Shows I've Seen | Theatre Reviews – Page 2 – Musicals, Plays, Concerts, Oh My! (and other Performing Arts)

The Last Five Years – Musical – Review – ACT Theatre and The 5th Avenue Theatre

@showsiveseen @JRB's "The Last Five Years" #musical at @acttheatre w/ @The 5th Avenue Theatre. Starring @Cassi Q Kohl & @Jeff (or @Coleman Cummings & @lani tsunami). Novel immersive orchestra placement allowed the audience to soak up the artistic/technical nuances of the score. Review: showsiveseen.com/11791 Production Videos: Allison Borgida (ThirdReel) Director: Shermona Mitchell Conductor: RJ Tancioco or Michael Nutting Stage Manager: Jeffrey K Hanson #showsiveseen #theatre #love #relationships ♬ Moving Too Fast – Jeremy Jordan

Elevator Thoughts (aka Tweet): The Last Five Years musical at ACT Theatre w/ The 5th Avenue Theatre. Starring Cassie Q Kohl and Jeffery Wallace (or Coleman Cummings and Keola Kapulani Holt). Novel immersive orchestra placement allowed the audience to soak up the artistic/technical nuances of the score.

Recommendation:
See it if you’re okay with watching shows lacking a traditional chronological plot.

Was This the First Time I Attended a Production of this Show? No, I originally saw this at Taproot Theatre by AK-L5 Productions years ago.

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

Mainstream Appeal: Medium

If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Probably

My Synopsis (No Spoilers): This musical explores the lifespan of a long-term straight romantic relationship, unfolding from two opposite perspectives. In a “Benjamin Button”-style narrative, the man experiences their love story chronologically from beginning to end, while the woman relives it in reverse starting from the breakup and moving back to the first spark.

Synopsis from the Licensor or Theatre Company: The winner of two Drama Desk Awards, this modern musical takes a devastatingly honest look at Cathy and Jamie and their journey of falling in and out of love over five years. Through clever storytelling and sharp lyrics – Cathy’s songs start at the end of the relationship, while Jamie begins at the start of their love affair – Jason Robert Brown’s cult favorite is a raw and intimate window into two perspectives of one relationship. This acclaimed musical is an unforgettable chronicle through the joy and ache of love.

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Sparse and stationary

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: Not quite. It was two perspectives of the same story moving in opposite directions. Each scene/song was a milestone in their romantic relationship with month/year gaps in between scenes.

Live Band/Orchestra: Yes

Union Actors: 2

Total Actors: 2

Perceived Pace of the Show: Medium speed

Was there an intermission? No

Length (Including Any Intermission): 80 minutes

Other Rave(s) Not Mentioned Above

Orchestra: The musical was staged at the theatre-in-the-round, creating an immersive experience unlike a traditional front-facing setup. For this production, they cleverly carved three shallow orchestra pits (one each for the string section, piano, and guitar ensemble) into the stage so the musicians were fully integrated into the action. This truly unique arrangement soaked the audience with music, making every technical and artistic nuance more palpable. The delicate string ornamentations and the subtle intricacies of the guitar plucking would have been lost in a conventional front-facing setup. The immersive orchestra design risked overpowering the singers or farther instruments, but I never found this to be an issue. Perhaps this was because of my seat’s equidistance from all three orchestra pits. Sound designer Haley Parcher adequately ensured that the sound balancing felt controlled and not overwhelming.
Song Highlights: PNW theatre veteran Cassie Q. Kohl (as Cathy Hiatt) delivered standout performances in “I Can Do Better Than That,” “Goodbye Until Tomorrow,” and “A Summer in Ohio.” Opposite her, Jeffery Wallace (as Jamie Wellerstein) shined in “Moving Too Fast” and brought great energy in the playful “na nana na” sections of “The Schmuel Song.” However, the lyrics of the latter song felt more like lighthearted comic relief filler rather than a meaningful contribution to the narrative.
Bookends: The bookend elements of the hanging letter and the furniture covering/uncovering were excellent artistic choices in this austerely staged production. They appropriately signaled to the audience that we’ve reached the end of the show.

Rant(s)

Temperature: The Allen Theatre often feels too cold in the winter months. It’s always a bad sign when I need to wear my coat in the theatre. It reminded me of what I experienced in ACT Theatre’s A Christmas Carol years ago.

Other Musing(s) and Observation(s)

Story Structure: I can’t say that I’m a fan of the Benjamin Button-style storytelling in opposite directions. While it’s a novel concept, it can also be confusing and difficult to pinpoint where the characters are in their relationship. This is just an inherent quality of the script since I remember feeling the same way the original time I saw this.
A/B Casting: This production used A/B casting, with some performances starring Cassie Q Kohl and Jeffery Wallace, while others featured Coleman Cummings and Keola Kapulani Holt. This approach likely helps avoid concerns about understudies forgetting their lines, but I couldn’t help but feel a bit of FOMO since there was an actor in each cast group that I would have preferred to see more.
Cassie Q Kohl : It so different seeing Cassie without her signature hair and glasses! I thought the same thing when she starred in Taproot Theatre’s The Hello Girls.

Theatre Company: ACT Theatre and The 5th Avenue Theatre

Venue: Allen Theatre at ACT Theatre

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

Price Range: $73-104

Ticket Affordability Options: Check out the theatre’s official discounts page. Just a word of warning, I notice that joint productions between theatre companies tend to offer less discount options.

Dates: 2/8/25 to 3/16/25

Seating: Assigned Seating

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

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Pictures: See production pictures below by Rosemary Dai Ross.

Cast and Production Team: See after pictures below.

Coleman Cummings (Jamie Wellerstein). Photo by Rosemary Dai Ross.

Keola Kapulani Holt (Cathy Hiatt). Photo by Rosemary Dai Ross.

Coleman Cummings (Jamie Wellerstein) and Keola Kapulani Holt (Cathy Hiatt). Photo by Rosemary Dai Ross.

Cassi Q Kohl (Cathy Hiatt) and Jeffery Wallace (Jamie Wellerstein). Photo by Rosemary Dai Ross.

Jeffery Wallace (Jamie Wellerstein). Photo by Rosemary Dai Ross.

Cassi Q Kohl (Cathy Hiatt). Photo by Rosemary Dai Ross.

Credits from the printed *Encore* program.

I Love You, You’re Perfect, Now Change – Musical Revue – Review – Renton Civic Theatre

@showsiveseen "I Love You, You're Perfect, Now Change" #musical #revue by Renton Civic Theatre. Charming versatile stage presence from @Charlie Stevens. Laugh, reflect, and maybe even cringe a little at the complexities of love over a lifetime. Closing next weekend! Review: showsiveseen.com/11789 Photos: Colin Madison Director: Mauro Bozzo Conductor: Lindsay Delmarter Stage Manager: Valerie Reid #showsiveseen #theatre #relationships #love #dating #marriage #skits ♬ Epilogue / I Love You, You're Perfect, Now Change – Jimmy Roberts & Joe DiPietro

Elevator Thoughts (aka Tweet): I Love You, You’re Perfect, Now Change musical revue by Renton Civic Theatre. Charming versatile stage presence from Charlie Stevens. Laugh, reflect, and maybe even cringe a little at the complexities of love over a lifetime. Closing next weekend!

Recommendation:
See it if either 1) you enjoy vignette musicals like You’re a Good Man, Charlie Brown 2) or you want to support local community theatre.

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

My Synopsis (No Spoilers): A collection of musical skits that humorously explore the ups and downs of relationships — from dating, to marriage, to family life, to dating all over again!

Synopsis from the Licensor or Theatre Company: Experience the hilarity and heart of I Love You, You’re Perfect, Now Change! This musical comedy explores the rollercoaster ride of relationships, from first dates to long-term commitment, with sharp wit and relatable humor. Featuring catchy songs and laugh-out-loud scenarios, it’s a celebration of love in all its perfectly imperfect forms. Whether you’re single, coupled, or somewhere in between, this show is sure to have you nodding along and laughing out loud. Don’t miss this lighthearted and charming theatrical treat!

Type: Musical Revue

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Sparse and stationary

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: No, it was a series of independent vignette skits, but they unfold in a way that traces the evolution of romantic relationships over a lifetime.

Live Band/Orchestra: Yes

Union Actors: 0

Total Actors: 8

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2 hours

Other Rave(s) Not Mentioned Above

Bedroom Scene: The sex scene was cleverly executed, with David Yake and Kate Connors creating silhouette shadows against a white sheet.
Senior Love: The closing scenes with Sharry and Michael O’Hara were endearing as they portrayed how widowed seniors long for love again. However, I’ve always found it odd when actors are introduced at the very end of a show. Imagine waiting through two full acts before finally featuring on-stage. How frustrating that must be! It brought to mind “Diva’s Lament (Whatever Happened to My Part?)” from Spamalot.

Rant(s)

Set Transitions: Set and prop movement between scenes was sometimes a bit distracting since it can make productions feel more amateur. That said, I understand it’s difficult to avoid this in community theatre, where budgets don’t allow for elaborate stage mechanics.

Other Musing(s) and Observation(s)

Gay Representation: The script could benefit from more LGBT representation. I appreciated the inclusion of same-sex parents, but what about same-sex dating? It would likely resonate more with the LGBT audience members, given that there are more gay singles than gay parents. And don’t forget about the lesbians!
Drums: Adding a drummer to the band would make a world of difference in this production. I remember performing with the Seattle Men’s Chorus when our drummer didn’t arrive in time for a show. The contrast between having and not having a drummer was like night and day.
Renton Civic Theatre: If you haven’t been keeping up with the drama in the news and on social media, Renton Civic Theatre is now under entirely new leadership and a revamped board of directors. This marks their second (or third?) production under the new regime. It’ll be interesting to see the company’s trajectory moving forward, especially since they’ve reportedly recently secured significant funding for improvements. Wishing them the best of luck!

Theatre Company: Renton Civic Theatre

Venue: Renton Civic Theatre

Venue Physical Address: 507 South Third St, Renton, WA 98057

Price Range: $38

Dates: 2/14/25 to 3/2/25

Seating: General Admission

Parking: Plentiful free street parking

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https://events.rentoncivictheatre.org/event/17/i-love-you-youre-perfect-now-change

Pictures: See production pictures below by Colin Madison Photography.

Cast and Production Team: See after pictures below.

Crave – Play – Review – Intiman Theatre

@showsiveseen "Crave" #avantGarde #abstract #play by @Intiman Theatre at Erickson #Theatre Off Broadway. Loved the water & shadow box aperture scenic design by Jennifer Zeyl. Impressive script memorization. Elegant, #poetic execution. Closes next weekend! #showsiveseen ♬ Good Things – ESPER

Elevator Thoughts (aka Tweet): Crave avant garde abstract play by Intiman Theatre at Erickson Theatre Off Broadway. Loved the water & shadow box aperture scenic design by Jennifer Zeyl. Impressive script memorization. Elegant, poetic execution.

Recommendation:
See it if you either enjoy 1) analyzing poetry/literature, 2) visiting modern art museums, 3) or watching weird experimental plays like Washington Ensemble Theatre’s Arlington.

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: Low to medium

My Synopsis (No Spoilers): Describing this play is a challenge, since it is an abstract, experimental work without conventional storytelling. The narrative (if you can call it that) is elusive. As someone who typically engages with theater on a more surface level, it was impossible for me to grasp the script’s deeper meanings. The performance featured four actors, who delivered their random lines directly to the audience in a poetic manner while hardly looking at each other. The experience was beautifully designed, but the overall impact was more sensory than narrative. It was akin to an art installation that I didn’t understand at a museum.

Synopsis from the Licensor or Theatre Company: Love, loss, sex and desire play across the stage in this poetic and deeply personal play from legendary playwright Sarah Kane, returning to Seattle nearly two decades after it last stunned audiences as one of the first productions from Washington Ensemble Theatre (WET). For this revisiting of the material, Intiman will bring together many of the original artists for an encore production, including Roger Benigton, Marc Kenison (Waxie Moon), and Marya Sea Kaminski. Intiman Artistic Director Jennifer Zeyl, will once again design the set, having won the Stranger Genius Award in 2006 for her original design. Peer deep inside the mind of four fragmented and fractured characters as they strive to find peace and connection in a lonely world. A visceral and transcendent experience that will leave you breathless.

Type: Play

World Premiere: No

Several or Few Scenes: One continuous scene

Several or Few Settings/Locations: One ambiguous location

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: You’ll enjoy this play more if you have a strong ability to interpret the deeper meanings of an art piece – whether in literature, poetry, paintings, music, etc.

Defined Plot/Storyline: No

Union Actors: 3

Total Actors: 4

Perceived Pace of the Show: Medium speed

Was there an intermission? No

Length (Including Any Intermission): 50 minutes

Other Rave(s) Not Mentioned Above

Scenic Design: The scenic design by Jennifer Zeyl was the highlight of this production. It brought to mind the set of Lady Gaga’s “Bad Romance” music video, with its modern aesthetic. I’m always drawn to shadow box apertures on stage, like those in Village Theatre’s Cinderella or the national tour of Company, and Zeyl’s design didn’t disappoint in that regard with a giant shadow box where most of the acting took place.

The reflective floor, which at first glance appeared to be a mirror, turned out to be a pool of water. I didn’t realize this until the first third of the play when the pool was disturbed, creating mesmerizing ripples that projected beautiful patterns on the ceiling. I’m sure lighting designer Jessica Trundy played a major part in this masterful execution.

After a dramatic curtain fall (a theatrical element I always appreciate), performers waded into the water and interacted with it, nearly splashing us in the front row! I couldn’t help but worry about the risks for the actors what with all the electronics and lighting equipment just inches away from the reflecting pool.

The use of water in this production also reminded me of Intiman Theatre’s The Sign in Sidney Brustein’s Window from 2023, which featured a waterfall. It seems that this theatre company gravitates towards aquatic scenic design motifs.
Setting the Stage: The opening moments of the play began with the lights gradually dimming to black at a deliciously glacial pace, accompanied by a soundscape designed by Matthew Starritt. This simple “overture” was surprisingly a heady, meditative, and peaceful experience, setting a tone of anticipation and calm before the performers began.
Memorization: The script demanded extraordinary memorization abilities from the performers due to its lack of a clear linear plot or chronological structure. In addition to its fragmented nature, the fast-paced call-and-response exchanges between the actors and the fact that they rarely made eye contact added to the challenges. As Alexandra Tavares (who played “M”) aptly mentioned during the talk-back, the script was particularly tough to memorize because it lacked any “connective tissue” between the lines.

Other Musing(s) and Observation(s)

Character Names: The characters were named “A,” “B,” “C,” and “M” played by Lathrop Walker, Christopher Morson, Marya Sea Kaminski, and Alexandra Tavares respectively. What is the significance of “M” not being “D?” Leave a comment in my social media if you have any ideas.
Cassette Tape: The characters occasionally interacted with a tape recorder and a cassette tape, which made me wonder if younger audience members (especially Gen Z) would even recognize these props. How much longer will these items remain relevant in theatre? It reminded me of the corded phone as a key plot device in ACT Theatre’s Stew, which was another example of how quickly technology can feel outdated on stage.

Theatre Company: Intiman Theatre

Venue: Erickson Theatre Off Broadway

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

Price Range: $65-80

Ticket Affordability Options: The ticketing website offers honor code discount options for students, military, industry, … or anybody! They also offer 20 free rush tickets 1 hour in-person before each performance.

Dates: 2/11/25 to 3/2/25

Seating: Assigned Seating

Parking: It’s Capitol Hill so street/lot/garage parking is expensive. Street parking is even sparser than downtown! Ironically, the uncovered parking lots on Harvard Avenue across Seattle Central College are cheaper than street parking. I highly suggest taking public transit if possible.

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Pictures: See production pictures below by Joe Moore.

Cast and Production Team: See after pictures below.

Lathrop Walker, Christopher Morson. Photo by Joe Moore.

Lathrop Walker, Christopher Morson, Alexandra Tavares, Marya Sea Kanminski Photo by Joe Moore.

Christopher Morson, Alexandra Tavares, Marya Sea Kanminski, Lathrop Walker. Photo by Joe Moore.

Lathrop Walker, Marya Sea Kanminski, Alexandra Tavares, Christopher Morson. Photo by Joe Moore.

Marya Sea Kaminski, Lathrop Walker, Christopher Morson, Alexandra Tavares. Photo by Joe Moore.

Marya Sea Kaminski (center) Alexandra Tavares, Christopher Morson, Lathrop Walker. Photo by Joe Moore.

Covenant – Play – Review – ArtsWest

@showsiveseen @issayorkchop's "Covenant" #chilling #thriller #play at #ArtsWest. Felicia Loud's portrayals are always a joy to witness. Good storytelling w/ a totally unexpected twist at the end that left me replaying the previous scenes in my head. Would be fascinating to rewatch knowing the ending. In the spirit of #ValentinesDay weekend, how far would you go for love? Review: showsiveseen.com/11635 Photos: John McLellan Director: @Nicholas Bernard Stage Mgr: Kimberly Le #showsiveseen #theatre ♬ Abracadabra – Lady Gaga

Elevator Thoughts (aka Tweet): York Walker’s Covenant chilling thriller play at ArtsWest. Felicia Loud’s portrayals are always a joy to witness. Good storytelling w/ a totally unexpected twist at the end that left me replaying the previous scenes in my head. Would be fascinating to rewatch knowing the ending. In the spirit of Valentines Day weekend, how far would you go for love?

Recommendation:
See it if you’re comfortable with stories about Faustian bargains and demon possession.

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

Would I See It Again 3 Years from Now? Maybe

Mainstream Appeal: Medium

If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Probably

My Synopsis (No Spoilers): A charismatic, prodigal musician returns to his rural hometown, only to be followed by a serious of mysterious events.

Synopsis from the Licensor or Theatre Company: When a struggling guitarist returns to his small Georgia town a blues star, rumors begin swirling that he may have made a deal with the devil to attain his musical genius. Before long, however, it becomes clear he’s not the only one with a secret. A mythic and suspenseful new play that delivers one devilish twist after another, York Walker’s COVENANT explores the power of belief and the thin line between rumor and truth.

Type: Play

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Mostly static

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: Yes, but it was more dialogue than action

Union Actors: 1

Total Actors: 5

Perceived Pace of the Show: Slow in the beginning but eventually picked up to medium speed

Was there an intermission? No

Length (Including Any Intermission): 100 minutes

Other Rave(s) Not Mentioned Above

Twist (No Spoilers): The twist at the end was completely unexpected (maybe even left field) and had me second guessing how I initially perceived the entire story. So many elements presented early in the play clicked after the revelation. I loved how the twist tied back to the strong opening line hook, “Everybody’s got a secret.” It would be fascinating to rewatch and reevaluate the characters’ motivations knowing the ending.
Vibes: This production masterfully evoked a sense of unease, delivering a chilling thriller with an eerie energy that would have been perfect for a Halloween season.
Religious Superstitious Themes: Part of the unease stemmed from my conservative Christian upbringing, where the religious superstitious themes would have been considered blasphemous sacrilege entertaining the occult and devil. The play’s juxtaposition of a guitar concert against the sacrament scene underscored the tension between these opposing forces. Elements such as Faustian bargains (aka “deal with the devil”), demonic possession, an upside-down cross, and quoting Bible verses all contributed to this unsettling atmosphere. The imagery reminded me of how Lady Gaga beautifully and sacrilegiously incorporates mystical gothic Catholic themes in her music and videos. A good example would be the hooded, mysterious monk-like stagehands, which were a nice touch.
Storytelling: Each character took center stage and shared a story that illuminated their motivations while holding a lantern as eerie sound effects played in the background. These well-written and well-executed monologues effectively deepened each character.
Music: Although this was a play, occasional music added an extra layer to the performance. Kalia Towers (as Ruthie) and Deja Culver (as Violet) both sang a cappella. Donovan Mahannah (as Johnny) played guitar and sang once or twice.
Felicia Loud: I always enjoy Felicia Loud’s portrayal of god-fearing church lady personas. This typecasting has served her brilliantly in productions like The Amen Corner and Black Nativity. However, she takes on a darker role in this play, channeling a more menacing pious maternal figure like the mother in the cult classic film Carrie.

Theatre Company: ArtsWest

Venue: ArtsWest

Venue Physical Address: 4711 California Ave SW, Seattle, WA 98116

Price Range: $46

Dates: 2/6/25 to 3/2/25

Seating: Assigned Seating

Parking: There are paid lots and free street parking. I usually park on 44th or 45th Ave behind the theatre.

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https://www.artswest.org/events/covenant/

Pictures: See production pictures below by John McLellan.

Cast and Production Team: See after pictures below.

Preview Post – The Hula-Hoopin’ Queen – Play – Seattle Children’s Theatre

Congratulations to Seattle Children’s Theatre on the opening weekend of their The Hula-Hoopin’ Queen #play production. On stage until 3/23/25. Full review coming soon! #Harlem

Tickets: https://www.sct.org/onstage/productions/the-hula-hoopin-queen-2/

Final Full Review: https://www.showsiveseen.com/the-hula-hoopin-queen-play-review-seattle-childrens-theatre/

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