Musicals – Shows I've Seen

Preview Post – 9 to 5 – Musical – Village Theatre

Happy opening weekend to the Village Theatre production of Dolly Parton’s 9 to 5 musical. On-stage till 1/4/26 in Issaquah and 2/8/26 in Everett. Stay tuned for my full review!

Tickets: https://villagetheatre.org/see-a-show/9to5/

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Brigadoon – Musical – Review – Village Theatre

@showsiveseen Lerner and Loewe's #Brigadoon #musical at @Village Theatre. Starring Jessica Skerritt & Harter Clingman. Lush heather flower-covered hills motif by scenic designer Parmida Ziaei. Rich, soaring vocals in the classic Golden Age #theatre style. Charming folk dances by Katy Tabb. Idyllic #Scottish fantasy. See it before the enchantment disappears into the mist 11/16/25! Review: showsiveseen.com/14284 Production Video: Nyhuis Creative Director: Karen Lund Stage Mgr: Laurel Nichols #scotland ♬ I'll Go Home with Bonnie Jean – Ross Lekites

Elevator Thoughts (aka Tweet): Lerner and Loewe’s Brigadoon musical at Village Theatre. Lush heather flower-covered hills motif by scenic designer Parmida Ziaei. Rich, soaring vocals in the classic golden-age musical style. Charming folk dances by Katy Tabb. Idyllic Scottish fantasy. See it at Everett before the enchantment disappears into the mist on 11/16/25!

Recommendation:
See it, especially if you enjoy the Golden Age musical style like in Cinderella.

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): Two city men stumble upon a magical country village hidden in the Scottish Highlands where time seems to have stopped and its inhabitants live in an impossibly idyllic past. Why does everyone live as if they’re from another era? What’s the secret behind this timeless Shangri-La?

Synopsis from the Licensor or Theatre Company: It’s almost like being in love! Dance your way back in time to one of the most romantic musicals ever written, Lerner and Loewe’s Brigadoon. Americans Tommy and Jeff are hiking the Scottish Highlands, when out of the mists they stumble upon the enchanting village of Brigadoon, which appears for only one day every 100 years. But this dreamlike place is far more than it seems—and those who fall in love there might never be the same. From the writers of My Fair Lady and Camelot comes this soaring love story, full of glorious ballet and favorite tunes like “Come to Me, Bend to Me,” “The Heather on the Hill” and “Almost Like Being in Love.” This production features an exquisite new adaptation, which enhances all the romance and magic that makes Brigadoon a truly timeless masterpiece.

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Mostly dynamic

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actor(s): 6

Total Actor(s): 17

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes, but like many Golden Age musicals, the second act felt short. Honestly, the entire show could have easily played through in a single act without interval.

Length (Including Any Intermission): 2.5 hours

Other Rave(s)

Golden Age Style: The production captured the essence of Golden Age musicals through its vocal styling. Jessica Skerritt’s vibrato soared like a bird in “Waitin’ for My Dearie” (supported by a beautiful trio of backup singers) and “From This Day On.” Daniel Velasquez demonstrated similar vocal prowess when singing “I’ll” in “I’ll Go Home with Bonnie Jean.” The rich tenor and baritone notes evoked the era’s signature sound as Harter Clingman brought warmth to “There But For You Go I” and “The Heather on the Hill.” Velasquez tenderly serenaded his love through a door in “Come to Me, Bend to Me.” Skerritt and Clingman’s duet on “Almost Like Being in Love” had genuine chemistry. When the full chorus swelled together, it was like the lush overtures of classic Disney films. Together, these moments transported the audience to the Golden Age of ole timey musical theatre.
Accents: Dialect coach Gin Hammond achieved impressive results with the cast. Their Scottish accents were so thick that it took some adjustment to understand. Though I would be none the wiser if they weren’t accurate! The delivery throughout the performance was mostly consistent. However, there was a time or two when an actor accidentally reverted to a non-Scottish accent during a song. It reminded me of Adele losing her cockney accent when she sings.
Choreography: Katy Tabb’s folk choreography brought charm to moments like the wedding scene, with dancers more concerned with footwork than their arms in a style that evoked both the Irish step dancing from Legally Blonde: The Musical and the lovely movements of The Sound of Music‘s “Ländler.” However, the stage felt cramped for the large cast’s dance in “I’ll Go Home with Bonnie Jean.”
Scenic Design: Parmida Ziaei’s set design featured a striking purple heather-covered hill motif that served both aesthetic and functional purposes. The tiered landscape allowed actors to move vertically through the space, creating varied sightlines and visual depth. Unlike Stereophonic at the Paramount Theatre (where the scenic design elevation alleviated the seats’ inadequate slope) the Village Theatre’s superior sightlines meant Ziaei’s hills enhanced rather than remedied the viewing experience.
Plaid: Costume designer Nanette Acosta transformed the stage into a tartan wonderland. Few scripts allow costume designers to embrace plaid so boldly.

Rant(s)

Falling in Love: The romance felt rushed. I recognize the constraints of a two-and-a-half-hour runtime, but the couple’s journey from strangers to soulmates needed more breathing room to feel earned.
Ending (No Spoilers): The resolution relied on an easy fix that plagues weaker musicals. It was saccharine reminiscent of Disney’s “true love’s kiss” that undercut any complexity the story had been building. The ending needed something more thought out.

Theatre Company: Village Theatre

Venue: Village Theatre

Venue Physical Address:

Village Theatre’s Francis J. Gaudette Theatre: 303 Front Street North, Issaquah, WA 98027
Everett Performing Arts Center: 2710 Wetmore Avenue, Everett, WA 98201

Price Range: $33-150

Ticket Affordability Options: See the theatre’s official page about discounts and pay-what-you-can performances

Dates:

Issaquah: September 16 to October 19, 2025
Everett: October 25 to November 16, 2025

Seating: Assigned Seating

Parking:

Issaquah: Free street parking and certain free parking lots. Lot parking availability is very difficult to find though. I’ve basically given up on that. I usually end up parking on Rainier Boulevard North. As a last resort, 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 mostly only locals know about.
Everett: Free street parking and some paid parking lots/garages.

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Photos: See production photos below by Auston James.

Cast and Production Team: See after photos below.

Daniel Velasquez and Susanna Cathryn Ballenski in Village Theatre’s *Brigadoon* (2025). Photo by Auston James.

Jasmine Jean Sim and Mike Wu in Village Theatre’s *Brigadoon* (2025). Photo by Auston James.

Harter Clingman and Jessica Skerritt in Village Theatre’s *Brigadoon* (2025). Photo by Auston James.

Daniel Velasquez and the company of Village Theatre’s *Brigadoon* (2025). Photo by Auston James.

Carlos Narvaez, Lisa Kay Kwak, Adam Mandala, Mallory Cooney King, and Marquez Linder in Village Theatre’s *Brigadoon* (2025). Photo by Auston James.

Credits from the printed ENCORE program.

Shucked – Musical – Review – Paramount Theatre

@showsiveseen 🌽 Robert Horn, Brandy Clark, & Shane McAnally’s #Shucked #musical national tour courtesy of Broadway Seattle & @Seattle Theatre Group. Witty script was a cornucopia of sly clever corny dad jokes. Foot-tapping #country melodies. @Danielle Wade was like a modern-day young Dolly Parton. Hilarious, thought-provoking musings from Mike Nappi. See it before it closes 11/9/25! Review: showsiveseen.com/14214 Director: Jack O'Brien Stage Mgr: Alan D Knight Choreo: Sarah O'Gleby Music Supervision: Jason Howland Music Director: Nick Williams #corn #theatre @Shucked Musical ♬ Independently Owned – Alex Newell & Original Broadway Cast of Shucked

Elevator Thoughts (aka Tweet):🌽 Robert Horn, Brandy Clark, & Shane McAnally’s Shucked musical national tour courtesy of Broadway Seattle & Seattle Theatre Group. Witty script was a cornucopia of sly corny clever dad jokes. Foot-tapping country melodies. Danielle Wade was like a modern-day young Dolly Parton. Hilarious, thought-provoking musings from Mike Nappi. See it before it closes 11/9/25! #heartland #midwest #corn

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

Mainstream Appeal: Medium to high

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

My Synopsis (No Spoilers): In a small Midwestern town where corn is the lifeblood of the community, the crops begin to mysteriously wither. At the cusp of her wedding, “Maizy” leaves heartland America for the big city in search of a cure for the corn. She pins her hopes on the so-called Tampa “Corn Doctor” to save her hometown.

Synopsis from the Licensor or Theatre Company: Shucked is the Tony Award®–winning musical comedy The Wall Street Journal calls “flat out hilarious!” And nobody knows funny like economists. Featuring a book by Tony Award winner Robert Horn (Tootsie), a score by the Grammy® Award–winning songwriting team of Brandy Clark and Shane McAnally (Kacey Musgraves’ “Follow Your Arrow”), and directed by Tony Award winner Jack O’Brien (Hairspray), this corn-fed, corn-bred American musical is sure to satisfy your appetite for great musical theater.

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Mostly dynamic

Prior Exposure/Knowledge Required: You’ve got to think fast to keep up with the jokes. Those punchlines come quicker than you’d expect!

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actor(s): All

Total Actor(s): 15

Perceived Pace of the Show: Medium to fast speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Other Rave(s)

Cornucopia of Comedy: I was genuinely blown away by how many sly, blink-and-you’ll-miss-them jokes Robert Horn packed in the script and I completely lost track of the number of laugh-out-loud moments. I haven’t laughed this much at a show in ages. The humor was a smart blend of dad jokes, clever wordplay, “corny” puns, and small-town pearls of wisdom.

Like Clue: Live on Stage!, this production demanded quick thinking. You have to stay sharp to catch every punchline, or risk FOMO when everyone else is cracking up.

In the spirit of all that fast wit, absurdity, and corn, I couldn’t help but think of Titus Andromedon from Unbreakable Kimmy Schmidt. It was theatrical, self-aware, and just the right amount of ridiculous.
Uks Unbreakable Kimmy Schmidt GIFfrom Uks GIFs
Peanut: One of the funniest characters was Peanut (played by Mike Nappi), the small-town idiot savant. His running gag was prefacing his offbeat musings with “I think.” They never failed to elicit a laugh. And they always made you go, “hmmm.” A seemingly simple-minded character beginning a statement with “I think” only added to the irony. My personal favorite insight from this simpleton was “I think if a movie is based on a true story, it’s probably true, just with ugly people.”
Danielle Wade: Danielle Wade, who portrayed the female lead Maizy, delivered a performance marked by a beautifully distinctive voice. Her singing and speaking carried the charm and vivacity of a contemporary Dolly Parton, effortlessly blending youthful energy with a timeless, melodic country warmth.
Music: The music by Brandy Clark and Shane McAnally leaned a bit on the formulaic Broadway side. But honestly, that’s exactly how I like my musicals: light, catchy, and mainstream. It exuded a foot-tapping country flair so infectious that I could literally feel someone next to me tapping along. With Reba McEntire serving as co-producer and the musical’s “Official Stalksperson,” that down-home, approachable energy makes perfect sense.

“Independently Owned,” performed by Lulu (played by Miki Abraham), was a standout number, echoing the same confident, feminist “take me as I am” attitude as Hairspray’s “Big Blonde and Beautiful.” Meanwhile, the elevator-style background music during the montage with Gordy (Quinn VanAntwerp) and Maizy in Tampa surprisingly worked well. That kind of understated, almost banal style is rarely heard in musicals, which made it feel unexpectedly refreshing.
Narrators: The narrator duo evoked the dynamic of Janis (albeit kinder) and Damien from the Mean Girls musical with Joe Moeller as the semi-flamboyant gay Storyteller 2 and Maya Lagerstam, his “hag” best friend Storyteller 1. I don’t often comment on inclusive casting, but this production made a thoughtful, meaningful choice by casting BIPOC actors as Storyteller 1 and their family member. It’s a refreshing reminder that not every story in the rural country should be told as all-white.
Nick Bailey: Nick Bailey was perfectly cast as Beau, the quintessential handsome all-American, corn-fed, small-town country boy. He shined in his plaintive ballads “Somebody Will” and “Ok” while delivering a masculine rustic voice rarely heard in musical theatre.

Other Musing(s) and Observation(s)

Country Folk: The production portrayed entertaining boisterous caricatures of backwoods hillbillies complete with a small-town methhead, corn spirit moonshine, trailer-trash, and a distinctly conservative bend. God, country, and Trump, y’all! There was even a line “In Cob County, people think ‘Roe vs. Wade’ is a debate about the best way to cross a river.” It’s easy to feel superior and almost verges on punching down when watching this show in an educated wealthy liberal city like Seattle. I wonder how audiences in more rural, Americana communities might receive this show though.

Theatre Company: National Tour Courtesy of Broadway Across America and Seattle Theatre Group

Venue: Paramount Theatre

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

Price Range: $43-166

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: November 4 – 9, 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.

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Photos: See production photos below by Matthew Murphy and Evan Zimmerman.

Cast and Production Team: See after photos below.

The Cast of The North American Tour of SHUCKED. Photo by Matthew Murphy and Evan Zimmerman.

Maya Lagerstam as Storyteller 1 and Tyler Joseph Ellis as Storyteller 2 in The North American Tour of SHUCKED. Photo by Matthew Murphy and Evan Zimmerman.

Jake Odmark as Beau and Danielle Wade as Maizy in The North American Tour of SHUCKED. Photo by Matthew Murphy and Evan Zimmerman.

Quinn VanAntwerp as Gordy and Miki Abraham as Lulu in The North American Tour of SHUCKED. Photo by Matthew Murphy and Evan Zimmerman.

Miki Abraham as Lulu and Ryan Fitzgerald in The North American Tour of SHUCKED. Photo by Matthew Murphy and Evan Zimmerman.

Mike Nappi as Peanut in The North American Tour of SHUCKED. Photo by Matthew Murphy and Evan Zimmerman.

Chicago – Musical – Review – The 5th Avenue Theatre

@showsiveseen Seattle's opening night of the "#Chicago" #musical national tour at @The 5th Avenue Theatre w/ @Seattle Theatre Group. Starring @claire.m__ & a @elliebean. Relevant commentary of the #criminal justice system. Fosse choreography w/ impressive high kicks & "All That Jazz." Closes 11/2/25. Review: showsiveseen.com/14002 Photos: Jeremy Daniel Director: David Hyslop Music Director: Andy Chen Choreo: @Gregory Butler Stage Mgr: Sofia Rose Itskovich and Elspeth Bustard @Chicago the Musical | Broadway @chicagotour #theatre #musicaltheatre ♬ All That Jazz – Broadway Allstars

Elevator Thoughts (aka Tweet): Seattle’s opening night of the Chicago musical national tour at The 5th Avenue Theatre w/ Seattle Theatre Group! Starring Claire Marshall & Ellie Roddy. Relevant commentary of the criminal justice system. Fosse choreography w/ impressive high kicks and “All That Jazz.”

Recommendation:
See it if 1) you enjoy vaudeville/Cabaret 2) or you’re okay with austere staging and costumes like the Jamie Lloyd production of Sunset Blvd.

Was This the First Time I Attended a Production of this Show? No, I previously saw the national tour more than a decade ago in Houston.

Would I See It Again 3 Years from Now? No, twice is enough for me

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): Set in a cabaret-style show, the musical follows two rival high-profile female murderers in a Chicago prison as they navigate the challenges of preserving their celebrity status while facing the threat of capital punishment.

Synopsis from the Licensor or Theatre Company: CHICAGO is still the one musical with everything that makes Broadway shimmy-shake: a universal tale of fame, fortune, and all that jazz, with one showstopping song after another and the most astonishing dancing you’ve ever seen. In the whirlwind of Chicago’s Jazz Age, two of the Cook County Jail’s most notorious murderesses — vaudeville star Velma Kelly and chorus girl Roxie Hart — become fierce rivals as they compete for headlines amidst a media frenzy.

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Static and austere

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: Yes, but it seemed to be framed in a cabaret show of vignettes.

Union Actor(s): All

Total Actor(s): 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)

Modern Commentary: Though written in the 1970s, this musical remains startlingly relevant. It exposed corruption and performative spectacle in the legal system, where charisma, wealth, fame, and media attention easily outweigh justice. Lines like “Give ‘em the old razzle dazzle” showed how charm and showmanship “trump” (no pun intended to our current presidential administration) morality or legal rigor, turning even the most damning cases into public-relations triumphs like with today’s Anna Delvey.

Additionally, Hunyak, the Hungarian immigrant character played by Lacey Kohn, showed the inequality in the criminal justice system. That reality is even more poignant today. However, the production could have made an even bolder statement by reimagining Hunyak as a person of color in light of today’s ICE raid injustices.

The musical portrayed our hypercapitalist society where crime and “justice” alike are commodified, and the theater of the law is as performative as it is flawed.
Band: The band was arranged on a tiered, multi-level jazz “big band” setup, bringing a sense of elegance and class to the otherwise naked stage. The actors occasionally even interacted with the conductor Andy Chen, who was also mic’ed for the audience. It’s usually a treat to see the musicians featured so prominently in a show since they’re performers in their own right, and their talent deserves recognition beyond the usual confines of “the pit.” Last month, I saw a musical with a theatre novice, and they didn’t even realize the accompaniment was live. Highlighting the band like this not only enriched the visual experience but also reminded the audience that every note and rhythm is a vital part of the performance.
Mary Sunshine: Kudos to J. Clanton (as the melodramatic sentimental “sob sister” reporter Mary Sunshine) who hit the character’s high notes with surprising accuracy in full drag. The role was intentionally silly and over-the-top with the perfect amount of camp to not overshadow the rest of the show. It was a brief memorable presence that added un unexpected fun flair, if slightly exaggerated, to the production.
Beefcake: Sitting far all the way back in row V, I was surprised to see Tim Canali (as the illicit “mister” lover Fred Casely) radiate such commanding physicality. Even from a distance, his toned muscular definition was unmistakable. Clearly, no stage makeup illusion could account for that kind of bulk. Canali turned heads not just with his performance but with his impressive “swole” beefcake physique.

Rant(s)

Lighting/Set/Costume Design: The musical’s signature low-lighting motif lended dangerously close to sleep-inducing. Live theatre already inherently risks encouraging drowsiness with its dim aisles and occasionally dense dialogue/storyline. This visually dark stage and the plain black costumes only encouraged it more. In fact, at intermission, I asked my seatmate if they enjoyed their expensive nap! If you’re going for an austere set, at least crank up the spotlight intensity. Minimalism doesn’t have to equal invisibility. Some might argue that sparse lighting/scenery/costumes allow performers to exhibit their talent without distraction. But it’s difficult to impress the audience with vocal/instrumental talent alone if the crowd can only see vague visual shapes.
General Energy: Similarly, the performance energy mirrored the subdued lighting/scenic/costume design: monotone, subtle, and a touch sleepy. I guess this is a challenge intrinsic to a Fosse show. A particularly taxing moment was Roxy’s headline-celebration scene, when a monologue-like delivery coincided with the band endlessly repeating the same musical phrase. But the blame lies with the script and score, not the actors or musicians. What this musical desperately needed was a jolt of tap-dance pizzazz akin to Some Like It Hot. Sometimes a spectacle is the spark that keeps the audience awake.

Other Musing(s) and Observation(s)

Choreography: The Fosse choreography didn’t feel as razor-sharp, tight, abrupt, or synchronized as I would have expected. Perhaps that’s my own Millennial sensibilities, shaped by K-pop, NSYNC, and TikTok. I wonder how this company’s precision would compare to the original Fosse production. Maybe Fosse walked so Gen-Z TikTokers could run.
Audience: Both times I saw this show, I never understood the role of the prison performers like Velma Kelly and Roxie Hart. Were they performing for an actual audience within the story, like fellow inmates or visitors from Chicago? Was their stardom due to the notoriety of their crimes or did it also come from entertaining the Chicago masses on-stage? I’m not alone in this confusion as a companion who attended with me mused the same question.

Theatre Company: National tour from Broadway Across America, The 5th Avenue Theatre, and Seattle Theatre Group

Venue: The 5th Avenue Theatre

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

Price Range: $55-210

Ticket Affordability Options: Broadway Seattle, Seattle Theatre Group, or The 5th Avenue Theatre might partner with an organization you’re affiliated with for discount tickets. For example, UW employees/students are eligible for an organization discount.

Dates: October 22 to November 2, 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.

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Pictures: See production pictures below by Jeremy Daniel.

Cast and Production Team: See after pictures below.