Category: Paramount Theatre

@showsiveseen Lin-Manuel Miranda's "#Hamilton" #musical at the Paramount #Theatre from Broadway Seattle and @Seattle Theatre Group. Starring Blaine Alden Krauss. Great stage presence from @simonlonglegs. Review: showsiveseen.com/11511 Director: Thomas Kail Stage Mgr: Rodrigo Herrera, Rolando A Linares, Jimmie Lee Smith Choreo: Andy Blankenbuehler Music Supervision: Alex Lacamoire #showsiveseen @Hamilton ♬ original sound – Hamilton

Elevator Thoughts (aka Tweet): Lin-Manuel Miranda’s Hamilton musical at the Paramount Theatre from Broadway Seattle and Seattle Theatre Group. Starring Blaine Alden Krauss. Great stage presence from Simon Longnight.

Was This the First Time I Attended a Production of this Show? No, I’ve seen this twice already at the Paramount in 2022 and 2018. What else can I say that hasn’t already been said regarding this popular musical?

Would I See It Again 3 Years from Now? I think three times is enough for me! 🙂

Mainstream Appeal: Ordinarily, I’d say medium. But with the hype, I’d say high.

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

My Synopsis (No Spoilers): The life and times of founding father Alexander Hamilton from young adult to death during the birth of the USA.

Synopsis from the Licensor or Theatre Company: A revolutionary story of passion, unstoppable ambition, and the dawn of a new nation. HAMILTON is the epic saga that follows the rise of Founding Father Alexander Hamilton as he fights for honor, love, and a legacy that would shape the course of a nation. Based on Ron Chernow’s acclaimed biography and set to a score that blends hip-hop, jazz, R&B, and Broadway, HAMILTON has had a profound impact on culture, politics, and education. HAMILTON features book, music, and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, and musical supervision and orchestrations by Alex Lacamoire. In addition to its 11 Tony Awards, it has won Grammy®, Olivier Awards, the Pulitzer Prize for Drama, and an unprecedented special citation from the Kennedy Center Honors.

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Mostly static, but the stage rotated

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: 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) Not Mentioned Above

• Alexander Hamilton: When he wasn’t rapping, Blaine Alden Krauss (who played Hamilton) showcased a nice smooth voice.
• Final Moments: The monologue-like lines in the final moments of Alexander Hamilton’s life was compelling. However, I’m not sure I would have fully appreciated its depth without the context of seeing the musical multiple times.
• Philip Hamilton: The scenes with Philip Hamilton (played by Lucas Hinds Babcock) were endearing, especially moments like when he tried to impress his father by rapping or when he ran in an exaggerated, child-like anime manner.
• Thomas Jefferson: Simon Longnight, who played Jefferson, delivered strong stage presence. His 80s/90s afro was a nice touch. However, I always find it a bit odd when shows introduce major characters in the second act.
• “Helpless” Song: Kendyl Sayuri Yokoyama’s portrayal of Eliza Hamilton in the song “Helpless” was endearingly unconfident and vulnerable. Whether intentional or not, this worked in her favor, adding depth to the character.

Rant(s)

• Least Favorite Line: I absolutely hate when Hamilton challenges George Washington in defiance, “Call me son one more time!” The moment is so cliché.

Other Musing(s) and Observation(s)

• King’s Microphone: King George’s main microphone cut off in the beginning of one of his last solos. Fortunately, the sound engineers immediately utilized the muffled backup microphone. Oh, the magic of live theatre!
• Reputation: The characters obsess over honor, reputation, and legacy. It’s as if “I’ve got a rep to protect” is the end-all, be-all. But wouldn’t it be refreshing if we could just live our lives without worrying about what others think? It would save so much personal agony. After all, a person with a tarnished reputation, no honor, and countless scandals still recently achieved the presidency twice! 😐
• Energy: The show began with less energy than I remember. It felt as though the production got too comfortable with the hype, resting on its laurels and going through the motions. Perhaps the sound balancing played a role. Improving it so the lead singers’ voices come through more clearly could make a difference.
• Hype: Hamilton is undoubtedly groundbreaking, and the lyrics are undeniably genius. However, the intense hype surrounding it always puts me off. There are countless other musicals I’d rather see. Perhaps I’d appreciate it more if I were a fan of rap, hip-hop, or R&B. But the subject matter is dry and dressed up in an attempt to seem cool. It reminds me of a teacher at an urban public school trying to rap through a history lesson, in an effort to appeal to poor inner-city teens from the projects. When someone claim it’s their favorite musical, I can’t help but wonder if it’s because 1) they’re a fan of rap, hip-hop, or R&B 2) they don’t watch many musicals, 3) or they’re just a basic lemming.
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Theatre Company: National Tour from Broadway Across America and Seattle Theatre Group

Venue: Paramount Theatre

Venue Physical Address: 911 Pine Street, Seattle, WA 98101

Price Range: $49-289 plus the insane Ticketmaster fees. Buy your ticket at the box office to avoid the exorbitant fees. Down with the Ticketmaster Live Nation monopoly!

Ticket Affordability Options: Seattle Theatre Group might partner with an organization you’re affiliated with for discount tickets. For example, I believe UW employees/students are eligible for an organization discount.

Dates: 2/4/25 to 3/2/25

Seating: Assigned Seating

Parking: Paid street parking and paid garage parking. The best parking garage is under the convention center w/ the entrance on Pike around the Pike and Terry intersection. Last I checked, this is one of the cheapest, least busy, and closest garages. Alternatively, you can probably find street parking as you move closer to the West Precinct (810 Virginia St, Seattle, WA 98101). Do NOT park where the Paramount subscribers park. Last I checked, they usually park in the garage attached to the Cheesecake Factory. It’ll take you at least 30 minutes to exit that garage after the show.

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Buy a Ticket or Learn More:

• https://seattle.broadway.com/shows/hamilton-2/
• https://hamiltonmusical.com/us-tour/
• https://www.stgpresents.org/events/hamilton/
• Program

Pictures: See production pictures below by Joan Marcus.

Cast and Production Team: See after pictures below.

@showsiveseen Just saw "Back to the Future: The #Musical" at the Paramount Theatre from @broadwaycom Seattle & @Seattle Theatre Group. Starring Caden Brauch & Don Stephenson. Stunning projections & a vibrant celebration of 80s/50s culture, fashion, & music! The story was easy to follow, though the DeLorean tech had a few bumps. Definitely a fun ride through time! Closes 12/22/24 Review: showsiveseen.com/10639 Director: John Rando Music/Lyrics: Alan Silvestri & Glen Ballard Stage Managers: Eric Sprosty, @Caitlin Kellermeyer, Malashia Carter, & Domingo Mancuello Conductor: Matt Doebler Choreography: Chris Bailey #BackToTheFuture #DeLorean #timeTravel #theatre #showsiveseen @Back to the Future Broadway ♬ It's Only a Matter of Time – Olly Dobson

Elevator Thoughts (aka Tweet): Just saw Back to the Future: The Musical at the Paramount Theatre from Broadway Seattle & Seattle Theatre Group. Starring Caden Brauch & Don Stephenson. Stunning projections & a vibrant celebration of 80s/50s culture, fashion, & music! The story was easy to follow, though the DeLorean tech had a few bumps. Definitely a fun ride through time! #BackToTheFuture #DeLorean #timeTravel

My Synopsis (No Spoilers): A teenager from the 1980s accidentally travels back in time to the 1950s and must find a way to return home to the 80s without drastically altering the course of history.

Synopsis from the Licensor or Theatre Company: Great Scott! Back to the Future, the beloved, cinematic classic is now a Broadway musical. Winner of the 2022 Olivier Award for Best New Musical, four WhatsOnStage Awards, including Best New Musical, and the Broadway World Award for Best New Musical, Back to the Future: The Musical is adapted for the stage by the iconic film’s creators Bob Gale (Back to the Future trilogy) and Robert Zemeckis (Forrest Gump) and directed by the Tony Award®-winner John Rando with original music by multi-Grammy® winners Alan Silvestri (Avengers: Endgame) and Glen Ballard (Michael Jackson’s “Man in the Mirror”), alongside hit songs from the movie including “The Power of Love,” “Johnny B. Goode,” “Earth Angel,” and “Back in Time.” When Marty McFly finds himself transported back to 1955 in a time machine built by the eccentric scientist Doc Brown, he accidentally changes the course of history. Now he’s in a race against time to fix the present, escape the past, and send himself… back to the future. When Back to the Future hits 88mph, it’ll change musical theatre history forever.

Attended Performance Date: 12/10/24 – Opening Night

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’ll probably appreciate/enjoy this more if you saw the movie.

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

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: High

Other Rave(s) Not Mentioned Above

• Story: In most live theatre shows, I often need a few scenes before fully grasping the storyline. However, this musical stood out for its clarity and accessibility, making it easy to follow right from the beginning, even without prior familiarity with the movie.
• Mother: The scenes and songs involving the mother’s (Lorraine played by Zan Berube) misguided romantic love for her time traveling son were delightful, darling, … and oedipal! “Pretty Baby” and “Something About That Boy” reminded me of retro girl group songs like “My Boyfriend’s Back” or the songs from The Marvelous Wonderettes.
• 1950s Hazards: In the song “Cake,” the 1950s ensemble ironically and cheerfully boasted about things from that era that are now recognized as harmful, such as leaded gasoline, cigarettes, asbestos, and DDT insecticide.
• 1980s and 1950s: This show celebrated the distinctive culture, music, and fashion of both the 1980s and 1950s. The musical opened with an overwhelming vomit (in a good way) of garish tubular 80s aesthetics like blaring rock music, workout spandex, preppy plaid, jean jackets, fanny packs, headbands, scrunchies, leg warmers, Polaroid cameras, corniness, bully/geek caricatures, and mullets. This gaudy display starkly contrasted with the more subdued, clean-cut, Grease-like ambiance of the 1950s that emerged later in the performance. Tim Hatley (Scenic/Costume Designer) truly did a remarkable job.
• Seahawks: The slight reference to the Seattle Seahawks and the 12th fan was a nice wink to the audience. I wonder if the cast performs similar gags at other cities.

Rant(s)

• DeLorean Technical Difficulties: Although this production introduced the DeLorean in a spectacularly flashy manner, the iconic vehicle experienced significant technical difficulties at the climax of the show. Such is the unpredictability of live theatre! The performance paused multiple times as the DeLorean repeatedly stalled with the following projected message. I lost count of the scene re-attempts and false starts (perhaps five?) which extended the show by over 45 minutes while the audience gradually trickled out in the dark. Since ‘the show must go on,’ the cast and production team ultimately drastically altered the final scenes, and it was evident that substantial portions were cut. Imagine my FOMO! This is a glaring example of the risks inherent in productions with complex technical requirements. Among the 500+ shows I’ve seen, this was undoubtedly the most severe technical mishap I’ve witnessed. Thankfully, no one was hurt. Kudos to the team for their valiant efforts to continue. I can only imagine the adrenaline coursing through stage managers Eric Sprosty, Caitlin Kellermeyer, Malashia Carter, and Domingo Mancuello during this crisis.

  

Other Musing(s) and Observation(s)

• “21st Century” Song: The second act opener was a thrilling, visually spectacular display, featuring futuristic projections and a light show that beautifully illustrated the concept of the space-time continuum with some surprising stage magic at the end. The only drawback was both the lead singer and the background vocalists were difficult to understand because of poor sound balancing.
• Projections: It is easy for productions to overly rely on projections as a crutch for scenery and this show was no exception. However, it was a well-chosen artistic decision from video designer Finn Ross to utilize projections when depicting the DeLorean vehicle speeding. It was also a clever technique to project video onto a transparent screen between the audience and actors to simulate rain and stairs.
• George McFly: Burke Swanson’s interpretation of George McFly reminded me of a funny sloth.
• Formulaic Artificiality: This musical felt overly artificial and formulaic. Despite the well-executed production (and the fact that I kind of love musical formulas), it came across as too commercialized, as if it was conceived solely to capitalize on the movie’s popularity rather than make a dent in the American theatre canon. While that is already innately difficult for musicals based on movies, it’s still possible like with the superficial Legally Blonde. Back to the Future: The Musical lacked soul, leaving me feeling disconnected. Perhaps my opinion would differ if I saw the movie first.

Theatre Company: National Tour from Broadway Across America and Seattle Theatre Group

Venue: Paramount Theatre

Venue Physical Address: 911 Pine Street, Seattle, WA 98101

Price Range: $40-150 plus the insane Ticketmaster fees. Buy your ticket at the box office to avoid the exorbitant fees. Down with the Ticketmaster Live Nation monopoly!

Ticket Affordability Options: Seattle Theatre Group might partner with an organization you’re affiliated with for discount tickets. For example, I believe UW employees/students are eligible for an organization discount.

Dates: December 10 – 22, 2024

Seating: Assigned Seating

Parking: Paid street parking and paid garage parking. The best parking garage is under the convention center w/ the entrance on Pike around the Pike and Terry intersection. Last I checked, this is one of the cheapest, least busy, and closest garages. Alternatively, you can probably find street parking as you move closer to the West Precinct (810 Virginia St, Seattle, WA 98101). Do NOT park where the Paramount subscribers park. Last I checked, they usually park in the garage attached to the Cheesecake Factory. It’ll take you at least 30 minutes to exit that garage after the show.

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

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Buy a Ticket or Learn More:

• https://www.stgpresents.org/events/back-to-the-future/
• https://seattle.broadway.com/shows/back-to-the-future/
• https://www.backtothefuturemusical.com/
• Program

Pictures: See production pictures below by Matthew Murphy and Evan Zimmerman.

Cast and Production Team: See pictures below.