Shows I've Seen | Theatre Reviews – Musicals, Plays, Concerts, Oh My! (and other Performing Arts)

Baskerville: A Sherlock Holmes Mystery – Play – Review – Village Theatre

Elevator Thoughts (aka Tweet): Happy opening night in Everett (and closing in Issaquah) to Village Theatre’s production of Baskerville: A Sherlock Holmes Mystery. Richard Nguyen Sloniker and Avery Clark lead a sharp ensemble through a madcap British-style comedy mystery, with strong doubling work from the full cast.

Recommendation:
See it if you enjoy British comedy or comedy mysteries.

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

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

My Synopsis (No Spoilers): A comedic take on The Hound of the Baskervilles classic.

Synopsis from the Licensor or Theatre Company: Get your deerstalker cap on—the play’s afoot! From multi-award-winning playwright Ken Ludwig (Sherwood: The Adventures of Robin Hood) comes a fast-paced adventure about everyone’s favorite detective solving his most notorious case. The male heirs of the Baskerville line are being dispatched one by one. To find their killer, Sherlock Holmes and Dr. Watson must crack the mystery of “The Hound of the Baskervilles” before a family curse dooms its newest heir. Watch as our intrepid investigators try to escape a dizzying web of clues, silly accents, disguises and deceit as five actors deftly portray more than 40 characters. Does a wild hellhound prowl the moors of Devonshire? Can our heroes discover the truth in time? Join the fun and see how far from elementary the truth can be.

Type: Play

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Mostly stationary with some dynamic elements

Prior Exposure/Knowledge Required: You should be familiar with The Hound of the Baskervilles classic. I was only vaguely familiar with the Wishbone version and was still a little lost.

Defined Plot/Storyline: Yes

Union Actor(s): 3

Total Actor(s): 5

Perceived Pace of the Show: Medium Speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.25 hours

Other Rave(s)

Cast Doubling: The production inventively used cast doubling throughout the show with several moments where the device was openly acknowledged as a knowing wink to the audience that delighted in breaking the fourth wall. The standout moment was courtesy of Calder Jameson Schilling (or was it Mark Emerson?) where an old scullery maid revealed a male villain underneath, who then revealed yet the original another old scullery maid inside. It was a Russian nesting doll of disguise that was both absurd and technically impressive.
Costume Design: Much of the magic in this Russian nesting doll scene was also due to costume designer Pete Rush. Another particularly memorable costume moment was his decision to emblaze a Texan flag across the butt of proud Schilling’s long johns. It was a gag that was reminiscent of the patriotic American pilot in Operation Mincemeat.
Moments of Absurdity: The production showcased the cast’s commitment to physical storytelling and absurdity. A scene stood out for relying entirely on the actors’ bodies to depict treacherous wind without fans, but just remarkably convincing performance designed by movement director Gabriel Corey. Equally enjoyable was the casual choreographed nonchalance with which props like umbrellas, hats, and newspapers were tossed between cast members or flung offstage in the wings, as though the chaos were perfectly ordinary. And then there was Schilling’s moustache piece, which staged a rebellion of its own. Whether a genuine costume malfunction or a plant so perfectly timed it only appeared accidental, the house was in an uproar. If it was unscripted, I hope they recreated the moment in subsequent performances.

Rant(s)

Script: For a lighthearted comedy, the production required too much brainpower from the audience with too many threads to follow. It started when the opening exposition overstayed its welcome. Ultimately, the script was not memorable. Though perhaps those who come already well-versed with the classic book will find more to love.

Other Musing(s) and Observation(s)

Village Theatre’s Artistic Direction: A pattern is emerging under Village Theatre’s Artistic Director Adam Immerwahr. It’s a gravitational pull toward Ken Ludwig adaptations (like Sherwood: The Adventures of Robin Hood) and genteel mystery fare that feels lifted straight from the Taproot Theatre playbook. That overlap is more than aesthetic as Taproot regulars Richard Nguyen Sloniker and Calder Jameson Shilling both appeared in Village’s recent Dial M for Murder as well as this production. Sloniker in particular has become the de facto Sherlock Holmes of Puget Sound, having reprised the role multiple times across the region.

Theatre Company: Village Theatre

Venue: Village Theatre

Venue Physical Address: 2710 Wetmore Ave, Everett, WA 98201 or 303 Front St N, Issaquah, WA 98027

Price Range: $52 – 136

Ticket Affordability Options: Check out the Village Theatre discount page.

Dates: 1/20/26 to 2/22/26 in Issaquah and 2/28/26 to 3/22/26 in Everett

Seating: Assigned Seats

Parking: There’s free street parking and some paid parking lots/garages. In Issaquah, I usually end up parking on Rainier Boulevard North. As a last resort, you can always find parking at the library but it’s a little far. Remember, there’s a bottom floor parking lot under the library’s main parking lot that mostly only locals know about.

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Photos: See production photos below by Rosemary Dai Ross.

Cast and Production Team: See after photos below.

Mark Emerson, Jonelle Jordan, Richard Nguyen Sloniker, and Avery Clark in Ken Ludwig’s *Baskerville: A Sherlock Holmes Mystery* at Village Theatre. Photo by Rosemary Dai Ross (2026).

Avery Clark and Calder Jameson Shilling in Ken Ludwig’s *Baskerville: A Sherlock Holmes Mystery* at Village Theatre. Photo by Rosemary Dai Ross (2026).

Avery Clark and Richard Nguyen Sloniker in Ken Ludwig’s *Baskerville: A Sherlock Holmes Mystery* at Village Theatre. Photo by Rosemary Dai Ross (2026).

Jonelle Jordan and Mark Emerson in Ken Ludwig’s *Baskerville: A Sherlock Holmes Mystery* at Village Theatre. Photo by Rosemary Dai Ross (2026).

Credits from the printed ENCORE program.

Fellow Travelers – Opera – Review – Seattle Opera

@showsiveseen Happy #openingWeekend to "Fellow Travelers " by @seattleopera accompanied by @Seattle Symphony. Refreshing to see a #gay romantic love story at the center of the stage. Narratives like this are still rarer than they should be. Starring @Jarrett Ott / Joseph Lattanzi and Colin Aikins / @Andy. Closes 3/1/26. Review: showsiveseen.com/14787 Music: Gregory Spears Libretto: Greg Pierce Book Basis: Thomas Mallon Director: Kevin Newbury Stage Mgr: Jonathan Moore Conductor: Steven Osgood Producer: Up Until Now Collective #FellowTravelers #Opera #showsiveseen ♬ Hey Daddy (Daddy's Home TikTok Remix) – dreamsoda

Elevator Thoughts (aka Tweet): Happy opening night to Fellow Travelers by Seattle Opera accompanied by Seattle Symphony. Refreshing to see a gay romantic love story at the center of the stage. Narratives like this are still rarer than they should be. Starring Jarrett Ott / Joseph Lattanzi and Colin Aikins / Andy Acosta.

Recommendation:
See it if you’re okay modern English operas.

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

Would I See It Again 3 Years from Now? No, but I’d love to see this turned into a musical.

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): Two closeted men, separated by age but bound by desire, find each other in conservative 1950s Washington, DC, where McCarthyism and the Lavender Scare made their very existence a liability.

Synopsis from the Licensor or Theatre Company: A steamy romance complicates everything for recent college graduate Timothy Laughlin, who has arrived in 1950s Washington, D.C., ready to join the fight against Communism. His chance encounter with the handsome State Department official, Hawkins Fuller, results in Tim’s first job and his first romantic relationship with a man. Tim struggles to reconcile his political, personal, and religious beliefs with the passion he and Hawkins share—all under the watchful eye of McCarthyism and the Lavender Scare. Director Kevin Newbury calls this powerful piece of historical fiction “first and foremost a really beautiful love story,” saying, “it’s more important than ever for me to share this gay love story and showcase intimacy between men on stage… so people can see themselves represented” and “shed light on our shared LGBQT+ history.”

Type: Opera

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 need to be at least remotely familiar with McCarthyism and the red/lavender scare.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actor(s): Yes, the principal roles

Total Actor(s): 9

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Other Rave(s)

Gay Narrative: In the era of the viral Heated Rivalry trend, it was refreshing to see a gay romantic love story as the focus of the narrative. I’d say this was the best opera I’ve seen so far. But that’s mostly because of the personal relatability … not to mention my admittedly limited opera-going experience. For an industry so famously filled with gay creatives, narratives like this remain rarer than they should be.

The opening cat-and-mouse cruising scene in the park was cute and endearing. Its bookend reprise at the show’s close gave the evening a satisfying symmetry. The dance of attraction and longing woven throughout the show was palpable and – dare I say – hot. The nude (butt not crotch) love scenes were tasteful, but it clearly (and effectively) pandered to the audience demographic. A female patron near me noted that there were far more men in attendance at the opera than usual. Sex sells y’all … especially with us gays.

My one reservation with this rave is that the narrative (like Heated Rivalry) was still rooted in closeted shame. That story is real and worth telling, but I’m hungry for something more modern. Can there be a mainstream opera/musical/play as a simple gay romantic comedy, where being queer is unremarkable? We’re not there yet, but we’re getting closer.

Rant(s)

Understandability: While microphone amplification in opera would be sacrilegious to traditionalists, it deserves an exception for modern productions sung in English. When an audience cannot understand the words being sung, something crucial has been lost. With a foreign-language opera, there is an expectation that the listener surrenders to the music’s emotional current rather than its enunciation or literal meaning. But a USA audience watching an English-language opera expects to audibly understand the lyrics.

The operatic voice, magnificent as it is, works against intelligibility in ways that are easy to overlook. Vibrato blurs consonants. The elevated, resonant tone that carries so beautifully in the upper registers softens the edges of words into impressionism. Closed captions compensate for this, but there were several moments in Fellow Travelers when the captions dropped out precisely when the singing was least decipherable. In fact, the stranger seated beside me shared an unprompted remark that the production needed microphones. When an audience member volunteers that observation to a stranger, it’s worth taking seriously.

I understand that microphone amplification remains a controversial subject in opera circles. But in the interest of accessibility, audiences today (particularly younger ones) are accustomed to sound that is engineered to reach them clearly. There is no virtue in purity of form if the meaning it’s meant to carry never arrives.

Other Musing(s) and Observation(s)

Stage Size: McCaw Hall’s expansive stage felt slightly oversized for the scenic design by Vita Tzykun. Though I’ll take that over the alternative (a stage too small). If anything, the scale pushed the designers toward an solution in one scene where they concentrated the snow effect into a tight fifth of the stage, which turned a potential limitation into something visually interesting.
Betrayal: The reason behind the betrayal in the second act didn’t make sense and seemed a bit over reactive for the stakes. Its as if simpler, less drastic pragmatic resolutions were deliberately ignored to force a dramatic turn. But then, sensibility rarely makes for good storytelling.

Theatre Company: Seattle Opera

Venue: McCaw Hall

Venue Physical Address: 321 Mercer St, Seattle, WA 98109

Price Range: $39 to $208

Ticket Affordability Options: Check out the Seattle Opera “Ways to Save” pages

Dates: February 21 to March 1, 2026

Seating: Assigned Seats

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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Photos: See production photos below by Sunny Martini and David Jaewon Oh.

Cast and Production Team: See after photos below.

Joseph Lattanzi (Hawkins Fuller) and Andy Acosta (Timothy Laughlin) in *Fellow Travelers* at Seattle Opera. Photo: David Jaewon Oh.

Jeremy Weiss (Technician) and Joseph Lattanzi (Hawkins Fuller) in *Fellow Travelers* at Seattle Opera. Photo: David Jaewon Oh.

Marcus DeLoach (Estonian Frank) and Amber R. Monroe (Mary Johnson) in *Fellow Travelers* at Seattle Opera. Photo: David Jaewon Oh.

Jarrett Ott (Hawkins Fuller) and Elisa Sunshine (Lucy) in *Fellow Travelers* at Seattle Opera. Photo: David Jaewon Oh.

Jarrett Ott (Hawkins Fuller), Colin Aikins (Timothy Laughlin), Amber R. Monroe (Mary Johnson), Marcus DeLoach (Estonian Frank), Jeremy Weiss (Party Guest), Randell McGee (Tommy McIntyre), Vanessa Becerra (Miss Lightfoot), and Elisa Sunshine (Lucy) in *Fellow Travelers* at Seattle Opera. Photo: Sunny Martini.

Colin Aikins (Timothy Laughlin) and Jarrett Ott (Hawkins Fuller) in *Fellow Travelers* at Seattle Opera. Photo: Sunny Martini.

Jeremy Weiss (Senator Potter’s Assistant) and Randell McGee (Tommy McIntyre) in *Fellow Travelers* at Seattle Opera. Photo: Sunny Martini.

Till We Have Faces – Play – Mini Review – Taproot Theatre

Till We Have Faces play at Taproot Theatre for Valentines Day. The myth of Psyche & Cupid retold through lens of Orual, her sister. Impressive memorization from narrator/star Candace Vance. Well-crafted costume repertoire from Sarah Burch Gordon. Smart use of mirror blocking and reverb. Interesting themes of escapism, faith, and psychosis. Written by CS Lewis and adapted by Karen Lund.

Tickets: https://taproottheatre.org/2026/till-we-have-faces/

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Headshots from the printed ENCORE program.

Here There Are Blueberries – Play – Review – Seattle Rep, La Jolla Playhouse, and Tectonic Theatre Project

@showsiveseen Happy closing performance to Moises Kaufman and Amanda Gronich's "Here There Are Blueberries" #play from @Seattle Rep, @La Jolla Playhouse, and Tectonic Theater Project. Thoughtful scenic design, projection design, and sound design by Derek McLane, Bobby McElver, and David Bengali respectively. Well-executed, riveting, and chillingly relevant. Review: showsiveseen.com/14604 Photography: Kevin Parry Stage Mgr: Jacob Russell #photograph #photographs #theatre ♬ 2 Little 2 Late – Levi & Mario

Elevator Thoughts (aka Tweet): Happy closing weekend to Moises Kaufman and Amanda Gronich’s Here There Are Blueberries play from Seattle Rep, La Jolla Playhouse, and Tectonic Theater Project. Thoughtful scenic design, projection design, and sound design by Derek McLane, Bobby McElver, and David Bengali respectively. Well-executed, riveting, and chillingly relevant.

Recommendation:
See it if you’re okay with shows that are not heavy on a linear story

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): A Holocaust museum acquires a scrapbook from the Auschwitz concentration camp containing photographs exclusively of Nazi personnel, with no Jewish prisoners depicted. The play investigates the origins of these images and the unsettling story behind each of these pictures.

Synopsis from the Licensor or Theatre Company: In 2007, a mysterious album featuring Nazi-era photographs arrived at the desk of a U.S. Holocaust Memorial Museum archivist. As curators unravel the shocking truth behind the images, the album soon makes headlines and ignites a debate that reverberates far beyond the museum walls. Based on real events, Here There Are Blueberries tells the story of these historical photographs—what they reveal about the perpetrators of the Holocaust, and our own humanity.

Type: Play

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Mostly dynamic

Prior Exposure/Knowledge Required: You need to be at least remotely familiar with the Holocaust.

Defined Plot/Storyline: Not fully defined, but there was still some story linearity with the museum staff to weave each photograph together.

Live Band/Orchestra: N/A – But occasionally one of the actors played the accordion

Union Actor(s): All

Total Actor(s): 8

Perceived Pace of the Show: Medium speed

Was there an intermission? No

Length (Including Any Intermission): 90 minutes

Other Rave(s)

Nazi Photographs: The script offered a unique perspective by focusing on how Nazis lived in Auschwitz. It was a viewpoint rarely explored in mainstream narratives, which typically center on Jewish prisoners. Through a plethora of images, the production showed the seemingly ordinary daily life of the perpetrators with a track and field event, a vacation resort, Christmas celebrations, working women relaxing, a singing gathering (where they celebrated a certain major mass genocide), and innocent children living feet away from the gas chambers. The pictures depicted a deceptive, almost idyllic normalcy. It was a chilling reminder that ordinary people are capable of extraordinary cruelty. Who’s behind the ICE mask and who’s wearing the MAGA hat?

The script depicted Nazis as people – not monsters – and forced us to confront the uncomfortable truth that atrocity can emerge from everyday individuals. It pointed out that it’s easier to assign culpability to people portrayed as monsters than people portrayed as run-of-the-mill citizens. At the same time, the production was careful not to glorify or elevate the perpetrators. It navigated a delicate, controversial balance with nuance. The images would disturb most viewers, while unfortuantely a neo-Nazi might even find the depiction appealing. But the script’s intent was clear to see the opposite perspective of this atrocious history without excusing it.
Background Audio: Much like a museum providing background audio to complement its exhibits, this production paired each image with its own carefully crafted soundscape by sound designer Bobby McElver. The audience was treated to an audio backdrop of women laughing, men singing (accompanied by Marrick Smith on accordion), and women enjoying blueberries. It all created a layered, immersive experience that brought the still images to life.
Scenic Design: The visuals were thoughtfully designed and executed by scenic designer Derek McLane, evoking the feel of an industrial museum curated with precision. Actors moved among projection “easels,” allowing them to display additional photographs or zoom in on details. The gas-chamber-like door at the end was a haunting detail underscoring the gravity of the Holocaust narrative.
Projection Design: Interestingly, the projection designer David Bengali briefly employed two technically ambitious effects that hinted at greater possibilities. One involved live recording an actor on stage and projecting it in real time, while another used an overhead projector (unless it was just a prerecorded video) reminiscent of Book-It Theatre’s staging of Everything Is Illuminated. Typically, a production that invests in such complex technology integrates it throughout the show. But here, each device appeared for only a few minutes, leaving the audience wanting more.
Relevance: This play feels incredibly timely given current events surrounding ICE. In a few years, when another playwright inevitably tackles the ICE events we’re seeing today, there will be even more visual documentation thanks to ubiquitous smartphone cameras. But will history deniers dismiss those images as AI-generated?

Theatre Company: National Tour from Seattle Rep, La Jolla Playhouse, and Tectonic Theatre Project

Venue: Bagley Wright Theater at Seattle Rep

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

Dates: January 21 – February 15, 2026

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Photos: See production photos below by Kevin Parry Photography.

Cast and Production Team: See after photos below.

Barbara Pitts, Jeanne Sakata, and Delia Cunningham in *Here There Are Blueberries* at the Wallis Annenberg Center for the Performing Arts. Photo by Kevin Parry Photography.

Nemuna Ceesay and Scott Barrow in *Here There Are Blueberries* at the Wallis Annenberg Center for the Performing Arts. Photo by Kevin Parry Photography.

Delia Cunningham and Scott Barrow in *Here There Are Blueberries* at the Wallis Annenberg Center for the Performing Arts. Photo by Kevin Parry Photography.

The Wiz – Musical – Review – Paramount Theatre

@showsiveseen “The Wiz” #musical national Tour at Paramount Theatre (Broadway at The Paramount / Seattle Theatre Group). Starring @cimone (understudied by @cyniah.elise) as Dorothy. Delightful standout @EAL as Scarecrow. Powerhouse vocals often felt like a hoppin' #Black church service, full of spirit and rhythm. "Ease on down the road" to see this modernized production before closing 2/15/26. Review: showsiveseen.com/14669 Director: Schele Williams Music Director: @Victor.Simonson Music Supervisor: Joseph Joubert Choreo: @JaQuel Knight Stage Mgr: Marshall Lee Smith Jr #WizardofOz #theatre #musicalTheatre @THE WIZ on Broadway ♬ Ease On Down The Road – Nichelle Lewis & Avery Wilson & Kyle Freeman & Phil.

Elevator Thoughts (aka Tweet): The Wiz musical national Tour at Paramount Theatre (Broadway at The Paramount / Seattle Theatre Group). Starring Dana Cimone (understudied by Cyniah Elise) as Dorothy. Delightful standout Elijah Ahmad Lewis as Scarecrow. Powerhouse vocals often felt like a hoppin’ Black church service, full of spirit and rhythm. “Ease on down the road” to see this modernized production before closing 2/15/26.

Recommendation:
See it, especially if you enjoy Todrick Hall YouTube videos reenacting iconic movies.

Was This the First Time I Attended a Production of this Show? No, I’ve seen it 2 times previously.

Would I See It Again 3 Years from Now? Yes

Mainstream Appeal: High

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

My Synopsis (No Spoilers): Inspired by the classic tale The Wonderful Wizard of Oz and reimagined through a vibrant modern Black cultural lens, The Wiz retells the journey to Oz with a soulful score.

Synopsis from the Licensor or Theatre Company: This groundbreaking twist on The Wizard of Oz changed the face of Broadway—from its iconic score packed with soul, gospel, rock, and 70s funk to its stirring tale of Dorothy’s journey to find her place in a contemporary world. With direction by Schele Williams (The Notebook, revival of Disney’s Aida), choreography by JaQuel Knight (Beyoncé’s “Single Ladies,” Black Is King) and additional material by Tony-nominated and Emmy-nominated writer and TV host Amber Ruffin (The Amber Ruffin Show, Late Night with Seth Meyers), this dynamite infusion of ballet, jazz, and modern pop brings a whole new groove to easing on down the road. Everybody rejoice!

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 should be remotely familiar with any adaptation of The Wonderful Wizard of Oz.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actor(s): All

Total Actor(s): 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)

Scarecrow: Elijah Ahmad Lewis portrayed a colorful and delightfully frenetic Scarecrow. Lewis showcased the breadth of his acting range shifting from high-energy shrieking flamboyance, to comedic impressions of Dorothy, then flipping effortlessly into a swaggering deep voiced persona for a “what-up-girl” punchline effect. Beneath it all, his singing voice was unexpectedly smooth and polished.
Music: This vibrant reimagining of The Wizard of Oz fully embraced Black culture, transforming the theatre into something akin to a joyful Sunday church service. From the start, Kyla Jade (as Aunt Em) set the tone with “The Feeling We Once Had,” delivering it with the emotional resonance of a classic church solo, reminiscent of CeCe Winans.

That spirit carried into “Be a Lion,” staged with such fervor that you half expect the audience to rise to their feet, hands lifted, making their way to the front in response to an altar call. Jade later returned as the wicked witch Evillene, bringing the house down with “No Bad News,” backed by gospel choir-style vocals and punctuated with tambourines. The number earned an extended ovation that was cut hilariously short when Evillene told the congregation to shut up.

Glinda’s “Believe in Yourself,” performed by Daja M Rice (understudy to Sheherazade), felt like another affirming church special music number. And in “If I Can Feel,” the Tinman (portrayed by D. Jerome) channeled smooth, contemporary R&B balladry like Brian McKnight.
Poppy Field: The poppy field scene unfolded like a retro 1970s fever dream, complete with the the sultry pulse of a funky wah-wah guitar. Afrotastic poppy sirens reminiscent of Diana Ross from The Wiz movie seduced the heroes into a hypnotic, beauty-salon fantasia, where resistance dissolved into indulgent, spa-like surrender.
Closed Captions: This performance included closed captions, which was a rare and welcome touch. I wish musicals embraced this accessibility as consistently as opera.
Emerald City: The Act 2 opener catapulted us into Emerald City with visuals like Wizamania from Wicked plus the swagger of hip-hop in an extended, vogue-inspired dance sequence. The production uniquely reimagined Emerald City as a pulsating nightclub, where the bouncers exuded cutting, drag-queen–level attitude. As RuPaul might say, “The library is open!”

The Library Is Open Rupaul GIFfrom The Library Is Open GIFs

Other Musing(s) and Observation(s)

Animated Projections: Reminiscent of the recent Spamalot at The 5th Avenue Theatre, this production relied on animation slightly too much as a crutch. The projections usually enhanced the experience like in the second-act opener with its Tokyo neon-green abstractions. But when they depicted literal scenery, the effect felt artificial, gimmicky, and cheap like in the wicked witch’s factory lair with its spinning gears. A simple rule of thumb for theatre: projections work best when they suggest abstractions rather than replicate scenery.
Comparison to Traditional Productions: Speaking of The 5th Ave Theatre, this production felt markedly different from the more traditional local production that The 5th Ave Theatre staged. The energy in the national tour seemed concentrated in the newer key moments, leaving some scenes feeling unusually subdued. The show opened slowly like starting a karaoke night with a ballad. And throughout the rest of the show, there were more voids than expected, again reminiscent of the recent Spamalot at The 5th Avenue Theatre. Even the vanquishment scene followed by the “Everybody Rejoice” song celebration lacked a full climactic punch. While the production’s efforts to modernize the musical were commendable, I wonder if at an expense they siphoned momentum from the original show’s more classic, beloved moments. Ultimately, while this was an enjoyable performance, I still found myself preferring the traditional rendition from The 5th Avenue Theatre.

Theatre Company: National tour brought by Broadway Across America and Seattle Theatre Group

Venue: Paramount Theatre

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

Price Range: $55-190

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 still eligible for an organization discount.

Dates: February 10 – 15, 2026

Seating: Assigned Seating

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

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Photos: See production photos below by Jeremy Daniel.

Cast and Production Team: See after photos below.