Review – Page 3 – Shows I've Seen

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.

Sara Hennessy, Emily Kuroda, Rachel Guyer-Mafune, Chip Sherman, and Carlos Lacámara in *The Skin of Our Teeth* (2024) at Seattle Rep. Photo by Bronwen Houck.

Emily Kuroda, Carlos Lacámara, and members of the cast and community ensemble of *The Skin of Our Teeth* (2024) at Seattle Rep. Photo by Bronwen Houck.

Sara Hennessy, Sunam Ellis, Carlos Lacámara and members of the cast and community ensemble of *The Skin of Our Teeth* (2024) at Seattle Rep. Photo by Bronwen Houck.

Laura Crotte and members of the cast and community ensemble of *The Skin of Our Teeth* (2024) at Seattle Rep. Photo by Bronwen Houck.

Members of the cast and community ensemble of *The Skin of Our Teeth* (2024) at Seattle Rep. Photo by Bronwen Houck.

Bradley Goodwill and members of the cast and community ensemble of *The Skin of Our Teeth* (2024) at Seattle Rep. Photo by Bronwen Houck.

Mike Wu, Chip Sherman, Emily Kuroda, Rachel Guyer-Mafune, and Viviana Garza. Photo by Bronwen Houck.

My Lord, What a Night – Play – Review – Taproot Theatre

@showsiveseen Deborah Brevoort's "My Lord, What a Night" #play at @TaprootTheatre. Starring Kataka Corn & Mark Emerson. Engaging dialogue, beautiful juxtaposition of opposites, timely message, thought-provoking quotes, & good exploration of dilemmas. Mah lawd! Closes next weekend 10/19. Review: showsiveseen.com/9904 Photos: Robert Wade Director: @Bretteney Beverly #showsiveseen #theatre #AlbertEinstein #Einstein #MarianAnderson #civilRights #racism ♬ Dere´s no hiding place down here – Kosti Vehanen & Marian Anderson

Elevator Thoughts (aka Tweet): My Lord, What a Night play at Taproot Theatre. Starring Kataka Corn & Mark Emerson. Engaging dialogue, beautiful juxtaposition of opposites, timely message, thought-provoking quotes, and good exploration of dilemmas. Mah lawd! Closes next weekend.

Recommendation:
See it if you enjoy plays that are more dialogue than action.

My Synopsis (No Spoilers): Two famous opposites (Albert Einstein and Marian Anderson) meet and become friends. Together they struggle with the best way to respond to racism.

Synopsis from the Licensor or Theatre Company: Based on the real-life friendship between famed contralto Marian Anderson and physicist Albert Einstein. Marian Anderson is denied lodging after delighting a sold-out Princeton audience. When her long-time fan, Albert Einstein, invites her to stay in his home, the two begin a lifelong friendship. Watch as they grapple with their responsibility as an artist and scientist in a world plagued by racial segregation and a looming world war.

Attended Performance Date: Opening Night 9/20/24 – Keep your eyes peeled for preview posts on my website and social media if you want earlier notification of shows I’ve seen. Get your tickets now since this production ends 10/19/24!

Type: Play

World Premiere: No

Several or Few Scenes: I think there were only 2-3 scenes

Several or Few Settings/Locations: One – Albert Einstein’s living room

Static (Stationary) Set? Yes

Prior Exposure/Knowledge Required: No, but you might appreciate the play more if you’re familiar with Albert Einstein, Marian Anderson, or western world history.

Defined Plot/Storyline: No, it was mostly dialogue

Equity Actors: 3

Total Number of Actors: 4

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2 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

Juxtaposition: The unexpected friendship between an eccentric scientist and an artiste blossomed beautifully on-stage. It was also refreshing to see two people, famous in their own realms, admire each other despite their opposite passionate pursuits. The right and left brains unite!
Dialogue: While I’m usually not a fan of plays heavy on dialogue and low on action, the discourse between the characters was engaging. I especially enjoyed the way Marlette Buchanan delightfully delivered Mary Church Terrell’s lines. However, a part of me wondered if that character was pandering too much to the audience as a stereotypical colorful older black woman caricature.
Hair and Makeup: Throughout the entire first act, I didn’t realize Mark Emerson played Albert Einstein until I saw his picture in the lobby during intermission. This transformation reminded me of how I didn’t recognize Cassi Q Kohl in Taproot Theatre’s The Hello Girls.
First Act Song: There was a lovely segment in the middle of the first act when Marian Anderson (played by Kataka Corn) entranced the audience with a vision and an acapella song.
Dilemmas: The script explored the arguments for/against each action (or inaction) well. There were seemingly no correct answers. You’re damned if you do and damned if you don’t.
Quotes: There were several thought-provoking quotes throughout the script. One example was something like “the treatment of the Negro is no different than the treatment of Jews” and it stood out the most since I disagree. Both groups were treated terribly throughout history (and I know it’s not a competition), but one group arguably had/has it way worse.

Other Musing(s) and Observation(s)

First Act: Like many shows, the first act was better. But the first act also could have probably afforded to end earlier.
D Flat: Anderson and Einstein’s obsession with D flat was kind of weird. This is coming from someone who occasionally sings and plays the piano.
Marian Anderson’s Music: I’ve never heard of Marian Anderson or her music before attending this play. After the show, I curiously searched for her music recordings, and I’d have to say it was boring and stuffy. The music in my TikTok reel about this show was the most upbeat song I could find. But this is coming from someone who’s favorite artist is Lady Gaga and favorite genre is showtunes. 🙂

Theatre Company: Taproot Theatre

Venue: Jewell Mainstage

Venue Physical Address: 204 N 85th St, Seattle, WA 98103

Price Range: $25-62

Dates: September 18 to October 19, 2024

Seating: Assigned Seating

Parking: Paid lot or usually-free street parking. I always find free street parking on Greenwood Ave just South of the theatre.

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Pictures: See pictures below by Robert Wade.

Cast and Production Team: See after pictures below.

Marlette Buchanan and Kataka Corn in *My Lord, What a Night* at Taproot Theatre. Photo by Robert Wade.

Kataka Corn and Mark Emerson in *My Lord, What a Night* at Taproot Theatre. Photo by Robert Wade.

Andrew Litzky, foreground, with Mark Emerson and Kataka Corn in *My Lord, What a Night* at Taproot Theatre. Photo by Robert Wade.

Andrew Litzky and Mark Emerson in *My Lord, What a Night* at Taproot Theatre. Photo by Robert Wade.

Mark Emerson and Kataka Corn in *My Lord, What a Night* at Taproot Theatre. Photo by Robert Wade.

Funny Girl – Musical – Review – Paramount Theatre

@showsiveseen "Funny Girl" classic #musical from Broadway Seattle & @Seattle Theatre Group at Paramount Theatre. Starring @Hannah Shankman w/ her effortlessly powerful steady voice. Mister Arnstein understudied by Travis Ward-Osborne. What a spectacle of costumes, (tap) dance, & showstoppers! Closes tomorrow w/ only 4 more performances left! Review: showsiveseen.com/9850 Director: Michael Mayer Choreography: @✨Ellenore Scott✨ & @Ayodele Casel Conductor: Elaine Davidson Stage Manager: Jovon E. Shuck & Kyle Dannahey #funnyGirl #theatre #showsiveseen @FUNNY GIRL ♬ Don't Rain on My Parade (Glee Cast Version) – Glee Cast

Elevator Thoughts (aka Tweet): Funny Girl classic musical from Broadway Seattle and Seattle Theatre Group at Paramount Theatre. Starring Hannah Shankman with her effortlessly powerful steady voice. Mister Arnstein understudied by Travis Ward-Osborne. What a spectacle of costumes, (tap) dance, and showstoppers!

Recommendation:
See it!

My Synopsis (No Spoilers): An average-looking funny girl tries to make it in show biz and win the affections of a rich man. This story is based on the real-life Fanny Brice.

Synopsis from the Licensor or Theatre Company: Featuring one of the most iconic scores of all time by Jule Styne and Bob Merrill, an updated book from Harvey Fierstein based on the original classic by Isobel Lennart, tap choreography by Ayodele Casel, choreography by Ellenore Scott, and direction from Michael Mayer, this love letter to the theatre has the whole shebang! The sensational Broadway revival dazzles with celebrated classic songs, including “Don’t Rain on My Parade,” “I’m the Greatest Star,” and “People.” This bittersweet comedy is the story of the indomitable Fanny Brice, a girl from the Lower East Side who dreamed of a life on the stage. Everyone told her she’d never be a star, but then something funny happened—she became one of the most beloved performers in history, shining brighter than the brightest lights of Broadway.

Attended Performance Date: Opening Night 9/24/24 – Get your tickets now since this national tour leaves Seattle 9/29/24!

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) Set? No

Prior Exposure/Knowledge Required: No, but you might appreciate the jokes more if you’re Jewish American.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Equity Actors: All

Total Number of 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? No, I attended a community theatre production at the San Pedro Playhouse in San Antonio.

Would I See It Again 3 Years from Now? I think so

Mainstream Appeal: High

Other Rave(s) Not Mentioned Above

Vocals: Hannah Shankman’s (who played the main character Fanny Brice) voice was an effortlessly steady powerhouse (if not a tad too nasal). I would love to hear her sing jazz standards. She really shined in “Cornet Man,” “Rat-Tat-Tat-Tat,” “I’m the Greatest Star,” and “The Music That Makes Me Dance.”
Showstopping (or “Show-pausing?”) Applause: There were several extended ovations throughout the show when the actors paused longer than normal till the crowd finished clapping like after “I’m the Greatest Star,” “The Music That Makes Me Dance,” and Eddie’s tap dance solo.
Stage Bulbs: The light bulbs surrounding the stage opening conveyed an old timey showbiz vibe that perfectly complemented the story’s subject matter.
Costumes: Costume designer Susan Hilferty curated an expansive, diverse, and visually captivating repertoire. Additionally, it was a wise artistic decision to showcase the costumes from each major song at the show bookends.

Other Musing(s) and Observation(s)

Casting: The Fanny Brice main character role is best suited for an actress who is more homely or at least awkward. Hannah Shankman fit neither of those requirements since she was prettier than average, and she portrayed her role with confidence like the quirky Zooey Deschanel. The character would have been more convincing if Hannah roughed up her face or sold the awkwardness to the audience more. She redeemed herself a bit during the standing ovations when she humbly accepted the audience’s applause.
“His Love Makes Me Beautiful” Song: Fanny’s extreme reluctance to perform this song was incredibly puzzling. She’d have to look like a disfigured dog to merit the extraordinary efforts taken to avoid performing the song. The assholes who sang “If a Girl Isn’t Pretty” gave her this complex!
Gender Commentary: The script is a wonderful commentary on binary gender roles. Society internalizes obsession with women’s appearances while men aren’t examined with the same scrutiny. (Even my previous two bullet points were about a woman’s appearance!) It was refreshing to see moments of Fanny’s resilience and positivity despite society’s expectations pulling her down. While the show ended on an empowering feminist note, the misogynistic pathway to get there was sometimes painful to watch. The first verse to “You Are Woman, I Am Man” embodied this pathway encouraging women to make themselves smaller so their insecure partners can feel like big men. Fanny was a strong independent woman who don’t need no man!

Theatre Company: National Tour from Broadway Across America and Seattle Theatre Group

Venue: Paramount Theatre

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

Price Range: $40-150 plus the insane Ticketmaster fees. Buy your ticket at the box office to avoid the exorbitant fees. Down with the Ticketmaster Live Nation monopoly!

Dates: September 24 to 29, 2024

Seating: Assigned Seating

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Pictures: See pictures below by Matthew Murphy from MurphyMade.

Cast and Production Team: See after pictures below. In the 9/24/24 performance, Travis Ward-Osborne played the Nick Arnstein character, Vinny Andaloro played the Mr. Renaldi character, Emily Anne Nester played Alex Hartman’s track, and Sean Seamus Thompson played Mathew Fedorek’s track.