Theaters, Performance Spaces, and Production Companies – Page 53 – Shows I've Seen

The Murder of Roger Ackroyd – Play – Book-It Repertory Theatre

Elevator Thoughts (aka Tweet): The Murder of Roger Ackroyd play by Agatha Christie at Book-It Repertory Theatre w/ opening night cheesecake/wine reception. Diverse/blind casting. I’m proud to have finally correctly guessed the murderer in this whodunnit! #AgathaChristie #HerculePoirot #Poirot

Synopsis from the Theatre: “Always Bear in Mind That the Person Who Speaks May Be Lying” Gossip, blackmail, deception and betrayal unsettle the peaceful English village of King’s Abbot. After a pair of mysterious deaths — including one from inside a locked room – the famous detective Hercule Poirot is pulled out of retirement to solve the case. Despite his desire to relax and grow vegetable marrows, the ingenious sleuth is compelled to snoop around this quaint hamlet and its surrounding countryside. Will this sleepy 1930s village ever feel quite so cozy again? Will Poirot be able to unravel the knots of this mystery? It’s a mystery! Book-It and local playwright Danielle Mohlman (author of Nexus and a renowned theatrical adaptation of Frankenstein) are crafting this brand-new script based on one of Dame Agatha Christie’s most innovative, clever, and mind-bending mysteries. The original book has been lauded as the best crime novel of all time by the Crime Writers’ Association. This play will be directed by Seattle-based director Jasmine Joshua (director of Irma Vep at Intiman in 2022, and has also directed at Reboot Theatre, Cafe Nordo, 5th Avenue, and Village Theatre). The creative team is taking a modern approach to staging of this show, include modern music remixed and re-recorded in vintage styles, and nontraditional gender casting. We love a good whodunnit! This classic murder mystery was revolutionary for its time, and it still hits all the right notes today. It’s sinister but also fun; fast-paced but still detailed; and thrilling without being frightening. Agatha Christie is one of the best-selling authors of all time, a master of her genre, and this story shows us why. Her subtle skewering of society and her delectable characters keep her work feeling fresh almost a century on. We want you to share time with us this winter, having some good ol’ fashioned fun!

Reviewed Performance: 2/11/23 on a packed opening night

Type: Play

World Premiere: Yes

Film/Book: Based on the popular book by Agatha Christie

Defined Plot/Storyline: Yes, but like many “whodunnit” plays, it is not linear.

Recommendation: See it especially if you like mystery or “whodunnit” plays

Was This the First Time I Saw a Production of this Show: Yes

Would I See It Again 3 Years from Now: Probably not since I now know the ending. Half the fun in watching a whodunnit is guessing who the killer is!

Rating Compared to Other Shows with the Same Production Value:
4.5 Stars (Out of 5 Stars)

Equity Actors: 1 but they were all good

Total Number of Actors: 7

Length (Including Any Intermission): 2.5 hours – The second act felt slightly long

Intermission: Yes

Other Rave(s) Not Mentioned in Elevator Thoughts

Intermission Voting: It was a nice touch that the audience could vote for the murderer’s identity at intermission. As the audience exited the theatre after the second act, they could read a sign which showed the character who “won” from the intermission vote tally. It’s the first time I’ve seen this audience involvement game at a whodunnit play and I’m surprised more productions don’t implement it as well.
Diction: There was something about the way that Brandon J. Simmons (Dr. James Sheppard), Lisa Viertel (Roger Ackroyd), and Megan Ahiers (Cecil Ackroyd) delivered their lines that was very pleasant and made me think of good breeding.

Rant(s)

Corpse: After the killer murdered Roger Ackroyd in a chair, the actors draped the chair under a white sheet instead of leaving the actor under the sheet or replacing the actor with a stuffed dummy. A stuffed dummy would have been a cheap prop to make the scene more realistic.
Motivation: When the murderer was revealed, the motivation wasn’t adequately explained.

Other Musing(s) and Observation(s)

Cecil Ackroyd: Why wasn’t the sister (or sister-in-law?) interrogated?
Killer Identity: I’m proud to have finally guessed the murderer correctly. If I’ve learned anything about whodunnit plays and Agatha Christie, the murderer is always who you least expect!

Theatre Company: Book-It Repertory Theatre

Venue: Center Theatre at Seattle Center Armory

Venue Physical Address: 305 Harrison St, Seattle, WA 98109

Price: Medium

Ticket Affordability Options: Check out the discount section of their ticketing page. Goldstar usually offer good options too.

Dates: February 11 to March 5, 2023

Seating: Assigned Seating

Parking: Paid street parking or paid lot/garage parking. I usually like to park on the street near the skating park (313 Taylor Ave N, Seattle, WA 98109) East of the theatre. It’s more expensive on Climate Pledge Arena event days though so I ended up parking in South Lake Union since I’m cheap!

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Other Video +/- Pictures: Pictures in video and under video by Anthony Floyd Photography.

Cast and Production Team: See after pictures and video below

@showsiveseen "The Murder of Roger Ackroyd" #play by #AgathaChristie & @daniellemohlman at Book-It Theatre w/ opening night cheesecake/wine reception. Diverse/blind casting. I'm proud to have finally correctly guessed the murderer in this #whodunnit! Review: showsiveseen.com/3930. Photos by Anthony Floyd. #theatre #HerculePoirot #Poirot ♬ Freak – Moliy

Riley Gene photographed by Anthony Floyd

Brandon J. Simmons and Aaron Pitre photographed by Anthony Floyd

Brandon J. Simmons, Sydney Maltese, and Lisa Viertel photographed by Anthony Floyd

Aaron Pitre and Brandon J. Simmons photographed by Anthony Floyd

Role	Name
Hercule Poirot	Aaron Pitre*
Dr. James Sheppard	Brandon J. Simmons
Roger Ackroyd	Lisa Viertel
Mrs. Cecil Ackroyd, Inspector Raglan, and Miss Russell	Megan Ahiers
Captain Ralph Paton and Major Hector Blunt	Rhys Daly
John Parker and Ursula Bourne	Sydney Maltese
Miss Flora Ackroyd, Geoffrey Raymond, and Charles Kent	Riley Gene
Understudies	Benjamin Elias Nickols, Jessica Robins, Jordan-Michael Whidbey
—	—
Director	Jasmine Joshua
Author	Agatha Christie
Playwright	Danielle Mohlman
Stage Manager	Nicola Krause
Assistant Stage Manager / Covid Safety Officer	Selina Senn
Assistant Director & Assistant Dramaturg	Adrian Prendergast
Dramaturg	Sara Keats
Scenic Designer & Props Designer	Robin Macartney
Costume Designer	Jocelyne Fowler
Lighting Designer	Richard Schaefer
Sound Designer	Johanna Melamed
Dialect Coach	Marena Kleinpeter
Production Manager	Dan Schuy
Assistant Production & Company Manager	Max Koh
Technical Director	Benjamin Radin
Poster Design	Tyrell Waiters

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in USA

Sense and Sensibility – Play – Village Theatre

Giveaway: ~~I’m giving away a free ticket to this show. See more details here.~~ Congrats to Annabel!

Elevator Thoughts (aka Tweet): Sense and Sensibility play by Kate Hamill at Village Theatre. Jane Austen meets Gossip Girl. Cute, basic (in a good way), & girly romantic comedy. Loved it! Clips by Nyhuis Creative. #theatre

Synopsis from the Theatre: A playful new adaptation of Jane Austen’s beloved novel follows the fortunes (and misfortunes) of the Dashwood sisters—sensible Elinor and hypersensitive Marianne—after their father’s sudden death leaves them financially destitute and socially vulnerable. In a classic-modern mashup of the beloved Jane Austen novel, Sense and Sensibility revisits the 18th-century England of the iconic characters through a contemporary lens. Layered with smart comedy and zany antics, this playful new adaption comes to life in a delightfully indulgent production directed by Jes Spencer. Sensible Elinor and sensitive Marianne’s fortunes become misfortunes after their father’s sudden death leaves them financially destitute and socially vulnerable. Navigating societal pressures and relatable modern gossip, the two sisters learn to love while expressing their own sensibilities. Cheekily underscored by a contemporary mix of your favorite pop songs, Sense and Sensibility’s simple beauty and timelessness is a breath of fresh countryside air.

Reviewed Performance: 2/10/23 on Opening Weekend

Type: Play

World Premiere: No

Awards: 2016 Off-Broadway Alliance Award

Defined Plot/Storyline: Yes

Recommendation: See it especially if you like Jane Austen or romantic comedies

Was This the First Time I Saw a Production of this Show: Yes

Would I See It Again 3 Years from Now: Yes if it was another Equity production

Rating Compared to Other Shows with the Same Production Value:
4.75 Stars (Out of 5 Stars)

Equity Actors: 3 but they were all good

Total Number of Actors: 10

Length (Including Any Intermission): 2.75 hours – The second act felt slightly long

Intermission: Yes

Other Rave(s) Not Mentioned in Elevator Thoughts

Ball: Once again, Village Theatre triumphantly put on a dazzling ball as they did in Cinderella, their previous production. The chandelier-like disco balls were a nice touch.
Drag: Nick DeSantis was a hoot as Mrs. Ferrars in drag. I looked forward to each of his over-the-top campy costumes like the stuffy “Michelin Man” dress and the crocodile boa.
Personified Animals: Village Theatre must have heard good feedback from their last show, Cinderella, when ensemble actors occasionally portrayed animals since they did the same thing in Sense and Sensibility. The barking dogs surprised me at first!
Stuffed Animals: Speaking of animals, I also looked forward to seeing each new stuffed animal that the youngest daughter Margaret Dashwood (portrayed by Sophia Franzella) played with in each of her scene.
Town Gossips: The town gossips were a clever way to narrate the story.
London Transition: The transition from simpleton country to glamourous city reminded me of scenes where midwestern country bumpkins arrive in Manhattan.
Understudies: Kudos to Nik Doner and Michael Wu for seamlessly filling in the roles of Calder Shilling and Richard Nguyen Sloniker respectively the day after opening night.
Cliffhanger: The end of the first act was executed dramatically. I liked how they resumed the second act at the exact same scene.
Design: The lighting design, scenic design, and costume design were well-coordinated in the same beautiful feminine motif of pastel watercolors w/ warm lighting. The giant papier-mâché flowers conveyed a wholesome countryside cottage feel.
Drawing: The reveal of what Edward (or was it Elinor?) drew at the beginning of the play was funny. I doubt audience members in the back could see it though…
Cast Doubling: I’m usually not a fan of extensive cast doubling especially when it’s difficult to discern between characters. But when done successfully, I think it showcases the actors’ range of abilities. In particular, the understudies’ switched well from the awkward stiff personalities of Colonel Brandon and Edward Ferrars.
Modern References: It was fun seeing the actors wear or use modern props and costumes in this regency era production. I saw headphones, martini glasses, airport luggage, sneakers, capris, cowgirl frills, a hoodie, a Gucci logo, a steering wheel, leopard print, a letterman jacket, and a windbreaker. Modern songs were also integrated throughout the show like Celine Dion. Most of the songs were in the style of Postmodern Jukebox.

Rant(s)

Phones: While I enjoyed seeing modern props in this regency era play, the cell phones were over showcased. Too many theatre productions use cell phones as an easy crutch to add a modern flair to shows that take place in a pre-modern era. However, it was clever for the horse carriage driver to text while driving.

Theatre Company: Village Theatre

Venue: Village Theatre

Venue Physical Address: 303 Front St N, Issaquah, WA 98027 or 2710 Wetmore Ave, Everett, WA 98201 depending on your performance date

Price: Medium-Expensive

Ticket Affordability Options: Check out their discount tickets page. TodayTix and Goldstar usually offer good options too.

Dates: February 1 to April 9, 2023

Seating: Assigned Seating

Parking: Free street parking and some free parking lot. Lot parking is pretty difficult to find though. I’ve basically given up on that. I usually end up parking on Rainier Boulevard North. As a last resort, I think you can always find parking at the library but it’s a little far. Remember, there’s a bottom floor parking lot under the library’s main parking lot that most non-locals don’t know about.

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Other Video +/- Pictures: Performance clips in TikTok video are by Nyhuis Creative. Pictures under video are by Angela Sterling Photography.

Cast and Production Team: See after pictures

@showsiveseen “Sense & Sensibility” #play by @katehamill4sure at Village Theatre. #JaneAusten meets @xoxogossipgirl. #Cute, #basic (in a good way), & #girly #romanticComedy. Loved it! Review: showsiveseen.com/3773 Clips by Nyhuis Creative. #theatre ♬ Piano Concerto No. 22 3rd Movement Mozart(1003495) – takai

Sophia Franzella, Alegra Batara, and Sunam Ellis in Village Theatre’s *Sense and Sensibility* (2023). Photo by Angela Sterling.

Sophia Franzella, Calder Shilling, Alegra Batara, Suzy Hunt, Lindsay Welliver, Nick DeSantis, and Richard Nguyen Sloniker in Village Theatre’s *Sense and Sensibility* (2023). Photo by Angela Sterling.

Alegra Batara, Sunam Ellis, Josh Kenji, and Lindsay Welliver in Village Theatre’s *Sense and Sensibility* (2023). Photo by Angela Sterling.

Lindsay Welliver and Calder Shilling in Village Theatre’s *Sense and Sensibility* (2023). Photo by Angela Sterling.

Lindsay Welliver and Alegra Batara in Village Theatre’s *Sense and Sensibility* (2023). Photo by Angela Sterling.

Role	Name
Marianne Dashwood	Alegra Batara
Sir John Middleton / Mrs. Ferrars / Thomas / Gossip	Nick DeSantis*
Mrs. Dashwood / Anne Steele / Gossip	Sunam Ellis
Margaret Dashwood / Lucy Steele / Gossip	Sophia Franzella
Mrs. Jennings / Gossip	Suzy Hunt*
Fanny Dashwood / Lady Middleton / Doctor / Gossip	Jonelle Jordan
John Willoughby / Lady Middleton / Gossip	Josh Kenji
Colonel Brandon / John Dashwood / Gossip	Richard Nguyen Sloniker*
Edward Ferrars / Robert Ferrars / Lady Middleton / Gossip	Calder Shilling
Elinor Dashwood	Lindsay Welliver
—	—
Undeerstudies
Elinor Dashwood / Fanny Dashwood / Lady Middleton / Doctor / Gossip	Shanna Allman
Marianne Dashwood / Margaret Dashwood / Lucy Steele / Gossip	Cheyenne Barton
Colonel Brandon / John Dashwood / Sir John Middleton / Mrs. Ferrars / Thomas / Gossip	Nik Doner
Edward Ferrars / John Willoughby / Lady Middleton / Robert Ferrars / Gossip	Michael Wu
Mrs. Dashwood / Anne Steele / Mrs. Jennings / Gossip	Annie Yim
—	—
Stage Manager	Shay Trusty*
Assistant Stage Manager	Annika Evens
Production Assistant	Ana Sepehri
Director	Jes Spencer
Playwright	Kate Hamill
Scenic Designer	Parmida Ziaei
Sound Designer	Tosin Olufolabi
Lighting Designer	Amiya Brown
Wig Designer	Kaleena Jordan
Choreographer	Kathryn Van Meter
Costume Designer	Danielle Nieves
Assistant Director	Bretteney Beverly
Associate Lighting Designer	Casey Price
Dramaturg	Marquicia Dominquez
Fight Choreographer	Alyssa Kay
Assistant Scenic Designer	Lex Marcos
Dialect Coach	Gin Hammond
Intimacy Director	Kathryn Van Meter
Costume Stitchers	Meagan Kirby Kali Pohle

* The Actors and Stage Managers are members of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

The Sign in Sidney Brustein’s Window – Play – Intiman Theatre and The William’s Project

Elevator Thoughts (aka Tweet): The Sign in Sidney Brustein’s Window play at Erickson Theatre w/ Intiman Theatre and The William’s Project. Well-written dialogue & strong acting. Intellectual, artsy, & bohemian in an NYC way.

Synopsis from the Theatre: It’s Greenwich Village in 1964, and Sidney Brustein’s living room is the place to be. The neighborhood bohemians gather here to drink, listen to records, and argue about politics, art, and sex. Soon, Sidney stumbles into owning a local newspaper and the arguments become more heated. With a marriage on the rocks, no money, and friends advocating for different causes, this aging idealist is forced to decide what he truly believes. Brimming with humor and pulling no punches, The Sign in Sidney Brustein’s Window asks us all: how much are you willing to sacrifice to live your ideals?

Reviewed Performance: 2/9/23 on opening night

Type: Play

World Premiere: No

Defined Plot/Storyline: No – It was a lot of talking, which I usually don’t like but I still enjoyed the play because of the good scenes, writing, and acting.

Recommendation: See it if you don’t hate plays with a lot of talking and little action.

Was This the First Time I Saw a Production of this Show: Yes

Rating Compared to Other Shows with the Same Production Value:
4.25 Stars (Out of 5 Stars)

Equity Actors: 6

Total Number of Actors: 7

Length (Including Any Intermission): A whopping 3 hours!

Intermission: Yes

Other Rave(s) Not Mentioned in Elevator Thoughts

Scenes: There were countless powerful scenes in this production partly because of brilliant writing and partly because of good execution. Many of the scenes were monologue-like breaks. My favorite was probably Alton’s (Chip Sherman’s) tense commentary about how African Americans have been accepting the scraps from white people for years. Iris’s (Caitlin Duffy’s) description of the actor’s audtion process was also memorable with her strangely vivid storytelling.
Waterfall: There was a neat waterfall at the beginning of the second act that added artistic value to the production.
Costumes: The sparkly dresses that Iris and Gloria wore were stunning.

Rant(s)

Press Ticket/Media: I contacted Intiman Theatre twice for a possible press review ticket and for production photos but I did not receive any response. UPDATE 3/4/23: After I posted this review, the Intiman Instagram account messaged me how to get added to the press list.

Other Musing(s) and Observation(s)

Message: The playwright Lorraine Hansberry left a rich fodder for analysis with quotable lines and powerful scenes. But I couldn’t grasp any cohesive central moral of the play. Was it a nihilistic commentary about the futility of idealism and altruism?
Sign: If the sign was important enough to mention in the play’s title, what did the sign symbolize? Failed idealism?
Cutting Remarks: While I love watching cutting insults on-stage, why was Sidney such a dick to Iris?
Intellectuals: Was it just me or were the characters (Sydney in particular) reminiscent of pretentious highbrow hipsters who only listen to records, only drink single malt whisky, and are blissfully unaware of their privilege?

Theatre Company: Intiman Theatre and The William’s Project

Venue: Erickson Theatre

Venue Physical Address: 1524 Harvard Ave, Seattle, WA 98122

Price: Cheap to Medium-Expensive

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: February 7 to 25, 2023

Seating: Assigned Seating

Parking: It’s Capitol Hill … so good luck. Try to take the bus. The cheapest parking I could find was $10 on Harvard Avenue west of Seattle Central College.

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Other Video +/- Pictures: See TikTok video below

Cast and Production Team: See after video

@showsiveseen “The Sign in Sidney Brustein’s Window” #play at Erickson Theatre w/ #Intiman Theatre & The William’s Project. Well-written dialogue & strong acting. #Intellectual, artsy, & #bohemian in an NYC way. “I just want something to happen in my life.” Review: showsiveseen.com/3891 #theatre ♬ Conspiracy Theory – Cali Rodi

Role	Name
Sidney Brustein	Max Rosenak*
Alton Scales	Chip Sherman
Iris Parodus Brustein	Caitlin Duffy*
Wally O’Hara / Max	Holiday*
Mavis Parodus Bryson	Alexandra Tavares*
David Ragin	Lee Lebreton*
Gloria Parodus	Francesca Root-Dodson*
—	—
Director	Ryan Guzzo Purcell
Playwright	Lorraine Hansberry
Scenic and Costume Designer	An-Iin Dauber
Lighting Designer	Geoff Korf^
Sound Designer	M.L. Dogg ^
Production Stage Manager	Laurel Nichols*
Assistant Stage Manager / Covid-19 Safety Manager	Nik Nolen

* Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in USA
^Member of United Scenic Artists, Local USA 829, IATSE

History of Theatre: About, By, For, and Near – Play – ACT Theatre and The Hansberry Project

Elevator Thoughts (aka Tweet): History of Theatre: About, By, For, and Near play at ACT Theatre w/ The Hansberry Project. Experimental show quite literally about the “history of theatre” from the perspective of past African American actors. #POC #BiPOC #vaudeville #black

Synopsis from the Theatre: Travel back in time – 200 years, to be precise – with your host, Sister Blacknall, and meet the Black theatre artists of America’s history, who have returned to ensure that this time, they will be remembered. Reginald André Jackson’s wildly original play challenges the stories we’ve been told about who makes theatre and who it is for; creating a spellbinding evening that is both illuminating and inspiring. History of Theatre: About, By, For, and Near takes audiences on a journey from 1820 to the mid-1930s, through the lens of a contemporary artist making their way in our very own Seattle theatre scene. Witness the forgotten impact of The Rabbit’s Foot founder Pat Chapelle, who created the first all-Black touring vaudeville troupe in 1900, the boundary-breaking actors Ira Aldridge and Rose McClendon, as well as members of Seattle’s own Negro Repertory Company.

Reviewed Performance: 2/3/23 on opening weekend – Sorry for the late review. I’ve been busy catching up on reviews since my dad was in town. I would have posted earlier than other reviews if I realized sooner that this play had such a short run. Usually, ACT Theatre plays last at least 3 weeks after opening night and I assumed this one was no different.

Type: Play

World Premiere: Yes

Defined Plot/Storyline: No

Recommendation: See it if you’re into history and you have prior knowledge of African American theatre origins.

Was This the First Time I Saw a Production of this Show: Yes

Equity Actors: 7

Number of Actors: 8

Length (Including Any Intermission): 1 hour and 30 mins, which felt a bit long

Intermission: No

Rant(s)

Prior Knowledge: It will be difficult to enjoy this play if you don’t have prior knowledge of African American theatre history. A lot of references went over my head, and it was hard to keep track of all the characters I was unfamiliar with.

Other Musing(s) and Observation(s)

Experimental: This play was definitely different than what’s usually on stage. For starters, it was self-aware that it was play. It also addressed the 4th wall frequently and sometimes had arguments with itself. There was also time travel, which distorted the play’s chronology.
Audience: Where were the African American theatre patrons? The audience was a testament to the homogeneity in Seattle and theatre. But at least the play is a step in the right direction.

Theatre Company: ACT Theatre

Venue: ACT Theatre

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

Price: Medium to Expensive

Ticket Affordability Options: Visit the ACT Theatre Discount Page. Usually, Goldstar and TodayTix have good deals too.

Dates: January 28 to February 12, 2023 – Opening night was February 2. Sorry this review is so late!

Seating: Assigned Seating

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

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Other Video +/- Pictures: See pictures below FaceBook post

Cast and Production Team: See after pictures

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Amy Thone and R. Hamilton Wright in the World Premiere of *History of Theatre: About, By, For, and Near*, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.

Tracy Michelle Hughes, Arlando Smith, and Be Russell in the World Premiere of *History of Theatre: About, By, For, and Near*, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.

Reginald André Jackson in the World Premiere of *History of Theatre: About, By, For, and Near*, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.

Dedra D. Woods and Reginald André Jackson in the World Premiere of *History of Theatre: About, By, For, and Near*, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.

R. Hamilton Wright, Amy Thone, and Tracy Michelle Hughes in the World Premiere of *History of Theatre: About, By, For, and Near*, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.

Malcolm J. West, Be Russell and Arlando Smith in the World Premiere of *History of Theatre: About, By, For, and Near*, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.

Arlando Smith, Malcolm J. West, and Be Russell in the World Premiere of *History of Theatre: About, By, For, and Near*, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.

The ensemble cast: R. Hamilton Wright, Amy Thone, Be Russell, Arlando Smith, Dedra D. Woods, Malcolm J. West, Tracy Michelle Hughes, and Reginald André Jackson in the World Premiere of *History of Theatre: About, By, For, and Near*, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.

Malcolm J. West, R. Hamilton Wright, and Be Russell in the World Premiere of *History of Theatre: About, By, For, and Near*, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.

Dedra D. Woods in front of the ensemble cast in the World Premiere of *History of Theatre: About, By, For, and Near*, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.

R. Hamilton Wright, Malcolm J. West, Arlando Smith, and Dedra D. Woods in the World Premiere of *History of Theatre: About, By, For, and Near*, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.

Role	Name
Cast	Tracy Michelle Hughes* Reginald André Jackson* Be Russell* Arlando Smith* Amy Thone* Malcolm J West Dedra D. Woods* R. Hamilton Wright*
—	—
Understudies	Anne Allgood* Nicholas Japaul Bernard* Alexandria J. Henderson*
—	—
Director	Valerie Curtis-Newton
Playwright	Reginald Andre Jackson
Choreographer	Donald Byrd
Scenic Designer	Jennifer Zeyl
Costume Designer	Cathy Hunt
Lighting Designer	Robert J. Aguilar
Sound Designer	Larry D. Fowler
Projection Designer	Juniper Shuey
Dialect Coach	Amani Dorn
Dramaturg	Martine Kei Green-Rogers
Associate Lighting Designer	LB Morse
Stage Manager	Ruth Eitemiller*
Assistant Stage Manager	Hazel Rose Gibson*
Production Assistant	Noah Sarkowsky

* Members of Actors Equity Association, the Union of Professonal Actors and Stage Managers in the USA

Metamorphoses – Play – Seattle Repertory Theatre

Elevator Thoughts (aka Tweet): Metamorphoses play at Seattle Repertory Theatre based on the Roman Ovid’s epic magnum opus. Poetic storytelling at its finest. #Mythology #vignettes

Synopsis from the Theatre: A daring and intimate new production inspired by Ovid’s epic poems of transformation. This modern interpretation performed by a quartet of actors weaves together a collection of both well-known and rarely told myths that excavate the extremes of human experience through the purest forms of theatrical storytelling.

Reviewed Performance: 2/5/23 on opening weekend – Sorry for the late review. I’ve been busy with my dad in town.

Type: Play

World Premiere: No

Defined Plot/Storyline: No, it was multiple unconnected mythological tales

Recommendation: See it especially if you like Greek or Roman mythology. I read the Iliad and the Odessey but I’m unfamiliar with Ovid and I’ve actually never heard of any of these stories.

Was This the First Time I Saw a Production of this Show: Yes

Would I See It Again 3 Years from Now: Probably not but it was good

Rating Compared to Other Shows with the Same Production Value:
4.5 Stars (Out of 5 Stars)

Equity Actors: All

Number of Actors: 4

Length (Including Any Intermission): 1 hour and 30 mins

Intermission: No

Other Rave(s) Not Mentioned in Elevator Thoughts

Silence and Shadow: The absence of sound (silence) was a big theme in Philomela and Procne’s story. You could hear a pin drop in the theatre. Additionally, this production created dramatic shadows (absence of light) on the walls with flashlights and spotlights. The silence and shadows complemented with the simple scenic design.
Nike Imouru: Nike Imouru was a good choice as one of the storytellers by just her accent alone … not to mention her acting. What is it about the British accent that makes storytelling so much more enchanting? I especially enjoyed when she poetically spun the tale of the spider (Arachne).

Other Musing(s) and Observation(s)

Beginning: The first story in the play was about how the Earth began and it reminded me of Genesis from the Bible. I wonder what the similarities are between the Genesis text and the actual Metamorphoses text.
Climate Change: I was surprised there was a myth about climate change. I wonder if the playwrights intentionally framed the Phaethon myth to remind the audience about climate change or if Ovid’s original tale was inherently about climate change.

Theatre Company: Seattle Repertory Theatre

Venue: Seattle Repertory Theatre

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

Price: Medium to Expensive

Ticket Affordability Options:

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Dates: January 27 to February 26, 2023

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 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. In those cases, I’ll park further north up on Queen Anne Hill.

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Other Video +/- Pictures: See below pictures under video

Cast and Production Team: See below video

@showsiveseen "#Metamorphoses" #play at #SeattleRep based on the #Roman #Ovid's epic magnum opus. #Poetic #storytelling at its finest. Review: showsiveseen.com/3796 #Mythology #vignettes #theatre ♬ Pompeii – Bastille

Nike Imoru in *Metamorphoses* (2023) at Seattle Rep. Photo by Nate Watters.

Kjerstine Rose Anderson and Meme García in *Metamorphoses* (2023) at Seattle Rep. Photo by Nate Watters.

Darragh Kennan in *Metamorphoses* (2023) at Seattle Rep. Photo by Nate Watters.

Nike Imoru and Kjerstine Rose Anderson in *Metamorphoses* (2023) at Seattle Rep. Photo by Nate Watters.

Nike Imoru, Meme García, and Kjerstine Rose Anderson in *Metamorphoses* (2023) at Seattle Rep. Photo by Nate Watters.

Darragh Kennan and Nike Imoru in *Metamorphoses* (2023) at Seattle Rep. Photo by Nate Watters.

Meme García, Nike Imoru, and Kjerstine Rose Anderson in *Metamorphoses* (2023) at Seattle Rep. Photo by Nate Watters.

Kjerstine Rose Anderson and Darragh Kennan in *Metamorphoses* (2023) at Seattle Rep. Photo by Nate Watters.

Role	Name
Ensemble	Kjerstine Rose Anderson Meme García Nike Imoru Darragh Kennan
—	—
Understudies	Miguel Castellano Varinique “V” Davis
—	—
Playwrights	Sami Ibrahim Laura Lomas Sabrina Mahfouz
Director	Shana Cooper
Choreographer	Erika Chong Shuch
Scenic Designer	Sibyl Wickersheimer
Costume Designer	An-lin Dauber
Lighting Designer	Thorn Michaels
Sound Designer and Composer	Rodolfo Ortega
Dramaturg	Paul Adolphsen
Stage Manager	Jeffrey K. Hanson
Fiddle Coach	Wiley Basho Gorn
Directing Apprentice	Lucas Esperanza
Lighting Design Apprentice	Mel Williams
Stage Management Apprentice	Max Zamorano
Draper	Kim Dancy and Kirsten Hager
Wigs	Shelby Rogers
Design Associate	Isabella Harris