Musicals – Shows I've Seen

Shucked – Musical – Review – Paramount Theatre

@showsiveseen 🌽 Robert Horn, Brandy Clark, & Shane McAnally’s #Shucked #musical national tour courtesy of Broadway Seattle & @Seattle Theatre Group. Witty script was a cornucopia of sly clever corny dad jokes. Foot-tapping #country melodies. @Danielle Wade was like a modern-day young Dolly Parton. Hilarious, thought-provoking musings from Mike Nappi. See it before it closes 11/9/25! Review: showsiveseen.com/14214 Director: Jack O'Brien Stage Mgr: Alan D Knight Choreo: Sarah O'Gleby Music Supervision: Jason Howland Music Director: Nick Williams #corn #theatre @Shucked Musical ♬ Independently Owned – Alex Newell & Original Broadway Cast of Shucked

Elevator Thoughts (aka Tweet):🌽 Robert Horn, Brandy Clark, & Shane McAnally’s Shucked musical national tour courtesy of Broadway Seattle & Seattle Theatre Group. Witty script was a cornucopia of sly corny clever dad jokes. Foot-tapping country melodies. Danielle Wade was like a modern-day young Dolly Parton. Hilarious, thought-provoking musings from Mike Nappi. See it before it closes 11/9/25! #heartland #midwest #corn

Recommendation:
See it!

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

Would I See It Again 3 Years from Now? Yes

Mainstream Appeal: Medium to high

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

My Synopsis (No Spoilers): In a small Midwestern town where corn is the lifeblood of the community, the crops begin to mysteriously wither. At the cusp of her wedding, “Maizy” leaves heartland America for the big city in search of a cure for the corn. She pins her hopes on the so-called Tampa “Corn Doctor” to save her hometown.

Synopsis from the Licensor or Theatre Company: Shucked is the Tony Award®–winning musical comedy The Wall Street Journal calls “flat out hilarious!” And nobody knows funny like economists. Featuring a book by Tony Award winner Robert Horn (Tootsie), a score by the Grammy® Award–winning songwriting team of Brandy Clark and Shane McAnally (Kacey Musgraves’ “Follow Your Arrow”), and directed by Tony Award winner Jack O’Brien (Hairspray), this corn-fed, corn-bred American musical is sure to satisfy your appetite for great musical theater.

Type: Musical

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’ve got to think fast to keep up with the jokes. Those punchlines come quicker than you’d expect!

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actor(s): All

Total Actor(s): 15

Perceived Pace of the Show: Medium to fast speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Other Rave(s)

Cornucopia of Comedy: I was genuinely blown away by how many sly, blink-and-you’ll-miss-them jokes Robert Horn packed in the script and I completely lost track of the number of laugh-out-loud moments. I haven’t laughed this much at a show in ages. The humor was a smart blend of dad jokes, clever wordplay, “corny” puns, and small-town pearls of wisdom.

Like Clue: Live on Stage!, this production demanded quick thinking. You have to stay sharp to catch every punchline, or risk FOMO when everyone else is cracking up.

In the spirit of all that fast wit, absurdity, and corn, I couldn’t help but think of Titus Andromedon from Unbreakable Kimmy Schmidt. It was theatrical, self-aware, and just the right amount of ridiculous.
Uks Unbreakable Kimmy Schmidt GIFfrom Uks GIFs
Peanut: One of the funniest characters was Peanut (played by Mike Nappi), the small-town idiot savant. His running gag was prefacing his offbeat musings with “I think.” They never failed to elicit a laugh. And they always made you go, “hmmm.” A seemingly simple-minded character beginning a statement with “I think” only added to the irony. My personal favorite insight from this simpleton was “I think if a movie is based on a true story, it’s probably true, just with ugly people.”
Danielle Wade: Danielle Wade, who portrayed the female lead Maizy, delivered a performance marked by a beautifully distinctive voice. Her singing and speaking carried the charm and vivacity of a contemporary Dolly Parton, effortlessly blending youthful energy with a timeless, melodic country warmth.
Music: The music by Brandy Clark and Shane McAnally leaned a bit on the formulaic Broadway side. But honestly, that’s exactly how I like my musicals: light, catchy, and mainstream. It exuded a foot-tapping country flair so infectious that I could literally feel someone next to me tapping along. With Reba McEntire serving as co-producer and the musical’s “Official Stalksperson,” that down-home, approachable energy makes perfect sense.

“Independently Owned,” performed by Lulu (played by Miki Abraham), was a standout number, echoing the same confident, feminist “take me as I am” attitude as Hairspray’s “Big Blonde and Beautiful.” Meanwhile, the elevator-style background music during the montage with Gordy (Quinn VanAntwerp) and Maizy in Tampa surprisingly worked well. That kind of understated, almost banal style is rarely heard in musicals, which made it feel unexpectedly refreshing.
Narrators: The narrator duo evoked the dynamic of Janis (albeit kinder) and Damien from the Mean Girls musical with Joe Moeller as the semi-flamboyant gay Storyteller 2 and Maya Lagerstam, his “hag” best friend Storyteller 1. I don’t often comment on inclusive casting, but this production made a thoughtful, meaningful choice by casting BIPOC actors as Storyteller 1 and their family member. It’s a refreshing reminder that not every story in the rural country should be told as all-white.
Nick Bailey: Nick Bailey was perfectly cast as Beau, the quintessential handsome all-American, corn-fed, small-town country boy. He shined in his plaintive ballads “Somebody Will” and “Ok” while delivering a masculine rustic voice rarely heard in musical theatre.

Other Musing(s) and Observation(s)

Country Folk: The production portrayed entertaining boisterous caricatures of backwoods hillbillies complete with a small-town methhead, corn spirit moonshine, trailer-trash, and a distinctly conservative bend. God, country, and Trump, y’all! There was even a line “In Cob County, people think ‘Roe vs. Wade’ is a debate about the best way to cross a river.” It’s easy to feel superior and almost verges on punching down when watching this show in an educated wealthy liberal city like Seattle. I wonder how audiences in more rural, Americana communities might receive this show though.

Theatre Company: National Tour Courtesy of Broadway Across America and Seattle Theatre Group

Venue: Paramount Theatre

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

Ticket Affordability Options: $43-166

Dates: November 4 – 9, 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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Photos: See production photos below by Matthew Murphy and Evan Zimmerman.

Cast and Production Team: See after photos below.

The Cast of The North American Tour of SHUCKED. Photo by Matthew Murphy and Evan Zimmerman.

Maya Lagerstam as Storyteller 1 and Tyler Joseph Ellis as Storyteller 2 in The North American Tour of SHUCKED. Photo by Matthew Murphy and Evan Zimmerman.

Jake Odmark as Beau and Danielle Wade as Maizy in The North American Tour of SHUCKED. Photo by Matthew Murphy and Evan Zimmerman.

Quinn VanAntwerp as Gordy and Miki Abraham as Lulu in The North American Tour of SHUCKED. Photo by Matthew Murphy and Evan Zimmerman.

Miki Abraham as Lulu and Ryan Fitzgerald in The North American Tour of SHUCKED. Photo by Matthew Murphy and Evan Zimmerman.

Mike Nappi as Peanut in The North American Tour of SHUCKED. Photo by Matthew Murphy and Evan Zimmerman.

Chicago – Musical – Review – The 5th Avenue Theatre

@showsiveseen Seattle's opening night of the "#Chicago" #musical national tour at @The 5th Avenue Theatre w/ @Seattle Theatre Group. Starring @claire.m__ & a @elliebean. Relevant commentary of the #criminal justice system. Fosse choreography w/ impressive high kicks & "All That Jazz." Closes 11/2/25. Review: showsiveseen.com/14002 Photos: Jeremy Daniel Director: David Hyslop Music Director: Andy Chen Choreo: @Gregory Butler Stage Mgr: Sofia Rose Itskovich and Elspeth Bustard @Chicago the Musical | Broadway @chicagotour #theatre #musicaltheatre ♬ All That Jazz – Broadway Allstars

Elevator Thoughts (aka Tweet): Seattle’s opening night of the Chicago musical national tour at The 5th Avenue Theatre w/ Seattle Theatre Group! Starring Claire Marshall & Ellie Roddy. Relevant commentary of the criminal justice system. Fosse choreography w/ impressive high kicks and “All That Jazz.”

Recommendation:
See it if 1) you enjoy vaudeville/Cabaret 2) or you’re okay with austere staging and costumes like the Jamie Lloyd production of Sunset Blvd.

Was This the First Time I Attended a Production of this Show? No, I previously saw the national tour more than a decade ago in Houston.

Would I See It Again 3 Years from Now? No, twice is enough for me

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): Set in a cabaret-style show, the musical follows two rival high-profile female murderers in a Chicago prison as they navigate the challenges of preserving their celebrity status while facing the threat of capital punishment.

Synopsis from the Licensor or Theatre Company: CHICAGO is still the one musical with everything that makes Broadway shimmy-shake: a universal tale of fame, fortune, and all that jazz, with one showstopping song after another and the most astonishing dancing you’ve ever seen. In the whirlwind of Chicago’s Jazz Age, two of the Cook County Jail’s most notorious murderesses — vaudeville star Velma Kelly and chorus girl Roxie Hart — become fierce rivals as they compete for headlines amidst a media frenzy.

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Static and austere

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: Yes, but it seemed to be framed in a cabaret show of vignettes.

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)

Modern Commentary: Though written in the 1970s, this musical remains startlingly relevant. It exposed corruption and performative spectacle in the legal system, where charisma, wealth, fame, and media attention easily outweigh justice. Lines like “Give ‘em the old razzle dazzle” showed how charm and showmanship “trump” (no pun intended to our current presidential administration) morality or legal rigor, turning even the most damning cases into public-relations triumphs like with today’s Anna Delvey.

Additionally, Hunyak, the Hungarian immigrant character played by Lacey Kohn, showed the inequality in the criminal justice system. That reality is even more poignant today. However, the production could have made an even bolder statement by reimagining Hunyak as a person of color in light of today’s ICE raid injustices.

The musical portrayed our hypercapitalist society where crime and “justice” alike are commodified, and the theater of the law is as performative as it is flawed.
Band: The band was arranged on a tiered, multi-level jazz “big band” setup, bringing a sense of elegance and class to the otherwise naked stage. The actors occasionally even interacted with the conductor Andy Chen, who was also mic’ed for the audience. It’s usually a treat to see the musicians featured so prominently in a show since they’re performers in their own right, and their talent deserves recognition beyond the usual confines of “the pit.” Last month, I saw a musical with a theatre novice, and they didn’t even realize the accompaniment was live. Highlighting the band like this not only enriched the visual experience but also reminded the audience that every note and rhythm is a vital part of the performance.
Mary Sunshine: Kudos to J. Clanton (as the melodramatic sentimental “sob sister” reporter Mary Sunshine) who hit the character’s high notes with surprising accuracy in full drag. The role was intentionally silly and over-the-top with the perfect amount of camp to not overshadow the rest of the show. It was a brief memorable presence that added un unexpected fun flair, if slightly exaggerated, to the production.
Beefcake: Sitting far all the way back in row V, I was surprised to see Tim Canali (as the illicit “mister” lover Fred Casely) radiate such commanding physicality. Even from a distance, his toned muscular definition was unmistakable. Clearly, no stage makeup illusion could account for that kind of bulk. Canali turned heads not just with his performance but with his impressive “swole” beefcake physique.

Rant(s)

Lighting/Set/Costume Design: The musical’s signature low-lighting motif lended dangerously close to sleep-inducing. Live theatre already inherently risks encouraging drowsiness with its dim aisles and occasionally dense dialogue/storyline. This visually dark stage and the plain black costumes only encouraged it more. In fact, at intermission, I asked my seatmate if they enjoyed their expensive nap! If you’re going for an austere set, at least crank up the spotlight intensity. Minimalism doesn’t have to equal invisibility. Some might argue that sparse lighting/scenery/costumes allow performers to exhibit their talent without distraction. But it’s difficult to impress the audience with vocal/instrumental talent alone if the crowd can only see vague visual shapes.
General Energy: Similarly, the performance energy mirrored the subdued lighting/scenic/costume design: monotone, subtle, and a touch sleepy. I guess this is a challenge intrinsic to a Fosse show. A particularly taxing moment was Roxy’s headline-celebration scene, when a monologue-like delivery coincided with the band endlessly repeating the same musical phrase. But the blame lies with the script and score, not the actors or musicians. What this musical desperately needed was a jolt of tap-dance pizzazz akin to Some Like It Hot. Sometimes a spectacle is the spark that keeps the audience awake.

Other Musing(s) and Observation(s)

Choreography: The Fosse choreography didn’t feel as razor-sharp, tight, abrupt, or synchronized as I would have expected. Perhaps that’s my own Millennial sensibilities, shaped by K-pop, NSYNC, and TikTok. I wonder how this company’s precision would compare to the original Fosse production. Maybe Fosse walked so Gen-Z TikTokers could run.
Audience: Both times I saw this show, I never understood the role of the prison performers like Velma Kelly and Roxie Hart. Were they performing for an actual audience within the story, like fellow inmates or visitors from Chicago? Was their stardom due to the notoriety of their crimes or did it also come from entertaining the Chicago masses on-stage? I’m not alone in this confusion as a companion who attended with me mused the same question.

Theatre Company: National tour from Broadway Across America, The 5th Avenue Theatre, and Seattle Theatre Group

Venue: The 5th Avenue Theatre

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

Price Range: $55-210

Ticket Affordability Options: Broadway Seattle, Seattle Theatre Group, or The 5th Avenue Theatre might partner with an organization you’re affiliated with for discount tickets. For example, UW employees/students are eligible for an organization discount.

Dates: October 22 to November 2, 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 Jeremy Daniel.

Cast and Production Team: See after pictures below.

Andy Chen and the CHICAGO Orchestra in “Entracte.” Photo by Jeremy Daniel.

Ellie Roddy as Roxie Hart in “Me and Me Baby.” Photo by Jeremy Daniel.

Max Cervantes as Billy Flynn and Ensemble in “All I Care About.” Photo by Jeremy Daniel.

Claire Marshall as Velma Kelly in “All That Jazz.” Photo by Jeremy Daniel.

Illeana ‘illy’ Kirven as Matron Mama Morton. Photo by Jeremy Daniel.

Preview Post – Brigadoon – Musical – Village Theatre

Lerner and Loewe’s Brigadoon musical at Village Theatre. In Issaquah till 10/19 & Everett till 11/16. Full review coming soon! #scotland #scottish

Tickets: https://villagetheatre.org/see-a-show/brigadoon

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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

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Pictures: See production pictures below by Julieta Cervantes.

Cast and Production Team: See after pictures below.