Category: 5th Avenue Theatre

Bye Bye Birdie – Musical – Review – The 5th Avenue Theatre

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

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.

Preview Post – Bye Bye Birdie – Musical – The 5th Avenue Theatre

Happy opening night to The 5th Avenue Theatre production of the Bye Bye Birdie musical. Congrats to the 4 (or 5?) high school seniors who missed their graduation to perform this opening night. Good personal decision y’all. Rockin’ till the 6/29/25. This ain’t the last kiss … my full review is just around the corner!

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

Final Full Review: https://www.showsiveseen.com/bye-bye-birdie-musical-review-the-5th-avenue-theatre/

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Parade – Musical – Review – The 5th Avenue Theatre

@showsiveseen Alfred Uhry & @JRB's "#Parade" #musical at @The 5th Avenue Theatre. Starring @maxcherns & @Talia Suskauer. Prescient message for these troubling USA times. Glorious ensemble. Interesting dissonant musical mashups. Critical commentary on #theSouth. Leaves Seattle on 5/4! #Review: showsiveseen.com/12586 Photos: Joan Marcus Director: Michael Arden Music Director: @altermancharlie Choreo: @Lauren & Christopher Grant Stage Mgr: Veronica Aglow, TJ Kearney, Egypt Dixon #southern #theatre #showsiveseen @Parade Tour #georgia #paradeMusical ♬ original sound – Parade Tour

Elevator Thoughts (aka Tweet): Alfred Uhry & Jason Robert Brown’s Parade musical at The 5th Avenue Theatre. Starring Max Chernin & Talia Suskauer. Prescient message for these troubling USA times. Glorious ensemble. Interesting dissonant musical mashups. Critical commentary on the South. Leaves Seattle on 5/4!

Recommendation:
See it, especially if you enjoy “earthy” musicals like Girl from The North County


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: Medium

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

My Synopsis (No Spoilers): Based on a true story, a Jewish man is accused of a crime punishable by death. Can he expect a fair trial in the courts of the conservative Deep South?

Synopsis from the Licensor or Theatre Company: Based on a true story, Leo and Lucille Frank are a newlywed Jewish couple struggling to make a life in the old red hills of Georgia. When Leo is accused of an unspeakable crime, the aftermath propels them into an unimaginable test of faith, humanity, justice and devotion. Riveting and gloriously hopeful, Parade reminds us that to love, we must truly see one another. The New York Times hails it as a Critic’s Pick and “the best-sung musical in many a New York season. It recalls an era of big casts, big stories, and big talent – a time when musicals actually felt like events.”

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Mostly static

Prior Exposure/Knowledge Required: No, but you might appreciate this more if you’re remotely familiar with American 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): 2.75 hours

Other Rave(s)

  • Timely Message: Book writer Alfred Uhry’s message was relevant to the xenophobic realities we’re facing today like anti-immigrant and anti-refugee sentiment where due process is often undermined by ICE. Throughout the entire first act, I felt tense knot in my stomach as a visceral reaction to the injustices portrayed onstage that mirror those unfolding around us today.
  • Musical Contradictions: Composer Jason Robert Brown’s score masterfully creates discomfort through dissonance, often by transposing cheerful melodies into minor keys or pairing uplifting tunes with somber moments (and vice versa). The unexpected mashup between “It Don’t Make Sense” with the well-known hymn “There Is a Fountain Filled with Blood” was a fascinating, unconventional blend. One song was damning while the other song was redeeming. Additionally, the upbeat music juxtaposed against a death sentence scene was particularly haunting.
  • Symbol of Innocence: The simple balloon prop to evoke innocence was striking. The loss when flying away served as a poignant metaphor to symbolize violated innocence. It might have been even more impactful if the balloon popped suddenly as it rose to the theatre rafters.
  • Ensemble Songs: The moments when the full cast came together in song were majestically glorious, particularly in the opening anthem “The Dream of Atlanta.” Unfortunately, as is often the case with mass ensemble numbers in musical theatre, the lyrics were difficult to understand.
  • Voices: While there weren’t many moments for Max Chernin (who played Leo Frank) to fully display his vocal talents, he certainly made an impact with his twisted “Come Up to My Office” song. Additionally, Ramone Nelson (who played Jim Conley) showcased his smooth voice in both “That’s What He Said” and “Feel the Rain Fall.” Of note, Chernin and Nelson expertly mirrored each other like mimes during “That’s What He Said.”
  • Tom Watson: It was fitting (but probably not intentional) for the villain Tom Watson (played by Griffin Binnicker) to visually resemble JD Vance. Additionally, Binnicker’s sharp tenor voice brought a striking edge to the character and added a fresh layer of menace. It was a welcome departure from the typical bass or baritone parts sung by evil characters.
  • Southern Culture: Leo Frank’s line, “I didn’t understand that being Southern isn’t just being in the South,” was a poignant reflection on the complexities of Southern identity. This show was a critical commentary of Southern culture, exploring the region’s deeply rooted issues. The production powerfully underscored the South’s unwavering pride in its Confederate past. It’s a backwards place where the state flag, the Confederate flag, and the USA flag can fly side by side. Thank goodness I no longer call this place home.
  • Southern Dialect: Speaking of the south, dialect coach Dawn-Elin Fraser made sure the actors’ Southern diction and accents were masterfully delivered, each word slipping from their mouths like the rich Savannah molasses.
  • Projections: As each new character appeared throughout the show, projection designer Sven Ortel displayed their names and original historical portraits onto the backdrop of the stage. This was especially helpful, as it is often challenging for me to keep track of character names in theatre … and in life! It was the theatre equivalent of name tags.
  • Intermission: During intermission, Max Chernin uniquely remained in-character and aimlessly wandered around his prison cell without stepping offstage. This offered something for the audience to watch while waiting for the second act to begin. I assumed he finally got his mid-show break time during some scenes without him in the beginning of the second act. Sadly, this means he can never interact with the rest of the cast in a more laid-back intermission setting.
  • Human Nature: The show masterfully explored the darker sides of human nature, like bribery, extortion, corruption, and villainization. Much like primal animals, the angry mob fueled by a sense of injustice desperately searched for any scapegoat to vilify. This was powerfully reflected by the townspeople’s outraged response in the song “That’s When He Said.” It underscored how some lynchings are not always physical, but are sometimes social or psychological. The play starkly illustrated how easily a crowd can be swayed by lies and manipulation, much like prosecutor Hugh Dorsey’s (played by Andrew Samonsky) theatrical use of a bloody dress to elicit an emotional reaction from a grieving mother. The entire experience echoed the manipulative hysteria of The Crucible.

Other Musing(s) and Observation(s)

  • Hook: The musical opened with a handsome man undressing before a brief sex scene. While I appreciate a strong theatrical hook (and he was certainly hot), the moment felt unrelated to the rest of the show like it was gratuitously milking the “sex sells” phenomenon.
  • Broadway Cares: I haven’t seen a Broadway Cares post-curtain call appeal at the end of a national tour since before COVID-19! Are we closer to a better financial place in the theatre?
  • First Act Ending: The conclusion of the first act was like the conclusion of a Sondheim musical first act since it culminated in a moment that felt like a natural endpoint for the entire show.
  • Vulnerability: At the start, Leo Frank came across as somewhat elitist and entitled, particularly when he requested a special diet in prison without any sense of humility. His attitude conveyed an “it can’t happen to me” mentality. It reminded me of the many privileged individuals today that fail to grasp the vulnerability of their own rights as the rights of others are gradually eroded before our very eyes. This echos sentiments of the famous “First They Came” poem, which serves as a stark reminder of how easily injustice can spread until it affects us personally.
  • Double Standard: Throughout the first act, I reflected on the widespread outrage surrounding young Mary Phagan’s brutalization in comparison to 1990s JonBenét Ramsey. Both were innocent, beautiful white girls with the privilege of easily evoking sympathy from the general public. It struck me that people of color, in similar circumstances, wouldn’t garner nearly as much public outcry, if any at all. I felt somewhat vindicated when the second act’s opening number, “A Rumblin’ and a Rollin’,” brought this double standard to the forefront.
  • Parade: The reasoning behind the parade motif felt unclear. While it’s obviously a significant symbol (given that the show is named after it) its relevance to the story was not evident. I do like the explanations offered on Reddit though.
  • Perpetrator: This particular performance seemed to imply that the actual perpetrator was a different character than the person traditionally believed to have committed the crime.

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: $40 to 150

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: 4/16/25 to 5/4/25

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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Buy a Ticket or Learn More:

Pictures: See production pictures below by Joan Marcus.

Cast and Production Team: See after pictures below.

Max Chernin (center) and company in the National Tour of PARADE. Photo by Joan Marcus.
The National Touring Company of PARADE. Photo by Joan Marcus.
Prentiss E. Mouton and Oluchi Nwaokorie in the National Tour of PARADE. Photo by Joan Marcus.
Chris Shyer (center) and company in the National Tour of PARADE. Photo by Joan Marcus.
Olivia Goosman, Jack Roden and company in the National Tour of PARADE. Photo by Joan Marcus.
Emily Rose DeMartino, Bailee Endebrock, Sophia Manicone and company in the National Tour of PARADE. Photo by Joan Marcus.
Danielle Lee Greaves and Talia Suskauer in the National Tour of PARADE. Photo by Joan Marcus.
Credits from the ENCORE printed program.
Credits from the ENCORE printed program.
Credits from the ENCORE printed program.
Credits from the ENCORE printed program.
Credits from the ENCORE printed program.

Preview Post – Parade – Musical – The 5th Avenue Theatre

Happy opening night to the Parade musical national tour at The 5th Avenue Theatre. Closes 5/4/25. Stay tuned for my full review. #georgia #theSouth #south #southern

Tickets: https://www.5thavenue.org/shows/2024-25/parade/

Final Full Review: https://www.showsiveseen.com/parade-musical-review-the-5th-avenue-theatre/

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Waitress – Musical – Review – The 5th Avenue Theatre & Theatre Under the Stars

@showsiveseen @thesarabareilles' "#Waitress" #romanticComedy #musical by @The 5th Avenue Theatre & @Theatre Under The Stars on #PiDay! Starring Kerstin Anderson w/ beautifully clear vocals. Hilarious comic relief from @Kennedy. Quality rivaled the national tour production. Closes next weekend! #Review: showsiveseen.com/12157 Photos: Tracy Martin and Mark Kitaoka Director/Choreo: Lisa Shriver Stage Manager: JR Welden Music Director: @matthewantonioperri #romCom #theatre #showsiveseen #pie #baking ♬ Bad Idea (feat. Jason Mraz) – Sara Bareilles

Elevator Thoughts (aka Tweet): Sara Bareilles’ Waitress romantic comedy musical by The 5th Avenue Theatre & Theatre Under the Stars on Pi Day! Starring Kerstin Anderson w/ beautifully clear vocals. Hilarious comic relief from Kennedy Kanagawa. Quality rivaled the national tour production. #romCom

Recommendation:
See it!


Was This the First Time I Attended a Production of this Show? No, I previously saw the national tour production nearby at the Paramount Theatre

Would I See It Again 3 Years from Now? Yes, if another theatre company I respect produced it.

Mainstream Appeal: High

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

My Synopsis (No Spoilers): Inspired by the original film, this musical follows Jenna, a talented pie-making waitress trapped in an abusive marriage. When she unexpectedly becomes pregnant from her deadbeat husband, she finds solace in her kind married obstetrician. Determined to create a better future for herself and her child, Jenna searches for the courage to change her life.

Synopsis from the Licensor or Theatre Company: Sara Bareilles’s pop-rock musical is filled with scrumptious pie–so much pie–and is one of the most famous musicals from the past decade. It’s a story of friendship, chosen family, and embracing love from unexpected places. Jenna dreams of leaving behind a life she didn’t imagine for herself, and the announcement of a baking contest could be her ticket out. Supported by her best friends, Jenna chooses to open her heart to the messier parts of life, which certainly don’t come with a recipe.

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: You’d probably appreciate this show more if you’ve seen the movie, but I’ve never seen it myself.

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)

  • Production Quality: During intermission, the audience member behind me remarked, “This is a really high-quality production.” I couldn’t agree more, especially when comparing it to the national tour. In fact, I hardly noticed any differences from the touring production scenic design. I was particularly impressed with scenic designer Julia Hayes Welch’s diner set and the vibrant neon restaurant signs, which added an authentic and visually striking touch to the atmosphere.
  • Abusive Husband: Dane Stokinger’s portrayal of Earl brought to life a deadbeat, abusive husband that the audience could easily loathe. Stokinger fully embodied Earl’s self-centered, manipulative nature. While the audience sometimes laughed at the absurdity of his gaslighting, it was a chilling reminder of how real-life victims can still succumb to such tactics. It reminded me of when the American Dad “Abusive Terrestrial” episode parodied melodramatic made-for-television Lifetime movies featuring abusive relationships. It leaves you asking the age-old question: “Why do they stay?!”
  • Voices: Kerstin Anderson brought both power and clarity to her performance as Jenna, delivering a strong, belt-like vocal that captivated the audience. The crowd erupted in cheers at the climax of “What Baking Can Do” in the middle of the song, and her moving rendition of “She Used to Be Mine” earned her an extended ovation. Meanwhile, Porscha Shaw (who played one of Jenna’s spirited sidekicks, Becky) commanded the stage with effortless skill and vocal prowress in her feature number, “I Didn’t Plan It.”
  • Kennedy Kanagawa: I’m usually not a fan of silly portrayals on stage, but I have to admit that Kenny Kanagawa as Odie (alongside Tori Gresham as his love interest, Dawn) delivered genuinely hilarious comic relief to the show. Kanagawa brought boundless energy to the role, playing an infatuated, slightly unhinged, elfish nerd. He was a tax auditor by day who dabbled in amateur magic, clog dancing, and spontaneous bursts of poetry. Truly a Renaissance man! I loved how he cleverly wielded his inhaler like a cool T-Bird from Grease puffing a cigarette. With the film’s 2007 release and the musical’s 2016 Broadway debut, it’s interesting to view Odie’s character through a post-#MeToo lens. I mean, technically, he was a persistent creepy guy who refused to take no for an answer from a woman. The optics aren’t great if you see it that way!

Other Musing(s) and Observation(s)

  • “Bad Idea” Song: As much as I love “Bad Idea” (which is my favorite song in this musical), the band and the actors’ clapping often overpowered the lyrics. I even overheard an audience member complaining about this during intermission. Fortunately, since I own the soundtrack and frequently listen to this song on my Broadway playlist, I was already familiar with the words.
  • Romantic Development: The first time I saw this show during the national tour, I didn’t notice just how abruptly the romance between the two main characters unfolded. But on a rewatch, it felt way too sudden, even by romantic comedy standards!

Theatre Company: The 5th Avenue Theatre and Theatre Under the Stars

Venue: The 5th Avenue Theatre

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

Price Range: $40 to $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.

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:

Buy a Ticket or Learn More:

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

Cast and Production Team: See after pictures below.

Tori Gresham, Kerstin Anderson, and Porscha Shaw in Waitress at The 5th Avenue Theatre. Photo by Tracy Martin. Courtesy of The 5th Avenue Theatre.
Porscha Shaw, Kerstin Anderson, and Tori Gresham in Waitress at The 5th Avenue Theatre. Photo by Tracy Martin. Courtesy of The 5th Avenue Theatre.
Kerstin Anderson and Adam Standley in Waitress at The 5th Avenue Theatre. Photo by Mark Kitaoka. Courtesy of The 5th Avenue Theatre.
Porscha Shaw, Kerstin Anderson, Tori Gresham, and Kennedy Kanagawa in Waitress at The 5th Avenue Theatre. Photo by Mark Kitaoka. 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.