Time Stands Still – Play – Review – Thalia’s Umbrella

@showsiveseen Donald Margulies's "Time Stands Still" #play by Thalia's Umbrella at 12th Ave Arts. Engaging dialogue packed with poignant moments. Loved the charming Elle Woods-like comic relief contrast from @Cricket. Closes next weekend! #Review: showsiveseen.com/11977 Photos: Annabel Clark Director: Terry Edward Moore #theatre #showsiveseen #photographer #reporter #journalist ♬ Flashed Junk Mind – 2025 – Milky Chance & ORF Vienna Radio Symphony Orchestra

Elevator Thoughts (aka Tweet): Time Stands Still by Thalia’s Umbrella at 12th Ave Arts. Engaging dialogue packed with poignant moments. Loved the charming Elle Woods-like comic relief contrast from Tessa “Cricket” James.

Recommendation:
See it, especially if you enjoy dialogue plays.


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

Would I See It Again 3 Years from Now? Maybe if it was produced somewhere like Seattle Rep or ACT Theatre

Mainstream Appeal: Medium

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

My Synopsis (No Spoilers): A renowned photojournalist, celebrated for her daring assignments abroad, returns home to the USA injured after surviving a roadside bomb. As she grapples with physical and emotional scars, she struggles accepting the monotony of mundane conventional existence.

Synopsis from the Licensor or Theatre Company: A photo-journalist has been badly injured in a war zone, and she returns home to recuperate and figure out what is next. Her partner wants to get married and have kids. She wants to get back on her feet. Even for those for whom this dangerous work is a calling, there must come a time when they have risked enough, lost enough. Done enough. How do they decide if that time has come? Both funny and poignant, TIME STANDS STILL offers four different models of how to live a good life in troubled times.

Type: Play

World Premiere: No

Several or Few Scenes: Few

Several or Few Settings/Locations: Just one – a Brooklyn apartment

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: Yes-ish, but it was mostly dialogue. There’s only so much that can occur in an apartment.

Union Actors: 2

Total Actors: 4

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 130 minutes

Other Rave(s)

  • Character Contrasts: I loved the juxtaposition between Sarah Goodwin (played by Jen Taylor) and Mandy Bloom (played by Tessa “Cricket” James). Sarah was a cynical, fiercely independent, world-hardened, respected photojournalist who didn’t need no man! She carried herself with a serious, no-nonsense edge, exuding an air of intellectual elitism and slight masochism. Mandy, on the other hand, was her complete opposite—the epitome of a ditsy girly girl. As Pilates-practicing event planner, she radiated warmth and naivety, embracing a lighthearted approach to life, loving babies/puppies and enjoying the moment. Their dynamic felt like the classic culture clash of NYC intensity vs LA sorority and it sparked humorous tension on stage.
  • Dialogue: I usually prefer plays with more action, but the writing was so engaging that I didn’t even realize how dialogue-heavy it was until midway through the first act. The script was also filled with many poignant and thought-provoking lines.
  • Gasp-worthy Moments: I love a good gasp-worthy moment that jolts the audience with raw, unexpected intensity. It could be a sudden shout of self-defense, an unintended blow to an already vulnerable partner, an emotional outburst in a partner’s defense, or a spiteful breakup argument. Sure, they can sometimes feel gratuitous. But what can I say? I live for the drama!
  • The Price of Journalism: This play interestingly brings to light the mental anguish and emotional detachment that reporters and photojournalists must endure in their work. In the comfort of a peaceful, developed nation like the USA, we passively view images of atrocities from places afar without considering the toll on those who capture them. Behind many compelling photos or urgent new reports is someone who compartmentalized their emotions to bring the truth to the general public.
  • “Favorite Lefty Pastime”: James Dodd (played by Quinlan Corbett) delivers a biting tirade on the futility of featuring progressive ideals in theatre scripts. Admittedly, he makes a compelling point. Too often, these productions preach to the choir. The very audiences who need to hear these messages the most aren’t in the seats. Meanwhile, those who do attend the shows “go home feeling like they’ve done something, when in fact all they’ve done is assuaged their liberal guilt!” As much as I hate to admit it… he’s not off base.

Rant(s)

  • Stage Configuration: The traverse stage layout (where the audience sits on the north and south of the stage but not the east and west) felt inequitable. For this general admission show, I highly recommend sitting on the side closest to the audience entrance. The opposite side offers a noticeably inferior view. I often found myself frequently staring at the backs of actors sitting on a loveseat, which left me feeling a bit of FOMO. It also took me far too long to notice that one character wore scar makeup on one side of their face, which I missed from my vantage point. I’ve now seen at least two recent productions at 12th Ave Arts (Cost of Living and Miss You Like Hell) that employed this traverse stage layout. In all cases, I would have preferred traditional front-facing or L-shaped staging. While traverse layout can create intimacy, it also risks alienating half the audience at any given moment.

Other Musing(s) and Observation(s)

  • Local Appeal: The protagonist, Sarah Goodwin (portrayed by Jen Taylor), likely resonates with Pacific Northwest audiences, what with the REI-style outdoor adventurism, hero-complex progressive idealism, modest approach to privilege/wealth, and the affinity toward “vacationing” in developing countries.

Theatre Company: Thalia’s Umbrella

Venue: 12th Avenue Arts

Venue Physical Address: 1620 12th Ave, Seattle, WA 98122

Price Range: ~$50

Seating: General Admission

Parking: Paid lot or paid street parking. Street parking is extremely limited since it’s Capitol Hill. Even if you can find street parking, it often costs more than some parking lots. If you don’t take the bus, I highly recommend the paid lot at 1300 E Olive St with the entrance on 14th Ave.

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Pictures: See production pictures below.

Cast and Production Team: See after pictures below.

Tessa “Cricket” James and Mark Kuntz. Photo by Valerie Ryan Miller.
Jen Taylor. Photo by Annabel Clark.
Jen Taylor and Quinlan Corbett. Photo by Annabel Clark.
Tessa “Cricket” James and Mark Kuntz. Photo by Annabel Clark.
Jen Taylor, Mark Kuntz, Tessa “Cricket” James, and Quinlan Corbett. Photo by Annabel Clark.
Tessa “Cricket” James and Mark Kuntz. Photo by Annabel Clark.

Black Tie and Blue Jeans – 2025 Benefit Gala – Northwest Boychoir & Vocalpoint! Seattle

Black Tie and Blue Jeans 2025 Benefit Gala for Northwest Choirs (Northwest Boychoir & Vocalpoint! Seattle) at Tuxedos & Tennis Shoes. It must be fun growing up part of an organization like this.

Learn More: https://www.nwchoirs.org/gala/

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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.
Coleman Cummings (Jamie Wellerstein). 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.
Credits from the printed Encore program.
Credits from the printed Encore program.