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

Chicago – Musical – Review – The 5th Avenue Theatre

@showsiveseen Seattle's opening night of the "#Chicago" #musical national tour at @The 5th Avenue Theatre w/ @Seattle Theatre Group. Starring @claire.m__ & a @elliebean. Relevant commentary of the #criminal justice system. Fosse choreography w/ impressive high kicks & "All That Jazz." Closes 11/2/25. Review: showsiveseen.com/14002 Photos: Jeremy Daniel Director: David Hyslop Music Director: Andy Chen Choreo: @Gregory Butler Stage Mgr: Sofia Rose Itskovich and Elspeth Bustard @Chicago the Musical | Broadway @chicagotour #theatre #musicaltheatre ♬ All That Jazz – Broadway Allstars

Elevator Thoughts (aka Tweet): Seattle’s opening night of the Chicago musical national tour at The 5th Avenue Theatre w/ Seattle Theatre Group! Starring Claire Marshall & Ellie Roddy. Relevant commentary of the criminal justice system. Fosse choreography w/ impressive high kicks and “All That Jazz.”

Recommendation:
See it if 1) you enjoy vaudeville/Cabaret 2) or you’re okay with austere staging and costumes like the Jamie Lloyd production of Sunset Blvd.

Was This the First Time I Attended a Production of this Show? No, I previously saw the national tour more than a decade ago in Houston.

Would I See It Again 3 Years from Now? No, twice is enough for me

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): Set in a cabaret-style show, the musical follows two rival high-profile female murderers in a Chicago prison as they navigate the challenges of preserving their celebrity status while facing the threat of capital punishment.

Synopsis from the Licensor or Theatre Company: CHICAGO is still the one musical with everything that makes Broadway shimmy-shake: a universal tale of fame, fortune, and all that jazz, with one showstopping song after another and the most astonishing dancing you’ve ever seen. In the whirlwind of Chicago’s Jazz Age, two of the Cook County Jail’s most notorious murderesses — vaudeville star Velma Kelly and chorus girl Roxie Hart — become fierce rivals as they compete for headlines amidst a media frenzy.

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Static and austere

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: Yes, but it seemed to be framed in a cabaret show of vignettes.

Union Actor(s): All

Total Actor(s): 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)

Modern Commentary: Though written in the 1970s, this musical remains startlingly relevant. It exposed corruption and performative spectacle in the legal system, where charisma, wealth, fame, and media attention easily outweigh justice. Lines like “Give ‘em the old razzle dazzle” showed how charm and showmanship “trump” (no pun intended to our current presidential administration) morality or legal rigor, turning even the most damning cases into public-relations triumphs like with today’s Anna Delvey.

Additionally, Hunyak, the Hungarian immigrant character played by Lacey Kohn, showed the inequality in the criminal justice system. That reality is even more poignant today. However, the production could have made an even bolder statement by reimagining Hunyak as a person of color in light of today’s ICE raid injustices.

The musical portrayed our hypercapitalist society where crime and “justice” alike are commodified, and the theater of the law is as performative as it is flawed.
Band: The band was arranged on a tiered, multi-level jazz “big band” setup, bringing a sense of elegance and class to the otherwise naked stage. The actors occasionally even interacted with the conductor Andy Chen, who was also mic’ed for the audience. It’s usually a treat to see the musicians featured so prominently in a show since they’re performers in their own right, and their talent deserves recognition beyond the usual confines of “the pit.” Last month, I saw a musical with a theatre novice, and they didn’t even realize the accompaniment was live. Highlighting the band like this not only enriched the visual experience but also reminded the audience that every note and rhythm is a vital part of the performance.
Mary Sunshine: Kudos to J. Clanton (as the melodramatic sentimental “sob sister” reporter Mary Sunshine) who hit the character’s high notes with surprising accuracy in full drag. The role was intentionally silly and over-the-top with the perfect amount of camp to not overshadow the rest of the show. It was a brief memorable presence that added un unexpected fun flair, if slightly exaggerated, to the production.
Beefcake: Sitting far all the way back in row V, I was surprised to see Tim Canali (as the illicit “mister” lover Fred Casely) radiate such commanding physicality. Even from a distance, his toned muscular definition was unmistakable. Clearly, no stage makeup illusion could account for that kind of bulk. Canali turned heads not just with his performance but with his impressive “swole” beefcake physique.

Rant(s)

Lighting/Set/Costume Design: The musical’s signature low-lighting motif lended dangerously close to sleep-inducing. Live theatre already inherently risks encouraging drowsiness with its dim aisles and occasionally dense dialogue/storyline. This visually dark stage and the plain black costumes only encouraged it more. In fact, at intermission, I asked my seatmate if they enjoyed their expensive nap! If you’re going for an austere set, at least crank up the spotlight intensity. Minimalism doesn’t have to equal invisibility. Some might argue that sparse lighting/scenery/costumes allow performers to exhibit their talent without distraction. But it’s difficult to impress the audience with vocal/instrumental talent alone if the crowd can only see vague visual shapes.
General Energy: Similarly, the performance energy mirrored the subdued lighting/scenic/costume design: monotone, subtle, and a touch sleepy. I guess this is a challenge intrinsic to a Fosse show. A particularly taxing moment was Roxy’s headline-celebration scene, when a monologue-like delivery coincided with the band endlessly repeating the same musical phrase. But the blame lies with the script and score, not the actors or musicians. What this musical desperately needed was a jolt of tap-dance pizzazz akin to Some Like It Hot. Sometimes a spectacle is the spark that keeps the audience awake.

Other Musing(s) and Observation(s)

Choreography: The Fosse choreography didn’t feel as razor-sharp, tight, abrupt, or synchronized as I would have expected. Perhaps that’s my own Millennial sensibilities, shaped by K-pop, NSYNC, and TikTok. I wonder how this company’s precision would compare to the original Fosse production. Maybe Fosse walked so Gen-Z TikTokers could run.
Audience: Both times I saw this show, I never understood the role of the prison performers like Velma Kelly and Roxie Hart. Were they performing for an actual audience within the story, like fellow inmates or visitors from Chicago? Was their stardom due to the notoriety of their crimes or did it also come from entertaining the Chicago masses on-stage? I’m not alone in this confusion as a companion who attended with me mused the same question.

Theatre Company: National tour from Broadway Across America, The 5th Avenue Theatre, and Seattle Theatre Group

Venue: The 5th Avenue Theatre

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

Price Range: $55-210

Ticket Affordability Options: Broadway Seattle, Seattle Theatre Group, or The 5th Avenue Theatre might partner with an organization you’re affiliated with for discount tickets. For example, UW employees/students are eligible for an organization discount.

Dates: October 22 to November 2, 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.

Like/Comment/Share my Social Media Posts About this Performance:

Buy a Ticket or Learn More:

Pictures: See production pictures below by Jeremy Daniel.

Cast and Production Team: See after pictures below.

Andy Chen and the CHICAGO Orchestra in “Entracte.” Photo by Jeremy Daniel.

Ellie Roddy as Roxie Hart in “Me and Me Baby.” Photo by Jeremy Daniel.

Max Cervantes as Billy Flynn and Ensemble in “All I Care About.” Photo by Jeremy Daniel.

Claire Marshall as Velma Kelly in “All That Jazz.” Photo by Jeremy Daniel.

Illeana ‘illy’ Kirven as Matron Mama Morton. Photo by Jeremy Daniel.

The Importance of Being Earnest – Play – Review – Taproot Theatre

@showsiveseen #OscarWilde's "The Importance of Being Earnest" #play at @TaprootTheatre starring Christopher Clark & Calder Jameson Shilling. The cast's infectious energy ignited the script. What a treat to witness @shaunyceo’s commanding stage presence up close. Flamboyant costumes by Danielle Nieves. Closes next weekend! Review: showsiveseen.com/13951 Photos: Robert Wade Director: @Bretteney Beverly Stage Mgr: Clara King #theatre #showsiveseen ♬ Best One Yet – Layup

Elevator Thoughts (aka Tweet): Oscar Wilde’s The Importance of Being Earnest play at Taproot Theatre starring Christopher Clark & Calder Jameson Shilling. The cast’s infectious energy ignited the script. What a treat to witness Shaunyce Omar’s commanding stage presence up close. Flamboyant costumes by Danielle Nieves. Closes next weekend!

Recommendation:
See it if you enjoy plays in old-timey dialogue.

Was This the First Time I Attended a Production of this Show? Mostly, yes. Apparently, I saw snippets of the script in Champagne + Sodomy: The Art & Crime of Oscar Wilde, which I don’t remember much.

Would I See It Again 3 Years from Now? Not sure, 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): Two thick-as-thieves friends land in a whirlwind of comedic mischief when their fake identities spiral out of control.

Synopsis from the Licensor or Theatre Company: A play of love and snacks. Indulge in the delightful absurdity of Oscar Wilde’s comedic masterpiece! In this dazzling display of deception and desire, two charming bachelors bumble through a maze of mistaken identities and appetites. Sharp, smart, and satirical, Wilde called his most popular work “A trivial comedy for serious people.”

Type: Play

World Premiere: No

Several or Few Scenes: Few

Several or Few Settings/Locations: Few

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: Written in the late 1800s, the script brims with archaic language that can be challenging to decode. If you’re fluent in the meanings behind old-fashioned speech, you’ll likely find it easier to follow. For me, these linguistic puzzles have always been a barrier. It’s the same reason why I tend to steer clear of Shakespeare.

Defined Plot/Storyline: Yes

Union Actor(s): 1

Total Actor(s): 8

Perceived Pace of the Show: Slow to medium Speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Other Rave(s)

Energy: As mentioned earlier, the script was dense with archaic language, but the cast valiantly breathed remarkable life into it. Their delivery turned what could have been heavy prose into something lively, sharp, and genuinely funny. They had the audience in stitches! You could even tell the cast was having fun when one of the actors nearly broke character in laughter.
Shaunyce Omar: I’m not used to seeing Shaunyce Omar perform in such an intimate theatre space. Experiencing her up close was striking. She brought a larger-than-life presence to the role of the bellicose, commanding, and sharply bitter Aunt Lady Bracknell.
Miss Prism: Jonelle Jordan delighted the audience in a role that felt perfectly in her wheelhouse as Miss Prism evoking the same Austen-esque charm she brought to Sense and Sensibility. Her feigning flirtations with Reverend Chasuble (played by Nik Doner) were a joy to watch, especially the little moments when she exclaimed a subtle yelp when encountering a simple stair step. This prompted the ever-gallant reverend to offer his arm. Gurl was thirsty!
Elegant Rivalry: Kelly Karcher (as Gwendolen Fairfax) and Alegra Batara (as Cecily Cardew) delivered a delightfully fierce rivalry over the same man. Their characters clashed with irresistible wit while struggling not to shatter the decorum of English civility as they bared their claws. I love a good cat fight.
Costume Design: Danielle Nieves’ costumes burst with a lush, floral opulence reminiscent of an extravagant upper-class English garden party. Perhaps the pieces would be more at home in a spring theatre production instead of the PNW fall, but I’ll take it!

Rant(s)

Thrust Stage: As I noted in Taproot Theatre’s previous Sister Act, sitting literally on the sidelines of a thrust stage evokes a certain sense of FOMO. But I recognize the financial need to sell more seats to pay for a (non-profit) production. There should be a general theatre rule to discourage placing seats past one-third of the thrust stage sidelines.
Ending (No Spoilers): The ending twists came out of nowhere from the script and felt contrived. The over-convenience of it all gave the impression of lazy plotting. Considering the playwright was the great Oscar Wilde, I’m sure this hot take is blasphemy to the theatre community.

Other Musing(s) and Observation(s)

Keeping It in the Family: I always find it jarring when romantic interests develop between relatives. Incest is taboo! I understand this is an older play and such themes were more common in its time. But it can be confusing to modern audiences. I even had to look it up afterward to make sure I hadn’t imagined it.

Theatre Company: Taproot Theatre

Venue: Jewell Mainstage at Taproot Theatre

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

Price Range: $25-62

Dates: September 17 to November 1, 2025

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.

Like/Comment/Share my Social Media Posts About this Performance:

Buy a Ticket or Learn More:

Pictures: See production pictures below by Robert Wade.

Cast and Production Team: See after pictures below.

Calder Jameson Shilling as Jack Worthing and Kelly Karcher in *The Importance of Being Earnest* at Taproot Theatre (September 2025). Photo by Robert Wade.

Alegra Batara as Cecily Cardew and Christopher Clark as Algernon Moncrief in *The Importance of Being Earnest* at Taproot Theatre (September 2025). Photo by Robert Wade.

From left to right: Kelly Karcher as Gwendolen Fairfax, Calder Jameson Shilling as Jack Worthing, Christopher Clark as Algernon Moncrief, and Alegra Batara as Cecily Cardew in *The Importance of Being Earnest* at Taproot Theatre (September 2025). Photo by Robert Wade.

Jonelle Jordan as Miss Prism and Calder Jameson Shilling as Jack Worthing in *The Importance of Being Earnest* at Taproot Theatre (September 2025). Photo by Robert Wade.

From left to right: Nik Doner as Reverend Chasuble, Shaunyce Omar as Lady Bracknell, and Kelly Karcher as Gwendolen Fairfax in *The Importance of Being Earnest* at Taproot Theatre (September 2025). Photo by Robert Wade.

Preview Post – The Little Foxes – Play – Intiman Theatre and The Feast

Happy opening night to Intiman Theatre and The Feast’s The Little Foxes play production at the Erickson Theatre Off Broadway. On stage till 11/2/25. Full review coming! #south #southern #theSouth #aristocracy #greed

Tickets: https://villagetheatre.org/see-a-show/brigadoon

Final Full Review: https://www.showsiveseen.com/the-little-foxes-play-review-intiman-theatre-and-the-feast/

Like/Comment/Share my Social Media Preview Posts About this Show:

Preview Post – Brigadoon – Musical – Village Theatre

Lerner and Loewe’s Brigadoon musical at Village Theatre. In Issaquah till 10/19 & Everett till 11/16. Full review coming soon! #scotland #scottish

Tickets: https://villagetheatre.org/see-a-show/brigadoon

Final Full Review: https://www.showsiveseen.com/brigadoon-musical-review-village-theatre/

Like/Comment/Share my Social Media Preview Posts About this Show:

Stereophonic – Play with Music – Review – Paramount Theatre

@showsiveseen @David Adjmi and @Willllll's "#Stereophonic" #play-with-music kicked off their national tour at Paramount #Theatre from Broadway Seattle and @Seattle Theatre Group. Great retro #70s aesthetic from David Zinn (Scenic) and @enverchakartash (Costumes). Beautiful voices/harmonies from @Em and @clairedejean. Closes 10/12/25. Review: showsiveseen.com/13832 Photos: Julieta Cervantes @Stereophonic: On Tour #1970s ♬ Masquerade – Original Cast of Stereophonic & Tom Pecinka & Will Brill & Juliana Canfield & Sarah Pidgeon & Chris Stack & Will Butler & Justin Craig

Elevator Thoughts (aka Tweet): David Adjmi and Will Butler’s Stereophonic play-with-music kicked off their national tour at Paramount Theatre from Broadway Seattle and Seattle Theatre Group. Great retro aesthetic from David Zinn (Scenic) and Enver Chakartash (Costumes). Beautiful voices/harmonies from Emilie Kouatchou and Claire DeJean. Closes 10/12/25.

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? Absolutely not

Mainstream Appeal: Low

If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Absolutely not

My Synopsis (No Spoilers): This play delves into the volatile dynamics of a successful 70s band confined within the walls of a recording studio. It’s a nightmare pressure cooker of clashing egos, creative tension, drugs, and messy affection. Love and hate often sound like the same note.

Synopsis from the Licensor or Theatre Company: The most Tony Award-winning Show of the year. The most Tony Award-nominated Play of all time. Stereophonic mines the agony and the ecstasy of creation as it zooms in on a music studio in 1976. Here, an up-and-coming rock band recording a new album finds itself suddenly on the cusp of superstardom. The ensuing pressures could spark their breakup — or their breakthrough. Written by David Adjmi, directed by Daniel Aukin, and featuring original music by Arcade Fire’s Will Butler, Stereophonic invites the audience to immerse themselves — with fly-on-the-wall intimacy — in the powder keg process of a band on the brink of blowing up.

Type: Play with Music

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: One – a recording studio

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: It’s best if you’re familiar with rock band references from the 1960s and 1970s.

Defined Plot/Storyline: No, it was mostly dialogue

Live Band/Orchestra: Yes, it was the cast

Union Actors: 7

Total Actors: 7

Perceived Pace of the Show: The pace of the show was glacial and left me feeling restless constantly thinking, “Please, let this be over.” Breaking it into four acts with a single intermission only made it feel longer, even though its runtime was typical for a major play. When Act Two began, I found myself wondering, “How much more of this can I endure?” By the time Act Four appeared, it was like spotting an oasis in a desert.

Was there an intermission? Yes

Length (Including Any Intermission): 2.75 hours

Other Rave(s)

Retro Aesthetic: David Zinn (Scenic Designer), Enver Chakartash (Costume Designer), Robert Pickens (Hair/Wig Designer), and Katie Gell (Hair/Wig Designer) perfectly and beautifully evoked the essence of the 1970s with the tousled long hair, tacky patterned button-down shirts, bohemian bell bottoms, sleazy leisure suits, and the era’s unmistakable wood-paneling.
Recording Room: Scenic Designer David Zinn made a smart choice by positioning the recording room a couple feet above the stage floor. Given the Paramount Theatre’s notoriously shallow floor slope and poorly staggered seating (which both make sightlines challenging for most audience members including myself), having half of the play’s action elevated significantly improved visibility.
Voices: Emilie Kouatchou and Claire DeJean featured exquisite voices and skillfull harmonies. I only wish the production allowed their talents to shine even more in a full-fledged musical rather than a play-with-music.

Rant(s)

Script: The script was frustratingly dull with a series of conversations that seemed to lead nowhere randomly discussing nothing of importance. The tension between the band members was palpable, but the reasons behind it were unclear, leaving the drama feeling shallow. Perhaps it was intentional to reflect the trivial, empty, self-absorbed concerns of the rich and famous. Even so, much of the performance had me wondering why we were expected to care.

As a BiPOC audience member, I also found it especially difficult to connect with the characters. Despite an African American performer in the cast, the roles were largely unrelatable, embodying the vapid, privileged white West Coast archetypes lampooned in MadTV’s “Pretty White Kids with Problems” and SNL’s “The Californians.” They floated through the narrative like shallow, pot-smoking hippies, obsessed with nothing of substance and randomly throwing tantrums. The result was a show where the characters’ lives felt superficial and ultimately unworthy of the audience’s investment.
Sound Balancing: When the band played and sang, the sound was ear-shattering. Perhaps it was intentional to evoke the energy of a live rock concert. But the effect was jarring, especially against dialogue filed by stilted silences. By comparison, the sound balance in the previous Broadway tour at the Paramount Theatre (Some Like It Hot) was muffled and overly soft. It seems the pendulum swings.
Transitions: The transitions between scenes were not well punctuated, making it difficult to discern when one ended and the next one began. This was exacerbated by the fact that the set remained unchanged throughout the show. When scenes flow so closely together, they demand the kind of seamless execution seen in productions like Operation Mincemeat.
Musical Titillation: Furthermore, there were numerous moments when the band would start playing for just a few seconds before the scene abruptly shifted. At other times, the performers acted like they were singing or playing their instruments, but they didn’t produce sound. It was the frustrating theatrical equivalent of titillating or “edging” the audience. When one character exclaimed, “I wanna play music!” my immediate thought was “Well, that makes the two of us. I wanna hear you play music.”

Other Musing(s) and Observation(s)

Emptiness: For a show centered on sound and music, surprisingly much of it unfolded in dialogue filled with silence with subdued lighting.
The Emperor is Naked: For a show that bills itself as “the most Tony-nominated play of all time” and “the most Tony-winning show of 2024,” I can’t help but wonder “is the emperor naked?” The audience seemed to agree. During the first act, one-by-one they relentlessly dropped like flies and headed to the doors. The frequent glow from the lobby as the exit doors swung open repeatedly was distracting. Additionally, I’ve never seen more people flee the building during intermission. The mass exodus even surpassed the walkouts from Girl from North County. Consequently, the second act unfolded before a sea of empty seats. Sadly, the person sitting in front of me obstructing my view stayed.

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: $50 – $150

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: October 7 to 12, 2025

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.

Like/Comment/Share my Social Media Posts About this Performance:

Buy a Ticket or Learn More:

Pictures: See production pictures below by Julieta Cervantes.

Cast and Production Team: See after pictures below.