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.
Credits from printed Encore program.
Credits from printed Encore program.

Golden – Play – Review – ACT Theatre

@showsiveseen @Andrew's "#Golden" #play at @acttheatre. Reflects on our universal desperate urge to cling to the glory days. @Kaughlin shines as the delightful, heartfelt Quikk character. Realistic #laundromat scenic design by Parmida Ziaei. Closes 5/11/25. #Review: showsiveseen.com/12756 Production Video: Howard Shack Director: Tyrone Phillips Stage Mgr: @Shay Trusty #showsiveseen #theatre #goldenBoy #recession ♬ Phase – Kesha Shantrell

Elevator Thoughts (aka Tweet): Andrew Lee Creech’s Golden play at ACT Theatre. Reflects on our universal desperate urge to cling to the glory days. Kaughlin Caver shines as the delightful, heartfelt Quikk character. Realistic laundromat scenic design by Parmida Ziaei. #goldenBoy #recession

Recommendation:
See it if you’re okay with dialogue plays or world premieres.


Was This the First Time I Attended a Production of this Show? Yes

Would I See It Again 3 Years from Now? No

Mainstream Appeal: Medium

My Synopsis (No Spoilers): The former golden boy desperately scrambles to reclaim the glory and luck of his yesteryears before the Great Recession washed it all away. With his laundromat failing, his home on the line, and his separated wife slipping further away, he clings to what little remains of a vanished American dream.

Synopsis from the Licensor or Theatre Company: Morris Golden, fighting to save his laundromat after The Great Recession of 2008, finds an unexpected source of hope in a broken change machine with mysterious powers. From the mind of celebrated Seattle writer Andrew Lee Creech, and first seen at ACT’s inaugural New Works Northwest festival, comes a riveting world premiere that peels back the layers of lives and relationships to reveal the profound impact of choice and the enduring power of human connection. Golden is part of Creech’s nine-play cycle, The Legacy Plays Project, which examines pivotal moments in the lives of Black Americans throughout U.S. history.

Type: Play

World Premiere: Yes

Several or Few Scenes: A couple

Several or Few Settings/Locations: One – a laundromat

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: No, but you’ll likely appreciate this more if you have even a passing familiarity with the American Great Recession.

Defined Plot/Storyline: Yes-ish, but there’s only so much that can occur in a dialogue play.

Union Actors: 2

Total Actors: 6

Perceived Pace of the Show: Slow to medium speed

Was there an intermission? No

Length (Including Any Intermission): 1.5 hours

Other Rave(s)

  • Quikk: Kaughlin Caver delightfully portrayed the playfully optimistic Quikk with ease. Though Quikk’s schemes were occasionally flawed, Caver made it clear that beneath the hustle lay genuine heart and good intentions. Unlike Morris Golden (played by Ty Willis), who clinged to nostalgia and luck, Quikk believed in forging a better future through sheer effort and hope.
  • Funny Lines: The script occasionally contained unexpected random funny lines like, “I think one of them [nipples] winked at me.”
  • Sweet Dreams, Dark Thoughts: I audibly gasped at the play’s unexpected dark turn just before the surreal fantasy dream sequence in the middle of the show. I always love bold, unsettling twists in theatre that catch you off guard.
  • Scenic Design: Parmida Ziaei’s set design convincingly recreated the look and feel of a real run-down laundromat, down to thoughtful details like a functioning temperamental coin machine (whether or not it was her doing).

Other Musing(s) and Observation(s)

  • Cash: In theatre, it’s practically a law of nature that the moment a character comes into a large sum of cash, you can bet something disastrous is about to happen to it. It makes me think back to Taproot Theatre’s recent A Raisin in the Sun (which Arlando Smith was also in). Why does no one ever just put the money in a bank? People, take advantage of free FDIC insurance! In this production, the choice to not deposit cash immediately raised questions: was it poor Americans’ lack of trust in banks (not to mention post-Great Recession anxiety), or was it simply narrative convenience?
  • Coin Machine: It’s baffling that Morris Golden didn’t simply refund customers when his machine ate their dollar without dispensing quarters. Honestly, I would have channeled my inner Karen and demand my money back.
  • Black Oppression: Morris Golden’s tirade on the systemic forces that have historically oppressed Black communities (slavery, sharecropping, highway construction) came across more like an educational laundry list (no pun intended with the laundromat theme) for the audience than natural dialogue. While these are crucial topics to address, they need to resonate more organically in the script.
  • Moral of the Story: So, what’s the takeaway here? If you’re struggling, you’re doomed unless someone throws you a lifeline? That’s sad. What about luck or pulling yourself up? I hate relying on people.

Theatre Company: ACT Theatre

Venue: Gregory A. Falls Theatre at ACT Theatre

Venue Physical Address: 700 Union St, Seattle, WA 98101

Price Range: $65-94

Ticket Affordability Options: Check out the theatre’s official discounts page.

Dates: 4/26/25 to 5/11/25

Seating: Assigned Seating

Parking: Paid lot or paid street parking. If I don’t walk to this theatre, I park in the old convention center garage with the entrance between Seneca and Pike. There is indoor access from the garage to the theatre if you walk through the old convention center.

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Pictures: See production pictures below by Rosemary Dai Ross.

Cast and Production Team: See after pictures below.

Zora Harris (Mesgana Alemshowa). Photo by Rosemary Dai Ross.
L to R: Earl (Arlando Smith), Quikk (Kaughlin Caver), Jazmine Harris (Elena Flory-Barnes), and Zora Harris (Mesgana Alemshowa). Photo by Rosemary Dai Ross.
Jazmine Harris (Elena Flory-Barnes) and Quikk (Kaughlin Caver). Photo by Rosemary Dai Ross.
Morris Golden (Ty Willis) and Rheeda Golden (Tracy Michelle Hughes). Photo by Rosemary Dai Ross.
Rheeda Golden (Tracy Michelle Hughes) and Morris Golden (Ty Willis). Photo by Rosemary Dai Ross.
Earl (Arlando Smith). Photo by Rosemary Dai Ross.
Morris Golden (Ty Willis) and Quikk (Kaughlin Caver). Photo by Rosemary Dai Ross.
Credits from printed Encore program.

Preview Post – Golden – Play – ACT Theatre

Congrats to Andrew Lee Creech on the opening night of his world premiere Golden play at ACT Theatre. Performing till 5/11/25. Stay tuned for my full review. #goldenBoy #recession #laundromat

Tickets: https://www.acttheatre.org/2024-25-season/golden/

Final Full Review: https://www.showsiveseen.com/golden-play-review-act-theatre/

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Athena – Play – Review – ArtsWest & Salle Auriol Fencing Club

@showsiveseen Gracie Gardner's "#Athena" #play by ArtsWest & Salle Auriol Fencing Club. Starring Allison Renee & @Anteia DeLaney as total opposite characters. Physically demanding roles. Tons of raw youthful #energy. Well-executed fight choreography. Sleek lighting design. No blood was shed, but I shed a single tear. Closes this weekend! #Review: showsiveseen.com/12683 Director: @kathrynvanmeter #EnGarde #fencing #theatre #showsiveseen #friendship #friends ♬ Anymore – Dylan Rockoff

Elevator Thoughts (aka Tweet): Gracie Gardner’s Athena play by ArtsWest & Salle Auriol Fencing Club. Starring Allison Renee & Anteia DeLaney as total opposite characters. Physically demanding roles. Tons of raw youthful energy. Well-executed fight choreography. Sleek lighting design. No blood was shed, but I shed a single tear #EnGarde #friendship #friends

Recommendation:
See it if you enjoy either 1) plays heavy with fight choreography like Latitude Theatre’s Monstrous Regiment, 2) two-person shows, 3) or dialogue plays.


Was This the First Time I Attended a Production of this Show? Yes

Would I See It Again 3 Years from Now? Probably not

Mainstream Appeal: Medium

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

My Synopsis (No Spoilers): Two teenage fencers, who are complete opposites, start training together for an upcoming competition. As their blades clash, will this lead to rivalry, friendship, or something in between?

Synopsis from the Licensor or Theatre Company: Mary Wallace and Athena are both seventeen-year-old fencers training for Nationals. Mary Wallace lives in a house in New Jersey, loves marine biology and practices at home. Athena lives in an apartment in New York City, takes acne medication and Athena is not her real name. Follow their journey from competitors to confidantes as they form a bond navigating the milestones of adolescence, training together only to learn the future is only certain for one of them. A great show for teens!

Type: Play

World Premiere: No

Several or Few Scenes: A couple

Several or Few Settings/Locations: A couple

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: No, but you might appreciate this more if you’re remotely familiar with fencing.

Defined Plot/Storyline: Yes-ish, but there’s only so much that can occur in a dialogue play.

Union Actors: None, but the director and stage manager are union members.

Total Actors: Two, with a third actor at the end

Perceived Pace of the Show: Medium speed

Was there an intermission? No

Length (Including Any Intermission): 1.5 hours

Other Rave(s)

  • Physical Demands: Although Athena is a dialogue-driven play, the performance was surprisingly physical. Beyond the obvious fencing sequences (choreographed by Rebecca K Hsia, Sarah Lippai, and Aiden Holmes), the actors remained in near-constant motion – running warm-ups, exercising, and performing drills all while delivering lines, often to the point of breathlessness. At one point, they even balanced fencing gloves on their heads in what I assume is a standard fencer’s drill. The theater itself was unusually cold, likely to offset the heat from actors’ physical exertion.
  • Lighting and Scenic Design: Parmida Ziaei’s scenic design featured a sleek, minimalist catwalk reminiscent of ArtsWest’s Born with Teeth, using simple clean lines. Anna Shih’s neon lighting design added dynamic energy above the catwalk, cleverly synchronized with sound cues to signal to the audience who was winning or losing. Both the overhead neon lights and the floor-level square lights evoked the atmosphere of a modern hip dance club. My only complaint was that associating one character with red and another with green could subtly influence audience perception of good vs bad … unless that was the intended effect!
  • Energy: Both actors captured the unbridled unfiltered energy of adolescence that’s overzealous, angsty, awkward, and bubbling on the edge of eruption. At times, their shouting felt excessive and overenthusiastic, but it reflected the chaotic charm of teenagers. How do the actors’ voices survive these roles?
  • Favorite Lines: Teenagers say the darnedest things like “That’s [classical guitar] not really music. Nobody really enjoys it right?” or “I want to pay rent for living in your stomach for 9 months” or “it’s not my fault you didn’t wear a condom when you had me.”

Other Musing(s) and Observation(s)

  • Last-minute Introduction: I’ve said it once and I’ll say it again. It’s weird to introduce an actor in the last scene. But I guess it probably makes for a reliable understudy.
  • Moral of the Story: What message was the playwright Gracie Gardner trying to convey? “Keep your friends close and your competition closer?” or “Can you remain friends in competition?” or “Opposites attract then attack?”

Theatre Company: ArtsWest & Salle Auriol Fencing Club

Venue: ArtsWest

Venue Physical Address: 4711 California Ave SW, Seattle, WA 98116

Price Range: $46

Ticket Affordability Options: Check out the discounts portion of their ticketing policies page.

Dates: 4/10/25 to 5/4/25

Seating: Assigned Seating

Parking: There are paid lots and free street parking. I usually park on 44th or 45th Ave behind the theatre.

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Pictures: See production pictures below by John McLellan and Corinne Park-Buffelen.

Cast and Production Team: See after pictures below.

Photo by Corinne Park-Buffelen.
Photo by John McLellan.
Photo by John McLellan.
Photo by John McLellan.
Photo by John McLellan.
Photo by John McLellan.
Photo by John McLellan.
Credits from printed program.
Credits from printed program.

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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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.