Review – Shows I've Seen | Theatre Reviews

Tammy Faye – Musical – Review – Palace Theatre

@showsiveseen Won 1st row lottery tickets to @Elton John, @Jake Shears, & James Graham's "Tammy Faye" #musical at the beautiful Palace Theatre. Starring Katie Brayben & Christian Borle. She's the infamous Imelda Marcos & Evita of the #evangelical #Christian #church. Fantastic technical video design by Finn Ross. What a triumph! Review: showsiveseen.com/10272 Director: Rupert Goold Stage Managers: Timothy R. Semon, Joanne Pan, Fatimah Amill, Nic Steffes Choreography: Lynne Page #tammyFeye #religion #TV #television #broadway #showsiveseen #theatre #christianity @Tammy Faye on Broadway ♬ God Gave Me You – Blake Shelton

Elevator Thoughts (aka Tweet): Won 1st row lottery tickets to Elton John, Jake Shears, & James Graham’s Tammy Faye musical at the beautiful Palace Theatre. Starring Katie Brayben and Christian Borle. She’s the infamous Imelda Marcos and Evita of the evangelical Christian church. Fantastic technical video design by Finn Ross. What a triumph! #religion #TV #television

Recommendation:
See it, especially if you grew up in the evangelical Christian church.

My Synopsis (No Spoilers): The rise and scandalous fall of the 1970s American televangelist power couple, the Tammy Faye and Jim Bakker.

Synopsis from the Licensor or Theatre Company: The story of a traveling preacher’s wife who beamed into homes with a message of hope… and stole the country’s heart. It’s the 1970s. As satellites broadcast brand-new cable programming into American homes, millions fall in love with Tammy Faye Bakker–the charismatic wife of pastor Jim Bakker. Together, they build a nationwide congregation that puts the fun back into faith. But, even as Tammy dazzles on screen, jealous rivals plot behind the scenes, threatened by her determination to lead with love. Wrapped in a joyful and deliriously fun score that could only come from Elton John, with lyrics by Scissor Sisters’ Jake Shears, a book by Olivier Award-winning playwright James Graham, and directed by Olivier Award winner Rupert Goold, Tammy Faye shines a sparkling light on the generous, loving, often lonely soul behind the illustrious lashes. Reprising her celebrated West End performance, the divine cast is led by two-time Olivier Award winner Katie Brayben (Tammy Faye), two-time Tony Award® winner Christian Borle (Jim Bakker), and two-time Tony Award winner Michael Cerveris (Jerry Falwell).

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 appreciate this show more if you either grew up in the Christian church or knew about Tammy and Jim Bakker

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? Absolutely!

Mainstream Appeal: High

Other Rave(s) Not Mentioned Above

Music: Obviously, Elton John’s music was phenomenal and I can’t wait for the soundtrack. You can definitely hear his style in the “electric” gospel opening number “It’s the Light of the World” portraying Billy Graham’s trailblazing role in televangelism. Interestingly, the Olivier Awards performance in the UK was way tamer. Even the Good Morning America performance didn’t do the live version justice. Another favorite song was “He’s Inside of Me” because of how the lyrics expose how so many Christian expressions can be double entendres. Christian Borle (Jim Bakker) also sweetly effortless harmonized with Katie Brayben (Tammy Faye) in “If Only Love.”
Hair, Makeup, and Costumes: Luc Verschueren (Hair/Wig/Makeup Design) and Katrina Lindsay (Costume Design) realistically recreated the groovy (and tacky?) look of the 1970s. What were we thinking back then?
Set Design: Bunny Christie designed a fantastic backdrop of 42 squares with a fitting retro feel similar to The Brady Bunch TV show intro song and Hollywood Squares. Squares doubled as a TV screen or a window for actors to appear. Seattle Rep designed something similar with less squares and no doors in their Bruce play. Additionally, exposing the offstage wing walls during the TV set scenes was an efficient and effective use of the theatre space.
Video Design: What’s a musical about a TV evangelist without video? Finn Ross designed a setup that live broadcast the on-stage actors throughout the show on 20 of the “Hollywood Squares.” He also added effects, so the video resembled the 1970s. It was unique how the second act began with a live video of Katie Brayben (Tammy Faye) in her backstage dressing room as she made her way on-stage. The video setup was truly a technical marvel. However, there were sometimes when the retro TV frames partially obstructed text. Additionally, when theatre productions broadcast live video, there’s always a noticeable delay compared to what’s on stage. Nevertheless, the technical video setup exhibited some of the lowest latency I’ve seen in theatre … but there was still some delay. Is there any way to overcome this? Is it just a physical limit like the speed of light?
Gay PTL Members: The gay guys in the Praise the Lord (PTL) singing group were hilarious comedic relief. I loved it when Elliott Mattox (ensemble) seemingly enjoyed being whipped when reenacting biblical skits.
Controversial Interview: Speaking of homosexuals, as a gay man myself who grew up deep in the church, the scene about Tammy Faye’s historical interview with a homosexual pastor with AIDS hit home.
Iconic Fall: There is something incredibly delicious about observing an icon scandalously fall from glory and then rising above it. It’s like when Britney Spears shaved her head. She’s gonna be alright!
Commentary on Religion: Growing up in a conservative Chrisitan environment (and escaping to tell about it), I appreciated the critiques on Christianity in regard to politics, power, hypocrisy, control, and money.
Stunning Moments: From the blindingly bright flash in the second act opening song or the dramatic curtain fall, I do love a good shocker in the theatre. 😉
Favorite Lines: Something like “credit is another word for faith” and “Heritage USA [Christian theme park] is like Disney for good people.”

Other Musing(s) and Observation(s)

Audience Breakdown: It was interesting that the line to the men’s restroom was significantly longer than the line to the women’s restroom, which is unusual for a musical. In fact, towards the end of the intermission, the theatre had to allow men to use the ladies’ room because the second act was about to begin. I wonder if the audience was skewed to more men. If so, it’s probably because Tammy Faye could be considered a gay icon.
Historical Accuracy: There were many moments in the show when I wanted to check the historical accuracy. Was there really a scandalous phone call live on their TV show? Did Jan really have pink hair? Was the porn and underwear thing true? Did Tammy Faye sing on TV?

Venue: Palace Theatre

Venue Physical Address: 160 W 47th St, New York, NY 10036

Venue Classification: Broadway

Price Range: $59.75-319.50 plus the Broadway Direct fees if you’re not buying at the box office.

Ticket Affordability Options: See the show’s website for information on rush and lottery tickets. If I can win the lottery for this show, so can you! You’ll likely also find discount tickets at the TKTS booth.

Dates: Opening night was 11/14/24. As of 11/14/24, the ticketing website offered performances up to 3/30/25.

Seating: Assigned Seating

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Cast and Production Team: See pictures below.

A Wonderful World: The Louis Armstrong Musical – Review – Roundabout Theatre Company’s Studio 54

@showsiveseen "A Wonderful World: The #LouisArmstrong #Musical" at @Roundabout Theatre Company's iconic Studio 54 starring @james monroe iglehar w/ @James T. Lane performing select nights. Tons of tap dance. The ex-wives characters were vocal powerhouses! #jukebox Review: showsiveseen.com/10204 Book: @aurinsquire Director: Christopher Renshaw Choreography: Rickey Tripp and @Dewitt Fleming Jr Stage Managers: RL Campbell, Jen Ash, Alex Luong #theatre #showsiveseen @A Wonderful World Broadway ♬ What A Wonderful World – Live At The BBC – Louis Armstrong

Elevator Thoughts (aka Tweet): A Wonderful World: The Louis Armstrong Musical at Roundabout Theatre Company’s iconic Studio 54 starring James Monroe Iglehart with James T Lane performing select nights. Tons of tap dance. The ex-wives characters were vocal powerhouses! #jukebox

Recommendation:
See it if you like 1) shows with race as a significant theme 2) or shows with an old timey Southern New Orleans feel.

My Synopsis (No Spoilers): A basic biopic jukebox musical about Louis Armstrong, with all the familiar elements you’d expect from the genre.

Synopsis from the Licensor or Theatre Company: Join Tony Award® winner James Monroe Iglehart and a talented ensemble cast as they bring Louis Armstrong’s incredible journey to life, from New Orleans to worldwide fame. This full-scale musical features a rich tapestry of characters, including the extraordinary women who helped shape his remarkable life and career. Be captivated by Armstrong’s timeless hits like “What a Wonderful World” and “When You’re Smiling,” performed by a large, dynamic cast. Don’t miss this spectacular celebration of music, filled with vibrant dance numbers, stunning sets, and unforgettable performances. Get your tickets now for an unforgettable night that honors the iconic man who defined an era.

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) Set? Yes and no, you could argue either way.

Prior Exposure/Knowledge Required: You’ll obviously appreciate this show more if you’re familiar Louis Armstrong’s hits. I was only familiar with a scant few, but I still enjoyed the show.

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

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 to high

Other Rave(s) Not Mentioned Above

Tap Dancing: I love tap dancing in musicals, and I wasn’t expecting to see much of it in this show. But to my surprise, there was a lot more tap dancing than I anticipated. What stood out even more was that the tap numbers were often performed by few dancers, rather than a large ensemble, which is more typical in most musicals.
Personal Advocacy: It was inspiring to see Louis Armstrong’s second wife (Lil Hardin played by Jennie Harney-Fleming) fight for his finances and advocate for his talent’s true worth. This reminded me of how many skilled people in the workforce settle into complacency without advocating for themselves. Too often, they don’t ask for a promotion, request a raise, or explore opportunities elsewhere that might better compensate their talent. Closed mouths don’t get fed!
Favorite Line: Something like “I’m wearing two pairs of underwear cause my lips are so chapped!”

Rant(s)

Ushers: I understand that the ushers were just doing their jobs, but their rough demeanor was totally unnecessary. Am I just not used to East coast ushers?
Venue: This was my first time at the venerable Studio 54 and I was surprised how rundown the performing space was. I guess this is expected of a historical landmark?

Other Musing(s) and Observation(s)

Rotating Stage: Often when a production utilizes a rotating stage, they tend do overuse the effect like in Hamilton. Thankfully, this show judiciously showcased the rotating effect.
Louis Armstrong’s Music: I’m generally not a fan of Louis Armstrong’s music and I definitely don’t like his voice. It’s sacrilege, I know. I personally think Louis Armstrong’s voice sounds like cookie monster. Kudos to James Monroe Iglehart and James T Lane for subjecting their voices to this extra cookie monster strain! Of note, I feel like the script didn’t explain well enough or dwell enough time on the cause of Louis Armstrong’s unique vocals.

Venue: Roundabout Theatre Company’s Studio 54

Venue Physical Address: 254 W 54th St, New York, NY 10019

Venue Classification: Broadway

Price Range: $69-308 plus the Criterion Ticketing fees if you’re not buying at the box office.

Ticket Affordability Options: See the show’s website for information on rush tickets. You’ll likely also find discount tickets at the TKTS booth.

Dates: Opening night was 11/11/24. As of 11/11/24, the ticketing website offered performances up to 5/4/25.

Seating: Assigned Seating

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https://louisarmstrongmusical.com/

Pictures: See pictures below by Jeremy Daniel.

Cast and Production Team: See pictures below.

Darlesia Cearcy as Lucille Wilson and Company in *A Wonderful World: The Louis Armstrong Musical*. © Jeremy Daniel

DeWitt Fleming Jr. as Lincoln Perry, and at back, James Monroe Iglehart as Louis Armstrong and Ensemble in A Wonderful World: The Louis Armstrong Musical. © Jeremy Daniel

James Monroe Iglehart as Louis Armstrong with Jodeci Milhouse, Alysha Morgan, Kate Louissaint in *A Wonderful World: The Louis Armstrong Musical*. © Jeremy Daniel

James Monroe Iglehart as Louis Armstrong and Gavin Gregory as King Joe Oliver and Company in *A Wonderful World: The Louis Armstrong Musical*. © Jeremy Daniel

James Monroe Iglehart as Louis Armstrong and Company in *A Wonderful World: The Louis Armstrong Musical*. © Jeremy Daniel

Wicked – Musical – Review – Paramount Theatre

@showsiveseen Stephen Schwartz's "Wicked" musical at the Paramount Theatre from @Seattle Theatre Group & Broadway Across America. Starring @laurensamuels & Austen Danielle Bohmer. Dazzling light, sets, & costumes. Timely commentary on modern society (esp the USA). Performing till 12/1/24. Review: showsiveseen.com/10100 Director: Joe Mantello Stage Managers: Dawn Fenton, Michelle Dunn, Joseph Heaton Conductor: Faith Seetoo Photos: Joan Marcus @WICKED the Musical #witch #witches #WizardofOz #wicked #theatre #showsiveseen ♬ Defying Gravity – Jennifer Owens

Elevator Thoughts (aka Tweet): Stephen Schwartz’s Wicked musical at the Paramount Theatre courtesy of Seattle Theatre Group and Broadway Across America. Starring Lauren Samuels and Austen Danielle Bohmer. Dazzling light, sets, and costumes. Timely critical commentary on modern society (esp the USA). Performing till 12/1/24. #witch #witches #WizardofOz

Recommendation:
See it!

My Synopsis (No Spoilers): Prequel to The Wizard of Oz exploring the relationship between Elphaba (the wicked witch of the West) and Glinda (the good witch of the North).

Synopsis from the Licensor or Theatre Company: So much happened before Dorothy dropped in. WICKED, the Broadway sensation, looks at what happened in the Land of Oz… but from a different angle. Long before Dorothy arrives, there is another young woman, born with emerald-green skin—smart, fiery, misunderstood, and possessing an extraordinary talent. When she meets a bubbly blonde who is exceptionally popular, their initial rivalry turns into the unlikeliest of friendships…until the world decides to call one “good,” and the other one “wicked.” From the first electrifying note to the final breathtaking moment, WICKED—the untold true story of the Witches of Oz—transfixes audiences with its wildly inventive story. “If every musical had the brains, heart and courage of WICKED, Broadway really would be a magical place” (Time Magazine).

Attended Performance Date: 11/7/24 – Opening Night

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) Set? No

Prior Exposure/Knowledge Required: You’ll appreciate this show more if you’re familiar with The Wizard of Oz story.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actors: All

Total Actors: Too many to count

Perceived Pace of the Show: Medium speed, but the first act felt pretty long

Was there an intermission? Yes

Length (Including Any Intermission): 2.75 hours

Was This the First Time I Attended a Production of this Show? No, I’ve seen it at least 2 times prior including once at the Paramount Theatre a couple years ago.

Would I See It Again 3 Years from Now? I don’t know … 3 times is a lot already.

Mainstream Appeal: High

Other Rave(s) Not Mentioned Above

Lighting Design: The Kenneth Posner designed a dazzling light show especially during “One Short Day” in the green city of Oz. The slightly prismatic/rainbow white lights converging on Elphaba during “Defying Gravity” was also pretty spectacular.
Societal Commentary: The script poignantly criticizes modern society, which is timely for the recent election results and the divisive nature of USA politics. There were are many quoteworthy statements like “The truth is not a thing of fact or reason, the truth is just what everyone agrees on. Where I’m from, we believe all sorts of things that aren’t true. We call it – ‘history.'” It’s disappointing that the societal criticisms from when this musical was written 20 years ago still apply today. Colorism obviously sticks out as a negative theme with Elphaba being scorned for her skin color. It reminds me of how the rules of chess dictate white always goes first. Also, I’m not sure if it was intentional, but the script also seems to call out modern slacktivism when “Galinda” became “Glinda” in faux solidarity/outrage of animal discrimination. It reminded me of past social media trends like when users blacked out their profile pictures to support “Black Lives Matter” or changed their profile pictures to cartoons to protest child abuse. Call me a cynic, but these slacktivist actions are lazy, ineffective, and narcissistic just like Glinda.
Fiyero: Xavier McCinnon was an interesting choice to portray Fiyero, offering a fresh take that stood apart from typical Fiyero castings. McCinnon’s interpretation and voice was smooth and effortless, which perfectly complemented the character’s personality. Of note, he was significantly taller than his female costars and it was glaringly apparent in “As Long as You’re Mine.”
Belonging: I love how Elphaba, who was ostracized for her green skin, found a city (Oz) that celebrates all things green. It reminds me of small-town theatre kids who visit Manhattan or middle-of-nowhere-USA Asians who visit Los Angeles.

Rant(s)

Obstructed Views: I often complain about the Paramount Theatre’s terrible seat staggering and short slope incline contributing to frequently obstructed views. It is the most likely theatre in Seattle where the person sitting in front of you could block your sightline. I strongly recommend that ticket buyers prioritize seating options highlighted in this link to ensure the best viewing experience. That being said, ever since the Seattle Theatre Group replaced the seats, I’ve noticed less risk of this.
Microphones: The singing in this production seemed less energetic than the previous 2-3 productions I’ve seen. It was definitely more tepid than the original cast recording. I think increasing the lead performers’ microphone volume would solve this issue.
Boq: While I’m glad to see Asian inclusivity in theatre, did they really need to cast an Asian actor as the short “beta-male” munchkin? This casting decision perpetuates negative stereotypes that we Asians would like to move away from.

Theatre Company: National tour brought to Seattle by Broadway Across America and Seattle Theatre Group

Venue: Paramount Theatre

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

Price Range: $80-300 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: November 6 – December 1, 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 pictures below by Joan Marcus.

Cast and Production Team: See after pictures below.

Xavier McKinnon as Fiyero in the National Tour of WICKED, photo by Joan Marcus 2024.

Blake Hammond as The Wizard in the National Tour of WICKED, photo by Joan Marcus 2024.

Aymee Garcia as Madame Morrible in the National Tour of WICKED, photo by Joan Marcus 2024.

Austen Danielle Bohmer as Glinda and Xavier McKinnon as Fiyero in the National Tour of WICKED, photo by Joan Marcus 2024.

Austen Danielle Bohmer as Glinda and Lauren Samuels as Elphaba in the National Tour of WICKED, photo by Joan Marcus 2024

Alex Vinh as Boq and Erica Ito as Nessarose in the National Tour of WICKED, photo by Joan Marcus 2024.

Vladimir – Play – Review – Manhattan Theatre Club & New York City Center

@showsiveseen @Manhattan Theatre Club's "Vladimir" #play at @New York City Center starring Francesca Faridany, Norbert Leo Butz, & David Rosenberg. For a play named after Putin, I was surprised how little it was personally about him! Clever accent switching acting method. Closes 11/10/24! Review: showsiveseen.com/10040 Photos: Jeremy Daniel Director: Daniel Sullivan Stage Management: Shanna Allison & James FitzSimmons #russia #press #journalism #russian #theatre #showsiveseen #Vladimir ♬ delulu – NESYA

Elevator Thoughts (aka Tweet): Manhattan Theatre Club’s Vladimir play at New York City Center starring Francesca Faridany, Norbert Leo Butz, & David Rosenberg. For a play named after Putin, I was surprised how little it was personally about him! Clever accent switching acting method. #russia #press #journalism #russian

Recommendation:
See it if you’re interested in modern Russian history.

My Synopsis (No Spoilers): Two journalists navigate the challenges of conspiracy and repression in Putin’s Russia. It’s a cautionary tale about societal complacency and maintaining the status quo. If you can’t lick ’em, join ’em?

Synopsis from the Licensor or Theatre Company: This haunting world premiere unfolds in Moscow, where an independent journalist covering Putin’s first term struggles to maintain sanity and hope in increasingly hostile circumstances. She finds herself on the brink of an explosive story — but as danger mounts for her and her sources, she questions whether her bravery will make any difference at all. Written by Erika Sheffer, Vladimir is about standing up to immorality no matter the cost, when you know your nation is headed for disaster. Directed by Tony Award winner Daniel Sullivan.

Attended Performance Date: 10/26/24 – If you’re interested in this show, buy your tickets now since it closes 11/10/24!

Type: Play

World Premiere: Yes

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) Set? Yes

Prior Exposure/Knowledge Required: You should know some general post-USSR Russian history from the past 30 years.

Defined Plot/Storyline: Yes

Union Actors: 7

Total Actors: 7

Perceived Pace of the Show: Slow to medium

Was there an intermission? Yes

Length (Including Any Intermission): 2.25 hours

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

Other Rave(s) Not Mentioned Above

Accent Switching: The actors portraying Russian characters cleverly spoke American-accented English to convey that they were talking in Russian, and they also spoke Russian-accented English to convey that they were talking in English. I overheard fellow audience members enthusiastically praising this novel acting technique. It reminded me of the play English.

Other Musing(s) and Observation(s)

Energy: The entire production exuded a harsh subdued austere energy through the acting, scenic design, and lighting. It was a quietly intense show … matched by an audience that barely clapped! Lighting designer Japhy Weideman created a visually dark “cloak and dagger” atmosphere, except for the spotlights illuminating the actors and the scene’s key props. The black abundance in the photos below clearly show this effect. The lighting was sometimes strikingly severe, for example against the startlingly white wedding dress costume. Additionally, the Mark Wendland’s scenic design was utilitarian, contributing to an overall energy that felt distinctly Russian.
Putin: It’s interesting that the play was titled “Vladimir,” yet the script seldom mentions Putin. Perhaps this is beneficial though. I believe there is no such thing as bad publicity. Any negative or positive press coverage on an individual amplifies their influence and power. Even former President Trump’s considerable popularity is partially attributed to his negative press coverage. The fact that the play barely mentions Putin and espouses personal integrity shines light on the complicit Putin enablers (and Trump-supporting Republicans?) who look the other way for their own survival, benefit, or power.
Parallels: The descriptions of the historical Russia-Chechnya conflicts curiously mirrored what we’re hearing today in the Israel-Palestine conflict.

Theatre Company: Manhattan Theatre Club

Venue: New York City Center – Stage I

Venue Physical Address: 131 W 55th St, New York, NY 10019

Venue Classification: Off-Broadway

Price Range: $79-119

Ticket Affordability Options: See the show’s website for information on rush tickets, student tickets, and “$30 Under 35” tickets.

Dates: September 24 – November 10, 2024

Seating: Assigned Seating

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Pictures: See pictures below by Jeremy Daniel.

Cast and Production Team: See after pictures below.

Olivia Deren Nikkanen and Francesca Faridany in Manhattan Theatre Club’s production of *Vladimir* by Erika Sheffer, directed by Daniel Sullivan. Copyright 2024 Jeremy Daniel.

Erik Jensen and Norbert Leo Butz in Manhattan Theatre Club’s production of *Vladimir* by Erika Sheffer, directed by Daniel Sullivan. Copyright 2024 Jeremy Daniel.

David Rosenberg and Francesca Faridany in Manhattan Theatre Club’s production of *Vladimir* by Erika Sheffer, directed by Daniel Sullivan. Copyright 2024 Jeremy Daniel.

David Rosenberg and Jonathan Walker in Manhattan Theatre Club’s production of *Vladimir* by Erika Sheffer, directed by Daniel Sullivan. Copyright 2024 Jeremy Daniel.

Norbert Leo Butz, Erik Jensen and Jonathan Walker in Manhattan Theatre Club’s production of *Vladimir* by Erika Sheffer, directed by Daniel Sullivan. Copyright 2024 Jeremy Daniel.

Francesca Faridany and Erin Darke in Manhattan Theatre Club’s production of *Vladimir* by Erika Sheffer, directed by Daniel Sullivan. Copyright 2024 Jeremy Daniel.

Norbert Leo Butz and Francesca Faridany in Manhattan Theatre Club’s production of *Vladimir* by Erika Sheffer, directed by Daniel Sullivan. Copyright 2024 Jeremy Daniel.

The Skin of Our Teeth – Play – Review – Seattle Rep

@showsiveseen Thornton Wilder's "The Skin of Our Teeth" Public Works #play at @Seattle Rep. Good execution of a script you'll either love or hate. Wonderful scenic design by Stephanie Kerley Schwartz. Several Seattle-themed easter eggs. Closes next weekend. Review: showsiveseen.com/9959 Director: Dámaso Rodríguez Stage Manager: Bret Torbeck #showsiveseen #theatre #civilization #humans ♬ did i tell u that i miss u – adore

Elevator Thoughts (aka Tweet): Thornton Wilder’s The Skin of Our Teeth Public Works play at Seattle Rep. Good execution of a script you’ll either love or hate. Wonderful scenic design by Stephanie Kerley Schwartz. Several Seattle-themed easter eggs. Closes next weekend. #civilization #humans

Recommendation:
See it if you enjoy 1) Seattle Rep Public Works productions, 2) weird random scripts, 3) or The Play that Goes Wrong

My Synopsis (No Spoilers): Allegorical history of human civilization portrayed by a prototypical family of 4 and their maid.

Synopsis from the Licensor or Theatre Company: Imagine: You’ve been married for 5,000 years, raised a couple of kids, and survived multiple catastrophic disasters. But with the world constantly teetering on the edge of collapse, would you have the strength to save the human race, over and over again? Join the Antrobus family on a time-bending romp from the age of the dinosaurs, to our 21st century election year, to what might just be the end of the world as we know it. Featuring an epic-sized cast and dozens of community guest stars, Thornton Wilder’s action-packed comedy is a love letter to human endurance.

Attended Performance Date: Opening Night 10/2/24 – Keep your eyes peeled for preview posts on my website and social media if you want earlier notification of shows I’ve seen. Production closes 10/20/24.

Type: Play

World Premiere: No

Several or Few Scenes: 4-5 scenes

Several or Few Settings/Locations: 4-5 locations

Static (Stationary) Set? Mostly no. Each scene changed the set significantly.

Prior Exposure/Knowledge Required: No, but you might appreciate the play more if you’ve lived in Seattle awhile or if you’re familiar with the history of the human race.

Defined Plot/Storyline: No

Union Actors: 7

Total Number of Actors: 27 actors per performance – 13 of those slots rotate between 3 groups of the Public Works community member pool every night. Members of the audience are also selected to participate every night.

Perceived Pace of the Show: Slow to medium

Was there an intermission? Yes, two intermissions. Three act shows should be banned!

Length (Including Any Intermission): 2.5-2.75 hours

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

Would I See It Again 3 Years from Now? No

Mainstream Appeal: Low to medium

Other Rave(s) Not Mentioned Above

Scenic Design: Stephanie Kerley Schwartz did a great job designing the sets. The first act was in a mid-century modern rambler home with a cozy 1970s feel like the set in ArtsWest’s Snowed In. The second act took place in a bright flashy convention stage and then a waterside boardwalk. The third act bookended in a significantly modified version of original home.
Telegraph Boy: For a 7th grade kid, Theodore Detrano did a great job portraying the Telegraph Boy.
Human Civilization References: Little nuggets of major human civilization milestones or references were scattered throughout the show like the wheel, alphabet, tomato cultivation, silk, and the Ice Age. It was fun unearthing these references like digging up chocolate chip cookie dough in a pint of ice cream.
Symbolism: In the same token, it was also thought-provoking for the audience to decipher the various symbols and hidden messages like Cain/Abel, Adam/Eve, Noah’s Ark, and a commentary on refugees.
Arcade Games: Free skee ball, hoops, pac man, and pin ball were available in the rotunda before the show and during the intermissions. I suggest moving this setup closer to the main lobby because I’m sure many audience members were unaware these were available.
Rinse and Repeat: I’m always intrigued by the theme that history repeats itself. It reminds me of the Battlestar Galactica TV show reimagining from the 2000s.

Rant(s)

Random Weirdness: The script was absolutely dreadful. It started out with nonsensical gibberish and finally developed into something more followable but filled with random bizarre Portland-like weirdness. There was a dinosaur, a mammoth, “Jingle Bells,” “Auld Lang Syne,” the biblical Moses, and the Greek poet Homer. That being said, the esteemed Thornton Wilder wrote the Pulitzer-winning script, and the audience seemed to enjoy the cheap laughs. But I think “the emperor is naked.” Don’t get me wrong though. The execution, acting, and production value of this show was very good, but it’s shame that the effort was spent on a terrible script. The show was a smorgasbord of wonderful theatrical elements, but there was low coherence just like a plate of random cuisines at a casino buffet.
4th Wall: Several times, characters interrupted the play and broke the 4th wall. I’m usually not a fan of this theatrical technique. It often feels like a contrived attempt to seem relatable to the audience.
Pre-produced Video: I’m also typically not a fan of pre-produced video featured at a stage performance. I find that it often cheapens the experience of live theatre. If I wanted to see a recording, I’d stay home.
- Update (10/13/24): A reader corrected me that the newscasts (including the one at the beginning of act one) was actually live transmitted in real-time to the audience. However, the racing video (an homage to Seattle Mariners games) at the beginning of act two was pre-animated.

Other Musing(s) and Observation(s)

Seattle Brands: In line with recent Public Works productions, the show referenced several Puget Sound brands. They even featured Molly Moon and Cupcake Royale at the intermission concessions. It definitely would appeal to audience members with Seattle pride. I’m curious if this branding resulted in sponsorship/advertising donations.

Theatre Company: Seattle Rep

Venue: Bagley Wright Theater at Seattle Rep

Venue Physical Address: 155 Mercer St, Seattle, WA 98109

Price Range: $20-101

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

Dates: September 26 – October 20, 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 pictures below by Bronwen Houck.

Cast and Production Team: See after pictures below.