Allan – Shows I've Seen | Theatre Reviews

The Curious Case of Benjamin Button – Musical – Review – Ambassadors Theatre

@showsiveseen Jethro Compton & @Darren Clark's "The Curious Case of Benjamin Button" #musical at the Ambassadors Theatre. A remarkable feat of talent where the actors sing, dance, *AND* accompany themselves all at the same time. Music vibes similar to @Come From Away. Funny running gag of mixed-up sayings. Starring John Dagleish. Review: showsiveseen.com/13883 Photos: Marc Brenner Musical Director: Mark Aspinall Choreo: Chi-San Howard #westEnd #BenjaminButton #theatre #musicalTheatre @Benjamin Button The Musical ♬ Shippin' Out Tomorrow – Cast of The Curious Case of Benjamin Button

Elevator Thoughts (aka Tweet): Jethro Compton & Darren Clark’s The Curious Case of Benjamin Button musical at the Ambassadors Theatre. A remarkable feat of talent where the actors sing, dance, *AND* accompany themselves all at the same time. Music vibes similar to Come From Away. Funny running gag of mixed-up sayings. Starring John Dagleish. #time

Recommendation:
See it if you enjoy either 1) shows set in rural United Kingdom, 2) the actors playing instruments in Girl from North County, 3) or the musical style in Come From Away.

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

Would I See It Again 3 Years from Now? No, 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 the classic short story (and possibly its film adaptation), Benjamin Button is born an old man and grows younger with time. At first, he struggles to belong in a world that cannot understand his extraordinary condition. Yet as his life unfolds in reverse, he realizes a universal truth that no matter which way the clock runs, our time is precious and should be cherished.

Synopsis from the Licensor or Theatre Company: The three-time Olivier Award-winning Best New Musical, The Curious Case of Benjamin Button, is an epic, intimate and unforgettable West End hit – hailed as “THE BEST BRITISH MUSICAL IN DECADES” (WhatsOnStage) and “A MUSICAL TO TREASURE” (The Standard). Based on the iconic short story by F. Scott Fitzgerald and reimagined in a Cornish fishing village by award-winning writing team Jethro Compton and Darren Clark, this unique, actor-musician led story is “EPIC AND CINEMATIC WITH A TREMENDOUS SCORE” (Daily Mail). Winning the 2025 Olivier Awards for Best New Musical, Outstanding Musical Contribution (Darren Clark and Mark Aspinall) and Best Actor in a Musical (John Dagleish), the 14-strong cast of actor-musicians playing 30 instruments perform “MIRACLES OF DEXTERITY ON STAGE” (The Times) – bringing to life a heart-burstingly, magical tale of a love that defies all odds. Under the light of a full moon, something most curious occurs… Benjamin Button is born old. Bound to the fate of growing younger each day, Benjamin wants nothing more than to live a little life. But will he ever find a place to belong?

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: If you’re familiar with the short story or the film, you might find this adaptation more accessible. But don’t expect it to follow the movie closely, as I discovered. While I’ve seen the film, I haven’t read the original story, which I suspect this musical draws from more faithfully. For instance, in the musical, Benjamin Button doesn’t begin life as an infant-sized old man, nor does he live the wide-ranging worldly life depicted on screen. His parents are also not a Black adopted couple, and the story’s tragedy diverges significantly from the film’s version.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes, it was the entire cast

Union Actors: 14

Total Actors: 14

Perceived Pace of the Show: Medium Speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Other Rave(s)

Actor Band: The actors impressively doubled as their own orchestra. They played a vibrant plethora of instruments including the flute, guitar, fiddle, accordion, bass, drums, beatbox, spoons, tambourine, trumpet, piccolo, French horn, and cello. It was remarkable to watch them play the score (by Darren Clark and Mark Aspinall) entirely from memory while simultaneously acting and dancing. A production like this must be more economical than one requiring a separate band. I can only hope the performers were compensated extra for being their own orchestra.
Running Gag: The script by Jethro Compton featured a funny running gag of botched sayings like “Just do it a hundred times and you’ll be able to do it with your mouth closed” and “There’s plenty more girls in the sea.”
Drowning: Drowning was portrayed with striking realism and simplicity. It required no elaborate stage effects to convey its impact, just mostly lighting design (by Zoe Spurr).
Reunion: A heartbreakingly touching reunion unfolded as Benjamin Button, appearing youthful in his later years, encountered Little Jack (played by Jack Quarton) from his earlier years who didn’t recognize him.

Rant(s)

Unimportant Characters and Details: The script was weighed down by excessive inconsequential side characters, which distracted from the core story that the audience truly needed to follow and remember. Similarly, it overemphasized trivial details like times, dates, and minutes too often. To put it in perspective, imagine if “Seasons of Love” from Rent listed not just “five hundred twenty-five thousand six hundred minutes,” but 50 additional time references. While the intention was clearly to reinforce the theme of time, the effect was more overwhelming than meaningful.

Other Musing(s) and Observation(s)

Folksy Tunes, Foreign Lens: Much like my previous review of Stereophonic, this show was challenging to fully connect with as a BiPOC audience member. Set in the weathered coastal countryside of the UK and steeped in folksy pub music, it’s unapologetically British in flavor. Portland, Oregon audiences would love it, especially with the rich array of instruments.
Hollywood vs Stage Male Romantic Lead: The talented leading male actor John Dagleish brought a unique presence to the role. But he differed from the conventional Hollywood leading-man look. I had come in expecting someone more in the vein of Brad Pitt from the film!

Venue: Ambassadors Theatre

Venue Physical Address: West St, London WC2H 9ND, United Kingdom

Venue Classification: West End

Dates: October 10, 2024 to October 11, 2025

Seating: Assigned Seating

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https://benjaminbuttonmusical.com/

Pictures: See production pictures below by Marc Brenner.

Cast and Production Team: See after pictures below.

THE CURIOUS CASE OF BENJAMIN BUTTON. The Company. Photo Marc Brenner.

THE CURIOUS CASE OF BENJAMIN BUTTON. John Dagleish (Benjamin Button). Photo Marc Brenner.

THE CURIOUS CASE OF BENJAMIN BUTTON. John Dagleish (Benjamin Button) and Jack Quarton (Jack Trenlee). Photo Marc Brenner.

THE CURIOUS CASE OF BENJAMIN BUTTON. Damien James, Oonagh Cox, Ann Marcuson and Company. Photo Marc Brenner.

THE CURIOUS CASE OF BENJAMIN BUTTON. Clare Foster (Elowen Keene) and John Dagleish (Benjamin Button). Photo Marc Brenner.

Stereophonic – Play with Music – Review – Paramount Theatre

@showsiveseen @David Adjmi and @Willllll's "#Stereophonic" #play-with-music kicked off their national tour at Paramount #Theatre from Broadway Seattle and @Seattle Theatre Group. Great retro #70s aesthetic from David Zinn (Scenic) and @enverchakartash (Costumes). Beautiful voices/harmonies from @Em and @clairedejean. Closes 10/12/25. Review: showsiveseen.com/13832 Photos: Julieta Cervantes @Stereophonic: On Tour #1970s ♬ Masquerade – Original Cast of Stereophonic & Tom Pecinka & Will Brill & Juliana Canfield & Sarah Pidgeon & Chris Stack & Will Butler & Justin Craig

Elevator Thoughts (aka Tweet): David Adjmi and Will Butler’s Stereophonic play-with-music kicked off their national tour at Paramount Theatre from Broadway Seattle and Seattle Theatre Group. Great retro aesthetic from David Zinn (Scenic) and Enver Chakartash (Costumes). Beautiful voices/harmonies from Emilie Kouatchou and Claire DeJean. Closes 10/12/25.

Recommendation:
See it if you enjoy dialogue plays.

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

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

Mainstream Appeal: Low

If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Absolutely not

My Synopsis (No Spoilers): This play delves into the volatile dynamics of a successful 70s band confined within the walls of a recording studio. It’s a nightmare pressure cooker of clashing egos, creative tension, drugs, and messy affection. Love and hate often sound like the same note.

Synopsis from the Licensor or Theatre Company: The most Tony Award-winning Show of the year. The most Tony Award-nominated Play of all time. Stereophonic mines the agony and the ecstasy of creation as it zooms in on a music studio in 1976. Here, an up-and-coming rock band recording a new album finds itself suddenly on the cusp of superstardom. The ensuing pressures could spark their breakup — or their breakthrough. Written by David Adjmi, directed by Daniel Aukin, and featuring original music by Arcade Fire’s Will Butler, Stereophonic invites the audience to immerse themselves — with fly-on-the-wall intimacy — in the powder keg process of a band on the brink of blowing up.

Type: Play with Music

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: One – a recording studio

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: It’s best if you’re familiar with rock band references from the 1960s and 1970s.

Defined Plot/Storyline: No, it was mostly dialogue

Live Band/Orchestra: Yes, it was the cast

Union Actors: 7

Total Actors: 7

Perceived Pace of the Show: The pace of the show was glacial and left me feeling restless constantly thinking, “Please, let this be over.” Breaking it into four acts with a single intermission only made it feel longer, even though its runtime was typical for a major play. When Act Two began, I found myself wondering, “How much more of this can I endure?” By the time Act Four appeared, it was like spotting an oasis in a desert.

Was there an intermission? Yes

Length (Including Any Intermission): 2.75 hours

Other Rave(s)

Retro Aesthetic: David Zinn (Scenic Designer), Enver Chakartash (Costume Designer), Robert Pickens (Hair/Wig Designer), and Katie Gell (Hair/Wig Designer) perfectly and beautifully evoked the essence of the 1970s with the tousled long hair, tacky patterned button-down shirts, bohemian bell bottoms, sleazy leisure suits, and the era’s unmistakable wood-paneling.
Recording Room: Scenic Designer David Zinn made a smart choice by positioning the recording room a couple feet above the stage floor. Given the Paramount Theatre’s notoriously shallow floor slope and poorly staggered seating (which both make sightlines challenging for most audience members including myself), having half of the play’s action elevated significantly improved visibility.
Voices: Emilie Kouatchou and Claire DeJean featured exquisite voices and skillfull harmonies. I only wish the production allowed their talents to shine even more in a full-fledged musical rather than a play-with-music.

Rant(s)

Script: The script was frustratingly dull with a series of conversations that seemed to lead nowhere randomly discussing nothing of importance. The tension between the band members was palpable, but the reasons behind it were unclear, leaving the drama feeling shallow. Perhaps it was intentional to reflect the trivial, empty, self-absorbed concerns of the rich and famous. Even so, much of the performance had me wondering why we were expected to care.

As a BiPOC audience member, I also found it especially difficult to connect with the characters. Despite an African American performer in the cast, the roles were largely unrelatable, embodying the vapid, privileged white West Coast archetypes lampooned in MadTV’s “Pretty White Kids with Problems” and SNL’s “The Californians.” They floated through the narrative like shallow, pot-smoking hippies, obsessed with nothing of substance and randomly throwing tantrums. The result was a show where the characters’ lives felt superficial and ultimately unworthy of the audience’s investment.
Sound Balancing: When the band played and sang, the sound was ear-shattering. Perhaps it was intentional to evoke the energy of a live rock concert. But the effect was jarring, especially against dialogue filed by stilted silences. By comparison, the sound balance in the previous Broadway tour at the Paramount Theatre (Some Like It Hot) was muffled and overly soft. It seems the pendulum swings.
Transitions: The transitions between scenes were not well punctuated, making it difficult to discern when one ended and the next one began. This was exacerbated by the fact that the set remained unchanged throughout the show. When scenes flow so closely together, they demand the kind of seamless execution seen in productions like Operation Mincemeat.
Musical Titillation: Furthermore, there were numerous moments when the band would start playing for just a few seconds before the scene abruptly shifted. At other times, the performers acted like they were singing or playing their instruments, but they didn’t produce sound. It was the frustrating theatrical equivalent of titillating or “edging” the audience. When one character exclaimed, “I wanna play music!” my immediate thought was “Well, that makes the two of us. I wanna hear you play music.”

Other Musing(s) and Observation(s)

Emptiness: For a show centered on sound and music, surprisingly much of it unfolded in dialogue filled with silence with subdued lighting.
The Emperor is Naked: For a show that bills itself as “the most Tony-nominated play of all time” and “the most Tony-winning show of 2024,” I can’t help but wonder “is the emperor naked?” The audience seemed to agree. During the first act, one-by-one they relentlessly dropped like flies and headed to the doors. The frequent glow from the lobby as the exit doors swung open repeatedly was distracting. Additionally, I’ve never seen more people flee the building during intermission. The mass exodus even surpassed the walkouts from Girl from North County. Consequently, the second act unfolded before a sea of empty seats. Sadly, the person sitting in front of me obstructing my view stayed.

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

Venue: Paramount Theatre

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

Price Range: $50 – $150

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: October 7 to 12, 2025

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 former Cheesecake Factory. It’ll take you at least 30 minutes to exit that garage after the show.

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Pictures: See production pictures below by Julieta Cervantes.

Cast and Production Team: See after pictures below.

(From L) Claire DeJean as ‘Diana’ and Emilie Kouatchou as ‘Holly’ in the First National Tour of *Stereophonic*.

(From L) Jack Barrett as ‘Grover’, and Steven Lee Johnson as ‘Charlie’ in the First National Tour of *Stereophonic*.

Jack Barrett as ‘Grover’ in the First National Tour of *Stereophonic*.

The First National Tour Cast of *Stereophonic*.

(From L) Denver Milord as ‘Peter’, Christopher Mowad as ‘Reg’, Claire DeJean as ‘Diana’, and Emilie Kouatchou as ‘Holly’ in the First National Tour of *Stereophonic*.

Credits from the printed Encore program.

The Story of Edgar Sawtelle – Play – Review – Book-It Repertory Theatre

@showsiveseen "The Story of Edgar Sawtelle" by Book-It Repertory Theatre at Seattle Central College's Broadway Performance Hall. Stage #play adaptation of David Wroblewski’s novel by Jane Jones (Director) and Kevin McKeon. Starring @Christopher Morson with excellent #bodyLanguage. Realistic endearing #dog character mannerisms from @libbybarnard290. Live music from Edd Key composed by @annastasiaworkman. Closes this weekend! Review: showsiveseen.com/13777 Photos: Aaron Wheetman Stage Mgr: Devorah Spadone #dogs #theatre ♬ Riptide – Vance Joy

Elevator Thoughts (aka Tweet): The Story of Edgar Sawtelle by Book-It Repertory Theatre at Seattle Central College’s Broadway Performance Hall. Stage play adaptation of David Wroblewski’s novel by Jane Jones and Kevin McKeon. Starring Christopher Morson with excellent body language. Realistic endearing dog character mannerisms from Libby Barnard. Live music from Edd Key composed by Annastasia Workman. Closes this weekend!

Recommendation:
See it, especially if 1) you enjoyed the book, 2) you love dogs, 3) or you’re familiar with Hamlet.

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 wasn’t bad.

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): Born mute into a family of dog breeders, a young boy struggles to find his voice in a world that seems determined to misunderstand him … especially when tragedy strikes his family.

Synopsis from the Licensor or Theatre Company: The Story of Edgar Sawtelle, a sprawling novel with epic Shakespearean themes, is the story of a young man who lacks the ability to speak, but communicates with the dogs his family breeds on a kennel in the rural Midwest in the early 1970’s. The story explores the deep connection Edgar has with his beloved Sawtelle dogs, and weaves in a plot of sacrifice, betrayal, and ultimately murder. The adaption is penned in the traditional Book-It Style familiar to long-time Seattle theatergoers, which preserves the author’s narrative along with the dialogue to tell the story. The Story of Edgar Sawtelle, has been adapted for the stage by Jane Jones, Founder and Founding Co-Artistic Director for over 30 years, and Kevin McKeon, a veteran of the company.

Type: Play

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: No, but you’d probably appreciate this more if you read the book or if you’re familiar with Hamlet.

Defined Plot/Storyline: Yes

Union Actors: 3

Total Actors: 9

Perceived Pace of the Show: Medium Speed

Was there an intermission? Yes

Length (Including Any Intermission): 2 Hours

Other Rave(s)

Live Music and Sound Effects: Edd Key provided live background music (composed by Annastasia Workman) and sound effects on the keyboard synthesizer. I always appreciate when productions include this. It’s a thoughtful touch that sets the production apart since many plays typically only just use recordings. It reminded me of how Seattle Rep incorporated live music in a couple shows from their last season like Blues for an Alabama Sky.
Dogs: Libby Barnard, Matty Sythandone, Jon Stutzman, and Jesica Avellone brought the Sawtelle dogs to life with realistic performances. All that crawling must have been hard those knees! Barnard’s portrayal of Almondine, the main character’s loyal companion, was especially endearing.
Body Language: With the Edgar Sawtelle main character (played by Christopher Morson) and his loyal companion dog unable to speak, the play depended heavily on body language, gestures, and makeshift sign language to tell its story. Time and again, they conveyed complex emotions without uttering a single word, drawing the audience deeply into their world. The performance captured the heartbreaking sense of helplessness and futility that comes from the inability to communicate with others. It’s no wonder why solitary confinement is torture.

Other Musing(s) and Observation(s)

Ending (No Spoiler): The ending was unclear. What became of the humans and dogs?
Energy Level: Perhaps it was the script, the lighting, the source novel material (which I have never read), or some combination of all three, but for much of the production, the energy felt monotone except during the climactic moments of the second act. A monotone energy level is fine in a musical with razzle dazzle, but a singular energy level in the opposite direction can be draining.

Theatre Company: Book-it Repertory Theatre

Venue: Broadway Performance Hall

Venue Physical Address: 1625 Broadway, Seattle, WA 98122

Price Range: $45

Dates: September 26 to October 12, 2025

Seating: General Admission

Parking: Ironically, the uncovered parking lots on Harvard Avenue across Seattle Central College are cheaper than street parking.

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https://book-it.org/events/the-story-of-edgar-sawtelle/

Pictures: See production pictures below by Aaron Wheetman Photography.

Cast and Production Team: See after pictures below.

Preview Post – The Importance of Being Earnest – Play – Taproot Theatre

Oscar Wilde’s The Importance of Being Earnest play at Taproot Theatre. Performing until 11/1/2025. Look out for my full review!

Tickets: https://taproottheatre.org/shows/2025/importance-of-being-earnest/

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An Enemy of the People – Play – Review – Union Arts Center

@showsiveseen “An Enemy of the People” #play by @unionartscenter & @seattleshakespeareco starring Aaron Blakely. Erin Brockovich meets Henrik #Ibsen. Timely mirror to the state of our country. Excellent mob scene fight choreographed by @geoffreyalm. Perfect for Seattle’s hero-complex, idealist activist spirit. Only 1 more performance left! Review: showsiveseen.com/13748 #scandal #corruption #conspiracy ♬ Way down We Go – KALEO

Elevator Thoughts (aka Tweet): An Enemy of the People play by Union Arts Center & Seattle Shakespeare Company starring Aaron Blakely. Erin Brockovich meets Henrik Ibsen. Timely mirror to the state of our country. Excellent mob scene fight choreographed by Geoffrey Alm. Perfect for Seattle’s hero-complex, idealist activist spirit. Only 2 performances left!

Recommendation:
See it if you enjoy 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, but it was good.

Mainstream Appeal: Low to medium

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

My Synopsis (No Spoilers): When a physician discovers that the town’s lucrative public baths (their lifeblood of income) are dangerously contaminated, the community is forced to confront an unsettling choice: protect public health or bankrupt the townsfolk.

Synopsis from the Licensor or Theatre Company: The Tony Award-winning adaptation comes to Seattle! Amy Herzog’s “smart, sharp, and relevant” (Deadline) take on this Henrik Ibsen timeless classic wraps us deep in an entangled web of truth, power and complacency. Dr. Stockmann has it all – but when he uncovers a catastrophe in the making that threatens lives, he runs up against those in power. As tensions rise, Stockmann must choose: follow his conscience, and risk destruction? Or join the conspiracy?

Type: Play

World Premiere: No

Several or Few Scenes: Few

Several or Few Settings/Locations: Few

Static (Stationary) or Dynamic Set: Mostly static

Prior Exposure/Knowledge Required: No

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

Union Actors: 6

Total Actors: 13

Perceived Pace of the Show: Like many plays, it started slow without a good hook, but it eventually picked up stride to medium speed.

Was there an intermission? Yes

Length (Including Any Intermission): 2 hours

Other Rave(s)

Looking Glass: This production was timely given our country’s current state of affairs. It evoked the tensions of the COVID-19 era balancing public health against economic pressures. It also highlighted the friction between the masses and perceived elitism of learned healthcare professionals like with vaccinations and COVID-19. It critiqued corporations that complicitly pass the bill of their own cost-cutting mistakes onto taxpayers. At its core, the show was a stark reminder of how money drives decisions and influences the world around us.
Binary Morality: Similarly, the production highlighted that the heroic ideal of always doing what is ‘right’ can be a flawed, binary way of viewing morality. It demonstrated that following an absolute ‘do what is right’ philosophy should be more nuanced, involving difficult decisions that can inadvertently harm ordinary people. The play showed the perspective that there are casualties in the pursuit of idealism.
Performative Progressivism: I loved how the script skewered performative progressivism and activism pursued more for the thrill of disruption than genuine conviction. Billing (played by Josh Kenji Lanager) embodied the archetypal young faux-progressive from Brooklyn (or dare I say Capitol Hill) likely funded by mommy’s credit card who loudly champions causes for the sake of clout and chaos. They would just as quickly change their tune and sell their soul the moment those ideals threatened their own comfort.
Confrontations: I love heightened emotional scenes of outbursts/arguments, and this production was rife with them. A standout moment was in Act One during a heated confrontation between brothers Thomas Stockmann (played by Aaron Blakely) and Peter Stockmann (played by Bradford Farwell).
Town Hall: The second act opened with a town hall scene that ingeniously drew the audience (seated in the round) into the role of the townspeople. Geoffrey Alm’s fight choreography created a realistic mob scene, capturing the terrifying momentum of herd mentality with convincing falls and visceral intensity.

Other Musing(s) and Observation(s)

Ending (No Spoiler): The ending felt overly idealistic and conveniently resolved … maybe even lazy. Call me fatalistic, but the conclusion packaged in a tidy little bow can’t solve the complex problems presented in the play.
Ensemble: Unfortunately, the ensemble didn’t get much stage time. I really only noticed them during the powerful second-act opener, when they appeared as heckling townspeople. It’s just as well though that it was one the most dramatic scene in the show.
Chlorine: The scientific part of me thinks the play could have been easily resolved with modern chlorination. Though I suppose that wouldn’t make for much of a story!

Theatre Company: Union Arts Center (ACT Theatre and Seattle Shakespeare Company)

Venue: Union Arts Center

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

Price Range: $87 to $104

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

Dates: September 20 to October 5, 2025

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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Cast and Production Team: See after pictures below.