Review – Page 2 – Shows I've Seen

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

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

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

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

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

Would I See It Again 3 Years from Now? No

Mainstream Appeal: Medium

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

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

Type: Musical Revue

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Sparse and stationary

Prior Exposure/Knowledge Required: No

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

Live Band/Orchestra: Yes

Union Actors: 0

Total Actors: 8

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2 hours

Other Rave(s) Not Mentioned Above

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

Rant(s)

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

Other Musing(s) and Observation(s)

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

Theatre Company: Renton Civic Theatre

Venue: Renton Civic Theatre

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

Price Range: $38

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

Seating: General Admission

Parking: Plentiful free street parking

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

Pictures: See production pictures below by Colin Madison Photography.

Cast and Production Team: See after pictures below.

Crave – Play – Review – Intiman Theatre

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

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

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

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

Would I See It Again 3 Years from Now? No

Mainstream Appeal: Low to medium

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

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

Type: Play

World Premiere: No

Several or Few Scenes: One continuous scene

Several or Few Settings/Locations: One ambiguous location

Static (Stationary) or Dynamic Set: Static

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

Defined Plot/Storyline: No

Union Actors: 3

Total Actors: 4

Perceived Pace of the Show: Medium speed

Was there an intermission? No

Length (Including Any Intermission): 50 minutes

Other Rave(s) Not Mentioned Above

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

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

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

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

Other Musing(s) and Observation(s)

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

Theatre Company: Intiman Theatre

Venue: Erickson Theatre Off Broadway

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

Price Range: $65-80

Ticket Affordability Options: The ticketing website offers honor code discount options for students, military, industry, … or anybody! They also offer 20 free rush tickets 1 hour in-person before each performance.

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

Seating: Assigned Seating

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

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Pictures: See production pictures below by Joe Moore.

Cast and Production Team: See after pictures below.

Lathrop Walker, Christopher Morson. Photo by Joe Moore.

Lathrop Walker, Christopher Morson, Alexandra Tavares, Marya Sea Kanminski Photo by Joe Moore.

Christopher Morson, Alexandra Tavares, Marya Sea Kanminski, Lathrop Walker. Photo by Joe Moore.

Lathrop Walker, Marya Sea Kanminski, Alexandra Tavares, Christopher Morson. Photo by Joe Moore.

Marya Sea Kaminski, Lathrop Walker, Christopher Morson, Alexandra Tavares. Photo by Joe Moore.

Marya Sea Kaminski (center) Alexandra Tavares, Christopher Morson, Lathrop Walker. Photo by Joe Moore.

Covenant – Play – Review – ArtsWest

@showsiveseen @issayorkchop's "Covenant" #chilling #thriller #play at #ArtsWest. Felicia Loud's portrayals are always a joy to witness. Good storytelling w/ a totally unexpected twist at the end that left me replaying the previous scenes in my head. Would be fascinating to rewatch knowing the ending. In the spirit of #ValentinesDay weekend, how far would you go for love? Review: showsiveseen.com/11635 Photos: John McLellan Director: @Nicholas Bernard Stage Mgr: Kimberly Le #showsiveseen #theatre ♬ Abracadabra – Lady Gaga

Elevator Thoughts (aka Tweet): York Walker’s Covenant chilling thriller play at ArtsWest. Felicia Loud’s portrayals are always a joy to witness. Good storytelling w/ a totally unexpected twist at the end that left me replaying the previous scenes in my head. Would be fascinating to rewatch knowing the ending. In the spirit of Valentines Day weekend, how far would you go for love?

Recommendation:
See it if you’re comfortable with stories about Faustian bargains and demon possession.

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: Medium

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

My Synopsis (No Spoilers): A charismatic, prodigal musician returns to his rural hometown, only to be followed by a serious of mysterious events.

Synopsis from the Licensor or Theatre Company: When a struggling guitarist returns to his small Georgia town a blues star, rumors begin swirling that he may have made a deal with the devil to attain his musical genius. Before long, however, it becomes clear he’s not the only one with a secret. A mythic and suspenseful new play that delivers one devilish twist after another, York Walker’s COVENANT explores the power of belief and the thin line between rumor and truth.

Type: Play

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Mostly static

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: Yes, but it was more dialogue than action

Union Actors: 1

Total Actors: 5

Perceived Pace of the Show: Slow in the beginning but eventually picked up to medium speed

Was there an intermission? No

Length (Including Any Intermission): 100 minutes

Other Rave(s) Not Mentioned Above

Twist (No Spoilers): The twist at the end was completely unexpected (maybe even left field) and had me second guessing how I initially perceived the entire story. So many elements presented early in the play clicked after the revelation. I loved how the twist tied back to the strong opening line hook, “Everybody’s got a secret.” It would be fascinating to rewatch and reevaluate the characters’ motivations knowing the ending.
Vibes: This production masterfully evoked a sense of unease, delivering a chilling thriller with an eerie energy that would have been perfect for a Halloween season.
Religious Superstitious Themes: Part of the unease stemmed from my conservative Christian upbringing, where the religious superstitious themes would have been considered blasphemous sacrilege entertaining the occult and devil. The play’s juxtaposition of a guitar concert against the sacrament scene underscored the tension between these opposing forces. Elements such as Faustian bargains (aka “deal with the devil”), demonic possession, an upside-down cross, and quoting Bible verses all contributed to this unsettling atmosphere. The imagery reminded me of how Lady Gaga beautifully and sacrilegiously incorporates mystical gothic Catholic themes in her music and videos. A good example would be the hooded, mysterious monk-like stagehands, which were a nice touch.
Storytelling: Each character took center stage and shared a story that illuminated their motivations while holding a lantern as eerie sound effects played in the background. These well-written and well-executed monologues effectively deepened each character.
Music: Although this was a play, occasional music added an extra layer to the performance. Kalia Towers (as Ruthie) and Deja Culver (as Violet) both sang a cappella. Donovan Mahannah (as Johnny) played guitar and sang once or twice.
Felicia Loud: I always enjoy Felicia Loud’s portrayal of god-fearing church lady personas. This typecasting has served her brilliantly in productions like The Amen Corner and Black Nativity. However, she takes on a darker role in this play, channeling a more menacing pious maternal figure like the mother in the cult classic film Carrie.

Theatre Company: ArtsWest

Venue: ArtsWest

Venue Physical Address: 4711 California Ave SW, Seattle, WA 98116

Price Range: $46

Dates: 2/6/25 to 3/2/25

Seating: Assigned Seating

Parking: There are paid lots and free street parking. I usually park on 44th or 45th Ave behind the theatre.

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https://www.artswest.org/events/covenant/

Pictures: See production pictures below by John McLellan.

Cast and Production Team: See after pictures below.

Blues for an Alabama Sky – Play – Review – Seattle Rep and The Hansberry Project

@showsiveseen Pearl Cleage's "Blues for an Alabama Sky" #play by @Seattle Rep & The Hansberry Project. Familiar humanity. So much fodder for potential analysis. Neat rotating set. Background trumpet jazz music from Nathan Breedlove. Review: showsiveseen.com/11564 Director: Valerie Curtis-Newton Stage Mgr: Stina Lotti #showsiveseen #theatre #Harlem ♬ Dream – Revel Day

Elevator Thoughts (aka Tweet): Blues for an Alabama Sky play by Seattle Rep and The Hansberry Project. Familiar humanity. So much fodder for potential analysis. Neat rotating set. Background live trumpet jazz music from Nathan Breedlove.

Recommendation:
See it, especially if you like dialogue plays or Harlem.

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: Medium

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

My Synopsis (No Spoilers): A charming, staunchly-conservative, handsome Southern gentleman in the Great Depression disrupts the dynamic of a tight-knit Harlem friend group, which includes an ambitious gay clothing designer, his lounge singer “fruit fly,” an innocent social worker, and a fun-loving physician.

Synopsis from the Licensor or Theatre Company: In 1930s New York, the hopes of the Harlem Renaissance have been tempered by the realities of the Great Depression. Best friends and artists Angel and Guy dream of a glamorous future but can barely eke out a living in the jazz clubs, while their neighbor Delia and local doctor Sam deal with bombs and break-ins as they try to bring a family planning clinic to the neighborhood. When Angel catches the eye of a handsome newcomer, their clashing values set off a chain of events that will change everyone’s lives. Lyrical and deeply moving, Pearl Cleage’s classic drama will immerse you in the joy, sorrow, and resilience of a society on the brink of change.

Type: Play

World Premiere: No

Several or Few Scenes: A couple

Several or Few Settings/Locations: All scenes took place in various locations inside and outside a Harlem apartment building

Static (Stationary) or Dynamic Set: Mostly static, but the set rotated

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: Somewhat, but it was more dialogue than action

Live Band/Orchestra: There was a single trumpet player

Union Actors: 3

Total Actors: 5

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Other Rave(s) Not Mentioned Above

Music: Nathan Breedlove played the trumpet between scenes, accompanied by recorded classy jazz music. Justin Huertas did something similar in Seattle Rep’s recent Primary Trust on various instruments. Will live background music become a regular feature at Seattle Rep? If so, I’m all for it!
Acapella: In addition to the trumpet music, the play also featured occasional a cappella singing. Ayanna Bria Bakari, portraying the lounge performer Angel, sang beautifully.
Scenic Design: Matthew Smucker smartly designed the set, featuring a Harlem tenement building showing two distinct apartments where most of the scenes unfolded. Before the first act, the building facade lifted to reveal the living spaces as the audience member sitting next to me muttered, “Fancy.” The stage wings displayed a map of Harlem, adding another layer of context to the production.
Nostalgia: This production exuded a wonderfully nostalgic, earthy New York City vibe that felt real and authentic. The retro records playing on the phonograph also contributed to this ambiance.
Rotating Stage: The stage occasionally rotated the set a couple feet in each direction to uniquely denote scene transitions. Throughout the play, I kept wondering if they’ll rotate the stage 180 degrees to reveal more spaces. Finally, toward the end of the play, the stage spun a full 360 degrees to unveil another room. But unfortunately, this reveal was fleeting, lasting only a few seconds. It’s a shame the audience didn’t have more time to appreciate the set design of this newly-revealed space. This fleeting moment reminded me of how briefly Seattle Rep’s previous production Blithe Spirit featured scenes in the dining room.
Meet Cute: The “meet-cute” scene between Leland (played by Ajax Dontavius) and Angel was charming. It gave me hope that happenstance romantic connections are still possible.
Pre-sex Scene: In a similar vein, the kitchen scene leading up to sex (which remained offstage) was sweet, chaste, and tasteful.
Juxtaposition: The script was rich with contrasts, such as the flamboyant gay “Guy” (played by Jamar Jones) paired with the straight-laced Southerner Leland. There was also the juxtaposition between the innocent hopeful Delia (played by Esther Okech Lewis) vs Dr. Sam, who’s been around the block. Additionally, the two-faced Angel shifted between her stuffy persona in a dreadful blue Annie dress and her true, bohemian self in flapper attire.
Second Act: The second act truly gained momentum, with the script hitting its stride. I ate up the explosive, revelatory argument scene at the end.
God: In a way, Josephine represented God. Her portrait on the wall served a similar symbolic role as the billboard eyes of Dr. Eckleburg in The Great Gatsby, representing the watchful eyes of God. Both the portrait and the billboard loom over the unfolding story. Guy spoke to the portrait in one-way communication like prayer. Guy pinned all his hopes on Josephine, much like how others place their dreams and faith in God, never knowing if their dreams will materialize until the end. Just as people obsess over the Bible, Guy fixates on the meaning of Josephine’s letters. The audience is left questioning whether the letters (like other religious texts) hold the truth or is a bunch of lies.
Favorite Line: “I would die for Angel!” “Live for her, man. It’s a much better bargain.”

Other Musing(s) and Observation(s)

Foreshadowing: The foreshadowing in the second act felt a bit too obvious and the playwright could have made it more subtle. However, the tragedy ultimately struck one of the characters I least expected.
Remorse: Where was the characters’ remorse for this tragedy? I saw more genuine emotion in the audience’s tears than from the numbness the characters displayed.
Alcohol: Why so much the alcohol consumption? It reminded me of how Company glamorized it.
Paris vs NYC: It’s ironic that NYC represents broken dreams in this play, while Paris is portrayed as the ultimate goal. It’s reminiscent of how Carrie left NYC for Paris in Sex and the City. I don’t quite understand people’s obsession with Paris. Personally, I’d rather live in NYC.
Will and Grace: Speaking of TV shows, this play also reminded me of the TV show Will and Grace, though with a more serious tone… and set in Harlem. Like the TV show, the script features a driven, stable gay guy and his needy chaotic “fruit fly,” who demands all the attention. When Guy says to Angel, “Sometimes you wear me out [with your shenanigans],” I swear I felt the same thing about Grace in the TV show.
Leland: Leland was a well-crafted epitome of what I despise about pious imposing moral conservatism, particularly its ties to the South, rural areas, ignorance, violence, control, power, and patriarchy. It’s poison to social settings. He’s a timely character that resonates with today’s political climate. Is there hope?

Theatre Company: Seattle Rep and The Hansberry Project

Venue: Bagley Wright Theater at Seattle Rep

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

Price Range: $25-106

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

Dates: 1/30/25 to 2/23/25

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 after pictures below.

Yusef Seevers and Ayanna Bria Bakari in *Blues for an Alabama Sky* (2025). Photo by Nate Watters.

Jamar Jones and Esther Okech Lewis in *Blues for an Alabama Sky* (2025). Photo by Nate Watters.

Ajax Dontavius and Ayanna Bria Bakari in *Blues for an Alabama Sky* (2025). Photo by Nate Watters.

Esther Okech Lewis, Yusef Seevers, Jamar Jones, Ajax Dontavius, and Ayanna Bria Bakari in *Blues for an Alabama Sky* (2025). Photo by Nate Watters.

Ayanna Bria Bakari and Ajax Dontavius in *Blues for an Alabama Sky* (2025). Scenic Design by Matthew Smucker. Photo by Nate Watters.

Musician Nathan Breedlove in *Blues for an Alabama Sky* (2025). Scenic Design by Matthew Smucker. Lighting Design by Porsche McGovern. Photo by Nate Watters.

Dial M for Murder – Play – Review – Village Theatre

@showsiveseen "Dial M for Murder" #play at Village Theatre. Effectively built audience anticipation. Surprised & relived this wasn't a tired comedic melodramatic whodunit mystery. "Money, fear, jealousy, revenge, and protecting someone you love." Review: showsiveseen.com/11446 Photos: Auston James Director: @adamimmerwahr5 Stage Mgr: Ruth Eitemiller #hitchcock #showsiveseen #theatre ♬ Crazy – Oliver Peters & Liv Clark

Elevator Thoughts (aka Tweet): Dial M for Murder play at Village Theatre. Effectively built audience anticipation. Surprised & relived this wasn’t a tired comedic melodramatic whodunit mystery. “Money, fear, jealousy, revenge, and protecting someone you love.”

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? Maybe

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): Without revealing too much of the plot, this play revolves around two lesbian ex-lovers, a damning letter that exposes their affair, revenge, extortion, murder, and investigation.

Synopsis from the Licensor or Theatre Company: Murder has a familiar ring. Tony married his wife for her money, and now he plans to murder her for it. But when his perfect plans go awry, he has to improvise — and now his wife’s former lover Maxine and a wily inspector from Scotland Yard must race against the clock to unravel his schemes. This spine-tingling new adaptation is brimming with more unexpected turns and diabolic plot twists than Hitchcock’s timeless film version. Will Tony get away with it, or will justice be served? You’ll be guessing until the very end of this fast-paced, stylish thriller. Get ready for a criminally good time.

Type: Play

World Premiere: No

Several or Few Scenes: Just 5 scenes

Several or Few Settings/Locations: Just one, a living room

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: Yes, but with only 5 scenes, it veered towards more dialogue than action

Union Actors: 4

Total Actors: 5

Perceived Pace of the Show: Medium to fast speed especially for a dialogue-heavy play

Was there an intermission? Yes

Length (Including Any Intermission): 2 hours – This could feasibly be shortened to a single-act show.

Other Rave(s) Not Mentioned Above

Refreshing Plot: Based solely on the title without reading the synopsis or seeing the film, I initially expected another cheap comedic melodramatic whodunit mystery like Clue. However, instead of the typical mystery where the audience is kept in the dark, it focused on how the mystery unfolded for the characters themselves, with the audience privy to all the details from the start. In a refreshing twist on the classic mystery formula, this play keeps the audience on edge not by hiding the truth, but by letting us watch the characters unravel in real-time. The production and script also frequently elicited anticipation from the audience like when one of the characters contemplated using an ice pick as a weapon in a “will he or won’t he” moment.
Fight Choreography: Although the main fight scene was brief, fight director Ian Bond crafted a stunning climax to the thrilling scene that had the audience (myself included) audibly exclaim.

Other Musing(s) and Observation(s)

Blackmail: I’m surprised in the woke PNW, we’re still using the word “blackmail” on stage. Shouldn’t it be “extortion” now?
Fingerprints: The play frequently referenced obtaining fingerprints from paper, which initially seemed impossible to me. However, I later discovered that it is possible after a Google search.
New Character: I’ve always found it improper for a play to introduce a major new character in the second act. For one, I can’t help but feel bad for the actor, having to wait through the entire first act and intermission before taking the stage!
Taproot Theatre: This production reminded me of Taproot Theatre, known for old-timey, dialogue-driven works. Additionally, Richard Nguyen Sloniker and Calder Jameson Shilling, who frequently feature in Taproot Theatre’s productions, added a familiar touch to this performance. In fact, they starred as the main characters in Taproot Theatre’s recent Happy Christmas, Jeeves!
Scenic Design: Paige Hathaway’s green scenic design was reminiscent of the recent Blithe Spirit at Seattle Rep.
Transitional Music: The music between scenes felt a bit too melodramatic. But maybe it was an intentional ode to campy murder films.
Public Bias: It’s incredible how homophobia and misogyny can shape public opinion, particularly in earlier time periods. I’m intrigued to compare this production through the lens of the original script, which didn’t include the lesbian affair. That being said, it was refreshing to see lesbian visibility on-stage for a change.
Glassware: Do people not wash their cups after drinking from a home liquor bar? Gross.

Theatre Company: Village Theatre

Venue: 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: $75-123

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

Dates:

Issaquah: January 21 to February 23, 2025
Everett: March 1 to 23, 2025

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 after pictures below.