Musicals – Page 14 – Shows I've Seen

Q Brothers Christmas Carol – Musical – ArtsWest

Elevator Thoughts (aka Tweet): Q Brothers Christmas Carol hip hop musical at ArtsWest. Clever lyrics. Funny cast doubling. Loved the pitiful gangsta Tiny Tim segments. Chriss-my-ass-mas! #theatre #rap #christmas #xmas #CharlesDickens #Scrooge #AChristmasCarol

Synopsis from the Theatre: In this hip-hop remix of Dickens’ classic tale, Ebenezer Scrooge is visited by the Ghosts of Hip-Hop Past, Present, and Future…and a Jamaican Jacob Marley. As Scrooge is shown the path of rhythm and redemption, will he throw off his selfish chains and join the beat? Q BROTHERS CHRISTMAS CAROL mixes everything from reggae to rock, updating and funkifying this beloved tale of love, forgiveness, and Christmas spirit – and transforming it into something altogether new.

Reviewed Performance: 12/1 Evening

Type: Hip Hop (or Rap?) Musical

World Premiere: No

Live Band/Orchestra: No

Recommendation: See it if 1) you’re familiar with A Christmas Carol, 2) you want to see something different than the traditional play of this story, 3) and you like Hamilton, rap, or hip hop.

Would I See It Again 3 Years from Now?: I’d be curious to see Q Brothers from Chicago perform this.

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

Equity Actors: 0 but they were all good

Length: 85 mins

Intermission: No

Other Rave(s) Not Mentioned in Elevator Thoughts

Set and Scenic Design: I’m surprised this is the first time I’ve seen a show set designed like a department store. It reminded me of Target. However, the story only briefly took place at the department store. Side note, someone should really make play or musical with the story staged mostly in a department store.
Tiny Tim: I’m actually not a fan of the Tiny Tim character in the book or traditional plays. He’s usually portrayed as too cute, too sentimental, and too pitiful, which I find really annoying. Similarly, Gretl von Trapp from the Sound of Music annoys me too. I LOVED how this musical poked fun of the traditional Tiny Tip portrayal and depicted him as a pitiful hard rapper in a plush gangsta coat w/ a cane instead of a crutch.
Belle and Young Scrooge: The romantic scenes with Belle and Ben (aka eBENnezer Scrooge) were hilarious especially the parody “Let’s Get Fiscal” instead of the Olivia Newton-John song “Let’s Get Physical.”
Ghost Light: I don’t know if it was intentional but it was cleaver using a theatre ghost light-looking prop as part of the ghost of Christmas past segment.
Scrooge Dances: It looked cool when the spirits used their magic to make Scrooge dance

Rant(s)

Pitch: In the first number, I could hear someone going out of pitch, which worried me for what was in store for the rest of the show. Fortunately, those pitch issues eventually resolved after that opening number when the lyrics became more rap-like. Or maybe the offender just needed one song to warm up their voice.
Accompaniment: A live band would significantly elevate this show. Had I known that there was no live band, I might not have given this show a chance since pre-recorded accompaniment tends to make musicals more karaoke-like. Plus, I can usually hear when the singers aren’t in-sync with the recorded accompaniment as opposed to a live band making impromptu timing adjustments to follow the singer’s rhythm. Despite the recorded accompaniment, I did not notice these two common problems in this show, and I have no regrets attending. It probably helped that the music was hip hop (or rap?) which tends to have more synthesized sounds that don’t typically require a traditional musical band. Plus, rappers tend to focus more on rhythm than typical singers in a musical, so synchronization problems are probably less.

Other Thought(s)

Burp: Will someone leave me a comment in my social media links below telling me what the burping thing was in the Cratchit household? Was it their youngest baby? Were they talking about eating it? Thanks Corinne (@tigersandgold) and Hannah (@paintastory) for clarifying in Instagram. Yes, the burps were from their other kid and yes they were talking about eating him. LOL, weird!
Christmas Light Necklace: There were Christmas light necklaces (see my video below) placed on random chairs. It’s a fun idea but I was a little confused if we were supposed to wear them during the performance, turn them on during the last number, turn them on after the “curtain call,” and/or or take them home as a gift, etc. Let me know your ideas on the intention in my social media comment links below! I think the most fun scenario would have been for the performers to tell the audience during the last song “Let me see your lights yall! If you don’t have a necklace, wave your phones in the air!” or something.

Theatre Company : ArtsWest

Venue: ArtsWest

Venue Physical Address: 4711 California Ave SW, Seattle, WA 98116

Price: Cheap to Medium – They have easy pay-what-you-can options in the online ticketing portal so you don’t need to shamefully verbally tell the box office you can’t afford regular-priced tickets.

Dates: November 25 – December 23, 2022

Seating: Assigned

Parking: There are paid lots and free street parking. I usually park on 44th or 45th Ave behind the theatre.

Social Media Posts About this Performance from Shows I’ve Seen: Instagram | TikTok | Facebook | Twitter | YouTube

Buy a Ticket or Learn More:

https://www.artswest.org/theatre-plays/q-brothers-christmas-carol/

@showsiveseen #QBrothers #ChristmasCarol #hipHop #musical at #ArtsWest. Clever lyrics. Funny cast doubling. Loved the pitiful gangsta #TinyTim segments. Chriss-my-ass-mas! Review: showsiveseen.com/2519 #theatre #rap #christmas #xmas #CharlesDickens #Scrooge #AChristmasCarol ♬ It’s Christmas Time (feat. Dan Caplen) – Macklemore

The Wiz – Musical – 5th Ave Theatre

Elevator Thoughts (aka Tweet): The Wiz musical at the 5th Avenue Theatre. Well-cast Dorothy. Groovy gospel-like tunes. Stunning voices. Elaborate/colorful set, hair, & costumes. Retro vibe. Uncommon stage floorplan often put actors 3 ft away from us at the front row! “Ease on down the road” & buy your tickets to this awesome show! #Oz #WizardofOz #black #POC #BiPOC

Synopsis from the Theatre: Feel the power of love overflowing at this dazzling reimagining of The Wizard of Oz! With a soaring soul, R&B, and gospel score featuring hit songs “Brand New Day,” “Ease on Down the Road,” and “Home,” this fun, fresh 5th Avenue Theatre production is a hit the whole family will enjoy. When Dorothy finds herself in the fantastical world of Oz, she sets out to seek the aid of the mysterious Wiz, forging powerful new friendships with a Scarecrow, a Tinman, and a Lion along her way down the yellow brick road. But when she battles the devious Evillene to save her new friends, she learns that no matter where you’re from, home isn’t really where you live; it’s who you love. Winner of seven Tony Awards including Best Musical, The Wiz is an effervescent explosion of music, dance, magic, and delight. Don’t miss this 5th Avenue Theatre original staging!

Reviewed Performance: 11/27 Evening – Opening Night

Type: Musical

World Premiere: No

Live Band/Orchestra: Yes

Recommendation: See it … period!

Would I See It Again 3 Years from Now?: Absolutely. I wish I had time this holiday season to see it again.

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

Equity Actors: All of them

Length: 2.25 hours

Intermission: Yes

Other Rave(s) Not Mentioned in Elevator Thoughts

Voices: The main characters’ voices were out of this world! There was Shaunyce Omar’s booming voice as the wicked witch of the West. Innocent Dorothy (Kataka Corn) surprised me with her powerful upper register. Be Russel easily handled the vocal range of the Wiz role, which was originally written for a man. Her real life sister (Sarah Russel) and Trina Mills easily wowed the audience with their belt as the witches of the North and South.
Stage Floorplan: The mainstage rotates like in Hamilton. There was a thin horizontal catwalk-like portion downstage in front of the orchestra to allow the actors closer access to the audience.
Cowardly Lion: Nate Tenenbaum was such a delight with his fierce walk, cat licks, tail twirling, and screams.
Toto: Nessa was such a well-trained dog. She “stayed” and sat quietly on-stage while watching the actors reciting their lines. I wish she were in more scenes though.
Favorite Lines: There were too many of them. “You’re the best wicked witch killer in this country,” “Girl, I’m gonna wear white to the funeral,” “If you don’t have STP, Crisco will do just fine,” “Owls don’t give answers. They just ask questions. Like Whoo?”
Gospel Music: The gospel influence on the musical score was wild! You could hear it in “Brand New Day (Everybody Rejoice),” “Don’t Nobody Bring Me No Bad News,” and “Born On The Day Before Yesterday.”
Scenic Design: The set was impressively ostentatious especially the Wiz’s throne room and the Emerald City.
Kalidahs: The red eyes reminded me of Cylons from Battlestar Galactica.

Rant(s)

Cold: My companion and I were freezing! I ended up wearing my wool top coat and donning my mittens. It shouldn’t be that cold for a show that can cost up to $180 per ticket for premium seats.
Set Movement: Minor pet peeve here. There was one scene in the end where the actors had to push two large set pieces towards the back of the stage. It would be less distracting if backstage workers could pull the set pieces so the audience doesn’t see this work.

Other Thought(s)

Twister Scene: There was an actress dressed in gold during the twister scene. I think she represented the eye of the twister. If that’s true, she needs to do more twirling to show that she’s the twister. If she wasn’t the twister, let me know in the comments of my social media posts below!
Tap Dance: I love watching tap dance in musicals. While I appreciated the tap dances in this show, it was mainly just the tin man performing them solo. I suggest the tap dances be more group than solo.

Theatre Company : 5th Avenue Theatre

Venue: 5th Avenue Theatre

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

Price: Medium to Expensive to Really Expensive

Dates: November 20 to December 23, 2022

Seating: Assigned

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.

Social Media Posts About this Performance from Shows I’ve Seen: Instagram | TikTok | Facebook | Twitter | YouTube

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Other Video +/- Pictures: There are pictures under the video below.

@showsiveseen #TheWiz #musical at 5th Avenue #Theatre. Well-cast Dorothy @katakamackenziecorn. #Groovy gospel-like tunes. #Stunning voices. #Elaborate/#colorful set, hair, & costumes. #Retro vibe. Uncommon stage floorplan often put actors 3 ft away from us at the front row! “Ease on down the road” & buy your tickets to this awesome show! Review + Photo Credit: showsiveseen.com/2428 #Oz #WizardofOz #black #POC #BiPOC ♬ A Brand New Day – Shanice Williams & Elijah Kelley & David Alan Grier & Ne-Yo & Original Television Cast of the Wiz LIVE!

Nate Tenenbaum as Lion (foreground) and Phillip Attmore as Tinman and Kataka Corn as Dorothy (background)
Photo Credit: Mark Kitaoka

Kataka Corn (they/them) stars as Dorothy in The Wiz
Photo Credit: Mark Kitaoka

Nehemiah Hooks as Scarecrow, Kataka Corn as Dorothy, and the cast of The Wiz
Photo Credit: Mark Kitaoka

Sarah Russell as Addaperle and the cast of The Wiz
Photo Credit: Tracy Martin

The cast of The Wiz
Photo Credit: Mark Kitaoka

Shauynce Omar as Evillene in The Wiz at The 5th Avenue Theatre
Photo Credit: Mark Kitaoka

Nate Tenenbaum (Lion), Kataka Corn (Dorothy), Be Russell (The Wiz), Nehemiah Hooks (Scarecrow), Phillip Attmore (Tinman) and the cast of The Wiz
Photo Credit: Mark Kitaoka

(Dorothy), Trina Mills (Glinda), and the cast of The Wiz at The 5th Avenue Theatre
Photo Credit: Mark Kitaoka

Cabaret – Musical – Cornish College of the Arts

Elevator Thoughts (aka Tweet): Cabaret the musical sold out at Cornish College of the Arts. Novel immersive stage. Well-cast Cliff actor. Good ensemble, Emcee, & Sally too. #musical #theatre #Cabaret

Synopsis from the Theatre: In a Berlin nightclub, as the 1920’s draw to a close, a garish Master of Ceremonies welcomes the audience and assures them they will forget all their troubles at the Cabaret. With the Emcee’s bawdy songs as wry commentary, Cabaret explores the dark, heady, and tumultuous life of Berlin’s natives and expatriates as Germany slowly yields to the emerging Third Reich. Cliff, a young American writer newly arrived in Berlin, is immediately taken with English singer Sally Bowles. Meanwhile, Fräulein Schneider, proprietor of Cliff and Sally’s boarding house, tentatively begins a romance with Herr Schultz, a mild-mannered fruit seller who happens to be Jewish. Musical numbers include “Willkommen,” “Cabaret,” “Don’t Tell Mama” and “Two Ladies.”

Type: Musical

World Premiere: No

Live Band/Orchestra: Yes

Recommendation: See it especially if you like to support student actors. Unfortunately, this production already completed its run though. Also, the entire run was sold out at least 2 weeks before opening night. The only possible way to see a performance was through the waitlist.

Would I See It Again 3 Years from Now?: Always. I’ve probably seen 5 separate productions of this show. One of them was the professional tour.

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

Equity Actors: None

Length: 2.5-2.75 hours

Intermission: Yes

Rant(s)

Cell Phone Check-in: I was completely baffled when they asked the audience to check-in their cell phone before entering the performance space. A theatre has never asked me to do that … and I’ve attended more than 360 shows since 2017. It didn’t help that my cell phone case also incidentally included my pen so I was unable my write down more impressions of the performance for my review.
Set Movement: The frequent set movement and audience re-seating was a bit distracting.
Vocal Range: There were 1-2 male performers who couldn’t reach the high notes. Consequently, they sounded a little off-key. Also, there were 1-2 female performers who could barely reach the low notes. Consequently, the audience couldn’t hear them.
Character Age: Drama schools students tend to be young in their twenties, late teens, or even thirties. So, it’s difficult to appropriately cast someone in middle-aged or senior character roles. I suggest drama schools either 1) choose performance pieces that don’t contain major characters older than 40 years old, 2) invest heavily in makeup/wardrobe, 3) or recruit a non-student actor to perform these roles. I personally like option 3 the best. For example, UW School of Drama recruited alumnus Malcolm West in this year’s production of Father Comes Home from the Wars.

Other Thought(s)

Audience Participation: The website said “This production is an immersive experience and will include and encourage audience participation” which made me a little nervous they’d want me to get up and dance. When it comes to theatre, I’d rather sit and (at most) clap. Theatre “pillow princess” here. 😛 In actuality, the actors thankfully didn’t goad the audience to participate much more than a traditional non-immersive performance.
Immersive Theatre: One of the limitations of immersive, 360 degree, or arena theatre is that the audience doesn’t always see everything. There was a scene in the second act where the audience kept looking at a back wall near the entrance where I couldn’t see. Queue the FOMO! Leave me a comment on the social media links below to tell me what I’ve missed.

Theatre Company : Cornish College of the Arts

Venue: Skinner Theatre at Raisbeck Performance Hall

Venue Physical Address: 2015 Boren Ave, Seattle, WA 98121

Price: Cheap

Dates: November 17 to 20, 2022 – I would have prioritized this review earlier if the college gave me a press ticket. But apparently, they don’t encourage reviewers, which baffled me. In my opinion, “there is no such thing as bad publicity!”

Seating: General Admission

Parking: Street parking (sometimes free) usually available within 3 blocks from the theatre. There’s also various paid parking lots in the area. This part of downtown is closer to South Lake Union neighborhood so it’s not that busy.

Social Media Posts About this Performance from Shows I’ve Seen: Instagram | TikTok | Facebook | Twitter | YouTube

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Cast and Production Team: See under the multimedia below.

Other Video +/- Pictures:

@showsiveseen #Cabaret the #Musical sold out at #Cornish College of the Arts. Novel #immersive stage. Well-cast Cliff (Elias Capestany). Good ensemble, Emcee (@anteiadelaney), & Sally (Adia Beaulieu) too. Review: showsiveseen.com/2201 #theatre ♬ Perfectly Marvelous – Natasha Richardson & John Benjamin Hickey

Role	Name
Sally Bowles	Adia Beaulieu
Helga/Fight Captain	Allison Renee Heath (u/s Schneider)
Emcee	Anteia DeLaney
Max/Hans/Sailor	Carolyn Scherbinske
Fraulein Fritze Kost	Coco Justino
Cliff Bradshaw	Elias Capestany
Victor/Dance Captain	Elizabeth Blackmun
Herr Schultz	Fisher
Rosie	Genna Dow (u/s Sally)
Frenchie	Gennavieve Smith
Customs Officer/Herman/Sailor	Grace Andresen (u/s Ernst)
Fraulein Schneider	Hayley Martin
Lulu	Madison Neal (u/s Kost)
Texas	Maggie Reichgott (u/s Schultz)
Ensemble	Oliver Munguia (u/s Will, Theo, Carolyn, Gray) Olivia Sheaffer (u/s Genna, Madison, Gennavieve, Allie, Maggie)
Ernst	Tagen Mathews
Sailor	Tony Caraveo (u/s Emcee)
Bobby	Will Ehrlich (u/s Cliff)
—	—
Upright Bass	Jon Butler
Drummer	Enzo Periera
Alto Sax	David Volpini
Pianist	Rich Gray
—	—
Book Author	Joe Masterof (Based on the lay by John Van Druten & stories by Christopher Isherwood)
Composer	John Kander
Lyricist	Fred Ebb
Director	Kathryn Van Meter
Stage Manager	Emily Grierson
Music Directors	Rich Gray & Danny Kam
Choreographer	Nicole Beerman
Sound Designer	Sandra Menjivar
Lighting Designer	Gwen Cubbage
Scenic Designer	Christopher Mumaw
Costume Designer	Isabella L. Price
Assistant Director	Tony Caraveo
Props Manager	Jessica Christensen
Technical Director	Matthew McCarren
Assistant Music Director	David Volpini
Fight Choreographer	Geof Alm
Intimacy Director	Sarah Harlett
Assistant Choreographer	Gennavieve Smith
Dialect/Vocal Coach	Kate Myre
Scenic Designer	Christopher Mumaw
Assistant Stage Manager	Sema Serifsoy-DiFalco
Costume Assistant	Ella Swenson
Assistant Dialect Coach	Elizabeth Blackmun Carolyn Scherbinske
Dramaturg	Maggie Reichgott
Deck Crew	Sam Ingram Olivia Freeman
Followspot Operator	Ella Accacia
Deck Crew	Charlotte Seaver
Visual & Performing Arts Production Manager	Gavin Yehle
Scene Shop Supervisor	Matthew McCarren
Theater Dept. Faculty Chair	Sheila Daniels
Props & Paint Supervisor	Jessica Christensen
Cabaret Faculty Liaison	Robin Lynn Smith
TH 147 Instructor	Amy LaZerte
Costume Shop Supervisor & Practicum Costume Advisor	Carl Bronsdon
Director of CSES	Pinky Estell
TH/PP Department Coordinator	Rachel Brinn
CSES Technical Supervisor	Marc Mixon

Elf – Musical – Edmonds Driftwood Players

Elevator Thoughts (aka Tweet): Elf the Musical at Edmonds Driftwood Players sold out! Energetic talented Buddy actor. Pleasantly surprised there was a tap dance number at the end! Family-friendly #musical based on the movie. #theatre #Christmas #Xmas #Santa #elf #holiday #nyc

Synopsis from the Theatre: A title known the world over, Elf The Musical is a must-see holiday musical, based on the cherished 2003 New Line Cinema hit, Elf. Buddy, a young orphan, mistakenly crawls into Santa’s bag of gifts and is transported to the North Pole. The would-be elf is raised, unaware that he is actually a human until his enormous size and poor toy-making abilities cause him to face the truth. With Santa’s permission, Buddy embarks on a journey to New York City to find his birth father and discover his true identity. Faced with the harsh realities that his father is on the naughty list and his half-brother doesn’t even believe in Santa, Buddy is determined to win over his new family and help New York remember the true meaning of Christmas. This modern-day holiday classic is sure to make everyone embrace their inner elf. After all, the best way to spread Christmas Cheer is singing loud for all to hear.

Reviewed Performance Date: 11/19/22 Evening

Type: Musical

World Premiere: No

Live Band/Orchestra: 4 live musicians and a 5th musician running a program that fills in the rest of the orchestration parts.

Recommendation: See it if you’d like to take your kids to a musical this holiday season. Good luck getting tickets though. It’s all sold out online! Try the wait list.

Would I See It Again 3 Years from Now?: Yes if it was an Equity production. I actually already saw the professional tour at the Paramount Theatre in Seattle.

Equity Actors: None

Length: 2.5 hours

Intermission?: Yes

Other Rave(s) Not Mentioned in Elevator Thoughts

Favorite Line: “asparagus children … [are] self-conscious about the way their pee smell.”

Rant(s)

Flow: Some of the acting flow was a little awkward and stilted. This production needs more time to cure. However, I attended the opening weekend and this problem will certainly improve as they continue to perform this show.
Sound Balancing: The band and microphones should be louder. It also sounded like some actors weren’t mic’ed. If all actors can’t be mic’ed, a part of me thinks none of them should be mic’ed for better vocal blending.
Scene Transitions: It was often distracting when scenes changed because the set needed to be switched out or props needed to be placed. I’m not sure how other community productions manage to avoid this distraction. That being said, I thought it was ingenious that the waitress bussed the restaurant tables in the background while the Santas performed their number.

Other Thought(s)

Tap Dance: I’m always so thrilled when musicals have a tap dance number. I thought it was really weird though that it was at the end of the show. I don’t remember this weird placement in the professional tour production … but I could be wrong.
NYC References: The many references to life in New York City made me want to move there more!

Theatre Company : Edmonds Driftwood Players

Venue: Edmonds Driftwood Players

Venue Physical Address: 950 Main St, Edmonds, WA 98020

Price: Cheap

Dates: November 18 – December 18, 2022

Seating: Assigned Seating

Parking: Free street parking or free adjacent parking lot. The parking lot is usually full if you don’t arrive early. But street parking is plentiful and easy to find.

Social Media Posts: Instagram | TikTok | Facebook | Twitter | YouTube

Buy a Ticket or Learn More:

Cast and Production Team: See under the multimedia below.

Other Video +/- Pictures: Pictures in video and under video by Dale Sutton from Magic Photo

@showsiveseen “#Elf The #Musical” sold out at Edmonds Driftwood Players! Energetic talented Buddy actor @thatjordanking. Pleasantly surprised there was a tap dance number at the end! Waitlist is available for this family-friendly #musical based on the movie. Review + Photo Credit: showsiveseen.com/2123 #theatre #Christmas #Xmas #Santa #holiday #nyc ♬ The Story of Buddy The Elf – Fred Armisenm & Ed Asner & Rachel Bloom & Max Charles & Larry Dorf & Kevin Shinick & Jim Parsonsm & Rachael MacFarlane & Mark Hamill & Gilbert Gottfriedm & Steve Higgins & Rachel Ramras & Kate Micucci

Role	Name
Book	Thomas Meehan Bob Martin
Composer	Matthew Skylar
Lyrics	Chad Beguelin
Director	Craig Schieber
Stage Manager	Sean Morrone
Co-Producers	Katie Soulé Brian Fletcher
Music Directors	Mark & Nancy Press
Vocal Director	Christopher Puckett
Choreographers	Elizabeth Posluns Laura Mcfarlane
Lead Costume Designer	Melina Boivin
Costume Designers	Faye Matthingley Jenna Mcelroy
Sound Engineer	Jeff Vaughan
Lighting Designer	Richard Beckerman
Set Designer	Tom Williams
Sound Designer	Brian Fletcher
Properties Designer	Nancy Johnson
Assistant Properties Design	Rex Goulding
Assistant Stage Manager	Bethany Arneson
—	—
Buddy	Jordan King
Jovie	Sydney Penticuff
Walter Hobbs	Ben Fitch
Emily Hobbs	Sydney Kaser
Michael Hobbs	Calvin Stephens
Santa	Eric Hartley
Deb/Ensemble	Miki Murray
Manager/Ensemble	Lillie Paries
Mr. Greenway/Ensemble	Isaac Tian
Chadwick/Ensemble	Meagan Castillo
Charlotte/Ensemble	Keri Marie Hill
Matthews/Ensemble	Jonathan Olson
Perfume Lady/Ensemble	Erin Carter
Rose/Ensemble	Olivia Markle
Tiara/Ensemble Co-Dance Captain	Chloe Miller
Charlie/Ensemble	Jaret Miller
Fake Santa/Ensemble	Eric Wu

Cinderella – Musical – Village Theatre

Elevator Thoughts (aka Tweet): This ain’t your granny’s Rodgers & Hammerstein Cinderella musical! Colorful retro costumes/hair. Stunning orchestra w/ the occasional funky beat. Nice ballroom choreography. Soothing voice from Prince James Schilling. Proud to see Pinay Ays Garcia play Cinderella at Village Theatre. Takes me back to Brandy & Whitney Houston’s TV special.

Synopsis from the Theatre: “Do I love you because you’re beautiful? Or are you beautiful because I love you?” Rodgers and Hammerstein’s Cinderella comes to life in a timeless new production full of theatrical invention, tuneful melodies, and romance galore. With favorite songs like “In My Own Little Corner” and “Do I Love You Because You’re Beautiful,” Rodgers and Hammerstein’s Cinderella was last seen on the Village Theatre stage in 1985. Now, under the inspired direction of the acclaimed Desdemona Chiang, with a script drawn from the 1997 television adaptation, Chiang’s production of Cinderella brings the story into the present with scintillating new costumes, a top-tier cast of Seattle stars, and a spectacular 16-person orchestra you’ll have to hear to believe. With an assist from her fairy godmother, as Cinderella dreams of finding her own place in a perfect world, she steps into her glass slippers to meet the prince of her dreams —only to lose him as the clock strikes midnight. Rodgers and Hammerstein’s Cinderella promises to be an unforgettable trip to the theatre, perfect for the whole family as memories are made together.

Reviewed Performance Date: 11/18/22 Evening

Type: Musical

World Premiere: No

Live Band/Orchestra: Yes

Recommendation: See it!

Would I See It Again 3 Years from Now?: Always! This is the second (maybe 3rd if you count the TV special) time I’ve seen a separate version of Rodger and Hammerstein’s Cinderella.

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

Equity Actors: 13 out of 20

Length: 2 hours

Intermission?: Yes

Other Rave(s) Not Mentioned in Elevator Thoughts

Kiss: I kinda liked that Cinderella made the first move. The conservatives would have been reeling though!
Shoulder Sleeves: The puffy shoulder sleeves on Cinderella’s initial dress were a great touch. I wonder if it was an intentional nod to retro Filipina/Filipinx/Filipino fashion since the Cinderella actress was Pinay. I assume it was since Village Theatre included a barong in their previous production of Mamma Mia.
Fairy Godmother: Novel portrayal of a non-traditional fairy godmother who’s typically either in an unflattering frumpy-albeit-comfortable muumuu-like dress, in a tulle-ly dress, or a granny. This one had a more butch lesbian vibe (I can say that since I’m gay right?) in a sparkly pant suit. Reminded me of the time the 5th Ave Theatre fairy godfather in Bliss was an actual gay Italian man.
Pharmacist: As someone in the pharmacy profession, thank you Village Theatre for recognizing most pharmacists are doctorate graduates!
Shadow Box Set: I’m a huge fan of shadow boxes in home decor and it was cool seeing them as set frames. However, I suggest removing the vertical lines from Cinderella’s house so it doesn’t look like a shipping container … unless it was intentional to show the family’s financial status.
Favorite Line: Something like “A glass slipper. A pumpkin. What a night!” Not sure why this was so funny.
Down to Earth: Ays Garcia portrayed Cinderella as someone more relatable. Usually, Cinderella is typically portrayed as someone more regal, unrealistic, with a dash of Stepford. I wonder what children would think of this Cinderella if they’ve never seen any other portrayal.
Stepmother: She made some amusing trembles! 😛

Rant(s)

Flow: Some of the acting flow was a little awkward and stilted. This production needs more time to cure. However, I attended the opening night and this problem will certainly improve as they continue to perform this piece.
Stage Space: Great ballroom choreography but the stage space looked too cramped for the dancers.
Stained Glass: I wasn’t really a fan of using a stained glass motif around the sides of the stage. Not sure why. I think it felt like wasted space on the already tiny-for-ballroom-scenes stage. Maybe it would be more suitable for Beauty and the Beast?
Staircase: Should have been more regal than a simple metal wobbly thing. It would have been nice to see a more dramatic Cinderella entrance on it.
Carriage: Should have been more pumpkin-looking. Although, a pumpkin carriage might be too big for the stage.
Puffer Jacket: I loved their groovy costumes. But a Patagonia-like puffer jacket as a ballroom costume piece? Oh the PNW … I guess they know their audience!

Other Thought(s)

Glass Slipper: I wish there was a better way to show live theatre audiences a glass slipper than just a glittery shoe. It’s easier to do this on-screen but nearly impossible to do this on a stage. Some people in the audience wouldn’t even see a glass slipper but just feet since the slipper is transparent.
Technical Pause: They had to stop in the middle of the second act for a technical glitch. I think one of the set pieces wasn’t moving. I wouldn’t hold it against them too much since it’s part of the the magic of live theatre!
Dress Down: While I appreciated Stepmother’s scathing figurative dress down, I would have also loved to see a more dramatic literal dress down of Cinderella’s first dress where the stepsisters eviscerate it in cat fight-like fray. But to be fair, I think most Rodgers and Hammerstein Cinderella musicals actually don’t show a first dress like in the Disney versions.
Lyrics and Songslist: I recently learned the songlist and lyrics between each Rodgers & Hammerstein Cinderella production I’ve seen have been different. It’s interesting to observe these variations.
Animals: Not sure how I feel about the incorporation of animal characterization and puppetry in this version of Cinderella. I don’t think we normally see this from other Rodgers & Hammerstein Cinderella productions. If anything, it’s novel to see!

Theatre Company : Village Theatre

Venue: Village Theatre Issaquah (Additional Performances in Everett)

Venue Physical Address: 303 Front St N, Issaquah, WA 98027

Price: Medium

Dates: Issaquah Nov 16 – Dec 23, 2022 | Everett Jan 6 – Jan 29, 2023

Seating: Assigned Seating

Parking: Free street parking and some free parking lot. Lot parking is pretty difficult to find though. I’ve basically given up on that. I usually end up parking on Rainier Boulevard North. As a last resort, I think you can always find parking at the library 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.

Social Media Posts: Instagram | TikTok | Facebook | Twitter | YouTube

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Cast and Production Team: See under the multimedia below.

Other Video +/- Pictures: B-reel clips in TikTok video by Nyhuis Creative

@showsiveseen This ain’t your granny’s @rodgersandhammerstein #Cinderella #musical! Colorful retro costumes/hair. Stunning orchestra w/ the occasional funky beat. Nice ballroom choreography. Soothing voice from Prince James Schilling. Proud to see #Pinay @aysgarcia play Cinderella at #VillageTheatre. Takes me back to @brandy & @whitneyhouston’s TV special. Review + Video Credit: showsiveseen.com/2047 #theatre ♬ “Ten Minutes Ago” (Reprise) – Rodgers + Hammerstein’s Cinderella Original Broadway Ensemble

Ays Garcia and Cassi Q Kohl in Village Theatre’s Cinderella. Photo by Angela Sterling.

Anne Allgood, Mia Mooko, and Carly Corey in Village Theatre’s Cinderella. Photo by Angela Sterling.

Brandon O’Neill and Candice Donehoo in Village Theatre’s Cinderella. Photo by Angela Sterling.

Jason Weitkamp and the cast of Village Theatre’s Cinderella. Photo by Angela Sterling.

Cassi Q Kohl in Village Theatre’s Cinderella. Photo by Angela Sterling.

The cast of Village Theatre’s Cinderella. Photo by Angela Sterling.

Ays Garcia in Village Theatre’s Cinderella. Photo by Angela Sterling.

Mia Mooko and Carly Corey in Village Theatre’s Cinderella. Photo by Angela Sterling.

Ays Garcia and James Schilling in Village Theatre’s Cinderella. Photo by Angela Sterling.

Ays Garcia, James Schilling, and the cast of Village Theatre’s Cinderella. Photo by Angela Sterling.

Role	Name
Fairy Godmother	Cassi Q Kohl* Candice Donehoo* (u/s)
Grace	Carly Corey* Bridgid Abrams* (u/s)
Lionel	Jason Weitkamp* Fune Tautala (u/s)
Cinderella	Ays Garcia* Beth Pollack (u/s)
Joy	Mia Mooko Mackenzie Neusiok
Queen Constantina	Candice Donehoo* Rebecca Maiten
Stepmother	Anne Allgood* Beth DeVries*
Christopher	James Schilling Kawika Huston
King Maximillian	Brandon O’Neill* Mark Emerson*
Ensemble	Bridgid Abrams* Beth DeVries* Keola Kapulani Holt Sade Aset Mark Emerson* Mackenzie Neusiok Ethan Carpenter* Kawika Huston Fune Tautala Gabriel Corey* Charlie Johnson
Ensemble Swings	Lisa Kwak Christopher Sweet
—	—
Director/Conductor/Keyboard 2	R.J. Tancioco
Violin 1/Concertmaster	Winnie Dungey
Violin 2	Valerie Tung
Cello	Grant Olson
Bass	Olivia Hamilton
Reed 1	Alicia Suarez or Susan Telford
Reed 2	Koryn Orcutt or Bruce Carpenter
Reed 3	Jay Easton
Reed 4	Robyn Watson
Keyboard 1	Benjamin Bentler
Trumpet 1	Greg Lyons
Trumpet 2	William Ward
Horn 1	David McBride
Horn 2	Jill Jaques
Trombone	Keith Winkle
Percussion	Jesse Whitford
—	—
Stage Manager	Jamie J. Kranz*
Assistant Stage Managers	Michelle Chesley Alyx Kruger
Composer	Richard Rodgers
Book and Lyrics	Oscar Hammerstein II
Adapted by	Tom Briggs from the teleplay by Robert L. Freedman
Scenic Designers	Lauren Nichols Arnel Sancianco
Costume Designer	Chelsea Cook
Lighting Designer	Andrew D. Smith
Sound Designer	Kurt Conway
Choreographer	Katy Tabb
Director	Desdemona Chiang

*The Actors and Stage Managers are members of the Actors’ Equity Association, the Union of Professional Actors and Stage
Managers in the United States.