Rock of Ages – Musical – Tacoma Little Theatre

Elevator Thoughts (aka Tweet): Rock of Ages jukebox musical w/ Tacoma Little Theatre and UW Tacoma. Impressive production value for community theatre. Complete with a catwalk and stage sparklers! #RockOfAges #theatre

Synopsis from the Theatre: Aqua Net, Lycra, lace, and liquor flow freely at one of the Sunset Strips last legendary venues in the 1980s. A place where sex machine Stacee Jaxx takes the stage and scantily clad groupies line up to turn their fantasies into reality. Amidst the madness, aspiring rock star (and resident toilet cleaner) Drew longs to take the stage as the next big thing (and longs for Sherri, fresh off the bus from Kansas with stars in her eyes). But the fairy-tale is about to end when German developers sweep into town with plans to turn the fabled Strip into just another capitalist strip mall. Can Drew, Sherri, and the gang save the strip, and themselves, before it’s too late? Only the music of hit bands Styx, Journey, Bon Jovi, Whitesnake, and more hold the answer.

Reviewed Performance: 3/12/23 Matinee

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes, a 5-piece live band

Recommendation: See it if they improve the sound balancing.

Was This the First Time I Attended a Production of this Show: No, I first saw Rock of Ages at 5th Ave Theatre

Would I See It Again 3 Years from Now: Maybe if it was a professional Equity production

Equity Actors: 0

Total Number of Actors: A whopping 26 performers! I assume the large cast size had to do with the joint production with University of Washington – Tacoma. There were times where it seemed too crowded on stage especially since actors had to share space with the live band.

Length (Including Any Intermission): 2.5 hours

Intermission: Yes

Other Rave(s) Not Mentioned in Elevator Thoughts

  • Production Value: Tacoma Little Theatre always surprises me with the production value of their shows. For example, there are always high-quality projections in the scenic background. Also, one of their previous plays, Murder on the Orient Express, utilized a rotating stage. And Rock of Ages featured a catwalk with stage sparkler machines! What will they surprise us with next?

Rant(s)

  • Sound/Volume Balancing: For having such high production value, it’s a mighty dang shame I could hardly hear the performers sing or speak when the band was playing. Both the singers and the band seemed alright separately, but the volume wasn’t balanced well together. Better sound balancing would make this show 1000x better.

Other Musing(s) and Observation(s)

  • Earplugs: I always worry when there are earplugs at the door. Thankfully, I didn’t need them. Nice touch though for catering to those with sensitive eardrums.

Theatre Company: Tacoma Little Theatre and University of Washington – Tacoma

Venue: Tacoma Little Theatre

Venue Physical Address: 210 N I St, Tacoma, WA 98403

Price: Cheap

Ticket Affordability Options: PWYC (pay-what-you-can) on 3/16/23

Dates: March 3 to 26, 2023

Seating: Assigned Seating

Parking: Mostly street parking. I usually like to park one block away on North Yakima Ave. Season ticket holders and donors can access a free parking lot.

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Other Video +/- Pictures: See pictures in video and under video below by Dennis K Photography.

Cast and Production Team: See after pictures and video below

@showsiveseen “Rock of Ages” #jukebox #musical at @tacomalittletheatre & @uofwa Tacoma. Impressive production value for community theatre. Complete w/ a catwalk & stage sparklers! Review: showsiveseen.com/4321 #RockOfAges #theatre ♬ We Built This City – Starship
Regnia (Mari Roy), Hertz (Eric Strachan), Mayor (Wade Hicks) & Franz (Camren Bleiler)
Lonny (M. Keala Milles, Jr.), Dennis (Rafe Wadleigh) & Drew (Vinny Contini)
Lonny (M. Keala Milles, Jr.) and the ensemble of Rock of Ages
Dennis (Rafe Wadleigh) & Lonny (Keala Milles)
Stacee Jaxx (Ryan Coleman)
Stacee Jaxx (Ryan Coleman) and the Rock of Ages ensemble
Stacee Jaxx (Ryan Coleman) and the Rock of Ages ensemble
Hertz (Eric Strachan), Franz (Camren Bleiler) Mayor (Wade Hicks) & Regina (Mari Roy)
Lonny (M. Keala Milles, Jr.), Franz (Camren Bleiler) & Dennis (Rafe Wadleigh)
Regina (Mari Roy) leads the cast of Rock of Ages
The cast of Rock of Ages
The Venus Club dancers (Julia Wyman, Erin R. Johnson, Kristina Dustan, Molly Quinn) and Justice (Michelle Weingarden-Bandes)
Stacee Jaxx (Ryan Coleman) and the ensemble of Rock of Ages
Stacee Jaxx (Ryan Coleman)
Franz (Camren Bleiler), Dennis (Rafe Wadleigh) & Hertz (Eric Strachan)
Regnia (Mari Roy) leads the protest with the ensemble of Rock of Ages
Groupie (Madison Bleiler), Stacee Jaxx (Ryan Coleman) & Groupie (Kyleigh Medard)
RoleName
Franz Klinemann Camren Bleiler
EnsembleMadison Bleiler
Sleazy Producer/Ensemble Bailey Stanton Christie
Stacee Jaxx Ryan Coleman
Drew Boley Vinny Contini
Mother/Justice Understudy and EnsembleChristine Dove
EnsembleKristina Dustan
Venus Room D] + EnsembleAsante Hayes
Mayor + Ensemble Wade Hicks
Constance/Mother Understudy + Sherrie Understudy + Swing + Ensemble Erin R. Johnson
EnsembleDavey Magno
Sherrie ChristianAnnelise Martin
EnsembleKyleigh Medard
Lonny BarnettM. Keala Milles, Jr.
EnsembleKelsey Monahan
Ja’Keith Gill + Ensemble Trevor Owens
EnsembleKeri Peredo Panlasigui
EnsembleMolly Quinn
ReginaMari Roy
Hertz Klinemann Eric Strachan
Joey Primo + Ensemble Haunz Stroschein
Father/EnsembleAndrew Taula
EnsembleElle Tena
Dennis Dupree Rafe Wadleigh
Justice Charlier Michelle Weingarden-Bandes
Waitress #1/ EnsembleJulia Wyman
Keyboards Dr. William Bryant
GuitarCameron Schneider
DrumsScot Sexton
BassPeter Vosshall
GuitarStorm Tucker
Director Maria-Tania Bandes B. Weingarden
AuthorChris D’Arienzo
Composer and ArrangerEthan Popp
Musical Director Kim Davenport
ChoreographerAshley Roy
Stage Managers Isobel Brown & Kay Meier
Assistant Stage Managers Cathy Jackson & Irene Ellis
Technical Director/Scenic Designer/Visuals Blake R. York
Costume DesignerCori DeVerse
Production Manager/Sound Designer Dylan Twiner
Lighting Designer Michelle Weingarden-Bandes
Assistant Lighting DesignerRyan Asche
Lighting Assistant Octavio Diaz Salas
Lead Carpenter/Properties DesignerFrank Roberts
Shop AssistantNate Lovitt
Scenic ArtistJennifer York
Sound Board Operator Katie Jones
Sound ConsultantChris Aveline
Follow Spot Operator Ellie Rutt
Hair and Wig Consultant Mauro Bozzo
Assistant Hair and Wig StylingMadison Bleiler
Dance CaptainKelsey Monahan
Student Mentors Christine Dove & Rafe Wadleigh
Social Media CampaignsHannah Shea
Photography Dennis K Photography
Graphic DesignBlake R. York
Tacoma Next Move Interns Lachlan Desmarais, Sarn Hibbard Sergio Mijares

Dear Evan Hansen – Musical – Paramount Theatre – Second Review

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

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

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

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

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Recommendation: See it!

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

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

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

Equity Actors: All of them

Total Number of Actors: 8

Length (Including Any Intermission): 2.75 hours

Intermission: Yes

Other Rave(s) Not Mentioned in Elevator Thoughts

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

Rant(s)

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

Other Musing(s) and Observation(s)

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

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

Venue: Paramount Theatre

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

Price: Medium to Expensive

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

Dates: March 7 to 12, 2023

Seating: Assigned Seating

Parking: Paid street parking and paid garage parking. The best parking garage is under the convention center w/ the entrance on Pike around the Pike and Terry intersection. Last I checked, this is one of the cheapest, least busy, and closest garages. Alternatively, you can probably find street parking as you move closer to the West Precinct (810 Virginia St, Seattle, WA 98101). Do NOT park where the Paramount subscribers park. Last I checked, they usually park in the garage attached to the Cheesecake Factory. It’ll take you at least 30 minutes to exit that garage after the show.

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Other Video +/- Pictures: See pictures under video

Cast and Production Team: See after pictures and video below

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

Miss Step – Musical – Village Theatre

Elevator Thoughts (aka Tweet): Miss Step throwback musical at Village Theatre by Kit Yan and Melissa Li. Feel good love letter to the 80s that emphasized the “T” in LGBT! Bodacious dance ensemble. Totally tubular spandex aerobic-inspired choreography/costumes. Jane Fonda would be so proud.

Synopsis from the Theatre: Pam Carter is an unremarkable trans woman, working as a toll collector on the New Jersey turnpike. When a family tragedy uncovers her late father’s secret passion for competitive aerobics, Pam decides to step into her father’s sneakers and vault herself on a remarkable journey. This sweet, fun, 80’s throwback musical is a comedy for family members of all ages and genders. So slap on that spandex, throw on a headband, and get ready to clap your hands for MISS STEP!

Reviewed Performance: 2/16/23 Evening – Sorry for the late review. Since this wasn’t a press ticket and there were only two more shows left on this short run, I didn’t prioritize the review.

Type: Musical

World Premiere: “Pre-World Premiere” – It’s still in the development phase as part of the Village Originals Beta Series

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes – There was only a keyboardist and a drummer. I didn’t even notice there were so few musicians during the show. I was shocked there were only two band members listed in the playbill I read after the show.

Recommendation: See it!

Was This the First Time I Saw a Production of this Show: Yes

Would I See It Again 3 Years from Now: Absolutely! I’d love to compare and contrast this developmental production with the final world premiere production.

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

Equity Actors: 9

Total Number of Actors: 14

Length (Including Any Intermission): 2 hours but it felt like the perfect length

Intermission: No

Other Rave(s) Not Mentioned in Elevator Thoughts

  • Transgender/Queer Representation: This musical normalized LGBT+ characters/actors especially those who are trans. I like how the song “Unremarkable” punctuated how commonplace it was to be trans in this world. However, it felt like the cast was missing a bisexual character and it wouldn’t hurt to add another trans man. I thought it was interesting when an audience member from the aftershow talkback pointed out the juxtaposition between an older trans woman character who subscribed to traditional gender binary roles while her child supported a more modern non-binary gender role.
  • Cassi Q Kohl: I didn’t know Cassi Q Kohl (who played Cindy) had such a powerful voice! I’ve only seen her in Village Theatre’s previous production Cinderella where she played the fairy godmother. I guess her previous role didn’t let her showcase her voice as much.
  • Ending Reveal: The revealing twist at the end with the father was pretty cleaver.
  • Emcee: I previously saw Joel Domenico on-stage in Verlaine and McCann’s Land of the Sweets – The Burlesque Nutcracker as the charismatic emcee. He reprised a similar role in Miss Step as the competition emcee and as part of the energetic dance ensemble.
  • 1980s Theme: As someone born in the 80s, it was fun being reminded of elements that were popular in my childhood like Michael Bolton, John Stamos, kazoos, Operation boardgame, ankle warmers, headbands, Madonna, leotards, New Kids on the Block, wrist slappers, corny humor, the ThighMaster, and effortless plot resolutions.
  • Second Act Ballad: Janet (played by Bobbi Kotula) sung a wonderful ballad with a lovely melody. The playbill said the song was called “He Was My Trophy” but I thought it was called “It Wasn’t Me.” Since this was a dynamically-changing beta musical still in development, they might have added/changed the ballad after the playbill went to press.

Rant(s)

  • Microphone Queuing: There were numerous instances when the microphone turned on late. I’ll give them the benefit of the doubt that it was because of the dynamically-changing nature of a beta musical in development.
  • Accompaniment Key: There were 1-3 songs in the beginning that felt like the accompaniment key didn’t match well with the transgender performers’ best vocal range. The song(s) need(s) to be transposed.
  • Deadbeat Reasons: The show didn’t explained well why the dad left his family. The few potential reasons I gathered during the second act didn’t seem like compelling enough reasons to leave a family.
  • First Act Ballad: There was a slower song that Pam (played by MJ Rawls) sang in the beginning that either started too abruptly from a more energetic scene or ended too abruptly to a more energetic scene. I don’t remember.

Theatre Company: Village Theatre

Venue: Village Theatre – Hunt Family Theatre First Stage

Venue Physical Address: 120 Front St N, Issaquah, WA 98027

Price: Cheap

Ticket Affordability Options: Pay-what-you-will on 2/16/23

Dates: February 11 to 19, 2023

Seating: Assigned Seating

Parking: Free street parking and free lot parking. If you park in the lot, make sure the spot is not reserved for a business. As a last resort, you can always find parking at the library (10 W Sunset Way, Issaquah, WA 98027) but it’s a little far. Remember, there’s a bottom floor parking lot under the library’s main parking lot that most non-locals don’t know about.

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

Cast and Production Team: See after pictures and video below

@showsiveseen "Miss Step" throwback #musical at Village Theatre by @kityanpoet & Melissa Li. Feel good love letter to the #80s that emphasized the "T" in #LGBT! Bodacious dance ensemble. Totally tubular #spandex #aerobic-inspired choreography/costumes. Jane Fonda would be so proud. Review: showsiveseen.com/4076. Photos by @nikkilong_. #theatre #aerobics #1980s ♬ Jump (Originally Performed by Van Halen) [Instrumental] – Backing Track Central
The cast of MISS STEP. Photo by Nikki Womac.
Kathryn Van Meter and the cast of MISS STEP. Photo by Nikki Womac.
Irene Rising, Vincent Milay, Cassi Q Kohl, MJ Rawls, Leah Sainz-Jones, and Tom Avery in MISS STEP. Photo by Nikki Womac.
MJ Rawls and Ethan Carpenter in MISS STEP. Photo by Nikki Womac.
Tori Gresham, Joel Domenico, Bridgid Abrams, Nehemiah Hooks, and Mackenzie Malhotra in MISS STEP. Photo by Nikki Womac.
RoleName
GailKathryn Van Meter *
Pam Carter MJ Rawls *
Janet Bobbi Kotula *
Cameron Carter Sr Ethan Carpenter *
CindyCassi Q Kohl *
Rachel Weissman Bridgid Abrams *
EliVincent Milay
PaulineIrene Rising *
TopazLeah Sainz-Jones
JayTom Avery
EnsembleJoel Domenico
Mackenzie Mathotra
Nehemiah Hooks *
Tori Gresham *
Keyboard/ConductorElisa Money
DrumsScot Sexton
Director & Co-ChoreographerConnor Gallagher
Co-Choreographer Jay Jackson “Laganja Estranja”
Writer/ComposerKit Yan and Melissa Li
Scenic Designer Jason Sherwood
Costume Designer Chelsea Cook
Lighting Designer Chih-Hung Shao
Sound DesignerErin Bednarz
Projection Designer Ahren Buhmann
Stage Manager Jessamyn Bateman-Iino
Gender Consultant Josephine Kearns
Dance Arrangements David Dabbon
New York Casting Judy Bowman
Music Director Elisa Money
Assistant DirectorCharlie Johnson
Assistant Stage ManagerKallen Pishue
Assistant Scenic Designer Jeremy Hollis
Production AssistantsLiam Nellis, Lainie Schwartz
Vocal CoachDanny Kam
Head Stage Carpenter Andrew Long
Head Lighting Engineer Zac Andersen
Head Sound EngineerAlex Wren
Wardrobe LeadMalena Langlie
Projection Technician Ahren Buhmann
* Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in USA

Into The Woods – Musical – 5th Avenue Theatre

Elevator Thoughts (aka Tweet): Into The Woods fairy tale musical opening night at the 5th Avenue Theatre. After seeing this show a third time, I finally realized it’s filled with modern life lessons and difficult philosophical questions. Cinderella’s family and the witch (Porscha Shaw) were a hoot! #theatre

Synopsis from the Theatre: “Happily Ever After” has never been so complicated. That’s what Little Red, a Witch, Cinderella, the Baker, and his wife discover as they invade one another’s stories and find themselves tangled in a web of unexpected consequences. They quickly find this web is too big to untangle on their own and that they must work together to set everything right in the kingdom. Into the Woodsreminds us that only together can we defeat the wolves and giants of the world. With a stunning, unforgettable score featuring “No One is Alone,” “Children Will Listen,” and “Giants in the Sky,” this iconic show will enchant, entrance, and delight! A Tony Award®-winning Broadway hit and feature film sensation, Into the Woodscontinues to enthrall theater lovers more than three decades after its creation. This is the first of a rare and remarkable two-show celebration and exploration of the theatrical genius of Stephen Sondheim.

Reviewed Performance: 2/17/23 on opening night

Type: Musical

World Premiere: No

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Recommendation: See it if you like Stephen Sondheim musicals.

Was This the First Time I Saw a Production of this Show: No, I’ve seen it once in a Galveston, TX community theatre and once at Village Theatre.

Would I See It Again 3 Years from Now: Since I’ve seen it so many times and I’m not a huge fan of Stephen Sondheim, I’d probably only see the national tour in the future.

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

Equity Actors: All

Total Number of Actors: 15

Length (Including Any Intermission): 2.75 hours

Intermission: Yes

Other Rave(s) Not Mentioned in Elevator Thoughts

  • Deeper Meanings: Since this was the third time I’ve seen the show and because I usually watch shows for their entertainment value, I was finally able to grasp some of the deeper meanings in the musical. Little Red Riding Hood’s wolf was a life lesson for young women to be wary of men with a “bad boy” appeal. Additionally, they asked difficult philosophical questions when was okay to kill or is it worth it sacrificing a few for the greater good? I liked how Cinderella and the Baker juxtaposed two potential deaths simultaneously.
  • Princes and Wolf: Casey Raiha and Antonio Mitchell’s over-the-top flamboyant portrayal of the princes were a nice comedic relief. The same also applies to Casey’s wolf portrayal. Kudos to Casey for filling in as Louis Hobson’s understudy on opening night!
  • Cinderella Family and Witch: Shaunyce Omar, Trina Mills, Shanelle Nicole Leonard, and Porscha Shaw added a desperately-needed groovy flair as Cinderella’s family and the witch. I always loved Shaunyce’s role in her past shows and her afro-tastric stepmother portrayal was no exception. The stepsisters’ fabulous costumes also reminded me of trendy outfits from the movie Clueless.
  • Stage: It looks like the 5th Avenue Theatre reused the same thin horizontal catwalk-like platform downstage in front of the orchestra that they used in The Wiz (their previous show) to allow the actors closer access to the audience. The novelty of it has not worn off on me yet. I’m still a fan!
  • Baker’s Wife Voice: There were at least two songs that showcased Cayman Ilika’s strong and brilliant voice.

Rant(s)

  • Stagehands: There was a scene transition that required the stagehands to wheel in a ladde centerstage. It was a little obtrusive and might have been less distracting if the actors wheeled it in themselves.

Other Musing(s) and Observation(s)

  • Magic Beans: What happened to the last magic beans that were thrown on the ground?
  • Witch: What happened to the witch at the end?
  • Witch Transformation: Why did the witch need to run offstage for a hot second during the transformation scene if the transformation eventually occurred on-stage? Could the stage magic occur without running offstage?
  • Malfunctioning Prop?: Was there a malfunction when the goose prop did not lay a golden egg? If so, the actors played off the malfunction well in a comedic way.
  • Scenic Design: I was surprised that they chose an austere theme. I half expected to see an actual forest like in The Wiz. The design reminded me of a hip dance club with modern fluorescent/neon lights.
  • 1st Act vs 2nd Act: Into the Woods is notorious for leaving audience members confused at the end of the first act since all the stories seem to already conclude with some sort of finality. The first act unfolds with familiar fairy tales, but in the second act, the audience might be thinking “WTF is happening to these familiar fairy tales!”
  • Stephen Sondheim: Honestly, I personally don’t prefer Stephen Sondheim’s style and I’m a little sad the 5th Avenue Theatre is producing two of his shows this season. Sacrilege, I know … especially since he just passed away in 2021. Honestly, the 5th Avenue Theatre is probably producing two of his shows as a tribute to his legacy due to his recent passing. I’ve seen Assassins, Company, Sweeney Todd, and Into The Woods. I found all 4 inherently tepid. The songs have a weird quality where the actors sometimes talk their lyrics without a pitch. A mainstream beat is also hard to find and there’s too much dissonance. In the end, the songs are not memorable, you often can’t sing along, and I wouldn’t listen to them in my car. That being said, I don’t doubt that he’s a genius and a legend etc. It’s just not my cup of tea.

Theatre Company: The 5th Avenue Theatre

Venue: The 5th Avenue Theatre

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

Price: Medium to Really Expensive

Ticket Affordability Options: Check out their discounts page. Goldstar or TodayTix usually offer good options too.

Dates: February 10 to March 5, 2023

Seating: Assigned Seating

Parking: When I don’t walk to the theatre, I park in the paid garage at the Motif hotel NW of the theatre. The entrance is on 5th Ave. Do NOT park in the Hilton garage (entrance on 6th ave). That’s where most of the audience parks so it’s a nightmare to leave. However, the Hilton garage is the closest garage to the theatre and it has underground access to the theatre if you wanted to avoid the elements. But this benefit is not worth it in my opinion.

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Other Video +/- Pictures: See pictures in video and under video by Mark Kitaoka and Tracy Martin

Cast and Production Team: See after pictures and video below

@showsiveseen#IntoTheWoods#Sondheim #musical at 5th Ave Theatre. After seeing this show a 3rd time, I finally realized it’s filled with modern life lessons & difficult philosophical questions. Cinderella’s family & the witch (@musenmelanin) were a hoot! Review: showsiveseen.com/3995. Photos by Mark Kitaoka & Tracy Martin. #theatre #fairyTale #StephenSondheim ♬ I Know Things Now – Stephen Sondheim & Michelle Dowdy
Shanelle Nicole Leonard, Shaunyce Omar, Trina Mills, and Sarah Russell in Into the Woods at The 5th Avenue Theatre. Photo Credit: Tracy Martin.
Joshua Miller and Shermona Mitchell in Into the Woods at The 5th Avenue Theatre. Photo Credit: Mark Kitaoka.
Sarah Russell in Into the Woods at The 5th Avenue Theatre. Photo Credit: Tracy Martin 20230212 Tmartin 4884 Porscha Shaw, Mari Nelson, Eric Ankrim, and Cayman Ilika in Into the Woods at The 5th Avenue Theatre. Photo Credit: Tracy Martin.
The cast of Into the Woods at The 5th Avenue Theatre. Photo Credit: Mark Kitaoka.
Sarah “SG” Garcia, Eric Ankrim, and Cayman Ilika in Into the Woods at The 5th Avenue Theatre. Photo Credit: Mark Kitaoka.
RoleName
NarratorMari Nelson
CinderellaSarah Russell
JackJoshua Miller
Jack’s MotherShermona Mitchell
BakerEric Ankrim
Baker’s Wife Cayman Ilika
Cinderella’s Stepmother Shaunyce Omar
FlorindaTrina Mills
LucindaShanelle Nicole Leonard
Little Red RidinghoodSarah “SG” Garcia
Witch Porscha Shaw
Wolf/Cinderella’s Prince Louis Hobson
RapunzelMiranda Antoinette
Rapunzel’s Prince (Dance Captain)Antonio Mitchell
StewardBrian Lange
Narrator (Understudy)Ann Cornelius
Cinderella (Understudy)Simone Alene
Jack (Understudy)CJ Lorentz
Baker (Understudy)Brian Lange
Jack’s Mother/Cinderella’s Stepmother (Understudy)Melyssa Stone
Baker’s Wife (Understudy)Trina Mills
Little Red Ridinghood/Florinda/Lucinda/Rapunzel (Understudy)Rebecca Cort
Witch (Understudy)Shanelle Nicole Leonard
Cinderella’s Prince/Wolf/Rapunzel’s Prince/Steward (Understudy)Casey Raiha
Production Stage Manager Erin B. Zatloka
Assistant Stage ManagerRachael Dorman and Tori Thompson
Swing Stage Manager Jr Welden
Composer and LyricistStephen Sondheim
AuthorJames Lapine
DirectorBill Berry
Scenic Designer Lex Marcos
Understudy Director Jéhan Osanyin
Costume Designer Melanie Taylor Burgess
Lighting Designer Ben Zamora
Sound Designer Haley Parcher
Associate Director Nicholas Japaul Bernard
Associate Music Director Michael Nutting
Music SupervisorMatt Perri
Associate Scenic Designer Alex Winterle
Associate Sound DesignerBrent Warwick
Costume Design Assistant Taya Pyne
Assistant Lighting Designer Maryalice Weed
Director of Production Joan Toggenburger
Production ManagerRyan Gastelum
Costume, Wardrobe, & Hair Director Shannin Strom
Casting Director Cordelia Miller
Music Director R.J. Tancioco
ChoreographerCY Paolantonio
ConductorMatt Perri and R.J. Tancioco
PianoMichael Nutting
SynthRebecca Smith
BassRamon Salumbides
Horn Rodger Burnett
TrumpetBrad Allison
PercussionAlec Wilmart
FluteDane Andersen
ClarinetJennifer Nelson
BassoonFrancine Petersen
Violin 1Tom Dziekonski
Violin 2Quinn Price
ViolaRick Neff
CelloPage Smith/Virginia Dziekonski
Keyboard Programmer Dave Pascal
Music Assistant Andrew Pang
Rehearsal Pianist Rebecca Smith

An Incomplete List of All the Things I’m Going to Miss When the World is No Longer – Musical – Dacha Theatre

Elevator Thoughts (aka Tweet): An Incomplete List of All the Things I’m Going to Miss When the World is No Longer: w/ Dacha Theatre at Theatre Off Jackson. Experimental abstract allegorical musical about a house party rager before the end of the world. Very open to interpretation. #theatre

Synopsis from the Theatre: An Incomplete List of All the Things I’m Going to Miss When The World is No Longer: is an electro-synth musical at the end of the world. Following a global announcement of the exact time Earth, as we know it, will cease to exist, a community of young queer friends and lovers decide the only reasonable thing would be to gather together for one last rager. This musical invites you into a glance at the last party on Earth–interwoven through a retrospective of cherished and tragic memories–to celebrate and mourn the delights and deceptions of the human experience.

Reviewed Performance: 1/29/23 Evening on Opening Weekend – Sorry for the late review. I’ve been busy with my dad in town.

Type: Musical – This is uncommon for abstract experimental shows, which are usually plays instead

World Premiere: No

Defined Plot/Storyline: No – It was a mix of past, present, and maybe imagined vignettes.

Live Band/Orchestra: Yes

Recommendation: See it if 1) you’re into abstract, experimental shows that are open to interpretation 2) or you liked Arlington.

Was This the First Time I Saw a Production of this Show: Yes

Equity Actors: None

Number of Actors: 14

Length (Including Any Intermission): A little less than 2 hours. The show either needs to be shorter or needs to include an intermission!

Intermission: No

Other Musing(s) and Observation(s)

  • Coveralls: Was there any symbolism behind all the boilersuits? Or am I too far removed from what’s fashionable these days? Major “coolaid and sneakers cult” vibes!
  • Out of Tune?: One of the actors sang out of tune and I was wondering if it was intentional or not because of the allegorical nature of the musical.
  • Audience Participation: Before the musical started, cast members filtered into the theatre like it was a house party. They interacted with the audience in character asking “Do you know this band that’s playing?” or “Who do you know anybody at this party?” I actually didn’t realize one of the people talking to me was an actor at first! If you don’t want to interact with the cast before the show starts, just glue your eyes to your phone. 🙂 Additionally, halfway through the show, they asked all audience members to join on-stage if they wanted to. Half the audience acquiesced, and the cast continued to perform to the remaining audience members in their seats, which could be awkward if only one person decided to stay in their seat!
  • Moral of the Story: What was the message? I always struggle to grasp this in shows that are very abstract and experimental. Leave a comment in my social media post links below about what you think it is!

Theatre Company: Dacha Theatre

Venue: Theatre Off Jackson

Venue Physical Address: 409 7th Ave S, Seattle, WA 98104

Price: Cheap

Ticket Affordability Options: Every performance is pay-what-you-can. You can pay $1-50 per ticket online. It’s all honor system. The standard price is $35.

Dates: January 27 – February 11, 2023

Seating: General Admission

Parking: Paid street parking is usually available north of the theatre on the hill close to the park. There’s also paid parking lots nearby as well.

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Other Video +/- Pictures: See below pictures under video and in video by Brett Love

@showsiveseen “An Incomplete List of All the Things I’m Going to Miss When the World is No Longer:” w/ @dachatheatre at Theatre Off Jackson. #Experimental #abstract #allegorical #musical about a house #party #rager before the end of the world. Very open to interpretation. Review + Photo Credit: showsiveseen.com/3731 #theatre ♬ Out of My Mind – Dylan Rockoff