Elevator Thoughts (aka Tweet): The Play That Goes Wrong w/ Theatre33. Funny chaotic play-in-a-play w/ the slapstick hijinks of a murder comedy mystery.
Synopsis from the Theatre: From Mischief, Broadway masters of comedy, comes the smash hit farce. Welcome to opening night of the Cornley University Drama Society’s newest production, The Murder at Haversham Manor, where things are quickly going from bad to utterly disastrous. This 1920s whodunit has everything you never wanted in a show—an unconscious leading lady, a corpse that can’t play dead, and actors who trip over everything (including their lines). Nevertheless, the accident-prone thespians battle against all odds to make it through to their final curtain call, with hilarious consequences! Part Monty Python, part Sherlock Holmes, this Olivier Award–winning comedy is a global phenomenon that’s guaranteed to leave you aching with laughter!
Was This the First Time I Attended a Production of this Show: Yes and it was my first time at Theatre33
Would I See It Again 3 Years from Now: Yes, if it was a professional production
Equity Actors: 0
Total Number of Actors: 8
Length (Including Any Intermission): 1.5 hour
Intermission: Yes
Other Musing(s) and Observation(s)
Perfect Scheme: I imagine this script is an actor’s dream. You could easily mess up or ask for lines without the audience knowing it wasn’t intentional and still garner some laughs with some improvisation.
Cast Age: As I mentioned previously, this was the first production from Theatre33 that I attended. I didn’t expect all of the cast members to be youth or young adults! I wonder how often adults perform.
Theatre Company: Theatre33
Venue: Carlson Theatre at Bellevue Collage
Venue Physical Address: Officially, the address is “3000 Landerholm Cir SE, Bellevue, WA 98007,” which doesn’t lead to the theatre. It’s better to use the GPS coordinates 47.58320939616845, -122.14925423992935.
Price: Cheap
Dates: Sorry, there were only 4 performances April 15-16, 2023
Seating: General Admission
Parking: $2 parking at the non-student parking lot #10 or #12 (GPS coordinates 47.582914377229656, -122.14761699020893)
Elevator Thoughts (aka Tweet): The Wonderful Wizard of Oz play at Seattle Children’s Theatre. Vibrant scenic design and costumes. Fabulous scarecrow portrayal from Nicolas Japaul Bernard.
Synopsis from the Theatre: Growing tired of her life in Kansas, Dorothy and her little dog Toto discover a new adventure in the wonderful and magical Land of Oz after a cyclone swoops them “somewhere over the rainbow.” While following the yellow brick road to the Emerald City, Dorothy meets the Scarecrow, the Tin Man, and the Cowardly Lion, who quickly become her new friends. Together, they overcome their fears of witches, flying monkeys, and a haunted forest to learn if the Wizard can make their dreams come true.
Reviewed Performance: 4/7/23 Opening Night – Sorry for the late review! I was busy obtaining pictures and clarifying guidelines with the theatre. Fortunately, you still have more than a month to see this production.
Type: Play
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings: Several
Prior Exposure Required: None but it wouldn’t hurt to have seen the classic movie
Defined Plot/Storyline: Yes
Recommendation: See it if you want to treat your kids to live theatre. This show targeted audiences younger than teenagers. In contrast, most other Seattle Children’s Theatre shows I’ve chosen to attend like The Boy Who Kissed the Sky and The Diary of Anne Frank could be enjoyed by adults without kids.
Was This the First Time I Attended a Production of this Show: Yes
Would I See It Again 3 Years from Now: Yes, if I had kids and it was another professional production
Rating Compared to Other Shows with the Same Production Value: 4.25 Stars (Out of 5 Stars)
Equity Actors: 2
Total Number of Actors: 12
Length (Including Any Intermission): 1 hour
Intermission: No
Other Rave(s) Not Mentioned in Elevator Thoughts
Design: The set and costumes were gorgeous. What a treat that children can experience the same level of production value as other professional theatres! See the pictures at the end of this review.
Scarecrow: Nicholas Japaul Bernard was delightful as the fabulous flamboyant scarecrow providing comic relief with Pippi Longstocking hair. His portrayal reminded me of his previous role as Pharus in Choir Boy at ACT Theatre.
Mask: One of the performers was wearing a mask. While I acknowledge a person’s right to continue wearing one in the workplace, this is probably the second or third time I’ve ever seen an actor wear a mask on-stage even when theatres reopened Fall 2021 … and I’ve seen almost 200 shows since COVID started! Masks on-stage are visually distracting and they muffle actors’ lines. For the record, I’m not a staunch anti-masker. I actually still occasionally wear an N95 when I’m in the theatre to ensure my packed show schedule (of about 3 shows per week) is uninterrupted.
Stage Crew Visibility: It was a little distracting seeing the stage crew moving set pieces.
Tornado: I would have personally preferred the tornado scene to be more violent and treacherous … but I guess we don’t want the young audience members to have nightmares!
Auditory Stimulation: The show felt a little too silent for kids, who are already accustomed to sensory overstimulation from the media. Plus, the colorful vibrant set begged to be accompanied with more sound. Maybe add more background audio.
Other Musing(s) and Observation(s)
Slippers: I didn’t know the original book described the magic slippers as silver instead of the classic ruby red. Today I learned that the classic film’s studio wanted to show off the new technicolor technology with more vibrant props.
Youth Actors: This production incorporated two sets of alternating youth actor casts. I’m sure the young people in the audience got a kick out of seeing their peers on stage.
Theatre Company: Seattle Children’s Theatre
Venue: Seattle Children’s Theatre
Venue Physical Address: 201 W Thomas St, Seattle, WA 98109
Price: Cheap to Medium
Ticket Affordability Options: Each performance has a value option available online. Also check out the theatre’s discount page.
Dates: April 4 to May 21, 2023
Seating: Assigned Seating
Parking: Paid street parking or various paid parking lots/garages. Street parking is sparse when there’s a major Seattle Center or Climate Pledge Arena event. I usually have good luck finding street parking around Lenny Wilkins Way next to the theatre on non-event days. I try to take the bus on event days since even the event street parking costs more than $12.
Avery Clary and Marena Kleinpeter in The Wonderful Wizard of Oz. Photo by Truman Buffett.Audrey Conner, Jerik Fernandez, Marena Kleinpeter, Chad Kelderman, and Dedra D. Woods in The Wonderful Wizard of Oz. Photo by Truman Buffett.Chad Kelderman, Marena Kleinpeter, Dedra D. Woods, and Avery Clark in The Wonderful Wizard of Oz. Photo by Truman Buffett.Avery Clark, Chad Kelderman, Marena Kleinpeter, Roz Cornejo, and Jerik Fernandez in The Wonderful Wizard of Oz. Photo by Truman Buffett.Fiona Hurley, Emberly Hoke, Jerik Fernandez, Marena Kleinpeter, Dedra D. Woods, Avery Clark, Chad Kelderman, Audrey Conner, Penelope Tobin, and Tabitha Murphy Madden in The Wonderful Wizard of Oz. Photo by Truman Buffett.Chad Kelderman, Marena Kleinpeter, Jerik Fernandez, and Avery Clark in The Wonderful Wizard of Oz. Photo by Truman Buffett.Chad Kelderman, Marena Kleinpeter, Jerik Fernandez, and Avery Clark in The Wonderful Wizard of Oz. Photo by Truman Buffett.Chad Kelderman, Marena Kleinpeter, Jerik Fernandez, and Avery Clark in The Wonderful Wizard of Oz. Photo by Truman Buffett.Chad Kelderman, Marena Kleinpeter, Jerik Fernandez, and Avery Clark in The Wonderful Wizard of Oz. Photo by Truman Buffett.Marena Kleinpeter, Chad Kelderman, and Jerik Fernandez in The Wonderful Wizard of Oz. Photo by Truman Buffett.Roz Cornejo in The Wonderful Wizard of Oz. Photo by Truman Buffett.Dedra D. Woods, Emberly Hoke, and Roz Cornejo in The Wonderful Wizard of Oz. Photo by Truman Buffett.Marena Kleinpeter in The Wonderful Wizard of Oz. Photo by Truman Buffett.Annelih Hamilton and Marena Kleinpeter in The Wonderful Wizard of Oz. Photo by Truman Buffett.Marena Kleinpeter in The Wonderful Wizard of Oz. Photo by Truman Buffett.Marena Kleinpeter in The Wonderful Wizard of Oz. Photo by Truman Buffett.Roz Cornejo in The Wonderful Wizard of Oz. Photo by Truman Buffett.
Role
Name
Scarecrow
Nicholas Japaul Bernard
Wizard of Oz/Wicked Witch Of The West
Roz Cornejo
Uncle Henry /
Cowardly Lion
Jerik Fernandez
Aunt Em / Locasta, Good Witch of the North
Annelih Hamilton
Tin Woodman
Chad Kelderman*
Dorothy
Marena Kleinpeter
King of the Winged Monkeys / Glinda, Good Witch of the South / Hungry Wildcat
Dedra D. Woods*
—
—
Munchkin /
Flying Monkey
Ian Bartlett, Ariadne Taw, Penelope Tobin, Emberly Hoke, Fiona Hurley, or Lillian Morris
Munchkin /
Hungry Wildkitten / Flying Monkey
Zella Davidson or Tabitha Murphy Madden
Guardian of the Gates / Flying Monkey
Reagan Nino or Audrey Conner
Understudies
Gloria Alcalå Avery Clark* Bethanie Willis
—
—
Director
Jéhan Òsanyin**
Playwright
Adapted by Jacqueline E. Lawton from the novel by L. Frank Baum
Choreographer
Alice Gosti**
Scenic Designer
Julia Hayes Welch^
Costume Designer
Taya Pyne
Lighting Designer
Adem Hayyu^
Sound Designer
Erin Bednarz
Fight Director
Geoffrey Alm**
Wig & Hair Designers
Kafi Masika Modest Roberts
Costume Design Assistant
Natalie Shih
Makeup Artist
Meredith Keister
Stage Manager
Jamie J. Kranz*
Assistant Stage Manager
Quinn Chase*
Production Assistant
P. Alyda Sorm
Youth Cast Supervisor
Amy Jurkiewicz
Swing Youth Cast Supervisor
Lillia Nelson
* Actors Equity Association ^ United Scene Artists Member, Local 829 ** Stage Directors and Choreographers Society Member
Elevator Thoughts (aka Tweet): I Hate Hamlet play at The Phoenix Theatre. As usual, Josiah C Miller & Jag delivered wonderful stage presence in this funny love letter to showbiz & live theatre. Shakespeare lovers & haters (like me) alike will enjoy! #JohnBarrymore
Synopsis from the Theatre: Television star Andrew Rally is about to start rehearsals to play Hamlet—and he is terrified. Unsure of himself, worried about his career, Andrew doesn’t know what to do. In the midst of his confusion, he is visited by the ghost of legendary actor John Barrymore. Barrymore explains that all actors who take on the role are visited and mentored by their predecessors, and that he cannot leave Andrew until he takes the stage as Hamlet.
Reviewed Performance: 4/8/23 Opening Weekend
Type: Play
World Premiere: No
Several or Few Scenes: Only one scene in each act
Several or Few Settings: Only one setting (John Barrymore’s NYC apartment)
Prerequisite Knowledge Required: Despite the name in the title, prior Hamlet experience is not required to enjoy this play. However, I wonder what nuances I missed being unfamiliar with the seminal classic. You probably won’t appreciate this play as much without prior Shakespeare exposure though.
Defined Plot/Storyline: It’s difficult to achieve a defined plot with only two scenes. Nevertheless, the script was good.
Recommendation: See it especially if either
You like plays/musicals about live theatre such as Something Rotten!
Or you have a strong opinion towards Shakespeare, whether love or hate
Was This the First Time I Attended a Production of this Show: Yes
Would I See It Again 3 Years from Now: Yes, if it was a professional production
Rating Compared to Other Shows with the Same Production Value: 4.75 Stars (Out of 5 Stars)
Equity Actors: 0
Total Number of Actors: 6
Length (Including Any Intermission): 2 hours
Intermission: Yes
Other Rave(s) Not Mentioned in Elevator Thoughts
Codpiece: Codpieces must be the rage in the Puget Sound theatre world today since this is the second time I’ve seen an exaggerated “unit” this year. The first time was in The Taming at Red Curtain Foundation for the Arts. I wonder if Seattle Shakespeare Theatre Company will follow suit.
Fencing: Good fight choreography (from Geoffrey Alm) and execution (from Josiah C Miller and Jag)
Soliloquy Magic: Andrew Rally’s (played by Josiah C Miller) description of soliloquy magic was spot on and well executed. I could definitely relate as an audience member. I wonder what it’s like as a performer when the magic is just right and “you’ve tasted glory.”
Vocal Assurance: Jag and Josiah C Miller’s inherent vocal assurance worked well for delivering their Shakesperean lines. It reminded me of Jag’s last role at The Phoenix Theatre in Dashing Through the Snow as a delightful, dramatic, over-the-top, self-involved thespian.
NYC and LA Rivalry: I enjoyed the script’s comparison/contrast between west coast Hollywood and east coast theatre.
Costumes: Deirdre’s (played by Mary Guthrie Leedy) costumes were so 80-90s chic!
Favorite Lines:
“The elderly should not discuss romance, it is distasteful.”
“Wait, let me get this. It’s Shakespeare, right? It’s like algebra on stage.” – As someone who hates Shakespeare, I couldn’t agree more!
Other Musing(s) and Observation(s)
Seance: As a previous Adventist, I’m always a bit freaked when I see portrayals of the occult in entertainment. But the unexpected circumcision joke during the seance thankfully dispelled all that. At least, I think there was a circumcision joke but now I’m not sure if I misheard it since I was the only person in the audience that laughed. If it was there, it was good comedic relief from left field. If it wasn’t there, I just have a dirty mind … but they need to add it!
Theatre Company: The Phoenix Theatre
Venue: The Phoenix Theatre
Venue Physical Address: 9673 Firdale Ave, Edmonds, WA 98020
Price: Cheap
Dates: April 7-30, 2023
Seating: Assigned Seating
Parking: Free and plentiful lot parking in front of theatre
Elevator Thoughts (aka Tweet): How to Break hip hop Latino mashup dance musical at Village Theatre. Interesting to attend the final concept after already seeing as a developing beta musical years ago. Cleaver lyrics. #dancing #theatre #Cancer #Latin
Synopsis from the Theatre: An electrifyingly innovative world-debut Mainstage production of new work developed by Village Theatre! Featuring a dynamic kaleidoscope of music, poetry, breakdancing, and beatboxing, How to Break follows two hospitalized teenage hip-hop dancers and how they navigate their adolescence in the confines of a hospital room, finding ways to love and learn amidst IV bags and chemotherapy as inspired by real-life events in writer Aaron Jafferis’ time as an artist in residence at a children’s hospital. Part commentary on the American health care system, part moving autobiography, and part profound journey through the joy and pain of growing up, How to Break reveals just how resilient the human spirit is in the face of change and transformation.
Reviewed Performance: 3/31/23 Opening Night – Sorry for the late review! But in my defense, you have about 2 months to see it. 🙂
Type: Musical
World Premiere: Yes
Several or Few Scenes: Several
Several or Few Settings: Several
Defined Plot/Storyline: Yes, but most (if not all) of the scenes took place in a single hospital ward and there’s only so much that can occur unless it’s a TV show like Grey’s Anatomy!
Live Band/Orchestra: I don’t think there was a live band especially since they didn’t credit a band in the program. I assumed it was mostly pre-recorded synthesized music. However, Olivia Griffin’s character played the guitar and John Kent Rickenbacker Jr’s character beatboxed, which was a unique mashup.
Recommendation: See it if either
You like musicals with substance
You like stories about poor inner-city teens like in Sister Act 2 and Freedom Writers
You liked the hip-hop and rapping portions of Hamilton
Or you’re not triggered by adolescent cancer
Was This the First Time I Attended a Production of this Show: No, I previously saw this as a developing beta musical.
Would I See It Again 3 Years from Now: No, I think twice is enough for me. In my defense, I’d say the same thing about Hamilton. I know, sacrilege!
Rating Compared to Other Shows with the Same Production Value: 4 Stars (Out of 5 Stars)
Equity Actors: 3
Total Number of Actors: 6
Length (Including Any Intermission): 2 hours, which seemed a bit long especially without an intermission
Intermission: No
Other Rave(s) Not Mentioned in Elevator Thoughts
Beatboxing: John Kent Rickenbacker Jr’s character was a nurse who provided the beat and sound effects in this musical. He uniquely did not speak any lines and it was fun guessing what he was saying when he beatboxed his responses to other characters in “dialogue.”
Stage Design: The scenic design was simple with clean lines but still dramatic. Ironically, it reminded me of the Loony Toons concentric circles stage background. See the stage in my video below.
Stagehand Costumes: I appreciated that the stagehands wore scrubs when they performed their duties on-stage so they didn’t look out of place.
Powerful Voices: Talia Thiesfield and Olivia Griffin frequently showcased their showstopping voices in this production.
Favorite Line: When Maddy asked the Aana to join yoga or some other new age holistic therapy, Ana responded something like “if my family walks in, they’ll think we’re worshiping the devil.”
Medical Accuracy: As an oncology healthcare professional, I was impressed by the many correct aspects of cancer treatment they explained to the audience like the common acute lymphoblastic leukemia chemotherapy regimen consisting of an anthracycline, vincristine, and a glucocorticoid. For the record, they could have included pegaspargase though. Also, I’ve never seen an oncologist participate in yoga or chess with patients. Maybe they do that in pediatrics?
Rant(s)
Downer Show: As I alluded to previously, this musical has substance. But usually that means it’s a downer. They present an important perspective in this show, but I personally see musicals as an escape. Who wants to escape to sick kids? It didn’t help that a little too much silence and a little too much runtime (with no intermission) contributed to the slow pace. This was Village Theatre’s annual world premiere production where they choose one beta developing show from the last season. I much rather would have preferred Village Theatre to choose The Passage (which was also about cancer) than How to Break, since The Passage had more comedic relief and was overall less serious.
Inner-city Teen Trope: I mentioned this in my previous review, but I’m not a fan of stereotypical inner-city teen characters with nobody-understands-me rude attitude. It’s a tired old annoying trope.
Other Musing(s) and Observation(s)
Be the Match: This show inspired me to get on the ball and sign up for Be the Match. This nationwide non-profit helps match you with patients that need bone marrow transplant. It is especially important that people of color (like me) sign up since it’s usually difficult for POCs to find matching donors (like the main character). Bone marrow donation is similar to donating blood and does not require surgery. I’ve been meaning to sign up but always never get around to it. This musical is a perfect opportunity for Village Theatre to promote Be the Match.
Theatre Company: Village Theatre
Venue: Village Theatre – Issaquah
Venue Physical Address: 303 Front St N, Issaquah, WA 98027
Dates: Issaquah March 29 – April 30, 2023 | Everett May 5 – May 28, 2023
Seating: Assigned Seating
Parking: Free street parking and some free parking lot. Lot parking is pretty difficult to find availability 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.
Cheryse Dyllan and Andrés López-Alicea in Village Theatre’s How to Break (2023). Photo by Angela Sterling.Cristian Rodriguez in Village Theatre’s How to Break (2023). Photo by Angela Sterling.Cheryse Dyllan and Cristian Rodriguez in Village Theatre’s How to Break (2023). Photo by Angela Sterling.Cheryse Dyllan and Talia Thiesfield in Village Theatre’s How to Break (2023). Photo by Angela Sterling.Cheryse Dyllan and Cristian Rodriguez in Village Theatre’s How to Break (2023). Photo by Angela Sterling.
Role
Name
Ana
Cheryse Dyllan
Joel
Cristian Rodriguez
Dr. Aden
Talia Thiesfield*
Nurse Bowen
John Kent Rickenbacker Jr.
Maddy
Olivia Griffin*
Mr. Ramos
Andrés Lopez-Alicea*
—
—
Ana u/s
Ash Fetherbay
Joel u/s
Dan Haile
Dr. Aden u/s
Charles L. Simmons*
Nurse Bowen u/s
Edward-Vincent Montemayor Bantasan
Maddy u/s
Jasmine Joshua
Mr. Ramos u/s
Quetzie Taborga
—
—
Director
Logan Vaughn
Writer and Lyricist
Aaron Jafferis
Composers
Jacinth Greywoode, Rebecca Hart, and Kiriakos “Yako 440” Prodis
Conceived by the Mixing Texts Collective
Aaron Jafferis, Adam Matta, Christopher Edwards, Gabriel “Kwikstep” Dionisio, & Ana “Rokafella” Garcia
Scenic Designer
Jack Magaw
Projection Designer
Elizabeth Barrett
Choreographer
Kevin Boseman
Lighting Designer
Robert J. Aguilar
Sound Designer
Andrea Allmond
Music Director
Jacinth Greywoode
Costume Designer
Pete Rush
Stage Managers
Miranda C. Pratt, Erin B. Zatloka
Assistant Stage Manager
Isabella Marziello
Director of Breaking
Jerome Aparis
Dramaturg
Morgan Smart
Associate Director
Tré Cotten
Intimacy Choreographer
Moises “Moy” Hinojos
Assistant Projection Designer
Hannah Gibbs
Associate Lighting Designer
Casey Price
Original Projection Content
Marcy Suarez
Production Assistant
Kimberly Le
NYC Casting
Base/Valle Casting (Gama Valle and Harriet Bass)
—
—
Head Stage Carpenter (Issaquah)
Whitman Paylor
Head Stage Carpenter (Everett)
Chris Mikolaizik
Head Sound Engineers (Issaquah)
Lisa Finkral, Abigail Graham
Head Sound Engineer (Everett)
Josh Blaisdell
Lead Stagehand — Deck (Issaquah)
Justin Babbitt
Lead Stagehand — Deck (Everett)
Kyle Morgan
Lead Stagehand — Props
Chandler Eichele
Head Electrician (Everett)
Brandon Cullinan
Head Electrician (Issaquah)
Paul Arnold
Head Wardrobe (Issaquah)
Kate Simpson
Head Wardrobe (Everett)
Courtney Kessler-Jeffrey
Head Projection Techs
Derick Avitt, Hannah Tran
Programmer
Zac Andersen
Followspots
Casey Leugemors, Olof Sander
Scenic Painter
Gabrielle Duong
Scenic Carpenter
Blake Whitmore
*The Actors And Stage Managers Are Members Of The Actors’ Equity Association, The Union Of Professional Actors And Stage Managers In The United States.
Elevator Thoughts (aka Tweet): The Standby Lear 2-person play at 12th Ave Arts w/ Thalia’s Umbrella. Neat stage reminded me of an ancient Greek theatre. Interesting to see behind-the-scenes of the theatre industry through the eyes of aging has-beens. Smart dialogue. Unexpected twist at the end. #shakespeare #kingLear #stageFright
Synopsis from the Theatre: Augie is the understudy in a major production for one of the most demanding roles in the theater, King Lear. He may have to go on tonight! His wife, Anna, is ready to help him rehearse. But she has got a secret (or two), and he’s got a problem…
Defined Plot/Storyline: No – lots of dialogue, which is common for plays with few characters
Recommendation: See it if either
You like Shakespeare or King Lear
You work in the theatre industry, or you know how the theatre industry works
You see lots of plays
You’re okay with 2-person shows
Or you’re okay with all dialogue and little story action
Was This the First Time I Attended a Production of this Show: Yes
Rating Compared to Other Shows with the Same Production Value: 4 Stars (Out of 5 Stars)
Equity Actors: 3
Total Number of Actors: 2 on-stage and 1 off-stage
Length (Including Any Intermission): 90 minutes
Intermission: No
Other Musing(s) and Observation(s)
Earlier Ending: The play could have ended earlier when the characters revealed the twist and all their secrets. It seemed little too drawn out after that.
Theatre Company: Thalia’s Umbrella
Venue: 12th Avenue Arts
Venue Physical Address: 1620 12th Ave, Seattle, WA 98122
Price: Medium
Dates: March 30 to April 15, 2023
Seating: General Admission
Parking: Paid lot or paid street parking. Street parking is extremely limited since it’s Capitol Hill. Your best luck would be East of Cal Anderson Park on 11th or 12th Ave. Cheapest paid lots are on 11th Ave across from the park. I highly suggest parking far away or taking the bus since the lots are expensive in Capitol Hill.
Cast and Production Team: See after pictures and video below
@showsiveseen "The Standby Lear" 2-person #play at 12th Ave Arts w/ Thalia's Umbrella. Neat stage reminded me of an ancient Greek #theatre. Interesting to see behind-the-scenes of the theatre industry through the eyes of aging has-beens. Smart dialogue. Unexpected twist at the end. Photos by Annabel Clark. Review: showsiveseen.com/4655 #shakespeare#kingLear#stageFright#marriage#actors♬ Sail Away – lovelytheband
Larry and Jeanne Paulsen. Photos by Annabel Clark.Larry and Jeanne Paulsen. Photos by Annabel Clark.Larry Paulsen. Photos by Annabel Clark.Jeanne Paulsen. Photos by Annabel Clark.Larry and Jeanne Paulsen. Photos by Annabel Clark.
Role
Name
Augie
Larry Paulsen*
Anna
Jeanne Paulsen*
Leonard (Off-stage)
Terry Edward Moore*
Augie Standby
Terry Edward Moore*
Anna Standby
Diana Trotter
—
—
Director
Terry Edward Moore
Associate Artistic Director
Daniel Wilson
Playwright
John W. Lowell
Stage Manager
Phillip James Randall*
Assistant Stage Manager
Eric Newman*
Scenic & Lighting Designer
Roberta Russell**
Costume Designer
Jae Hee Kim
Sound Designer
Johanna Melamed
Properties Designer & Technical Director
Richart Schug
Production Manager
Matthew Ray
Master Electrician
Levin Ritzen
Scenic Artist
Matthew Lazure
Carpenters
Sasha Chung, Dylan
Howard, Matthew Lazure,
Britta Baer-Simon
Electricians
Rob Falk, Joseph Inglish,
Kristopher Jones, Rhys
Kiernan, Liza Vaughn
Board Operator
Clint Bull
Sound Engineer
Kyle Thompson
Sound Assistant
Marty Sisk
Outreach Coordinator
Ariel Rose
Graphics Designer
Leslie Law
Casting Director
Cornelia Duryée
*Appearing through an agreement between this Theater and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the USA **Member United Scenic Artists, Local 829
