Post Type – Shows I've Seen

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/

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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.

Gin Hammond, Kirsten Potter, and Arlando Smith in *Blithe Spirit* (2024). Photo by Nate Watters.

Kirsten Potter in *Blithe Spirit* (2024). Photo by Nate Watters.

Sara Waisanen, Gin Hammond, Anne Allgood, Arlando Smith, and Nate Tenenbaum in *Blithe Spirit* (2024). Photo by Nate Watters.

Arlando Smith, Anne Allgood, Gin Hammond, Sara Waisanen, and Nate Tenenbaum in *Blithe Spirit* (2024). Photo by Nate Watters.

Gin Hammond, Sara Waisanen, Sophie Kelly-Hedrick, Nate Tenenbaum, and Arlando Smith in *Blithe Spirit* (2024). Photo by Nate Watters.

Anne Allgood, Sara Waisanen, and Gin Hammond in *Blithe Spirit* (2024). Scenic design by Carey Wong. Photo by Nate Watters.

Kirsten Potter, Arlando Smith, and Anne Allgood in *Blithe Spirit* (2024). Photo by Nate Watters.

Production credits from *Encore* program.

Drag: The Musical – Review – New World Stages

@showsiveseen Front-row seats to Tomas Costanza, @alaskaalaskaalaska, & Ashley Gordon's "#Drag: The #Musical" at New World Stages. Starring Alaska Thunderfuck & Nick Adams. Farewell @Joey McIntyre🔹 & hello Adam Pascal. I laughed & cried in this ostentatious feel-good irreverent show. Review: showsiveseen.com/10470 Photos: Matthew Murphy Director/Choreographer: Spencer Liff Music Direction: @Andrew Orbison Stage Manager: Jennifer Rogers & Matthew Herrmann #camp #theatre #showsiveseen #offbroadway #DragQueen #DragShow #lgbt #gay #queer @DRAG: The Musical ♬ Drag Is Expensive – Nick Adams & Max Von Essen & Monét X Change & Divina De Campo & Lagoona Bloo

Elevator Thoughts (aka Tweet): Front-row seats to Drag: The Musical at New World Stages. Starring Alaska Thunderfuck & Nick Adams. Farewell Joey McIntyre and hello Adam Pascal. I laughed & cried in this ostentatious feel-good irreverent show. #camp

Recommendation:
See it, especially if you enjoyed Kinky Boots the Musical or Priscilla, Queen of the Desert the Musical … or just plain drag!

My Synopsis (No Spoilers): Dueling drag clubs struggle to stay afloat financially.

Synopsis from the Licensor or Theatre Company: Two Drag Houses, both alike in indignity, vie for supremacy in a wig-snatching, diva-licious journey of fashion, family, and forgiveness. Leave the lip syncs at the door, darling. Get ready for Drag realness: REAL singing, in a REAL theater, with REAL DRAMA. After their bitter split, fishy queen Alexis Gilmore opened her club, The Fishtank, as glamourpuss Miss Kitty established The Cathouse. Heels click and tensions rise as old wounds are opened and the two clubs fight to survive.

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Stationary

Prior Exposure/Knowledge Required: Obviously, you’ll appreciate this more if you’re gay.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actors: All

Total Actors: 18

Perceived Pace of the Show: Medium to fast

Was there an intermission? No

Length (Including Any Intermission): 110 minutes

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

Would I See It Again 3 Years from Now? I’d consider it

Mainstream Appeal: Medium

Other Rave(s) Not Mentioned Above

Simple Storyline: The storyline was thankfully easy to follow just like in Back to the Future: The Musical. There are some shows out there (especially plays) that could use some dumbing down.
Brendan: While the script was irreverent and light on depth (which isn’t necessarily a bad thing), there were genuinely touching moments, particularly with Brenden (played by young actor Yair Keydar) as he navigated his self-discovery. In the song “I’m Just Brendan,” I was moved by his interaction with the actor in the mirror. It resonated with the gay kid in my past who lacked a gay role model growing up.
Costumes: Naturally, a drag-themed musical demands a dazzling and diverse repertoire of costumes, and costume designer Marco Marco delivered just that. The pièce de résistance was undoubtedly the giant-assed hat featured in the funeral scene.
Nick Adams: Nick Adams’s toned and muscular silhouette interestingly contrasted to his drag queen persona as Alexis Gillmore. He truly embodied the lyric that he was a “the cheerleader and the quarterback.”
J. Elaine Marcos: As a Pinoy, I loved how J. Elaine Marcos spoke a Filipino auntie accent as one of the characters she portrayed. Represent!
Gags: Throughout the show there were repeating funny gags like Pus Puss DuBois’s eyebrows or the mystery of Alexis and Kitty’s falling out.
Gay-ish Pop Culture References: The script was filled with hilarious references to gay-ish pop culture like Cats, Britney Spears, Golden Girls, Shakira, Miley Cyrus’s “Wrecking Ball,” and Hillary Duff’s iconic TikTok dance trend. My favorite moment was when a queen quoted Mommie Dearest with “I’m not mad at you. I’m mad at the dirt!”
Nick Laughlin: Puss Puss DuBois (played by Nick Laughlin) was a hilarious mix of Jennifer Coolidge and a southern belle.
via GIPHY

Rant(s)

Romantic Side Story: I was disappointed that the love interests were cis heterosexual characters. This is a gay show for crying out loud! At least one of the love interests need to be LGBT.

Other Musing(s) and Observation(s)

Female Drag Queens: I was surprised to learn that cis heterosexual females could be drag queens.
Soundtrack: Strangely (or more like “obviously”), the soundtrack didn’t nearly evoke the same feeling as experiencing the songs performed live. I’m actually thinking about deleting the soundtrack from my Broadway playlist except for “Drag is Expensive.” I love the “Ohhhhhhhh” chorus harmony in that song!
Singing: Every time I attend a drag-themed musical, I’m always a bit worried they’ll lip-synch like in a typical drag show. Fortunately, all the drag performers in this show sang.
Seat Choice: Choose tickets at “house left” or “house center” away from the band. It’s almost never a good idea to sit close to the band in a musical because the accompaniment often drowns out the vocals. That being said, my “house right” tickets were acoustically not terrible.

Venue: New World Stages – Stage 3

Venue Physical Address: 340 W 50th St, New York, NY 10019

Venue Classification: Off-broadway

Price Range: $47-184

Ticket Affordability Options: Check out the show’s website for online rush or lottery tickets. You can also likely buy discount tickets at the TKTS booth.

Dates: 10/21/24 was opening night. As of 12/12/24, Telecharge was selling tickets as far as 3/30/25.

Seating: Assigned Seating

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https://dragthemusical.com/

Pictures: See production pictures below by Matthew Murphy.

Cast and Production Team: See pictures below.

Alaska Thunderfuck and the cast DRAG The Musical. © Matthew Murphy.

Alaska_Thunderfuck, Jujubee, Jan Sport, and Nick Laughlin in DRAG The Musical. © Matthew Murphy.

Jujubee, Jan Sport, Alaska Thunderfuck, and Nick Laughlin in DRAG The Musical. © Matthew Murphy.

Nick Adams, Eddie Korbich, and Alaska Thunderfuck in DRAG The Musical. © Matthew Murphy.

Nick Adams in DRAG The Musical. © Matthew Murphy.

Back to the Future: The Musical – Review – Paramount Theatre

@showsiveseen Just saw "Back to the Future: The #Musical" at the Paramount Theatre from @broadwaycom Seattle & @Seattle Theatre Group. Starring Caden Brauch & Don Stephenson. Stunning projections & a vibrant celebration of 80s/50s culture, fashion, & music! The story was easy to follow, though the DeLorean tech had a few bumps. Definitely a fun ride through time! Closes 12/22/24 Review: showsiveseen.com/10639 Director: John Rando Music/Lyrics: Alan Silvestri & Glen Ballard Stage Managers: Eric Sprosty, @Caitlin Kellermeyer, Malashia Carter, & Domingo Mancuello Conductor: Matt Doebler Choreography: Chris Bailey #BackToTheFuture #DeLorean #timeTravel #theatre #showsiveseen @Back to the Future Broadway ♬ It's Only a Matter of Time – Olly Dobson

Elevator Thoughts (aka Tweet): Just saw Back to the Future: The Musical at the Paramount Theatre from Broadway Seattle & Seattle Theatre Group. Starring Caden Brauch & Don Stephenson. Stunning projections & a vibrant celebration of 80s/50s culture, fashion, & music! The story was easy to follow, though the DeLorean tech had a few bumps. Definitely a fun ride through time! #BackToTheFuture #DeLorean #timeTravel

Recommendation:
See it, especially if you enjoyed the movie.

My Synopsis (No Spoilers): A teenager from the 1980s accidentally travels back in time to the 1950s and must find a way to return home to the 80s without drastically altering the course of history.

Synopsis from the Licensor or Theatre Company: Great Scott! Back to the Future, the beloved, cinematic classic is now a Broadway musical. Winner of the 2022 Olivier Award for Best New Musical, four WhatsOnStage Awards, including Best New Musical, and the Broadway World Award for Best New Musical, Back to the Future: The Musical is adapted for the stage by the iconic film’s creators Bob Gale (Back to the Future trilogy) and Robert Zemeckis (Forrest Gump) and directed by the Tony Award®-winner John Rando with original music by multi-Grammy® winners Alan Silvestri (Avengers: Endgame) and Glen Ballard (Michael Jackson’s “Man in the Mirror”), alongside hit songs from the movie including “The Power of Love,” “Johnny B. Goode,” “Earth Angel,” and “Back in Time.” When Marty McFly finds himself transported back to 1955 in a time machine built by the eccentric scientist Doc Brown, he accidentally changes the course of history. Now he’s in a race against time to fix the present, escape the past, and send himself… back to the future. When Back to the Future hits 88mph, it’ll change musical theatre history forever.

Attended Performance Date: 12/10/24 – Opening Night

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/enjoy this more if you saw 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? Maybe

Mainstream Appeal: High

Other Rave(s) Not Mentioned Above

Story: In most live theatre shows, I often need a few scenes before fully grasping the storyline. However, this musical stood out for its clarity and accessibility, making it easy to follow right from the beginning, even without prior familiarity with the movie.
Mother: The scenes and songs involving the mother’s (Lorraine played by Zan Berube) misguided romantic love for her time traveling son were delightful, darling, … and oedipal! “Pretty Baby” and “Something About That Boy” reminded me of retro girl group songs like “My Boyfriend’s Back” or the songs from The Marvelous Wonderettes.
1950s Hazards: In the song “Cake,” the 1950s ensemble ironically and cheerfully boasted about things from that era that are now recognized as harmful, such as leaded gasoline, cigarettes, asbestos, and DDT insecticide.
1980s and 1950s: This show celebrated the distinctive culture, music, and fashion of both the 1980s and 1950s. The musical opened with an overwhelming vomit (in a good way) of garish tubular 80s aesthetics like blaring rock music, workout spandex, preppy plaid, jean jackets, fanny packs, headbands, scrunchies, leg warmers, Polaroid cameras, corniness, bully/geek caricatures, and mullets. This gaudy display starkly contrasted with the more subdued, clean-cut, Grease-like ambiance of the 1950s that emerged later in the performance. Tim Hatley (Scenic/Costume Designer) truly did a remarkable job.
Seahawks: The slight reference to the Seattle Seahawks and the 12th fan was a nice wink to the audience. I wonder if the cast performs similar gags at other cities.

Rant(s)

DeLorean Technical Difficulties: Although this production introduced the DeLorean in a spectacularly flashy manner, the iconic vehicle experienced significant technical difficulties at the climax of the show. Such is the unpredictability of live theatre! The performance paused multiple times as the DeLorean repeatedly stalled with the following projected message. I lost count of the scene re-attempts and false starts (perhaps five?) which extended the show by over 45 minutes while the audience gradually trickled out in the dark. Since ‘the show must go on,’ the cast and production team ultimately drastically altered the final scenes, and it was evident that substantial portions were cut. Imagine my FOMO! This is a glaring example of the risks inherent in productions with complex technical requirements. Among the 500+ shows I’ve seen, this was undoubtedly the most severe technical mishap I’ve witnessed. Thankfully, no one was hurt. Kudos to the team for their valiant efforts to continue. I can only imagine the adrenaline coursing through stage managers Eric Sprosty, Caitlin Kellermeyer, Malashia Carter, and Domingo Mancuello during this crisis.

Other Musing(s) and Observation(s)

“21st Century” Song: The second act opener was a thrilling, visually spectacular display, featuring futuristic projections and a light show that beautifully illustrated the concept of the space-time continuum with some surprising stage magic at the end. The only drawback was both the lead singer and the background vocalists were difficult to understand because of poor sound balancing.
Projections: It is easy for productions to overly rely on projections as a crutch for scenery and this show was no exception. However, it was a well-chosen artistic decision from video designer Finn Ross to utilize projections when depicting the DeLorean vehicle speeding. It was also a clever technique to project video onto a transparent screen between the audience and actors to simulate rain and stairs.
George McFly: Burke Swanson’s interpretation of George McFly reminded me of a funny sloth.
Formulaic Artificiality: This musical felt overly artificial and formulaic. Despite the well-executed production (and the fact that I kind of love musical formulas), it came across as too commercialized, as if it was conceived solely to capitalize on the movie’s popularity rather than make a dent in the American theatre canon. While that is already innately difficult for musicals based on movies, it’s still possible like with the superficial Legally Blonde. Back to the Future: The Musical lacked soul, leaving me feeling disconnected. Perhaps my opinion would differ if I saw the movie first.

Theatre Company: National Tour from Broadway Across America and Seattle Theatre Group

Venue: Paramount Theatre

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

Price Range: $40-150 plus the insane Ticketmaster fees. Buy your ticket at the box office to avoid the exorbitant fees. Down with the Ticketmaster Live Nation monopoly!

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 eligible for an organization discount.

Dates: December 10 – 22, 2024

Seating: Assigned Seating

Parking: Paid street parking and paid garage parking. The best parking garage is under the convention center w/ the entrance on Pike around the Pike and Terry intersection. Last I checked, this is one of the cheapest, least busy, and closest garages. Alternatively, you can probably find street parking as you move closer to the West Precinct (810 Virginia St, Seattle, WA 98101). Do NOT park where the Paramount subscribers park. Last I checked, they usually park in the garage attached to the Cheesecake Factory. It’ll take you at least 30 minutes to exit that garage after the show.

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Pictures: See production pictures below by Matthew Murphy and Evan Zimmerman.

Cast and Production Team: See pictures below.

Pictured (L-R): Don Stephenson (Doc Brown) and Caden Brauch (Marty McFly). Photo by Matthew Murphy and Evan Zimmerman, 2024.

Pictured (L-R): Zan Berube (Lorraine Baines), Burke Swanson (George McFly), Caden Brauch (Marty McFly) and the Company of *Back to the Future: The Musical*. Photo by Matthew Murphy and Evan Zimmerman, 2024.

Pictured (L-R): Don Stephenson (Doc Brown), Caden Brauch (Marty McFly), and the Company of Back to
the Future: The Musical. Photo by Matthew Murphy and Evan Zimmerman, 2024.

Cartreze Tucker (Goldie Wilson) and the Company of Back to the Future: The Musical. Photo by Matthew Murphy and Evan Zimmerman, 2024.

Pictured (L-R): Burke Swanson (George McFly), Ethan Rogers (Biff Tannen), Caden Brauch (Marty McFly), and Zan Berube (Lorraine Baines). Photo by Matthew Murphy and Evan Zimmerman, 2024.

Caden Brauch (Marty McFly) and the Company of *Back to the Future: The Musical*. Photo by Matthew Murphy and Evan Zimmerman, 2024

Credits from the Encore Spotlight program.

Legally Blonde: The Musical – Review – Village Theatre

@showsiveseen "Legally #Blonde: The #Musical" by Village Theatre starring @Betsy Stewart as #ElleWoods. Strong choreography. Quite possibly *the* show to see this season. Don't forget to wear your #pink! #theatre #showsiveseen #legallyBlonde ♬ So Much Better (Live) – Sheridan Smith & The "Legally Blonde the Musical" Original London Cast' Company

Elevator Thoughts (aka Tweet): Legally Blonde: The Musical by Village Theatre starring Betsy Stewart as Elle Woods. Strong choreography. Quite possibly *the* show to see this season. Don’t forget to wear your pink!

Recommendation:
See it, especially if you enjoyed the movie.

My Synopsis (No Spoilers): A ditsy SoCal UCLA sorority blonde follows her ex-boyfriend to Harvard Law School for love.

Synopsis from the Licensor or Theatre Company: Don’t judge a blonde by her cover! Elle Woods appears to have it all. But her life is turned upside down when her boyfriend dumps her so he can attend Harvard Law. Determined to get him back, Elle ingeniously charms her way into the prestigious law school, and soon she discovers — and proves to the world — the power of being legally blonde. Based on the beloved movie, Legally Blonde The Musical takes you from the sorority house to the halls of justice in fabulously fun, blonde-tastic style. With an infectious score, dazzling dances, and a hilarious script, this ebullient musical is so much fun, it should be illegal!

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 enjoy this more if you saw the movie.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actors: 13

Total Actors: 20

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? No, this is far from my first time seeing the show. As one of my top three favorite musicals, I’ve had the opportunity to experience it at least seven times, across various community, professional, and touring productions. The quality has varied greatly—some performances were outstanding, while others were terrible. Having seen many underwhelming versions, I’ve realized that staging a decent production of this musical is quite challenging. Only professional companies like Village Theatre are equipped to do it justice.

Would I See It Again 3 Years from Now? Absolutely

Mainstream Appeal: Medium to high

Other Rave(s) Not Mentioned Above

Choreography: Katy Tabb (choreographer) and Richard Peacock (dance captain) crafted a vibrant and dynamic choreography repertoire. It was particularly strong in “Legally Blonde Remix (especially with the Irish Stepdance), “What you Want” (especially with the impressive splits and heart pom poms), “Bend and Snap,” and the physically challenging “Whipped into Shape.”
Kyle: Speaking of Richard Peacock, although he didn’t visually present as Irish, I loved his flamboyant (and slightly gay) interpretation of Kyle, the sexy “walking porn” UPS man.
Scenic Design: I previously saw two national touring productions of this show that overly relied on video as a crutch to depict scenery. It was refreshing to finally attend a professional production that utilized more physical sets. Lex Liang (scenic designer) designed sets for Villiage Theatre reminiscent of the original Broadway production.
“Take it Like a Man” Song: This scene was cute and well-executed especially when they added last-minute clothing/style accessories to Emmett (played by Coleman Cummings) at the end.
Casting: The cast was a strong collection of mostly local professional actors like Mark Emerson (Professor Callahan), Cy Paolantonio (Brooke Wyndham), and Danny Kam (Ensemble). Cassie Kohl was perfect for the lesbionic Enid Hoopes. Ironically, Cassie’s Instagram username is “thunderdyke!” Additionally, Betsy Stewart (who isn’t local) well-portrayed the ditsy energy and look of the original Reece Witherspoon from the movie.

Rant(s)

Microphones and Sound: The lead singers needed better sound balancing on their microphones. A messenger bag mishap also cut out one major character’s microphone during half of their duet Additionally, the vocals in the first act were a little shaky, but the second act showed significant improvement. With a few more performances to stabilize, the vocal and sound issues should resolve.

Other Musing(s) and Observation(s)

Script and Lyric Changes: There were a couple deviations from the original script and lyrics. I wonder if it was just Seattle being overly woke and politically correct. For example, they replaced “ethnic movement” with “Gen-Z enthusiasm” in the line “You can’t just barge in here with singing and dancing and ethnic movement.” Why did they change the royal classmate’s name from Sundeep Agrawal Padamadan? Why did Enid no longer lead a protest march against culturally insensitive cartoons? Why was Paulette’s baby no longer named “Shamus?” Why did they change the lyrics in “Positive” to something like “hit her with a stick of wood?”

Theatre Company: Village Theatre

Venue Physical Address:

Village Theatre’s Francis J. Gaudette Theatre: 303 Front Street North, Issaquah, WA 98027
Everett Performing Arts Center: 2710 Wetmore Avenue, Everett, WA 98201

Price Range: $44-123

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

Dates:

Issaquah: November 12 to December 22, 2024
Everett: January 4 to 26, 2024

Seating: Assigned Seating

Parking:

Issaquah: Free street parking and certain free parking lots. Lot parking availability is very difficult to find though. I’ve basically given up on that. I usually end up parking on Rainier Boulevard North. As a last resort, you can always find parking at the library but it’s a little far. Remember, there’s a bottom floor parking lot under the library’s main parking lot that mostly only locals know about.
Everett: Free street parking and some paid parking lots/garages.

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Pictures: See production pictures below by Auston James.

Cast and Production Team: See pictures below.