Puget Sound (Seattle/Tacoma/Olympia/Bellevue) – Page 2 – Shows I've Seen

An Enemy of the People – Play – Review – Union Arts Center

@showsiveseen “An Enemy of the People” #play by @unionartscenter & @seattleshakespeareco starring Aaron Blakely. Erin Brockovich meets Henrik #Ibsen. Timely mirror to the state of our country. Excellent mob scene fight choreographed by @geoffreyalm. Perfect for Seattle’s hero-complex, idealist activist spirit. Only 1 more performance left! Review: showsiveseen.com/13748 #scandal #corruption #conspiracy ♬ Way down We Go – KALEO

Elevator Thoughts (aka Tweet): An Enemy of the People play by Union Arts Center & Seattle Shakespeare Company starring Aaron Blakely. Erin Brockovich meets Henrik Ibsen. Timely mirror to the state of our country. Excellent mob scene fight choreographed by Geoffrey Alm. Perfect for Seattle’s hero-complex, idealist activist spirit. Only 2 performances left!

Recommendation:
See it if you enjoy dialogue plays.

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: Low to medium

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

My Synopsis (No Spoilers): When a physician discovers that the town’s lucrative public baths (their lifeblood of income) are dangerously contaminated, the community is forced to confront an unsettling choice: protect public health or bankrupt the townsfolk.

Synopsis from the Licensor or Theatre Company: The Tony Award-winning adaptation comes to Seattle! Amy Herzog’s “smart, sharp, and relevant” (Deadline) take on this Henrik Ibsen timeless classic wraps us deep in an entangled web of truth, power and complacency. Dr. Stockmann has it all – but when he uncovers a catastrophe in the making that threatens lives, he runs up against those in power. As tensions rise, Stockmann must choose: follow his conscience, and risk destruction? Or join the conspiracy?

Type: Play

World Premiere: No

Several or Few Scenes: Few

Several or Few Settings/Locations: Few

Static (Stationary) or Dynamic Set: Mostly static

Prior Exposure/Knowledge Required: No

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

Union Actors: 6

Total Actors: 13

Perceived Pace of the Show: Like many plays, it started slow without a good hook, but it eventually picked up stride to medium speed.

Was there an intermission? Yes

Length (Including Any Intermission): 2 hours

Other Rave(s)

Looking Glass: This production was timely given our country’s current state of affairs. It evoked the tensions of the COVID-19 era balancing public health against economic pressures. It also highlighted the friction between the masses and perceived elitism of learned healthcare professionals like with vaccinations and COVID-19. It critiqued corporations that complicitly pass the bill of their own cost-cutting mistakes onto taxpayers. At its core, the show was a stark reminder of how money drives decisions and influences the world around us.
Binary Morality: Similarly, the production highlighted that the heroic ideal of always doing what is ‘right’ can be a flawed, binary way of viewing morality. It demonstrated that following an absolute ‘do what is right’ philosophy should be more nuanced, involving difficult decisions that can inadvertently harm ordinary people. The play showed the perspective that there are casualties in the pursuit of idealism.
Performative Progressivism: I loved how the script skewered performative progressivism and activism pursued more for the thrill of disruption than genuine conviction. Billing (played by Josh Kenji Lanager) embodied the archetypal young faux-progressive from Brooklyn (or dare I say Capitol Hill) likely funded by mommy’s credit card who loudly champions causes for the sake of clout and chaos. They would just as quickly change their tune and sell their soul the moment those ideals threatened their own comfort.
Confrontations: I love heightened emotional scenes of outbursts/arguments, and this production was rife with them. A standout moment was in Act One during a heated confrontation between brothers Thomas Stockmann (played by Aaron Blakely) and Peter Stockmann (played by Bradford Farwell).
Town Hall: The second act opened with a town hall scene that ingeniously drew the audience (seated in the round) into the role of the townspeople. Geoffrey Alm’s fight choreography created a realistic mob scene, capturing the terrifying momentum of herd mentality with convincing falls and visceral intensity.

Other Musing(s) and Observation(s)

Ending (No Spoiler): The ending felt overly idealistic and conveniently resolved … maybe even lazy. Call me fatalistic, but the conclusion packaged in a tidy little bow can’t solve the complex problems presented in the play.
Ensemble: Unfortunately, the ensemble didn’t get much stage time. I really only noticed them during the powerful second-act opener, when they appeared as heckling townspeople. It’s just as well though that it was one the most dramatic scene in the show.
Chlorine: The scientific part of me thinks the play could have been easily resolved with modern chlorination. Though I suppose that wouldn’t make for much of a story!

Theatre Company: Union Arts Center (ACT Theatre and Seattle Shakespeare Company)

Venue: Union Arts Center

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

Price Range: $87 to $104

Ticket Affordability Options: Check out the theatre’s official discount page.

Dates: September 20 to October 5, 2025

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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Cast and Production Team: See after pictures below.

Preview Post – An Enemy of the People – Play – Union Arts Center

An Enemy of the People play at Union Arts Center. Don’t wait for my full review to buy tickets since it closes 10/5/25 with only 4 more performances left! #idealism #scandal #corruption #ibsen

Tickets: https://www.unionartscenter.org/an-enemy-of-the-people/

Final Full Review: https://www.showsiveseen.com/an-enemy-of-the-people-play-review-union-arts-center/

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Preview Post – The Story of Edgar Sawtelle – Play – Book-it Repertory Theatre

Book-it Repertory Theatre is back! Happy opening night to The Story of Edgar Sawtelle stage play adaptation production at Broadway Performance Hall. Closes on 10/12/25. Stay tuned for my full review! #signLanguage #dogs

Tickets: https://book-it.org/the-story-of-edgar-sawtelle/

Final Full Review: https://www.showsiveseen.com/the-story-of-edgar-sawtelle-play-review-book-it-repertory-theatre/

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Suffs – Musical – Review – The 5th Avenue Theatre

@showsiveseen Shaina Taub’s #Suffs #musical kicked off its national tour at @The 5th Avenue Theatre. Starring @Maya Keleher. Jason Crystal's impeccable "crystal" clear sound design highlighted the cast’s solid, polished voices. Ideal musical for Seattle’s #activist spirit. Closes 9/27/25! Review: showsiveseen.com/13701 Photos: Joan Marcus Director: Leigh Silverman Music Director: Dani Lee Hutch Choreo: Mayte Natalio Music Supervision: Andrea Grody #suffrage #suffragette @Suffs The Musical ♬ The March (We Demand Equality) – Hannah Cruz & Nikki M. James & Original Broadway Cast of Suffs

Elevator Thoughts (aka Tweet): Shaina Taub’s Suffs musical kicked off its national tour at The 5th Avenue Theatre. Starring Maya Keleher. Jason Crystal’s impeccable “crystal” clear sound design highlighted the cast’s solid, polished voices. Ideal musical for Seattle’s activist spirit.

Recommendation:
See it, especially if you enjoyed 1776 or if you’re into activism.

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

Would I See It Again 3 Years from Now? Maybe

Mainstream Appeal: Medium

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

My Synopsis (No Spoilers): Follow the courageous struggle of women fighting for the right to vote in the 1900s.

Synopsis from the Licensor or Theatre Company: Direct from Broadway, comes the acclaimed Tony Award®-winning musical SUFFS about the brilliant, passionate, and funny American women who fought tirelessly for the right to vote. Created by Shaina Taub, the first woman to ever independently win Tony Awards® for Best Book and Best Score in the same season, this “thrilling, inspiring and dazzlingly entertaining” (Variety) new musical boldly explores the triumphs and failures of a struggle for equality that’s far from over. Winner of the Outer Critics’ Circle Award for Best New Musical.

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’d probably appreciate this show more if you’re familiar with US history.

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): 2.5 hours

Other Rave(s)

Voices and Sound Design: The exceptional sound design by Jason Crystal allowed both the voices and the band to shine in perfect harmony. It was a crisp refreshing contrast to the muddled sound balance I experienced last week at the Paramount Theatre’s Some Like It Hot. It wasn’t just my impression since I ran into a fellow patron in the elevator who enthusiastically praised the precision of the sound and the clarity of the enunciation before I even mentioned it. Fresh from its Broadway run, the cast’s voices were crystal clear, confident, and sure. Every performer brought such strength and control that it was nearly impossible to single out high performers since the ensemble’s vocal talent was uniformly remarkable.
Song Highlights: Standout moments included Marya Grandy’s powerful rendition of “This Girl,” Jenny Ashman’s spirited performance in “Ladies,” and Laura Stracko’s commanding take on “Alva Belmont.” At times, the driving rhythms and historical subject matter of numbers like “The March (We Demand Equality)” evoked the same energy of Hamilton. But at other times, the homogenous all-female chorus was reminiscent of 1990s-2000s adult contemporary music (like from the Christian contemporary group Point of Grace).

Rant(s)

Otherness: The script frequently leaned on the antiquated tired “quirky foreigner” trope (Polish character Ruza Wenclawska) to elicit cheap laughs from the audience. Surely theatre has moved beyond this by now!

Other Musing(s) and Observation(s)

Vibe: As can be expected from any show about activism, the script carried a decidedly preachy tone. Additionally, inherently dry historical subject matter runs a higher risk of a tepid script that prioritizes spewing facts (albeit facts about important events) over performing entertainment. The production reminded me of a Seattle Women’s Chorus concert – purposeful, no-nonsense, and brimming with female empowerment. It was the theatrical equivalent of a smart Lane Bryant pantsuit. I was missing flashy tap dance numbers, but I admit that there’s a time and place for everything. Despite all that, the show resonates perfectly with Pacific Northwest ideals, and the enthusiastic response from the crowd made that clear.

Theatre Company: National Tour Courtesy of The 5th Avenue Theatre

Venue: The 5th Avenue Theatre

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

Price Range: $50 to $155

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 and my apartment complex. Rush tickets are typically also available the day of the performance at the box office.

Dates: September 13 to 27, 2025

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 Joan Marcus.

Cast and Production Team: See after pictures below.

Jenn Colella as Carrie Chapman Catt and SUFFS Company. Photo by Joan Marcus.

Shaina Taub as Alice Paul. Photo by Joan Marcus.

Hannah Cruz as Inez Milholland and the SUFFS Company. Photo by Joan Marcus.

Credits from the ENCORE printed program.

Some Like It Hot – Musical – Review – Paramount Theatre

@showsiveseen "Some Like It Hot" #jazz #musical at the Paramount Theatre from Broadway Seattle national tours and @Seattle Theatre Group. #Tap dance extravaganza starring @Tavis Kordell and the delightful Matt Loehr. Closes 9/21/25! Review: showsiveseen.com/13616 Photos: MurphyMade Director/Choreo: Casey Nicholaw Stage Manager: Donovan Dolan Conductor: Mark Binns #tapDance #tapDancing @Some Like It Hot The Musical ♬ Some Like It Hot – NaTasha Yvette Williams & Adrianna Hicks & J. Harrison Ghee & 'Some Like It Hot' Original Broadway Cast

Elevator Thoughts (aka Tweet): Some Like It Hot jazz musical at the Paramount Theatre from Broadway Seattle national tours and Seattle Theatre Group. Tap dance extravaganza starring Tavis Kordell and the delightful Matt Loehr.

Recommendation:
See it, especially if you enjoy tap dancing.

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

Would I See It Again 3 Years from Now? Yes

Mainstream Appeal: Medium

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

My Synopsis (No Spoilers): After witnessing a Chicago mob boss commit a crime, two brothers become his next targets. To escape, they disguise themselves in drag and join an all-female traveling musical group hoping the ruse will take them safely to Mexico.

Synopsis from the Licensor or Theatre Company: Winner of 4 Tony Awards®, including Best Choreography and Best Costumes, and the Grammy Award® for Best Musical Theater Album, SOME LIKE IT HOT is “A Super-Sized, All-Out Song-And-Dance Spectacular!” – The New York Times. Set in Chicago when Prohibition has everyone thirsty for a little excitement, SOME LIKE IT HOT is the “glorious, big, high-kicking” (Associated Press) story of two musicians forced to flee the Windy City after witnessing a mob hit. With gangsters hot on their heels, they catch a cross-country train for the life-chasing, life-changing trip of a lifetime. And what a trip it is! With its irresistible combination of heart and laughs, song and dance, SOME LIKE IT HOT won more theater awards than any show in its season, and was named Best Musical by the Drama Desk, The Drama League, and the Outer Critics Circle. No wonder Deadline calls it “a tap-dancing, razzle-dazzling embrace of everything you love about musical theater.”

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’d probably appreciate the show more if you watched the classic film.

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

Other Rave(s)

Tap Dancing: This production featured more tap dancing than any musical I’ve seen. Director and choreographer Casey Nicholaw used it in wonderfully inventive ways. In Act I, tap dance drove madcap escape sequences, while in Act II it added energy to fast-paced chase scenes. Though tap isn’t a style that usually involves tactile partner work like a waltz, there were clever moments where the dancers physically connected in doubles, which added variety to the dance form. The tap choreography stood out in the Act I finale, “Some Like It Hot,” as well as in one of the early playful numbers, “You Can’t Have Me (If You Don’t Have Him).”
Delightful Characters: Matt Loehr played Joe/Josephine like a class clown, always ready with a clever quip up his sleeve. The running gag about his aged appearance in drag landed consistently, keeping the audience in stitches. Meanwhile, Edward Juvier’s portrayal of the hopelessly smitten Osgood Fielding III carried shades of the persistent, nerdy Ogie from Waitress.

Rant(s)

Sound Balancing: The sound balancing left much to be desired. Several microphones were set too low, most noticeably for one of the leads, Tavis Kordell. I can only assume this is the curse of national tours opening in new venues without the benefit of preview performances.
Orchestra/Band: I’m not sure if this was also related to the sound balancing, but the orchestra didn’t quite achieve the full-bodied “big band” sound the score seemed to call for. At key moments (such as the Act I showstopper and “A Darker Shade of Blue”), the music lacked the punch and vitality needed to elevate the numbers. I longed for the astounding accompaniment from the nearby 5th Avenue Theatre like in their recent Bye Bye Birdie.

Other Musing(s) and Observation(s)

Injury: There was an substantial unexpected 15-minute delay before the second act. At first, it sounded like technical difficulties. But it turned out to be an injury sustained by lead actor Tavis Kordell from the first act. Fortunately, Jonathan Duvelson (or perhaps Jamal Stone?) stepped in to cover the dance-heavy portions of the role with Kordell pushing through the acting portions. Honestly, I wouldn’t have noticed the seamless switch if the Assistant Director Steve Bebout hadn’t announced it before the second act. Still, I couldn’t help but wonder what would have been different had Kordell continued with their original track. Oh, the magic and unpredictability of live theatre! The delay did lead to a few audience members leaving, which meant I scored a much better view without the someone sitting in front of me. 🙂
The Reveal (Spoiler Alert): It wasn’t clear whether Osgood understood that Jerry/Daphne’s identity was not a cisgender woman.

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

Venue: Paramount Theatre

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

Price Range: $56-192

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 still eligible for an organization discount.

Dates: 9/16/25 – 9/21/25

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 former Cheesecake Factory. It’ll take you at least 30 minutes to exit that garage after the show.

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Pictures: See production pictures below by Matthew Murphy.

Cast and Production Team: See after pictures below.