Category: Seattle Theatre Group

@showsiveseen "Funny Girl" classic #musical from Broadway Seattle & @Seattle Theatre Group at Paramount Theatre. Starring @Hannah Shankman w/ her effortlessly powerful steady voice. Mister Arnstein understudied by Travis Ward-Osborne. What a spectacle of costumes, (tap) dance, & showstoppers! Closes tomorrow w/ only 4 more performances left! Review: showsiveseen.com/9850 Director: Michael Mayer Choreography: @✨Ellenore Scott✨ & @Ayodele Casel Conductor: Elaine Davidson Stage Manager: Jovon E. Shuck & Kyle Dannahey #funnyGirl #theatre #showsiveseen @FUNNY GIRL ♬ Don't Rain on My Parade (Glee Cast Version) – Glee Cast

Elevator Thoughts (aka Tweet): Funny Girl classic musical from Broadway Seattle and Seattle Theatre Group at Paramount Theatre. Starring Hannah Shankman with her effortlessly powerful steady voice. Mister Arnstein understudied by Travis Ward-Osborne. What a spectacle of costumes, (tap) dance, and showstoppers!

My Synopsis (No Spoilers): An average-looking funny girl tries to make it in show biz and win the affections of a rich man. This story is based on the real-life Fanny Brice.

Synopsis from the Licensor or Theatre Company: Featuring one of the most iconic scores of all time by Jule Styne and Bob Merrill, an updated book from Harvey Fierstein based on the original classic by Isobel Lennart, tap choreography by Ayodele Casel, choreography by Ellenore Scott, and direction from Michael Mayer, this love letter to the theatre has the whole shebang! The sensational Broadway revival dazzles with celebrated classic songs, including “Don’t Rain on My Parade,” “I’m the Greatest Star,” and “People.” This bittersweet comedy is the story of the indomitable Fanny Brice, a girl from the Lower East Side who dreamed of a life on the stage. Everyone told her she’d never be a star, but then something funny happened—she became one of the most beloved performers in history, shining brighter than the brightest lights of Broadway.

Attended Performance Date: Opening Night 9/24/24 – Get your tickets now since this national tour leaves Seattle 9/29/24!

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) Set? No

Prior Exposure/Knowledge Required: No, but you might appreciate the jokes more if you’re Jewish American.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Equity Actors: All

Total Number of Actors: Too many to count

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Was This the First Time I Attended a Production of this Show? No, I attended a community theatre production at the San Pedro Playhouse in San Antonio.

Would I See It Again 3 Years from Now? I think so

Mainstream Appeal: High

Other Rave(s) Not Mentioned Above

• Vocals: Hannah Shankman’s (who played the main character Fanny Brice) voice was an effortlessly steady powerhouse (if not a tad too nasal). I would love to hear her sing jazz standards. She really shined in “Cornet Man,” “Rat-Tat-Tat-Tat,” “I’m the Greatest Star,” and “The Music That Makes Me Dance.”
• Showstopping (or “Show-pausing?”) Applause: There were several extended ovations throughout the show when the actors paused longer than normal till the crowd finished clapping like after “I’m the Greatest Star,” “The Music That Makes Me Dance,” and Eddie’s tap dance solo.
• Stage Bulbs: The light bulbs surrounding the stage opening conveyed an old timey showbiz vibe that perfectly complemented the story’s subject matter.
• Costumes: Costume designer Susan Hilferty curated an expansive, diverse, and visually captivating repertoire. Additionally, it was a wise artistic decision to showcase the costumes from each major song at the show bookends.

Other Musing(s) and Observation(s)

• Casting: The Fanny Brice main character role is best suited for an actress who is more homely or at least awkward. Hannah Shankman fit neither of those requirements since she was prettier than average, and she portrayed her role with confidence like the quirky Zooey Deschanel. The character would have been more convincing if Hannah roughed up her face or sold the awkwardness to the audience more. She redeemed herself a bit during the standing ovations when she humbly accepted the audience’s applause.
• “His Love Makes Me Beautiful” Song: Fanny’s extreme reluctance to perform this song was incredibly puzzling. She’d have to look like a disfigured dog to merit the extraordinary efforts taken to avoid performing the song. The assholes who sang “If a Girl Isn’t Pretty” gave her this complex!
• Gender Commentary: The script is a wonderful commentary on binary gender roles. Society internalizes obsession with women’s appearances while men aren’t examined with the same scrutiny. (Even my previous two bullet points were about a woman’s appearance!) It was refreshing to see moments of Fanny’s resilience and positivity despite society’s expectations pulling her down. While the show ended on an empowering feminist note, the misogynistic pathway to get there was sometimes painful to watch. The first verse to “You Are Woman, I Am Man” embodied this pathway encouraging women to make themselves smaller so their insecure partners can feel like big men. Fanny was a strong independent woman who don’t need no man!

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: $40-150 plus the insane Ticketmaster fees. Buy your ticket at the box office to avoid the exorbitant fees. Down with the Ticketmaster Live Nation monopoly!

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

Dates: September 24 to 29, 2024

Seating: Assigned Seating

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

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Buy a Ticket or Learn More:

• https://funnygirlonbroadway.com/
• https://www.stgpresents.org/events/funny-girl/
• https://seattle.broadway.com/shows/funny-girl/
• Program

Pictures: See pictures below by Matthew Murphy from MurphyMade.

Cast and Production Team: See after pictures below. In the 9/24/24 performance, Travis Ward-Osborne played the Nick Arnstein character, Vinny Andaloro played the Mr. Renaldi character, Emily Anne Nester played Alex Hartman’s track, and Sean Seamus Thompson played Mathew Fedorek’s track.

@showsiveseen @Peter Pan the Musical family-friendly #musical national tour from @Seattle Theatre Group & Broadway Seattle at the Paramount. Starring @nolan and @Cody Garcia. Impressive stage magic with aerial flying, fairy effects, shadow tricks, and beautiful projections that would certainly fill children & adults with wonder. Closes 8/25. Review: showsiveseen.com/9499 Director: Lonny Price Stage Manager: Megan Belgam & Kendall Stevens Conductor: Jonathan Marro #theatre #showsiveseen #peterPan #Neverland #CaptainHook ♬ I Won't Grow Up – The Fools

Elevator Thoughts (aka Tweet): Peter Pan family-friendly musical national tour from Seattle Theatre Group and Broadway Seattle at the Paramount. Starring Nolan Almeida and Cody Garcia. Impressive stage magic with aerial flying, fairy effects, shadow tricks, and beautiful projections that would certainly fill children and adults with wonder. Closes 8/25.

My Synopsis (No Spoilers): It’s the classic story of Peter Pan, the magical boy (accompanied by his fairy Tinkerbell) who never grows up. He flies Wendy and her brothers to Neverland, where they encounter the lost boys, Tiger Lilly with her indigenous gang, and Captain Hook with his pirate band.

Synopsis from the Licensor or Theatre Company: This high-flying musical has been thrilling audiences of all ages for close to 70 years and is now being brought back to life in a new adaptation by celebrated playwright Larissa FastHorse, directed by Emmy Award winner Lonny Price and choreography by Lorin Latarro. The adventure begins when Peter Pan and his mischievous sidekick, Tinker Bell, visit the bedroom of the Darling children late one night. With a sprinkle of fairy dust and a few happy thoughts, the children are taken on a magical journey they will never forget. This extraordinary musical full of excitement and adventure features iconic and timeless songs including “I’m Flying,” “I Gotta Crow,” “I Won’t Grow Up” and “Neverland.” PETER PAN embraces the child in us all so go on a journey from the second star to the right and straight on ‘til morning – your entire family will be Hooked!

Attended Performance Date: Opening Night 8/21 – Buy your tickets now since the show closes on 8/25!

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) Set? No, it was dynamically changing

Prior Exposure/Knowledge Required: No, but you’d probably appreciate this show more if you’re already familiar with the classic tale in any iteration. I personally saw the Disney film and the movie Hook.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Equity Actors: All

Total Number of Actors: 24

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours, which might be too long for a show targeted to kids

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

Would I See It Again 3 Years from Now? No

Mainstream Appeal: Medium

Other Rave(s) Not Mentioned Above

• Stage Magic:
  • Aeriel Flying: This production expertly incorporated aerial flying throughout the show starting with Peter Pan’s glitter filled grand entrance. The actors seamlessly transitioned between flying and walking. The aeriel flying would surely fill children with a sense of wonder. I certainly personally wondered when they found the time to unobtrusively attach and detach their flying cables on-stage in the middle of scenes!
  • Fairy Effects: This production portrayed the Tinkerbell fairy well with “simple” little light bulbs, which often required coordination between actors and some lite puppetry skills.
  • Shadow Tricks: Peter Pan’s shadow was so convincing. It “moved” scenery pieces like a picture frame and curtains. I didn’t even realize it wasn’t Nolan Almedia’s actual shadow until the last half of the scene. Tight synchronicity!
  • Projections: Thankfully, the projections weren’t an overused crutch like I’ve often seen in other shows. The projections augmented the flying scene spectacularly. However, it was a cop out to portray the actors in the projections during part of that scene. The vibrant realistic backgrounds blended well with the physical scenery pieces. They sometimes created wonderful transitions between settings like the jungle and ship. However, there were a few moments where movement was obvious cheesy fake CGI like water splashes, flying birds, and falling leaves.
• Scenic Design: I love the lush, vibrant green motif, especially the beautiful jungle sets.
• Bookends: Peter Pan’s visits to the real world nursery at the beginning and end of the show mirrored each other well.
• Pirates: Cody Garcia and Kurt Perry flamboyantly portrayed Captain Hook and Smee respectively. It was cleaver to see their band of pirates as an actual music band.

Rant(s)

• Kid Friendly: This is probably the most childish show I’ve seen from Broadway Across America in Seattle, San Antonio, and Houston … even more than any Disney national tour musical! I guess this is appropriate if you’re taking kids to the theatre. But it will definitely turn off childless grinch patrons like me. A part of me thinks this show is better suited for professional children’s theatre (like Seattle Children’s Theatre) instead of the Paramount. Adults acting childish with exaggerated movements (when theatre movements are already inherently exaggerated) is not my cup of tea. I also generally detest seeing elementary school children on stage since they typically milk the cuteness factor, which distracts from their actual performing talent.
  • Dying Scene (No Spoiler): Because I detested the childish elements of this show, I was drawn (like a pendulum thirsty for grown-up theatre) to the most solemn scene in the show when a character was dying. But they ruined the moment by breaking the fourth wall (vomit) and resolving it with a family-friendly pantomime cop out. Die Mufasa!
  • Moon: WTF was the talking moon? That random transient character was uncalled for and unnecessary. It shattered the suspension of disbelief. Get out of here!

Other Musing(s) and Observation(s)

• Mermaid: Unlike most Peter Pan story iterations, there were no mermaid characters in this script. Even the Peter and the Starcatcher prequel included mermaids!
• Score: The songs were fine, but not iconic. They were well-performed, but not inherently memorable. The kid-friendly nature didn’t help things out either. For example, I wasn’t a fan of Disney-like “Friends Forever” and that god-awful song about crowing. Speaking of Disney, I wish they could include some Disney Peter Pan songs like “You Can Fly.”
• Indigenous Theme: I noticed that Larissa FastHorse (who is Native American) was credited for book modifications to the 1954 script. I’m so curious how drastic her changes were to the portrayal of indigenous characters. I remember in my woke 2024 hindsight that the Disney film was racially problematic.
  • Tiger Lilly: Tiger Lilly’s (played by Raye Zaragoza) song lines were often in a lower alto-ish range. With most female leads singing soprano, I wonder what the reason for this musical decision was. Side note, Raye Zaragoza in this role strangely reminded me of Jennifer Garner in the movie 13 Going on 30.

Theatre Company: National Tour Brought by Broadway Across America and Seattle Theatre Group

Venue: Paramount Theatre

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

Price Range: $40 to 135 plus the insane Ticketmaster fees. Buy your ticket at the box office to avoid most of the Ticketmaster fees. Down with the Ticketmaster Live Nation monopoly!

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

Dates: August 21 to August 25, 2024

Seating: Assigned Seating

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

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

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• X (Formerly “Twitter”)
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Buy a Ticket or Learn More:

• https://seattle.broadway.com/shows/peter-pan/
• https://www.stgpresents.org/calendar/15148/peter-pan
• https://peterpanontour.com/
• Program

Pictures: See pictures below by Matthew Murphy from MurphyMade

Cast and Production Team: See after pictures below.

@showsiveseen @CompanyBway #Sondheim #musical at the Paramount Theatre from @Seattle Theatre Group & @broadwaycom. Insights that #single aging #millennials can appreciate. Great scenic design. Gender twist starring @britneycoleman. Surprisingly enjoyed it. Closes on 7/28. #millennial #NYC #newYork #theatre #showsiveseen #company Review: showsiveseen.com/9162 Director: Marianne Elliott Conductor: @altermancharlie Stage Mangers: @Jay ♬ You Could Drive a Person Crazy – Richard Fleeshman & Matthew Seadon-Young & George Blagden

Ticket Giveaway: I’m giving away a free ticket to this production. Click here to read more details! (Update 7/28/24: Congrats to Katt!)

Elevator Thoughts (aka Tweet): Company Sondheim musical at the Paramount Theatre from Seattle Theatre Group & Seattle Broadway. Insights that single aging millennials can appreciate. Great scenic design. Gender twist starring Britney Coleman. #NYC #newYork

My Synopsis (No Spoilers): A hip New York woman faces the existential crisis of turning 35 while still single. She experiences this disaster in a series of vignettes as a third wheel with her coupled friends.

Synopsis from the Licensor or Theatre Company: PHONE RINGS, DOOR CHIMES, IN COMES COMPANY. Winner of 5 Tony Awards including Best Revival of a Musical, COMPANY “strikes like a lightning bolt. It’s brilliantly conceived and funny as hell.” (Variety). Helmed by three-time Tony Award-winning director Marianne Elliott (War Horse, The Curious Incident of the Dog in the Night-Time, Angels in America) this revelatory new production of Stephen Sondheim and George Furth’s groundbreaking musical comedy, at once boldly sophisticated, deeply insightful, and downright hilarious. It’s Bobbie’s 35th birthday party, and all her friends keep asking, Why isn’t she married? Why can’t she find the right man and isn’t it time to settle down and start a family? As Bobbie searches for answers, she discovers why being single, being married, and being alive in the 21st-century could drive a person crazy. COMPANY features Sondheim’s award-winning songs “You Could Drive a Person Crazy,” “The Ladies Who Lunch,” “Side by Side by Side” and the iconic “Being Alive.” Let’s all drink to that!

Attended Performance Date: Opening Night 7/23/24 – Buy your tickets now since the show closes on 7/28/24.

Type: Musical, but it felt more like a play with singing, dancing, and music.

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) Set? No

Prior Exposure/Knowledge Required: You should be in your 30s or past your 30s. I saw Companyin my 20s and I definitely did not appreciate the script as much as I do now with more life experience. It’s kind of like watching Sex and the City in your 20s vs your 30s … without as much humor.

Defined Plot/Storyline: No, it a series of dialogue-filled vignettes and musings similar to Songs for a New World, You’re a Good Man Charlie Brown, and even Schoolhouse Rock!

Live Band/Orchestra: Yes

Equity Actors: All

Total Number of Actors: 15

Perceived Pace of the Show: Slow to medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.75 hours

Was This the First Time I Attended a Production of this Show? No, I previously saw this at the Music Box Theatre in Houston about 10 years ago in my 20s.

Would I See It Again 3 Years from Now? Maybe. With the many gender reversals in this production, I’m so curious to compare the relationship dynamics with the original gender intent reversed back.

Mainstream Appeal: Low to medium

Other Rave(s) Not Mentioned Above

• Unexpected Surprise: I must confess that I was initially not as excited as usual to see Company. Out of Broadway Seattle’s entire 2023-2024 season lineup, this show was my least anticipated, especially because I don’t like Sondheim music/musicals. Blasphemy, I know. Also, as I previously mentioned, I already saw Company before and I hated it. I might have even left early at intermission back then! But the first production I attended was a lower budget (non-professional?) show. So, I figured I should give the musical a second chance in this high budget professional national touring production. I was subsequently surprised to appreciate/enjoy it more, especially as the show progressed. I hypothesize this is due to a combination of higher production value and more life experience.
• Gender Twist: The original Company script featured Bobby, a man, as the main character. This production reimagined the main character as Bobbie, a woman. They also changed other cast members’ genders like Bobbie’s heterosexual romantic interests. Often when gender reimagining a musical, the “new” characters are unable to adequately sing the original vocal range. They usually either sing an octave too high or too low. Fortunately, vocal range was not a problem in this production. I suspect they transposed a couple songs to accommodate the gender reversal. Side note, with all the gender reimagining, could they not have switched one of the heterosexual couples to lesbians?
• Scenic Design: This production relied heavily on a nice minimalist shadow box and neon light motif with simple clean lines.
  • Shadow Boxes The shadow boxes reminded me of the scenic design in Village Theatre’s Cinderella. This also allowed partitioning the stage into multiple apartment rooms.
  • Letters and Numbers: The “Company” neon Hollywood-Sign-like giant letters featured in PJ’s (played by Matthew Christian) “Another Hundred People” song about New York uniquely rearranged to spell “NYC.” Also, the age “35” was featured several places like party balloons and large foreboding bouncy characters. The “35” street addresses were a nice touch, demonstrating attention to detail.
• Significant Statements and Insights: There were several universal-like observations about singledom and/or your 30s scattered throughout the show like “Marry me and then everyone will finally leave us alone” or something like “Phones and divorce are similar. They make you feel both connected and disconnected.”
• Gay Couple: My friend Justin and I agree that the “Getting Married Today” scene/song was amazing. The door, cupboard, and cake entrances were funny surprises. The flamboyantly jittery Jaime (played by Kenneth Quinney Francoeur) reminded me of Nathan Lane in The Birdcage.
• Introduction to Love Interests: “You Could Drive a Person Crazy” was a light cute barbershop-style song sung by Bobbie’s three love interests Andy, PJ, and Theo (played by Jacob Dickey, Matthew Christian, and David Socolar respectively).
• Flight Attendant: Speaking of Andy, he was a delightfully airheaded hot male flight attendant. Why are hot dumb people so desirable? He was likable even before he gratuitously stripped down to his sexy skivvies.
• Relationship Montage: I absolutely love the red dress body doubles in the hypothetical montage where Bobbie accepts the mediocrity of living a conventional coupled life with children. There was so much overlapping action! It was the visual equivalent of a song with rounds.
• Marijuana: I usually don’t enjoy observing actors portray getting high or drunk on-stage or on-screen. It’s a patronizing gratuitous way to extract low brow laughs from the audience. That being said, it was amusing to watch “the square” David (played by Christopher DeAngelis) getting high.
• Flashes: This production generously shined alluring flash-like effects throughout the show. This was usually during camera phone flashes. It was much better than generating the flashs from props.

Rant(s)

• Phone Overuse: Speaking of phones, this production overused phone props way too much as a crutch to enhance modern relatability. Excessive phone use in the theatre on-stage (and in the audience) is one of my theatre pet peeves. It reminds me of my rants from Village Theatre’s Sense and Sensibility play.

Other Musing(s) and Observation(s)

• Voicemail Prompt: Who leaves a voicemail prompt about their birthday these days? It’s pretty antiquated and a bit narcissistic. It probably made sense in the 1970s Company production and I admit that it’s probably difficult to translate this practice from 1970 to 2024. Maybe Bobbie should have posted that birthday message on social media instead of creating a voicemail prompt.
• Alcohol: I suspect another relic from the 1970s was the number of times the script glorified alcohol, which doesn’t translate well for today’s 30-40 somethings. Don’t get me wrong. My friends and I binged drank too many times in our 20s, but we grew up and realized our bodies can’t handle alcohol as well in our 30s. Sobriety is sometimes even considered trendy these days, what with “California sober.” Maybe I’m a Pollyanna, but the script’s obsession with alcohol doesn’t match today’s elder millennials’ consumption.
• First Act Finale: Like most other Sondheim musicals, I thought the end of the first act was the end of the entire show.
• Moral of the Story: What was the ultimate message at the end of the show? Be single or be coupled? Personally, I thought Bobbie seemed a bit needy. Gurl, “a woman without a man is like a fish without a bicycle.” She needs to find fulfillment in herself independent of her romantic relationships. She’s a strong independant woman who don’t need no man! If anything, she was in desperate need of Sex and the City single friends. No wonder she feels inadequate when she’s surrounded by couples. I’m so curious how different I would have interpreted this needy dynamic if Bobbie (woman) was portrayed as the original Bobby (man).

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

Venue: Paramount Theatre

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

Price Range: $40 to 125 plus the insane Ticketmaster fees. Buy your ticket at the box office to avoid most of the Ticketmaster fees. Down with the Ticketmaster Live Nation monopoly!

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

Dates: July 23 to 28, 2024

Seating: Assigned Seating

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

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

• Instagram
• TikTok
• X (Formerly “Twitter”)
• Facebook
• YouTube
• Threads

Buy a Ticket or Learn More:

• https://seattle.broadway.com/shows/company/
• https://www.stgpresents.org/calendar/14041/company
• https://companymusical.com/
• Program

Pictures: See pictures below Matthew Murphy from MurphyMade.