Hamilton – Musical – 2025 Review – Paramount Theatre

@showsiveseen Lin-Manuel Miranda's "#Hamilton" #musical at the Paramount #Theatre from Broadway Seattle and @Seattle Theatre Group. Starring Blaine Alden Krauss. Great stage presence from @simonlonglegs. Review: showsiveseen.com/11511 Director: Thomas Kail Stage Mgr: Rodrigo Herrera, Rolando A Linares, Jimmie Lee Smith Choreo: Andy Blankenbuehler Music Supervision: Alex Lacamoire #showsiveseen @Hamilton ♬ original sound – Hamilton

Elevator Thoughts (aka Tweet): Lin-Manuel Miranda’s Hamilton musical at the Paramount Theatre from Broadway Seattle and Seattle Theatre Group. Starring Blaine Alden Krauss. Great stage presence from Simon Longnight.

Recommendation:
See it.


Was This the First Time I Attended a Production of this Show? No, I’ve seen this twice already at the Paramount in 2022 and 2018. What else can I say that hasn’t already been said regarding this popular musical?

Would I See It Again 3 Years from Now? I think three times is enough for me! 🙂

Mainstream Appeal: Ordinarily, I’d say medium. But with the hype, I’d say high.

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

My Synopsis (No Spoilers): The life and times of founding father Alexander Hamilton from young adult to death during the birth of the USA.

Synopsis from the Licensor or Theatre Company: A revolutionary story of passion, unstoppable ambition, and the dawn of a new nation. HAMILTON is the epic saga that follows the rise of Founding Father Alexander Hamilton as he fights for honor, love, and a legacy that would shape the course of a nation. Based on Ron Chernow’s acclaimed biography and set to a score that blends hip-hop, jazz, R&B, and Broadway, HAMILTON has had a profound impact on culture, politics, and education. HAMILTON features book, music, and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, and musical supervision and orchestrations by Alex Lacamoire. In addition to its 11 Tony Awards, it has won Grammy®, Olivier Awards, the Pulitzer Prize for Drama, and an unprecedented special citation from the Kennedy Center Honors.

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Mostly static, but the stage rotated

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: 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) Not Mentioned Above

  • Alexander Hamilton: When he wasn’t rapping, Blaine Alden Krauss (who played Hamilton) showcased a nice smooth voice.
  • Final Moments: The monologue-like lines in the final moments of Alexander Hamilton’s life was compelling. However, I’m not sure I would have fully appreciated its depth without the context of seeing the musical multiple times.
  • Philip Hamilton: The scenes with Philip Hamilton (played by Lucas Hinds Babcock) were endearing, especially moments like when he tried to impress his father by rapping or when he ran in an exaggerated, child-like anime manner.
  • Thomas Jefferson: Simon Longnight, who played Jefferson, delivered strong stage presence. His 80s/90s afro was a nice touch. However, I always find it a bit odd when shows introduce major characters in the second act.
  • “Helpless” Song: Kendyl Sayuri Yokoyama’s portrayal of Eliza Hamilton in the song “Helpless” was endearingly unconfident and vulnerable. Whether intentional or not, this worked in her favor, adding depth to the character.

Rant(s)

  • Least Favorite Line: I absolutely hate when Hamilton tells George Washington, “Call me son one more time.” The moment is so cliché.

Other Musing(s) and Observation(s)

  • King’s Microphone: King George’s main microphone cut off in the beginning of one of his last solos. Fortunately, the sound engineers immediately utilized the muffled backup microphone. Oh, the magic of live theatre!
  • Reputation: The characters obsess over honor, reputation, and legacy. It’s as if “I’ve got a rep to protect” is the end-all, be-all. But wouldn’t it be refreshing if we could just live our lives without worrying about what others think? It would save so much personal agony. After all, a person with a tarnished reputation, no honor, and countless scandals still recently achieved the presidency twice! 😐
  • Energy: The show began with less energy than I remember. It felt as though the production got too comfortable with the hype, resting on its laurels and going through the motions. Perhaps the sound balancing played a role. Improving it so the lead singers’ voices come through more clearly could make a difference.
  • Hype: Hamilton is undoubtedly groundbreaking, and the lyrics are undeniably genius. However, the intense hype surrounding it always puts me off. There are countless other musicals I’d rather see. Perhaps I’d appreciate it more if I were a fan of rap, hip-hop, or R&B. But the subject matter is dry and dressed up in an attempt to seem cool. It reminds me of a teacher at an urban public school trying to rap through a history lesson, in an effort to appeal to poor inner-city teens from the projects. When someone claim it’s their favorite musical, I can’t help but wonder if it’s because 1) they’re a fan of rap, hip-hop, or R&B 2) they don’t watch many musicals, 3) or they’re just a basic lemming.

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

Venue: Paramount Theatre

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

Price Range: $49-289 plus the insane Ticketmaster fees. Buy your ticket at the box office to avoid the exorbitant fees. Down with the Ticketmaster Live Nation monopoly!

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 eligible for an organization discount.

Dates: 2/4/25 to 3/2/25

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 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 Joan Marcus.

Cast and Production Team: See after pictures below.

(l-r) Nathan Haydel, Tyler Fauntleroy, Jared Howelton, Elvie Ellis, and Company – HAMILTON National Tour – (c) Joan Marcus 2024
(l-r) Lauren Mariasoosay, Marja Harmon, Lily Soto – HAMILTON National Tour – (c) Joan Marcus 2024
Justin Matthew Sargent – HAMILTON National Tour – (c) Joan Marcus 2024
A.D. Weaver and Company – HAMILTON National Tour – (c) Joan Marcus 2024
Company – HAMILTON National Tour – (c) Joan Marcus 2024
Tyler Fauntleroy and Company – HAMILTON National Tour – (c) Joan Marcus 2024
Tyler Fauntleroy, Jimmie _J.J_ Jeter, and Company – HAMILTON National Tour – (c) Joan Marcus 2024
Credits from the Encore program.
Credits from the Encore program.
Credits from the Encore program.
Credits from the Encore program.

Preview Post – Hamilton – Musical – Paramount Theatre

Happy opening night to Hamilton from Broadway Seattle and Seattle Theatre Group. Performing at Paramount Theatre till 3/2/25. Hang tight for my full review!

Tickets: https://seattle.broadway.com/shows/hamilton-2/

Final Full Review: https://www.showsiveseen.com/hamilton-musical-2025-review-paramount-theatre/

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Cabaret at the Kit Kat Club – Immersive Musical – Review – August Wilson Theatre 

@showsiveseen "#Cabaret" at the @KitKatClubNYC in the August Wilson #Theatre on #Broadway. Starring @Adam Lambert, Calvin Leon Smith, & Auliʻi Cravalho. Novel #immersive food/bar/club experience of a #musical #revival. #showsiveseen ♬ Cabaret – Liza Minnelli

Elevator Thoughts (aka Tweet): Cabaret at the Kit Kat Club in the August Wilson Theatre on Broadway. Starring Adam Lambert, Calvin Leon Smith, & Auliʻi Cravalho. Novel immersive food/bar/club experience of a musical revival.

Recommendation:
See it!


Was This the First Time I Attended a Production of this Show? No, I’ve probably seen this musical in around 5 different past productions (including the national tour).

Would I See It Again 3 Years from Now? I don’t know … 5 times is already an awful lot of times to see a musical. Maybe I would if the next show has an even more unique gimmick than this production.

Mainstream Appeal: Medium to high

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

My Synopsis (No Spoilers): An American writer relocates to pre-WWII Berlin and witnesses German society’s gradual fall to the Nazis through the eyes of a cabaret at the notoriously risqué Kit Kat Club.

Synopsis from the Licensor or Theatre Company: The denizens of the Kit Kat Club have created a decadent sanctuary inside Broadway’s August Wilson Theatre, where artists and performers, misfits and outsiders rule the night. Step inside their world. This is Berlin. Relax. Loosen up. Be yourself.

Type: Immersive 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: You should have a very general knowledge of Nazi Germany

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) Not Mentioned Above

  • Immersive Experience: Other than the celebrity casting, the main draw of this revival was the unique immersive experience.
    • Alley and Basement: One hour before the main show began (7PM on an 8PM ticket), the doors opened, and ticket scanners ushered us in. They led us down a dimly lit, green-tinged alley, evoking the feeling of entering a hip, secret underground club. Soon, we found ourselves packed like sardines in a cramped basement, standing room only, with a small stage and two dance platforms. Performers mingled among the crowd while dancing, miming, and playing Yiddish-inspired music on a clarinet, violin, accordion, and bass. All of this unfolded beneath the watchful gaze of a mesmerizing, rotating eye overhead.
    • First Floor Lobby: Patrons could wander up the stairs to the orchestra-level lobby, where actors performed at a naked upright piano. With so much happening in this freestyle scattered atmosphere, I felt a feel a bit of FOMO, unsure of where to focus as performers roamed across two of the venue’s three floors. But thankfully, none of the pre-show immersion activities were consequential to the main performance of the musical. Eventually, an overhead announcement encouraged guests who wanted to order food (nothing too substantial) to head to their seats. Later, another announcement invited patrons who wanted a drink to do the same. However, drinks were already available at any lobby bars in the basement, first floor, or second floor.
    • Main Theatre Performance Space: The immersive performing troupe eventually made their way to the main theater, which had been transformed from its traditional front-facing seat configuration into a theater-in-the-round. On the ground level, tables with waiter service surrounded the stage, offering a more intimate setting, while more traditional theater seating was arranged behind them, each with a drink bench in front and ample leg room. The second level featured the orchestra positioned on either side of the stage, with mezzanine and balcony seating facing both the front and back of the stage. For a better understanding of the complex lay of the land, refer to the seat maps at the end of this article. The immersive actors occasionally weaved through the tables, engaging with the audience closest to the stage, before culminating in a final performance on the stage. At this point, the main cast took over as the lights retracted to the ceiling. The immersive performers were a distinct group, separate from the main cast. Once the musical began, their immersive role appeared to have concluded for the evening.
    • Second Floor: The mezzanine/balcony area was devoid of any novelty found in the basement and first floor. The seating was ordinary, there was no table service, and no interactive performers appeared on that level.
    • Verdict: After about 30 minutes of the 60-minute pre-show immersive experience, I was over it and headed to my seat, especially since I attended alone. The immersive experience would be more enjoyable with friends, as you’d have the chance to chat together *and* be entertained during the pre-show, which is opposite from a traditional musical experience where you can’t talk during the show. Regardless of whether you go solo or with companions, make sure you arrive at least 30 minutes before the main performance starts to fully experience the novelty and to milk the most bang for your buck. That said, the pre-show isn’t essential for enjoying the main performance.
  • Stage: While I’m inherently not a fan of theatre-in-the-round configurations (since the actors sometimes face away from you), it worked well for the show’s theme on novelty. The tiny central stage was sadly austere with no set design, but it featured a trap door and rotating mechanisms. Additionally, the tiered, wedding cake-like pedestal mechanism was a perfect for the theatre-in-the-round setup.
  • Costumes: Tom Scutt (who was also the scenic/theatre designer) created memorable costumes for the show’s stars, including a bejeweled, skeleton-inspired outfit and a creepy, old-timey clown mime costume for Adam Lambert (who played the emcee). Auli’i Cravalho’s (who played Sally Bowles) baby doll dress was also a standout.
  • “Don’t Tell Mama” Song: Auli’i Cravalho wore her baby doll dress during “Don’t Tell Mama,” while her supporting performers donned baby bonnets. The baby theme was a perfect choice for the scene, and it even incorporated the viral Gen-Z TikTok meme “I’m just a baby!”
  • Prairie Oyster: Did Auli’i really drink a whole raw egg on stage? If so, bless her. If not, that was good stage magic!
  • Showstopper: The audience was captivated by Auli’i’s emotional rendition of “Cabaret,” delivering the song with such feeling that it earned her an extended ovation.
  • Pineapple Innuendo: Steven Skybell (who played Herr Schultz) cleverly added a touch of sexual innuendo by licking his fingers and placing his pineapple in a brown bag. It was a playful nod to more mature themes!
  • Shattered Glass: Transitioning from the joyful Jewish tradition of breaking the glass at a wedding to the violent, Kristallnacht-inspired Nazi vandalism was a powerful artistic choice. It effectively shattered the sense of hope for the protagonists, symbolizing the stark contrast between celebration and the looming threat of destruction.
  • Nazi Portrayal: The eerie, identical blonde Nazi dolls were another effective artistic choice. Initially introduced during the song “Tomorrow Belongs to Me” where they appear as unsettling figures rotating on stage, the dolls serve as a haunting foreshadowing. In the final scene, this imagery is echoed when most of the cast appears blonde dressed in identical Nazi uniforms, stripped of their vibrant Kit Kat Club personas, silently rotating on the stage. This stark transformation emphasizes the loss of individuality and the regime’s oppressive conformity.

Other Musing(s) and Observation(s)

  • Guidance and Direction: Throughout the pre-show immersive experience, I often felt uncertain about where to go. For instance, the audience (myself included) was packed tightly together like sardines in the basement for a while and unaware that we could explore upstairs for more. The audience relied heavily on ushers to direct us, which, while helpful, diminished the hip underground free-spirited club vibe.
  • Phones: After initially passing through the green alley corridor and before entering the building’s maze, ushers placed stickers over our phone camera lenses as a reminder not to take photos or videos, even before or after the actual performance. It’s unfortunate that capturing the ambiance wasn’t allowed, especially since it’s difficult to conceptualize or verbally describe. However, I understand that this is done to preserve the copyright and regulations of the pre-show immersive performance. That said, it might have been reasonable to allow photos during intermission, when there were far fewer immersive performers present. Allowing patrons to capture the unique atmosphere for social media would encourage more ticket sales.
  • FAQ: I *highly* suggest reading the show’s frequently asked questions to prepare yourself on what to expect from this unique experience.

Venue: August Wilson Theatre

Venue Physical Address: 245 W 52nd St, New York, NY 10019

Venue Classification: Broadway

Price Range: $52-500

Ticket Affordability Options: You can likely buy discount tickets at the TKTS booth.

Dates: First preview was 4/1/24 and opening night was 4/21/24. As of 1/14/25, you can buy tickets as far as 7/20/25.

Seating: Assigned Seating

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Pictures: See production pictures below

Cast and Production Team: See after pictures below.

Adam Lambert and Auli’i Cravalho. Photo by Gina Manning.
Michelle Aravena as Fritzie Kost. Photo by Julieta Cervantes
Calvin Leon Smith as Clifford Bradshaw. Photo by Julieta Cervantes.
Adam Lambert (center in black) as Emcee. Photo by Julieta Cervantes.
Adam Lambert (center) as Emcee. Photo by Julieta Cervantes.
Adam Lambert and Auli’i Cravalho.
Steven Skybell as Herr Schultz and Bebe Neuwirth as Fraulein Schneider. Photo by Marc Brenner.
Screenshot from First Floor Layout from SeatGeek.
Screenshot of Second Floor Layout from SeatGeek.
Production Credits from Playbill.
Production Credits from Playbill.
Production Credits from Playbill.
Production Credits from Playbill.
Production Credits from Playbill.
`Production Credits from Playbill.
Production Credits from Playbill.
Production Credits from Playbill.

Preview Post – Cabaret – Musical – Kit Kat Club at the August Wilson Theatre

Cabaret immersive musical revival at the Kit Kat Club in Broadway’s August Wilson Theatre. Starring celebrities Adam Lambert & Auliʻi Cravalho. Keep your eyes peeled for my full review! #cabaret #kitKatClub #germany #berlin

Tickets: https://kitkat.club/

Final Full Review: https://www.showsiveseen.com/cabaret-at-the-kit-kat-club-immersive-musical-review-august-wilson-theatre/

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Black Nativity – Concert Musical – 2024 Review – Intiman Theatre & The Hansberry Project

@showsiveseen Langston Hughes's "Black Nativity" #Christmas #concert #musical by @Intiman Theatre & The Hansberry Project. Truely a worthy yearly tradition of the Seattle #holiday season. That #black #gospel church #choir was dynamite! Closes this weekend. Review: showsiveseen.com/10975 Photos: Joe Moore Director: @valeriecurtisnewt2 Music Direction: Sam Townsend, Jr. Choreo: Vania C. Bynum Stage Manager: Neen Williams-Teramachi #theatre #showsiveseen #xmas ♬ My Way Is Cloudy – Latrice Pace & Various Artists

Elevator Thoughts (aka Tweet): Black Nativity Christmas concert musical by Intiman Theatre & The Hansberry Project. Truely a worthy yearly tradition of the Seattle holiday season. That black gospel church choir was dynamite! Closes this weekend.

Recommendation:
See it, especially if you love black gospel choir music.


Was This the First Time I Attended a Production of this Show? No, I attended the same production last year, and this year’s version felt 85% identical. They also seemed to have improved how the second act addressed the 4th wall. I’m curious how much the script and songs differ in productions by other theatre companies since there seems to be so much inherent leeway for deviation.

Would I See It Again 3 Years from Now? Yes, in fact, I’d probably attend next year again!

Mainstream Appeal: Medium to high

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

My Synopsis (No Spoilers): The first act was a church concert-style musical reenactment of the Biblical nativity story. The second act was mostly an interactive sing-along with some non-sing-along numbers.

Synopsis from the Licensor or Theatre Company: Langston Hughes’ Gospel Song-Play returns in this newly reimagined production! Celebrate the season with a cast of more than 30 actors, dancers, soaring vocalists, a live band, and a rousing city-wide gospel choir. Audiences will have the chance to raise your voice and sing-along during this stirring and joyful holiday musical for families of all backgrounds and beliefs. Don’t miss your chance to experience this treasured Seattle tradition as Intiman presents the second year of the new Black Nativity.

Type: Concert Musical and Sing-along

World Premiere: No

Several or Few Scenes: Several, but they weren’t presented as traditional live theatre since it was more of a concert than a musical.

Several or Few Settings/Locations: Several, but they weren’t presented as traditional live theatre since it was more of a concert than a musical.

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: You’ll probably appreciate this more if you grew up in the Christian church.

Defined Plot/Storyline: No, since it was more of a concert than a musical.

Live Band/Orchestra: Yes

Union Actors: 5

Total Actors: 5 main actors + 5 dancers + 16 choir members

Perceived Pace of the Show: Medium to fast speed

Was there an intermission? Yes

Length (Including Any Intermission): 2 hours

Other Rave(s) Not Mentioned Above

  • Unlikely Theatre Fan: I already shared my initial thoughts on this show in my review last year, but this year, I attended with my sister and experienced the performance through her fresh eyes. Now, she can’t stop thinking about it, and we both agreed we should have brought her kids along so they could experience church in a way that’s rare to find since Seattle is so homogenous and the least churched city in the USA. Now, she’s eager to make Black Nativity an annual tradition with me, which is surprising given that she’s not usually a fan of musicals or live theater.
  • Choir: Even though the choir was relatively small (16 members), they were on fire!
  • Interactivity: I usually don’t prefer interactive elements in live theatre, but it felt fitting for this Christmas performance. There was a singalong, an offertory, kids decorating a tree, opportunities to share our holiday traditions, and even a fun lesson on how to clap/sway in a black church.

Rant(s)

  • Audience: The audience could have used a bit more energy. You can’t fully capture the spirit of Black church with amazing performers and a tepid crowd. Kudos to the performers for maintaining their energy despite the lack of audience enthusiasm. Oh Seattle…

Other Musing(s) and Observation(s)

  • Pregnancy Belly: It was weird not seeing a pregnancy belly on Mary (played by DaeZhane Day) … but it probably would have been equally as weird to see a pregnant woman dancing as energetically.
  • Song List Highlights:
    • “Mary Did You Know”: My sister was moved to tears during this song. Then we laughed when Mary nodded in response to the question, “Mary, did you know?” The choir later joined in with an unexpectedly dynamite burst of energy.
    • “The Night That Christ Was Born”: Kearia Keke Duncan’s arms must be incredibly strong to support her graceful angel wings dance. Additionally, the soloist was outstanding.
    • “Jesus Oh What a Wonderful Child”: Obviously when emulating the style of Mariah Carey’s version, this song was crowd pleaser.
    • “Oh Holy Night”: The acapella harmony at the lyrics “fall on your knees” was incredible.
    • “Have Yourself a Merry Little Christmas”: Josephine Howel was an amazingly effortless powerhouse with an interesting voice.
    • “Total Praise” + “Hallelujah, Salvation and Glory”: I love that they included these black gospel staples even though the songs weren’t Christmas themed.

Theatre Company: Intiman Theatre & The Hansberry Project

Venue: Seattle Central College’s Broadway Performance Hall

Venue Physical Address: 1625 Broadway, Seattle, WA 98122

Price Range: $65-110

Ticket Affordability Options: The ticketing website offers honor code discount options for students, military, industry, … or anybody. They also offer 20 free rush tickets 1 hour in-person before each performance.

Dates: December 4 to 29, 2024

Seating: Assigned Seating

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

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Pictures: See production pictures below by Joe Moore.

Cast and Production Team: See pictures below.

Rontrell J. Brimmer, Antwoin Parmer, and DaeZhane Day. Photo by Joe Moore.
Shaunyce Omar, Yusef Seevers, Felicia Loud, and Esther Okech. Photo by Joe Moore.
Rontrell J Brimmer. Photo by Joe Moore.
The cast of Black Nativity. Photo by Joe Moore.
The cast of Black Nativity. Photo by Joe Moore.
DaeZhane Day. Photo by Joe Moore.
Ayanna Omar. Photo by Joe Moore.
Credits from Encore program.