Review – Page 8 – Shows I've Seen

Aladdin – Musical – Review – Paramount Theatre

@showsiveseen @Disney's "#Aladdin" #musical at Paramount Theatre w/ @Seattle Theatre Group & @BwayAmerica starring Adi Roy & @senzel 🫶🏼. @Marcus M. Martin's #Genie gave Robbin Williams a run for his money. Clever comedic relief jokes w/ Middle Eastern references. Closes on 4/28! #theatre #showsiveseen #princessjasmine #disney @Disney on Broadway ♬ Friend Like Me (From "Aladdin") – Geek Music

Elevator Thoughts (aka Tweet): Disney’s Aladdin musical at Paramount Theatre w/ Seattle Theatre Group & Broadway Across America starring Adi Roy & Senzel Ahmady. Marcus M. Martin’s Genie gave Robbin Williams a run for his money. Clever comedic relief jokes with Middle Eastern references.

Recommendation
See it, especially if you enjoyed the movie.

Synopsis from the Theatre: Discover a whole new world at Disney’s Aladdin, the hit Broadway musical. From the producer of The Lion King comes the timeless story of Aladdin, a thrilling new production filled with unforgettable beauty, magic, comedy and breathtaking spectacle. It’s an extraordinary theatrical event where one lamp and three wishes make the possibilities infinite.

Attended Performance Date: 4/24/24 – Get you tickets now since the tour is only in-town for one week till 4/28/24.

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’d probably appreciate this more if you’ve seen the original film.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Equity Actors: All

Total Number of Actors: 31

Perceived Pace of the Show: Medium to fast speed

Length (Including Any Intermission): 2.5 hours

Was there an intermission? Yes

Was This the First Time I Attended a Production of this Show? No, I saw the national tour in 2017, also at Paramount Theatre. Plus, I saw the movie countless times.

Would I See It Again 3 Years from Now? Two times seeing the national tour is probably enough for me. But obviously, the production value is inherently good since it’s a national tour.

Other Rave(s) Not Mentioned Above

Cave of Wonders: The show’s energy felt off a couple of times in the beginning until the cave of wonders segment. The scene had a dazzling set, an alluring premise, and tap dance! It was an entertaining introduction to the Genie character (played by the delightful Marcus M. Martin).
Comedic Relief: The jokes were funny … if not a bit corny. One of my favorites was “She [Princess Jasmine] is a beauty what with the hair and the belly button.” Most other jokes were Middle Eastern-themed (like “Tom, Dick, and Hassim”) that frequently mentioned Arabic food.

Other Musing(s) and Observation(s)

“Price Ali” Song: This would have been a better pre-intermission showstopper than a second act opener.
“Proud of Your Boy” Song: Every time they sang this song, I kept thinking about how the Proud Boys adopted it as their anthem. It’s ruined for me!
Dance Synchronicity : Maybe I’ve been spoiled by the last national tour (MJ: The Musical) that I saw at the Paramount Theatre, but it felt like the choreography could have been tighter.
Honest Guards: The guards could have rubbed the lamp when it was handed to them at the end!
“A Whole New World” Song: It was definitely not as epic as the movie’s classic hit song. But the magic carpet stage effects was pretty cool to see. Side note, the magic carpet could be likened to a car. How high school cliche is it for a girl to fall for a guy after she finds out he has a new fancy car!

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: Medium to Expensive

Tickets: https://seattle.broadway.com/shows/disneys-aladdin/.

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: April 24 – 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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Pictures: See pictures below and in video above by Deen van Meer.

Senzel Ahmady and Company in *Aladdin* Tour. Photo by Deen van Meer.

Marcus M Martin and Company in *Aladdin* Tour. Photo by Deen van Meer.

Jake Letts, Ben Chavez, Adi Roy, Colt Prattes in *Aladdin* Tour. Photo by Deen van Meer.

Arabian Nights Men in *Aladdin* on Broadway. Photo by Deen van Meer.

Anand Nagraj and Aaron Choi in *Aladdin* Tour. Photo by Deen van Meer.

Adi Roy in *Aladdin* Tour. Photo by Deen van Meer.

English – Play – Review – ArtsWest & Seda Iranian Theatre Ensemble

@showsiveseen Sanaz Toossi's #English #play at ArtsWest w/ Seda Iranian Theatre Ensemble starring Vahishta Vafadari. Clever accent switching dramatic device. Thoughtful contrasting commentary on ethnic/racial identity in an English-dominated global society. Closes this weekend. Sold out, waitlist only! #ethnicity #race #language #ESL #theatre #showsiveseen #TOEFL #iranian #Farsi #Parsi #Persian #bilingual #identity #accent ♬ Get Ready – SUPER-Hi & NEEKA

Elevator Thoughts (aka Tweet): English play at ArtsWest w/ Seda Iranian Theatre Ensemble. Clever accent switching dramatic device. Thoughtful contrasting commentary on ethnic/racial identity in an English-dominated global society. Closes this weekend. Sold out, waitlist only! #ethnicity #race #language #ESL #theatre #showsiveseen #TOEFL #iranian #Farsi #Parsi #Persian #bilingual #identity #accent

Recommendation
See it if either 1) you’re bilingual, 2) you have immigrant connections, 2) or you’re okay with plays that are mostly dialogue and less action.

Synopsis from the Theatre: Two words set in motion award-winning playwright Sanaz Toossi’s intricate and profound New York debut: “English Only.” This is the mantra that rules one classroom in Iran, where four adult students are preparing for the TOEFL — the Test of English as a Foreign Language. Chasing fluency through a maze of word games, listening exercises, and show-and-tell sessions, they hope that one day, English will make them whole. But it might be splitting them each in half.

Attended Performance Date: 4/19/24 – Keep your eyes peeled for my preview posts on my website and social media if you want earlier notification of shows I’ve seen. Since the remaining show run (ending 4/28/24 this weekend) is sold out, read how to join the waitlist here.

Type: Play

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: One – a classroom

Static (Stationary) Set? Yes

Prior Exposure/Knowledge Required: No, but you’d probably appreciate this more if you’re not Caucasian American/British/Commonwealth.

Defined Plot/Storyline: Not really. It was more a collection of exercises and discussions in a classroom throughout a semester.

Equity Actors: 2

Total Number of Actors: 5

Perceived Pace of the Show: Medium speed

Length (Including Any Intermission): 1.5 hours

Was there an intermission? No

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

Would I See It Again 3 Years from Now? No

Other Rave(s) Not Mentioned Above

Accent Switching: In the first scene, I immediately noticed the actors delivered their lines switching between an Iranian and an American accent. Initially, I thought this was bad acting and breaking character. But after a couple of minutes, I realized their American accent portrayed that they were speaking Farsi (Persian) while their Iranian accent portrayed that they were speaking English. This novel approach effectively conveyed distinct languages to an English-speaking audience without using subtitles.
Recording: Another clever theatre device was the English recording the Iranian characters listened to. The recording was intentionally difficult for the audience to understand. This effectively portrayed how non-English speakers hear English.
Ethnic Identity: As a second-generation immigrant, it was comforting to observe the dynamic commentary on internalized racism, the subsequent resentment of colonialism, and ethnic identity. It brought to light many conscious and unconscious questions I asked myself while growing up in the USA as a child of first-generation immigrant parents. Like why does the English accent of my people sound ugly? Why are all the “desirable accents” from Caucasian countries? If I was born in the USA, why do I still sometimes feel like a foreigner? What would it be like to live outside this ethnic limbo since I didn’t grow up with people who look like me? What would it have been like to grow up in a society where I was part of the majority? Similarly, one of the play’s characters posed the question, what would global society be like if the Persian empire was still the dominant superpower?
Favorite Line: “Our mothers get to name us. Not foreigners.” This quote reminds me of immigrants who have an American name in addition to their original name.

Other Musing(s) and Observation(s)

Unanswered Questions: I still don’t understand why the teacher Marjan (played by Vahishta Vafadari) left the UK and Omid (played by Emon Elboudwarej) left the USA.

Theatre Company: ArtsWest and Seda Iranian Theatre Ensemble

Venue: ArtsWest

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

Price: Cheap to Medium

Tickets: The remaining show run is sold out! See how to join the waitlist here.

Dates: April 4 – 28, 2024

Seating: Assigned Seating

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

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

Pictures: See pictures below and in video above by Jenny Crooks and John McLellan.

ArtsWest presents *English* by Sanaz Toossi, directed by Naghmeh Samini. Running April 4 – April 28, 2024. Photo by Jenny Crooks.

ArtsWest presents *English* by Sanaz Toossi, directed by Naghmeh Samini. Running April 4 – April 28, 2024. Photo by John McLellan.

How to Write a New Book for the Bible – Play – Review – Taproot Theatre

@showsiveseen "How to Write a New Book for the Bible" #play at @TaprootTheatre starring Pam Nolte & Richard Nguyen Sloniker. Digs into the sad process of caring for ill, #aging, #dying #parents. Oh lawd, don't let me get old or sick! #children #family #theatre #showsiveseen Review: showsiveseen.com/8370 Photos: Robert Wade Director: @Bretteney Beverly Stage Manager: @nik! ♬ Fine Wine – Devin Kennedy

Elevator Thoughts (aka Tweet): “How to Write a New Book for the Bible” play at Taproot Theatre. Digs into the sad process of caring for ill, aging, dying #parents. Oh lawd, don’t let me get old or sick! Closes this weekend. #children #family

Recommendation
See it if you’re okay with sentimental or downer shows.

Synopsis from the Theatre: Playwright and Jesuit priest Bill Cain moves home to care for his strong-spirited mother. Through his eyes we witness his long-dead father, a brother coming to terms with his service in Vietnam, baseball games, and birthday pumpkins. In this bracingly personal and frankly funny play, Cain shows us why the details in our lives matter.

Attended Performance Date: Opening Night 3/22/24 – Keep your eyes peeled for my preview posts on my website and social media if you want earlier notification of shows I’ve seen. Get your tickets now since it closes this weekend on 4/20/24!

Type: Play

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) Set? Yes

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: Not really. It was more a collection of flashbacks.

Equity Actors: 2

Total Number of Actors: 4

Perceived Pace of the Show: Medium speed

Length (Including Any Intermission): 2.5 hours

Was there an intermission? Yes

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

Would I See It Again 3 Years from Now? No

Rant(s)

Physician Coat Length: If an actor portrays a physician (even an intern or resident), they shouldn’t wear a hip-length coat. Only health care professional students (like medical school or pharmacy school students) wear white coats that short. It’s surprising how many theatres incorrectly dress their physicians as if they were medical students.

Other Musing(s) and Observation(s)

Moral of the Story: What was the message the playwright was trying to convey? “Aging sucks?”
Bible Reference: Why was the bible mentioned in the play’s title? The narrator briefly touched on it, but it seemed like a far-reaching connection. There were random biblical references through the play like “Do you know what commandment follows ‘Honor your father and mother?’ ‘Thou shalt not kill.'” But the religious references were too few to merit mentioning “bible” in the title. The play’s title attracts Christian audiences to buy tickets, but the script ultimately doesn’t deliver enough religious themes. At the same time, the play’s title deters secular audiences from attending the show. This weird religiously-themed title reminds me of A Case for the Existence of God.

Theatre Company: Taproot Theatre

Venue: Jewell Mainstage at Taproot Theatre

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

Price: Medium

Tickets: https://taproottheatre.org/shows/2024/how-to-write-a-new-book-for-the-bible/

Dates: March 20, 2024 – April 20, 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.

From top left: Nik Doner, Scott Nolte, Richard Nguyen Sloniker, and Pam Nolte in *How to Write a New Book for the Bible* at Taproot Theatre. Photo by Robert Wade.

Pam Nolte and Scott Nolte in *How to Write a New Book for the Bible* at Taproot Theatre. Photo by Robert Wade.

Scott Nolte with Pam Nolte and Richard Nguyen Sloniker in *How to Write a New Book for the Bible* at Taproot Theatre. Photo by Robert Wade.

Nik Doner with Pam Nolte and Scott Nolte in *How to Write a New Book for the Bible* at Taproot Theatre. Photo by Robert Wade.

Nik Doner and Richard Nguyen Sloniker in *How to Write a New Book for the Bible* at Taproot Theatre. Photo by Robert Wade.

Stew – Play – Review – ACT Contemporary Theatre

@showsiveseen Zora Howard's "#Stew" #play by @acttheatre. I always love @Nyce Somar's matriarchal stage deliveries. So many audience reactions. Delightful expressions, deadpans, utterances, & comebacks. Well-planned beginning/ending bookends. Buy your tickets now since it closes this weekend! #family #food #BET #black #BiPOC #POC #hungry #theatre #showsiveseen #soup ♬ The Art Of Letting Go – Neon Dreams & Matthew Mole

Elevator Thoughts (aka Tweet): Zora Howard’s Stew play by ACT Theatre. I always love Shaunyce Omar’s matriarchal stage deliveries. So many audience reactions. Delightful expressions, deadpans, utterances, & comebacks. Well-planned beginning/ending bookends. #soup #family #food #BET #black #BiPOC #POC #hungry

Recommendation
See it, especially if you’re okay with plays that are more dialogue than action.

Synopsis from the Theatre: Mama’s up early to prepare the perfect stew for a very important community meal. As the day rolls on, tempers go from a simmer to a boil, and secrets rise to the surface for three generations of Tucker women. When the violence hovering around the periphery of their lives begins to intrude upon the sanctity of the kitchen, mothers and daughters wrestle with loss and hope in this hilarious, haunting drama.

Attended Performance Date: Opening Night 3/21/24 – Keep your eyes peeled for my preview posts on my website and social media if you want earlier notification of shows I’ve seen. Get your tickets now since it closes this weekend on 3/31/24!

Type: Play

World Premiere: No

Several or Few Scenes: About 3 scenes

Several or Few Settings/Locations: Just one, an open-concept kitchen

Static (Stationary) Set? Yes

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: No, it was more dialogue than action.

Equity Actors: 2

Total Number of Actors: 4

Perceived Pace of the Show: Medium speed

Length (Including Any Intermission): 1.75 hours – I kept thinking there would be an intermission during 2 climactic moments!

Was there an intermission? No

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

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

Other Rave(s) Not Mentioned Above

Play Title: It wasn’t until days later that I realized the name of this play could be a double meaning like how the title of the Rent musical meant two things.
Shakespeare Scene: The Shakespeare storyline felt random at the time when watching this play. Again, it wasn’t until days later that I realized in hindsight that the Richard III reenactment fittingly foreshadowed the reveal at the end of Stew.
Deadpans: A couple funny favorites include “You know who else was tired? Jesus!” and something like “I was 17 when you popped out of my pussy.”
Beginning and Ending: The play bookend-ed with an unexpected surprise. It effectively hooked the audience at the beginning and left the audience wondering/thinking at the end. Albeit I’m still trying to process/understand WTF happened at the end. What was the message and what did the line “Is it enough?” mean?!
Broken Glass: It’s always a crowd pleaser, especially when involving violent outbursts.
Food Aroma: The light savory smell of soup permeated the theatre during the show. But a part of me wished the actors sauteed an intoxicatingly onion-y mirepoix on-stage for a stronger fragrance like in Mrs Krishnan’s Party or ACT Theatre’s Skylight play. The other part of me was relieved that they didn’t generate smells that stuck to my clothes, which is my restaurant pet peeve.

Rant(s)

“Why?”: As I mentioned in ACT Theatre’s Every Brilliant Thing, I hate when characters continually ask “Why?” like an annoying child.
Character Backgrounds: Especially in the beginning, it was difficult determining where Nelly (played by Varinique “V” Davis) fit in the family tree. At this point, I’m 90% sure she was Lil’ Mama’s (played by Kataka Corn) aunt, Lillian’s (played by Shermona Mitchell) sister, and Mama’s (played by Shaunyce Omar) daughter.

Other Musing(s) and Observation(s)

Family of Actors: The concept of a stage actor family reminded me of Seattle’s “power theatre family,” the Russells. Incidentally, their matriarch Faith Bennett Russell was in the audience on opening night.
Phone: I wonder how well this play will age since it used a corded house phone, which was a semi-important plot device. Call me a millennial, but does anybody own a house phone anymore?

Theatre Company: ACT Contemporary Theatre

Venue: The Falls Theatre at ACT Contemporary Theatre

Venue Physical Address: 700 Union St, Seattle, WA 98101

Price: Medium to expensive

Tickets: https://acttheatre.org/2023-24-season/stew/

Ticket Affordability Options: Check out the the theatre’s official discounts page or TodayTix/Goldstar. There are also pay-what-you-choose seats that you can self-select on the theatre website.

Dates: March 15 to 31, 2024

Seating: Assigned Seating

Parking: Paid lot or paid street parking. If I don’t walk to this theatre, I park in the old convention center garage with the entrance between Seneca and Pike. There is indoor access from the garage to the theatre if you walk through the old convention center.

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Pictures: See pictures below by Rosemary Dai Ross.

Shaunyce Omar, Varinique “V” Davis, Shermona Mitchell, & Kataka Corn. *Stew* at ACT Contemporary Theatre March 15-31, 2024. Photo by Rosemary Dai Ross.

Shermona Mitchell. *Stew* at ACT Contemporary Theatre March 15-31, 2024. Photo by Rosemary Dai Ross.

Varinique “V” Davis. *Stew* at ACT Contemporary Theatre March 15-31, 2024. Photo by Rosemary Dai Ross.

Kataka Corn. *Stew* at ACT Contemporary Theatre March 15-31, 2024. Photo by Rosemary Dai Ross.

Shaunyce Omar & Shermona Mitchell. *Stew* at ACT Contemporary Theatre March 15-31, 2024. Photo by Rosemary Dai Ross.

Shaunyce Omar. *Stew* at ACT Contemporary Theatre March 15-31, 2024. Photo by Rosemary Dai Ross.

Shermona Mitchell & Kataka Corn. *Stew* at ACT Contemporary Theatre March 15-31, 2024. Photo by Rosemary Dai Ross.

Sanctuary City – Play – Review – Seattle Rep

@showsiveseen "Sanctuary City" #play at the @seattlerep starring Emilie Maureen Hanson, Junior Nyong’o, & Josh Kenji. You're damned if you do and damned if you don't. Ends this weekend! #immigration #SanctuaryCity #theatre #showsiveseen #immigrant #undocumented ♬ Fighters – John Doherty

Elevator Thoughts (aka Tweet): Sanctuary City play at the Seattle Rep starring Emilie Maureen Hanson, Junior Nyong’o, & Josh Kenji. You’re damned if you do and damned if you don’t. Ends this weekend! #immigration #SanctuaryCity #immigrant #undocumented

Recommendation
See it if either 1) you enjoyed Vanessa’s season 1 character in Gossip Girl 2) or you’re okay with minimalist plays.

Synopsis from the Theatre: Winter, 2001, Newark, NJ. Two DREAMers—pre-DACA—meet up on the fire escape, which happens most nights. Both undocumented teens, they grapple with life’s challenges, from family to their futures. When one becomes naturalized, she promises to marry the other so he can receive his papers and truly start his life. As time passes and their relationship shifts, both must confront what they are willing to sacrifice to live freely and belong. This searing and captivating new play by Pulitzer Prize-winning Martyna Majok asks what we’re willing to risk for those we love.

Attended Performance Date: Opening Night 3/6/24 – Keep your eyes peeled for my preview posts on my website and social media if you want earlier notification of shows I’ve seen. Get your tickets now since it closes this weekend on 3/31/24!

Type: Play

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) Set? Mostly yes. Two-thirds of the play was in a minimalist set, and the second third was in a true stationary set.

Prior Exposure/Knowledge Required: No

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

Equity Actors: 1

Total Number of Actors: 3

Perceived Pace of the Show: Slow during the first two-thirds of the play and medium speed during the last third of the play.

Length (Including Any Intermission): 1.5 hours

Was there an intermission? No

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

Would I See It Again 3 Years from Now? No

Other Musing(s) and Observation(s)

Stark Energy Shift: The first two-thirds of the play were executed in a minimalist way on an empty set like an undocumented immigrant in limbo. The play became markedly more interesting after they introduced a true full set and a 3rd character. This delayed set and character introduction was way too late for my taste. I hope there was a deliberate symbolic reason for this late introduction … otherwise, I’d consider it bad writing.
Limbo: It was emotionally frustrating to observe the annoying vacillating between decision and indecision. Talk about whiplash! But I assume this was intentional to convey the limbo that undocumented immigrants feel.

Theatre Company: Seattle Repertory Theatre

Venue: Leo K. Theater at Seattle Repertory Theatre

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

Price: Medium to expensive

Tickets: https://www.seattlerep.org/plays/202324-season/sanctuary-city/

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

Dates: March 1 to 31, 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.