Contest Winner – Sweeney Todd – 5th Avenue Theatre
Category: Musicals
Sweeney Todd: The Demon Barber of Fleet Street – Musical – 5th Avenue Theatre
Giveaway: I’m giving away a free ticket to this show. See more details here. Congrats to Nathaniel!
Elevator Thoughts (aka Tweet): Sweeney Todd: The Demon Barber of Fleet Street Stephen Sondheim musical at The 5th Avenue Theatre. I’ve forgotten how deliciously dark & twisty this show is. Glorious, rich orchestra and voices. I had to eat a hot savory vegetarian “meat” pie after the show! #theatre
Synopsis from the Theatre: Sweeney Todd: The Demon Barber of Fleet Street, a deliciously thrilling story of revenge and retribution, continues our celebration of the titan of musical theater: Stephen Sondheim. After 15 years in exile, Sweeney Todd, an unsettling man with a mysterious past, arrives in a dark and gritty London, hungry for vengeance against the judge who destroyed his life. Todd joins forces with Mrs. Lovett, the unhinged proprietress of a failing pie shop, and together they develop a spinetingling plot to exact revenge. When the lights go down and the curtain goes up, you won’t dare look away. Where Into the Woods is a tangled musical web about what can be accomplished when we come together, Sweeney Todd: The Demon Barber of Fleet Street is a piercing investigation of a society tearing itself apart.
Reviewed Performance: 4/29/23 Opening Night
Type: Musical
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings: Several
Prior Exposure/Knowledge Required: None
Defined Plot/Storyline: Yes
Live Band/Orchestra: Yes, a large 19-person orchestra
Recommendation: See it!
Was This the First Time I Attended a Production of this Show: No, I previously saw this twice in professional (Houston Grand Opera) and semi-professional performances. This was probably the best performance of the 3.
Would I See It Again 3 Years from Now: Three times is already quite a lot of performances already. I’d probably only see it if another professional theatre I highly respect (like Village Theatre) adds it to their season lineup.
Rating Compared to Other Shows with the Same Production Value:
4.75 stars (Out of 5 Stars)
Equity Actors: 20
Total Number of Actors: 20
Length (Including Any Intermission): 3 hours
Intermission: Yes
Other Rave(s) Not Mentioned in Elevator Thoughts
- Glorious Score: The first second of this production starts with a glorious sudden dissonant chord on the organ. The ensemble and orchestra later further fill the theatre sound space in that first song prelude “The Ballad of Sweeney Todd.” What an awesome audience hook! The performers continued to deliver that same energy throughout the entire show.
- Rich Voices: The cast was a collection of impressive voices like the Yusef Seevers’s (Sweeny Todd) and Jesus Garcia’s (the flamboyant Signor Adolfo Pirelli) rich tenors, Leslie Jackson’s (Johanna) beautiful soprano vibrato, and Deon’te Goodman’s decadent baritone. Even the Sean David Cooper’s (Judge Turpin) speaking voice was full-bodied!
- Background: The vibrant saturated blood red background coupled with the creeping shadows of the ensemble conveyed a wonderful foreboding darkness.
- Beggar Woman: I loved the costume design decision to dress the beggar woman in a dirty gown with slutty undertones and a gaudy train. It conveyed that this person has fallen far from her previous elegance, beauty, and innocence. Porsha Shaw’s portrayal reminded me of when she played the Witch in 5th Avenue Theatre’s last show Into the Woods, which was also incidentally another Stephen Sondheim musical.
Rant(s)
- Chair: Sweeney Todd’s fancy barber’s chair in the previous two productions I saw converted to a slide with a lever. The trap door was also directly underneath the chair in those previous performances. However, this production required the actors to walk a couple steps to reach the trap door, which made the “misfortunate events” less believable. However, I appreciated that the stagehands were in costume when they secured the chair after it ominously descended from the ceiling. But, I wonder if Sweeney Todd and Mrs. Lovett could have secured the chair themselves instead.
Other Musing(s) and Observation(s)
- Oven Window: There was a huge missed opportunity for an actor to dramatically grope at the oven window. Maybe they thought it would be too cliche. But I personally think it would have made the scene enjoyably gruesome.
- Sex: There was a sex scene I don’t remember from the previous two performances I saw. This musical is growing up! 😛
- Self-flagellation Scene: There was a creepy scene in the first production I saw where Judge Turpin whipped himself. It was unfortunately missing from this production.
Theatre Company: The 5th Avenue Theatre
Venue: The 5th Avenue Theatre
Venue Physical Address: 1308 5th Ave, Seattle, WA 98101
Price: Expensive
Ticket Affordability Options: Check out their discounts page. Goldstar or TodayTix usually offer good options too.
Dates: April 21 to May 14, 2023
Seating: Assigned Seating
Parking: When I don’t walk to the theatre or park on the street, I park in the paid garage at the Motif hotel 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
@showsiveseen "Sweeney Todd" #StephenSondheim #musical at 5th Ave Theatre. I've forgotten how deliciously dark & twisty this show is. Glorious, rich orchestra & voices. I had to eat a hot savory veggie "meat" pie after the show. Photos by Mark Kitaoka & Tracy Martin. Review: showsiveseen.com/5083 #theatre #Sondheim #vengeance #revenge #SweeneyTodd ♬ The Ballad of Sweeney Todd – Michael Ball & Imelda Staunton & The 2012 London Cast of Sweeney Todd
How to Break – Musical – Village Theatre
Elevator Thoughts (aka Tweet): How to Break hip hop Latino mashup dance musical at Village Theatre. Interesting to attend the final concept after already seeing as a developing beta musical years ago. Cleaver lyrics. #dancing #theatre #Cancer #Latin
Synopsis from the Theatre: An electrifyingly innovative world-debut Mainstage production of new work developed by Village Theatre! Featuring a dynamic kaleidoscope of music, poetry, breakdancing, and beatboxing, How to Break follows two hospitalized teenage hip-hop dancers and how they navigate their adolescence in the confines of a hospital room, finding ways to love and learn amidst IV bags and chemotherapy as inspired by real-life events in writer Aaron Jafferis’ time as an artist in residence at a children’s hospital. Part commentary on the American health care system, part moving autobiography, and part profound journey through the joy and pain of growing up, How to Break reveals just how resilient the human spirit is in the face of change and transformation.
Reviewed Performance: 3/31/23 Opening Night – Sorry for the late review! But in my defense, you have about 2 months to see it. 🙂
Type: Musical
World Premiere: Yes
Several or Few Scenes: Several
Several or Few Settings: Several
Defined Plot/Storyline: Yes, but most (if not all) of the scenes took place in a single hospital ward and there’s only so much that can occur unless it’s a TV show like Grey’s Anatomy!
Live Band/Orchestra: I don’t think there was a live band especially since they didn’t credit a band in the program. I assumed it was mostly pre-recorded synthesized music. However, Olivia Griffin’s character played the guitar and John Kent Rickenbacker Jr’s character beatboxed, which was a unique mashup.
Recommendation: See it if either
- You like musicals with substance
- You like stories about poor inner-city teens like in Sister Act 2 and Freedom Writers
- You liked the hip-hop and rapping portions of Hamilton
- Or you’re not triggered by adolescent cancer
Was This the First Time I Attended a Production of this Show: No, I previously saw this as a developing beta musical.
Would I See It Again 3 Years from Now: No, I think twice is enough for me. In my defense, I’d say the same thing about Hamilton. I know, sacrilege!
Rating Compared to Other Shows with the Same Production Value:
4 Stars (Out of 5 Stars)
Equity Actors: 3
Total Number of Actors: 6
Length (Including Any Intermission): 2 hours, which seemed a bit long especially without an intermission
Intermission: No
Other Rave(s) Not Mentioned in Elevator Thoughts
- Beatboxing: John Kent Rickenbacker Jr’s character was a nurse who provided the beat and sound effects in this musical. He uniquely did not speak any lines and it was fun guessing what he was saying when he beatboxed his responses to other characters in “dialogue.”
- Stage Design: The scenic design was simple with clean lines but still dramatic. Ironically, it reminded me of the Loony Toons concentric circles stage background. See the stage in my video below.
- Stagehand Costumes: I appreciated that the stagehands wore scrubs when they performed their duties on-stage so they didn’t look out of place.
- Powerful Voices: Talia Thiesfield and Olivia Griffin frequently showcased their showstopping voices in this production.
- Favorite Line: When Maddy asked the Aana to join yoga or some other new age holistic therapy, Ana responded something like “if my family walks in, they’ll think we’re worshiping the devil.”
- Medical Accuracy: As an oncology healthcare professional, I was impressed by the many correct aspects of cancer treatment they explained to the audience like the common acute lymphoblastic leukemia chemotherapy regimen consisting of an anthracycline, vincristine, and a glucocorticoid. For the record, they could have included pegaspargase though. Also, I’ve never seen an oncologist participate in yoga or chess with patients. Maybe they do that in pediatrics?
Rant(s)
- Downer Show: As I alluded to previously, this musical has substance. But usually that means it’s a downer. They present an important perspective in this show, but I personally see musicals as an escape. Who wants to escape to sick kids? It didn’t help that a little too much silence and a little too much runtime (with no intermission) contributed to the slow pace. This was Village Theatre’s annual world premiere production where they choose one beta developing show from the last season. I much rather would have preferred Village Theatre to choose The Passage (which was also about cancer) than How to Break, since The Passage had more comedic relief and was overall less serious.
- Inner-city Teen Trope: I mentioned this in my previous review, but I’m not a fan of stereotypical inner-city teen characters with nobody-understands-me rude attitude. It’s a tired old annoying trope.
Other Musing(s) and Observation(s)
- Be the Match: This show inspired me to get on the ball and sign up for Be the Match. This nationwide non-profit helps match you with patients that need bone marrow transplant. It is especially important that people of color (like me) sign up since it’s usually difficult for POCs to find matching donors (like the main character). Bone marrow donation is similar to donating blood and does not require surgery. I’ve been meaning to sign up but always never get around to it. This musical is a perfect opportunity for Village Theatre to promote Be the Match.
Theatre Company: Village Theatre
Venue: Village Theatre – Issaquah
Venue Physical Address: 303 Front St N, Issaquah, WA 98027
Price: Medium
Ticket Affordability Options: Check out their discount tickets page. TodayTix and Goldstar usually offer good options too.
Dates: Issaquah March 29 – April 30, 2023 | Everett May 5 – May 28, 2023
Seating: Assigned Seating
Parking: Free street parking and some free parking lot. Lot parking is pretty difficult to find availability 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.
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Other Video +/- Pictures: See pictures in video and under video below
Cast and Production Team: See after pictures and video below
@showsiveseen "How to Break" #hipHop #Latino mashup #dance #musical at Village Theatre. Interesting to attend the final concept after already seeing as a developing beta musical years ago. Cleaver lyrics. Photos: Angela Sterling. Review: showsiveseen.com/4676 #dancing #theatre #cancer #Latin #theatre ♬ Girl That Was Perfect – Alina Smith
| Role | Name |
| Ana | Cheryse Dyllan |
| Joel | Cristian Rodriguez |
| Dr. Aden | Talia Thiesfield* |
| Nurse Bowen | John Kent Rickenbacker Jr. |
| Maddy | Olivia Griffin* |
| Mr. Ramos | Andrés Lopez-Alicea* |
| — | — |
| Ana u/s | Ash Fetherbay |
| Joel u/s | Dan Haile |
| Dr. Aden u/s | Charles L. Simmons* |
| Nurse Bowen u/s | Edward-Vincent Montemayor Bantasan |
| Maddy u/s | Jasmine Joshua |
| Mr. Ramos u/s | Quetzie Taborga |
| — | — |
| Director | Logan Vaughn |
| Writer and Lyricist | Aaron Jafferis |
| Composers | Jacinth Greywoode, Rebecca Hart, and Kiriakos “Yako 440” Prodis |
| Conceived by the Mixing Texts Collective | Aaron Jafferis, Adam Matta, Christopher Edwards, Gabriel “Kwikstep” Dionisio, & Ana “Rokafella” Garcia |
| Scenic Designer | Jack Magaw |
| Projection Designer | Elizabeth Barrett |
| Choreographer | Kevin Boseman |
| Lighting Designer | Robert J. Aguilar |
| Sound Designer | Andrea Allmond |
| Music Director | Jacinth Greywoode |
| Costume Designer | Pete Rush |
| Stage Managers | Miranda C. Pratt, Erin B. Zatloka |
| Assistant Stage Manager | Isabella Marziello |
| Director of Breaking | Jerome Aparis |
| Dramaturg | Morgan Smart |
| Associate Director | Tré Cotten |
| Intimacy Choreographer | Moises “Moy” Hinojos |
| Assistant Projection Designer | Hannah Gibbs |
| Associate Lighting Designer | Casey Price |
| Original Projection Content | Marcy Suarez |
| Production Assistant | Kimberly Le |
| NYC Casting | Base/Valle Casting (Gama Valle and Harriet Bass) |
| — | — |
| Head Stage Carpenter (Issaquah) | Whitman Paylor |
| Head Stage Carpenter (Everett) | Chris Mikolaizik |
| Head Sound Engineers (Issaquah) | Lisa Finkral, Abigail Graham |
| Head Sound Engineer (Everett) | Josh Blaisdell |
| Lead Stagehand — Deck (Issaquah) | Justin Babbitt |
| Lead Stagehand — Deck (Everett) | Kyle Morgan |
| Lead Stagehand — Props | Chandler Eichele |
| Head Electrician (Everett) | Brandon Cullinan |
| Head Electrician (Issaquah) | Paul Arnold |
| Head Wardrobe (Issaquah) | Kate Simpson |
| Head Wardrobe (Everett) | Courtney Kessler-Jeffrey |
| Head Projection Techs | Derick Avitt, Hannah Tran |
| Programmer | Zac Andersen |
| Followspots | Casey Leugemors, Olof Sander |
| Scenic Painter | Gabrielle Duong |
| Scenic Carpenter | Blake Whitmore |
110 in the Shade – Musical – Reboot Theatre Company & Seattle Public Theatre
Elevator Thoughts (aka Tweet): 110 in the Shade musical w/ Seattle Public Theatre & Reboot Theatre Company. Wonderful production that touches on what it means to be a woman … through the lens of genderblind casting! Loved the juxtaposition between life choices of nomadic adventure vs quiet stability.
Synopsis from the Theatre: Reboot Theatre Company, known for its intriguing deep dives and fresh interpretations of theater, brings to life 110 in the Shade, a beautiful exploration of love, hope, and acceptance. From the creators of The Fantasticks, 110 in the Shade is a touching and intimate musical adaptation of the hit play The Rainmaker. Set in a small western town besieged by drought, Lizzie, intelligent and independent, struggles with the societal pressure to do as a “woman” should do. One blistering hot day, Lizzie’s family urges her to marry the recently widowed Sheriff File, while charismatic stranger Starbuck comes to town with promises of being able to make it rain. Immediately suspicious, Lizzie tries to pick apart Starbuck’s story, but realizes a deeper truth about herself along the way. While the source material was written in the 1950’s, director Scot Charles Anderson will take a closer look at the seemingly simplified gender roles in classic Reboot style.
Reviewed Performance: 3/17/23 Opening Night
Type: Musical
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings: Several
Defined Plot/Storyline: Yes
Live Band/Orchestra: Yes, they also included a banjo, bass, and a fiddle for that authentic country feel. Some cast members even played instruments like the guitar and ukelele!
Recommendation: See it!
Was This the First Time I Attended a Production of this Show: Yes
Would I See It Again 3 Years from Now: Yes
Rating Compared to Other Shows with the Same Production Value:
4.75 Stars (Out of 5 Stars)
Equity Actors: 0
Total Number of Actors: 12
Length (Including Any Intermission): 2.5 hours
Intermission: Yes
Other Rave(s) Not Mentioned in Elevator Thoughts
- Scenic Design: Nice rustic design with a windmill and a circular stage. Very Restoration Hardware. Who knew you could make such a great background with a bunch of two-by-fours! See pictures and video at the end of this article.
- Dramatic Climax: I’m a huge fan of scenes when a character is verbally eviscerated on-stage. The simple “you’re plain!” pronouncement toward the end of the first act conveyed the same thrilling ring as “you’re a virgin who can’t drive.”
- Delightful Characters: It was pleasure watching June Apollo Johns (Bill Starbuck) and Walden Barnett Marcus (Jimmy Curry) portray their characters on-stage. Tessa James (as the ditsy Snookie Updegraff) made the scenes with Walden even more delightful!
- Lizzy: Paris Manzanares was well-cast as the female lead character Lizzy. Paris manifested a graceful feminine energy with a good country accent. It was interesting to observe the script’s commentary on what it means to be a woman when a trans actress played the female lead. The line “if you don’t believe you’re a woman, you’re not” was particularly poignant with this casting decision. Paris’s vocal range difference from her character’s soprano melodies also didn’t detract from her performance. I loved how this production paired a trans woman opposite of a traditionally handsome/ideal cis male (the dashing Ricky Spaulding who portrayed Sheriff File). I typically don’t see a lot of those pairings in theatre or the media. It didn’t hurt that they had great chemistry too.
- A Simple Life: The message in “Simple Little Things” song rang true for me since I don’t particularly crave an exciting life … other than seeing ~3 shows per week! Some may even consider my career boring, but I kind of like boring. I also hate surprises, traveling, adrenaline rushes (like skydiving), and partying. I’m more of a homebody. “Simple Little Things” says that’s okay.
- Sound Effects: Instead of recorded audio clips, the cast and band generated most of the sound effects like radio music, a rusty windmill, a train, and an owl.
- Fireflies: It was novel how the ensemble depicted fireflies in the background during the evening scenes as they surrounded the main characters. I’m glad it gave them something to do since I kind of felt bad for them sitting on-stage excluded from the main action.
Rant(s)
- Sound Balancing: The actors were not mic’ed and the band sometimes overpowered the singers, but it wasn’t nearly as bad as the recent Rock of Ages I attended. I suggest finding a seat far away from the band like on the right side of theatre (if you face the stage). My seat was on the left side of the theatre, which was the same side as the band.
Other Musing(s) and Observation(s)
- Genderblind Casting: In true Reboot Theatre Company fashion, they “genderblindly” cast many roles. It was very woke Seattle. However, as I frequently rant in my reviews, genderblind casting in musicals is sometimes a problem if performers sing parts that were originally written for a different vocal range. As mentioned above, this thankfully wasn’t a problem with Lizzy for some strange reason (maybe they transposed for her?), but it was occasionally a problem for other cast members. Singing an octave higher or lower than the original melody usually doesn’t sound good. I don’t know a great solution for this. Gender inclusivity is important in theatre, but I also want to hear melodies without awkward vocal placement.
- Heat: For a show with a hot temperature in its name, I thought there’d be more references to heat. I feel like the only mention of heat was during the first couple of minutes. There were a lot of references to dryness/drought but that doesn’t necessarily mean hot.
- Lizzie Appearance Flaw: I was confused with what was supposedly wrong with Lizzie. The dialogue frequently mentioned that Lizzy was plain, but the actress was actually beautiful. While the wig looked nice, the actress didn’t look terrible without it. Was this mismatch of what I saw vs what I heard a commentary on how internal/external voices can negate how beautiful we truly are? They say your biggest critic is yourself. Let me know what you think in my social media comment links below!
- Gun Holster Belt: I kept worrying Sherrif File’s holster would fall! Do they usually sag so low?
Theatre Company: Reboot Theatre Company and Seattle Public Theatre
Venue: Seattle Public Theatre (aka Bathhouse Theatre)
Venue Physical Address:7312 West Green Lake Dr N, Seattle, WA 98103
Price: Cheap
Ticket Affordability Options: You can self-select ticket prices as low as $5 on the ticketing website for those who find the higher options a financial barrier to enjoying great theatre. There is also no seat placement difference between ticket prices.
Dates: March 16 to April 9, 2023
Seating: Assigned Seating
Parking: Free plentiful parking lot of Greenlake Park, which is adjacent to the theatre
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- https://app.arts-people.com/index.php?show=139628
- https://reboottheatre.org/110-in-the-shade
- Program
Other Video +/- Pictures: See pictures in video and under video below by Colin Madison Photography
@showsiveseen “110 in the Shade” #musical w/ @seattlepublictheater & Reboot Theatre. Wonderful production that explores what it means to be a woman … through the lens of genderblind casting! Loved the juxtaposition between life choices of nomadic adventure vs quiet stability. Based on “The #Rainmaker” play. Photos by Colin Madison. Review showsiveseen.com/4434 #theatre ♬ Lizzie’s Comin’ Home – Will Geer & Steve Roland & Scooter Teague
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
| Role | Name |
| Franz Klinemann | Camren Bleiler |
| Ensemble | Madison Bleiler |
| Sleazy Producer/Ensemble | Bailey Stanton Christie |
| Stacee Jaxx | Ryan Coleman |
| Drew Boley | Vinny Contini |
| Mother/Justice Understudy and Ensemble | Christine Dove |
| Ensemble | Kristina Dustan |
| Venus Room D] + Ensemble | Asante Hayes |
| Mayor + Ensemble | Wade Hicks |
| Constance/Mother Understudy + Sherrie Understudy + Swing + Ensemble | Erin R. Johnson |
| Ensemble | Davey Magno |
| Sherrie Christian | Annelise Martin |
| Ensemble | Kyleigh Medard |
| Lonny Barnett | M. Keala Milles, Jr. |
| Ensemble | Kelsey Monahan |
| Ja’Keith Gill + Ensemble | Trevor Owens |
| Ensemble | Keri Peredo Panlasigui |
| Ensemble | Molly Quinn |
| Regina | Mari Roy |
| Hertz Klinemann | Eric Strachan |
| Joey Primo + Ensemble | Haunz Stroschein |
| Father/Ensemble | Andrew Taula |
| Ensemble | Elle Tena |
| Dennis Dupree | Rafe Wadleigh |
| Justice Charlier | Michelle Weingarden-Bandes |
| Waitress #1/ Ensemble | Julia Wyman |
| — | — |
| Keyboards | Dr. William Bryant |
| Guitar | Cameron Schneider |
| Drums | Scot Sexton |
| Bass | Peter Vosshall |
| Guitar | Storm Tucker |
| — | — |
| Director | Maria-Tania Bandes B. Weingarden |
| Author | Chris D’Arienzo |
| Composer and Arranger | Ethan Popp |
| Musical Director | Kim Davenport |
| Choreographer | Ashley Roy |
| Stage Managers | Isobel Brown & Kay Meier |
| Assistant Stage Managers | Cathy Jackson & Irene Ellis |
| Technical Director/Scenic Designer/Visuals | Blake R. York |
| Costume Designer | Cori DeVerse |
| Production Manager/Sound Designer | Dylan Twiner |
| Lighting Designer | Michelle Weingarden-Bandes |
| Assistant Lighting Designer | Ryan Asche |
| Lighting Assistant | Octavio Diaz Salas |
| Lead Carpenter/Properties Designer | Frank Roberts |
| Shop Assistant | Nate Lovitt |
| Scenic Artist | Jennifer York |
| Sound Board Operator | Katie Jones |
| Sound Consultant | Chris Aveline |
| Follow Spot Operator | Ellie Rutt |
| Hair and Wig Consultant | Mauro Bozzo |
| Assistant Hair and Wig Styling | Madison Bleiler |
| Dance Captain | Kelsey Monahan |
| Student Mentors | Christine Dove & Rafe Wadleigh |
| Social Media Campaigns | Hannah Shea |
| Photography | Dennis K Photography |
| Graphic Design | Blake R. York |
| Tacoma Next Move Interns | Lachlan Desmarais, Sarn Hibbard Sergio Mijares |