Musicals – Shows I've Seen

The Wiz – Musical – Review – Paramount Theatre

@showsiveseen “The Wiz” #musical national Tour at Paramount Theatre (Broadway at The Paramount / Seattle Theatre Group). Starring @cimone (understudied by @cyniah.elise) as Dorothy. Delightful standout @EAL as Scarecrow. Powerhouse vocals often felt like a hoppin' #Black church service, full of spirit and rhythm. "Ease on down the road" to see this modernized production before closing 2/15/26. Review: showsiveseen.com/14669 Director: Schele Williams Music Director: @Victor.Simonson Music Supervisor: Joseph Joubert Choreo: @JaQuel Knight Stage Mgr: Marshall Lee Smith Jr #WizardofOz #theatre #musicalTheatre @THE WIZ on Broadway ♬ Ease On Down The Road – Nichelle Lewis & Avery Wilson & Kyle Freeman & Phil.

Elevator Thoughts (aka Tweet): The Wiz musical national Tour at Paramount Theatre (Broadway at The Paramount / Seattle Theatre Group). Starring Dana Cimone (understudied by Cyniah Elise) as Dorothy. Delightful standout Elijah Ahmad Lewis as Scarecrow. Powerhouse vocals often felt like a hoppin’ Black church service, full of spirit and rhythm. “Ease on down the road” to see this modernized production before closing 2/15/26.

Recommendation:
See it, especially if you enjoy Todrick Hall YouTube videos reenacting iconic movies.

Was This the First Time I Attended a Production of this Show? No, I’ve seen it 2 times previously.

Would I See It Again 3 Years from Now? Yes

Mainstream Appeal: High

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

My Synopsis (No Spoilers): Inspired by the classic tale The Wonderful Wizard of Oz and reimagined through a vibrant modern Black cultural lens, The Wiz retells the journey to Oz with a soulful score.

Synopsis from the Licensor or Theatre Company: This groundbreaking twist on The Wizard of Oz changed the face of Broadway—from its iconic score packed with soul, gospel, rock, and 70s funk to its stirring tale of Dorothy’s journey to find her place in a contemporary world. With direction by Schele Williams (The Notebook, revival of Disney’s Aida), choreography by JaQuel Knight (Beyoncé’s “Single Ladies,” Black Is King) and additional material by Tony-nominated and Emmy-nominated writer and TV host Amber Ruffin (The Amber Ruffin Show, Late Night with Seth Meyers), this dynamite infusion of ballet, jazz, and modern pop brings a whole new groove to easing on down the road. Everybody rejoice!

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: You should be remotely familiar with any adaptation of The Wonderful Wizard of Oz.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

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)

Scarecrow: Elijah Ahmad Lewis portrayed a colorful and delightfully frenetic Scarecrow. Lewis showcased the breadth of his acting range shifting from high-energy shrieking flamboyance, to comedic impressions of Dorothy, then flipping effortlessly into a swaggering deep voiced persona for a “what-up-girl” punchline effect. Beneath it all, his singing voice was unexpectedly smooth and polished.
Music: This vibrant reimagining of The Wizard of Oz fully embraced Black culture, transforming the theatre into something akin to a joyful Sunday church service. From the start, Kyla Jade (as Aunt Em) set the tone with “The Feeling We Once Had,” delivering it with the emotional resonance of a classic church solo, reminiscent of CeCe Winans.

That spirit carried into “Be a Lion,” staged with such fervor that you half expect the audience to rise to their feet, hands lifted, making their way to the front in response to an altar call. Jade later returned as the wicked witch Evillene, bringing the house down with “No Bad News,” backed by gospel choir-style vocals and punctuated with tambourines. The number earned an extended ovation that was cut hilariously short when Evillene told the congregation to shut up.

Glinda’s “Believe in Yourself,” performed by Daja M Rice (understudy to Sheherazade), felt like another affirming church special music number. And in “If I Can Feel,” the Tinman (portrayed by D. Jerome) channeled smooth, contemporary R&B balladry like Brian McKnight.
Poppy Field: The poppy field scene unfolded like a retro 1970s fever dream, complete with the the sultry pulse of a funky wah-wah guitar. Afrotastic poppy sirens reminiscent of Diana Ross from The Wiz movie seduced the heroes into a hypnotic, beauty-salon fantasia, where resistance dissolved into indulgent, spa-like surrender.
Closed Captions: This performance included closed captions, which was a rare and welcome touch. I wish musicals embraced this accessibility as consistently as opera.
Emerald City: The Act 2 opener catapulted us into Emerald City with visuals like Wizamania from Wicked plus the swagger of hip-hop in an extended, vogue-inspired dance sequence. The production uniquely reimagined Emerald City as a pulsating nightclub, where the bouncers exuded cutting, drag-queen–level attitude. As RuPaul might say, “The library is open!”

The Library Is Open Rupaul GIFfrom The Library Is Open GIFs

Other Musing(s) and Observation(s)

Animated Projections: Reminiscent of the recent Spamalot at The 5th Avenue Theatre, this production relied on animation slightly too much as a crutch. The projections usually enhanced the experience like in the second-act opener with its Tokyo neon-green abstractions. But when they depicted literal scenery, the effect felt artificial, gimmicky, and cheap like in the wicked witch’s factory lair with its spinning gears. A simple rule of thumb for theatre: projections work best when they suggest abstractions rather than replicate scenery.
Comparison to Traditional Productions: Speaking of The 5th Ave Theatre, this production felt markedly different from the more traditional local production that The 5th Ave Theatre staged. The energy in the national tour seemed concentrated in the newer key moments, leaving some scenes feeling unusually subdued. The show opened slowly like starting a karaoke night with a ballad. And throughout the rest of the show, there were more voids than expected, again reminiscent of the recent Spamalot at The 5th Avenue Theatre. Even the vanquishment scene followed by the “Everybody Rejoice” song celebration lacked a full climactic punch. While the production’s efforts to modernize the musical were commendable, I wonder if at an expense they siphoned momentum from the original show’s more classic, beloved moments. Ultimately, while this was an enjoyable performance, I still found myself preferring the traditional rendition from The 5th Avenue Theatre.

Theatre Company: National tour brought by Broadway Across America and Seattle Theatre Group

Venue: Paramount Theatre

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

Price Range: $55-190

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: February 10 – 15, 2026

Seating: Assigned Seating

Parking: 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.

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Photos: See production photos below by Jeremy Daniel.

Cast and Production Team: See after photos below.

Alan Mingo Jr as The Wiz in the North American Tour of THE WIZ. Photo by Jeremy Daniel.

D. Jerome as The Tinman, Dana Cimone as Dorothy, and Elijah Ahmad Lewis as The Scarecrow in the North American Tour of THE WIZ. Photo by Jeremy Daniel.

Kyla Jade as Aunt Em and Dana Cimone as Dorothy in the North American Tour of THE WIZ. Photo by Jeremy Daniel.

Kyla Jade as Evillene and the ensemble of The Wiz in the North American Tour of THE WIZ. Photo by Jeremy Daniel.

Sheherazade as Glinda and Dana Cimone as Dorothy in the North American Tour of THE WIZ. Photo by Jeremy Daniel.

The ensemble of The Wiz in Emerald City in the North American Tour of THE WIZ. Photo by Jeremy Daniel.

Cal Mitchell as The Lion, Dana Cimone as Dorothy, D. Jerome as The Tinman, and Elijah Ahmad Lewis as The Scarecrow in the North American Tour of THE WIZ. Photo by Jeremy Daniel.

Credits from the printed ENCORE program.

Spamalot – Musical – Review – The 5th Ave Theatre

@showsiveseen Monty Python’s "#Spamalot" #musical national tour at @The 5th Avenue Theatre. Silly, corny, and fully self-aware, with lyrics and jokes updated for the modern age. The tap numbers absolutely deliver. Starring @Major Attaway as #KingArthur. See it before it closes 2/15/26. Review: showsiveseen.com/14645 Director/Choreo: Josh Rhodes Music Supervision: John Bell Conductor: Jonathan W Gorst Stage Mgr: Matthew Brooks #Camelot #theatre @Monty Python’s Spamalot ♬ Look On The Bright Side Of Life (All Things Dull And Ugly) – From "Life Of Brian" Original Motion Picture Soundtrack – Monty Python

Elevator Thoughts (aka Tweet): Monty Python’s Spamalot musical national tour at The 5th Avenue Theatre. Silly, corny, and fully self-aware, with lyrics and jokes updated for the modern age. The tap numbers absolutely deliver. Starring Major Attaway as King Arthur. See it before it closes 2/15/26.

Recommendation:
See it if you enjoy silly British comedy.

Was This the First Time I Attended a Production of this Show? No, I’ve seen the national tour twice before this.

Would I See It Again 3 Years from Now? Eh, I think 3 times 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): Parodies of King Arthur legends

Synopsis from the Licensor or Theatre Company: SPAMALOT, which first galloped onto Broadway in 2005, features a book & lyrics by Eric Idle and music by John Du Prez and Eric Idle. The original Broadway production was nominated for fourteen Tony Awards and won three, including Best Musical. The musical comedy lovingly ripped off from the film classic, Monty Python and the Holy Grail, has everything that makes a great knight at the theatre, from flying cows to killer rabbits, British royalty to French taunters, dancing girls, rubbery shrubbery, and of course, the Lady of the Lake. SPAMALOT features well-known song titles such as “Always Look on the Bright Side of Life,” “The Song That Goes Like This,” “Find Your Grail” and more that have become beloved classics in the musical theatre canon.

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: You need to be remotely familiar with King Arthur legends. It might help if you also saw the film Monty Python and the Holy Grail.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

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)

Tap Dance: The tap numbers (choreographed by director Josh Rhodes) were a highlight, especially in the Vegas-style “Camelot” and the encouraging “Always Look on the Bright Side of Life.” Several performers even took to tap-dancing on tables, which was a nice touch that ensured the audience appreciated the intricate footwork. We in the orchestra level often miss this because of our vantage point. First world problems, I know.
Modern References: The production loaded the script and lyrics with contemporary references. At its best, this was genuinely funny. I loved the parody of the recent viral Miss Universe France meme. At times, though, the show relied too heavily on this device, to the point where the references felt forced rather than clever. Moments like dropping modern songs (Demon Pop Hunters) mid-scene or inserting in references like “67″ (is that even in anymore?) felt like they were trying too hard. What began as quick satire occasionally tipped into gratuitous excess.

Rant(s)

Sound: Compared to the last two national tours I’ve seen of this show, the sound felt noticeably less expansive. It was quieter and less fluid. The production didn’t seem to fully fill the space. In earlier tours, both the band and vocals carried a richer, more enveloping presence. I don’t know if increasing the volume could even help. By contrast, most local 5th Avenue Theatre productions tend to sound more robust and complete. Even The Wild Party recently by Sound Theatre Company (a semi-equity production in a much smaller venue) felt fuller and more immersive sonically.
Animated Projections: The use of animation often feels like a cost-saving substitute for traditional scenic design. And when the visuals lean heavily into obvious CGI, it ultimately cheapens the production’s overall quality.

Theatre Company: National tour brought by The 5th Avenue Theatre

Venue: The 5th Avenue Theatre

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

Price Range: $50-180

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: February 4 – 15, 2026

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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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 SPAMALOT. Photo Credit: Photo by Matthew Murphy and Evan Zimmerman.

(L-R) Steven Telsey, L’ogan J’ones, Chris Collins-Pisano, and Connor Coughlin in the North American Tour of SPAMALOT. Photo Credit: Photo by Matthew Murphy and Evan Zimmerman.

(L-R) Leo Roberts and Amanda Robles in the North American Tour of SPAMALOT. Photo Credit: Photo by Matthew Murphy and Evan Zimmerman.

(L-R) Delaney Benson, Meridien Terrell, Claire Kennard, and Lindsay Lee Alhady in the North American Tour of SPAMALOT. Photo Credit: Photo by Matthew Murphy and Evan Zimmerman.

Chris Collins-Pisano and Ensemble in the North American Tour of SPAMALOT. Photo Credit: Photo by Matthew Murphy and Evan Zimmerman.

Amanda Robles and Ensemble in the North American Tour of SPAMALOT. Photo Credit: Photo by Matthew Murphy and Evan Zimmerman.

Credits from the ENCORE printed program.

The Wild Party – Musical – Mini Review – Sound Theatre Company

Happy closing weekend to Sound Theatre Company’s production of The Wild Party musical at Center Theatre. Starring Jasmine Jean Sim and Jason Kappus. Bursting w/ big-band showstoppers. Each character’s featurette song delivered electric stage presence and powerhouse vocals backed by a glorious ensemble and band. Only 2 more performances left till closing on 2/8/26.

Tickets: https://soundtheatrecompany.org/2026-season/the-wild-party/

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A Beautiful Noise: The Niel Diamond Musical – Review – Paramount Theatre

@showsiveseen A Beautiful Noise: The #NeilDiamond #Musical national tour at the Paramount Theatre from Seattle Theatre Group and Broadway Seattle. Starring Robert Westenberg and the smooth-voiced American Idol winner @nfradiani Unexpectedly thoughtful exploration of mental health beneath the glittering jukebox exterior. Closes on Sunday! Review: showsiveseen.com/14520 #theatre #musicaltheatre #showsiveseen @Neil Diamond @The Noise ♬ Sweet Caroline – Neil Diamond

Elevator Thoughts (aka Tweet): A Beautiful Noise: The Neil Diamond Musical national tour at the Paramount Theatre from Seattle Theatre Group and Broadway Seattle. Starring Robert Westenberg and the smooth-voiced American Idol winner Nick Fradiani. Unexpectedly thoughtful exploration of mental health beneath the glittering jukebox exterior.

Recommendation:
See it if you’re a fan Neil Diamond’s music or if you’re okay with jukebox musicals.

Was This the First Time I Attended a Production of this Show? No

Would I See It Again 3 Years from Now? Hard pass

Mainstream Appeal: Medium

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

My Synopsis (No Spoilers): Neil Diamond reflects on his life and career as he revisits his discography alongside his therapist.

Synopsis from the Licensor or Theatre Company: The untold true story of a Brooklyn kid who became a chart-busting, show-stopping, award-winning American icon. Created in collaboration with Neil Diamond himself, A Beautiful Noise is the uplifting true story of how a kid from Brooklyn became a chart-busting, show-stopping American rock icon. With 120 million albums sold, a catalogue of classics like “America,” “Forever in Blue Jeans,” and “Sweet Caroline,” an induction into the Songwriters and Rock and Roll Halls of Fame, a Grammy® Lifetime Achievement Award, and sold-out concerts around the world that made him bigger than Elvis, Neil Diamond’s story was made to shine on Broadway – and head out on the road across America. Like Jersey Boys and Beautiful: The Carole King Musical before it, A Beautiful Noise: The Neil Diamond Musical is an inspiring, exhilarating, energy-filled musical memoir, that tells the untold true story of how America’s greatest hitmaker became a star, set to the songs that defined his career.

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: You need to be familiar with Niel Diamond’s hits to enjoy this musical.

Defined Plot/Storyline: Mostly yes. It was biographical format with less of a classic plot structure.

Live Band/Orchestra: Yes

Union Actor(s): All

Total Actor(s): Too many to count

Perceived Pace of the Show: Slow to medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Other Rave(s)

Nick Fradiani Vocals: Nick Fradiani’s voice as a young Neil Diamond was downright sexy. His raspy voice radiated a smoldering charm. As the script put it, his tone was “gravel wrapped in velvet, like it just woke up and tripped over an ashtray.” He perfectly encapsulated the hot brooding, heartthrob archetype.
Mental Illness: The script unexpectedly delved into themes of mental illness. I’d expect this from Dear Evan Hansen, not a jukebox musical! Tackling universal feelings of depression, anxiety, loneliness, and fear resonates well with Seattle audiences. The inclusion of imaginary friends added a tender layer. The wolf analogy was striking: “Everyone has two wolves fighting inside of them… one wolf is happy… the other wolf, angry, sad… So which one wins?” … “The one we feed.”
Shilo: On the topic of imaginary friends, Spencer Donovan Jones from the ensemble delivered a stunning rendition of “Shilo,” accompanying himself on guitar with a performance that brought to mind the heartfelt style of Gabe Bondoc.
Scenic Design and Band: During intermission, an audience member complained about the austerity and visual darkness of the first act’s set. In response, the second act ramped up the glitz and glamour, particularly when the band was occasionally revealed under flashy lights (Kevin Adams lighting designer) and a saturated, alternating-color backdrop (David Rockwell scenic designer) that evoked the iconic Apple iPod commercials of the 2000s. One especially ostentatious number left my ears ringing. I briefly feared I had developed tinnitus, only to realize the piercing high-pitched sound was coming from the theater’s sound system!

Rant(s)

Jukebox Musical: I’m not well-versed in Neil Diamond’s catalog. But honestly, the material felt too tepid to be worthy of a musical. Blasphemy, I know. When will someone make a Lady Gaga musical? This show fell prey to textbook jukebox musical pitfalls. It was a relentless parade of songs stitched together with a story that often felt forced.
Sluggish Disconnect: The therapy scenes, which framed the show’s narration, moved at a glacial pace. After a promising 30 second opening, the next scene (which was a long therapy session) immediately doused the momentum. And the frog/king analogy therapy exercise with musical chairs fell flat. I frequently found myself growing restless, praying for the show to end. Perhaps familiarity with the songs would have made the experience more engaging. The show felt tailored to an older, more traditional audience. It was definitely a reflection of Seattle’s theater scene. The absence of projected lyrics for audience sing-alongs made it clear this show was aimed at a very specific audience … and not anyone else! As a BiPOC who is on the younger spectrum of theatergoers, I could not relate.

Other Musing(s) and Observation(s)

Narrative Gap: The script never explained why Neil Diamond stopped performing. If that ambiguity was intentional, it unnecessarily left the non-target audience wondering.

Theatre Company: National tour brought by Seattle Theatre Group and Broadway Across America

Venue: Paramount Theatre

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

Price Range: $55-210

Dates: January 13 – 18, 2026

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 Jeremy Daniel.

Cast and Production Team: See after photos below.

(Center left) Tiffany Tatreau as Jaye Posner’ Nick Fradiani as “Neil – Then,” and Kate A. Mulligan as Ellie Greenwich in *A Beautiful Noise: The Neil Diamond Musical*. Photo by Jeremy Daniel.

Mary Page Nance as Marcia Murphy in *A Beautiful Noise: The Neil Diamond Musical*. Photo by Jeremy Daniel.

Tuck Milligan as Tommy O’Rourke, Michael Accardo as Bert Berns, and Nick Fradiani as “Neil – Then” in *A Beautiful Noise: The Neil Diamond Musical*. Photo by Jeremy Daniel.

Lisa Reneé Pitts as Doctor in *A Beautiful Noise: The Neil Diamond Musical*. Photo by Jeremy Daniel.

(From left) Nick Fradiani as “Neil – Then,” Robert Westenberg as “Neil – Now” and Lisa Reneé Pitts as Doctor in *A Beautiful Noise: The Neil Diamond Musical*. Photo by Jeremy Daniel.

Nick Fradiani as “Neil – Then” (center) with “The Noise” and the Band in *A Beautiful Noise: The Neil Diamond Musical*. Photo by Jeremy Daniel.

Nick Fradiani as “Neil – Then” (center) and “The Noise” in *A Beautiful Noise: The Neil Diamond Musical*. Photo by Jeremy Daniel.

Mini Review – Come From Away – Musical – Seattle Rep

Come From Away musical returns to its second home at Seattle Rep (original co-producing theatre company). A beautiful very human testament of resilience and selfless generosity that feels urgently needed today. Nearly sold-out run, but same-day standby, rush, and standing-room tickets are available. Performing through 1/4/26.

Tickets: https://www.seattlerep.org/plays/202526-season/come-from-away

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