Musicals – Page 27 – Shows I've Seen

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.

Role	Name
Gail	Kathryn Van Meter *
Pam Carter	MJ Rawls *
Janet	Bobbi Kotula *
Cameron Carter Sr	Ethan Carpenter *
Cindy	Cassi Q Kohl *
Rachel Weissman	Bridgid Abrams *
Eli	Vincent Milay
Pauline	Irene Rising *
Topaz	Leah Sainz-Jones
Jay	Tom Avery
Ensemble	Joel Domenico Mackenzie Mathotra Nehemiah Hooks * Tori Gresham *
—	—
Keyboard/Conductor	Elisa Money
Drums	Scot Sexton
—	—
Director & Co-Choreographer	Connor Gallagher
Co-Choreographer	Jay Jackson “Laganja Estranja”
Writer/Composer	Kit Yan and Melissa Li
Scenic Designer	Jason Sherwood
Costume Designer	Chelsea Cook
Lighting Designer	Chih-Hung Shao
Sound Designer	Erin 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 Director	Charlie Johnson
Assistant Stage Manager	Kallen Pishue
Assistant Scenic Designer	Jeremy Hollis
Production Assistants	Liam Nellis, Lainie Schwartz
Vocal Coach	Danny Kam
Head Stage Carpenter	Andrew Long
Head Lighting Engineer	Zac Andersen
Head Sound Engineer	Alex Wren
Wardrobe Lead	Malena 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.

Role	Name
Narrator	Mari Nelson
Cinderella	Sarah Russell
Jack	Joshua Miller
Jack’s Mother	Shermona Mitchell
Baker	Eric Ankrim
Baker’s Wife	Cayman Ilika
Cinderella’s Stepmother	Shaunyce Omar
Florinda	Trina Mills
Lucinda	Shanelle Nicole Leonard
Little Red Ridinghood	Sarah “SG” Garcia
Witch	Porscha Shaw
Wolf/Cinderella’s Prince	Louis Hobson
Rapunzel	Miranda Antoinette
Rapunzel’s Prince (Dance Captain)	Antonio Mitchell
Steward	Brian 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 Manager	Rachael Dorman and Tori Thompson
Swing Stage Manager	Jr Welden
Composer and Lyricist	Stephen Sondheim
Author	James Lapine
Director	Bill 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 Supervisor	Matt Perri
Associate Scenic Designer	Alex Winterle
Associate Sound Designer	Brent Warwick
Costume Design Assistant	Taya Pyne
Assistant Lighting Designer	Maryalice Weed
Director of Production	Joan Toggenburger
Production Manager	Ryan Gastelum
Costume, Wardrobe, & Hair Director	Shannin Strom
Casting Director	Cordelia Miller
Music Director	R.J. Tancioco
Choreographer	CY Paolantonio
—	—
Conductor	Matt Perri and R.J. Tancioco
Piano	Michael Nutting
Synth	Rebecca Smith
Bass	Ramon Salumbides
Horn	Rodger Burnett
Trumpet	Brad Allison
Percussion	Alec Wilmart
Flute	Dane Andersen
Clarinet	Jennifer Nelson
Bassoon	Francine Petersen
Violin 1	Tom Dziekonski
Violin 2	Quinn Price
Viola	Rick Neff
Cello	Page 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

Ain’t Too Proud – The Life and Times of the Temptations – Musical – Paramount Theatre

Elevator Thoughts (aka Tweet): Ain’t Too Proud – The Life and Times of the Temptations jukebox musical w/ Broadway at the Paramount and Seattle Theatre Group. Imagine a mashup of the musicals Motown and Jersey Boys. Tight harmonies and smooth dance moves. Even the synchronized stage clapping sounded good! #theatre #retro

Synopsis from the Theatre: Ain’t Too Proud – The Life and Times of The Temptations is the electrifying, new smash-hit Broadway musical that follows The Temptations’ extraordinary journey from the streets of Detroit to the Rock & Roll Hall of Fame. With their signature dance moves and silky-smooth harmonies, they rose to the top of the charts creating an amazing 42 Top Ten Hits with 14 reaching number one. Nominated for 12 Tony® Awards and the winner of the 2019 Tony Award for Best Choreography, Ain’t Too Proud tells the thrilling story of brotherhood, family, loyalty, and betrayal, as the group’s personal and political conflicts threatened to tear them apart during a decade of civil unrest in America. Written by three-time Obie Award winner Dominique Morisseau, directed by two-time Tony Award winner Des McAnuff (Jersey Boys), and featuring the Tony-winning choreography of Sergio Trujillo (Jersey Boys, On Your Feet!), the unforgettable story of this legendary quintet is set to the beat of the group’s treasured hits, including “My Girl,” “Just My Imagination,” “Get Ready,” “Papa Was a Rolling Stone,” and so many more.

Reviewed Performance: 1/24/23 – Opening Night

Type: Jukebox Musical

World Premiere: No

Awards: 2019 Tony Award for Best Choreography

Defined Plot/Storyline: Plot was semi-defined but not strong. But this is typical in a jukebox musical. It is also expected from shows written in biographical form (like this one). There is no strong plot in real life!

Live Band/Orchestra: Yes

Recommendation: See it especially if you’re a fan of the Temptations group. You don’t need to be a fan of their music to enjoy the show. I only knew 1/4 of the songs and my dad only knew 2 of the songs.

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

Would I See It Again 3 Years from Now: Maybe

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

Equity Actors: All of them

Number of Actors: 22

Length: 2.5 to 2.75 hours, which felt a little longer than what I’m used to

Intermission: Yes

Other Rave(s) Not Mentioned in Elevator Thoughts

Voices: Obviously, all the actors had amazing voices. But a special shoutout goes to Devin Price (Al Bryant) with his powerful tenor in “(You Make Me Want to) Shout.” Elijah Ahmad Lewis (David Ruffin) was a great replacement for Devin when the Temptations kicked Devin’s character out the group. The tenors don’t get all the glory in this show though. Harrell Holmes Jr showcased his incredible bass voice as Melvin Franklin. He “got bass lower than the devil!”
Lighting Design: The stage haze elegantly highlighted the simple clean lines of the bright spotlights dramatically shining directly downward on each of the Temptations. The marquees on the set reminded me of ritzy classic showbiz. The large lightbulbs that suddenly shined directly behind the Temptations were elegant and glamourous. The designers even included details like “hot lights” on TV set video recorders in the American Bandstand scenes.
Costumes: The costumes conveyed a vintage feel. I was strangely drawn to the funeral attire, which was very elegant, simple, and old money. The classic black umbrellas were also a nice addition to the funeral scene.
Supremes: I was pleasantly surprised that they included some numbers sung by the Supremes like “Can’t Buy Me Love.”

Rant(s)

Views in the Paramount Theatre: Warning, soapbox ahead! Let me just start out saying that I’m extremely thankful for the opportunity to review this show and my seat was well-placed. It was on the aisle at the center where I could theoretically see everything. It was also not too close or far from the stage. However, most patrons at the Paramount Theatre tend to significantly obstruct the view of the person directly behind them. I’ve been burned too many times by this. I’ve even sat in the third row of the center main floor orchestra and a head still annoyingly blocked my view, which was very disappointing especially after paying more than $100 on that ticket. Several regular Seattle theatre patrons have voiced the same concern with Paramount Theatre seats. It is ironic that the arguably most prestigious theatre in the city (which also hosts most touring Broadway shows) also has the highest possibility of an obstructed view. I’ve never experienced this at 5th Avenue Theatre, Village Theatre, or ACT Theatre. Unfortunately, at the Paramount Theatre, you’re only safe with a view in a section’s first row (whether orchestra or mezzanine) with a walkway buffer in front of you. You’d also be safe in the back row of a section propped up by two seat pillows. I wish the Paramount Theatre could change the elevation grade/slope to be steeper and I also wish they would stagger the seats better. Hopefully the “Save a Seat” program will prevent obstructed views that make it difficult to review/enjoy shows. First world problems, right? 😛

Other Thought(s)

Historical Anecdotes: A couple interesting historical facts were mentioned throughout the show. For example, apparently there have been more than 25 Temptations members since the group’s inception. Also, one of the past members was known for sneaking on-stage to perform after the group fired him!

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

Venue: Paramount Theatre

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

Price: 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: January 24 – February 5, 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

@showsiveseen “Ain’t Too Proud: The Life & Times of the #Temptations” #jukebox #musical w/ @seattletheatregroup at Paramount #Theatre. Imagine a mashup of the musicals #Motown & Jersey Boys. Tight harmonies & smooth dance moves. Even the synchronized stage clapping sounded good! Review: showsiveseen.com/3482 @motownrecords #retro @officialtemptations ♬ My Girl (from “My Girl”) – Hollywood Session Singers

National Touring Company of *Ain’t Too Proud*. Credit: © 2021 Emilio Madrid.

Original Broadway Company of *Ain’t Too Proud*. Photo by Matthew Murphy.

Harrell Holmes Jr., Jalen Harris, Harris Matthew, Marcus Paul James, James T. Lane from the National Touring Company of *Ain’t Too Proud*. Credit: © 2021 Emilio Madrid.

Jalen Harris and the National Touring Company of *Ain’t Too Proud*. Credit: © 2021 Emilio Madrid.

Harrell Holmes Jr., Elijah Ahmad Lewis, Jalen Harris, Marcus Paul James, James T. Lane from the National Touring Company of *Ain’t Too Proud*. Credit: © 2021 Emilio Madrid.

Traci Elaine Lee, Deri’Andra Tucker, Shayla Brielle G. from the National Touring Company of *Ain’t Too Proud*. Credit: © 2021 Emilio Madrid.

Elijah Ahmad Lewis, Jalen Harris, Marcus Paul James, Harrell Holmes Jr., James T. Lane from the National Touring Company of *Ain’t Too Proud*. Credit: © 2021 Emilio Madrid.

Marcus Paul James, Jalen Harris, Elijah Ahmad Lewis, Harrell Holmes Jr., James T. Lane from the National Touring Company of *Ain’t Too Proud*. Credit: © 2021 Emilio Madrid.

Once On This Island – Musical – Tacoma Musical Playhouse

@showsiveseen “Once On This #Island” #musical at @tacomamusicalplayhouse w/ the 1st live band since the 2019! Novel tribal-like choreography. Excellent Mother (@lanitahudson). Refreshing diverse #tropical vibes desperately needed in the cloudy PNW winter. Review: showsiveseen.com/3179 #theatre ♬ Mama Will Provide – Kecia Lewis-Evans & Once on This Island Ensemble

Elevator Thoughts (aka Tweet): Once On This Island musical at Tacoma Musical Playhouse w/ the 1st live band since the 2019! Novel tribal-like choreography. Excellent Mother. Refreshing diverse tropical vibes desperately needed in the cloudy PNW winter.

Synopsis from the Theatre: From the Tony Award-winning songwriting team of Lynn Ahrens and Stephen Flaherty (Seussical, Ragtime), comes the Olivier Award-winning Once on This Island. This highly original and theatrical Caribbean adaptation of the popular fairy tale, The Little Mermaid, garnered eight Tony nominations for its Broadway run, including Best Musical, Book and Score.

Reviewed Performance: 1/13/23 Opening Night

Type:Musical

World Premiere: No

Awards: Olivier Award

Live Band/Orchestra: Yes – This was the first live band at TMP since the beginning of the pandemic. It significantly improved the caliber of the production compared to the shows that utilized an accompaniment recording.

Recommendation: See it if you like tropical genres like Tarzan or The Jungle Book

Was This the First Time I Saw a Production of this Show: No, I previously saw this from Ludus Performing Arts

Would I See It Again 3 Years from Now: Yes, if it was an Equity production

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

Equity Actors: Zero

Length: 2 hours

Intermission: Yes

Other Rave(s) Not Mentioned in Elevator Thoughts

Voices: LaNita Hudson Walters was my favorite performer from this production especially with her distinct voice. She portrayed Mama Euralie, a gristly old Caribbean peasant woman. Honorable mention to Chanel Finnie (Asaka godess of Earth) and Jadyn Muralt (Ti Moune the main character) as well.

Rant(s)

Death Explanation: The script doesn’t adequately explain a how a significant death occurred. I won’t say more to avoid spoiling the plot for readers who haven’t seen the musical yet.

Other Thought(s)

Scenic Design: Great hotel facade especially with the closing front gates. It was a little weird though seeing the hotel behind the peasant scenes. The hotel facade should only appear during the townsfolk scenes. The peasants needed their own more primitive backdrop. But I regonize the constraints of community theatre budget.
Blind Love: Can I just say that love makes you do stupid things? As a pragmatic person who has never fallen in love, I’m appalled at the nonsensical decisions in this story for the sake of love.

Theatre Company: Tacoma Musical Playhouse

Venue: Tacoma Musical Playhouse

Venue Physical Address: 7116 6th Ave, Tacoma, WA 98406

Price: Cheap

Dates: January 13 to February 5, 2023

Seating: Assigned Seating

Parking: Free parking is available in the Park-and-Ride lot directly across Sixth Avenue from the theater.

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