Review – Page 4 – Shows I've Seen

Left on Tenth – Play – Review – James Earl Jones Theatre

@showsiveseen "Left on Tenth" #play at #Broadway's James Earl Jones #Theatre. Starring celebrities Peter Gallagher & Julianna Margulies. Elegant scenic design from Beowulf Boritt. Hope for the middle aged! Review: showsiveseen.com/11163 Production Video: Courtesy of @Left on Tenth Director: Susan Stroman Playwright: Delia Ephron Stage Mgmt: Michelle Bosch, Noam Lautman, Robbie Young #showsiveseen #startingOver #romCom #secondChances ♬ Akon's Beautiful Day – Akon

Elevator Thoughts (aka Tweet): Delia Ephron’s Left on Tenth play at Broadway’s James Earl Jones Theatre. Starring celebrities Peter Gallagher & Julianna Margulies. Elegant scenic design from Beowulf Boritt. Hope for the middle aged! #startingOver #cancer #leukemia #romCom #secondChances

Recommendation:
See it if either 1) you’re a woman of a certain age 2) you’re worried about aging 3) you’ve experienced a “starting over” milestone 4) or you’ve dated via email/letters.

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

Mainstream Appeal: Medium

My Synopsis (No Spoilers): After losing both her husband and sister to cancer, Delia finds herself grappling with the potential for a second chance at love, while also confronting the possibility of facing cancer herself. This script is based on Delia’s book Left on Tenth: A Second Chance at Life.

Synopsis from the Licensor or Theatre Company: When she least expects it, Delia, beloved novelist and screenwriter of You’ve Got Mail, reconnects with a man from her past and falls into her own romantic comedy. What starts with an unlikely spark blossoms into a love story that seems to defy all odds in the face of life’s challenges. Left on Tenth tells the messy, beautiful true story of a woman “navigating the miraculous life stream of the Beshert” and discovering how to embrace the unpredictable and open her heart again.

Type: Play

World Premiere: Yes

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Mostly static but the stage transformed during the hospital scenes

Prior Exposure/Knowledge Required: No, but I imagine you might appreciate this more if you read the book

Defined Plot/Storyline: Yes, but it started out with a lot of passive dialogue and introspection until the script finally gained some momentum

Union Actors: 4

Total Actors: 4

Perceived Pace of the Show: Medium speed

Was there an intermission? No

Length (Including Any Intermission): 110 minutes

Other Rave(s) Not Mentioned Above

Unique Demographic: I feel that many live theatre productions often overlook romance in middle age or later years. Romantic comedies focused on older adults are relatively rare on stage and romance is seemingly a young person’s game. It was refreshing to see older characters in this play fantasizing about love and experiencing vulnerability/butterflies in this slow-burn romance. However, I was surprised that the play didn’t explore the awkwardness that can come with sexual intimacy, especially on the first night. This play reminded me of Michael Mott & Gretchen Suárez-Peña’s musical in development And Sometimes … Love, which also covers similar themes of romance later in life.
Scenic Design: Beowulf Boritt’s set design was timeless, elegant, and mature, which perfectly complemented Delia’s vibe. The scenic design also seamlessly harmonized with the theatre’s inherent classic French aesthetic. The accent lighting on the bookcase shelves added a subtle warm glow, and the rotating bookcases were a clever/effective transition element for the hospital scenes.
Projections: Jeanette Oi-Suk Yew created beautiful watercolor-style impressions of iconic NYC locations. I personally find these much more appealing than the artificial-looking CGI projections often used by many other theater companies like in Anastasia. Unfortunately, in this production, the images often clashed against the bookcases filled with books. It was much easier to see the projections when shown against a plain white background without the interference from the books.
Favorite Line: “Every man in Northern California has a backpack [with him at all times].”
Cast Doubling: Peter Francis James and Kate MacCluggage impressively portrayed a range of supporting characters, including a British friend, two doctors, a gay neighbor, an urban orderly, and a Gen-Z influencer among others. This hustle showcased their versatility and skill.
Dogs: I was surprised to see a real dogs in the show, especially since they weren’t even integral to the story. This production must have quite the budget to afford non-essential dogs and a trainer … not to mention the celebrity casting!

Rant(s)

Transitions and Scene Cohesion: The transitions between scenes felt stilted and unnatural. Some scenes appeared randomly placed, lacking cohesion and failing to advance the plot. It’s as if the playwright couldn’t decide between a linear structure verses a series of vignettes. This resulted in a disjointed and awkwardly constructed narrative.
Healthcare Inaccuracies: As someone with a background in hospital oncology, I can’t help but notice inaccuracies in shows that touch on healthcare. For instance, the scene with the unconscious patient struggling with low oxygen saturation while a loved one frantically pleaded for them to fight while practically jumping on the inpatient bed felt gratuitously melodramatic to the point of absurdity. Someone call hospital security! Additionally, intravenous nutrition solutions are typically clear yellow or opaque milky white, which was not accurately portrayed. Lastly, only healthcare students wear white coats that end at the waist. Doctors wear white coats that end at the knees or calves. It was surprising to see such a basic costume detail wrong in a Broadway play. I recently noticed a similar oversight in How to Write a New Book for the Bible as well.

Other Musing(s) and Observation(s)

National Marrow Donor Program (NMDP): Whenever I review shows that touch on blood cancers, I make a point to remind my readers to think about joining the National Marrow Donor Program’s “Be the Match” registry. This vital program connects patients (like the characters in the play) in need of a stem cell or bone marrow transplant with potential donors. They recruit donors, manage the matching process, and coordinate donations to ensure patients receive life-saving transplants from compatible donors, often across the globe. This program is especially crucial for people of color, who are underrepresented in the donor registry. I wish more theatre companies would spotlight “Be the Match” in the same way Broadway Across America national tours previously paused for a moment after every performance to talk about Broadway Cares. While Left on Tenth did include the “NMDP” initials on the press wall photo backdrop, many people likely don’t know what that acronym means. Unfortunately, I also didn’t see any mention of the National Marrow Donor Program in the playbill either.

Venue: James Earl Jones Theatre

Venue Physical Address: 138 W 48th St, New York, NY 10036

Venue Classification: Broadway

Price Range: $74-291

Ticket Affordability Options: You can likely buy discount tickets at the TKTS booth.

Dates: First preview was 9/26/24 and opening night was 10/23/24. As of 1/11/25, the closing date is 2/2/25.

Seating: Assigned Seating

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Pictures: See production pictures below by Joan Marcus.

Cast and Production Team: See after pictures below.

Julianna Margulies and Peter Francis James. Photo by Joan Marcus.

Peter Francis James, Peter Gallagher, Julianna Margulies, and Kate MacCluggage. Photo by Joan Marcus.

Julianna Margulies and Kate MacCluggage. Photo by Joan Marcus.

Peter Gallagher and Julianna Margulies. Photo by Joan Marcus.

Eureka Day – Play – Review – Manhattan Theatre Club & Samuel J. Friedman Theatre

@showsiveseen Jonathan Spector's "Eureka Day" #play by the @Manhattan Theatre Club at the Samuel J. Friedman #Theatre. Funny poignant looking glass of #woke #socialJustice #liberals. Delicious awkward drama between protective #school #parents. Jessica Hecht was a delight! Review: showsiveseen.com/11090 Director: Anna D. Shapiro Stage Manager: Charles M. Turner III & Denise Cardarelli #showsiveseen #broadway ♬ Get Skool'd – Franko Gonzo

Elevator Thoughts (aka Tweet): Jonathan Spector’s Eureka Day play by the Manhattan Theatre Club at the Samuel J. Friedman Theatre. Funny poignant looking glass of woke social justice liberals. Delicious awkward drama between protective school parents.

Recommendation:
See it, especially if either 1) you’ve lived in a liberal oasis like Seattle 2) you’re okay with plays that are more dialogue than action 3) or you liked The Thanksgiving Play.

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

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

My Synopsis (No Spoilers): The play takes place during several board meetings at Eureka Day, a progressive California school where the culture is so idealistically woke that students “cheer when the other team scores.” This peaceful consensus is disrupted when a measles outbreak reminiscent of COVID-19 forces parents into a fierce conflict over how to best handle the situation. It’s parents acting like children!

Synopsis from the Licensor or Theatre Company: Wildly relevant and bitingly funny, Jonathan Spector’s play comes to MTC in an all-new production following an acclaimed London run. Eureka Day is a private California elementary school with a Board of Directors that values inclusion above all else—that is, until an outbreak of the mumps forces everyone in the community to reconsider the school’s liberal vaccine policy. As cases rise, the board realizes with horror that they’ve got to do what they swore they never would: make a choice that won’t please absolutely everybody.

Type: Play

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Just a school library and a hospital hallway

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: No, but you’ll probably appreciate this more if you’ve lived in a liberal oasis like Seattle

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

Union Actors: 6

Total Actors: 6

Perceived Pace of the Show: Medium speed

Was there an intermission? No

Length (Including Any Intermission): 100 minutes

Other Rave(s) Not Mentioned Above

Zoom Call: The audience ate up the hilariously unhinged chaotic Zoom call between the school board, anti-vaxxers, Karens, crunchy granola “woo-woo” parents, and rational-yet-protective parents. It was so chaotic that I struggled to follow both the actors and the Zoom chat simultaneously. I ended up paying more attention to the Zoom chat, feeling a bit of FOMO for missing what the actors were saying. Perhaps that was the intention, as it’s something that often happens in video conference calls at work. Additionally, considering that many modern Broadway productions like Sunset Blvd and Tammy Faye incorporate live video, it would have been nice to see an actual Zoom call window with live video to make the experience even more realistic.
Script: As a native Texan now living in Seattle, I think this would be a perfect piece to stage in the Pacific Northwest. It was a mirror poking fun at what overly progressive culture appears to outsiders what with our aimless navel gazing, social justice warriors, the bewildering concept of “holding space”, our obsession with knitting, or the shaming of using disposable products. Additionally, the annoyingly confusing West coast expressions “yeah, no” and “no, yeah” were spot on! Much like the Pacific Northwest, the characters in this play constantly slyly “out-woke” each other, all while attempting not to offend anyone. It was a tightrope act of good writing. The audience seemed to agree since I even overheard a patron purchasing the script (something I’ve never witnessed before) as I was leaving the theatre.
Suzanne: I absolutely loved Jessica Hecht’s portrayal of Suzanne, especially her expertly delivered awkward audible non-verbal expressions. It reminded me of the subtle, yet charged, dynamics between WASP-y PTA alpha moms.
Scenic Design: Todd Rosenthal designed a highly realistic set that captured the authentic look and feel of a school library.
Anti-vaxxer’s Story: One of the characters delivered a compelling, monologue-like story explaining their opposition to vaccines. As a healthcare professional who is unapologetically pro-medication and pro-Western medicine, I don’t pretend to fully understand the anti-vaccine perspective. However, the thought-provoking storytelling provided a moment of empathy, allowing me to pause and consider the emotions and concerns that drive their stance.

Other Musing(s) and Observation(s)

Sixth Actor: It’s always a bit strange when an actor is introduced to the audience late in a musical or play, which also happened in Edgar and Annabelle. In both cases, the late introudction was completely integral to the plot, but I can’t help but imagine how frustrating it must be for the actor to wait throughout the entire production to deliver their scanty lines. The experience reminded me of “Diva’s Lament (What Ever Happened to My Part?)” from Spamalot. How much are these actors with less than 5 minutes of airtime paid per performance compared to those with a full range of lines to deliver?
Real School Administrators: Can I just say kudos to the school administrators/teachers tasked with “herding cats” in addressing the demands of concerned parents who are ultimately never completely satisfied? It sounds awful.

Theatre Company: Manhattan Theatre Club

Venue: Samuel J. Friedman Theatre

Venue Physical Address: 261 W 47th St, New York, NY 10036

Venue Classification: Broadway

Price Range: $74-321

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.

Dates: First preview was 11/25/24 and opening night was 12/16/24. As of 1/11/25, the closing date is 2/16/25.

Seating: Assigned Seating

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Pictures: See production pictures below by Jeremy Daniel.

Cast and Production Team: See after pictures below.

Thomas Middleditch, Amber Gray, Bill Irwin, Chelsea Yakura-Kurtz, and Jessica Hecht in Manhattan Theatre Club’s Broadway premiere of *Eureka Day* by Jonathan Spector, directed by Anna D. Shapiro. © Jeremy Daniel.

Bill Irwin, Thomas Middleditch, Amber Gray, Jessica Hecht, and Chelsea Yakura-Kurtz in Manhattan Theatre Club’s Broadway premiere of *Eureka Day* by Jonathan Spector, directed by Anna D. Shapiro. © Jeremy Daniel.

Amber Gray and Chelsea Yakura-Kurtz in Manhattan Theatre Club’s Broadway premiere of *Eureka Day* by Jonathan Spector, directed by Anna D. Shapiro. © Jeremy Daniel.

Jessica Hecht and Amber Gray in Manhattan Theatre Club’s Broadway premiere of *Eureka Day* by Jonathan Spector, directed by Anna D. Shapiro. © Jeremy Daniel.

Amber Gray, Bill Irwin, and Chelsea Yakura-Kurtz in Manhattan Theatre Club’s Broadway premiere of *Eureka Day* by Jonathan Spector, directed by Anna D. Shapiro. © Jeremy Daniel.

Amber Gray, Jessica Hecht, and Bill Irwin in Manhattan Theatre Club’s Broadway premiere of *Eureka Day* by Jonathan Spector, directed by Anna D. Shapiro. © Jeremy Daniel.

Jessica Hecht and Chelsea Yakura-Kurtz in Manhattan Theatre Club’s Broadway premiere of *Eureka Day* by Jonathan Spector, directed by Anna D. Shapiro. © Jeremy Daniel.

Black Nativity – Concert Musical – 2024 Review – Intiman Theatre & The Hansberry Project

@showsiveseen Langston Hughes's "Black Nativity" #Christmas #concert #musical by @Intiman Theatre & The Hansberry Project. Truely a worthy yearly tradition of the Seattle #holiday season. That #black #gospel church #choir was dynamite! Closes this weekend. Review: showsiveseen.com/10975 Photos: Joe Moore Director: @valeriecurtisnewt2 Music Direction: Sam Townsend, Jr. Choreo: Vania C. Bynum Stage Manager: Neen Williams-Teramachi #theatre #showsiveseen #xmas ♬ My Way Is Cloudy – Latrice Pace & Various Artists

Elevator Thoughts (aka Tweet): Black Nativity Christmas concert musical by Intiman Theatre & The Hansberry Project. Truely a worthy yearly tradition of the Seattle holiday season. That black gospel church choir was dynamite! Closes this weekend.

Recommendation:
See it, especially if you love black gospel choir music.

Was This the First Time I Attended a Production of this Show? No, I attended the same production last year, and this year’s version felt 85% identical. They also seemed to have improved how the second act addressed the 4th wall. I’m curious how much the script and songs differ in productions by other theatre companies since there seems to be so much inherent leeway for deviation.

Would I See It Again 3 Years from Now? Yes, in fact, I’d probably attend next year again!

Mainstream Appeal: Medium to high

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

My Synopsis (No Spoilers): The first act was a church concert-style musical reenactment of the Biblical nativity story. The second act was mostly an interactive sing-along with some non-sing-along numbers.

Synopsis from the Licensor or Theatre Company: Langston Hughes’ Gospel Song-Play returns in this newly reimagined production! Celebrate the season with a cast of more than 30 actors, dancers, soaring vocalists, a live band, and a rousing city-wide gospel choir. Audiences will have the chance to raise your voice and sing-along during this stirring and joyful holiday musical for families of all backgrounds and beliefs. Don’t miss your chance to experience this treasured Seattle tradition as Intiman presents the second year of the new Black Nativity.

Type: Concert Musical and Sing-along

World Premiere: No

Several or Few Scenes: Several, but they weren’t presented as traditional live theatre since it was more of a concert than a musical.

Several or Few Settings/Locations: Several, but they weren’t presented as traditional live theatre since it was more of a concert than a musical.

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: You’ll probably appreciate this more if you grew up in the Christian church.

Defined Plot/Storyline: No, since it was more of a concert than a musical.

Live Band/Orchestra: Yes

Union Actors: 5

Total Actors: 5 main actors + 5 dancers + 16 choir members

Perceived Pace of the Show: Medium to fast speed

Was there an intermission? Yes

Length (Including Any Intermission): 2 hours

Other Rave(s) Not Mentioned Above

Unlikely Theatre Fan: I already shared my initial thoughts on this show in my review last year, but this year, I attended with my sister and experienced the performance through her fresh eyes. Now, she can’t stop thinking about it, and we both agreed we should have brought her kids along so they could experience church in a way that’s rare to find since Seattle is so homogenous and the least churched city in the USA. Now, she’s eager to make Black Nativity an annual tradition with me, which is surprising given that she’s not usually a fan of musicals or live theater.
Choir: Even though the choir was relatively small (16 members), they were on fire!
Interactivity: I usually don’t prefer interactive elements in live theatre, but it felt fitting for this Christmas performance. There was a singalong, an offertory, kids decorating a tree, opportunities to share our holiday traditions, and even a fun lesson on how to clap/sway in a black church.

Rant(s)

Audience: The audience could have used a bit more energy. You can’t fully capture the spirit of Black church with amazing performers and a tepid crowd. Kudos to the performers for maintaining their energy despite the lack of audience enthusiasm. Oh Seattle…

Other Musing(s) and Observation(s)

Pregnancy Belly: It was weird not seeing a pregnancy belly on Mary (played by DaeZhane Day) … but it probably would have been equally as weird to see a pregnant woman dancing as energetically.
Song List Highlights:
- “Mary Did You Know”: My sister was moved to tears during this song. Then we laughed when Mary nodded in response to the question, “Mary, did you know?” The choir later joined in with an unexpectedly dynamite burst of energy.
- “The Night That Christ Was Born”: Kearia Keke Duncan’s arms must be incredibly strong to support her graceful angel wings dance. Additionally, the soloist was outstanding.
- “Jesus Oh What a Wonderful Child”: Obviously when emulating the style of Mariah Carey’s version, this song was crowd pleaser.
- “Oh Holy Night”: The acapella harmony at the lyrics “fall on your knees” was incredible.
- “Have Yourself a Merry Little Christmas”: Josephine Howel was an amazingly effortless powerhouse with an interesting voice.
- “Total Praise” + “Hallelujah, Salvation and Glory”: I love that they included these black gospel staples even though the songs weren’t Christmas themed.

Theatre Company: Intiman Theatre & The Hansberry Project

Venue: Seattle Central College’s Broadway Performance Hall

Venue Physical Address: 1625 Broadway, Seattle, WA 98122

Price Range: $65-110

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

Dates: December 4 to 29, 2024

Seating: Assigned Seating

Parking: Ironically, the uncovered parking lots on Harvard Avenue across Seattle Central College are cheaper than street parking.

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Pictures: See production pictures below by Joe Moore.

Cast and Production Team: See pictures below.

Rontrell J. Brimmer, Antwoin Parmer, and DaeZhane Day. Photo by Joe Moore.

Shaunyce Omar, Yusef Seevers, Felicia Loud, and Esther Okech. Photo by Joe Moore.

The cast of *Black Nativity*. Photo by Joe Moore.

Happy Christmas, Jeeves – Play – Review – Taproot Theatre

@showsiveseen Nathan Kessler-Jeffrey & @Heidi's "Happy #Christmas, Jeeves" #play at @TaprootTheatre. Starring @MocapMinute & Calder Jameson Shilling. A heartwarming comedy for the #holidays w/ funny gags. Review: showsiveseen.com/10926 Photos: Robert Wade Director: Karen Lund Stage Manager: Mackenzie Breda #showsiveseen #theatre #holiday #xmas ♬ Better Together – The Jilettes

Elevator Thoughts (aka Tweet): Happy Christmas, Jeeves play at Taproot Theatre. Starring Richard Nguyen Sloniker & Calder Jameson Shilling. A heartwarming comedy for the holidays with funny gags.

Recommendation:
See it if you’re looking for a funny Christmas-themed play.

My Synopsis (No Spoilers): Bertie is simply hoping for his “Christmas pudding” this holiday season (aka a peaceful, uneventful staycation). But, as always, friends and family chaotically drop by uninvited. Can Bertie and his ever-loyal valet, Jeeves, manage to salvage his Christmas pudding?

Synopsis from the Licensor or Theatre Company: Step into the whimsical world of Bertie Wooster and his impeccable valet, Jeeves, in this brand-new holiday play. All Bertie wants for Christmas is a quiet night at home with no relatives, but his tranquility is shattered by a love-smitten pal and the impending arrival of the meddling Aunt Agatha. Join the mirth and mayhem in a delightful comedy that will tickle your fancy and warm your heart.

Type: Play

World Premiere: Yes

Several or Few Scenes: Several

Several or Few Settings/Locations: Just one – A living room

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: No, but you’ll probably appreciate this play more if you’re familiar the PG Wodehouse’s “Jeeves” character.

Defined Plot/Storyline: Yes

Union Actors: 1

Total Actors: 7

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 125 minutes

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

Aunt Agatha: Kim Morris delightfully portrayed a bellicose strict aunt. It must be fun to play such a spirited role.
Gags: The script cleverly incorporated two funny gags. Firstly, there was a two-sided misunderstanding involving terminal illness. And secondly, there was a running joke of visitors knocking at the door just as Bertie mentioned them in conversation.
Audience: The opening night audience was energetic with laughter and even audibly awww-ed during a hugging moment.

Other Musing(s) and Observation(s)

Lady Bittlesham: I always pity actors like Nikki Visel (playing Lady Bittlesham) who must wait for more than half of the show to finally appear on stage in the second act. However, I did enjoy her predatory cougar-like scene. At least her character was mentioned several times before she appeared, which made her arrival feel more natural with anticipation. It’s definitely stranger when a character shows up out of nowhere with little setup. If I’m not mistaken, I recall this weirdness happening with one of Nikki’s previous roles in Taproot Theatre’s The Book of Will, when her character appeared in the second act without any prior introduction.
Costume: Oh my, those culottes Claude (played by Joe Moore) wore could have been a dress or elephant pants!
Scenic Design: The grand door in the back of the set was beautifully designed (and weirdly not the front door), but it seemed more appropriate for American opulent 1980s than Jeeves’s early British 20th century era.

Theatre Company: Taproot Theatre

Venue: Jewell Mainstage at Taproot Theatre

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

Price Range: $35-65

Dates: November 27 to December 31, 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 production pictures below by Robert Wade.

Cast and Production Team: See pictures below.

ichard Nguyen Sloniker and Calder Jameson Shilling in *Happy Christmas, Jeeves* at Taproot Theatre. Photo by Robert Wade.

Joe Moore and William Eames in *Happy Christmas, Jeeves* at Taproot Theatre. Photo by Robert Wade.

Rachel Guyer-Mafune and William Eames in *Happy Christmas, Jeeves* at Taproot Theatre. Photo by Robert Wade.

Calder Jameson Shilling and Richard Nguyen Sloniker in *Happy Christmas, Jeeves* at Taproot Theatre. Photo by Robert Wade.

Production credits from the Encore program.

Disney & Cameron Mackintosh’s Mary Poppins – Musical – Review – The 5th Avenue Theatre

@showsiveseen @Disney & Cameron Mackintosh's "Mary Poppins" #musical at @The 5th Avenue Theatre. Mallory Cooney King (& Allison Standley understudy) uncannily emulated Julie Andrews's original role. Skillful choreography, magical stage effects, & an incredible ensemble in a well-executed production. Closes 12/29/24! Review: showsiveseen.com/10838 Photos: Tracy Martin & Mark Kitaoka Director/Choreographer: Denis Jones Stage Manager: @jkh Music Director: Matthew Smedal #MaryPoppins #theatre #showiveseen #Disney ♬ Supercalifragilisticexpialidocious – Fresh Forte

Elevator Thoughts (aka Tweet): Disney & Cameron Mackintosh’s Mary Poppins musical at The 5th Avenue Theatre. Mallory Cooney King (and Allison Standley understudy) uncannily emulated Julie Andrews’s original role. Skillful choreography, magical stage effects, and an incredible ensemble in a well-executed production. Closes 12/29/24! #MaryPoppins

Recommendation:
See it if you enjoy family-friendly shows.

My Synopsis (No Spoilers): A whimsical nanny descends from the skies, bringing joy and life-changing adventures to a London family in need of a little magic.

Synopsis from the Licensor or Theatre Company: With a spoonful of sugar, Mary Poppins flies across the stage in a brand-new production just for The 5th Avenue Theatre audiences. Precocious children Michael and Jane Banks have exhausted every nanny—that is, until Mary Poppins drops in on a strange breeze. Revel in the spectacle of this chimney-sweeping epic that sees them traverse the roofs of London to encounter colorful characters in a fantastically magical world. Based on the beloved film, this ageless tale is a celebration of imagination that reveals the childlike wonder all around us.

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 probably appreciate this more if you watched the movie.

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? Yes if I wanted to show my kids (if I even have kids in the future) or my nephews the magic of live theatre.

Mainstream Appeal: Medium

Other Rave(s) Not Mentioned Above

Stage Magic: The show was filled with magical stage effects, including Mary Poppins descending/ascending through the sky, appearing out of nowhere, transforming a cake, and pulling an incredible array of props (including a bed!) from her seemingly bottomless bag.
Clever Stage Transitions: Speaking of sudden appearances, the production did a great job of revealing each household member behind a semi-transparent screen between the actors and the audience during the show’s introduction. It was reminiscent of how Mrs. Cormey’s tent seemed to appear out of nowhere near the end of the second act.
Toy Scene: The sentient toy scene was fantastically unsettling, with the actors skillfully mimicking the unnatural movements of the toys. The impaled clown heads added a disturbingly effective touch. The stuff of child nightmares!
“Feed the Birds” Song: I don’t know why, but the ballad “Feed the Birds” (sang by Cristin J. Hubbard) was unexpectedly beautiful and moving—definitely a tearjerker!
Ensemble: The ensemble’s demeanor and costumes evoked the spirit of the ensemble-lead “Ascot Gavotte” (my favorite song from My Fair Lady), especially in the park and bank scenes. I loved their severe and stiff delivery of “Precision and Order” at the bank.
Tap Dance: The grand tap dance number from choreographer/director Denis Jones in “Step in Time” was thrilling. The costumes exuded a Newsies: The Musical vibe. There were moments when the chimney sweeps tapped the floor with staffs, creating a fascinating effect like coordinating three tap feet. I wish we saw more of that unique element in the routine. But overall, the ensemble nailed the synchronicity of “stepping in time.”
Miss Andrew Antagonist: Miss Andrew (also portrayed by Cristin J. Hubbard) was a wonderfully wicked villain, with her operatic notes in “Brimstone and Treacle” adding to her commanding presence. You know you have a great villain when the audience can’t help but cheer for them.
Supercalifragilisticexpialidocious Choreography: The ensemble performed the song while spelling out several words using alphabet signs, requiring precise coordination to ensure everything was executed flawlessly. Any mistake with the alphabet signs would have been immediately noticeable to the audience. It was like a bell choir, where each performer is responsible for two notes (or letters), and the success of the song depends on perfect timing from everyone.
Mary Poppins Portrayal: The makeup/hair/costume director Shannin Strom, along with lead actress Mallory Cooney King (and understudy Allison Standley), did an excellent job emulating Julie Andrews’ iconic original Mary Poppins. For some reason, the understudy had to step in during the second act. But honestly, I wouldn’t have noticed if the stage manager neglected to announce the change. I would have simply thought the original performer had mustered extra energy. Oh, the magic of live theatre!
Favorite Line: “Last week, he [your husband] said you were neither use nor ornament.” What a deliciously cutting very English remark!

Other Musing(s) and Observation(s)

Drug Use: Coming from a healthcare professional who is unabashedly pro-medication, the drug use in this story was wild! You don’t want to clean the room? Here’s some meth to enhance the experience. You talked back to your parents? Here’s some ipecac as punishment! Terrific child rearing back then!

Theatre Company: The 5th Avenue Theatre

Venue: The 5th Avenue Theatre

Venue Physical Address: 1308 5th Ave, Seattle, WA 98101

Price Range: $40-169

Ticket Affordability Options: The 5th Avenue Theatre often partners with organizations you’re affiliated with for discount tickets. For example, they sometimes offer a discount for my employer affiliation. Rush tickets are also available day-of at the box office.

Dates: November 22 to December 29, 2024

Seating: Assigned Seating

Parking: When I don’t walk to the theatre or park on the street, I park in the paid garage at the Motif Hotel northwest of the theatre. The entrance is on 5th Ave. Do NOT park in the APA Coast Seattle Downtown Hotel garage (entrance on 6th Ave). That’s where most of the audience (and I think the subscribers) parks, so it’s a nightmare to leave. However, the APA Coast Seattle Downtown Hotel garage is the closest garage to the theatre and you can access the theatre through a tunnel if you want to avoid the elements. But, in my opinion, this benefit is not worth the time wasted leaving the garage.

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Pictures: See production pictures below by Tracy Martin and Mark Kitaoka.

Cast and Production Team: See pictures below.