-50

Ticket Affordability Options: Check out the theatre’s discount page.

Dates: 2/12/25 to 3/23/25

Seating: Assigned Seating

Parking: Paid street parking or various paid parking lots/garages. Street parking is sparse when there’s a major Seattle Center or Climate Pledge Arena event. I usually find luck with street parking around Lenny Wilkins Way next to the theatre on non-event days. I try to take the bus on event days since even the event street parking costs more than $12.

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Pictures: See production pictures below by Truman Buffett Photography.

Cast and Production Team: See after pictures below.

Rebecca M. Davis, Kataka Corn, and Michelle Blackmon at *The Hula-Hoopin’ Queen*. Photos by Truman Buffett Photography.

Kataka Corn, Lexi Warden, and Niyah Reid in *The Hula-Hoopin’ Queen*. Photos by Truman Buffett Photography.

Michelle Blackmon and Kataka Corn in *The Hula-Hoopin’ Queen*. Photos by Truman Buffett Photography.

Michelle Blackmon, Niyah Reid, Lexi Warden, and Rebecca M. Davis in *The Hula-Hoopin’ Queen*. Photos by Truman Buffett Photography.

Michelle Blackmon, Niyah Reid, Aishé Keita, Rebecca M. Davis, and Kataka Corn in *The Hula-Hoopin’ Queen*. Photos by Truman Buffett Photography.

Kataka Corn, Lexi Warden, and Rebecca M. Davis in *The Hula-Hoopin’ Queen*. Photos by Truman Buffett Photography.

Aishé Keita and Kataka Corn in *The Hula-Hoopin’ Queen*. Photos by Truman Buffett Photography.

Credits from the printed *Encore* program.

The Last Five Years – Musical – Review – ACT Theatre and The 5th Avenue Theatre

@showsiveseen @JRB's "The Last Five Years" #musical at @acttheatre w/ @The 5th Avenue Theatre. Starring @Cassi Q Kohl & @Jeff (or @Coleman Cummings & @lani tsunami). Novel immersive orchestra placement allowed the audience to soak up the artistic/technical nuances of the score. Review: showsiveseen.com/11791 Production Videos: Allison Borgida (ThirdReel) Director: Shermona Mitchell Conductor: RJ Tancioco or Michael Nutting Stage Manager: Jeffrey K Hanson #showsiveseen #theatre #love #relationships ♬ Moving Too Fast – Jeremy Jordan

Elevator Thoughts (aka Tweet): The Last Five Years musical at ACT Theatre w/ The 5th Avenue Theatre. Starring Cassie Q Kohl and Jeffery Wallace (or Coleman Cummings and Keola Kapulani Holt). Novel immersive orchestra placement allowed the audience to soak up the artistic/technical nuances of the score.

Recommendation:
See it if you’re okay with watching shows lacking a traditional chronological plot.

Was This the First Time I Attended a Production of this Show? No, I originally saw this at Taproot Theatre by AK-L5 Productions years ago.

Would I See It Again 3 Years from Now? No, twice is enough for me.

Mainstream Appeal: Medium

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

My Synopsis (No Spoilers): This musical explores the lifespan of a long-term straight romantic relationship, unfolding from two opposite perspectives. In a “Benjamin Button”-style narrative, the man experiences their love story chronologically from beginning to end, while the woman relives it in reverse starting from the breakup and moving back to the first spark.

Synopsis from the Licensor or Theatre Company: The winner of two Drama Desk Awards, this modern musical takes a devastatingly honest look at Cathy and Jamie and their journey of falling in and out of love over five years. Through clever storytelling and sharp lyrics – Cathy’s songs start at the end of the relationship, while Jamie begins at the start of their love affair – Jason Robert Brown’s cult favorite is a raw and intimate window into two perspectives of one relationship. This acclaimed musical is an unforgettable chronicle through the joy and ache of love.

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Sparse and stationary

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: Not quite. It was two perspectives of the same story moving in opposite directions. Each scene/song was a milestone in their romantic relationship with month/year gaps in between scenes.

Live Band/Orchestra: Yes

Union Actors: 2

Total Actors: 2

Perceived Pace of the Show: Medium speed

Was there an intermission? No

Length (Including Any Intermission): 80 minutes

Other Rave(s) Not Mentioned Above

Orchestra: The musical was staged at the theatre-in-the-round, creating an immersive experience unlike a traditional front-facing setup. For this production, they cleverly carved three shallow orchestra pits (one each for the string section, piano, and guitar ensemble) into the stage so the musicians were fully integrated into the action. This truly unique arrangement soaked the audience with music, making every technical and artistic nuance more palpable. The delicate string ornamentations and the subtle intricacies of the guitar plucking would have been lost in a conventional front-facing setup. The immersive orchestra design risked overpowering the singers or farther instruments, but I never found this to be an issue. Perhaps this was because of my seat’s equidistance from all three orchestra pits. Sound designer Haley Parcher adequately ensured that the sound balancing felt controlled and not overwhelming.
Song Highlights: PNW theatre veteran Cassie Q. Kohl (as Cathy Hiatt) delivered standout performances in “I Can Do Better Than That,” “Goodbye Until Tomorrow,” and “A Summer in Ohio.” Opposite her, Jeffery Wallace (as Jamie Wellerstein) shined in “Moving Too Fast” and brought great energy in the playful “na nana na” sections of “The Schmuel Song.” However, the lyrics of the latter song felt more like lighthearted comic relief filler rather than a meaningful contribution to the narrative.
Bookends: The bookend elements of the hanging letter and the furniture covering/uncovering were excellent artistic choices in this austerely staged production. They appropriately signaled to the audience that we’ve reached the end of the show.

Rant(s)

Temperature: The Allen Theatre often feels too cold in the winter months. It’s always a bad sign when I need to wear my coat in the theatre. It reminded me of what I experienced in ACT Theatre’s A Christmas Carol years ago.

Other Musing(s) and Observation(s)

Story Structure: I can’t say that I’m a fan of the Benjamin Button-style storytelling in opposite directions. While it’s a novel concept, it can also be confusing and difficult to pinpoint where the characters are in their relationship. This is just an inherent quality of the script since I remember feeling the same way the original time I saw this.
A/B Casting: This production used A/B casting, with some performances starring Cassie Q Kohl and Jeffery Wallace, while others featured Coleman Cummings and Keola Kapulani Holt. This approach likely helps avoid concerns about understudies forgetting their lines, but I couldn’t help but feel a bit of FOMO since there was an actor in each cast group that I would have preferred to see more.
Cassie Q Kohl : It so different seeing Cassie without her signature hair and glasses! I thought the same thing when she starred in Taproot Theatre’s The Hello Girls.

Theatre Company: ACT Theatre and The 5th Avenue Theatre

Venue: Allen Theatre at ACT Theatre

Venue Physical Address: 700 Union St, Seattle, WA 98101

Price Range: $73-104

Ticket Affordability Options: Check out the theatre’s official discounts page. Just a word of warning, I notice that joint productions between theatre companies tend to offer less discount options.

Dates: 2/8/25 to 3/16/25

Seating: Assigned Seating

Parking: Paid lot or paid street parking. If I don’t walk to this theatre, I park in the old convention center garage with the entrance between Seneca and Pike. There is indoor access from the garage to the theatre if you walk through the old convention center.

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Pictures: See production pictures below by Rosemary Dai Ross.

Cast and Production Team: See after pictures below.

Coleman Cummings (Jamie Wellerstein). Photo by Rosemary Dai Ross.

Keola Kapulani Holt (Cathy Hiatt). Photo by Rosemary Dai Ross.

Coleman Cummings (Jamie Wellerstein) and Keola Kapulani Holt (Cathy Hiatt). Photo by Rosemary Dai Ross.

Cassi Q Kohl (Cathy Hiatt) and Jeffery Wallace (Jamie Wellerstein). Photo by Rosemary Dai Ross.

Jeffery Wallace (Jamie Wellerstein). Photo by Rosemary Dai Ross.

Cassi Q Kohl (Cathy Hiatt). Photo by Rosemary Dai Ross.

I Love You, You’re Perfect, Now Change – Musical Revue – Review – Renton Civic Theatre

@showsiveseen "I Love You, You're Perfect, Now Change" #musical #revue by Renton Civic Theatre. Charming versatile stage presence from @Charlie Stevens. Laugh, reflect, and maybe even cringe a little at the complexities of love over a lifetime. Closing next weekend! Review: showsiveseen.com/11789 Photos: Colin Madison Director: Mauro Bozzo Conductor: Lindsay Delmarter Stage Manager: Valerie Reid #showsiveseen #theatre #relationships #love #dating #marriage #skits ♬ Epilogue / I Love You, You're Perfect, Now Change – Jimmy Roberts & Joe DiPietro

Elevator Thoughts (aka Tweet): I Love You, You’re Perfect, Now Change musical revue by Renton Civic Theatre. Charming versatile stage presence from Charlie Stevens. Laugh, reflect, and maybe even cringe a little at the complexities of love over a lifetime. Closing next weekend!

Recommendation:
See it if either 1) you enjoy vignette musicals like You’re a Good Man, Charlie Brown 2) or you want to support local community theatre.

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

My Synopsis (No Spoilers): A collection of musical skits that humorously explore the ups and downs of relationships — from dating, to marriage, to family life, to dating all over again!

Synopsis from the Licensor or Theatre Company: Experience the hilarity and heart of I Love You, You’re Perfect, Now Change! This musical comedy explores the rollercoaster ride of relationships, from first dates to long-term commitment, with sharp wit and relatable humor. Featuring catchy songs and laugh-out-loud scenarios, it’s a celebration of love in all its perfectly imperfect forms. Whether you’re single, coupled, or somewhere in between, this show is sure to have you nodding along and laughing out loud. Don’t miss this lighthearted and charming theatrical treat!

Type: Musical Revue

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Sparse and stationary

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: No, it was a series of independent vignette skits, but they unfold in a way that traces the evolution of romantic relationships over a lifetime.

Live Band/Orchestra: Yes

Union Actors: 0

Total Actors: 8

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2 hours

Other Rave(s) Not Mentioned Above

Bedroom Scene: The sex scene was cleverly executed, with David Yake and Kate Connors creating silhouette shadows against a white sheet.
Senior Love: The closing scenes with Sharry and Michael O’Hara were endearing as they portrayed how widowed seniors long for love again. However, I’ve always found it odd when actors are introduced at the very end of a show. Imagine waiting through two full acts before finally featuring on-stage. How frustrating that must be! It brought to mind “Diva’s Lament (Whatever Happened to My Part?)” from Spamalot.

Rant(s)

Set Transitions: Set and prop movement between scenes was sometimes a bit distracting since it can make productions feel more amateur. That said, I understand it’s difficult to avoid this in community theatre, where budgets don’t allow for elaborate stage mechanics.

Other Musing(s) and Observation(s)

Gay Representation: The script could benefit from more LGBT representation. I appreciated the inclusion of same-sex parents, but what about same-sex dating? It would likely resonate more with the LGBT audience members, given that there are more gay singles than gay parents. And don’t forget about the lesbians!
Drums: Adding a drummer to the band would make a world of difference in this production. I remember performing with the Seattle Men’s Chorus when our drummer didn’t arrive in time for a show. The contrast between having and not having a drummer was like night and day.
Renton Civic Theatre: If you haven’t been keeping up with the drama in the news and on social media, Renton Civic Theatre is now under entirely new leadership and a revamped board of directors. This marks their second (or third?) production under the new regime. It’ll be interesting to see the company’s trajectory moving forward, especially since they’ve reportedly recently secured significant funding for improvements. Wishing them the best of luck!

Theatre Company: Renton Civic Theatre

Venue: Renton Civic Theatre

Venue Physical Address: 507 South Third St, Renton, WA 98057

Price Range: $38

Dates: 2/14/25 to 3/2/25

Seating: General Admission

Parking: Plentiful free street parking

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https://events.rentoncivictheatre.org/event/17/i-love-you-youre-perfect-now-change

Pictures: See production pictures below by Colin Madison Photography.

Cast and Production Team: See after pictures below.

Crave – Play – Review – Intiman Theatre

@showsiveseen "Crave" #avantGarde #abstract #play by @Intiman Theatre at Erickson #Theatre Off Broadway. Loved the water & shadow box aperture scenic design by Jennifer Zeyl. Impressive script memorization. Elegant, #poetic execution. Closes next weekend! #showsiveseen ♬ Good Things – ESPER

Elevator Thoughts (aka Tweet): Crave avant garde abstract play by Intiman Theatre at Erickson Theatre Off Broadway. Loved the water & shadow box aperture scenic design by Jennifer Zeyl. Impressive script memorization. Elegant, poetic execution.

Recommendation:
See it if you either enjoy 1) analyzing poetry/literature, 2) visiting modern art museums, 3) or watching weird experimental plays like Washington Ensemble Theatre’s Arlington.

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

My Synopsis (No Spoilers): Describing this play is a challenge, since it is an abstract, experimental work without conventional storytelling. The narrative (if you can call it that) is elusive. As someone who typically engages with theater on a more surface level, it was impossible for me to grasp the script’s deeper meanings. The performance featured four actors, who delivered their random lines directly to the audience in a poetic manner while hardly looking at each other. The experience was beautifully designed, but the overall impact was more sensory than narrative. It was akin to an art installation that I didn’t understand at a museum.

Synopsis from the Licensor or Theatre Company: Love, loss, sex and desire play across the stage in this poetic and deeply personal play from legendary playwright Sarah Kane, returning to Seattle nearly two decades after it last stunned audiences as one of the first productions from Washington Ensemble Theatre (WET). For this revisiting of the material, Intiman will bring together many of the original artists for an encore production, including Roger Benigton, Marc Kenison (Waxie Moon), and Marya Sea Kaminski. Intiman Artistic Director Jennifer Zeyl, will once again design the set, having won the Stranger Genius Award in 2006 for her original design. Peer deep inside the mind of four fragmented and fractured characters as they strive to find peace and connection in a lonely world. A visceral and transcendent experience that will leave you breathless.

Type: Play

World Premiere: No

Several or Few Scenes: One continuous scene

Several or Few Settings/Locations: One ambiguous location

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: You’ll enjoy this play more if you have a strong ability to interpret the deeper meanings of an art piece – whether in literature, poetry, paintings, music, etc.

Defined Plot/Storyline: No

Union Actors: 3

Total Actors: 4

Perceived Pace of the Show: Medium speed

Was there an intermission? No

Length (Including Any Intermission): 50 minutes

Other Rave(s) Not Mentioned Above

Scenic Design: The scenic design by Jennifer Zeyl was the highlight of this production. It brought to mind the set of Lady Gaga’s “Bad Romance” music video, with its modern aesthetic. I’m always drawn to shadow box apertures on stage, like those in Village Theatre’s Cinderella or the national tour of Company, and Zeyl’s design didn’t disappoint in that regard with a giant shadow box where most of the acting took place.

The reflective floor, which at first glance appeared to be a mirror, turned out to be a pool of water. I didn’t realize this until the first third of the play when the pool was disturbed, creating mesmerizing ripples that projected beautiful patterns on the ceiling. I’m sure lighting designer Jessica Trundy played a major part in this masterful execution.

After a dramatic curtain fall (a theatrical element I always appreciate), performers waded into the water and interacted with it, nearly splashing us in the front row! I couldn’t help but worry about the risks for the actors what with all the electronics and lighting equipment just inches away from the reflecting pool.

The use of water in this production also reminded me of Intiman Theatre’s The Sign in Sidney Brustein’s Window from 2023, which featured a waterfall. It seems that this theatre company gravitates towards aquatic scenic design motifs.
Setting the Stage: The opening moments of the play began with the lights gradually dimming to black at a deliciously glacial pace, accompanied by a soundscape designed by Matthew Starritt. This simple “overture” was surprisingly a heady, meditative, and peaceful experience, setting a tone of anticipation and calm before the performers began.
Memorization: The script demanded extraordinary memorization abilities from the performers due to its lack of a clear linear plot or chronological structure. In addition to its fragmented nature, the fast-paced call-and-response exchanges between the actors and the fact that they rarely made eye contact added to the challenges. As Alexandra Tavares (who played “M”) aptly mentioned during the talk-back, the script was particularly tough to memorize because it lacked any “connective tissue” between the lines.

Other Musing(s) and Observation(s)

Character Names: The characters were named “A,” “B,” “C,” and “M” played by Lathrop Walker, Christopher Morson, Marya Sea Kaminski, and Alexandra Tavares respectively. What is the significance of “M” not being “D?” Leave a comment in my social media if you have any ideas.
Cassette Tape: The characters occasionally interacted with a tape recorder and a cassette tape, which made me wonder if younger audience members (especially Gen Z) would even recognize these props. How much longer will these items remain relevant in theatre? It reminded me of the corded phone as a key plot device in ACT Theatre’s Stew, which was another example of how quickly technology can feel outdated on stage.

Theatre Company: Intiman Theatre

Venue: Erickson Theatre Off Broadway

Venue Physical Address: 1524 Harvard Ave, Seattle, WA 98122

Price Range: $65-80

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: 2/11/25 to 3/2/25

Seating: Assigned Seating

Parking: It’s Capitol Hill so street/lot/garage parking is expensive. Street parking is even sparser than downtown! Ironically, the uncovered parking lots on Harvard Avenue across Seattle Central College are cheaper than street parking. I highly suggest taking public transit if possible.

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Pictures: See production pictures below by Joe Moore.

Cast and Production Team: See after pictures below.