Allan – Shows I've Seen | Theatre Reviews

Some Like It Hot – Musical – Review – Paramount Theatre

@showsiveseen "Some Like It Hot" #jazz #musical at the Paramount Theatre from Broadway Seattle national tours and @Seattle Theatre Group. #Tap dance extravaganza starring @Tavis Kordell and the delightful Matt Loehr. Closes 9/21/25! Review: showsiveseen.com/13616 Photos: MurphyMade Director/Choreo: Casey Nicholaw Stage Manager: Donovan Dolan Conductor: Mark Binns #tapDance #tapDancing @Some Like It Hot The Musical ♬ Some Like It Hot – NaTasha Yvette Williams & Adrianna Hicks & J. Harrison Ghee & 'Some Like It Hot' Original Broadway Cast

Elevator Thoughts (aka Tweet): Some Like It Hot jazz musical at the Paramount Theatre from Broadway Seattle national tours and Seattle Theatre Group. Tap dance extravaganza starring Tavis Kordell and the delightful Matt Loehr.

Recommendation:
See it, especially if you enjoy tap dancing.

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

Would I See It Again 3 Years from Now? Yes

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): After witnessing a Chicago mob boss commit a crime, two brothers become his next targets. To escape, they disguise themselves in drag and join an all-female traveling musical group hoping the ruse will take them safely to Mexico.

Synopsis from the Licensor or Theatre Company: Winner of 4 Tony Awards®, including Best Choreography and Best Costumes, and the Grammy Award® for Best Musical Theater Album, SOME LIKE IT HOT is “A Super-Sized, All-Out Song-And-Dance Spectacular!” – The New York Times. Set in Chicago when Prohibition has everyone thirsty for a little excitement, SOME LIKE IT HOT is the “glorious, big, high-kicking” (Associated Press) story of two musicians forced to flee the Windy City after witnessing a mob hit. With gangsters hot on their heels, they catch a cross-country train for the life-chasing, life-changing trip of a lifetime. And what a trip it is! With its irresistible combination of heart and laughs, song and dance, SOME LIKE IT HOT won more theater awards than any show in its season, and was named Best Musical by the Drama Desk, The Drama League, and the Outer Critics Circle. No wonder Deadline calls it “a tap-dancing, razzle-dazzling embrace of everything you love about musical theater.”

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: No, but you’d probably appreciate the show more if you watched the classic film.

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)

Tap Dancing: This production featured more tap dancing than any musical I’ve seen. Director and choreographer Casey Nicholaw used it in wonderfully inventive ways. In Act I, tap dance drove madcap escape sequences, while in Act II it added energy to fast-paced chase scenes. Though tap isn’t a style that usually involves tactile partner work like a waltz, there were clever moments where the dancers physically connected in doubles, which added variety to the dance form. The tap choreography stood out in the Act I finale, “Some Like It Hot,” as well as in one of the early playful numbers, “You Can’t Have Me (If You Don’t Have Him).”
Delightful Characters: Matt Loehr played Joe/Josephine like a class clown, always ready with a clever quip up his sleeve. The running gag about his aged appearance in drag landed consistently, keeping the audience in stitches. Meanwhile, Edward Juvier’s portrayal of the hopelessly smitten Osgood Fielding III carried shades of the persistent, nerdy Ogie from Waitress.

Rant(s)

Sound Balancing: The sound balancing left much to be desired. Several microphones were set too low, most noticeably for one of the leads, Tavis Kordell. I can only assume this is the curse of national tours opening in new venues without the benefit of preview performances.
Orchestra/Band: I’m not sure if this was also related to the sound balancing, but the orchestra didn’t quite achieve the full-bodied “big band” sound the score seemed to call for. At key moments (such as the Act I showstopper and “A Darker Shade of Blue”), the music lacked the punch and vitality needed to elevate the numbers. I longed for the astounding accompaniment from the nearby 5th Avenue Theatre like in their recent Bye Bye Birdie.

Other Musing(s) and Observation(s)

Injury: There was an substantial unexpected 15-minute delay before the second act. At first, it sounded like technical difficulties. But it turned out to be an injury sustained by lead actor Tavis Kordell from the first act. Fortunately, Jonathan Duvelson (or perhaps Jamal Stone?) stepped in to cover the dance-heavy portions of the role with Kordell pushing through the acting portions. Honestly, I wouldn’t have noticed the seamless switch if the Assistant Director Steve Bebout hadn’t announced it before the second act. Still, I couldn’t help but wonder what would have been different had Kordell continued with their original track. Oh, the magic and unpredictability of live theatre! The delay did lead to a few audience members leaving, which meant I scored a much better view without the someone sitting in front of me. 🙂
The Reveal (Spoiler Alert): It wasn’t clear whether Osgood understood that Jerry/Daphne’s identity was not a cisgender woman.

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: $56-192

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: 9/16/25 – 9/21/25

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 Matthew Murphy.

Cast and Production Team: See after pictures below.

Edward Juvier (Osgood), Tavis Kordell (Daphne) and the First National Touring Company of SOME LIKE IT HOT. Photo by Matthew Murphy.

Leandra Ellis-Gaston (Sugar) and Matt Loehr (Joe). Photo by Matthew Murphy.

Matt Loehr (Joe), Leandra Ellis-Gaston (Sugar), Tavis Kordell (Jerry) and the First National Touring Company of SOME LIKE IT HOT. Photo by Matthew Murphy.

Tavis Kordell (Jerry) and Matt Loehr (Joe). Photo by Matthew Murphy.

Tommy Sutter (Ensemble), Jay Owens (Ensemble), Jamie LaVerdiere (Mulligan), and Devon Goffman (Spats). Photo by Matthew Murphy.

Devon Hadsell (Minnie). Photo by Matthew Murphy.

Edward Juvier (Osgood) and the First National Touring Company of SOME LIKE IT HOT. Photo by Matthew Murphy.

Murder on the Links – Play – Review – Taproot Theatre

@showsiveseen "#Murder on the Links" #comedy #mystery play at @TaprootTheatre. Based on #agathaChristie's novel. Starring Richard Nguyen Sloniker (again) as the meticulous #HerculePoirot ♬ nice to know you – lovelytheband

Elevator Thoughts (aka Tweet): Murder on the Links comedy mystery play at Taproot Theatre. Based on the Agatha Christie novel. Starring Richard Nguyen Sloniker (again!) as the meticulous Hercule Poirot. Claire Marx shined with her signature charm. Impressive doubling from the cast. Now extended (twice!) through 8/30/25.

Recommendation:
See it if you enjoy murder mystery comedy plays (like Clue) filled with campy caricatures.

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

Synopsis from the Licensor or Theatre Company: Regional premiere, based on Agatha Christie’s gripping novel. After receiving an urgent plea from a stranger, Hercule Poirot whisks himself to the French seaside only to arrive a day too late. Paul Renauld has been found dead and the scene of the crime… a golf course. Poirot sets out to solve the murder, uncovering a web of deception, hidden identities, and old grudges.

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 the show more if you read the book.

Defined Plot/Storyline: Yes

Union Actors: 2

Total Actors: 6

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2 hours

Other Rave(s)

Cast Doubling: Four of the six actors (Betsy Mugavero, Tyler Todd Kimmel, Claire Marx, and Jeff Allen Pierce) juggled a carousel of multiple characters. They distinguished each role through sharp dialect work (guided by dialect coach Marianna de Fazio) and costume changes. True to campy comedic style, the production acknowledged the absurdity of the cast doubling as characters rolled their eyes at one another while swapping personas mid-scene in a madcap whirl.

Rant(s)

Script: The script was difficult to follow and left me feeling restless. For a lighthearted piece, it demanded more mental energy than expected. In particular, the confusing chaotic resolution lacked the quintessential “satisfying Agatha Christie twist.” The twist was reminiscent of a soap opera grasping at straws to resolve a story that painted itself into a corner. By the end, I already lost track of key plot points … including the culprit’s identity! Overall, the script didn’t have the finesse or tightness of a classic play like The Mousetrap. It’s a reminder that some Agatha Christie novels are best translated into a script by Agatha Christie herself.

Other Musing(s) and Observation(s)

Title: Given the title “Murder on the Links,” I was surprised by how little action actually unfolded on the golf course.

Theatre Company: Taproot Theatre

Venue: Jewell Mainstage at Taproot Theatre

Venue Physical Address: 204 N 85th St, Seattle, WA 98103

Price Range: $25-62

Dates: Jul 9 – Aug 30, 2025

Seating: Assigned Seating

Parking: Paid lot or usually-free street parking. I always find free street parking on Greenwood Ave just South of the theatre.

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Pictures: See production pictures below by Robert Wade.

Cast and Production Team: See after pictures below.

Betsy Mugavero as Actor Two and Claire Marx as Actor Four in Taproot’s production of *Murder on the Links* (July 2025). Photo by Robert Wade.

Jeff Allen Pierce as Actor One and Betsy Mugavero as Actor Two in Taproot’s production of *Murder on the Links* (July 2025). Photo by Robert Wade.

Jeff Allen Pierce as Actor One (left), Nathan Brockett as Captain Hastings (middle), and Richard Nguyen Sloniker as Hercule Poirot (right) in Taproot’s production of *Murder on the Links* (July 2025). Photo by Robert Wade.

Full cast of Taproot’s production of *Murder on the Links* (July 2025). Photo by Robert Wade.

From left to right: Tyler Todd Kimmel as Actor Three, Betsy Mugavero as Actor Two, Claire Marx as Actor Four, and Jeff Allen Pierce as Actor One in Taproot’s production of *Murder on the Links* (July 2025). Photo by Robert Wade.

Nathan Brockett as Captain Hastings and Richard Nguyen Sloniker as Hercule Poirot in Taproot’s production of *Murder on the Links* (July 2025). Photo by Robert Wade.

From left to right: Nathan Brockett as Captain Hastings, Richard Nguyen Sloniker as Hercule Poirot, Jeff Allen Pierce as Actor One, Betsy Mugavero as Actor Two, and Tyler Todd Kimmel as Actor Three in Taproot’s production of *Murder on the Links* (July 2025). Photo by Robert Wade.

Credits from the printed ENCORE program.

After Midnight – Musical Revue – The 5th Avenue Theatre

@showsiveseen "After Midnight" #jazz #musical #revue at @The 5th Avenue Theatre starring Porscha Shaw and Yusef Seevers. Novel vantage point from the beautifully-painted first-row table seats. I lost count of the magical songs performed by Porscha Shaw and @licahennings. Dapper vintage NYC #Harlem costumes by Ricky German. Captivating tap numbers choreographed by @pamelayasutake. Closing next weekend! #dukeellington Review: showsiveseen.com/13529 Photos: Michael B. Maine Director: @missjaymeow ♬ I Can't Give You Anything But Love, Baby – Ella Fitzgerald

Elevator Thoughts (aka Tweet): After Midnight jazz musical revue at The 5th Avenue Theatre. Novel vantage point from the beautifully-painted first-row table seats. I lost count of the magical songs performed by Porscha Shaw and Nalica Hennings. Dapper vintage NYC Harlem costumes by Ricky German. Captivating tap numbers choreographed by Pamela Yasutake. Closing next weekend!

Recommendation:
See it if you enjoy either 1) musical revues without a narrative 2) or Duke Ellington music.

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 lively showcase of Harlem’s rich jazz musical heritage mostly centered around jazz standards and Duke Ellington’s timeless works.

Synopsis from the Licensor or Theatre Company: Immerse yourself in the sultry, swingin’ Jazz Age of the Harlem Renaissance, where the Cotton Club is the place to be! Infused with the iconic tunes of Duke Ellington, Dorothy Fields, Harold Arlen, and more, After Midnight weaves groundbreaking jazz standards with rapturous dance and the rhythmic poetry of Langston Hughes in a jubilant production fit to blow the roof off the theater. Timeless songs like “Stormy Weather,” “On the Sunny Side of the Street,” and “It Don’t Mean a Thing” will have you leaping to your feet to join the fun.

Type: Musical Revue

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 the show more if you were familiar with Duke Ellington’s music or jazz standards.

Defined Plot/Storyline: No

Live Band/Orchestra: Yes

Union Actors: 10

Total Actors: 10

Perceived Pace of the Show: Medium speed

Was there an intermission? No

Length (Including Any Intermission): 80 minutes

Other Rave(s)

Table Seats: I was fortunate to sit at one of the nightclub tables just in front of the first row. It offered a rare, almost immersive perspective that 99% of the audience didn’t experience. I was close enough to see sweat drop from the performers! It was a truly intimate vantage point to appreciate the intricate choreography, nuanced facial expressions, and exquisite costume details. From this spot, I could feel the rhythm in my chest and hear the echo of the performance reverberate from the back of the theatre. Regardless of where you sit, check out the beautifully-painted tabletops at the beginning or end of the show. Local Black artists Charde’ Brown, Al Doggett, Sabella Flagg, Aramis Hamer, Susan Mask, and Stephanie Morales painted these “slices of Harlem life.” The tabletop paintings were a delightful detail to Carey Wong’s scenic design. So many audience members excitedly took pictures of these pieces. See my pictures at the bottom of this post.
Song Highlights:
- “Raisin’ the Rent” and “It Don’t Mean a Thing” – Exhilarating tap dance showcase
- “The Skrontch” – Vintage choreography with retro charm
- “Between the Devil and the Deep Blue Sea” – Tight, old-school girl group (Iris Beaumier, Madison Willis, and Trina Mill) blended close harmonies in a playful sway.
- “On the Sunny Side of the Street” – Warm, magical rendition by Porscha Shaw
- “Woman Be Wise (Don’t Advertise Your Man)” – Charmingly playful song performed by Nalica Hennings
- “I Can’t Give You Anything but Love” – Porscha Shaw’s crystalline tone let the jazz standard gleam.
- “Peckin’” – Cheeky, rooster‑strut choreography with swagger
- “Stormy Weather” – Porscha Shaw performed the nightclub‑sleek ballad with a controlled, sophisticated build to a satisfying bloom.
- “Ain’t It the Truth” and “Daybreak Express” – Yusef Seevers’s rich assured tenor rode the band’s brassy lift.
- “Go Back to Where You Stayed Last Night” – Nalica Hennings’s burnished, golden timbre had a bluesy bite.

Other Musing(s) and Observation(s)

Venue: Similar to what I said about Taproot Theatre’s Always … Patsy Cline, this show might shine even more in a nightclub-like venue such as The Triple Door with tables/drinks/food rather than a traditional theatre. That said, I’m curious how the revenue would compare between the two settings.
“Creole Love Call”: In a song that featured only vocalizations and no lyrics, what was the meaning behind the interpretive choreography in “Creole Love Call.” Was it illustrating the lifecycle of relationships: courtship, intimacy, marriage, then in-sickness-and-in-health? Let me know your thoughts in my social media comments.

Theatre Company: The 5th Avenue Theatre

Venue: The 5th Avenue Theatre

Venue Physical Address: 1308 5th Ave, Seattle, WA 98101

Price Range: $50-169

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 and my apartment complex. Rush tickets are typically also available the day of the performance at the box office.

Dates: August 5 – 24, 2025

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 Michael B. Maine.

Cast and Production Team: See after pictures below.

Iris Beaumier and Nehemiah Hooks in *After Midnight* at The 5th Avenue Theatre. Photo Credit: Photo by Michael B. Maine. Courtesy of The 5th Avenue Theatre.

Porscha Shaw and the cast of *After Midnight* at The 5th Avenue Theatre. Photo Credit: Photo by Michael B. Maine. Courtesy of The 5th Avenue Theatre.

The cast of *After Midnight* at The 5th Avenue Theatre. Photo Credit: Photo by Michael B. Maine. Courtesy of The 5th Avenue Theatre.

Preview Post – After Midnight – Musical Revue – The 5th Avenue Theatre

Happy opening night to The 5th Avenue Theatre production of the After Midnight musical revue. Playing till 8/24/25. Front row jazz club/lounge-style table seats are available. Full review coming soon! #harlem #DukeEllington

Tickets: https://www.5thavenue.org/shows/2024-25/after-midnight/

Final Full Review: https://www.showsiveseen.com/after-midnight-musical-revue-the-5th-avenue-theatre/

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& Juliet – Jukebox Musical – Review – Paramount Theatre

@showsiveseen Max Martin and David West Read's "& Juliet" jukebox #musical at Paramount Theatre from Broadway Seattle and @Seattle Theatre Group. Starring @lois. understudying for @Rachel. The song list packed with millennial & genZ pop hits took me back to my teens and 20s. Last Seattle performance on 8/3/25! Review: showsiveseen.com/13428 Director: Luke Sheppard Choreo: Jennifer Weber Music Director: Andre Cerullo Music Supervisor: Bill Sherman Stage Mgr: Annelise Castleberry, Joel Rosen, Chloe Rose Schweizer #romeoandjuliet #shakespeare #musicaltheatre #theatre @& Juliet on Broadway ♬ Since U Been Gone – Lorna Courtney & Original Broadway Cast of & Juliet

Elevator Thoughts (aka Tweet): Max Martin and David West Read’s & Juliet jukebox musical at Paramount Theatre from Broadway Across America and Seattle Theatre Group. Starring Lois Ellise understudying for Rachel Simone Webb. The song list packed with millennial pop hits took me back to my teens and 20s. #romeoAndJuliet #shakespeare #genZ

Recommendation:
See it, especially if you enjoy jukebox musicals like Moulin Rouge! The Musical.

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

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): What if Juliet hadn’t died? William Shakespeare and his wife Anne Hathaway overhaul the classic Romeo and Juliet tale, giving Juliet a second chance and a voice of her own.

Synopsis from the Licensor or Theatre Company: Created by the Emmy®-winning writer from Schitt’s Creek, this hilarious new musical flips the script on the greatest love story ever told. & Juliet asks: what would happen next if Juliet didn’t end it all over Romeo? Get whisked away on a fabulous journey as she ditches her famous ending for a fresh beginning and a second chance at life and love—her way. Juliet’s new story bursts to life through a playlist of pop anthems as iconic as her name, including “Since U Been Gone‚” “Roar,” “Baby One More Time,” “Larger Than Life‚” “That’s The Way It Is,“ and “Can’t Stop the Feeling!”—all from the genius songwriter/producer behind more #1 hits than any other artist this century. Break free of the balcony scene and get into this romantic comedy that proves there’s life after Romeo. The only thing tragic would be missing it.

Type: Jukebox 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: A working knowledge of Romeo and Juliet is essential. Familiarity with Shakespearean references and the Billboard top 40 hits from the past three decades will also help significantly enrich your experience.

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): 2.5 hours

Other Rave(s)

Millennial Jukebox Fever Dream: This musical uniquely leaned hard into millennial nostalgia. It was packed with hits many of us grew up hearing on the radio or burning onto mix CDs. The soundtrack focused primarily on late ’90s and 2000s pop, with some minor attention to Gen Z favorites. Watching it must be like how Baby Boomers feel seeing Motown: The Musical or Gen Xers experiencing Rock of Ages. In other words, this is how we know we elder millennials are aging! :'( Few shows have taken on this level of millennial pop royalty … they must be paying royalties out the wazoo! The musical was bursting at the seams with iconic songs, especially from the 1990s boy band era. They even featured a group called “De Bois Band” dressed in the Backstreet Boys’ iconic glittery silver metallic outfits. It was pure Y2K pop fantasy on stage. You can find the full robust song list at the end of this review in the pictures, but below are some highlights:
- “Larger Than Life” (Backstreet Boys): A powerhouse opening number
- “…Baby One More Time” (Britney Spears): Reimagined as a slowed-down ballad with surprising emotional weight
- “I’m Not a Girl, Not Yet a Woman” (Britney Spears): A moving, introspective moment that gave the song new meaning when a non-binary character May (played by Nick Drake) wrestled with the realization that his straight crush wouldn’t return his feelings.
- “It’s My Life” (Bon Jovi): Heart-pounding, exciting, feast for the senses that revealed a pivotal character at the cliffhanger twist
- “Blow” (Ke$ha): I’m not a fan of Ke$ha’s original song but this musical’s rendition won me over. Think strobe lights, dazzling choreography, and swinging from a chandelier.
- Mashups: Channeling the trend popularized by the TV show Glee, the production occasionally featured clever mashups pairing songs like “Teenage Dream” (Katy Perry) with “Break Free” (Ariana Grande) or blending “Problem” (Ariana Grande) with “Can’t Feel My Face” (The Weeknd).
Romeo: Michael Canu’s portrayal of Romeo subverted the typical romantic lead ideal. He was less of the traditional devoted star-crossed lover and more of a goofy fuckboi douchebag. Canu summed up the character’s blend of angst and absurdity as he moaned, “All I’ve ever been is a sexy young man with a tight body and a lot of feelings,” which was less Shakespearean longing and more Tinder bio. Additionally, costume designer Paloma Young interestingly styled Romeo like a beta anime softboi making his bravado feel both ridiculous and oddly endearing.

Other Musing(s) and Observation(s)

Youthful Tone: Beyond the music, the production was loudly millennial-coded, with a light sprinkle of Gen Z flair. It got to the point that the millennial-coded energy occasionally verged on excess. That said, I was pleasantly surprised and relieved by the restraint in showcasing cell phones (I don’t think I saw one) because cell phone props are a commonly overused crutch in many productions trying to appear modern, young, and relevant. The overall vibe was reminiscent of light pop-culture-savvy shows like New Girl, Emily in Paris, Younger, Brooklyn Nine-Nine, and How I Met Your Mother.
Vocal Suitability: At times, a few songs didn’t seem perfectly suited to the performers’ vocal ranges. The delivery occasionally lacked the vocal ease and polish typically associated with national tours or Broadway productions. Sometimes the vocals felt slightly too low or underpowered, which made me wonder if the demands of this particular performance involving last-minute cast changes might have played a role.
Jukebox Musical Formula: As expected from a Broadway national tour, the performance was polished, impressive, and amazing. However, it gratuitously relied too heavily on the jukebox musical formula, feeling more like a millennial playlist than a meaningful narrative. While jukebox musicals often struggle with substance, this production felt particularly hollow and pandered more to top 40 hit music nostalgia. That said, the straightforward plot was easy to follow, which is always something I always value in a live production with no subtitles. Give me Legally Blonde, not Checkov … and not old Shakespearian English for that matter!
British vs American Musical Theatre: Something about this musical weirdly reminded me of Six. Maybe it’s because both blended concert-style staging with theatrical storytelling and similar vibrant pop energy. Or perhaps it’s the fact that both are British-born pop musicals. I can’t quite put my finger on it. But despite the high-octane vibe, there was a certain “je ne sais quoi” from these two shows that doesn’t quite match American Broadway energy. & Juliet feels like the British response to the American Moulin Rouge! jukebox musical. I’m headed to the London West End for the first time next month and I’m so curious to observe the difference with American Broadway. Stay tuned for my London reviews. Let me know in my social media comments your thoughts on American vs British musical theatre!