Category: The 5th Avenue Theatre

@showsiveseen Shaina Taub’s #Suffs #musical kicked off its national tour at @The 5th Avenue Theatre. Starring @Maya Keleher. Jason Crystal's impeccable "crystal" clear sound design highlighted the cast’s solid, polished voices. Ideal musical for Seattle’s #activist spirit. Closes 9/27/25! Review: showsiveseen.com/13701 Photos: Joan Marcus Director: Leigh Silverman Music Director: Dani Lee Hutch Choreo: Mayte Natalio Music Supervision: Andrea Grody #suffrage #suffragette @Suffs The Musical ♬ The March (We Demand Equality) – Hannah Cruz & Nikki M. James & Original Broadway Cast of Suffs

Elevator Thoughts (aka Tweet): Shaina Taub’s Suffs musical kicked off its national tour at The 5th Avenue Theatre. Starring Maya Keleher. Jason Crystal’s impeccable “crystal” clear sound design highlighted the cast’s solid, polished voices. Ideal musical for Seattle’s activist spirit.

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? Yes

My Synopsis (No Spoilers): Follow the courageous struggle of women fighting for the right to vote in the 1900s.

Synopsis from the Licensor or Theatre Company: Direct from Broadway, comes the acclaimed Tony Award®-winning musical SUFFS about the brilliant, passionate, and funny American women who fought tirelessly for the right to vote. Created by Shaina Taub, the first woman to ever independently win Tony Awards® for Best Book and Best Score in the same season, this “thrilling, inspiring and dazzlingly entertaining” (Variety) new musical boldly explores the triumphs and failures of a struggle for equality that’s far from over. Winner of the Outer Critics’ Circle Award for Best New Musical.

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, but you’d probably appreciate this show more if you’re familiar with US history.

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): 2.5 hours

Other Rave(s)

• Voices and Sound Design: The exceptional sound design by Jason Crystal allowed both the voices and the band to shine in perfect harmony. It was a crisp refreshing contrast to the muddled sound balance I experienced last week at the Paramount Theatre’s Some Like It Hot. It wasn’t just my impression since I ran into a fellow patron in the elevator who enthusiastically praised the precision of the sound and the clarity of the enunciation before I even mentioned it. Fresh from its Broadway run, the cast’s voices were crystal clear, confident, and sure. Every performer brought such strength and control that it was nearly impossible to single out high performers since the ensemble’s vocal talent was uniformly remarkable.
• Song Highlights: Standout moments included Marya Grandy’s powerful rendition of “This Girl,” Jenny Ashman’s spirited performance in “Ladies,” and Laura Stracko’s commanding take on “Alva Belmont.” At times, the driving rhythms and historical subject matter of numbers like “The March (We Demand Equality)” evoked the same energy of Hamilton. But at other times, the homogenous all-female chorus was reminiscent of 1990s-2000s adult contemporary music (like from the Christian contemporary group Point of Grace).

Rant(s)

• Otherness: The script frequently leaned on the antiquated tired “quirky foreigner” trope (Polish character Ruza Wenclawska) to elicit cheap laughs from the audience. Surely theatre has moved beyond this by now!

Other Musing(s) and Observation(s)

• Vibe: As can be expected from any show about activism, the script carried a decidedly preachy tone. Additionally, inherently dry historical subject matter runs a higher risk of a tepid script that prioritizes spewing facts (albeit facts about important events) over performing entertainment. The production reminded me of a Seattle Women’s Chorus concert – purposeful, no-nonsense, and brimming with female empowerment. It was the theatrical equivalent of a smart Lane Bryant pantsuit. I was missing flashy tap dance numbers, but I admit that there’s a time and place for everything. Despite all that, the show resonates perfectly with Pacific Northwest ideals, and the enthusiastic response from the crowd made that clear.

Theatre Company: National Tour Courtesy of The 5th Avenue Theatre

Venue: The 5th Avenue Theatre

Venue Physical Address: 1308 5th Ave, Seattle, WA 98101

Price Range: $50 to $155

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.

Dates: September 13 to 27, 2025

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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Buy a Ticket or Learn More:

• https://suffsmusical.com/
• https://www.5thavenue.org/shows/2025-26/suffs/
• Program

Pictures: See production pictures below by Joan Marcus.

Cast and Production Team: See after pictures below.

@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!

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.

Like/Comment/Share my Social Media Posts About this Performance:

• Instagram
• TikTok
• Facebook
• YouTube
• Bluesky

Buy a Ticket or Learn More:

• https://www.5thavenue.org/shows/2024-25/bye-bye-birdie/
• Program

Pictures: See production pictures below by Tracy Martin and Mark Kitaoka.

Cast and Production Team: See after pictures below.