Review – Shows I've Seen | Theatre Reviews

Waitress – Musical – Review – The 5th Avenue Theatre & Theatre Under the Stars

@showsiveseen @thesarabareilles' "#Waitress" #romanticComedy #musical by @The 5th Avenue Theatre & @Theatre Under The Stars on #PiDay! Starring Kerstin Anderson w/ beautifully clear vocals. Hilarious comic relief from @Kennedy. Quality rivaled the national tour production. Closes next weekend! #Review: showsiveseen.com/12157 Photos: Tracy Martin and Mark Kitaoka Director/Choreo: Lisa Shriver Stage Manager: JR Welden Music Director: @matthewantonioperri #romCom #theatre #showsiveseen #pie #baking ♬ Bad Idea (feat. Jason Mraz) – Sara Bareilles

Elevator Thoughts (aka Tweet): Sara Bareilles’ Waitress romantic comedy musical by The 5th Avenue Theatre & Theatre Under the Stars on Pi Day! Starring Kerstin Anderson w/ beautifully clear vocals. Hilarious comic relief from Kennedy Kanagawa. Quality rivaled the national tour production. #romCom

Recommendation:
See it!

Was This the First Time I Attended a Production of this Show? No, I previously saw the national tour production nearby at the Paramount Theatre

Would I See It Again 3 Years from Now? Yes, if another theatre company I respect produced it.

Mainstream Appeal: High

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

My Synopsis (No Spoilers): Inspired by the original film, this musical follows Jenna, a talented pie-making waitress trapped in an abusive marriage. When she unexpectedly becomes pregnant from her deadbeat husband, she finds solace in her kind married obstetrician. Determined to create a better future for herself and her child, Jenna searches for the courage to change her life.

Synopsis from the Licensor or Theatre Company: Sara Bareilles’s pop-rock musical is filled with scrumptious pie–so much pie–and is one of the most famous musicals from the past decade. It’s a story of friendship, chosen family, and embracing love from unexpected places. Jenna dreams of leaving behind a life she didn’t imagine for herself, and the announcement of a baking contest could be her ticket out. Supported by her best friends, Jenna chooses to open her heart to the messier parts of life, which certainly don’t come with a recipe.

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: You’d probably appreciate this show more if you’ve seen the movie, but I’ve never seen it myself.

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): 2.5 hours

Other Rave(s)

Production Quality: During intermission, the audience member behind me remarked, “This is a really high-quality production.” I couldn’t agree more, especially when comparing it to the national tour. In fact, I hardly noticed any differences from the touring production scenic design. I was particularly impressed with scenic designer Julia Hayes Welch’s diner set and the vibrant neon restaurant signs, which added an authentic and visually striking touch to the atmosphere.
Abusive Husband: Dane Stokinger’s portrayal of Earl brought to life a deadbeat, abusive husband that the audience could easily loathe. Stokinger fully embodied Earl’s self-centered, manipulative nature. While the audience sometimes laughed at the absurdity of his gaslighting, it was a chilling reminder of how real-life victims can still succumb to such tactics. It reminded me of when the American Dad “Abusive Terrestrial” episode parodied melodramatic made-for-television Lifetime movies featuring abusive relationships. It leaves you asking the age-old question: “Why do they stay?!”
Voices: Kerstin Anderson brought both power and clarity to her performance as Jenna, delivering a strong, belt-like vocal that captivated the audience. The crowd erupted in cheers at the climax of “What Baking Can Do” in the middle of the song, and her moving rendition of “She Used to Be Mine” earned her an extended ovation. Meanwhile, Porscha Shaw (who played one of Jenna’s spirited sidekicks, Becky) commanded the stage with effortless skill and vocal prowress in her feature number, “I Didn’t Plan It.”
Kennedy Kanagawa: I’m usually not a fan of silly portrayals on stage, but I have to admit that Kenny Kanagawa as Odie (alongside Tori Gresham as his love interest, Dawn) delivered genuinely hilarious comic relief to the show. Kanagawa brought boundless energy to the role, playing an infatuated, slightly unhinged, elfish nerd. He was a tax auditor by day who dabbled in amateur magic, clog dancing, and spontaneous bursts of poetry. Truly a Renaissance man! I loved how he cleverly wielded his inhaler like a cool T-Bird from Grease puffing a cigarette. With the film’s 2007 release and the musical’s 2016 Broadway debut, it’s interesting to view Odie’s character through a post-#MeToo lens. I mean, technically, he was a persistent creepy guy who refused to take no for an answer from a woman. The optics aren’t great if you see it that way!

Other Musing(s) and Observation(s)

“Bad Idea” Song: As much as I love “Bad Idea” (which is my favorite song in this musical), the band and the actors’ clapping often overpowered the lyrics. I even overheard an audience member complaining about this during intermission. Fortunately, since I own the soundtrack and frequently listen to this song on my Broadway playlist, I was already familiar with the words.
Romantic Development: The first time I saw this show during the national tour, I didn’t notice just how abruptly the romance between the two main characters unfolded. But on a rewatch, it felt way too sudden, even by romantic comedy standards!

Theatre Company: The 5th Avenue Theatre and Theatre Under the Stars

Venue: The 5th Avenue Theatre

Venue Physical Address: 1308 5th Ave, Seattle, WA 98101

Price Range: $40 to $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 typically also available the day of the performance at the box office.

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 after pictures below.

Tori Gresham, Kerstin Anderson, and Porscha Shaw in *Waitress* at The 5th Avenue Theatre. Photo by Tracy Martin. Courtesy of The 5th Avenue Theatre.

Porscha Shaw, Kerstin Anderson, and Tori Gresham in *Waitress* at The 5th Avenue Theatre. Photo by Tracy Martin. Courtesy of The 5th Avenue Theatre.

Kerstin Anderson and Adam Standley in *Waitress* at The 5th Avenue Theatre. Photo by Mark Kitaoka. Courtesy of The 5th Avenue Theatre.

Porscha Shaw, Kerstin Anderson, Tori Gresham, and Kennedy Kanagawa in *Waitress* at The 5th Avenue Theatre. Photo by Mark Kitaoka. Courtesy of The 5th Avenue Theatre.

Credits from the printed *Encore* program.

Hell’s Kitchen – Musical – Review – Shubert Theatre

@showsiveseen #AliciaKeys & Kristoffer Diaz's "Hell's Kitchen" jukebox #Broadway #musical starring @maleah???? (Understudy Amanda Reid) at the Shubert #Theatre . Loved Kecia Lewis's sage matriarchal portrayal. Excellent sound design from Gareth Owen. #Review : showsiveseen.com/12020 Director: Michael Greif Choreography: Camille A Brown Conductor: Lily Ling Stage Mgrs: Danny Maly, Roxana Kahn, & Anthony Rigaglia @Alicia Keys @Hells Kitchen #showsiveseen ♬ Girl On Fire (Glee Cast Version) – Glee Cast

Elevator Thoughts (aka Tweet): Alicia Keys & Kristoffer Diaz’s Hell’s Kitchen jukebox musical starring Maleah Joi Moon (Understudy Amanda Reid). Loved Kecia Lewis’s sage matriarchal portrayal. Excellent sound design from Gareth Owen.

Recommendation:
See it!

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

Would I See It Again 3 Years from Now? Yes

Mainstream Appeal: High

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

My Synopsis (No Spoilers): A spirited teenager from urban Manhattan navigates adolescence (think rebellious boy-crazy teenager) while discovering her innate musical talent. With guidance from her wise old neighbor, she hones her skills and finds her true voice in the process.

Synopsis from the Licensor or Theatre Company: Ali is a 17-year-old girl full of fire – searching for freedom, passion and her place in the world. How she finds them is a New York City coming-of-age story you’ve never felt before – HELL’S KITCHEN, a new musical from 17-time Grammy® Award winner Alicia Keys, whose songs and experiences growing up in NY inspire a story made for Broadway. Rebellious and stifled by an overprotective single mother, Ali is lost until she meets her mentor: a neighbor who opens her heart and mind to the power of the piano. Set to the rhythm of the 90s, HELL’S KITCHEN is a love story between a mother and daughter. It’s about finding yourself, your purpose, and the community that lifts you. Come remember where dreams begin.

Type: Musical

World Premiere: Technically no, since it was originally produced off-Broadway

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Mostly dynamic

Prior Exposure/Knowledge Required: You’d probably appreciate this show more if you’re familiar with Alicia Keys’s discography

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): 2.5 hours

Other Rave(s)

Hook: The musical opened with an energetic burst of street dancing that immediately captured the audience’s attention. Too often, musicals start too subtly, losing momentum right away. Unfortunately, after this dazzling introduction, the plot lost some of its initial spark. However, the production eventually found its rhythm and hit its stride.
Miss Liza Jane: Kecia Lewis delivered a standout performance as Miss Liza Jane, the sage and formidable neighborhood piano teacher. Her portrayal reminded me of my own strict piano instructor growing up who was skillful, wise, and deeply passionate about her craft. Miss Liza Jane embodied the very spirit of “Black Excellence.” She was a mentor who would undoubtedly champion its importance at every opportunity.
Sound Design: Sound engineering is often best when it goes unnoticed. But in this performance, it stood out in all the right ways. The balance of reverb and echo was perfectly calibrated. Even the smallest detail like the crisp, precise sound of a chopping knife was crystal clear. Whether it was the result of top-tier microphones or the natural acoustics of the Shubert Theatre, I was impressed. As this show embarks on its national tour, I hope the sound design in each venue lives up to this original NYC Broadway production.
Smooth Male Leads: This performance often radiated a captivating, smooth male energy. Brandon Victor Dixon’s voice was effortlessly smooth and it perfectly embodied the Davis character who was a charming yet flawed father full of empty promises. He was the type of man who can sweep you off your feet, only to disappoint you in the long run. In contrast, Phillip Johnson Richardson (who played love interest Knuck), also brought a smooth vocal quality to his performance, but his character was intentionally written to be less of a “playa” than Davis. Knuck refreshingly portrayed a regular non-thug man who went to church and didn’t want to be admired on a pedestal. It was an interesting contrast between these two characters, especially when you consider the old saying that we tend to date people with similar personalities as our parents.
Jersey: Jessica Vosk portrayed the role of a no-nonsense prickly urban mom who clearly loved her child. Her performance brought to mind Sheryl Lee Ralph’s iconic portrayal of the tough-love mother in Sister Act II who famously declared, “Singing does not put food on the table!” Vosk captivated the audience as she showcased her powerful vocal belt in the high notes of a song that explored the complexities of parenthood.
Tragedy: A heartbreaking moment in the second act clearly moved the audience. I could hear soft sniffles and see glistening tears nearby. I *might* have shed a tear myself. 😛 At one point, the person behind whispered to her friend, “Am I crying?!?” It’s a powerful reminder that great art can stir emotions.
Altercation: Speaking of raw emotions, one standout moment was the scene between Ali (played by Maleah Joi Moon) and Jersey engaging in an impassioned argument between an angsty rebellious teenager and a tired strict parent. The exchange was charged with tension, featuring two delicious “oh snap!” moments of physical outbursts.
Choreography: Camille A. Brown’s choreography felt purposeful and meaningful. Many moments, such as a poignant dance solo during a funeral scene, showcased interpretive dance-like movement to convey emotion and enhance the storytelling.
Piano: As expected from an Alicia Keys musical, piano music played a central role, weaving together jazzy and bluesy melodies rich with vibrant dissonance.
Costume Design: Costume designer Dede Ayite expertly recreated the aesthetic of 1990s urban fashion, particularly through the use of iconic pieces like Tommy Hilfiger and FUBU. The wardrobe choices evoke a nostalgic vibe, reminiscent of the style in Sister Act II.

Rant(s)

Ali: Ali was not written as a particularly likable protagonist. The “nobody understands me” rebellious teenager trope always annoys me. In her romantic relationship, she gave away her cards too easily. She was the female equivalent of a guy who disregards a woman’s boundaries and refuses to take no for an answer. While this might be seen as a feminist portrayal, she came across as selfish. Ali’s self-absorption was so intense that she failed to recognize the tragedy unfolding right in front of her until it was too late.

Other Musing(s) and Observation(s)

“Empire State of Mind” Song: As an Alicia Keys jukebox musical performing literally next to the Hell’s Kitchen neighborhood, it’s no surprise that “Empire State of Mind” was featured on the setlist. Unfortunately, its inclusion felt awkward and out of place within the show. Rather than seamlessly fitting into the narrative, it seemed more like a pandering attempt to capitalize on the song’s popularity. The performance also began in a key that was too low. While I certainly enjoyed hearing the song, it would have been much more impactful earlier in the show when Ali first expresses her love for New York City. It’s strange how the musical began as an ode to NYC, only to eventually abandon that theme. Similarly, the title and synopsis seem to suggest a deeper connection to NYC or the Hell’s Kitchen neighborhood, yet the story didn’t fully explore these elements.
Manhattan Plaza: Many scenes took place in the Manhattan Plaza building, which in reality is subsidized housing. However, the musical didn’t depict it like a low-income building. It seemed like a luxury high-rise in the musical, complete with a doorman and a grand piano. Weirdly, Ali ungratefully complained about feeling like a prisoner in a tower. Perhaps it’s due to my suburban background, but I’d love to live in a New York City high-rise like that. Give me that ivory tower!

Venue: Shubert Theatre

Venue Physical Address: 225 W 44th St, New York, NY 10036

Venue Classification: Broadway

Price Range: $58 to $321

Ticket Affordability Options: You can likely buy discount tickets at the TDF TKTS booth.

Seating: Assigned Seating

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Pictures: See production pictures below by Marc J Franklin.

Cast and Production Team: See after pictures below.

Jessica Vosk as Jersey and Maleah Joi Moon as Ali. Photo by Marc J Franklin.

Kecia Lewis as Miss Liza Jane and Maleah Joi Moon as Ali. Photo by Marc J Franklin.

Phillip Johnson Richardson as Knuck and Maleah Joi Moon as Ali. Photo by Marc J Franklin.

The Original Broadway Company of HELL’S KITCHEN. Photo by Marc J Franklin.

Lamont Walker II as Riq, Phillip Johnson Richardson as Knuck, and Jakeim Hart as Q. Photo by Marc J Franklin.

Brandon Victor Dixon as Davis and Maleah Joi Moon as Ali. Photo by Marc J Franklin.

Credits from the printed *Playbill* program.

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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https://www.brownpapertickets.com/event/6514006

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 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.

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.

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.