Happy sold-out closing show tonight to the Here & Their rock queer nonbinary musical by Jasmine Joshua and Heather Ragusa. It was a very Capitol Hill-chic crowd last night at 12th Ave Arts. Don’t wait for my full review to join tonight’s waitlist. Entry is still very possible. Last night, several wait list folks got in and some were even standing room only. Great way to celebrate Pride weekend! #lgbt #lesbian #LGBTQIA #trans #gay
@showsiveseen "Bye Bye Birdie" at @The 5th Avenue Theatre. Cute, charming, old-timey, lighthearted #musical that surely made me "put on a happy face." Loved @Leslie Law's passive aggressive motherly remarks. Buy your tickets now before it closes 6/29/25! #Review: showsiveseen.com/13130 Photos: Tracy Martin and Mark Kitaoka Director: Paige Price Music Director: Beth G Tankersley Stage Mgr: @Erin Zatloka Choreographer: @Jimmy Shields #showsiveseen#theatre#musicaltheatre#ByeByeBirdie♬ Put On A Happy Face – Dick Van Dyke
Elevator Thoughts (aka Tweet): Bye Bye Birdie at The 5th Avenue Theatre. Cute, charming, old-timey, lighthearted musical that surely made me “put on a happy face.” Loved Leslie Law’s passive aggressive motherly remarks. Buy your tickets now before it closes 6/29/25!
Recommendation: See it!
Was This the First Time I Attended a Production of this Show? No, I’ve seen two community theatre productions at Centerstage Theatre and SecondStory Rep.
Would I See It Again 3 Years from Now? Yes
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): America’s beloved teenage rock icon (an Elvis Presley-type heartthrob) is unexpectedly drafted into the army. His management agency cooks up one final PR stunt to ride the wave of his fame before it’s too late.
Synopsis from the Licensor or Theatre Company: Candy-coated and bursting with spectacular charm, the classic Bye Bye Birdie gets a fresh twist on The 5th’s stage! When teen idol Conrad Birdie gets drafted into the Army, he decides to shake up small town Sweet Apple, Ohio with one last performance and a kiss for a fan on The Ed Sullivan Show. This true gem of the musical theater canon will knock your socks off-it’s time for the telephone hour! Bye Bye Birdie is a hip-swinging, high-energy, rock-n-roll, show-stopping delight.
Type: Musical
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings/Locations: Several
Static (Stationary) or Dynamic Set: Dynamic
Prior Exposure/Knowledge Required: No
Defined Plot/Storyline: Yes
Live Band/Orchestra: Yes
Union Actors: All
Total Actors: Too many to count
Perceived Pace of the Show: Medium speed
Was there an intermission? Yes
Length (Including Any Intermission): 2.25 hours
Other Rave(s)
Orchestra and Score: From the very first notes of the overture, the orchestra conducted by music director Beth G. Tankersley delivered the swinging, catchy score with glorious energy.
Mae Peterson: Leslie Law’s portrayal of Mae Peterson evoked shades of Kathy Bates with her sharp comic timing and commanding presence. Her passive-aggressive barbs perfectly captured the overbearing energy of a mama’s boy’s mother and the almost-mother-in-law from hell. Her “you’re killing me” melodramatic guilt trips were hilarious. For example, she once deadpanned, “Don’t worry! I won’t make a fuss. I’ll do what any intelligent mother has to do. Goodbye, dear. Don’t worry about the coat. You’ll have three mink stoles as soon as the train passes over.”
Simplicity: My favorite musicals are often light, simple musicals like this one. As Nostradamus sang in Something Rotten!, sometimes it’s nice to “go see something more relaxing and less taxing on the brain.” That spirit was perfectly captured in Conrad Birdie’s (played by Alex Walton) well-choreographed numbers (choreographed by Jimmy Shields), “Honestly Sincere” and “One Last Kiss.” Despite the stupidly simpleton lyrics, he still managed to “suffer” the audience (in a good way). His songs reminded me of the delightfully shallow lyrics in “Who Put the Bomp” from Beautiful: The Carole King Musical.
Vintage Vibe: There’s a delightful charm to old-timey vintage musicals like this one, set in the nostalgic innocence of the 1950s. It evoked the spirit of shows like The Best of Everything and Bells are Ringing. When Albert Peterson (played by Noah Weisberg) performed the beloved classic “Put On a Happy Face,” the scene felt joyously reminiscent of Singin’ in the Rain.
Flexibility: Kudos to Tori Gresham for her impressive flexibility and sass as the virtuously dubious Gloria Rasputin. Her high kicks and effortless splits were as bold as her character.
Song Highlights: Several songs from this production stood out as truly memorable. “An English Teacher” sung by Ashley Perez Flanagan (as Rosie Alvarez) was an unexpectedly catchy tune to a seemingly dull topic. The majestically reverent “Hymn for a Sunday Evening” lead by Ty Willis (as Mr. MacAfee) brought humor and heart to the dream of appearing on The Ed Sullivan Show. The vibrant press scene culminating in “A Healthy, Normal American Boy” was a glorious high point just before the troupe’s arrival in Chicago. Meanwhile, “Baby, Talk to Me” led by Noah Weisberg (as Albert Peterson) charmed the audience with its retro barbershop-style harmonies. But for me, the highlight of the show was the timeless “One Boy”, featuring lovely, sweet harmonies lead by Susanna Cathryn Ballenski (who played Kim MacAfee) that captured the innocent romanticism of the 1950s. I still catch myself singing the song to myself weeks after the show.
Design: Scenic designer Lee Savage (possibly in collaboration with lighting designer Xavier Pierce?) crafted a stunning hanging visual centerpiece installation of hanging lightbulbs spelling out “Bye Bye Birdie” similar to a marquee. Reminiscent of the “Cleveland Union Depot” sign from Broadway’s recent Funny Girl, the piece pulsed with nostalgic charm. The bulbs occasionally animated in playful, dynamic patterns, enhancing the retro Broadway feel. Additionally, in some musical numbers, a dazzling matrix of background lights lit up in animated designs like hearts. Another visual highlight was the file cabinets lining the Al Mae Lou music agency office set.
Rant(s)
Climate Control: Somebody turn on the A/C! I was reminded of how sweltering it was during Something Rotten! There’s just something about summer and winter (like in The Wiz) at The 5th Avenue Theatre where the climate control doesn’t quite keep up in the admittedly older building.
Other Musing(s) and Observation(s)
Younger Actors: I often forget that this show frequently casts younger performers, which makes sense given that many of the lead roles are written as teenagers. While I don’t prefer productions with young actors, the teen ensemble delivered. Their performances brought a genuine sense of youthful energy and innocence that the script demands. “The Telephone Hour” was particularly well-executed. From a practical standpoint, casting younger actors likely benefits the theatre company’s budget and offers a convenient pool for understudies and swings.
Faux Pas in Wokeness: Choosing to preform “The Spanish Rose” in the woke PNW was a ballsy move given that the song depicts caricatures of Hispanic stereotypes. As an Asian viewer, I would find it a little offensive if a similar hypothetical song were built around “Ching Chong Asian” tropes. It reminded me of my surprise (and disappointment) when SecondStory Rep cut “The Girl for You” from First Date presumably out of fear the comedic Jewish references would offend. Ironically though, “The Spanish Rose” was probably the crowd favorite of the night. And to be fair, I admit that Ashley Perez Flanaga (as Rosie Alvarez) performed the song well. I’d love to hear what others think, especially if you’re of Hispanic descent. Drop a comment in my social media post!
Theatre Company: The 5th Avenue Theatre
Venue: The 5th Avenue Theatre
Venue Physical Address: 1308 5th Ave, Seattle, WA 98101
Price Range: $50-169
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. Rush tickets are typically also available the day of the performance at the box office.
Dates: 6/10/25 to 6/29/25
Seating: Assigned Seating
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.
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Cast and Production Team: See after pictures below.
The cast of Bye Bye Birdie at The 5th Avenue Theatre. Photo by Mark Kitaoka. Courtesy of The 5th Avenue Theatre.Jazmin Gorsline and Susanna Cathryn Ballenski in Bye Bye Birdie at The 5th Avenue Theatre. Photo by Tracy Martin. Courtesy of The 5th Avenue Theatre.The cast of Bye Bye Birdie at The 5th Avenue Theatre. Photo by Tracy Martin. Courtesy of The 5th Avenue Theatre.Ashley Perez Flanagan, Nick McCarthy, and Jason Weitkamp in Bye Bye Birdie at The 5th Avenue Theatre. Photo by Tracy Martin. Courtesy of The 5th Avenue Theatre.The cast of Bye Bye Birdie at The 5th Avenue Theatre. Photo by Tracy Martin. Courtesy of The 5th Avenue Theatre.Credits from the printed Encore program.Credits from the printed Encore program.Credits from the printed Encore program.Credits from the printed Encore program.
Elevator Thoughts (aka Tweet): Real Women Have Curves musical at the James Earl Jones Theatre. Staring Tatianna Cordoba. Timely story of resilience that hits close to home on what is happening right now in the USA. So many good quips in the script and lyrics. See it before it closes 6/29/25! #hispanic #spanish
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
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): Inspired by both the original play and film, the story follows Ana, a young Latina torn between familial obligations in Los Angeles and her aspirations of becoming a journalist at Columbia University in New York City. As she dreams of a future beyond the family’s garment business, she and her loved ones face mounting pressure to meet an impossible dressmaking deadline and to avoid the looming threat of deportation.
Synopsis from the Licensor or Theatre Company: But when her family’s East Los Angeles garment business receives a make-or-break order for 200 dresses, Ana finds herself juggling her own ambitions, her mother Carmen’s (Tony Award nominee Justina Machado) expectations, and a community of women all trying to make it work against the odds.
Type: Musical
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings/Locations: Several
Static (Stationary) or Dynamic Set: Dynamic
Prior Exposure/Knowledge Required: A basic familiarity with Spanish is helpful for fully appreciating the show. For example, they mentioned some common expressions like “chisme” (gossip), “de nada” (you’re welcome), “pendejo” (a rude insult term for someone foolish/stupid), and “mira” (look). There were also more specific phrases, such as “sexo cada día” (sex every day) and “dulce pica candy” (a sweet-and-spicy treat). As with many Hispanic-themed productions like Laughs in Spanish, some understanding of the Spanish language enriches the experience and feels almost expected of the audience. Additionally, you’ll probably appreciate this show more if you’ve seen the play or the movie. Personally, I saw neither, but I still heartily enjoyed the musical.
Defined Plot/Storyline: Yes
Live Band/Orchestra: Yes
Union Actors: All
Total Actors: Too many to count
Perceived Pace of the Show: Medium speed
Was there an intermission? Yes
Length (Including Any Intermission): 2.25 hours
Other Rave(s)
Hook: I’m a sucker for a strong opening hook in a theatre show. The catchy “Make It Work” song absolutely delivered in grabbing my attention.
Script and Lyrics: The script was sharply written, filled with poignant, clever, and often hilarious lines that drew frequent reactions from the audience. For example, they said “being an immigrant is like being born in debt.” Or to a worker’s complaint that “my sewing machine is vibrating,” their coworker replied, “enjoy it!” I’m curious how much of the dialogue originated from the film versus what the book writers (Lisa Loomer and Nell Benjamin) and lyricists (Joy Huerta and Benjamin Velez) crafted.
Broadway Bares: In the song “Real Women Have Curves,” the performers stripped down to their underwear as a bold, celebratory act of body positivity. They showcased a diverse range of bodies without the pressure to appear flawless on stage, on screen, or in photos. The cast included a plus-sized actress proudly wearing a muumuu and a woman dressed in butch lesbian underwear, further challenging narrow female standards. This act resonated with the audience and earned a standing ovation.
Menopause: In “Adios Andrés,” the cast sang a grandiose, uproarious ode to menopause. The moment echoed the spirit of Menopause the Musical, with its cheeky humor and unabashed celebration of womanhood.
Other Musing(s) and Observation(s)
Love Interest: Initially, I found it refreshing that the story didn’t revolve around a love interest. When one was introduced later on (played by the delightful Mason Reeves), it felt more like a side dish than the main course. It was easily ignorable and not central to the plot. However, the sex scene, though amusing with its quirky reporter role-play foreplay, felt out of place in the script. I would have been more impressed if the musical had fully committed to leaving out a romantic subplot crutch altogether. That bold choice would have made it stand out even more.
Ending Solution: I kept wondering how they’d pull off completing their dressmaking order deadline by the end of the show. The way it was resolved felt a bit anticlimactic and underwhelming. It missed a clever inventive twist that would’ve made for stronger storytelling.
Previous Works: Having never seen the original film or play, I wonder how they compare to this musical adaptation. I’m especially curious whether the earlier versions emphasized immigration and familial obligation themes as strongly as this one does. I was surprised by how little focus the musical placed on body positivity, which I had expected to be more central given the title. If you’ve seen the earlier versions of this story, let me know your thoughts in my social media comments!
Investment: The workers’ decision to hand their hard-earned paycheck back to the boss for business reinvestment left me baffled. Unless you’re a shareholder, why wouldn’t you keep it? Aren’t these people poor?
Tough Decision: Ana’s central conflict felt a bit like a no-brainer. She was torn between owning the family business (which promises more likelihood of financial stability and independence) vs pursuing a career as a journalist (which sounds as difficult as becoming a successful actor). If it weren’t for the full scholarship to an Ivy League university, the pragmatic part of me would have thought she should have just stayed home. But alas, “follow your dreams” is a better story.
Potential Future Production: It’s a shame this production is ending this weekend on Broadway. But, it could be a strong future fit for Seattle Repertory Theatre, especially given the theatre’s recent embrace of Latin-centered works like Quixote Nuevo, I’m Not Your Perfect Mexican Daughter, Laughs in Spanish, and In the Heights. Beyond thematic alignment, it’s the kind of script that speaks to Seattle’s enduring appetite for art that confronts cultural identity while nursing a warm cup of “white privilege guilt.”
Venue: James Earl Jones Theatre
Venue Physical Address: 138 W 48th St, New York, NY 10036
Venue Classification: Broadway
Price Range: $125 to $319
Dates: 4/1/25 to 6/29/25
Seating: Assigned Seating
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Elevator Thoughts (aka Tweet): Happy closing show last weekend to the Always … Patsy Cline concert country jukebox musical production at Taproot Theatre. Featuring the charming effortlessly-polished vocals of Cayman Ilika with sidekick narration by Kate Jaeger. Elegant nostalgic costumes by Brynne Johnson-McKeen. Magical ballads. #HonkyTonk #countryMusic
Recommendation: See if you enjoy either 1) Patsy Cline’s music, 2) honkytonk music similar to The Best Little Whorehouse in Texas, 3) concert style musicals with less of a story like Six 4) or shows with 1 or 2 actors.
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.
Mainstream Appeal: Low to medium
If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Probably
My Synopsis (No Spoilers): Inspired by true events, this heartfelt tale follows a devoted Patsy Cline fan whose unexpected chance encounter with the country music legend blossoms into an unlikely friendship.
Synopsis from the Licensor or Theatre Company: Journey through the joy and heartbreak of Patsy Cline’s groundbreaking career through her unlikely friendship with her biggest fan. With unforgettable songs including “Walkin’ After Midnight,” “I Fall to Pieces,” and “Crazy,” you’ll experience the power of love, longing, and friendship. It’s time to kick off your boots and dance!
Type: Concert-style Jukebox Musical
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings/Locations: Several
Static (Stationary) or Dynamic Set: Static
Prior Exposure/Knowledge Required: Obviously, you’ll appreciate this show more if you’re familiar Patsy Cline’s discography. I personally only knew the songs that Norah Jones covered, but I still enjoyed the musical.
Defined Plot/Storyline: While there was a story, it wasn’t very substantial. It was more of a framework to showcase Patsy Cline songs.
Live Band/Orchestra: Yes
Union Actors: 2
Total Actors: 2
Perceived Pace of the Show: Medium speed
Was there an intermission? Yes
Length (Including Any Intermission): 1.75 hours
Other Rave(s)
Cayman Ilika: Cayman Ilika’s bluesy voice was unquestionably the highlight of the production. Her sound is distinct and deeply resonant, with a rounded, almost operatic pronunciation that feels both effortless and assured. There’s a confident steadiness to her polished delivery infused with a charming, old-time elegance reminiscent of the transatlantic accent. It brought to mind her memorable performances in White Christmas and Kiss Me, Kate at The 5th Avenue Theatre.
Ballads: There were magical moments during the ballads, especially “You Belong to Me” when Cayman Ilika (as Patsy Cline), dressed in a shimmering black gown, took the stage at the Esquire Ballroom with heartfelt elegance. These moments would have been perfect in a lounge venue like Triple Door (where the venue could have earned a pretty penny on drink service during the show) instead of a theatre.
Costume Design: Costume designer Brynne McKeen dressed Patsy Cline in elegantly vintage ensembles that perfectly captured the charm of the era. The pieces were both stylish and nostalgic.
Other Musing(s) and Observation(s)
Small Cast: Although the production featured two performers, it frequently felt like a one-person show.
Relatability: As a (relatively) young(-ish) person of color, I found it difficult to connect with the script, music, and story. A meaningful way to modernize the piece might be to intentionally cast at least one of the roles with an actor from a more diverse racial background. Doing so could help open the narrative to a wider audience without compromising its core.
Theatre Company: Taproot Theatre
Venue: Jewell Mainstage at Taproot Theatre
Venue Physical Address: 204 N 85th St, Seattle, WA 98103
Dates: 5/14/25 to 6/21/25
Seating: Assigned Seating
Parking: Paid lot or usually-free street parking. I always find free street parking on Greenwood Ave just South of the theatre.
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Pictures: See production pictures below by Robert Wade.
Cast and Production Team: See after pictures below.
L to R: Cayman Ilika and Kate Jaeger in Always… Patsy Cline at Taproot Theatre. Photo by Robert Wade.Cayman Ilika in Always… Patsy Cline at Taproot Theatre. Photo by Robert Wade.L to R: Kate Jaeger and Cayman Ilika in Always… Patsy Cline at Taproot Theatre. Photo by Robert Wade.Kate Jaeger in Always… Patsy Cline at Taproot Theatre. Photo by Robert Wade.Kate Jaeger in Always… Patsy Cline at Taproot Theatre. Photo by Robert Wade.L to R: Cayman Ilika and Kate Jaeger in Always… Patsy Cline at Taproot Theatre. Photo by Robert Wade.Cayman Ilika in Always… Patsy Cline at Taproot Theatre. Photo by Robert Wade.Credits from the Encore printed program.Credits from the Encore printed program.
Smash Broadway musical at the Imperial Theatre. It’s a dang shame it closes this weekend 6/22/25. Don’t wait for my full review to buy tickets! #methodActing #marilynMonroe
