Musicals – Page 6 – Shows I've Seen

The Curious Case of Benjamin Button – Musical – Review – Ambassadors Theatre

@showsiveseen Jethro Compton & @Darren Clark's "The Curious Case of Benjamin Button" #musical at the Ambassadors Theatre. A remarkable feat of talent where the actors sing, dance, *AND* accompany themselves all at the same time. Music vibes similar to @Come From Away. Funny running gag of mixed-up sayings. Starring John Dagleish. Review: showsiveseen.com/13883 Photos: Marc Brenner Musical Director: Mark Aspinall Choreo: Chi-San Howard #westEnd #BenjaminButton #theatre #musicalTheatre @Benjamin Button The Musical ♬ Shippin' Out Tomorrow – Cast of The Curious Case of Benjamin Button

Elevator Thoughts (aka Tweet): Jethro Compton & Darren Clark’s The Curious Case of Benjamin Button musical at the Ambassadors Theatre. A remarkable feat of talent where the actors sing, dance, *AND* accompany themselves all at the same time. Music vibes similar to Come From Away. Funny running gag of mixed-up sayings. Starring John Dagleish. #time

Recommendation:
See it if you enjoy either 1) shows set in rural United Kingdom, 2) the actors playing instruments in Girl from North County, 3) or the musical style in Come From Away.

Was This the First Time I Attended a Production of this Show? Yes

Would I See It Again 3 Years from Now? No, but it was good.

Mainstream Appeal: Medium

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

My Synopsis (No Spoilers): Based on the classic short story (and possibly its film adaptation), Benjamin Button is born an old man and grows younger with time. At first, he struggles to belong in a world that cannot understand his extraordinary condition. Yet as his life unfolds in reverse, he realizes a universal truth that no matter which way the clock runs, our time is precious and should be cherished.

Synopsis from the Licensor or Theatre Company: The three-time Olivier Award-winning Best New Musical, The Curious Case of Benjamin Button, is an epic, intimate and unforgettable West End hit – hailed as “THE BEST BRITISH MUSICAL IN DECADES” (WhatsOnStage) and “A MUSICAL TO TREASURE” (The Standard). Based on the iconic short story by F. Scott Fitzgerald and reimagined in a Cornish fishing village by award-winning writing team Jethro Compton and Darren Clark, this unique, actor-musician led story is “EPIC AND CINEMATIC WITH A TREMENDOUS SCORE” (Daily Mail). Winning the 2025 Olivier Awards for Best New Musical, Outstanding Musical Contribution (Darren Clark and Mark Aspinall) and Best Actor in a Musical (John Dagleish), the 14-strong cast of actor-musicians playing 30 instruments perform “MIRACLES OF DEXTERITY ON STAGE” (The Times) – bringing to life a heart-burstingly, magical tale of a love that defies all odds. Under the light of a full moon, something most curious occurs… Benjamin Button is born old. Bound to the fate of growing younger each day, Benjamin wants nothing more than to live a little life. But will he ever find a place to belong?

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: If you’re familiar with the short story or the film, you might find this adaptation more accessible. But don’t expect it to follow the movie closely, as I discovered. While I’ve seen the film, I haven’t read the original story, which I suspect this musical draws from more faithfully. For instance, in the musical, Benjamin Button doesn’t begin life as an infant-sized old man, nor does he live the wide-ranging worldly life depicted on screen. His parents are also not a Black adopted couple, and the story’s tragedy diverges significantly from the film’s version.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes, it was the entire cast

Union Actors: 14

Total Actors: 14

Perceived Pace of the Show: Medium Speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Other Rave(s)

Actor Band: The actors impressively doubled as their own orchestra. They played a vibrant plethora of instruments including the flute, guitar, fiddle, accordion, bass, drums, beatbox, spoons, tambourine, trumpet, piccolo, French horn, and cello. It was remarkable to watch them play the score (by Darren Clark and Mark Aspinall) entirely from memory while simultaneously acting and dancing. A production like this must be more economical than one requiring a separate band. I can only hope the performers were compensated extra for being their own orchestra.
Running Gag: The script by Jethro Compton featured a funny running gag of botched sayings like “Just do it a hundred times and you’ll be able to do it with your mouth closed” and “There’s plenty more girls in the sea.”
Drowning: Drowning was portrayed with striking realism and simplicity. It required no elaborate stage effects to convey its impact, just mostly lighting design (by Zoe Spurr).
Reunion: A heartbreakingly touching reunion unfolded as Benjamin Button, appearing youthful in his later years, encountered Little Jack (played by Jack Quarton) from his earlier years who didn’t recognize him.

Rant(s)

Unimportant Characters and Details: The script was weighed down by excessive inconsequential side characters, which distracted from the core story that the audience truly needed to follow and remember. Similarly, it overemphasized trivial details like times, dates, and minutes too often. To put it in perspective, imagine if “Seasons of Love” from Rent listed not just “five hundred twenty-five thousand six hundred minutes,” but 50 additional time references. While the intention was clearly to reinforce the theme of time, the effect was more overwhelming than meaningful.

Other Musing(s) and Observation(s)

Folksy Tunes, Foreign Lens: Much like my previous review of Stereophonic, this show was challenging to fully connect with as a BiPOC audience member. Set in the weathered coastal countryside of the UK and steeped in folksy pub music, it’s unapologetically British in flavor. Portland, Oregon audiences would love it, especially with the rich array of instruments.
Hollywood vs Stage Male Romantic Lead: The talented leading male actor John Dagleish brought a unique presence to the role. But he differed from the conventional Hollywood leading-man look. I had come in expecting someone more in the vein of Brad Pitt from the film!

Venue: Ambassadors Theatre

Venue Physical Address: West St, London WC2H 9ND, United Kingdom

Venue Classification: West End

Dates: October 10, 2024 to October 11, 2025

Seating: Assigned Seating

Like/Comment/Share my Social Media Posts About this Performance:

Buy a Ticket or Learn More:

https://benjaminbuttonmusical.com/

Pictures: See production pictures below by Marc Brenner.

Cast and Production Team: See after pictures below.

THE CURIOUS CASE OF BENJAMIN BUTTON. The Company. Photo Marc Brenner.

THE CURIOUS CASE OF BENJAMIN BUTTON. John Dagleish (Benjamin Button). Photo Marc Brenner.

THE CURIOUS CASE OF BENJAMIN BUTTON. John Dagleish (Benjamin Button) and Jack Quarton (Jack Trenlee). Photo Marc Brenner.

THE CURIOUS CASE OF BENJAMIN BUTTON. Damien James, Oonagh Cox, Ann Marcuson and Company. Photo Marc Brenner.

THE CURIOUS CASE OF BENJAMIN BUTTON. Clare Foster (Elowen Keene) and John Dagleish (Benjamin Button). Photo Marc Brenner.

Stereophonic – Play with Music – Review – Paramount Theatre

@showsiveseen @David Adjmi and @Willllll's "#Stereophonic" #play-with-music kicked off their national tour at Paramount #Theatre from Broadway Seattle and @Seattle Theatre Group. Great retro #70s aesthetic from David Zinn (Scenic) and @enverchakartash (Costumes). Beautiful voices/harmonies from @Em and @clairedejean. Closes 10/12/25. Review: showsiveseen.com/13832 Photos: Julieta Cervantes @Stereophonic: On Tour #1970s ♬ Masquerade – Original Cast of Stereophonic & Tom Pecinka & Will Brill & Juliana Canfield & Sarah Pidgeon & Chris Stack & Will Butler & Justin Craig

Elevator Thoughts (aka Tweet): David Adjmi and Will Butler’s Stereophonic play-with-music kicked off their national tour at Paramount Theatre from Broadway Seattle and Seattle Theatre Group. Great retro aesthetic from David Zinn (Scenic) and Enver Chakartash (Costumes). Beautiful voices/harmonies from Emilie Kouatchou and Claire DeJean. Closes 10/12/25.

Recommendation:
See it if you enjoy dialogue plays.

Was This the First Time I Attended a Production of this Show? Yes

Would I See It Again 3 Years from Now? Absolutely not

Mainstream Appeal: Low

If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Absolutely not

My Synopsis (No Spoilers): This play delves into the volatile dynamics of a successful 70s band confined within the walls of a recording studio. It’s a nightmare pressure cooker of clashing egos, creative tension, drugs, and messy affection. Love and hate often sound like the same note.

Synopsis from the Licensor or Theatre Company: The most Tony Award-winning Show of the year. The most Tony Award-nominated Play of all time. Stereophonic mines the agony and the ecstasy of creation as it zooms in on a music studio in 1976. Here, an up-and-coming rock band recording a new album finds itself suddenly on the cusp of superstardom. The ensuing pressures could spark their breakup — or their breakthrough. Written by David Adjmi, directed by Daniel Aukin, and featuring original music by Arcade Fire’s Will Butler, Stereophonic invites the audience to immerse themselves — with fly-on-the-wall intimacy — in the powder keg process of a band on the brink of blowing up.

Type: Play with Music

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: One – a recording studio

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: It’s best if you’re familiar with rock band references from the 1960s and 1970s.

Defined Plot/Storyline: No, it was mostly dialogue

Live Band/Orchestra: Yes, it was the cast

Union Actors: 7

Total Actors: 7

Perceived Pace of the Show: The pace of the show was glacial and left me feeling restless constantly thinking, “Please, let this be over.” Breaking it into four acts with a single intermission only made it feel longer, even though its runtime was typical for a major play. When Act Two began, I found myself wondering, “How much more of this can I endure?” By the time Act Four appeared, it was like spotting an oasis in a desert.

Was there an intermission? Yes

Length (Including Any Intermission): 2.75 hours

Other Rave(s)

Retro Aesthetic: David Zinn (Scenic Designer), Enver Chakartash (Costume Designer), Robert Pickens (Hair/Wig Designer), and Katie Gell (Hair/Wig Designer) perfectly and beautifully evoked the essence of the 1970s with the tousled long hair, tacky patterned button-down shirts, bohemian bell bottoms, sleazy leisure suits, and the era’s unmistakable wood-paneling.
Recording Room: Scenic Designer David Zinn made a smart choice by positioning the recording room a couple feet above the stage floor. Given the Paramount Theatre’s notoriously shallow floor slope and poorly staggered seating (which both make sightlines challenging for most audience members including myself), having half of the play’s action elevated significantly improved visibility.
Voices: Emilie Kouatchou and Claire DeJean featured exquisite voices and skillfull harmonies. I only wish the production allowed their talents to shine even more in a full-fledged musical rather than a play-with-music.

Rant(s)

Script: The script was frustratingly dull with a series of conversations that seemed to lead nowhere randomly discussing nothing of importance. The tension between the band members was palpable, but the reasons behind it were unclear, leaving the drama feeling shallow. Perhaps it was intentional to reflect the trivial, empty, self-absorbed concerns of the rich and famous. Even so, much of the performance had me wondering why we were expected to care.

As a BiPOC audience member, I also found it especially difficult to connect with the characters. Despite an African American performer in the cast, the roles were largely unrelatable, embodying the vapid, privileged white West Coast archetypes lampooned in MadTV’s “Pretty White Kids with Problems” and SNL’s “The Californians.” They floated through the narrative like shallow, pot-smoking hippies, obsessed with nothing of substance and randomly throwing tantrums. The result was a show where the characters’ lives felt superficial and ultimately unworthy of the audience’s investment.
Sound Balancing: When the band played and sang, the sound was ear-shattering. Perhaps it was intentional to evoke the energy of a live rock concert. But the effect was jarring, especially against dialogue filed by stilted silences. By comparison, the sound balance in the previous Broadway tour at the Paramount Theatre (Some Like It Hot) was muffled and overly soft. It seems the pendulum swings.
Transitions: The transitions between scenes were not well punctuated, making it difficult to discern when one ended and the next one began. This was exacerbated by the fact that the set remained unchanged throughout the show. When scenes flow so closely together, they demand the kind of seamless execution seen in productions like Operation Mincemeat.
Musical Titillation: Furthermore, there were numerous moments when the band would start playing for just a few seconds before the scene abruptly shifted. At other times, the performers acted like they were singing or playing their instruments, but they didn’t produce sound. It was the frustrating theatrical equivalent of titillating or “edging” the audience. When one character exclaimed, “I wanna play music!” my immediate thought was “Well, that makes the two of us. I wanna hear you play music.”

Other Musing(s) and Observation(s)

Emptiness: For a show centered on sound and music, surprisingly much of it unfolded in dialogue filled with silence with subdued lighting.
The Emperor is Naked: For a show that bills itself as “the most Tony-nominated play of all time” and “the most Tony-winning show of 2024,” I can’t help but wonder “is the emperor naked?” The audience seemed to agree. During the first act, one-by-one they relentlessly dropped like flies and headed to the doors. The frequent glow from the lobby as the exit doors swung open repeatedly was distracting. Additionally, I’ve never seen more people flee the building during intermission. The mass exodus even surpassed the walkouts from Girl from North County. Consequently, the second act unfolded before a sea of empty seats. Sadly, the person sitting in front of me obstructing my view stayed.

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

Venue: Paramount Theatre

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

Price Range: $50 – $150

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

Dates: October 7 to 12, 2025

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 former Cheesecake Factory. It’ll take you at least 30 minutes to exit that garage after the show.

Like/Comment/Share my Social Media Posts About this Performance:

Buy a Ticket or Learn More:

Pictures: See production pictures below by Julieta Cervantes.

Cast and Production Team: See after pictures below.

(From L) Claire DeJean as ‘Diana’ and Emilie Kouatchou as ‘Holly’ in the First National Tour of *Stereophonic*.

(From L) Jack Barrett as ‘Grover’, and Steven Lee Johnson as ‘Charlie’ in the First National Tour of *Stereophonic*.

Jack Barrett as ‘Grover’ in the First National Tour of *Stereophonic*.

The First National Tour Cast of *Stereophonic*.

(From L) Denver Milord as ‘Peter’, Christopher Mowad as ‘Reg’, Claire DeJean as ‘Diana’, and Emilie Kouatchou as ‘Holly’ in the First National Tour of *Stereophonic*.

Credits from the printed Encore program.

Suffs – Musical – Review – The 5th Avenue Theatre

@showsiveseen Shaina Taub’s #Suffs #musical kicked off its national tour at @The 5th Avenue Theatre. Starring @Maya Keleher. Jason Crystal's impeccable "crystal" clear sound design highlighted the cast’s solid, polished voices. Ideal musical for Seattle’s #activist spirit. Closes 9/27/25! Review: showsiveseen.com/13701 Photos: Joan Marcus Director: Leigh Silverman Music Director: Dani Lee Hutch Choreo: Mayte Natalio Music Supervision: Andrea Grody #suffrage #suffragette @Suffs The Musical ♬ The March (We Demand Equality) – Hannah Cruz & Nikki M. James & Original Broadway Cast of Suffs

Elevator Thoughts (aka Tweet): Shaina Taub’s Suffs musical kicked off its national tour at The 5th Avenue Theatre. Starring Maya Keleher. Jason Crystal’s impeccable “crystal” clear sound design highlighted the cast’s solid, polished voices. Ideal musical for Seattle’s activist spirit.

Recommendation:
See it, especially if you enjoyed 1776 or if you’re into activism.

Was This the First Time I Attended a Production of this Show? Yes

Would I See It Again 3 Years from Now? Maybe

Mainstream Appeal: Medium

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

My Synopsis (No Spoilers): Follow the courageous struggle of women fighting for the right to vote in the 1900s.

Synopsis from the Licensor or Theatre Company: Direct from Broadway, comes the acclaimed Tony Award®-winning musical SUFFS about the brilliant, passionate, and funny American women who fought tirelessly for the right to vote. Created by Shaina Taub, the first woman to ever independently win Tony Awards® for Best Book and Best Score in the same season, this “thrilling, inspiring and dazzlingly entertaining” (Variety) new musical boldly explores the triumphs and failures of a struggle for equality that’s far from over. Winner of the Outer Critics’ Circle Award for Best New Musical.

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Dynamic

Prior Exposure/Knowledge Required: No, but you’d probably appreciate this show more if you’re familiar with US history.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actors: All

Total Actors: Too many to count

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Other Rave(s)

Voices and Sound Design: The exceptional sound design by Jason Crystal allowed both the voices and the band to shine in perfect harmony. It was a crisp refreshing contrast to the muddled sound balance I experienced last week at the Paramount Theatre’s Some Like It Hot. It wasn’t just my impression since I ran into a fellow patron in the elevator who enthusiastically praised the precision of the sound and the clarity of the enunciation before I even mentioned it. Fresh from its Broadway run, the cast’s voices were crystal clear, confident, and sure. Every performer brought such strength and control that it was nearly impossible to single out high performers since the ensemble’s vocal talent was uniformly remarkable.
Song Highlights: Standout moments included Marya Grandy’s powerful rendition of “This Girl,” Jenny Ashman’s spirited performance in “Ladies,” and Laura Stracko’s commanding take on “Alva Belmont.” At times, the driving rhythms and historical subject matter of numbers like “The March (We Demand Equality)” evoked the same energy of Hamilton. But at other times, the homogenous all-female chorus was reminiscent of 1990s-2000s adult contemporary music (like from the Christian contemporary group Point of Grace).

Rant(s)

Otherness: The script frequently leaned on the antiquated tired “quirky foreigner” trope (Polish character Ruza Wenclawska) to elicit cheap laughs from the audience. Surely theatre has moved beyond this by now!

Other Musing(s) and Observation(s)

Vibe: As can be expected from any show about activism, the script carried a decidedly preachy tone. Additionally, inherently dry historical subject matter runs a higher risk of a tepid script that prioritizes spewing facts (albeit facts about important events) over performing entertainment. The production reminded me of a Seattle Women’s Chorus concert – purposeful, no-nonsense, and brimming with female empowerment. It was the theatrical equivalent of a smart Lane Bryant pantsuit. I was missing flashy tap dance numbers, but I admit that there’s a time and place for everything. Despite all that, the show resonates perfectly with Pacific Northwest ideals, and the enthusiastic response from the crowd made that clear.

Theatre Company: National Tour Courtesy of The 5th Avenue Theatre

Venue: The 5th Avenue Theatre

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

Price Range: $50 to $155

Ticket Affordability Options: The 5th Avenue Theatre often partners with organizations you’re affiliated with for discount tickets. For example, they sometimes offer a discount for my employer affiliation and my apartment complex. Rush tickets are typically also available the day of the performance at the box office.

Dates: September 13 to 27, 2025

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 northwest of the theatre. The entrance is on 5th Ave. Do NOT park in the APA Coast Seattle Downtown Hotel garage (entrance on 6th Ave). That’s where most of the audience (and I think the subscribers) parks, so it’s a nightmare to leave. However, the APA Coast Seattle Downtown Hotel garage is the closest garage to the theatre and you can access the theatre through a tunnel if you want to avoid the elements. But, in my opinion, this benefit is not worth the time wasted leaving the garage.

Like/Comment/Share my Social Media Posts About this Performance:

Buy a Ticket or Learn More:

Pictures: See production pictures below by Joan Marcus.

Cast and Production Team: See after pictures below.

Jenn Colella as Carrie Chapman Catt and SUFFS Company. Photo by Joan Marcus.

Shaina Taub as Alice Paul. Photo by Joan Marcus.

Hannah Cruz as Inez Milholland and the SUFFS Company. Photo by Joan Marcus.

Credits from the ENCORE printed program.

Operation Mincemeat – Musical – Review – Fortune Theatre

@showsiveseen "Operation Mincemeat" #musical at #WestEnd's @FortuneTheatreLDN in London & Broadway’s Golden Theatre in NYC. Seamless cast doubling and thoughtful gender swaping showcased the actors' wide range. The endearing Peter McGovern stole the show in this witty surprise hit. World tour launches Feb 2026! Review: showsiveseen.com/13654 Photos: Matt Crockett Director: Robert Hastie Music Director: Ben Cox #WW2 #WWII #theatre @Operation Mincemeat Broadway @Operation Mincemeat ♬ Making a Man – Operation Mincemeat

Elevator Thoughts (aka Tweet): Operation Mincemeat musical at West End’s Fortune Theatre in London & Broadway’s Golden Theatre in NYC. Seamless cast doubling and thoughtful gender swapping showcased the actors’ wide range. The endearing Peter McGovern stole the show in this witty surprise hit. World tour launches Feb 2026!

Recommendation:
See it, especially if you enjoy British-style theatre.

Was This the First Time I Attended a Production of this Show? Yes

Would I See It Again 3 Years from Now? Probably

Mainstream Appeal: Medium

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

My Synopsis (No Spoilers): Based on a true story, the British hatch an audacious and unconventional plot to outwit the Nazi forces during World War II.

Synopsis from the Licensor or Theatre Company: The year is 1943 and we’re losing the war. Luckily, we’re about to gamble all our futures on a stolen corpse. Singin’ in the Rain meets Strangers on a Train, Noel Coward meets Noel Fielding, Operation Mincemeat is the fast-paced, hilarious and unbelievable true story of the twisted secret mission that won us World War II. The question is, how did a well-dressed corpse wrong-foot Hitler?

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Dynamic, but austere

Prior Exposure/Knowledge Required: No, but you’d probably appreciate this show more if you’re familiar with the historical war operation.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actors: All

Total Actors: 5

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Other Rave(s)

Gender Portrayal: The casting choices were thoughtfully planned as female actors played roles of power and force, while male actors embodied characters with less agency or influence. For instance, Alex Young (a woman) played Ewen Montagu, an alpha who carried himself with the unshakable white man confidence that the world will automatically fall at his feet. Young delivered the role with commanding presence, exuding “main character” energy reminiscent of Starbuck from the reimagined Battlestar Galactica. In contrast, the endearing Peter McGovern played the geeky, socially-awkward beta underdog Charles “Charlie” Cholmondeley who sang about wanting to be a maggot in “Dead in the Water.”
Seamless Changes: The cast transitioned fluidly between scenes, locations, and convincing characters without needing transition pauses while still allowing the audience to track each change with ease.
“Dear Bill” Song: It wasn’t on my bingo card to tear up when Jason Kajdi (or was it Danny Becker?), in drag as a matronly woman Hester Leggatt, sang a poignant love letter to a fake boyfriend. It was a nice touch for his character to accidentally slip the name of the real man who inspired the love letter.
Nazi Song: The second act opened with an unexpected number, “Das Übermensch.” Styled like a pulsing techno-dance track, it was a satirical piece about the Nazi enemies similar to The Producers “Springtime for Hitler”. The lyric “Goose step to the left, jump to the far right” was particularly clever. At the end, when the audience offered the obligatory (but well-earned) applause, one character broke the fourth wall to scold us, “Really?! Whose side are you on?” It was a brilliantly uncomfortable moment that turned the usual post-song reaction into part of the satire.
“All the Ladies” Song: Roshani Abbey (as Jean Leslie) led a high-energy female-empowerment anthem that channeled the girl-group swagger of Fifth Harmony and the theatrical flair of Six. At moments, her delivery even echoed the rap style of Nicki Minaj.
American: As an American watching a British show in a London English theatre, it was funny to see how we are portrayed. The American character was a boisterous pilot in a leather sherpa jacket emblazoned with the USA flag. He carried a hot dog and exclaimed, “Jeez Louise!”
Substance Over Spectacle: Given the seemingly dull subject matter in the synopsis and the tiny-theatre-that-could vibe of the venue, I didn’t go in with terribly high expectations for this show. But by the end, I was genuinely surprised by the production as a whole. Unlike the big, flashy superficial productions I usually gravitate toward, this one relied on the substance of its script and the cast’s impressive range of talent. It’s easy to see why it won Tony Awards and the Laurence Olivier Awards.

Rant(s)

Orchestra/Band: The music sounded overly synthesized and artificial to the point where I questioned whether a live band was even present. While digital tools may be more cost-effective than analogue instruments, this is the West End! We expect the richness of real instruments. I’m curious what this sounds like in the current Broadway production.
Ending (No Spoilers): As with many musicals, the ending felt lazily constructed. It was abrupt with awkward unfolding. The show’s ultimate message was muddled, coming across less as a thoughtful conclusion and more as a smug declaration like “Lucky us, we control the narrative. Sucks to be you.”

Other Musing(s) and Observation(s)

Breaking Character: In the second act, a few actors broke character with unscripted laughter. It was a refreshing indication that even after countless performances, the cast continues to find joy in sharing the show.

Venue: Fortune Theatre

Venue Physical Address: Russell St, London WC2B 5HH, United Kingdom

Venue Classification: West End

Price Range: £59.50 to 149.50 GBP

Seating: Assigned Seating

Like/Comment/Share my Social Media Posts About this Performance:

Buy a Ticket or Learn More:

https://operationmincemeat.com/

Pictures: See production pictures below by Matt Crockett.

Cast and Production Team: See after pictures below.

Roshani Abbey, Chlöe Hart, Peter McGovern, Alex Young and Danny Becker. Photo by Matt Crockett.

Chlöe Hart, Christian Andrews, Emily Barber, Seán Carey and Claire-Marie Hall. Photo by Matt Crockett.

Geri Allen as Ian Fleming. Photo by Matt Crockett.

George Jennings as Charles Cholmondeley. Photo by Matt Crockett.

Chlöe Heart as Ian Fleming. Photo by Matt Crockett.

Credits from Operation Mincemeat London Website.

Roshani Abbey as Jean Leslie & Others. Photo by Matt Crockett.

Peter McGovern as Charles Cholmondeley & Others. Photo by Matt Crockett.

Madeleine Jackson-Smith as Ewen Montagu, Jean Leslie & Others. Photos by Matt Crockett.

Jason Kajdi as Hester Leggatt & Others. Photo by Matt Crockett.

Operation Mincemeat Geri Allen as Johnny Bevan & Others. Photo by Matt Crockett.

George Jennings as Charles Cholmondeley & Others. Photo by Matt Crockett.

Danny Becker as Hester Leggatt & Others. Photo by Matt Crockett.

Chlöe Hart as Johnny Bevan & Others. Photo by Matt Crockett.

Alex Young as Ewen Montagu & Others. Photo by Matt Crockett.

Some Like It Hot – Musical – Review – Paramount Theatre

@showsiveseen "Some Like It Hot" #jazz #musical at the Paramount Theatre from Broadway Seattle national tours and @Seattle Theatre Group. #Tap dance extravaganza starring @Tavis Kordell and the delightful Matt Loehr. Closes 9/21/25! Review: showsiveseen.com/13616 Photos: MurphyMade Director/Choreo: Casey Nicholaw Stage Manager: Donovan Dolan Conductor: Mark Binns #tapDance #tapDancing @Some Like It Hot The Musical ♬ Some Like It Hot – NaTasha Yvette Williams & Adrianna Hicks & J. Harrison Ghee & 'Some Like It Hot' Original Broadway Cast

Elevator Thoughts (aka Tweet): Some Like It Hot jazz musical at the Paramount Theatre from Broadway Seattle national tours and Seattle Theatre Group. Tap dance extravaganza starring Tavis Kordell and the delightful Matt Loehr.

Recommendation:
See it, especially if you enjoy tap dancing.

Was This the First Time I Attended a Production of this Show? Yes

Would I See It Again 3 Years from Now? Yes

Mainstream Appeal: Medium

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

My Synopsis (No Spoilers): After witnessing a Chicago mob boss commit a crime, two brothers become his next targets. To escape, they disguise themselves in drag and join an all-female traveling musical group hoping the ruse will take them safely to Mexico.

Synopsis from the Licensor or Theatre Company: Winner of 4 Tony Awards®, including Best Choreography and Best Costumes, and the Grammy Award® for Best Musical Theater Album, SOME LIKE IT HOT is “A Super-Sized, All-Out Song-And-Dance Spectacular!” – The New York Times. Set in Chicago when Prohibition has everyone thirsty for a little excitement, SOME LIKE IT HOT is the “glorious, big, high-kicking” (Associated Press) story of two musicians forced to flee the Windy City after witnessing a mob hit. With gangsters hot on their heels, they catch a cross-country train for the life-chasing, life-changing trip of a lifetime. And what a trip it is! With its irresistible combination of heart and laughs, song and dance, SOME LIKE IT HOT won more theater awards than any show in its season, and was named Best Musical by the Drama Desk, The Drama League, and the Outer Critics Circle. No wonder Deadline calls it “a tap-dancing, razzle-dazzling embrace of everything you love about musical theater.”

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Dynamic

Prior Exposure/Knowledge Required: No, but you’d probably appreciate the show more if you watched the classic film.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actors: All

Total Actors: Too many to count

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.75 hours

Other Rave(s)

Tap Dancing: This production featured more tap dancing than any musical I’ve seen. Director and choreographer Casey Nicholaw used it in wonderfully inventive ways. In Act I, tap dance drove madcap escape sequences, while in Act II it added energy to fast-paced chase scenes. Though tap isn’t a style that usually involves tactile partner work like a waltz, there were clever moments where the dancers physically connected in doubles, which added variety to the dance form. The tap choreography stood out in the Act I finale, “Some Like It Hot,” as well as in one of the early playful numbers, “You Can’t Have Me (If You Don’t Have Him).”
Delightful Characters: Matt Loehr played Joe/Josephine like a class clown, always ready with a clever quip up his sleeve. The running gag about his aged appearance in drag landed consistently, keeping the audience in stitches. Meanwhile, Edward Juvier’s portrayal of the hopelessly smitten Osgood Fielding III carried shades of the persistent, nerdy Ogie from Waitress.

Rant(s)

Sound Balancing: The sound balancing left much to be desired. Several microphones were set too low, most noticeably for one of the leads, Tavis Kordell. I can only assume this is the curse of national tours opening in new venues without the benefit of preview performances.
Orchestra/Band: I’m not sure if this was also related to the sound balancing, but the orchestra didn’t quite achieve the full-bodied “big band” sound the score seemed to call for. At key moments (such as the Act I showstopper and “A Darker Shade of Blue”), the music lacked the punch and vitality needed to elevate the numbers. I longed for the astounding accompaniment from the nearby 5th Avenue Theatre like in their recent Bye Bye Birdie.

Other Musing(s) and Observation(s)

Injury: There was an substantial unexpected 15-minute delay before the second act. At first, it sounded like technical difficulties. But it turned out to be an injury sustained by lead actor Tavis Kordell from the first act. Fortunately, Jonathan Duvelson (or perhaps Jamal Stone?) stepped in to cover the dance-heavy portions of the role with Kordell pushing through the acting portions. Honestly, I wouldn’t have noticed the seamless switch if the Assistant Director Steve Bebout hadn’t announced it before the second act. Still, I couldn’t help but wonder what would have been different had Kordell continued with their original track. Oh, the magic and unpredictability of live theatre! The delay did lead to a few audience members leaving, which meant I scored a much better view without the someone sitting in front of me. 🙂
The Reveal (Spoiler Alert): It wasn’t clear whether Osgood understood that Jerry/Daphne’s identity was not a cisgender woman.

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

Venue: Paramount Theatre

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

Price Range: $56-192

Dates: 9/16/25 – 9/21/25

Seating: Assigned Seating

Like/Comment/Share my Social Media Posts About this Performance:

Buy a Ticket or Learn More:

Pictures: See production pictures below by Matthew Murphy.

Cast and Production Team: See after pictures below.