Elevator Thoughts (aka Tweet): The Book of Will play at Taproot Theatre. Enthusiastic delivery. Nice Tudor costumes. Love letter to Shakespeare, acting, posterity, and legacy.
Recommendation See it if you enjoyed Bruce or if you’re a Shakespeare fan.
Synopsis from the Theatre: An unforgettable true story! In an act of undying devotion, Shakespeare’s best friends race to do the impossible: Publish every play he wrote. This irreverent, witty, and surprisingly modern tale celebrates friendship, found family, and an unselfish act that changed the world forever. From the author of Silent Sky and the Christmas at Pemberley series.
Attended Performance Date: Opening Night 1/26/24 – Keep your eyes peeled for my preview posts if you want earlier notification of shows I’ve seen. Get your tickets now since the show ends this weekend!
Type: Play
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings/Locations: Several
Static (Stationary) Set? Yes
Prior Exposure/Knowledge Required: Obviously, you should be familiar with Shakespeare references and his major plays.
Defined Plot/Storyline: Yes
Equity Actors: 2
Total Number of Actors: 10
Perceived Pace of the Show: Medium Speed
Length (Including Any Intermission): 2.5 hours
Was there an intermission? Yes
Was This the First Time I Attended a Production of this Show? Yes
Would I See It Again 3 Years from Now? No
Other Rave(s) Not Mentioned Above
Purpose of Theatre/Acting: My favorite scene was at the beginning of the second act when John Heminges (played by Eric Jensen) and Henry Condell (played by Reginald André Jackson) solemnly waxed poetically about the reason for live theatre – it’s so the people in the room can feel. “The faeries aren’t real, but the feeling is.”
Other Musing(s) and Observation(s)
Storyline: It’s not an absolute requirement, but it didn’t feel like the storyline followed the classic narrative structure of the typical plot pyramid/diagram. Additionally, similar to Bruce, there didn’t seem like enough substantial significant conflict or cliffhanger. The deaths seemed random/unnecessary, and characters appeared out of nowhere.
Theatre Company: Taproot Theatre
Venue: Jewell Mainstage at Taproot Theatre
Venue Physical Address: 204 N 85th St, Seattle, WA 98103
Pictures: See pictures below and in video above by John Ulman.
Reginald André Jackson, Nolan Palmer, and Eric Jensen in The Book of Will at Taproot Theatre. Photo by John Ulman.Nolan Palmer and Melanie Godsey in The Book of Will at Taproot Theatre. Photo by John Ulman.Andrew Litzky and Nik Doner in The Book of Will at Taproot Theatre. Photo by John Ulman.Reginald André Jackson and Eric Jensen in The Book of Will at Taproot Theatre. Photo by John Ulman.Llysa Holland, Nikki Visel, Eric Jensen, and Reginald André Jackson in The Book of Will at Taproot Theatre. Photo by John Ulman.Reginald André Jackson, Melanie Godsey, Nik Doner, and Eric Jensen in The Book of Will at Taproot Theatre. Photo by John Ulman.Eric Jensen and Llysa Holland in The Book of Will at Taproot Theatre. Photo by John Ulman.
Elevator Thoughts (aka Tweet): Georgiana & Kitty play at Taproot Theatre. Final chapter in Lauren Gunderson’s and Margot Melcon’s “Christmas at Pemberley” Pride and Prejudice trilogy. Filled with the hallmark themes of Jane Austen’s stories. Relatable to online dating.
Recommendation
See it if you enjoyed Pride and Prejudice.
Synopsis from the Theatre: Georgiana Darcy is an accomplished pianist but wary of romance. Kitty Bennet is a bright-eyed optimist and a perfect best friend. These two younger sisters are ready for their own adventures in life and love, starting with the arrival of an admirer and secret correspondent. Meddlesome families and outmoded expectations won’t stop these determined friends from forging their own way in a holiday tale filled with music, ambition, sisterhood, and forgiveness. The third and final play in the trilogy by Lauren Gunderson and Margot Melcon.
Attended Performance Date: Opening Night 11/24/23 – See my previous preview posts here.
Type: Play
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings/Locations: (Very?) Few
Static (Stationary) Set?: Yes
Prior Exposure/Knowledge Required: Pride and Prejudice is required reading (or “watching” if you prefer a movie/play) to understand and appreciate this play. Don’t worry if you didn’t see the previous two chapters in the “Christmas at Pemberley” trilogy. I saw the 2nd and 3rd chapters sequentially without seeing the 1st chapter and I still enjoyed the shows. But if you’re like me and you’re not an ardent Pride and Prejudice aficionado, I highly recommend reviewing the helpful family tree in the program on page A-3.
Defined Plot/Storyline: Yes
Equity Actors: 2
Total Number of Actors: 9
Perceived Pace of the Show: Medium Speed
Length (Including Any Intermission): 2.5 hours
Was there an intermission? Yes
Was This the First Time I Attended a Production of this Show? Yes
Would I See It Again 3 Years from Now? No, but it was good. Since I saw the 2nd and 3rd chapters of this trilogy, I’m now curious to see the 1st chapter.
Other Rave(s) Not Mentioned Above
Favorite Line: When Mr. Darcy said, “There’s always a letter” which was a wink to the audience on how Jane Austen’s conflicts often start with a letter.
Georgiana Casting: As someone regularly featured in Seattle’s theatre music scene, Clair Marx was perfectly cast as the virtuoso Georgiana Darcy.
Modern Dating: Whether or not it was the playwrights’ intention, I loved how the script evoked feelings experienced in online dating. The Jane Austen-esqe letters remind me of how chatting on the dating apps builds so much anticipation/expectation potentially leading up an endearingly awkward meeting in-person (or a horrible catfish!). There was one such meeting in the play that was reminiscent of an old HappySlip sketch (see 1:50 to 2:50).
Reprised Roles: Many key characters in this production were previously cast in Taproot Theatre’s past “Christmas at Pemberley” productions. For example, in the 1st and 3rd chapter, Shanna Allman played Mary Bennet and Melanie Hampton portrayed Jane Bingley. Annie Yim played Elizabeth Darcy (nee Bennet) in the 2nd and 3rd chapter. Throughout the entire trilogy, Kelley Karcher portrayed the narcissistic Lydia Wickam while Brian Pucheu played the cold Mr. Darcy. This role reprisal promoted a feeling of continuity and familiarity between productions.
Rant(s)
Keyboard: As I mentioned in Village Theatre’s current Beautiful production, there’s a Seattle live theatre problem with cheap-sounding on-stage electric keyboards. While I’m always happy to hear Claire Marx performing live music, I wish she could play a real piano on-stage in this production. An upright piano would have fit the bill perfectly for the small theatre space.
William Eames and Jeremy Steckler in Georgiana and Kitty: Christmas at Pemberley by Lauren Gunderson and Margot Melcon. Photo by Robert Wade Photography.William Eames and Claire Marx in Georgiana and Kitty: Christmas at Pemberley by Lauren Gunderson and Margot Melcon. Photo by Robert Wade Photography.Claire Marx and Ays Garcia in Georgiana and Kitty: Christmas at Pemberley by Lauren Gunderson and Margot Melcon. Photo by Robert Wade Photography.Jeremy Steckler and Ays Garcia in Georgiana and Kitty: Christmas at Pemberley by Lauren Gunderson and Margot Melcon. Photo by Robert Wade Photography.Claire Marx with Melanie Hampton, Kelly Karcher, Shanna Allman, and Annie Yim in Georgiana and Kitty: Christmas at Pemberley by Lauren Gunderson and Margot Melcon. Photo by Robert Wade Photography.
ROLE
NAME
Kitty Bennet
Ays Garcia*
Elizabeth Darcy
Annie Yim
Fitzwilliam Darcy
Brian Pucheu
Henry Grey
William Eames
Georgiana Darcy
Claire Marx
Jane Bingley
Melame Hampton
Mary Bennet
Shanna Allman
Lydia Wickham
Kelly Karcher*
Thomas O’Brien
Jeremy Steckler
—
—
Georgiana, Lydia, & Jane U/S
Rebecca Gelzer
Darcy & Thomas U/S
Elijah Spreier
Kitty, Lizzy, & Mary U/S
Ariel Rose
Darcy & Henry U/S
David Breyman
—
—
PRODUCTION TEAM
Director
Karen Lund**
Assistant Director
Bretteney Beverly
Playwrights
Lauren Gunderson, Margot Melcon
Original Compositions
Michael Nutting
Associate Artistic Director
Bretteney Beverly
Co-Scenic Designer
Amanda Sweger
Sound & Co-Scenic Designer
Mark Lund
Costume Designer
Pete Rush
Lighting Designer
Tim Wratten
Stage Manager
Nik Nolen*
Dialect Coach
Dimitri Woods
Property Master
Andrea Spraycar
Dramaturg Team
Kelly Flynt, Sonja Lowe, Dami Munroe
Assistant Stage Manager
Nicola Krause
Backstage Crew Swing
Ashley Burns
Casting Director
Bretteney Beverly
Casting Consultant
Jes Spencer
Dresser
Luna McMeen, Brooke Thomas
Draper
Martha Mitchell
Stitcher
Veronica Dimoff, Scian Hayes, Lucy Cavener
Wig Designer
Joyce Degenfelder
Wig Specialist
Jenn Hill
Master Electrician
Aiyana Stephens
Scenic Carpenter
Tim Samland ^
Light Board Operator
Matthew Ray
Sound Board Operator
Andi Villegas
Electricians
Clint Bull, Morgan Poirer, Matthew Ray, Anna Van Vleet, Jacob Viramontes
Scenic Strike/Load-in
Elke Johnson ^, Kimmy Mar ^, M. Stephanie Watson^
* Member of Actors’ Equity Association ** Member of Stage Directors and Choreographers Society ^ Member of IATSE Local No. 15
Elevator Thoughts (aka Tweet): Andrew Lee Creech’s Last Drive to Dodge world premire play at Taproot Theatre w/ The Hansberry Project. Well-written dialogue, cute repartee, dimensional characters, and lots of audience reactions. #showsiveseen #theatre
Synopsis from the Theatre: Prophet and Ro are chasing dreams faintly whispered on the wind that sweeps the dusty Texas plain, where ranching is brutal work and change is on the horizon. Set at the end of the Cowboy Golden Age, Last Drive to Dodge examines race, love, and legacy in a time when everyone is scrambling for their piece of the American Dream.
Several or Few Settings/Locations: A couple of locations on a ranch
Static (Stationary) Set: Yes
Prior Exposure/Knowledge Required: No
Defined Plot/Storyline: Mostly yes, but there’s only so much that can occur on a ranch
Equity Actors: 2
Total Number of Actors: 4
Perceived Pace of the Show: Slow to medium speed
Length (Including Any Intermission): 2.25 hours
Was there an intermission?: Yes
Was This the First Time I Attended a Production of this Show: Yes
Would I See It Again 3 Years from Now?: Probably not, but it was good
Recommendation: See it, especially if you either like 1) plays about race in the USA 2) or plays that are heavier on the dialogue than action
Other Rave(s) Not Mentioned in Elevator Thoughts
Audience Reaction: You know it’s a good play when you hear lots of reactions from the audience like laughter, gasps, groans, “humphs,” and “hmmms.” I noticed these audience reactions more in the second act. I won’t spoil anything, but I specifically remember audibly groaning when somebody took off their hat in the second act.
Dimensional Characters: The characters in this play were not simply good or bad and black or white (no pun intended). The playwright added some depth to their backstory that influenced their motivations. Ironically, I enjoyed the least complex character (Millie played by Jonelle Jordan) the most since she had the funniest lines.
Dialogue: The dialogue was well-written and there were some sly funny random quips. I loved the way Ro (played by Dedra D Woods) dressed down Millie regarding Millie’s ignorance of her own personal white privilege. The climactic scene towards the end of the play when Ro and Prophet (played by Yusef Seevers) debated the unfairness of black responsibility reminded me of when Michelle Obama said her family faced more scrutiny under the public eye than other presidential families because of race.
Twist: The reveal at the end of the first act was unexpected.
Rant(s)
Audience Hazard: One of the actors hammered a fence post on-stage and particulates flew everywhere. This was a potential eye injury hazard especially since the audience was so close to the stage.
Other Musing(s) and Observation(s)
Montage (Slight Spoiler): What did the “I am” video montage mean in the second act? And who were the people in it?
Prophet vs Profit: In the second act, I realized the name “Prophet” also sounds like “profit.” I wonder if the playwright intentionally considered this.
Hook: They were probably taking advantage of the fact that sex sells during the play’s first act hook with the post-coital scene.
Theatre Company: Taproot Theatre and The Hansberry Project
Venue: Jewell Mainstage at Taproot Theatre
Venue Physical Address: 204 N 85th St, Seattle, WA 98103
Dedra D. Woods and Yusef Seevers in Last Drive to Dodge by Andrew Lee Creech at Taproot Theatre. Photos by Robert Wade Photography.Dedra D. Woods and Yusef Seevers in Last Drive to Dodge by Andrew Lee Creech at Taproot Theatre. Photos by Robert Wade Photography.Dedra D. Woods and Tim Gouran in Last Drive to Dodge by Andrew Lee Creech at Taproot Theatre. Photos by Robert Wade Photography.Dedra D. Woods and Yusef Seevers in Last Drive to Dodge by Andrew Lee Creech at Taproot Theatre. Photos by Robert Wade Photography. Jonelle Jordan and Tim Gouran in Last Drive to Dodge by Andrew Lee Creech at Taproot Theatre. Photos by Robert Wade Photography.Yusef Seevers and Tim Gouran in Last Drive to Dodge by Andrew Lee Creech at Taproot Theatre. Photos by Robert Wade Photography.
Role
Name
Prophet
Yusef Seevers *
Ro
Dedra D. Woods *
Millie
Jonelle Jordan
Bennett
Tim Gouran
—
—
Prophet (Understudy)
Jarron A Williams
Ro (Understudy)
Esther Okech
Millie (Understudy)
Marianna de Fazio
Bennett (Understudy)
Nik Doner
—
—
Director
Valerie Curtis-Newton**
Assistant Director
Bretteney Beverly
Playwright
Andrew Lee Creech
Scenic Designer
Matthew Smucker^^
Costume Designer
Melanie Burgess ^^
Casting Director
Bretteney Beverly
Lighting Designer
Brian Engel
Sound Designer
Evan Mosher
Projection Designer
Mark Lund
Fight Choreographer
Alyssa Kay
Stage Manager
Kathryn Louise*
Dramaturg
Sonja Lowe
Dialect Coach
Gin Hammond
Props Designer
Bella Rivera
Assistant Stage Manager
Tiana Price
Property Master
Bella Rivera
Casting Consultant
Jessica Spencer
Dresser
Tiana Price
Draper
Martha Mitchell
Draping Mentor
Connie Rinchiuso
Stitchers
Veronica Dimoff, Scian Hayes
Wig Designer
Joyce Degenfelder
Wig Specialist
Kelly Schmidt
Scenic Carpenter
Tim Samland^
Light Board Operator
Clint Bull
Sound Board Operators
Marty Sisk, Andi Villegas
Master Electrician
Aiyana Stephens
Electricians
Clint Bull, Jayde McCarrell, Kody Smith, Anna Van Vleet, Eric Wu
Scenic Strike/Load-In
Michael Adler^, Seth Branum^, Thomas Moore^
*Member of Actors Equity Association **Members of the Stage Directors and Choreographers Society ^Member of IATSE No. 15 ^^Member of United Scenic Artists Local 829
