Puget Sound (Seattle/Tacoma/Olympia/Bellevue) – Shows I've Seen

@showsiveseen Stephen Schwartz's "Wicked" musical at the Paramount Theatre from @Seattle Theatre Group & Broadway Across America. Starring @laurensamuels & Austen Danielle Bohmer. Dazzling light, sets, & costumes. Timely commentary on modern society (esp the USA). Performing till 12/1/24. Review: showsiveseen.com/10100 Director: Joe Mantello Stage Managers: Dawn Fenton, Michelle Dunn, Joseph Heaton Conductor: Faith Seetoo Photos: Joan Marcus @WICKED the Musical #witch #witches #WizardofOz #wicked #theatre #showsiveseen ♬ Defying Gravity – Jennifer Owens

Elevator Thoughts (aka Tweet): Stephen Schwartz’s Wicked musical at the Paramount Theatre courtesy of Seattle Theatre Group and Broadway Across America. Starring Lauren Samuels and Austen Danielle Bohmer. Dazzling light, sets, and costumes. Timely critical commentary on modern society (esp the USA). Performing till 12/1/24. #witch #witches #WizardofOz

Recommendation:
See it!

My Synopsis (No Spoilers): Prequel to The Wizard of Oz exploring the relationship between Elphaba (the wicked witch of the West) and Glinda (the good witch of the North).

Synopsis from the Licensor or Theatre Company: So much happened before Dorothy dropped in. WICKED, the Broadway sensation, looks at what happened in the Land of Oz… but from a different angle. Long before Dorothy arrives, there is another young woman, born with emerald-green skin—smart, fiery, misunderstood, and possessing an extraordinary talent. When she meets a bubbly blonde who is exceptionally popular, their initial rivalry turns into the unlikeliest of friendships…until the world decides to call one “good,” and the other one “wicked.” From the first electrifying note to the final breathtaking moment, WICKED—the untold true story of the Witches of Oz—transfixes audiences with its wildly inventive story. “If every musical had the brains, heart and courage of WICKED, Broadway really would be a magical place” (Time Magazine).

Attended Performance Date: 11/7/24 – Opening Night

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) Set? No

Prior Exposure/Knowledge Required: You’ll appreciate this show more if you’re familiar with The Wizard of Oz story.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actors: All

Total Actors: Too many to count

Perceived Pace of the Show: Medium speed, but the first act felt pretty long

Was there an intermission? Yes

Length (Including Any Intermission): 2.75 hours

Was This the First Time I Attended a Production of this Show? No, I’ve seen it at least 2 times prior including once at the Paramount Theatre a couple years ago.

Would I See It Again 3 Years from Now? I don’t know … 3 times is a lot already.

Mainstream Appeal: High

Other Rave(s) Not Mentioned Above

Lighting Design: The Kenneth Posner designed a dazzling light show especially during “One Short Day” in the green city of Oz. The slightly prismatic/rainbow white lights converging on Elphaba during “Defying Gravity” was also pretty spectacular.
Societal Commentary: The script poignantly criticizes modern society, which is timely for the recent election results and the divisive nature of USA politics. There were are many quoteworthy statements like “The truth is not a thing of fact or reason, the truth is just what everyone agrees on. Where I’m from, we believe all sorts of things that aren’t true. We call it – ‘history.'” It’s disappointing that the societal criticisms from when this musical was written 20 years ago still apply today. Colorism obviously sticks out as a negative theme with Elphaba being scorned for her skin color. It reminds me of how the rules of chess dictate white always goes first. Also, I’m not sure if it was intentional, but the script also seems to call out modern slacktivism when “Galinda” became “Glinda” in faux solidarity/outrage of animal discrimination. It reminded me of past social media trends like when users blacked out their profile pictures to support “Black Lives Matter” or changed their profile pictures to cartoons to protest child abuse. Call me a cynic, but these slacktivist actions are lazy, ineffective, and narcissistic just like Glinda.
Fiyero: Xavier McCinnon was an interesting choice to portray Fiyero, offering a fresh take that stood apart from typical Fiyero castings. McCinnon’s interpretation and voice was smooth and effortless, which perfectly complemented the character’s personality. Of note, he was significantly taller than his female costars and it was glaringly apparent in “As Long as You’re Mine.”
Belonging: I love how Elphaba, who was ostracized for her green skin, found a city (Oz) that celebrates all things green. It reminds me of small-town theatre kids who visit Manhattan or middle-of-nowhere-USA Asians who visit Los Angeles.

Rant(s)

Obstructed Views: I often complain about the Paramount Theatre’s terrible seat staggering and short slope incline contributing to frequently obstructed views. It is the most likely theatre in Seattle where the person sitting in front of you could block your sightline. I strongly recommend that ticket buyers prioritize seating options highlighted in this link to ensure the best viewing experience. That being said, ever since the Seattle Theatre Group replaced the seats, I’ve noticed less risk of this.
Microphones: The singing in this production seemed less energetic than the previous 2-3 productions I’ve seen. It was definitely more tepid than the original cast recording. I think increasing the lead performers’ microphone volume would solve this issue.
Boq: While I’m glad to see Asian inclusivity in theatre, did they really need to cast an Asian actor as the short “beta-male” munchkin? This casting decision perpetuates negative stereotypes that we Asians would like to move away from.

Theatre Company: National tour brought to Seattle by Broadway Across America and Seattle Theatre Group

Venue: Paramount Theatre

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

Price Range: $80-300 plus the insane Ticketmaster fees. Buy your ticket at the box office to avoid the exorbitant fees. Down with the Ticketmaster Live Nation monopoly!

Ticket Affordability Options: Seattle Theatre Group might partner with an organization you’re affiliated with for discount tickets. For example, I believe UW employees/students are eligible for an organization discount.

Dates: November 6 – December 1, 2024

Seating: Assigned Seating

Parking: Paid street parking and paid garage parking. The best parking garage is under the convention center w/ the entrance on Pike around the Pike and Terry intersection. Last I checked, this is one of the cheapest, least busy, and closest garages. Alternatively, you can probably find street parking as you move closer to the West Precinct (810 Virginia St, Seattle, WA 98101). Do NOT park where the Paramount subscribers park. Last I checked, they usually park in the garage attached to the Cheesecake Factory. It’ll take you at least 30 minutes to exit that garage after the show.

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Pictures: See pictures below by Joan Marcus.

Cast and Production Team: See after pictures below.