Leave a comment with your favorite Stephen Sondheim song and why. I’ll choose a winner after 5/9 11:59 PM.
Post your comment submission on my FB, IG, or Twitter. This is a free SINGLE ticket for any available seat worth about $125 to any of the remaining “Sweeney Todd” #musical performances at 5th Ave Theatre. The production run ends this weekend. It was pretty good! Read my review at showsiveseen.com/5083 #theatre
Elevator Thoughts (aka Tweet): Sweeney Todd: The Demon Barber of Fleet Street Stephen Sondheim musical at The 5th Avenue Theatre. I’ve forgotten how deliciously dark & twisty this show is. Glorious, rich orchestra and voices. I had to eat a hot savory vegetarian “meat” pie after the show! #theatre
Synopsis from the Theatre: Sweeney Todd: The Demon Barber of Fleet Street, a deliciously thrilling story of revenge and retribution, continues our celebration of the titan of musical theater: Stephen Sondheim. After 15 years in exile, Sweeney Todd, an unsettling man with a mysterious past, arrives in a dark and gritty London, hungry for vengeance against the judge who destroyed his life. Todd joins forces with Mrs. Lovett, the unhinged proprietress of a failing pie shop, and together they develop a spinetingling plot to exact revenge. When the lights go down and the curtain goes up, you won’t dare look away. Where Into the Woods is a tangled musical web about what can be accomplished when we come together, Sweeney Todd: The Demon Barber of Fleet Street is a piercing investigation of a society tearing itself apart.
Reviewed Performance: 4/29/23 Opening Night
Type: Musical
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings: Several
Prior Exposure/Knowledge Required: None
Defined Plot/Storyline: Yes
Live Band/Orchestra: Yes, a large 19-person orchestra
Recommendation: See it!
Was This the First Time I Attended a Production of this Show: No, I previously saw this twice in professional (Houston Grand Opera) and semi-professional performances. This was probably the best performance of the 3.
Would I See It Again 3 Years from Now: Three times is already quite a lot of performances already. I’d probably only see it if another professional theatre I highly respect (like Village Theatre) adds it to their season lineup.
Rating Compared to Other Shows with the Same Production Value: 4.75 stars (Out of 5 Stars)
Equity Actors: 20
Total Number of Actors: 20
Length (Including Any Intermission): 3 hours
Intermission: Yes
Other Rave(s) Not Mentioned in Elevator Thoughts
Glorious Score: The first second of this production starts with a glorious sudden dissonant chord on the organ. The ensemble and orchestra later further fill the theatre sound space in that first song prelude “The Ballad of Sweeney Todd.” What an awesome audience hook! The performers continued to deliver that same energy throughout the entire show.
Rich Voices: The cast was a collection of impressive voices like the Yusef Seevers’s (Sweeny Todd) and Jesus Garcia’s (the flamboyant Signor Adolfo Pirelli) rich tenors, Leslie Jackson’s (Johanna) beautiful soprano vibrato, and Deon’te Goodman’s decadent baritone. Even the Sean David Cooper’s (Judge Turpin) speaking voice was full-bodied!
Background: The vibrant saturated blood red background coupled with the creeping shadows of the ensemble conveyed a wonderful foreboding darkness.
Beggar Woman: I loved the costume design decision to dress the beggar woman in a dirty gown with slutty undertones and a gaudy train. It conveyed that this person has fallen far from her previous elegance, beauty, and innocence. Porsha Shaw’s portrayal reminded me of when she played the Witch in 5th Avenue Theatre’s last show Into the Woods, which was also incidentally another Stephen Sondheim musical.
Rant(s)
Chair: Sweeney Todd’s fancy barber’s chair in the previous two productions I saw converted to a slide with a lever. The trap door was also directly underneath the chair in those previous performances. However, this production required the actors to walk a couple steps to reach the trap door, which made the “misfortunate events” less believable. However, I appreciated that the stagehands were in costume when they secured the chair after it ominously descended from the ceiling. But, I wonder if Sweeney Todd and Mrs. Lovett could have secured the chair themselves instead.
Other Musing(s) and Observation(s)
Oven Window: There was a huge missed opportunity for an actor to dramatically grope at the oven window. Maybe they thought it would be too cliche. But I personally think it would have made the scene enjoyably gruesome.
Sex: There was a sex scene I don’t remember from the previous two performances I saw. This musical is growing up! 😛
Self-flagellation Scene: There was a creepy scene in the first production I saw where Judge Turpin whipped himself. It was unfortunately missing from this production.
Theatre Company: The 5th Avenue Theatre
Venue: The 5th Avenue Theatre
Venue Physical Address: 1308 5th Ave, Seattle, WA 98101
Parking: When I don’t walk to the theatre or park on the street, I park in the paid garage at the Motif hotel NW of the theatre. The entrance is on 5th Ave. Do NOT park in the Hilton garage (entrance on 6th ave). That’s where most of the audience parks so it’s a nightmare to leave. However, the Hilton garage is the closest garage to the theatre and it has underground access to the theatre if you wanted to avoid the elements. But this benefit is not worth it in my opinion.
Elevator Thoughts (aka Tweet): How I Learned What I Learned by August Wilson & Todd Kreidler performed by Steven Anthony Jones at Seattle Repertory Theatre. Random storytelling of black Pittsburgh. Like listening to a kindly grandfather ramble on “in my day.” Entertaining voices. Funny dig at Justin Bieber and Clarence Tomas. Well-designed stage. #play
Synopsis from the Theatre: Actor Steven Anthony Jones is here to tell you a story. Many stories, in fact. One of the greatest American playwrights, August Wilson, learned many lessons over his life, and “Wilsonian Warrior” Jones imparts them to you in one non-stop, spellbinding performance. From life-or-death moments to the deepest love, from comedic stand-up to bursts of pure joy, Wilson’s poetry and timeless stories radiate from the Bagley Wright stage, where he himself premiered this piece. Witness the 20th anniversary production of How I Learned What I Learned where it all started and follow one of the greats from his beginning as a young Black poet from Pittsburgh to the literary giant we honor today.
Reviewed Performance: 4/26/23 Opening Night
Type: Play
World Premiere: No
Several or Few Scenes: There weren’t any scenes, just lots of stories recounted
Several or Few Settings: There weren’t any settings, just lots of stories recounted
Prior Exposure/Knowledge Required: You’d probably enjoy this show more if you’re familiar with August Wilson’s work
Defined Plot/Storyline: No, it was several random stories
Recommendation: See it if you like either one-person plays or listening to your grandparents tell stories about the past
Was This the First Time I Attended a Production of this Show: Yes
Equity Actors: 1
Total Number of Actors: 1
Length (Including Any Intermission): 2 hours, which is too long for a one-person show
Intermission: No
Theatre Company: Seattle Repertory Theatre
Venue: Bagley Wright Theater at Seattle Repertory Theatre
Venue Physical Address: 155 Mercer St, Seattle, WA 98109
Parking: There are paid lots and paid street parking. I usually park on Mercer to the West of 1st Ave. There’s usually also a lot of 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.
Other Video +/- Pictures: See pictures by Jenny Graham under video
@showsiveseen "How I Learned What I Learned" by #AugustWilson & Todd Kreidler performed by Steven Anthony Jones at Seattle Rep. Random storytelling of black #Pittsburgh. Like listening to a kindly grandfather ramble on "in my day." Entertaining voices. Funny dig at Justin Bieber & Clarence Tomas. Well-designed stage. Review: showsiveseen.com/5060 #play#theatre♬ Head in the Clouds – Carly Pearl
Elevator Thoughts (aka Tweet): Significant Other play by Joshua Harmon at Tacoma Little Theatre. As a regular single gay man whose friends are getting married, this hits home. Romantic comedy that focuses less on love & more on girlfriends. #romcom #friends #friendship
Synopsis from the Theatre: Jordan Berman would love to be in love, but that’s easier said than done. So until he meets Mr. Right, he wards off lonely nights with his trio of close girlfriends. But as singles’ nights turn into bachelorette parties, Jordan discovers that the only thing harder than finding love is supporting the loved ones around you when they do. But, as they get married one by one, he is left to wonder why life won’t give him the same fairytale ending. Significant Other is an unorthodox romantic comedy that celebrates the highs and lows of twenty- something urban life, wedding after wedding after wedding.
Reviewed Performance: 4/21/23 Opening Weekend
Type: Play
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings: Several
Prior Exposure/Knowledge Required: None
Defined Plot/Storyline: Yes
Recommendation: See it especially if you’ve ever been a single gay man
Was This the First Time I Attended a Production of this Show: Yes
Would I See It Again 3 Years from Now: Probably if it was a professional production
Rating Compared to Other Shows with the Same Production Value: 4.5 stars (Out of 5 Stars)
Equity Actors: 0
Total Number of Actors: 7
Length (Including Any Intermission): 2 hour
Intermission: Yes
Other Rave(s) Not Mentioned in Elevator Thoughts
Stage Background: As usual, Tacoma Little Theatre showcased vibrant projected backdrops on-stage. I particularly liked the simple white modern background displayed before the show, during intermission, and at the curtain call. The club scenes backgrounds were flashy too. See the video and pictures below.
Storytelling: I enjoyed when the main character obsessively recounted/reenacted his love interest stolen moments, especially the wet naked body scene. What can I say, sex sells! Again, check out one of the pictures at the end of this article to see what I’m referring to!
Kiki: Tryphaena Singleton’s (who played Kiki) look and outfits were so chic. Great silhouette! You can tell she’s also a model in real life.
Cast Doubling: Paul Richter played 3 characters that I didn’t even know were the same person until I read the credits after the show! I wish we saw more of his fabulous “omigod, haaaaayyyy gurrrrrl!” gay coworker character though.
Anti-marriage Themes: As a cynical perpetually-single person, I definitely enjoyed the digs towards marriage like comparing marriage to a funeral and feeling like all your engaged friends are dying. There was a great tirade about how straight married couples sometimes lose their individuality and settle into mediocre heteronormativity.
Favorite Line: Something like “‘He’s a sweet guy’ is code for ugly!”
Rant(s)
Energy: Maybe it was the common show-after-opening-night lull but this production needed a little more energy. Maybe speed up some scenes or add more background/transition sounds.
Music: The very last scene contained a critical background song that awkwardly cut out in the middle. I was worried the actors would need to improvise! Fortunately, the music came back on after a minute and the play comfortably concluded. It must have been a long minute for the actors on-stage! Oh, the magical unpredictability of live theatre!
Other Musing(s) and Observation(s)
Suicide Theme: There were some mentions of suicidality that felt out of place in this romantic comedy script. The playwright could have left these out.
Theatre Company: Tacoma Little Theatre
Venue: Tacoma Little Theatre
Venue Physical Address: 210 N I St, Tacoma, WA 98403
Price: Low
Ticket Affordability Options: PWYC (pay-what-you-can) on 5/4/23 and GoldStar
Dates: April 21 to May 7, 2023
Seating: Assigned Seating
Parking: Mostly street parking. I usually like to park one block away on North Yakima Ave. Season ticket holders and donors can access a free parking lot.
Elevator Thoughts (aka Tweet): The Niceties #play by Eleanor Burgess at Intiman Theatre w/ Varinique “V” Davis & Amy Thone highlighting today’s generational/racial divide. It’s rare to find a 2-person play w/ intellectual dialogue as thrilling & delicious as this. Loved the twist at the end of the 1st act. Well-written and well-executed!
Synopsis from the Theatre: A pair of progressive women — a white baby boomer and a Black millennial — are pitted against each other at an elite university as a tenured history professor argues with her student about the effects of slavery on the American Revolution. What begins as a polite clash in perspectives explodes into a dramatic fight that will alter both their lives forever. The play forces us to choose a side as it asks: how much are you willing to sacrifice for the sake of progress?
Reviewed Performance: 4/20/23 Opening Night
Type: Play
World Premiere: No
Several or Few Scenes: Just 2 scenes
Several or Few Settings: Just 1 room
Prior Exposure/Knowledge Required: You need to know a little about the history, politics, and higher education of the United States to appreciate this play. A USA college degree and high school diploma will definitely go far in understanding the nuances.
Defined Plot/Storyline: No, there’s only so much you can do with 2 scenes in 1 room!
Recommendation: See it if you like either
2-person Plays
Intellectual Debates
Leftist/Liberal Idealism
Black Lives Matter
Or Academia
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 really good
Rating Compared to Other Shows with the Same Production Value: 5 stars (Out of 5 Stars) – This is surprising since I usually don’t like shows with few actors!
Equity Actors: 2
Total Number of Actors: 2
Length (Including Any Intermission): 2 hour
Intermission: Yes
Other Rave(s) Not Mentioned in Elevator Thoughts
Intellectually Interesting: Honestly, I initially thought the premise was inherently boring. I was pleasantly proved wrong and I actually found the play well written/executed. It was both mentally stimulating and entertaining. Stuffy academics would love listening to Professor Janine (played by Amy Throne) drone on about university. Entertainment seekers (like myself) will want to bust out the popcorn when the uncomfortable conflicts unfold. The playwright (Eleanor Burgess) wrote a great debate with interesting, valid arguments from both sides sprinkled with funny smart quips and several “mini climactic” moments.
Ending of Play (No Spoilers): The play ended abruptly on an emotionally charged note with a significant sentence and the lights suddenly off. I can’t think of many plays that do this and I feel like it’s more exciting this way. The final word of the script caught me off guard too. I had to look up the definition after the show and ponder what the playwright was trying to convey with that word. I’m still wondering! Maybe prompting the audience to ponder days after the performance is a sign of a good play though.
Ending of Each Act (No Spoilers): Both acts presented a different energy but they both also ended with their own unexpected similar juicy twist and sudden conclusion. I wish there was a word to describe this novel writing technique like the “bookends” technique. It’s like the bookends are at the end of each act instead of at the beginning/end of the play. Leave a comment in my social media if you have any ideas what this is called.
Rant(s)
“Line”: One of the actors asked for a line at the beginning of the second act. I’ve only ever seen this happen once or twice. Oh, the magical unpredictability of live theatre! In her defense, 1) it was opening night 2) she recovered well 3) and I’m always amazed at how much material on-stage actors memorize like the 1-2 gripping long-winded nervous breakdown-like tirades she delivered.
Other Musing(s) and Observation(s)
Moral of the Story: While both opposing sides made great points, the script didn’t offer much viable concluding solutions to the racial issues presented. There was no “moral of the story.” But I suppose these issues don’t have an easy solution that you can just tie up neatly with a pretty bow.
Liberal Wet Dream: With such a progressive script, Seattle was the perfect city to produce this show, what with our microaggression police, safe spaces, trigger warnings, land acknowledgements, PC-culture, pronoun-ing, and social justice warriors. Can you tell I’m not from here? 😛 Like I mentioned in my review of Between Two Knees, woke Seattleites with white guilt will be sure to eat this up. BLM protesters would love it too.
Theatre Company: Intiman Theatre
Venue: Erickson Theatre at Seattle Central College
Venue Physical Address: 1524 Harvard Ave, Seattle, WA 98122
Price: Medium
Ticket Affordability Options: The ticketing website offers honor code discount options for students, military, industry, … or anybody. There are also 20 free rush tickets 1 hour before each performance.
Dates: April 18-29, 2023
Seating: General Admission
Parking: It’s Capitol Hill … so good luck. Try to take the bus. The cheapest parking I could find was $14 on the street. Geeez!
Other Video +/- Pictures: See pictures in video and under video below by Joe Moore
Cast and Production Team: See after pictures and video below
@showsiveseen "The Niceties" #play by Eleanor Burgess at #Intiman Theatre w/ Varinique "V" Davis + Amy Thone highlighting today's generational/racial divide. It's rare to find a 2-person play w/ intellectual dialogue as thrilling & delicious as this. Loved the twist at the end of the 1st act. Well-written and well-executed! Photos by Joe Moore. Review: showsiveseen.com/4916 #theatre♬ leave me – Anees
Role
Name
Zoe Reed
Varinique ‘V’ Davis*
Janine Bosko
Amy Thone*
—
—
Playwright
Eleanor Burgess
Director
Sheila Daniels
Associate Director + Fight Choreographer
Jasmine Lomax
Scenic Designer and Intiman Artistic Director
Jennifer Zeyl†
Costume Designer
Isabella Price
Lighting Designer
Vada Briceño
Sound Designer
Matt Starritt†
Stage Manager
Hazel Rose Gibson*
Assistant Lighting Designer
Chih-Hung Shao
Intiman Managing Director
Wesley Frugé
*Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States †Member of United Scenic Artists, Local USA 829, IATSE