Happy opening weekend to Taproot Theatre’s family-friendly production of Andrew Lloyd Webber & Tim Rice’s Joseph & the Amazing Technicolor Dreamcoat. 🌈 Starring CJ Lorentz guided by Cassi Q. Kohl’s well-cast narrator. Novel take on Tarquinn White’s pharaoh. Eclectic mix of musical styles. Surprising number of roles played by kids. Extended till 8/29.
@showsiveseen @Angela Poe Russell and Dionne McClain-Freeney’s #worldPremiere#musical "Aviatrix" by @seattlepublictheater w/ Macha Theatre Works starring @🐲haley🐲 . It’s shows like this that remind me why I attend local smaller #theatre – for a chance to uncover a rare, unexpected worthy gem like this. With a solidly written, eclectic score, this runaway hit is ready for a major stage. Run, don't walk, to snag rush/waitlist tickets to this sold-out show before it closes on Sunday! Review: showsiveseen.com/15596 Director: Amy Poisson Stage Mgr: Bailey Dobbins Choreo: Lexi Warden #musicaltheatre#pilot♬ Standards – Keke Palmer
Elevator Thoughts (aka Tweet): Angela Poe Russell and Dionne McClain-Freeney’s world premiere musical Aviatrix by Seattle Public Theater w/ Macha Theatre Works starring Haley Dortch. It’s shows like this that remind me why I attend local smaller theatre – for a chance to uncover a rare, unexpected worthy gem like this. With a solidly written, eclectic score, this runaway hit is ready for a major stage. Run, don’t walk, to snag rush/waitlist tickets to this sold-out show before it closes in 2 days.
Recommendation: See it!
Was This the First Time I Attended a Production of this Show? Yes
Would I See It Again 3 Years from Now? Yes, I’m curious to see what this would look like on a major stage.
Mainstream Appeal: Medium
If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Absolutely
My Synopsis (No Spoilers): This biographical musical chronicles the extraordinary ascent of Bessie Coleman, charting her historic journey to become the world’s first Black female aviator in the face of all odds.
Synopsis from the Licensor or Theatre Company: Determined to make something of herself, a girl from rural Texas dreams of flying. But it’s 1917, and flight schools don’t accept women, much less one who is Black and Native. Refusing to take no for an answer, Bessie Coleman goes to extraordinary lengths to make her dream of flying a reality.
Type: Musical
World Premiere: Yes
Several or Few Scenes: Several
Several or Few Settings/Locations: Several
Static (Stationary) or Dynamic Set: Stationary
Prior Exposure/Knowledge Required: I imagine you’d appreciate this show more if you were familiar with Bessie Coleman. I personally had never heard of her before this show.
Defined Plot/Storyline: Yes
Live Band/Orchestra: Yes
Union Actor(s): 1
Total Actor(s): 12
Perceived Pace of the Show: Medium speed
Was there an intermission? Yes
Length (Including Any Intermission): 2.5 hours
Other Rave(s)
Surprise Hit: I will admit, I was not planning to post a full review of this production. But while watching the show, I felt compelled to share the news about this unexpected sleeper hit. It evoked that rare thrill of discovering a worthy gem out of nowhere like the time I attended Sidecountry Theatre’s Murder Ballad (twice). Perhaps my impression was amplified by initially low expectations since it was a world premiere at a tiny venue with a premise that I mistakenly assumed would feel dry and overly preachy, akin to the tone of Suffs. Instead, it proved to be a mature work in a theatrical landscape often cluttered with half-baked world premieres. This is one of those rare productions that clearly has a bright future ahead in a more substantial venue like Village Theatre.
Powerhouse Vocals: There was something truly special about the actors portraying Bessie Coleman’s blood relatives. Crystal Hairston (as Bessie’s mother, Susan) possessed an effortlessly powerful voice, established immediately in her introductory number “Go Where You’re Lead” and “Enough.” Later, she effectively channeled that vocal strength into a wailing lamentation during the heart-wrenchingly mournful song, “Broken.” Gerald Germajesty Price (as Bessie’s brother, Walter) matched this effortless vocal prowess. He showcased his natural charisma pairing his smooth tone with equally smooth moves. Samara Jeffrey (as Young Bessie) also delivered promising vocals in “The Cards We Must Play.” I only wish she was given more opportunities to show off the impressive chops she previously displayed in Intiman Theatre’s Black Nativity.
Music: Dionne McClain-Freeney’s score was a masterfully eclectic blend of gospel, jazz, and spoken-word poetry, elevated by well-designed harmonies and wonderful chord progressions. Even the intentional dissonance during the bomb scene was remarkably effective. The gospel influences shone brightly during the church service scene, complete with the signature polyrhythmic clapping of a Black church, as well as in the rich “Closer to Yes.” I found myself genuinely smiling during the gospel-infused moments of “Faith” and the Act I finale, “Nothing and Everything.” The latter featured a determined, classic Broadway-style melody that served as a perfect, triumphant act one break, functioning much like “Defying Gravity” did for Wicked. Act II opened with a lively French number, “Je Suis Là,” followed by elegant jazz sequences as Shana Emile (playing Josephine Baker) sang “Josephine’s Pressure” in a nightclub setting. However, the standout jazz moment was the charming dance scene between Bessie (played by Haley Dortch) and Claude (played by Donovan Mahannah) during “When One Becomes Two.” It was a sophisticated, jazzy love song boasting sweet harmonies, nostalgic retro TV vibes, and superb chord progression.
Spoken Word: The production uniquely incorporated un-melodized, spoken-word interludes. There were similarities with Hamilton, but the execution here leaned much closer to the rhythmic cadence of flow poetry. The only other theatrical work I have seen utilize this specific storytelling style is Vietgone.
Band-Actor Synergy: Occasionally, the conductor (composer and lyricist Dionne McClain-Freeney) and the band directly interacted with the actors. While breaking the fourth wall in this manner usually falls awkwardly or forced in other shows, it felt entirely organic here.
Design: Scenic designer Parmida Ziaei crafted a stage backdrop reminiscent of an airplane fuselage cross section, utilizing gill-like structural panels. This design worked in beautiful tandem with lighting designer Dani Norberg’s background illumination behind the “gills.” Watching the stage open to reveal an airplane seat and propeller was a nice surprise.
Tap Dance: Elijah Spreier was a wonderful ensemble member, seamlessly shifting between several roles like a Frenchman and an announcer. But where he truly shined was during his unexpected tap dance solo. My only complaint was that it felt like a tease. He left the audience wanting much more tap dance from choreographer Lexi Warden.
Rant(s)
Odd Moments: The production had some minor “turbulence”. The rapid scene changes between cities could have benefited from transitional music rather than awkward silence. Additionally, there was an odd choice during a flashback moment when pre-recorded lines played over the sound system while the actor who delivered it stood silently on stage to depict Bessie’s memory. As a general rule, if the actor is physically present in the scene, the recording is unnecessary. Simply let the actor recite the line live.
Other Musing(s) and Observation(s)
Narrative Focus: I was initially surprised that the book did not establish Bessie Coleman’s desire to fly earlier in the plot. Instead, her motivation began as a generic longing for “something more,” rather than a specific yearning for the sky. For much of the runtime, the narrative felt less focused on aviation itself, especially given the rapid progression to her becoming a pilot in Act II. However, in hindsight, this structure served the musical well. By grounding her initial ambitions in universal longing, the story was more relatable, allowing the audience to easily map their own dreams and aspirations onto Bessie’s journey.
Theatre Company: Seattle Public Theater and Macha Theatre Works
Venue: Bathhouse Theater at Greenlake
Venue Physical Address: 7312 West Green Lake Dr N, Seattle, WA 98103
Price Range: 10-100 USD
Ticket Affordability Options: You can self-select $10 price-accessible seats on the ticketing website.
Dates: May 15 – June 7, 2026
Seating: Assigned Seats
Parking: Free plentiful parking lot of Greenlake Park, which is adjacent to the theatre.
Like/Comment/Share my Social Media Posts About this Performance:
@showsiveseen#Grease#musical by @Village Theatre. Maya McQueen and @dankvelasquez shine backed by the theatre's signature top-tier choreo, vocals, and band. Ben Dow's "Those Magic Changes" was pure magic. The retro doo-wop score and squeaky-clean 1950s harmonies/setting were reminiscent of @The 5th Avenue Theatre's "Bye Bye Birdie." Closed in Issaquah, but still playing in Everett through June 7! 🎸 Review: showsiveseen.com/15518 B-Roll: Nyhuis Director/Choreo: Lisa Shriver Music Director: Tim Symons Stage Mgr: JR Welden #theatre#musicaltheatre#showsiveseen♬ You're The One That I Want – Remastered 2022 – Olivia Newton-John
Elevator Thoughts (aka Tweet): Grease musical by Village Theatre. Maya McQueen and Daniel Velasquez shine backed by the theatre’s signature top-tier choreo, vocals, and band. Ben Dow’s “Those Magic Changes” was pure magic. The retro doo-wop score and squeaky-clean 1950s harmonies/setting were reminiscent of The 5th Ave Theatre’s Bye Bye Birdie. Closed in Issaquah, but still playing in Everett through June 7! 🎸
Recommendation: See it!
Was This the First Time I Attended a Production of this Show? No, this was probably the 2nd or 3rd time I’ve seen the show.
Would I See It Again 3 Years from Now? Absolutely
Mainstream Appeal: Medium to high
If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Absolutely
My Synopsis (No Spoilers): Set against the backdrop of the 1950s, this classic musical follows a tight-knit circle of high school teens and the central, identity-shifting romance between good-girl Sandy and bad-boy Danny.
Synopsis from the Licensor or Theatre Company:
Ohhh those summer nights! From its earliest performance in a Chicago nightclub through its record-breaking Broadway run and hit feature film, Grease has remained one of the world’s most popular musicals. Featuring the many hit songs that became the soundtrack of a generation, like “Greased Lightnin’,” “Alone at the Drive-in Movie,” and “It’s Raining on Prom Night,” this 1950s pop culture satire is filled to the brim with grit, glam, and youthful exuberance.
In roles made famous by John Travolta and Olivia Newton-John, head “greaser” Danny Zuko and new girl Sandy Dumbrowski try to relive their sizzling summer fling as the Burger Palace Boys and Pink Ladies of Rydell High’s senior class navigate the peer pressures and social politics of high school in the 1950s. Directed and choreographed by Lisa Shriver, this production of Grease promises nonstop, nostalgic, hydromatic fun. So throw on a poodle skirt, dust off that leather jacket, and rediscover the show that’s been winning hearts for generations!
Type: Musical
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings/Locations: Several
Static (Stationary) or Dynamic Set: Mostly dynamic
Prior Exposure/Knowledge Required: You may appreciate this musical better if you saw the classic movie first. However, while modern audiences might naturally look to the film as a reference point, the stage production actually predates its cinematic counterpart. Experiencing the familiar musical numbers in their original sequence was a delightfully disorienting twist that added a fresh layer of appreciation to the show.
Defined Plot/Storyline: Yes
Live Band/Orchestra: Yes
Union Actor(s): 7
Total Actor(s): 16
Perceived Pace of the Show: Medium speed
Was there an intermission? Yes
Length (Including Any Intermission): 2.5 hours
Other Rave(s)
Vocals and Musical Performances: Ben Dow (as Doody) delivered a charming rendition of “Those Magic Changes,” beautifully backed by the doo-wop harmonies of the Burger Palace Boys. The number was a delightful reminder of his previous work in Jersey Boys at this same venue and rightfully earned him an extended ovation. Chad Marge (as Kenickie) garnered a similarly enthusiastic extended response, bolstered by that same strong ensemble energy in “Greased Lightnin’.” “Mooning” emerged as an unexpected highlight, featuring the sweet harmonies between Nick McCarthy (as Roger) and Pilar O’Connell (as Jan). McCarthy and Dow also teamed up for “Rock ‘N’ Roll Party Queen,” treating the audience to a wonderfully effortless vocal and guitar duet surprise hit. Meanwhile, Maya McQueen (as Sandy) provided a lovely touch by turning “It’s Raining on Prom Night” into a duet with the radio, before fully unleashing her powerhouse vocals in the iconic ballad, “Hopelessly Devoted to You.”
Choreography: Director and choreographer Lisa Shriver’s dance numbers were largely outstanding. High-energy highlights included the Act II opener, “Shakin’ at the High School Hop,” alongside the iconic “Greased Lightnin’” and “Born to Hand Jive.” However, “Greased Lightnin’” felt like it could have benefited from a little tap dancing, and the signature hand jive sequence strangely lacked a prominent display of its namesake movements. Additionally, the Issaquah stage felt a bit too confined for the expansive prom choreography. Hopefully, that was alleviated by the production’s transfer to the Everett stage.
Scenic Design: Jason Ardizzone-West transformed the stage into a high school gym. Uniquely, the live band was situated on a second-level balcony, evoking the staging of Mimi’s “Out Tonight” in Rent. The scenic pièce de résistance arrived during the sparkly dream sequence of “Beauty School Dropout,” when the gym bleachers surprisingly parted and giant hairspray cans (perhaps reused from a past production of Hairspray) released mist into the air.
Theatre Company: Village Theatre
Venue: Village Theatre
Venue Physical Address: 2710 Wetmore Ave, Everett, WA 98201 or 303 Front St N, Issaquah, WA 98027
Dates: March 24 – May 3, 2026 in Issaquah and May 9 – June 7, 2026 in Everett
Seating: Assigned Seats
Parking: There’s free street parking and some paid parking lots/garages. In Issaquah, I usually end up parking on Rainier Boulevard North. As a last resort, 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 mostly only locals know about.
Like/Comment/Share my Social Media Posts About this Performance:
Photos: See production photos below by Nikki Womac.
Cast and Production Team: See after photos below.
The company of GREASE at Village Theatre. Photo by Nikki Womac (2026). L to R: Ben Dow, Jeffery Wallace, Chad Marge, Nick McCarthy, and Daniel Velasquez in GREASE at Village Theatre. Photo by Nikki Womac (2026). The company of GREASE at Village Theatre. Photo by Nikki Womac (2026).Maya McQueen and Daniel Velasquez in GREASE at Village Theatre. Photo by Nikki Womac (2026).The company of GREASE at Village Theatre. Photo by Nikki Womac (2026).Credits from the printed ENCORE program. Credits from the printed ENCORE program. Credits from the printed ENCORE program. Credits from the printed ENCORE program.
Village Theatre
Mainstage + New Works + Youth Education Adam Immerwahr, Artistic Director | Derek Watanabe, Managing Director
Grease
Book, Music, and Lyrics by Jim Jacobs and Warren Casey
Francis J. Gaudette Theatre: Mar 24–May 3, 2026 Everett Performing Arts Center: May 9–Jun 7, 2026
Set Designer: Jason Ardizzone-West
Costume Designer: Danielle Nieves
Lighting Designer: Robert J Aguilar
Sound Designer: Ken Travis
Stage Manager: JR Welden*
Music Director: Tim Symons
Director/Choreographer: Lisa Shriver
Grease is presented by arrangement with Samuel French, Inc., a Concord Theatricals Company. www.concordtheatricals.com
Season Sponsors: 4Culture, ArtsFund, Boeing, Microsoft, Enzo’s Bistro & Bar, Hook & Cleaver, Lombardi’s Producing Sponsors: Visit Everett, City of Issaquah Arts Commission, Seattle Northcountry Show Sponsors: Klein Honda, Rowley Properties
Johnny Casino, Vince Fontaine, Teen Angel, Vocal Captain: Danny Kam
Marty, Rizzo, Miss Lynch: Jacqueline Tardanico
Sandy, Patty: Chailia Wendland
Stage Management
Stage Manager: JR Welden*
Assistant Stage Manager: Anna Vraney*
Assistant Stage Manager (2/10-4/5): Miranda Mikolaizik*
Production Assistant and Assistant Stage Manager (4/3-5/31): Ethan Swim
Assistant Stage Manager Cover: Nicola Krause
*The Actors and Stage Managers are members of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
Orchestra
Piano/Conductor (03/24-04/05): Tim Symons
Conductor/Keyboard 1 (04/08-06/07): Michael Nutting
Guitar 1: Greg Fulton or Anthony Pooley
Guitar 2: Elisa Money
Bass: Olivia D Hamilton or Ethan Sobotta
Drums: Emily Westman
Alto Sax/Tenor Sax: Eric Patterson or Natalie Petty or Derek Smith
Happy opening weekend to the world premiere of Scott Zenreich & John Gregor’s Chicken Tinders – A Musical Fable from Copious Love Productions & Gaisma Theatre Group at Taproot Theatre. Cartoonish, absurd, cacophonous romp serving up as many “fowl” puns as Shucked does corn. Starring Noah Fletcher as Chicken 33671 guy. Janet Krupin stole the show as the fox. Unforgettable education on the “cloacal kiss.” Closes 5/31. 💋🍑🥚🐔🎭
@showsiveseen Welcomed the Sabbath on the opening night of @Andrew Lloyd Webber Musicals and Tim Rice's "Jesus Christ Superstar" #rock opera #musical at @The 5th Avenue Theatre. This brutalist dystopian rebel-themed production outshined the national tour. Stunning lighting design from Robert Aguilar. A well-cast Alex Kilian (as #Jesus) carried the weight of the world on his chest. What exactly was written there? 👀 Closes 5/17. Review: showsiveseen.com/15328 Photos: Michael B Maine Director: Bill Berry Music Director: R.J. Tancioco Stage Mgr: Erin B. Zatloka Choreo: @Jimmy Shields #theatre#JesusChristSuperstar♬ Jesus Christ Superstar (From "Jesus Christ Superstar") – Platinum Collection Band
Elevator Thoughts (aka Tweet): Welcomed the Sabbath on the opening night of Andrew Lloyd Webber and Tim Rice’s Jesus Christ Superstar rock opera musical at The 5th Avenue Theatre. This brutalist dystopian rebel-themed production outshined the national tour. Stunning lighting design from Robert Aguilar. A well-cast Alex Kilian (as Jesus) carried the weight of the world on his chest. What exactly was written there? 👀 Closes 5/17.
Recommendation: See it, especially if you grew up Christian.
Was This the First Time I Attended a Production of this Show? No, this was probably the 4th time I’ve seen this show.
Would I See It Again 3 Years from Now? Probably not, since it’s one of my least favorite Andrew Lloyd Webber musicals. But clearly, I can be convinced otherwise, since this was the 4th time I’ve seen the show!
Mainstream Appeal: Medium
If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Absolutely
My Synopsis (No Spoilers): Drawn from the biblical Gospel accounts, this musical traces Jesus’s journey from the peak of his fame to the cross.
Synopsis from the Licensor or Theatre Company: The rise and fall of a superstar. Passion. Betrayal. Redemption. And the ultimate rock opera. Jesus Christ Superstar is a global phenomenon that has wowed audiences for decades. A collaboration between theatrical powerhouses Andrew Lloyd Webber and Tim Rice, Jesus Christ Superstar is a high-energy rock musical that reimagines the last weeks of Jesus Christ’s life focusing on his relationships, struggles, and ultimate sacrifice. Told through the perspective of Judas Iscariot, this iconic show brings new life to the Biblical story. Don’t miss the musical phenomenon that changed the stage forever and set a whole new bar for musical theater!
Type: Rock Opera Musical
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings/Locations: Several
Static (Stationary) or Dynamic Set: Mostly dynamic
Prior Exposure/Knowledge Required: You need to be familiar with the biblical accounts of Jesus.
Defined Plot/Storyline: Yes
Live Band/Orchestra: Yes
Union Actor(s): All
Total Actor(s): Too many to count
Perceived Pace of the Show: Medium speed
Was there an intermission? Yes
Length (Including Any Intermission): 2 hours
Other Rave(s)
Scenic Design: Scenic designer Parmida Ziaei envisioned a utilitarian brutalist architecture set in a post-apocalyptic dystopia. My first impression was a concrete Eastern European-style coliseum with the band positioned in the balcony and a banner of the establishment looming overhead. The banner was a bold declaration that greeted audiences the moment they entered the theatre. When that banner dramatically fell, it revealed grand lattice windows reminiscent of Soviet-era Chernobyl nuclear fuel assemblies. It wasn’t until the production’s final moments that the full picture clicked into place. This brutalist structure was a church temple all along!
Rebel Theme: The production incorporated a rebel aesthetic that paired naturally with the scenic design. Insurgents in Communist-style green berets vandalized a banner of the establishment while stormtroopers pursued them. It evoked a spirit of defiance that sparked the story with urgency. I was reminded of The 5th Avenue Theatre’s Man of La Mancha production.
Lighting Design: Lighting designer Robert Aguilar delivered one of the production’s most unexpected treats. His work with shadow was particularly striking beginning with the silhouette of Jesus cast against the establishment’s banner. It continued with the villains’ shadows thrown against the upstage wall. Not sure if that effect was intentional or a happy accident, but it worked. As a villain balcony descended from the stage rafters, foreboding cool light washed over the audience. Those same spotlights then tracked the fall of silver coins to the floor with expert timing, highlighting the gravity of the moment. Cool light also traced the edges of Ziaei’s scenic columns, while side-of-stage spotlights followed center-stage characters with stark precision.
The lighting design’s crowning achievement was when a suspended Jesus hung before a backdrop of an enormous illuminated cross. A small human figure dwarfed by a towering cross proved far more effective than the conventional staging with a physical cross. But it felt wholly consistent with the iconography we see in ostentatious historical churches.
Jesus: Alexander Kilian was a well-cast lookalike of the traditional Jesus archetype. However, his casting also represented a missed opportunity. Rather than defaulting to the typical inaccurate Caucasian representation of a Middle Eastern figure, it would have been a more powerful statement to cast an actor of native Arab heritage, which would be more in line with the character’s true origins. Given the ongoing genocide in Gaza, a Palestinian actor in the role would have been perfect! Nevertheless, Kilian performed with remarkable vocal assurance. I have seen him in Seattle productions before, but I didn’t realize how well he could sing until he effortlessly hit those upper tenor register notes from the opening of “What’s the Buzz / Strange Thing Mystifying.” He earned a well-deserved extended ovation for “Gethsemane (I Only Want to Say).”
Mary Magdalene: Molly Sides (as Mary Magdalene) delivered soaring ballads that provided a welcome contrasting relief to the surrounding rock numbers. Her rendition of “I Don’t Know How to Love Him” was her standout number.
Temple Zombies: The production’s most memorable sequence was “The Temple” song when Jesus drove the profiteers from the temple. A unique driving, syncopated beat with riveting choreography (by Jimmy Shields) propelled the scene. The number segway-ed into mummified lepers clamoring at Jesus like zombies sucking away at his life force. Both ensemble numbers evoked a wonderfully visceral effect.
Choreography : Shields’ choreography also shone in “Simon Zealotes / Poor Jerusalem,” where Simon (played by Aaron Alexander Gordon) opened with a brief dance solo before the ensemble erupted with the kinetic energy of a 1970s disco gospel television special.
Superstar: That same funky choreography carried into the show’s iconic finale. It is always a shame that “Superstar” closes the show rather than occurring earlier like most musicals’ signature songs. It would have been perfect to end the first act with this song as the showstopper. Nevertheless, the rendition here was deeply satisfying, complete with sparklers and a powerhouse female soul trio comprised of Nalica Hennings, Rae Nellie, and Mesgana Teklu.
Costume Design: Much of “Superstar’s” visual impact owed itself to costume designer Danielle Nieves. The finale costumes radiated a disco goddess energy (think Rachel Chu from Crazy Rich Asians), but with more glitter and gospel. Pontius Pilate’s villain costume on Mari Nelson was equally memorable. Its duality was reminiscent of Two-Face from Batman. It was a fitting visual metaphor for a figure of ambiguous authority.
The Last Supper: The recreation of Leonardo da Vinci’s The Last Supper poses was a nice touch. A scenic piece overhead adorned with several melted candles served as an improvised chandelier.
Rant(s)
Understandability : Lyric clarity was a persistent challenge throughout the show. But in fairness, this production faced a stacked deck from the start. I feel like lyrics in musicals are already usually hard to understand. This is precisely why I cherish captioned performances. Sung-through musicals without spoken dialogue (think Les Misérables) are inherently even more difficult to follow. And the dense, layered rock music of the 1970s score only compounds the difficulty. Even on the cast recording, the lyrics are hard to parse. The muddled lyrics also made character identification a struggle. This show assumes a baseline familiarity with the biblical narrative. Those coming in without it may find themselves adrift.
Shouting: The shouted vocal passages were not pleasant to hear. And I suspect they aren’t entirely healthy for the performers either. But there will naturally be a lot of this in a rock musical. It’s an occupational hazard baked into the genre.
Other Musing(s) and Observation(s)
“King Herod’s Song”: Adam Standley’s King Herod had the makings of a showstopper, but the number missed an opportunity to add a tap sequence that could have pushed it into more memorable territory. For comparison, Natalie Moe’s rendition in Reboot Theatre’s local production set a high bar for me that this one didn’t quite clear.
Cast Size: Surprisingly, the cast at times felt too large for certain numbers (Queue the “oh no, my steak is too juicy and my lobster too buttery” meme). Usually, that’s never the case for full Equity productions like this. There were moments when the stage felt overstuffed in a way more characteristic of school theatre, where maximizing stage time for every student takes precedence over casting efficiency.
Skin Art: The painted wounds on Jesus’s back were well designed. But they were only visible when Jesus writhed on the floor, which meant much of the orchestra-level audience likely never saw them. And what exactly was written on Jesus’s chest during the crucifixion? My money is on “King of the Jews,” but I’d love to know for certain. Drop your theories in the comments of my social media posts.
Theatre Company: The 5th Avenue Theatre
Venue: The 5th Avenue Theatre
Venue Physical Address: 1308 5th Ave, Seattle, WA 98101
Price Range: 50-175 USD
Ticket Affordability Options: The 5th Avenue Theatre often partners with organizations you’re affiliated with for discount tickets. For example, they sometimes offer a discount for my employer affiliation and my apartment complex. Rush tickets are typically also available the day of the performance at the box office.
Seating: Assigned Seats
Parking: When I don’t walk to the theatre or park on the street, I park in the paid garage at the Motif Hotel northwest of the theatre. The entrance is on 5th Ave. DO NOT park in the APA Coast Seattle Downtown Hotel garage (entrance on 6th Ave). That’s where most of the audience (and I think the subscribers) parks, so it’s a nightmare to leave. However, the APA Coast Seattle Downtown Hotel garage is the closest garage to the theatre and you can access the theatre through a tunnel if you want to avoid the elements. But, in my opinion, this benefit is not worth the time wasted leaving the garage.
Like/Comment/Share my Social Media Posts About this Performance:
The cast of Jesus Christ Superstar at The 5th Avenue Theatre. Photo by Michael B. Maine. Cameron Lavi-Jones as Judas in Jesus Christ Superstar at The 5th Avenue Theatre. Photo Credit: Photo by Michael B. Maine.Cameron Lavi-Jones as Judas in Jesus Christ Superstar at The 5th Avenue Theatre. Photo Credit: Photo by Michael B. Maine.Alexander Kilian as Jesus and Molly Sides as Mary Magdalene in Jesus Christ Superstar at The 5th Avenue Theatre. Photo Credit: Photo by Michael B. Maine.Molly Sides as Mary Magdalene in Jesus Christ Superstar at The 5th Avenue Theatre. Photo Credit: Photo by Michael B. Maine.Alexander Killian as Jesus and Mari Nelson as Pontius Pilate in Jesus Christ Superstar at The 5th Avenue Theatre. Photo Credit: Photo by Michael B. Maine.Credits from the printed ENCORE program.Credits from the printed ENCORE program.Credits from the printed ENCORE program.Credits from the printed ENCORE program.
The 5th Avenue Theatre Company Presents Jesus Christ Superstar
Leadership
Executive & Artistic Director: Bill Berry
Managing Director: Ariel Gomez Bradler
Producing Partners: Marleen and Kenny Alhadeff
Creative Team
Music by Andrew Lloyd Webber
Lyrics by Tim Rice
Director: Bill Berry
Music Director: R.J. Tancioco
Choreographer: Jimmy Shields
Cast (Alphabetical / Featuring)
Ethan Carpenter, Will Chadek, Michael Chris-Lois, Arthur Joseph Cuadros, Anteia Delaney, Kekoa Dilay, Keoni Dilay, Aaron Alexander Gordon, Sapphire Goetz, Jade Harnish, Nalica Hennings, Keola Kapulani Holt, Nehemiah Hooks, Eric Polani Jensen, Cameron Lavi-Jones, Zhanea June, Alexander Kilian, Cassi Q Kohl, Trina Mills, Rae Nellie, Mari Nelson, Mackenzie Neusiok, Fiona Palazzi, Matthew Posner, Mark Siano, Molly Sides, Charles L. Simmons, Adam Standley, Christopher Sweet, Mesgana Teklu, Gill Vaughn-Spencer, Jason Weitkamp, Tarquinn White.
Cast Breakdown
Jesus of Nazareth: Alexander Kilian
Judas Iscariot: Cameron Lavi-Jones
Mary Magdalene: Molly Sides
Caiaphas: Mark Siano
Annas: Cassi Q Kohl
Pontius Pilate: Mari Nelson
King Herod: Adam Standley
Simon: Aaron Alexander Gordon
Peter: Will Chadek
Soul Singers: Nalica Hennings, Rae Nellie, Mesgana Teklu
Ensemble: Ethan Carpenter, Will Chadek, Arthur Joseph Cuadros, Anteia Delaney, Keoni Dilay, Aaron Alexander Gordon, Sapphire Goetz, Nalica Hennings, Keola Kapulani Holt, Nehemiah Hooks, Eric Polani Jensen, Trina Mills, Rae Nellie, Mackenzie Neusiok, Matthew Posner, Charles L. Simmons, Mesgana Teklu, Gill Vaughn-Spencer, Jason Weitkamp
