Review – Page 2 – Shows I've Seen

Primary Trust – Play – Review – Seattle Rep

@showsiveseen Eboni Booth’s "Primary Trust" #play by @Seattle Rep. Starring Stephen Tyrone Williams. Featuring @Justin Huertas on the keys, guitar, cello, ukelele, etc. Must be nice to have an imaginary friend like @Andrew. Script w/ heart & beautiful characters portraying universal human experiences. Only 4 more performances left till 11/27 closing. Review: showsiveseen.com/10431 Director: Kaytlin McIntyre Stage Manager: @Melissa Hamasaki #theatre #showsiveseen #growth #friendship #connection #babySteps ♬ Only Human – Acoustic – Ryan Mack

Elevator Thoughts (aka Tweet): Eboni Booth’s Primary Trust play by Seattle Rep. Starring Stephen Tyrone Williams. Featuring Justin Huertas on the keys, guitar, cello, ukelele, etc. Must be nice to have an imaginary friend like Andrew Lee Creech. Script with heart and beautiful characters portraying universal human experiences.

Recommendation:
See it.

My Synopsis (No Spoilers): An awkward man in a sad lonely repetitive existence with an imaginary friend is forced to take baby steps to grow and come out of his shell.

Synopsis from the Licensor or Theatre Company: Kenneth has lived his entire life in the same small town. Every day he works at the bookstore, then shares happy hour Mai Tais with his best friend. And so what if his best friend is imaginary? Every day is the same, just the way Kenneth likes it—until he is laid off and his world is turned upside down. Thrown out of his comfort zone, Kenneth must find the courage to face his biggest fear: change. This 2024 Pulitzer Prize winner and intimate, offbeat new comedy by Eboni Booth tells a surprising story about one man’s leap of faith and the friends he makes along the way.

Type: Play

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Mostly dynamic

Prior Exposure/Knowledge Required: None

Defined Plot/Storyline: Mostly yes

Live Band/Orchestra: Yes, there was live instrumental music from Justin Huertas

Union Actors: All

Total Actors: 4

Perceived Pace of the Show: Medium speed

Was there an intermission? No

Length (Including Any Intermission): 90 minutes

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

Would I See It Again 3 Years from Now? No, but it was good

Mainstream Appeal: Medium

Other Rave(s) Not Mentioned Above

Imaginary Friend: Although it was a coping defense mechanism (and honestly a mild psychotic break), having an imaginary friend like Bert (played by Andree Lee Creech) must be nice – a personal cheerleader and confidant all in one.
Cast Doubling: Allyson Lee Brown and Rob Burgess masterfully curated a diverse range of characters to life. Rob first portrayed a grumpy boss with a heart of gold, then shifted to a kind supervisor bank manager still stuck reminiscing about his college football days, before switching gears to play a dainty waiter. One of the funniest moments was when Allyson had a lively argument with herself, seamlessly switching between her roles as Corrina and her coworker Duncan.
Script: At first, the script seemed to meander about nothing, but it gradually blossomed into a beautiful exploration of universal human experiences—loneliness, loss, grief, trauma, separation anxiety, and fear of change. I loved was how it encouraged taking baby steps toward growth, stepping out of your comfort zone, and putting yourself out there in the hope of genuine human connection, fulfillment, and success.
Live Music: The live instrumental music was a nice touch to the play, and of course, I’d always prefer it instead of a recorded track. Additionally, Justin Huertas is incredibly talented with his many musical abilities. But I question whether the live music was a necessary expense for this production. Honestly, the experience wouldn’t have been diminished without it. And I say this as someone who hates attending musicals without live accompaniment.
Favorite Line: “That man [Stephen King] doesn’t want me to sleep with the lights off.”

Rant(s)

Bell: The bell sound effect between scenes might have been slightly overplayed.

Theatre Company: Seattle Rep

Venue: Leo Kreielsheimer Theater at Seattle Rep

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

Price Range: $60-85

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

Dates: October 24 to November 27, 2024

Seating: Assigned Seating

Parking: There are paid lots and paid street parking. I usually park on Mercer to the West of 1st Ave. There’s usually also plentiful street parking around Safeway. If there’s an event in Seattle Center or Climate Pledge Arena, street parking is usually limited and much more expensive.

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Pictures: See production pictures below by Bronwen Houck.

Cast and Production Team: See pictures below.

Justin Huertas in *Primary Trust* (2024) at Seattle Rep. Scenic design by An-lin Dauber. Photo by Bronwen Houck.

Stephen Tyrone Williams and Allyson Lee Brown in *Primary Trust* (2024) at Seattle Rep. Photo by Bronwen Houck.

Justin Huertas and Stephen Tyrone Williams in *Primary Trust* (2024) at Seattle Rep. Photo by Bronwen Houck.

Andrew Lee Creech, Stephen Tyrone Williams, and Rob Burgess in *Primary Trust* (2024) at Seattle Rep. Photo by Bronwen Houck.

Stephen Tyrone Williams, Andrew Lee Creech, and Rob Burgess in *Primary Trust* (2024) at Seattle Rep. Photo by Bronwen Houck.

Andrew Lee Creech, Stephen Tyrone Williams, and Allyson Lee Brown in *Primary Trust* (2024) at Seattle Rep. Photo by Bronwen Houck.

Stephen Tyrone Williams in *Primary Trust* (2024) at Seattle Rep. Scenic design by An-lin Dauber. Photo by Bronwen Houck.

Credits for *Primary Trust* (2024) at Seattle Rep. Photo from Encore Spotlight.

Edgar & Annabel – Play – Review – Pony World Theatre

@showsiveseen Sam Holcroft's "Edgar & Annabel" #play by Pony World Theatre at 12th Ave Arts. Seamless coordination between what's real vs fake. "Mr. & Mrs. Smith" or "Alias" vibes. Begins with a novel optional interactive spy remedial training. Tickets selling out w/ only 4 more performances left till the 11/30/24 closing! Review: showsiveseen.com/10433 Director: Charlotte Peters Stage Manager: Kimberly Le #theatre #showsiveseen ♬ Play Pretend – bby ivy

Elevator Thoughts (aka Tweet): Sam Holcroft’s Edgar & Annabel play by Pony World Theatre at 12th Ave Arts. Seamless coordination between what’s real vs fake. Mr. & Mrs. Smith or Alias vibes. Begins with a novel optional interactive spy remedial training. Tickets selling out with only 4 more performances till the 11/30/24 closing!

Recommendation:
See it.

My Synopsis (No Spoilers): A spy couple strugges to balance their real personal life vs their fake professional life. But at what cost? Is it worth it?

Synopsis from the Licensor or Theatre Company: Conscientious recycling, karaoke parties, home cooked meals: Edgar and Annabel enjoy the perfect, middle-class marriage. And they can keep it if no one finds out they’re actually Nick and Marianne, two resistance fighters who assume fake identities to avoid the detection of an Orwellian government. With every moment of their lives literally scripted to support the subterfuge, the slightest surprise puts them and their whole organization at risk. When rewrites and improvisations throw their plans into chaos, they wont know who they can trust least of all each other. A darkly comedic spy thriller, Edgar & Annabel explores the lines between public and private, asking what we would sacrifice to stay free. Prior to performance of this riveting tale, the audience is invited to arrive early to participate in a collection of puzzles meant to train the next generation of Agents tasked with seeking out subversive elements. This training is available as early as 7:00pm, with cohorts of recruits allowed into the theatre roughly every ten minutes until the start of the show. While these puzzles are optional and merely observing is perfectly allowed, PWT encourages everyone to arrive early to take advantage of the full experience.

Type: Play

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Only 2-3

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: None

Defined Plot/Storyline: Yes

Union Actors: 0

Total Actors: 7

Perceived Pace of the Show: Medium speed

Was there an intermission? No

Length (Including Any Intermission): 80 minutes

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

Would I See It Again 3 Years from Now? No, but it was good

Mainstream Appeal: Medium

Other Rave(s) Not Mentioned Above

Real vs Fake Life: The script and actors expertly switched between portraying what the spy characters wanted to show to their enemies versus revealing to the audience their true emotions. It was as if they were performing for two audiences: the one watching in the theatre and the one monitoring them through surveillance.
Interactive Training: Before the main performance, audience members were encouraged (but not required) to participate in mock spy remedial training exercises that consisted of audio surveillance, a cluster scan, and a crime scene investigation. While I personally don’t gravitate to interactive theatre (pillow princess here!), Seattleites and Portlanders people would eat this up. I will say that the crime scene investigation answers were impossible!

Theatre Company: Pony World Theatre

Venue: 12th Ave Arts

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

Price Range: $24

Dates: November 1 to November 30, 2024

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. I highly recommend the paid lot at 1300 E Olive St with the entrance on 14th Ave.

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Pictures: See production pictures below.

Cast and Production Team: See pictures below.

Yellow Face – Play – Review – Roundabout Theatre Company’s Todd Haimes Theatre

@showsiveseen David Henry Hwang's "Yellow Face" #play at @Roundabout Theatre Company starring Hollywood celebrity, @Daniel Dae Kim. Delightful Asian father portrayal by Francis Jue. We laughed, fumed, & cried. Performing till 11/24/24. Review: showsiveseen.com/10365 Photos: Joan Marcus Director: Leigh Silverman Stage Managers: Charles Means & Janet Takami #theatre #showsiveseen #broadway #yellowFace #asian ♬ People Like Us – Revel Day

Elevator Thoughts (aka Tweet): David Henry Hwang’s Yellow Face at Roundabout Theatre Company starring Hollywood celebrity Daniel Dae Kim. Delightful Asian father portrayal by Francis Jue. We laughed, fumed, & cried. Performing till 11/24/24.

Recommendation:
See it, especially if you’re Asian. Like most theatre productions, there were sadly few Asians in the audience despite being an Asian-themed play!

My Synopsis (No Spoilers): Autobiographical account of David Henry Hwang’s experience with historical yellow face casting controversies in the NYC theatre scene.

Synopsis from the Licensor or Theatre Company: Broadway’s new triumph is the New York Times Critic’s Pick, the “relevant, insightful, and very funny” (Greg Evans, Deadline) Broadway premiere of Yellow Face. Daniel Dae Kim (Lost, Hawaii Five-O) heads the cast of Tony Award® winner David Henry Hwang’s hilarious is-he-or-isn’t-he comedy of identity, show business, and (perhaps) autobiography, directed by Tony nominee Leigh Silverman (Violet, Suffs). Kim stars as an Asian American playwright who protests yellowface casting in the blockbuster musical Miss Saigon, only to mistakenly cast a white actor as the Asian lead in his own play. The repercussions resonate wildly in this laugh-out-loud farce about the complexities of race that “builds to a climax of startling power” (Daniel D’addario, Variety).

Type: Play

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Dynamic

Prior Exposure/Knowledge Required: To appreciate the story fully, you’ll need to know about the NYC theatre scene in the 1990s and late 1980s. I’m curious if this play would do well outside NYC since most audience members outside NYC will not be familiar with some references.

Defined Plot/Storyline: Yes

Union Actors: All

Total Actors: 7

Perceived Pace of the Show: Medium speed

Was there an intermission? No

Length (Including Any Intermission): 1.5 hours

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

Would I See It Again 3 Years from Now? Probably not, but it was good

Mainstream Appeal: Medium

Other Rave(s) Not Mentioned Above

Scenic Design: I’m always a fan of modern minimalism. It was reminiscent of an even more minimalist version of Company‘s scenic design. Arnulfo Maldonado uniquely designed two L-shaped shadowbox-like structures that rotated to indicate location changes in the story.
Projection Design: Yee Eun Nam presented newspaper articles in a visually appealing way.
Reporter: The scene between David (played by Daniel Dae Kim) and the reporter (played by Greg Keller) was well-written and skillfully executed as a great “fuck you!” moment for people with a public platform. I’m so curious how much of that account was historically accurate. I already feel a bit betrayed by a major plot point that the script later conceded wasn’t real.
Jane Krakowski: Marinda Anderson’s(?) impersonation of Jane Krakowski was spot on, at least compared to the Ally McBeal version.
Emotional Response: As an Asian American, I felt the indignation of the cultural appropriation and microaggressions toward Asians. My dad, too, was moved to tears by other portrayals toward the end of the show. They say that great art should evoke emotion, and this piece certainly did!
Favorite Line: Something like “Did you catch your [non-Asian] boyfriend put butter on his rice?”

Other Musing(s) and Observation(s)

Commentary on Yellow Face Casting: The script presented some interesting points in defense of yellow face casting. But it was hard to determine what the Asian American playwright David Henry Hwang actually intended to convey on his stance. Additionally, the show started out as a preachy morality play seemingly written for the playwright’s vain commentary, but the show eventually hit its stride and became entertaining.

Theatre Company: Roundabout Theatre Company

Venue: Todd Haimes Theatre

Venue Physical Address: 227 W 42nd St, New York, NY 10036

Venue Classification: Broadway

Price Range: $58-348 plus the ticketing fees if you’re not buying at the box office.

Ticket Affordability Options: Download the TodayTix app for digital rush tickets. You can only purchase the digital rush tickets on the app and not the website. You can also likely buy discount tickets at the TKTS booth like I did.

Dates: September 13 to November 24, 2024

Seating: Assigned Seating

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https://www.roundabouttheatre.org/get-tickets/2024-2025/yellow-face/

Pictures: See production pictures below by Joan Marcus.

Cast and Production Team: See pictures below.

Ryan Eggold, Marinda Anderson, Daniel Dae Kim, Kevin Del Aguila. Photo by Joan Marcus.

Daniel Dae Kim, Ryan Eggold, Marinda Anderson. Photo by Joan Marcus.

Daniel Dae Kim, Ryan Eggold. Photo by Joan Marcus.

Daniel Dae Kim, Ryan Eggold, Shannon Tyo. Photo by Joan Marcus.

Daniel Dae Kim, Greg Keller. Photo by Joan Marcus.

Francis Jue, Marinda Anderson, Kevin Del Aguila, Daniel Dae Kim, Ryan Eggold, Shannon Tyo. Photo by Joan Marcus.

Daniel Dae Kim, Kevin Del Aguila, Marinda Anderson, Francis Jue. Photo by Joan Marcus.

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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https://tammyfayebway.com/

Pictures: See production pictures below by Matthew Murphy of MurphyMade.

Cast and Production Team: See pictures below.

The cast of TAMMY FAYE. Photo by Matthew Murphy.

Katie Brayben and Christian Borle. Photo by Matthew Murphy.

Michael Cerveris and the cast of TAMMY FAYE. Photo by Matthew Murphy.

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.