Between Two Knees – Play – Seattle Rep

Elevator Thoughts (aka Tweet): Between Two Knees play at Seattle Rep by The 1491s. Outrageously (and uncomfortably?) funny, mildly controversial, and uniquely designed/written show about Native American history since Wounded Knee centering on one multigenerational family. Definitely a hit for woke Seattle.

Synopsis from the Theatre: The first play by acclaimed intertribal sketch comedy troupe The 1491s—best known for the hit television series “Reservation Dogs”—takes audiences on a searing and absurdly funny series of vignettes through American history centered on one family’s account of their experiences from the massacre at Wounded Knee in 1890 to the protests there in 1973.

Reviewed Performance: 3/8/23 Evening on Opening Night

Type: Play

World Premiere: No

Several or Few Scenes: Several

Defined Plot/Storyline: Yes

Recommendation: See it especially if you’re familiar with Native American history from the past 1-2 centuries.

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 still good.

Rating Compared to Other Shows with the Same Production Value:
4.5 Stars (Out of 5 Stars)

Equity Actors: All

Total Number of Actors: 8

Length (Including Any Intermission): 2.5 hours

Intermission: Yes

Other Rave(s) Not Mentioned in Elevator Thoughts

  • Surprise Humor: It’s said that humor comes from truth, surprise, or superiority. This play definitely touched on the surprise element. There were several random funny WTF moments like the Mortal Combat-like scene where the protagonists fought drag nuns and ended with a glorious “finish him!” I loved when they used the “Indian burn” as an attack in this scene. The jeering nuns in the background were a nice touch from the video game. Another example of random funny moments is a goodbye scene when somebody said “I wish I knew how to quit you” like in Brokeback Mountain.

Other Musing(s) and Observation(s)

  • Historical Events: The play supposedly portrayed Native American history from 1890 to 1973 through the life of one multigenerational family. Since I personally knew nothing about Native American history (other than the traditional mainstream likely whitewashed/inaccurate stories such as Pocahontas and Squanto), I probably missed a lot of good nuances. But the play doesn’t need prior knowledge to enjoy it at superficial face value. To me, it was just a well told story. I wonder how this play would look like through the eyes of someone well-versed in the past 1-2 centuries of Native American history.
  • Mildly Controversial Nature: Various people will find some scenes/lines uncomfortably funny, mildly offensive, and not politically correct. Even the design around the stage with the curtains down was filled with culturally-appropriated stereotypical charicatures (see my video below). There were several moments when they didn’t pull any punches on controversial humor that I thought “Whoa, did they really just say/do that?!” I won’t spoil it too much for you, but the show ends in a WTF surreal exercise with the audience joining in uncomfortable baffled unison chanting something people don’t say in polite company. Woke Seattleites with white guilt will be sure to eat it up. I love how one of the characters say, “We wash his ears so that he will not hear people lecture him on what should be considered racist or offensive when they themselves have only a minimal understanding of how uncensored humor borne from trauma is actually beneficial to community healing!” Seattle is a perfect city to explore this controversial cringy material since the pendulum has swung to arguably excessively PC here.

Theatre Company: Seattle Repertory Theatre, McCarter Theater Center, Oregon Shakespeare Festival, and Yale Repertory Theatre

Venue: Seattle Repertory Theatre

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

Price: Medium

Ticket Affordability Options:

Dates: March 3 to 26, 2023

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 a lot of 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. In those cases, I’ll park further north up on Queen Anne Hill.

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Other Video +/- Pictures: See pictures under video

Cast and Production Team: See after pictures and video below

@showsiveseen "Between Two Knees" #play at #SeattleRep by #1491s. Outrageously (and uncomfortably?) funny, mildly controversial, & uniquely designed/written show about #NativeAmerican history since #WoundedKnee centering on 1 multigenerational family. Definitely a hit for woke Seattle. Review: showsiveseen.com/4270 #BetweenTwoKnees #theatre ♬ I Think I Like When It Rains – WILLIS
Jennifer Bobiwash and Wotko Long in Between Two Knees at Seattle Rep. Photo by Nate Watters.
Derek Garza, Shaun Taylor-Corbett, Justin “Jud” Gauthier, and James Ryen in Between Two Knees at Seattle Rep. Photo by Nate Watters.
Shaun Taylor-Corbett, Derek Garza, and Shyla Lefner in Between Two Knees at Seattle Rep. Photo by Nate Watters.
James Ryen and Shaun Taylor-Corbett in Between Two Knees at Seattle Rep. Photo by Nate Watters.
Justin “Jud” Gauthier and James Ryen in Between Two Knees at Seattle Rep. Photo by Nate Watters.
Shyla Lefner, Derek Garza, Shaun Taylor-Corbett, Justin “Jud” Gauthier in Between Two Knees at Seattle Rep. Photo by Nate Watters.
Shaun Taylor-Corbett, Derek Garza, and Shyla Lefner in Between Two Knees at Seattle Rep. Photo by Nate Watters.
Jennifer Bobiwash and Shyla Lefner In Between Two Knees at Seattle Rep. Photo by Nate Watters.
Rachel Crowl and Shaun Taylor-Corbett in Between Two Knees by The 1491s, directed by Eric Ting at Yale Repertory Theatre. Photo © T. Charles Erickson.
Shyla Lefner and Derek Garza in Between Two Knees by The 1491s, directed by Eric Ting at Yale Repertory Theatre. Photo © T. Charles Erickson.
Justin Gauthier in Between Two Knees by The 1491s, directed by Eric Ting at Yale Repertory Theatre. Photo © T. Charles Erickson.
RoleName
Older Irma, Ensemble Jennifer Bobiwash
Ensemble Rachel Crowl
Young Isaiah, Eddie, Ensemble Kholan Studi portrayed this role which is usually played by Derek Garza
LarryJustin “Jud” Gauthier
Young Irma, Irene, Ensemble Shyla Lefner
Older Isaiah, Ensemble Wotko Long
Ensemble James Ryen
William, Ensemble Shaun Taylor-Corbett
Understudy Older Irma, Ensemble Irma-Estel Laguerre
Understudy Larry, Ensemble Nikcoma Lee Mahkewa
Understudy Older Isaiah, Ensemble John Scott-Richardson
Understudy Isaiah, Eddie, Larry, William, EnsembleKholan Studi
Understudy Young Irma, Irene, EnsembleMaribel Torres Barragan
PlaywrightThe 1491s
Director Eric Ting
Choreographer Ty Defoe
Scenic Designer Regina Garcia
Costume Designer Lux Haac
Lighting Designer Elizabeth Harper
Sound Designer Jake Rodriguez
Original Songs Ryan RedCorn
Projection Designer Shawn Duan
Wig And Hair Designer Younghawk Bautista
Production Dramaturg Julie Felise Dubiner
Casting Director Stacey Rice, CSA
Fight Director Rod Kinter
Intimacy Director Kelsey Rainwater
Vocal Coach Liz Hayes
Associate Director R. Réal Vargas Alanis
Production Stage Manager Amanda Nita Luke-Sayed
Assistant Stage Manager Kevin Jinghong Zhu

Born Yesterday – Play – Theatre9/12

Elevator Thoughts (aka Tweet): Born Yesterday play w/ Theatre9/12. If Melania stood up to Donald Trump, it could have unfolded this way. Good commentary on political corruption.

Synopsis from the Theatre: Born Yesterday is a scathing comedy about the idealism visualized in the United States Constitution corrupted by greed, ignorance, self-service, and disillusion shortly after World War II. The self-made millionaire, Harry Brock, has thieved his way up the ladder to purchasing Senators. Paul Verral, an international journalist, sidles his way into Brock’s new Washington D.C. circle, endearing himself to the criminal who hires Paul to class up his main squeeze: a “showgirl” of great beauty and no desire to behave properly among the stuffed shirts, nor the effort needed to think. Without altering text or era, Theatre9/12 re-interprets this hysterical play paralleling today’s events.

Reviewed Performance: 3/4/23 Evening on Opening Weekend

Type: Play

World Premiere: No

Several or Few Scenes: Few – Only 3 scenes

Defined Plot/Storyline: Not extensive – There’s only so much that can occur in 3 scenes!

Recommendation: See it if you like supporting small intimate theatre and you’re okay with plays containing few scenes.

Was This the First Time I Attended a Production of this Show: Yes, and this is the first time I’ve attended a production from this theatre company. I was especially curious since they self-described the production as “presented through the Actors’ Equity Association Members’ Project Code,” which I’ve never heard of.

Would I See It Again 3 Years from Now: I’d consider it if a theatre company like Seattle Rep or ACT Theatre presented a full-blown professional equity production

Rating Compared to Other Shows with the Same Production Value:
4.25 Stars (Out of 5 Stars)

Equity Actors: 2

Total Number of Actors: 11

Length (Including Any Intermission): 2 hours

Intermission: Yes

Other Rave(s) Not Mentioned in Elevator Thoughts

  • Trans Visibility: This production uniquely casted a transgender actress in a lead role, which I think Helena Persephone Trolli performed well. It was hilarious when she suddenly used a deeper voice momentarily at the end. It reminded me of when my dad and I saw a recent performance at Teatro Zinanni and my dad didn’t “clock” the performer until they did the same thing at the end.

Rant(s)

  • Stage Footprint: The acting space seemed too large for the performance. Maybe place the hotel door closer to the living room. Try moving the bar closer to the living room as well and don’t let the actors turn their back to the audience when pouring drinks.

Other Musing(s) and Observation(s)

  • Comparison Between Acts: In the first act, I needed to try harder to process the actors’ dialogue. The second act felt easier to follow. I’d probably attribute this to the actual script and not the execution itself. But honestly, I feel like most plays and musicals require extra brain power from me for the first quarter of the show to figure out who’s who and their background!

Theatre Company: Theatre9/12

Venue: Trinity Parish Hall

Venue Physical Address: 609 8th Avenue, Seattle, WA 98104

Price: Pay-what-you-can based on what you enter on their website

Dates: March 3 to 26, 2023

Seating: General Admission

Parking: There’s free parking at Skyline’s garage at 801 Columbia St, Seattle, WA 98104. Entrance is on Columbia Street. Read the theatre company’s website for more details.

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Other Video +/- Pictures: See pictures in video and under video by Jeff Berryman

Cast and Production Team: See after pictures and video below

@showsiveseen “Born Yesterday” #play w/ Theatre9/12. If Melania stood up to Donald Trump, it could have unfolded this way. Good commentary on political #corruption. Review: showsiveseen.com/4192. Photos by Jeff Berryman. #theatre ♬ Anything Goes – Sutton Foster & Anything Goes New Broadway Company Orchestra
Marvin Grays, Margaret Bicknell, David S. Klein, and Helena Persephone Troilli
Tyler Scowcroft and Helena Persephone Trolli
Helena Persephone Trolli
Helena Persephone Trolli and Eric Smiley
David S. Klein and Helena Persephone Trolli
Tyler Scowcroft and Helena Persephone Trolli
RoleName
Helena Shelby Schill
Willard Hotel Assistant Manager Jeremy Steckler
Manicurist/Barber/Waiter Mohana Rajagopal
Paul VerrallTyler Scowcroft
EddieAnthony Duckett
Harry BrockDavid S. Klein
Billie DawnHelena Persephone Trolli
Ed DeveryEric Smiley
Bellhop/Shoe-ShinerJames Nove
Senator Norval HedgesMarvin Grays*
Anna HedgesMargaret Bicknell*
DirectorCharles Waxberg
Producing DirectorPaul O’Connell
PlaywrightGarsin Kanin
Artistic Associate Terry Edward Moore
Assistant Director Rowan Gallagher
Hair And Wig MasterEric Smiley/Swing Salon
Lighting Tech Austin Krieg
Costumes, Set Design, Graphics, Music DesignTheatre9/12
* Member Actors’ Equity Association

Free Ticket to Dear Evan Hansen

Leave a comment on my social media post w/ your favorite song from a musical (and why) then I’ll choose a winner 24 hours from now.

This is a free single ticket to the front row S of mezzanine 31 (worth about $50) at the 3/12 evening performance of Dear Evan Hansen w/ Broadway at The Paramount & Seattle Theatre Group, which ends this weekend.

Dear Evan Hansen – Musical – Paramount Theatre – Second Review

Giveaway: I’m giving away a free ticket to this show. Enter the contest on Instagram! Update (3/11/23): Congrats to Matt!

Elevator Thoughts (aka Tweet): Dear Evan Hansen musical w/ Broadway at the Paramount Theatre and Seattle Theatre Group. Good visibility on depressed, lonely, awkward people who are obsessed w/ social media and who don’t fit in. #DearEvanHansen #suicide #depression

Synopsis from the Theatre: A letter that was never meant to be seen, a lie that was never meant to be told, a life he never dreamed he could have. Evan Hansen is about to get the one thing he’s always wanted: a chance to finally fit in. DEAR EVAN HANSEN is the deeply personal and profoundly contemporary musical about life and the way we live it. DEAR EVAN HANSEN has struck a remarkable chord with audiences and critics everywhere, including The Washington Post who says DEAR EVAN HANSEN is “one of the most remarkable shows in musical theatre history.” The New York Times calls it “a gut-punching, breathtaking knockout of a musical.” And NBC Nightly News declares the musical “an anthem resonating on Broadway and beyond.” DEAR EVAN HANSEN features a book by Tony Award winner Steven Levenson, a score by Grammy®, Tony® and Academy Award® winners Benj Pasek and Justin Paul (La La Land, The Greatest Showman), and direction by four-time Tony Award nominee Michael Greif (Rent, Next to Normal).

Reviewed Performance: 3/7/23 Evening – Opening Night

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Recommendation: See it!

Was This the First Time I Attended a Production of this Show: No, I previously saw this years ago at the Paramount Theatre. I actually listen to the soundtrack in my car every so often.

Would I See It Again 3 Years from Now: I’d consider it, but I probably would only see a professional/equity production like this and not a community production.

Rating Compared to Other Shows with the Same Production Value:
4.5 Stars (Out of 5 Stars)

Equity Actors: All of them

Total Number of Actors: 8

Length (Including Any Intermission): 2.75 hours

Intermission: Yes

Other Rave(s) Not Mentioned in Elevator Thoughts

  • Projections and Lighting: I’m always a huge fan of modern design and clean lines. The spotlights and projections dramatically converged in “Waving Through a Window” and “You Will Be Found.” Most of the projections were inspired by social media and this production didn’t lazily use the projections as a crutch for the storyline. However, I wonder how long the projections will stay relevant. For example, today’s high schoolers don’t gravitate toward the social media platforms (like Facebook) mentioned throughout the show.
  • Awkwardness: Anthony Norman portrayed Evan Hansen well as a weird loser who doesn’t fit it. There should be less snorts though. In my opinion, snorting on-stage or on-film is an overused crutch to portray awkward demeanor to the audience. I’ve never known someone to regularly snort in real life.
  • Silence and Darkness: Similar to the recent Metamorphoses play at Seattle Rep, this show is uniquely lacks sound and color (in a good way), which is in contrast to most other musicals that usually more ostentatious. The silence was particularly fitting in the tense moments before Evan Hansen’s speech.
  • “Waving Through a Window” Lyrics: I love how they allude to the smartphone social media experience in the chorus lyrics “cause I’m tap, tap, tapping on the glass. I’m waving through a window … is anybody waving back at me?”
  • Favorite Line: “The only people that like high school are cheerleaders and football players.”

Rant(s)

  • Pitch Issues: There were numerous moments someone sang slightly off key when attempting to reach high notes.
  • “Sincerely, Me” Stiffness: The comedic relief song “Sincerely, Me” didn’t feel as playful as I remember from the first time I saw this musical. Move your arms and hands more please! Maybe it was the magic and wonder of seeing the show for the first time that made the song better for me back then.
  • Paramount Theatre Seating: Like I mentioned in my previous Paramount Theatre show review, I’m thankful for the opportunity to review this show and my seats were great on paper but the Paramount Theatre is in desperate need of better seat staggering and a steeper slope. The people sitting in the two rows in front of me were clearly struggling with their view. And I could even hear the person behind me complaining that they couldn’t see. The seats are so terribly placed that the person two rows down from me was blocking my view. A part of me thinks that it isn’t worth shelling out upwards of $100 per ticket to only hear the show and not see it adequately. Make sure your seat is in the first row of a section!

Other Musing(s) and Observation(s)

  • Fundraiser: The teens in the story were not fundraising for a worthy cause. Why not raise money for something that will actually prevent suicides and depression? What a waste!
  • Alana Beck: Such an annoying character. She needs to mind her own business and stop using people. I also didn’t buy her explanation for her motives.

Theatre Company: National Tour Coordinated by Broadway Across America and Seattle Theatre Group

Venue: Paramount Theatre

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

Price: Medium to Expensive

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

Dates: March 7 to 12, 2023

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:

Other Video +/- Pictures: See pictures under video

Cast and Production Team: See after pictures and video below

@showsiveseen “Dear Evan Hansen” #musical at Paramount Theatre w/ @seattletheatregroup. Good visibility for depressed, lonely, awkward people who don’t fit in and who are obsessed w/ #socialMedia. Review: showsiveseen.com/4148 #DearEvanHansen #suicide #depression #theatre ♬ Waving Through A Window – Ben Platt & Original Broadway Cast of Dear Evan Hansen
Anthony Norman (Evan Hansen), Coleen Sexton (Heidi Hansen) in the 2022-2023 North American Tour of DEAR EVAN HANSEN. Photo by Evan Zimmerman for MurphyMade.
Anthony Norman (Evan Hansen), Alaina Anderson (Zoe Murphy) in the 2022-2023 North American Tour of DEAR EVAN HANSEN. Photo by Evan Zimmerman for MurphyMade.
Anthony Norman (Evan Hansen) in the 2022-2023 North American Tour of DEAR EVAN HANSEN, Photo by Evan Zimmerman for MurphyMade.
Anthony Norman (Evan Hansen), John Hemphill (Larry Murphy), Lili Thomas (Cynthia Murphy), Alaina Anderson (Zoe Murphy), in the 2022-2023 North American Tour of DEAR EVAN HANSEN. Photo by Evan Zimmerman for MurphyMade.
RoleName
Zoe Murphy Alaina Anderson
Jared Kleinman Reese Sebastian Diaz was the understudy for Pablo David Laucerica during the 3/7/23 performance
Connor Murphy August Emerson
Alana Beck Micaela Lamas
Larry Murphy John Hemphill
Evan Hansen Anthony Norman (Jeffrey Cornelius on Saturday Matinee and Sunday Evening)
Heidi Hansen Coleen Sexton
Cynthia Murphy Lili Thomas
Evan Hansen, Connor Murphy, Jared Kleinman UnderstudyReese Sebastian Diaz
Evan Hansen, Jared Kleinman UnderstudiesJeffrey Cornelius, Pierce Wheeler
Jared Kleinman, Connor Murphy UnderstudiesIan Coursey
Heidi Hansen, Cynthia Murphy UnderstudiesIsabel Santiago, Kelsey Venter
Alana Beck, Zoe Murphy UnderstudiesValeria Ceballos, Gillian Jackson Han
Larry Murphy UnderstudyDaniel Robert Sullivan
Music Director/Conductor/KeyboardGarret Healey
Associate ConductorMichael Uselmann
GuitarMatt Brown, Eric Stockton
DrumsRyan McCausland
BassJack Helsley
Violin/ConcertmasterEugene Kaler
ViolaMichi Aceret
CelloCaitlin Thomas
Additional Orchestrations Christopher Jahnke
Keyboard ProgrammerRandy Cohen
Associate Keyboard Programmer Jeremy King
Ableton ProgrammersEnrico De Trizio, Scott Wasserman
Music CopyingEmily Grishman Music Preparation
DirectorMichael Greif
AuthorSteven Levenson
Composers and LyricistsBenj Pasek & Justin Paul
Choreographer Danny Mefford
Music Supervision, Orchestrations & Additional Arrangements Alex Lacamoire
Scenic DesignerDavid Korins
Projection DesignerPeter Nigrini
Costume Designer Emily Rebholz
Lighting Designer Japhy Weideman
Sound Designer Nevin Steinberg
Hair DesignerDavid Brian Brown
Associate Music Supervisor Ben Cohn
Music Director Garret Healey
Music CoordinatorsMichael Keller and Michael Aarons
Vocal Arrangements, Additional Arrangements Justin Paul
Production Supervisor Judith Schoenfeld
Stage ManagerJovon E. Shuck
Company ManagerDeann L. Boise
Senior Associate DirectorDanny Sharron
Senior Associate Choreographer Mark Myars
Executive Producers Wendy Orshan and Jeffrey M. Wilson
Dance CaptainKelsey Venter