Elevator Thoughts (aka Tweet): Harry Turpin’s & Stacie Hart’s Come On, Get Tappy! world premiere musical by Outrage Onstage at SecondStory Repertory. I’d like to think Shirley Temple’s life behind the scenes was as campy & sensational as this.
Recommendation See it if either 1) you enjoy camp 2) you want to support community theatre 3) or you want to support new theatre works.
My Synopsis (No Spoilers): Hijinks ensue when an unexpected villain threatens the natural order of a Shirley Temple-style variety show.
Synopsis from the Licensor or Theatre Company: The “Tappy McCrackin Variety Hour” is the biggest hit show network television has ever seen. A pint-sized girl named Tappy McCrackin is the singing, dancing star of it all – but she’s collected a dangerous enemy in her rise to the top. As the show prepares to celebrate its 25th anniversary with a huge spectacle performance to be broadcast live in every living room in America, danger lurks in the wings. Villains, friends, and lovers find themselves in a chaotic scene when disaster strikes the studio – right before the big show. As the cameras roll, who will help her save the day?
Attended Performance Date: 8/29/24 – Keep your eyes peeled for preview posts on my website and social media if you want earlier notification of shows I’ve seen. Show closes on 9/15/24!
Type: Musical
World Premiere: Yes
Several or Few Scenes: Several
Several or Few Settings/Locations: A couple
Static (Stationary) Set? Mostly yes
Prior Exposure/Knowledge Required: No
Defined Plot/Storyline: Yes
Live Band/Orchestra: Yes
Equity Actors: None
Total Number of Actors: 16, which is pretty large for such a small stage
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? No
Mainstream Appeal: Medium
Other Rave(s) Not Mentioned Above
Costumes: For a non-Equity show, I was surprised with the diverse sizable costume selection curated by costume designer Kristin Haskins. What a spectacle!
Fish Sponsor Gag: Regarding the fish-related sponsor mentioned in the script, the advertisement songs that played in the background before the show and during intermission were a nice touch.
Tappy Shrine: Another impressive attention to detail was the extensive “Tappy McCrackin Discovery Gallery” shrine in the theatre lobby. It featured wall art, headlines, and memorabilia that showcased Tappy’s fictional career over the years. The intermission might not be long enough to fully explore all the intriguing lore!
Tap Dancing: I absolutely love watching tap dancing in musicals. The mention of “tap” in the title actually initially drew me to see this show. However, while the production featured more tap dancing than most musicals, I was still expecting even more given the name of the titular main character. Side note, the “saluting” dance routine from choreographer (also the co-creator and director) Harry Turpin reminded me of the classic “Anything Goes” song with Sutton Foster.
Rant(s)
Mic-ing: Some dialogue and lyrics were difficult to understand. It could have been different microphone models, suboptimal microphone placement, inconsistent microphone usage, soundboard operation, or something else. I’m fairly certain I missed background story that was integral to the plot because of this.
Other Musing(s) and Observation(s)
Second Act Script Development: The second act script, particularly the latter half, unfortunately fell prey to a common theatre issue where it feels less developed compared to the first act. This portion of the script could benefit from additional reworking and refinement.
Theatre Company: Outrage Onstage and SecondStory Repertory
Venue: SecondStory Repertory
Venue Physical Address: 7325 166th Ave NE Ste F250, Redmond, WA 98052
Price Range: $35
Dates: August 23 to September 15, 2024
Seating: General Admission
Parking: Free lot or free garage parking provided by the Redmond Town Square outdoor mall where the theatre company resides.
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Cast and Production Team: See after pictures below.
Allie Nolan and the cast of Come On, Get Tappy! Photo by Colin Madison. Allie Nolan, Merry Senn, Meagan Castillo, Sydney Caruso, and the cast of Come On, Get Tappy! Photo by Colin Madison.Olivia Lee and the cast of Come On, Get Tappy! Photo by Colin Madison.Meagan Castillo and Merry Senn. Photo by Colin Madison.Ceili Caruso, Kyle Sinclair, and the cast of Come On, Get Tappy! Photo by Colin Madison.Kyle Sinclair, Merry Senn, and Meagan Castillo. Photo by Colin Madison.Oliva Lee and Mauro Bozzo. Photo by Colin Madison.
@showsiveseen @Peter Pan the Musical family-friendly #musical national tour from @Seattle Theatre Group & Broadway Seattle at the Paramount. Starring @nolan and @Cody Garcia. Impressive stage magic with aerial flying, fairy effects, shadow tricks, and beautiful projections that would certainly fill children & adults with wonder. Closes 8/25. Review: showsiveseen.com/9499 Director: Lonny Price Stage Manager: Megan Belgam & Kendall Stevens Conductor: Jonathan Marro #theatre#showsiveseen#peterPan#Neverland#CaptainHook♬ I Won't Grow Up – The Fools
Elevator Thoughts (aka Tweet): Peter Pan family-friendly musical national tour from Seattle Theatre Group and Broadway Seattle at the Paramount. Starring Nolan Almeida and Cody Garcia. Impressive stage magic with aerial flying, fairy effects, shadow tricks, and beautiful projections that would certainly fill children and adults with wonder. Closes 8/25.
Recommendation See it if you enjoy kid-friendly musicals or you want to take your kid to the theatre.
My Synopsis (No Spoilers): It’s the classic story of Peter Pan, the magical boy (accompanied by his fairy Tinkerbell) who never grows up. He flies Wendy and her brothers to Neverland, where they encounter the lost boys, Tiger Lilly with her indigenous gang, and Captain Hook with his pirate band.
Synopsis from the Licensor or Theatre Company: This high-flying musical has been thrilling audiences of all ages for close to 70 years and is now being brought back to life in a new adaptation by celebrated playwright Larissa FastHorse, directed by Emmy Award winner Lonny Price and choreography by Lorin Latarro. The adventure begins when Peter Pan and his mischievous sidekick, Tinker Bell, visit the bedroom of the Darling children late one night. With a sprinkle of fairy dust and a few happy thoughts, the children are taken on a magical journey they will never forget. This extraordinary musical full of excitement and adventure features iconic and timeless songs including “I’m Flying,” “I Gotta Crow,” “I Won’t Grow Up” and “Neverland.” PETER PAN embraces the child in us all so go on a journey from the second star to the right and straight on ‘til morning – your entire family will be Hooked!
Attended Performance Date: Opening Night 8/21 – Buy your tickets now since the show closes on 8/25!
Type: Musical
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings/Locations: Several
Static (Stationary) Set? No, it was dynamically changing
Prior Exposure/Knowledge Required: No, but you’d probably appreciate this show more if you’re already familiar with the classic tale in any iteration. I personally saw the Disney film and the movie Hook.
Defined Plot/Storyline: Yes
Live Band/Orchestra: Yes
Equity Actors: All
Total Number of Actors: 24
Perceived Pace of the Show: Medium speed
Was there an intermission? Yes
Length (Including Any Intermission): 2.5 hours, which might be too long for a show targeted to kids
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
Other Rave(s) Not Mentioned Above
Stage Magic:
Aeriel Flying: This production expertly incorporated aerial flying throughout the show starting with Peter Pan’s glitter filled grand entrance. The actors seamlessly transitioned between flying and walking. The aeriel flying would surely fill children with a sense of wonder. I certainly personally wondered when they found the time to unobtrusively attach and detach their flying cables on-stage in the middle of scenes!
Fairy Effects: This production portrayed the Tinkerbell fairy well with “simple” little light bulbs, which often required coordination between actors and some lite puppetry skills.
Shadow Tricks: Peter Pan’s shadow was so convincing. It “moved” scenery pieces like a picture frame and curtains. I didn’t even realize it wasn’t Nolan Almedia’s actual shadow until the last half of the scene. Tight synchronicity!
Projections: Thankfully, the projections weren’t an overused crutch like I’ve often seen in other shows. The projections augmented the flying scene spectacularly. However, it was a cop out to portray the actors in the projections during part of that scene. The vibrant realistic backgrounds blended well with the physical scenery pieces. They sometimes created wonderful transitions between settings like the jungle and ship. However, there were a few moments where movement was obvious cheesy fake CGI like water splashes, flying birds, and falling leaves.
Scenic Design: I love the lush, vibrant green motif, especially the beautiful jungle sets.
Bookends: Peter Pan’s visits to the real world nursery at the beginning and end of the show mirrored each other well.
Pirates: Cody Garcia and Kurt Perry flamboyantly portrayed Captain Hook and Smee respectively. It was cleaver to see their band of pirates as an actual music band.
Rant(s)
Kid Friendly: This is probably the most childish show I’ve seen from Broadway Across America in Seattle, San Antonio, and Houston … even more than any Disney national tour musical! I guess this is appropriate if you’re taking kids to the theatre. But it will definitely turn off childless grinch patrons like me. A part of me thinks this show is better suited for professional children’s theatre (like Seattle Children’s Theatre) instead of the Paramount. Adults acting childish with exaggerated movements (when theatre movements are already inherently exaggerated) is not my cup of tea. I also generally detest seeing elementary school children on stage since they typically milk the cuteness factor, which distracts from their actual performing talent.
Dying Scene (No Spoiler): Because I detested the childish elements of this show, I was drawn (like a pendulum thirsty for grown-up theatre) to the most solemn scene in the show when a character was dying. But they ruined the moment by breaking the fourth wall (vomit) and resolving it with a family-friendly pantomime cop out. Die Mufasa!
Moon: WTF was the talking moon? That random transient character was uncalled for and unnecessary. It shattered the suspension of disbelief. Get out of here!
Other Musing(s) and Observation(s)
Mermaid: Unlike most Peter Pan story iterations, there were no mermaid characters in this script. Even the Peter and the Starcatcher prequel included mermaids!
Score: The songs were fine, but not iconic. They were well-performed, but not inherently memorable. The kid-friendly nature didn’t help things out either. For example, I wasn’t a fan of Disney-like “Friends Forever” and that god-awful song about crowing. Speaking of Disney, I wish they could include some Disney Peter Pan songs like “You Can Fly.”
Indigenous Theme: I noticed that Larissa FastHorse (who is Native American) was credited for book modifications to the 1954 script. I’m so curious how drastic her changes were to the portrayal of indigenous characters. I remember in my woke 2024 hindsight that the Disney film was racially problematic.
Tiger Lilly: Tiger Lilly’s (played by Raye Zaragoza) song lines were often in a lower alto-ish range. With most female leads singing soprano, I wonder what the reason for this musical decision was. Side note, Raye Zaragoza in this role strangely reminded me of Jennifer Garner in the movie 13 Going on 30.
Theatre Company: National Tour Brought by Broadway Across America and Seattle Theatre Group
Venue: Paramount Theatre
Venue Physical Address: 911 Pine St, Seattle, WA 98101
Price Range: $40 to 135 plus the insane Ticketmaster fees. Buy your ticket at the box office to avoid most of the Ticketmaster 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: August 21 to August 25, 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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Cast and Production Team: See after pictures below.
“Hook’s Tarantella.” (center) Cody Garcia as Captain Hook and the cast of Peter Pan. Photo by Matthew Murphy.“I’m Flying.” (from L) Micah Turner Lee as John, Reed Epley as Michael, Hawa Kamara as Wendy, Nolan Almeida as Peter Pan. Photo by Matthew Murphy.“I Won’t Grow Up!” Nolan Almeida as Peter Pan (center) and the cast of Peter Pan. Photo by Matthew Murphy.“I Gotta Crow.” (from L) Nolan Almeida as Peter Pan, Hawa Kamara as Wendy. Photo by Matthew Murphy.“Friends Forever.” (from L) Nolan Almeida as Peter Pan, Kenny Ramos as Acoma, Raye Zaragoza as Tiger Lily and the cast of Peter Pan. Photo by Matthew Murphy.(from L) Nolan Almeida as Peter Pan, Cody Garcia as Captain Hook, Hawa Kamara as Wendy and the cast of Peter Pan. Photo by Matthew Murphy.
Elevator Thoughts (aka Tweet): Qui Nguyen’s Vietgone play w/ rap music by Pork Filled Productions, SIS Productions, & Theatre Off Jackson. Basically, Vietnamese Hamilton. Refreshing to experience stories through an Asian American lens. #refugee
Recommendation See it, especially if you’re Asian American.
My Synopsis (No Spoilers): A gallant Vietnamese pilot who fought for the Republic of Vietnam against the Viet Cong travels from an Arkansas refugee camp across the USA trying to return home overseas. In contrast, a beautiful Vietnamese woman flees Vietnam and embraces assimilation in the USA.
Synopsis from the Licensor or Theatre Company: Arkansas, 1974, after the fall of Saigon. Two young survivors (who may or may not be the play-wright’s parents) meet in America. Will this strange new land of burritos, bikers, and pot allow them to fall in love? Flipping stereotypes and remixing history, Vietgone cooks up a sexy, funny romp that’s a secret origin story for playwright Qui Nguyen (author of Raya and the Last Dragon)!
Attended Performance Date: Opening Night 8/9/24 – Keep your eyes peeled for preview posts on my website and social media if you want earlier notification of shows I’ve seen. Buy your tickets now since the show closes on 8/24!
Type: Play with Rap Music
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings/Locations: Several
Static (Stationary) Set? Mostly yes, since it’s such a small theatre.
Prior Exposure/Knowledge Required: No, but you’d probably enjoy this show more if you’re Asian American. I doubt Asians without an American background would appreciate it nearly as much as Asian Americans.
Defined Plot/Storyline: Yes
Live Band/Orchestra: Yes
Equity Actors: 0
Total Number of Actors: 5
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? No, I previously attended Vietgone at Seattle Rep.
Would I See It Again 3 Years from Now? Maybe, but twice might be enough for me. It would definitely need to be another professional production like the one I saw at Seattle Rep … not to say that this one was bad.
Mainstream Appeal: Medium
Other Rave(s) Not Mentioned Above
Asian Perspective and Representation: As an Asian American who grew up in Texas, it’s always refreshing (dare I say “novel”) to see Asian perspectives and representation on the stage. We’re not the “cultural other” in this story. Instead of Asian Americans speaking incomprehensibly, it was the other way around where the white American characters spoke weird broken English to depict their difficulty speaking Vietnamese. There were also many references in the play about living in a white-dominated society that many non-Asians wouldn’t understand. Additionally, it was a welcome change seeing the male romantic lead as an Asian man (Joshua M Erme as Quang) with sex appeal, muscular physique (Gurrrrl, look at that body!), and a masculine profession in the armed forces. This representation is still so important today even in the woke PNW where I know a half-Asian kid who literally expressed that they didn’t want their Asian features. Role models and goals!
Rap: Vietgone is a play with rap music. This production also incorporated a live band. The group sitting behind me said “I didn’t know this would be like Hamilton!” Personally, I’m not a fan of rap and I think Hamilton was good, but not amazing. However, I recognize the talent and skill involved in writing and executing the rap music in these two shows. My favorite song was Tong’s (played by Meghan Huynh) first number at the beginning.
Food Gag: As a vegetarian, I can totally relate to the running commentary throughout the show that American food is generally all meat or deep-fried greasy vegetables. There’s a reason why I hate eating at American food restaurants. In contrast, Vietnamese cuisine is so fresh with many vegetables. It might be my favorite cuisine.
Montages: The “days of the week” montage was a bit unnecessary and corny, but the Ninja montage was pretty good. It was a nice touch that the band even participated on-stage in this scene, especially Yuelan on the retro 80s keyboard. Side note, I was so concerned about the banana prop on the floor after a racing scene. If that wasn’t intentional, Huong (played by Wendy Chinn) improvised a good funny save.
Contrasting Motivation: The playwright devised contrasting motivations between the lead characters well. Quang was torn from his home country and wanted to go back while Tong fled her home country and was focused on American assimilation.
Favorite Line: “North and South Vietnam may be at war, but at least we’re not fighting each other over something as stupid as the way we look [like the Americans].”
Rant(s)
Temperature: Theatre Off Jackson is always too hot in the summer.
Other Musing(s) and Observation(s)
Shadow Boxes: Rectangular stage pieces switch positions throughout the show to indicate location changes. These structures need to be thicker to look less flimsy and to be less precariously fall prone. They fell at least once during opening night.
Reverse Racism: The script contains some mild racist jabs towards Caucasians. These quips were rooted in the shared trauma of the racism and microaggressions that Asians experienced throughout the years and even today. While the jokes were funny and I would assume most white people today wouldn’t be terribly offended, when do the jokes become inappropriate? When does reverse racism reverse back to straight up racism? If the shoe was on the other foot against Asians, these jokes definitely wouldn’t be received as well. It reminds me of Avenue Q‘s funny and insightful song “Eveyone’s a Little Bit Racist.”
Last Scene (No Spoiler): The last scene felt a bit out of place from the rest of the show. It was a different energy and I’m not sure I fully grasped or agreed with the message. It presented a novel perspective about the Vietnam war different from what Americans conventionally believe. Does this perspective apply to the war in Ukraine or Palestine? Should the USA be the police officer of the world?
Theatre Company: Pork Filled Productions and SIS Productions
Venue: Theatre Off Jackson
Venue Physical Address: 409 7th Ave S, Seattle, WA 98104
Price Range: $10-50
Dates: August 9 to August 24, 2024
Seating: General Admission
Parking: Paid street parking is usually available north of the theatre on the hill close to the park. You can also try free parking on Jackson Street under/past the I-5 bridge, though it’s a dodgier area. As usual, there are paid parking lots nearby as well.
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Pictures: See pictures below and in video by Giao Nguyen.
Cast and Production Team: See after pictures below.
Wendy Chinn and Van Lang Pham. Photo by Pork Filled Productions.Van Lang Pham and Megan Huynh. Photo by Pork Filled Productions.Megan Huynh and Wendy Chinn. Photo by Pork Filled Productions.Van Lang Pham. Photo by Giao Nguyen. The Hippie Couple (Van Lang Pham, Wendy Chinn). Photo by Giao Nguyen.Best buds Quang (Josh Erme) and Nhan (Hank Tian) run headlong into a road trip. Photo by Giao Nguyen.Tong (Megan Huynh) and Huong (Wendy Chinn). Photo by Giao Nguyen. Quang (Josh Erme) and Tong (Megan Huynh) in a romantic clinch. Photo by Giao Nguyen.
@showsiveseen "Sister Act" #musical at @TaprootTheatre might be "THE" theatre show of the season. Great casting & costumes. Plus, Alan Menken music is always a crowd-pleaser. Wah wah pedal FTW! Starring Alexandria Henderson. Extended till 8/17. #catholic#nun#nuns#theatre#showiveseen#disco#sisterAct Review: showsiveseen.com/9150 Photos: Robert Wade Lyrics: Glenn Slater Book: Bill and Cheri Steinkellner Director: @Bretteney Beverly ♬ Take Me to Heaven – Sister Rosalie Taller
Elevator Thoughts (aka Tweet): Sister Act musical at Taproot Theatre might be “THE” theatre show of the season. Great casting and costumes. Plus, Alan Menken music is always a crowd-pleaser. Wah wah pedal FTW! Starring Alexandria Henderson. #disco
Recommendation See it, especially if you saw the movie or if you grew up Catholic.
My Synopsis (No Spoilers): A disco lounge singer witnesses a crime and must hide in a convent disguised as a nun. She ends up leading the choir.
Synopsis from the Licensor or Theatre Company: A feel-good musical comedy like “nun” other! Deloris dreams of fame and fortune, but after witnessing a murder she lands in protective custody. Being disguised as a nun can’t cramp her style, and soon she’s inspired the whole choir.
Attended Performance Date: Opening Weekend 7/13/24 – I couldn’t attend the actual opening night since the show was so popular! Keep your eyes peeled for preview posts on my website and social media if you want earlier notification of shows I’ve seen.
Type: Musical
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings/Locations: Several
Static (Stationary) Set? Mostly yes, since it’s such a small theatre. However, this production reused the rotating door from Taproot Theatre’s previous show Sherlock Holmes & the Precarious Position to facilitate scene changes.
Prior Exposure/Knowledge Required: No, but you’d probably enjoy this show more if you saw the original film or if you grew up Catholic.
Would I See It Again 3 Years from Now? Absolutely, but only professional productions like this one.
Mainstream Appeal: Medium to high
Other Rave(s) Not Mentioned Above
Casting: Bretteney Beverly (the director and casting director) did a great job picking actors that matched the energy of the original movie characters especially the refined/uptight Mother Superior (played by Anne Allgood), the contrasting casual down-to-earth Deloris Van Cartier (played by Alexandria J. Henderson), the timid petite vocal bombshell Sister Mary Roberts (played by Rebecca Cort), and the jolly Sister Mary Patrick (played by Hannah Schuerman).
Costumes: Kudos to Esther Garcia for her fantastic costume design. She took me back to the funky 1970s with the sparkly disco sequins, tacky wide collars, plaid bottoms, earthy leather coats, gold bling, groovy bell-bottoms, and leopard print. In particular, I loved Deloris’ white suit at the end of the show. She finally lived her Donna Summer dream. “She showed up simple, all in white. Yeah, she looked so classy… and she sang so nasty!” Also, Eddie Souther’s (played by Charles Simmons) double costume transformation was impressive. For a professional theatre with a lower budget than many other Puget Sound professional theatres, I was surprised that they pulled off this stage magic!
Sweaty Eddie: Speaking of Charles Simmons, I was impressed by his smooth 1970s voice in “I Could Be That Guy” reminiscent of Brian McKnight. The audience was surprised when he sang his first line and they ate up his performance.
Choreography: Surprisingly for a small stage, Jimmy Shields was able to devise entertaining fun choreography. Obviously, it would have looked better in a bigger space though.
Positive Energy and Joy: As someone with RBF, I love musicals where I catch myself smiling during songs like “Lady in the Long Black Dress” (with Bee Gee’s falsetto), “Raise Your Voice,” and “Sunday Morning Fever.”
Rant(s)
Original Songs: It will certainly disappoint viewers of the original film that this musical didn’t contain any original movie songs. I suspect it was due to licensing fees or licensing disagreements. That being said, Alan Menken always writes wonderful masterpiece suites.
Microphones: The wireless wearable microphones occasionally distractingly crackled like there was loose wire/connector. Also, the handheld microphone often overpowered the speakers.
Thrust Stage: Taproot Theatre’s Jewell Mainstage is a thrust stage where the audience sits in a U-shape surrounding three of the four sides. Every time I sit on the sides, I experience major FOMO. The actors (understandably) prioritize blocking towards the back of the theatre space, not the sides.
Other Musing(s) and Observation(s)
Christian Songs vs Love Songs: It’s amusing how both the movie and the musical poked fun at how love songs and Christian songs have interchangeable lyrics. In “Take Me to Heaven,” Deloris and the nuns separately sang “Don’t know how you do what you do. It’s like you’re almost too good to be true. You’re my hope. You’re my dream. You rock my world. You reign supreme.” Deloris first sang it to her beau, but later the nuns sang it to God. Turn on Christian contemporary radio and you’ll hear the same similarities.
Theatre Company: Taproot Theatre
Venue: Jewell Mainstage at Taroot Theatre
Venue Physical Address: 204 N 85th St, Seattle, WA 98103
Price Range: $25-62
Dates: July 10 to August 17, 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 and in video by Robert Wade.
Rebecca Cort and Alexandria J. Henderson in SISTER ACT at Taproot Theatre. Photo by Robert Wade.Ania Briggs, Connie Corrick, and Alexandria J. Henderson in SISTER ACT at Taproot Theatre. Photo by Robert Wade.Alexandria J. Henderson with Cherisse Martinelli and Ania Briggs in SISTER ACT at Taproot Theatre. Photo by Robert Wade.Anne Allgood and Alexandria J. Henderson in SISTER ACT at Taproot Theatre. Photo by Robert Wade.Alexandria J. Henderson in SISTER ACT at Taproot Theatre, with Rebecca Cort, Hannah Schuerman, Cherisse Martinelli, and Ania Briggs. Photo by Robert Wade.Rolando Cardona, Eyual Degaga, Danny Kam, and Christopher Clark in SISTER ACT at Taproot Theatre. Photo by Robert Wade.Anne Allgood and Alexandria J. Henderson in SISTER ACT at Taproot Theatre. Photo by Robert Wade.
Ticket Giveaway: I’m giving away a free ticket to this production. Click here to read more details! (Update 7/28/24: Congrats to Katt!)
Elevator Thoughts (aka Tweet): Company Sondheim musical at the Paramount Theatre from Seattle Theatre Group & Seattle Broadway. Insights that single aging millennials can appreciate. Great scenic design. Gender twist starring Britney Coleman. #NYC #newYork
Recommendation See it if either you enjoy 1) Sondheim music 2) shows that are more dialogue/vignettes than story 3) or musicals that are more like a play than a traditional musical. Bonus points if you’re currently an aging millennial.
My Synopsis (No Spoilers): A hip New York woman faces the existential crisis of turning 35 while still single. She experiences this disaster in a series of vignettes as a third wheel with her coupled friends.
Synopsis from the Licensor or Theatre Company: PHONE RINGS, DOOR CHIMES, IN COMES COMPANY.
Winner of 5 Tony Awards including Best Revival of a Musical, COMPANY “strikes like a lightning bolt. It’s brilliantly conceived and funny as hell.” (Variety). Helmed by three-time Tony Award-winning director Marianne Elliott (War Horse, The Curious Incident of the Dog in the Night-Time, Angels in America) this revelatory new production of Stephen Sondheim and George Furth’s groundbreaking musical comedy, at once boldly sophisticated, deeply insightful, and downright hilarious.
It’s Bobbie’s 35th birthday party, and all her friends keep asking, Why isn’t she married? Why can’t she find the right man and isn’t it time to settle down and start a family? As Bobbie searches for answers, she discovers why being single, being married, and being alive in the 21st-century could drive a person crazy.
COMPANY features Sondheim’s award-winning songs “You Could Drive a Person Crazy,” “The Ladies Who Lunch,” “Side by Side by Side” and the iconic “Being Alive.” Let’s all drink to that!
Attended Performance Date: Opening Night 7/23/24 – Buy your tickets now since the show closes on 7/28/24.
Type: Musical, but it felt more like a play with singing, dancing, and music.
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings/Locations: Several
Static (Stationary) Set? No
Prior Exposure/Knowledge Required: You should be in your 30s or past your 30s. I saw Companyin my 20s and I definitely did not appreciate the script as much as I do now with more life experience. It’s kind of like watching Sex and the City in your 20s vs your 30s … without as much humor.
Was This the First Time I Attended a Production of this Show? No, I previously saw this at the Music Box Theatre in Houston about 10 years ago in my 20s.
Would I See It Again 3 Years from Now? Maybe. With the many gender reversals in this production, I’m so curious to compare the relationship dynamics with the original gender intent reversed back.
Mainstream Appeal: Low to medium
Other Rave(s) Not Mentioned Above
Unexpected Surprise: I must confess that I was initially not as excited as usual to see Company. Out of Broadway Seattle’s entire 2023-2024 season lineup, this show was my least anticipated, especially because I don’t like Sondheim music/musicals. Blasphemy, I know. Also, as I previously mentioned, I already saw Company before and I hated it. I might have even left early at intermission back then! But the first production I attended was a lower budget (non-professional?) show. So, I figured I should give the musical a second chance in this high budget professional national touring production. I was subsequently surprised to appreciate/enjoy it more, especially as the show progressed. I hypothesize this is due to a combination of higher production value and more life experience.
Gender Twist: The original Company script featured Bobby, a man, as the main character. This production reimagined the main character as Bobbie, a woman. They also changed other cast members’ genders like Bobbie’s heterosexual romantic interests. Often when gender reimagining a musical, the “new” characters are unable to adequately sing the original vocal range. They usually either sing an octave too high or too low. Fortunately, vocal range was not a problem in this production. I suspect they transposed a couple songs to accommodate the gender reversal. Side note, with all the gender reimagining, could they not have switched one of the heterosexual couples to lesbians?
Scenic Design: This production relied heavily on a nice minimalist shadow box and neon light motif with simple clean lines.
Shadow Boxes The shadow boxes reminded me of the scenic design in Village Theatre’s Cinderella. This also allowed partitioning the stage into multiple apartment rooms.
Letters and Numbers: The “Company” neon Hollywood-Sign-like giant letters featured in PJ’s (played by Matthew Christian) “Another Hundred People” song about New York uniquely rearranged to spell “NYC.” Also, the age “35” was featured several places like party balloons and large foreboding bouncy characters. The “35” street addresses were a nice touch, demonstrating attention to detail.
Significant Statements and Insights: There were several universal-like observations about singledom and/or your 30s scattered throughout the show like “Marry me and then everyone will finally leave us alone” or something like “Phones and divorce are similar. They make you feel both connected and disconnected.”
Gay Couple: My friend Justin and I agree that the “Getting Married Today” scene/song was amazing. The door, cupboard, and cake entrances were funny surprises. The flamboyantly jittery Jaime (played by Kenneth Quinney Francoeur) reminded me of Nathan Lane in The Birdcage.
Introduction to Love Interests: “You Could Drive a Person Crazy” was a light cute barbershop-style song sung by Bobbie’s three love interests Andy, PJ, and Theo (played by Jacob Dickey, Matthew Christian, and David Socolar respectively).
Flight Attendant: Speaking of Andy, he was a delightfully airheaded hot male flight attendant. Why are hot dumb people so desirable? He was likable even before he gratuitously stripped down to his sexy skivvies.
Relationship Montage: I absolutely love the red dress body doubles in the hypothetical montage where Bobbie accepts the mediocrity of living a conventional coupled life with children. There was so much overlapping action! It was the visual equivalent of a song with rounds.
Marijuana: I usually don’t enjoy observing actors portray getting high or drunk on-stage or on-screen. It’s a patronizing gratuitous way to extract low brow laughs from the audience. That being said, it was amusing to watch “the square” David (played by Christopher DeAngelis) getting high.
Flashes: This production generously shined alluring flash-like effects throughout the show. This was usually during camera phone flashes. It was much better than generating the flashs from props.
Rant(s)
Phone Overuse: Speaking of phones, this production overused phone props way too much as a crutch to enhance modern relatability. Excessive phone use in the theatre on-stage (and in the audience) is one of my theatre pet peeves. It reminds me of my rants from Village Theatre’s Sense and Sensibility play.
Other Musing(s) and Observation(s)
Voicemail Prompt: Who leaves a voicemail prompt about their birthday these days? It’s pretty antiquated and a bit narcissistic. It probably made sense in the 1970s Company production and I admit that it’s probably difficult to translate this practice from 1970 to 2024. Maybe Bobbie should have posted that birthday message on social media instead of creating a voicemail prompt.
Alcohol: I suspect another relic from the 1970s was the number of times the script glorified alcohol, which doesn’t translate well for today’s 30-40 somethings. Don’t get me wrong. My friends and I binged drank too many times in our 20s, but we grew up and realized our bodies can’t handle alcohol as well in our 30s. Sobriety is sometimes even considered trendy these days, what with “California sober.” Maybe I’m a Pollyanna, but the script’s obsession with alcohol doesn’t match today’s elder millennials’ consumption.
First Act Finale: Like most other Sondheim musicals, I thought the end of the first act was the end of the entire show.
Moral of the Story: What was the ultimate message at the end of the show? Be single or be coupled? Personally, I thought Bobbie seemed a bit needy. Gurl, “a woman without a man is like a fish without a bicycle.” She needs to find fulfillment in herself independent of her romantic relationships. She’s a strong independant woman who don’t need no man! If anything, she was in desperate need of Sex and the City single friends. No wonder she feels inadequate when she’s surrounded by couples. I’m so curious how different I would have interpreted this needy dynamic if Bobbie (woman) was portrayed as the original Bobby (man).
Theatre Company: National tour brought by Seattle Theatre Group and Broadway Across America
Venue: Paramount Theatre
Venue Physical Address: 911 Pine St, Seattle, WA 98101
Price Range: $40 to 125 plus the insane Ticketmaster fees. Buy your ticket at the box office to avoid most of the Ticketmaster 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: July 23 to 28, 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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The North American Tour of COMPANY. Photo by Matthew Murphy for MurphyMade.Britney Coleman as Bobbie, Jacob Dickey as Andy, David Socolar as Theo and Tyler Hardwick as PJ in the North American Tour of COMPANY. Photo by Matthew Murphy for MurphyMade.Britney Coleman as Bobbie (center) and the North American Tour of COMPANY. Photo by Matthew Murphy for MurphyMade.Britney Coleman as Bobbie and Jacob Dickey as Andy in the North American Tour of COMPANY. Photo by Matthew Murphy for MurphyMade.Tyler Hardwick as PJ and Britney Coleman as Bobbie in the North American Tour of COMPANY. Photo by Matthew Murphy for MurphyMade.The North American Tour of COMPANY. Photo by Matthew Murphy for MurphyMade.
James Earl Jones II as Harry, Kathryn Allison as Sarah, Britney Coleman as Bobbie and Judy McLane as Joanne in the North American Tour of COMPANY. Photo by Matthew Murphy for MurphyMade.
