Seattle Repertory Theater – Shows I've Seen

Laughs in Spanish – Play – Review – Seattle Rep

@showsiveseen Alexis Scheer's "Laughs in #Spanish " #comedy #play by @Seattle Rep. Starring Beth Pollack & @Diana Burbano. Loved @Gabriell Salgado's charismatic frat boy-like appeal. Scene transitions pop with fun dance breaks. Perfect for #mothersDay . Extended thru 5/17/25. #Review : showsiveseen.com/12751 Director: Dámaso Rodríguez #showsiveseen #theatre #jaja #jajaja #hispanic #latin #mothers #mother #mom ♬ Dejando Huellas – Código

Elevator Thoughts (aka Tweet): Alexis Scheer’s Laughs in Spanish comedy play by Seattle Rep. Starring Beth Pollack & Diana Burbano. Loved Gabriell Salgado’s charismatic frat boy-like appeal. Scene transitions pop with fun dance breaks. Perfect for Mother’s Day. Extended thru 5/17/25. #jaja #jajaja #hispanic #latin

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? 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): Mariana’s art exhibit is ruined when someone steals all the paintings overnight. As pressure mounts, her glamorous unpredictable celebrity mother Estella swoops in offering to help. Can Mariana trust her, or is this just another performance?

Synopsis from the Licensor or Theatre Company: Mari is about to open a career-defining show in her Miami art gallery, but when the paintings are stolen the day of the event, all hell breaks loose. Her movie star mother sweeps into town under suspicious pretenses, the intern picks up the wrong catering order, and her high school crush arrives in a most unexpected manner… Cue the wildest day ever! Part telenovela, part whodunnit, and all heart, Alexis Scheer’s outrageous new comedy will have you laughing one minute and wanting to hug your mom the next.

Type: Play

World Premiere: No

Several or Few Scenes: A couple

Several or Few Settings/Locations: Few

Static (Stationary) or Dynamic Set: Mostly static, but one of the walls occasionally lifted to show a patio. There was also a sweet cop car that occasionally made an appearance.

Prior Exposure/Knowledge Required: You need to know Spanish or some common Spanish references like “chankla” (slipper store was the gun store!), “ja ja ja,” “no me digas,” and “bruha.”

Defined Plot/Storyline: Yes

Union Actors: 3

Total Actors: 5

Perceived Pace of the Show: Medium speed

Was there an intermission? No

Length (Including Any Intermission): 80 minutes

Other Rave(s)

Dance Breaks: Charming dance break transitions (choreographed by Vanessa Villalobos) set to Latin music separated major scenes. A standout moment was celebrity mom Estella’s glamorous entrance, which was dazzlingly portrayed by Diana Burbano.
Motherly Advice: One of the funniest moments was when Estella frankly advised her daughter to masturbate in the museum bathroom to take the edge off. The moment had the same irreverent, female-forward boldness as Sex and the City’s Samantha absurdly telling Charlotte to borrow a compact makeup mirror and look at her vagina in the restaurant ladies room.
Police Car: The police car set piece was cleverly designed and vaguely reminded me of the DeLorean set piece from the Back to the Future musical. The scene that unfolded inside it was a highlight packed with revelations and surprises that had me audibly gasping and reacting throughout.
Juan: Gabriell Salgado brought a magnetic, “Latin frat-boy” charm to the role of Juan, a goofy, simple-minded cop with a penchant for weed who lived with “mami” and had a home gym. There was something entertainingly attractive about his playful confidence. He radiated a kind of naive bravado that made him both ridiculous and weirdly likable. One of the funniest moments was when told his girlfriend with complete, clueless sincerity, “You’re a feminist. You’re all about abortion.”
Scenic Design: I have a soft spot for clean-line, minimalist set designs. So, the simple modern museum setting by Sara C Walsh easily appealed to me. One of the walls even rose revealing an outdoor patio to add some visual variety. However, it struck me as odd that the patio wall was the only dynamic element the otherwise static set. Typically, I would expect dynamic transformation in the rest of the set when one of the walls rise like this. Additionally, the scenes staged on the patio didn’t necessarily require an outdoor setting. They could have just as easily taken place in another room within the museum.

Other Musing(s) and Observation(s)

Last-minute Introduction: Estella’s bizarre overly-theatrical monologue at the end of the play felt like a Hispanic echo of Maureen’s “Over the Moon” from Rent.

Theatre Company: Seattle Rep

Venue: Bagley Wright Theater at Seattle Rep

Venue Physical Address: 155 Mercer St, Seattle, WA 98109

Price Range: $29-110

Ticket Affordability Options: See the theatre’s official pages about discounts and pay-what-you-can performances.

Dates: 4/17/25 to 5/17/25

Seating: Assigned Seating

Parking: There are paid lots and paid street parking. I usually park on Mercer to the West of 1st Ave. There’s usually also plentiful street parking around Safeway. If there’s an event in Seattle Center or Climate Pledge Arena, street parking is usually limited and much more expensive.

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Pictures: See production pictures below by Bronwen Houck.

Cast and Production Team: See after pictures below.

Gabriell Salgado, Diana Burbano, and Diana Garle in *Laughs in Spanish* (2025). Lighting Design by Robert J. Aguilar. Photo by Bronwen Houck.

Beth Pollack and Cheyenne Barton in *Laughs in Spanish* (2025). Photo by Bronwen Houck.

Diana Garle, Diana Burbano, Gabriell Salgado, and Cheyenne Barton in *Laughs in Spanish* (2025). Photo by Bronwen Houck.

Gabriell Salgado and Diana Burbano in *Laughs in Spanish* (2025). Photo by Bronwen Houck.

Gabriell Salgado and Diana Garle in *Laughs in Spanish* (2025). Photo by Bronwen Houck.

Beth Pollack, Diana Burbano, Cheyenne Barton, Diana Garle, and Gabriell Salgado in *Laughs in Spanish* (2025). Scenic Designer by Sara C Walsh. Photo by Sayed Alamy.

Diana Garle, Diana Burbano, Beth Pollack, Gabriell Salgado, and Cheyenne Barton in *Laughs in Spanish* (2025). Lighting Design by Robert J. Aguilar. Scenic Designer by Sara C Walsh. Photo by Bronwen Houck.

Preview Post – Laughs in Spanish – Play – Seattle Rep

Happy opening night to the Seattle Rep production of Laughs in Spanish comedy play. Performing until 5/11/25. Look out for my full review! #jaja #jajaja

Tickets: https://www.seattlerep.org/plays/202425-season/laughs-in-spanish

Final Full Review: https://www.showsiveseen.com/laughs-in-spanish-play-review-seattle-rep/

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Mother Russia – Play – Review – Seattle Rep

@showsiveseen Lauren Yee's "Mother #Russia" #play at @Seattle Rep. Thought-provoking timely piece filled with layers of symbolism mirroring the current USA political climate. Rich with poignant lines and moments that hit home. Closes this weekend! #Review: showsiveseen.com/12369 Director: Nicholas C. Avila Stage Manager: Jessica C. Bomball #motherRussia #theatre #showsiveseen ♬ "Swan Lake" Trance Arrange – New Air

Elevator Thoughts (aka Tweet): Lauren Yee’s Mother Russia play at Seattle Rep. Thought-provoking timely piece filled with layers of symbolism mirroring the current USA political climate. Rich with poignant lines and moments that hit home. Closes this weekend!

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? 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): In the wake of the USSR’s collapse, an oligarch’s son, his childhood buddy, and an artistic former enemy of the Soviet establishment grapple with a burning question: has capitalism truly changed their lives for the better?

Synopsis from the Licensor or Theatre Company: Evgeny and Dmitri are just two average guys who dream of cushy government jobs—but when the fall of the Soviet Union puts hiring on hold, they find work surveilling a former pop star instead. As they bumble their way through the assignment, both spying and life under capitalism prove harder than they thought. This prescient and thought-provoking world-premiere comedy by Lauren Yee (The Great Leap, Cambodian Rock Band) reveals what happens when old systems and strongmen fall away, and we let the free market decide—but freedom doesn’t taste as good as we thought it would.

Type: Play

World Premiere: Yes

Several or Few Scenes: Several

Several or Few Settings/Locations: A couple

Static (Stationary) or Dynamic Set: Mostly dynamic

Prior Exposure/Knowledge Required: You must know the general late history of the Soviet Union. It also helps if you grew up in the 1990s exposed to references and brands like Sophie’s Choice, Nike (“Just Do It!”), and Folgers (“the best part of waking up”).

Defined Plot/Storyline: Yes

Union Actors: 3

Total Actors: 4

Perceived Pace of the Show: Medium speed

Was there an intermission? No

Length (Including Any Intermission): 90 mins

Other Rave(s)

Foreshadowing Symbolism: The play’s characters and themes resonate strongly with the cultural and political dynamics of present-day MAGA America. The script attempts to explain where modern political conservative ideology evolved from and even delves into the curious phenomenon of conservative men gravitating toward liberal women.
Poignant Lines: Lauren Yee filled the script rich with poignant lines that reference this foreshadowing of modern MAGA America. One striking example is the line, “We would have thrived in the 1950s,” which highlights a longing for a time that never truly benefitted everyone. Another stark moment critiques cisgender, white American (often wealthy) men and their obliviousness to their privilege as Katya (played by Andi Alhadeff) declared “When Russia fails, it will be because of men like you.” Perhaps the most compelling line was when Dimitri (played by Jesse Calixto) ironically said “I can’t believe this all worked out for me.” This moment seems to reference how racial minorities or “proletariat” Americans self-defeating-ly vote against their interests when they vote for MAGA. In addition to these serious reflections, the script also delivers some darkly comedic moments, such as when Dimitri recollects the day the Soviet Union fell quipping, “When you see Swan Lake on every channel, you know the shit’s gonna hit the fan,” which highlighted the upheaval of their political and economic system with sharp humor.
Post-Soviet Russian Society: The script introduces a unique premise that the fall of the USSR left many Russians facing lives seemingly changed for the worse by the collapse. I couldn’t help but wonder if this sentiment truly reflected the views of a significant portion of the Russian population in the 90s since that’s not what is taught in general world history (at least in the USA). The characters in the play are overwhelmed by the boundless choices capitalism offers and struggle to navigate their newfound freedom. Their futures, once seemingly set in predictable roles (such as a successful renegade anti-Soviet artist touring the USA, a KGB officer, or a price adjuster) are completely upended as capitalism takes hold of Russia. It reminded me of a conversation I had with a Russian friend, who shared that his family was near the top of the waitlist in securing an apartment fully funded by the communist government before the USSR collapsed.
Witty Dialogue: The writing had me and the stranger next to me audibly ‘hmph’-ing throughout the entire show. This is always a good sign. My seatmate reacted even more than I did, especially when the characters revealed their true selves.
Food: I’m always a sucker for food themes in live theatre like in The 5th Avenue Theatre’s recent Waitress production or ArtsWest and The Hansberry Project’s recent Clyde production. Mother Russia leaned into the food theme right away when Julie Briskman, fully in character as Mother Russia, handed out doughnuts to the front row during the opening scene. Throughout the play, McDonald’s fast food was a recurring topic so much that by curtain call, the not-so-subliminal messages fully took hold of my cravings. I caved and picked up McDonald’s French fries on the way home. After all, they’re my favorite “food” in the world. (Yes, I know. I’m trash.)

Other Musing(s) and Observation(s)

Casio Brand: The script repeatedly referenced Casio as an expensive, high-status wristwatch brand in Russia, making a point to highlight that Evgeny (played by Billy Finn), the son of an oligarch father, uniquely wore one. While this may resonate culturally within Russia, it felt a bit off to the broader audience. I don’t think Casio has ever been widely recognized as a luxury brand in the USA, neither in the 1990s or today. I think of plain calculators at the mention of Casio. A more universally recognized symbol of wealth, like Rolex, might have delivered the intended message to mainstream audiences with greater clarity.
Climatic Scene: The beginning of the climactic scene unraveled in a weird way. Thankfully, the scene found its footing by the end. A bit of script refinement here could help. It’s a common phenomenon (even established theatre works) for the writing to lazily slump a little in the latter half. Still, I’m just glad that the scene eventually landed well in the end. “All’s well that ends well?”

Theatre Company: Seattle Rep

Venue: Leo K. Theater at Seattle Rep

Venue Physical Address: 155 Mercer St, Seattle, WA 98109

Price Range: $58-75

Ticket Affordability Options: See the theatre’s official pages about discounts and pay-what-you-can performances

Seating: Assigned Seating

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Pictures: See production pictures below by Sayed Alamy.

Cast and Production Team: See after pictures below.

Billy Finn, Jesse Calixto, and Andi Alhadeff in *Mother Russia* (2025). Photo by Sayed Alamy.

Jesse Calixto and Billy Finn in *Mother Russia* (2025). Photo by Sayed Alamy.

Andi Alhadeff and Billy Finn in *Mother Russia* (2025). Photo by Sayed Alamy.

Billy Finn and Jesse Calixto in *Mother Russia* (2025). Photo by Sayed Alamy.

Julie Briskman in *Mother Russia* (2025). Photo by Sayed Alamy.

Preview Post – Mother Russia – Play – Seattle Rep

Happy opening night to the world premiere production of Lauren Yee’s Mother Russia play at Seattle Rep. On stage till 4/13/25. Keep your eyes peeled for my full review!

Tickets: https://www.seattlerep.org/plays/202425-season/mother-russia/

Final Full Review: https://www.showsiveseen.com/mother-russia-play-review-seattle-rep/

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Blues for an Alabama Sky – Play – Review – Seattle Rep and The Hansberry Project

@showsiveseen Pearl Cleage's "Blues for an Alabama Sky" #play by @Seattle Rep & The Hansberry Project. Familiar humanity. So much fodder for potential analysis. Neat rotating set. Background trumpet jazz music from Nathan Breedlove. Review: showsiveseen.com/11564 Director: Valerie Curtis-Newton Stage Mgr: Stina Lotti #showsiveseen #theatre #Harlem ♬ Dream – Revel Day

Elevator Thoughts (aka Tweet): Blues for an Alabama Sky play by Seattle Rep and The Hansberry Project. Familiar humanity. So much fodder for potential analysis. Neat rotating set. Background live trumpet jazz music from Nathan Breedlove.

Recommendation:
See it, especially if you like dialogue plays or Harlem.

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? Probably

My Synopsis (No Spoilers): A charming, staunchly-conservative, handsome Southern gentleman in the Great Depression disrupts the dynamic of a tight-knit Harlem friend group, which includes an ambitious gay clothing designer, his lounge singer “fruit fly,” an innocent social worker, and a fun-loving physician.

Synopsis from the Licensor or Theatre Company: In 1930s New York, the hopes of the Harlem Renaissance have been tempered by the realities of the Great Depression. Best friends and artists Angel and Guy dream of a glamorous future but can barely eke out a living in the jazz clubs, while their neighbor Delia and local doctor Sam deal with bombs and break-ins as they try to bring a family planning clinic to the neighborhood. When Angel catches the eye of a handsome newcomer, their clashing values set off a chain of events that will change everyone’s lives. Lyrical and deeply moving, Pearl Cleage’s classic drama will immerse you in the joy, sorrow, and resilience of a society on the brink of change.

Type: Play

World Premiere: No

Several or Few Scenes: A couple

Several or Few Settings/Locations: All scenes took place in various locations inside and outside a Harlem apartment building

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

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: Somewhat, but it was more dialogue than action

Live Band/Orchestra: There was a single trumpet player

Union Actors: 3

Total Actors: 5

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Other Rave(s) Not Mentioned Above

Music: Nathan Breedlove played the trumpet between scenes, accompanied by recorded classy jazz music. Justin Huertas did something similar in Seattle Rep’s recent Primary Trust on various instruments. Will live background music become a regular feature at Seattle Rep? If so, I’m all for it!
Acapella: In addition to the trumpet music, the play also featured occasional a cappella singing. Ayanna Bria Bakari, portraying the lounge performer Angel, sang beautifully.
Scenic Design: Matthew Smucker smartly designed the set, featuring a Harlem tenement building showing two distinct apartments where most of the scenes unfolded. Before the first act, the building facade lifted to reveal the living spaces as the audience member sitting next to me muttered, “Fancy.” The stage wings displayed a map of Harlem, adding another layer of context to the production.
Nostalgia: This production exuded a wonderfully nostalgic, earthy New York City vibe that felt real and authentic. The retro records playing on the phonograph also contributed to this ambiance.
Rotating Stage: The stage occasionally rotated the set a couple feet in each direction to uniquely denote scene transitions. Throughout the play, I kept wondering if they’ll rotate the stage 180 degrees to reveal more spaces. Finally, toward the end of the play, the stage spun a full 360 degrees to unveil another room. But unfortunately, this reveal was fleeting, lasting only a few seconds. It’s a shame the audience didn’t have more time to appreciate the set design of this newly-revealed space. This fleeting moment reminded me of how briefly Seattle Rep’s previous production Blithe Spirit featured scenes in the dining room.
Meet Cute: The “meet-cute” scene between Leland (played by Ajax Dontavius) and Angel was charming. It gave me hope that happenstance romantic connections are still possible.
Pre-sex Scene: In a similar vein, the kitchen scene leading up to sex (which remained offstage) was sweet, chaste, and tasteful.
Juxtaposition: The script was rich with contrasts, such as the flamboyant gay “Guy” (played by Jamar Jones) paired with the straight-laced Southerner Leland. There was also the juxtaposition between the innocent hopeful Delia (played by Esther Okech Lewis) vs Dr. Sam, who’s been around the block. Additionally, the two-faced Angel shifted between her stuffy persona in a dreadful blue Annie dress and her true, bohemian self in flapper attire.
Second Act: The second act truly gained momentum, with the script hitting its stride. I ate up the explosive, revelatory argument scene at the end.
God: In a way, Josephine represented God. Her portrait on the wall served a similar symbolic role as the billboard eyes of Dr. Eckleburg in The Great Gatsby, representing the watchful eyes of God. Both the portrait and the billboard loom over the unfolding story. Guy spoke to the portrait in one-way communication like prayer. Guy pinned all his hopes on Josephine, much like how others place their dreams and faith in God, never knowing if their dreams will materialize until the end. Just as people obsess over the Bible, Guy fixates on the meaning of Josephine’s letters. The audience is left questioning whether the letters (like other religious texts) hold the truth or is a bunch of lies.
Favorite Line: “I would die for Angel!” “Live for her, man. It’s a much better bargain.”

Other Musing(s) and Observation(s)

Foreshadowing: The foreshadowing in the second act felt a bit too obvious and the playwright could have made it more subtle. However, the tragedy ultimately struck one of the characters I least expected.
Remorse: Where was the characters’ remorse for this tragedy? I saw more genuine emotion in the audience’s tears than from the numbness the characters displayed.
Alcohol: Why so much the alcohol consumption? It reminded me of how Company glamorized it.
Paris vs NYC: It’s ironic that NYC represents broken dreams in this play, while Paris is portrayed as the ultimate goal. It’s reminiscent of how Carrie left NYC for Paris in Sex and the City. I don’t quite understand people’s obsession with Paris. Personally, I’d rather live in NYC.
Will and Grace: Speaking of TV shows, this play also reminded me of the TV show Will and Grace, though with a more serious tone… and set in Harlem. Like the TV show, the script features a driven, stable gay guy and his needy chaotic “fruit fly,” who demands all the attention. When Guy says to Angel, “Sometimes you wear me out [with your shenanigans],” I swear I felt the same thing about Grace in the TV show.
Leland: Leland was a well-crafted epitome of what I despise about pious imposing moral conservatism, particularly its ties to the South, rural areas, ignorance, violence, control, power, and patriarchy. It’s poison to social settings. He’s a timely character that resonates with today’s political climate. Is there hope?