Till We Have Faces play at Taproot Theatre for Valentines Day. The myth of Psyche & Cupid retold through lens of Orual, her sister. Impressive memorization from narrator/star Candace Vance. Well-crafted costume repertoire from Sarah Burch Gordon. Smart use of mirror blocking and reverb. Interesting themes of escapism, faith, and psychosis. Written by CS Lewis and adapted by Karen Lund.
@showsiveseen Happy closing performance to Moises Kaufman and Amanda Gronich's "Here There Are Blueberries" #play from @Seattle Rep, @La Jolla Playhouse, and Tectonic Theater Project. Thoughtful scenic design, projection design, and sound design by Derek McLane, Bobby McElver, and David Bengali respectively. Well-executed, riveting, and chillingly relevant. Review: showsiveseen.com/14604 Photography: Kevin Parry Stage Mgr: Jacob Russell #photograph#photographs#theatre♬ 2 Little 2 Late – Levi & Mario
Elevator Thoughts (aka Tweet): Happy closing weekend to Moises Kaufman and Amanda Gronich’s Here There Are Blueberries play from Seattle Rep, La Jolla Playhouse, and Tectonic Theater Project. Thoughtful scenic design, projection design, and sound design by Derek McLane, Bobby McElver, and David Bengali respectively. Well-executed, riveting, and chillingly relevant.
Recommendation: See it if you’re okay with shows that are not heavy on a linear story
Was This the First Time I Attended a Production of this Show? Yes
Would I See It Again 3 Years from Now? Probably not, 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): A Holocaust museum acquires a scrapbook from the Auschwitz concentration camp containing photographs exclusively of Nazi personnel, with no Jewish prisoners depicted. The play investigates the origins of these images and the unsettling story behind each of these pictures.
Synopsis from the Licensor or Theatre Company: In 2007, a mysterious album featuring Nazi-era photographs arrived at the desk of a U.S. Holocaust Memorial Museum archivist. As curators unravel the shocking truth behind the images, the album soon makes headlines and ignites a debate that reverberates far beyond the museum walls. Based on real events, Here There Are Blueberries tells the story of these historical photographs—what they reveal about the perpetrators of the Holocaust, and our own humanity.
Type: Play
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 need to be at least remotely familiar with the Holocaust.
Defined Plot/Storyline: Not fully defined, but there was still some story linearity with the museum staff to weave each photograph together.
Live Band/Orchestra: N/A – But occasionally one of the actors played the accordion
Union Actor(s): All
Total Actor(s): 8
Perceived Pace of the Show: Medium speed
Was there an intermission? No
Length (Including Any Intermission): 90 minutes
Other Rave(s)
Nazi Photographs: The script offered a unique perspective by focusing on how Nazis lived in Auschwitz. It was a viewpoint rarely explored in mainstream narratives, which typically center on Jewish prisoners. Through a plethora of images, the production showed the seemingly ordinary daily life of the perpetrators with a track and field event, a vacation resort, Christmas celebrations, working women relaxing, a singing gathering (where they celebrated a certain major mass genocide), and innocent children living feet away from the gas chambers. The pictures depicted a deceptive, almost idyllic normalcy. It was a chilling reminder that ordinary people are capable of extraordinary cruelty. Who’s behind the ICE mask and who’s wearing the MAGA hat?
The script depicted Nazis as people – not monsters – and forced us to confront the uncomfortable truth that atrocity can emerge from everyday individuals. It pointed out that it’s easier to assign culpability to people portrayed as monsters than people portrayed as run-of-the-mill citizens. At the same time, the production was careful not to glorify or elevate the perpetrators. It navigated a delicate, controversial balance with nuance. The images would disturb most viewers, while unfortuantely a neo-Nazi might even find the depiction appealing. But the script’s intent was clear to see the opposite perspective of this atrocious history without excusing it.
Background Audio: Much like a museum providing background audio to complement its exhibits, this production paired each image with its own carefully crafted soundscape by sound designer Bobby McElver. The audience was treated to an audio backdrop of women laughing, men singing (accompanied by Marrick Smith on accordion), and women enjoying blueberries. It all created a layered, immersive experience that brought the still images to life.
Scenic Design: The visuals were thoughtfully designed and executed by scenic designer Derek McLane, evoking the feel of an industrial museum curated with precision. Actors moved among projection “easels,” allowing them to display additional photographs or zoom in on details. The gas-chamber-like door at the end was a haunting detail underscoring the gravity of the Holocaust narrative.
Projection Design: Interestingly, the projection designer David Bengali briefly employed two technically ambitious effects that hinted at greater possibilities. One involved live recording an actor on stage and projecting it in real time, while another used an overhead projector (unless it was just a prerecorded video) reminiscent of Book-It Theatre’s staging of Everything Is Illuminated. Typically, a production that invests in such complex technology integrates it throughout the show. But here, each device appeared for only a few minutes, leaving the audience wanting more.
Relevance: This play feels incredibly timely given current events surrounding ICE. In a few years, when another playwright inevitably tackles the ICE events we’re seeing today, there will be even more visual documentation thanks to ubiquitous smartphone cameras. But will history deniers dismiss those images as AI-generated?
Theatre Company: National Tour from Seattle Rep, La Jolla Playhouse, and Tectonic Theatre Project
Venue: Bagley Wright Theater at Seattle Rep
Venue Physical Address: 155 Mercer St, Seattle, WA 98109
Dates: January 21 – February 15, 2026
Like/Comment/Share my Social Media Posts About this Performance:
Barbara Pitts, Jeanne Sakata, and Delia Cunningham in Here There Are Blueberries at the Wallis Annenberg Center for the Performing Arts. Photo by Kevin Parry Photography.Barbara Pitts, Jeanne Sakata, and Delia Cunningham in Here There Are Blueberries at the Wallis Annenberg Center for the Performing Arts. Photo by Kevin Parry Photography.Nemuna Ceesay and Scott Barrow in Here There Are Blueberries at the Wallis Annenberg Center for the Performing Arts. Photo by Kevin Parry Photography.Delia Cunningham and Scott Barrow in Here There Are Blueberries at the Wallis Annenberg Center for the Performing Arts. Photo by Kevin Parry Photography.
Congrats to Village Theatre on opening night of their Baskerville: A Sherlock Holmes Mystery play production. 🔍🎭 Catch it in Issaquah through February 22, then in Everett through March 22. Stay tuned for my full review!
The Heart Sellers dialogue play at Seattle Rep. Beautiful story about two immigrant women (Filipino and Korean) who transverse language/cultural barriers to form a deeply human connection in an unfamiliar land. Reminded me of the sacrifices my first-generation parents made in pursuit of a better life. Closes 2/1/26.
@showsiveseen “The Little Foxes” #play by @Intiman Theatre & The Feast at the Erickson #Theatre. Starring Alexandra Tavares wearing Katrina Hess’s elegant aristocratic costumes in Julia Hayes Welch’s classy chessboard nightclub-themed set. Ruthless, relevant, and riveting. I'm so curious how it compares to the 1930s original production. Don’t miss it before the closing performance this weekend! Review: showsiveseen.com/13996 DIrector: Ryan Guzzo Purcell Stage Mgr: Neen Williams-Teramachi #showsiveseen♬ BAD BITCH LULLABY – ILLICITT
Elevator Thoughts (aka Tweet): The Little Foxes play by Intiman Theatre & The Feast. Starring Alexandra Tavares wearing Katrina Hess’s elegant aristocratic costumes in Julia Hayes Welch’s classy chessboard nightclub-themed set. Ruthless, cunning, and riveting. Don’t miss it before the closing performance this weekend!
Recommendation: See it especially 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? Likely
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): A wealthy Southern family, desperate to restore their fading fortune, strikes a high-stakes deal with an out-of-town businessman. Greed and ambition drive them to do whatever it takes to seal the deal … and claim a bigger slice of the pie.
Synopsis from the Licensor or Theatre Company: A dynamic new in-the-round staging offers an up-close view as Regina Giddens deceives, coerces, and manipulates her way into receiving her inheritance in this Southern Gothic drama. Have a devilishly good time with select 21+ table seating, complete with cocktail service and southern-themed drink offerings. This 1939 play and Academy Award nominated film is reimagined as a high-stakes spectacle: from a sexy cocktail party to a winner-takes-all cage match, audiences will be thrust into the action from the electrifying first moment to the play’s devastating final bow.
Type: Play
World Premiere: No
Several or Few Scenes: Few
Several or Few Settings/Locations: One
Static (Stationary) or Dynamic Set: Static
Prior Exposure/Knowledge Required: No
Defined Plot/Storyline: Yes, but it was more dialogue than action. Usually, dialogue plays are taxing, but this one was intriguing.
Union Actor(s): 5
Total Actor(s): 8
Perceived Pace of the Show: Medium Speed
Was there an intermission? Yes
Length (Including Any Intermission): 2.5 hours
Other Rave(s)
Scenic Design: Julia Hayes Welch masterfully transformed the traditional front-facing Erikson Theatre into an upscale theatre-in-the-round. It was reminiscent of Intiman Theatre’s production of The Niceties a few years ago. However, the square setup, framed by curtains on each side, did slightly dampen sound and demanded greater vocal projection from the performers.
I was particularly struck by the stage design’s tiled chessboard pattern, which cleverly alluded to the mind games and strategic maneuvering among characters to “win” more money. Surrounding the stage were nightclub-style tables, where audience members could order refreshments via QR code, while the remaining spots were mostly traditional theatre seating. Except two rows were transformed into a raised cocktail-style viewing bar (also with QR codes) for those who preferred the ambiance of the nightclub tables with a less intimate view. It was a creative choice that truly “elevated” the experience, even if it meant sacrificing a row of potential tickets.
A fellow audience member summed up the scenic design perfectly as they exclaimed, “Lovely!” when they entered the transformed space.
Drama: With a chessboard-inspired set, it’s no surprise that the play unfolded with cutthroat bargaining, deceit, and simmering intrigue at every turn. Characters maneuvered one another like pawns with cunning manipulation. Even the seemingly “good” characters were not immune to the scheming. The script brimmed with deliciously dramatic twists, reminiscent of a prime-time soap opera. The tense climactic confrontation between Regina Giddens (played by Alexandra Tavares) and Horace Giddens (played by Brandon J. Simmons) evoked Bree Van De Kamp’s cold revenge in Desperate Housewives. It was a good reminder why I still see dramatic plays even though I prefer musicals. Checkmate indeed!
Modern Day Relevance: The play remains strikingly relevant today even though it was written in 1939. The story exposed how ultra-wealthy Americans (embodied by the Hubbard family) relentlessly unnecessarily pursue more riches at the expense of exploiting others. For example, Oscar Hubbard (played by Bradley Wrenn) cynically advised his son, “It’s every man’s duty to think of himself,” which perfectly captured the mindset of those who prioritize financial gain above family, morality, and society.
Additionally, Addie (played by Ally Poole) critiqued societal passivity saying, “Well, there are people who eat the earth and eat all the people on it like in the Bible with the locusts. Then there are people who stand around and watch them eat it. Sometimes I think it ain’t right to stand and watch them do it.” Her words resonate today on the complicity of doing nothing while injustices unfold. As Homeland Security frequently announces in the airport, “If You See Something, Say Something!”
Perhaps the most powerful moment was in Benjamin Hubbard’s (played by Jomar Tagatac) monologue when he gloated, “There are hundreds of Hubbards sitting in rooms like this throughout the country. All their names aren’t Hubbard, but they are all Hubbards, and they will own this country someday.” The monologue was a stark warning that the greed and ruthless ambition in this his family are pervasive forces that shape our unchecked capitalist society and will eventually control the nation. Tagatac’s switch to a Southern, genteel accent (which he didn’t use throughout the play) was strange at first, but the sudden shift seemed to signal to the audience, “This is the heart of the play. Pay attention.”
Costume Design: Katrina Hess curated a refined collection of understated yet aristocratic fashion pieces for the production. Even in nightgowns, the women always seem to make an effortlessly elegant entrance that commanded that audience’s attention. For example, Alexandra Tavares’s entrance in the first couple seconds of the show drew an audible “wow” from the audience member next to me.
“These Old Plays”: The show was structured in three acts with one intermission. Between acts, one cast member stepped onto the stage out of character to prepare for the next scene while dressing in costume, arranging props, and breaking the fourth wall with a cheeky remark like, “Man, these old plays… am I right?” Normally, I’m not a fan of fourth-wall breaks, but here it felt fresh and added a charming, self-aware touch. And yes, they were right that these old plays can be something else, with casual incest and freewheeling the N-word, making the audience slightly uncomfortable. It reminded me of Taproot Theatre’s current production of The Importance of Being Earnest, which also casually mentioned incest. These timeless classics aren’t so timeless after all!
Intermission Concessions: I loved how the theatre utilized QR code phone ordering at the concession stand during intermission. No more spending the entire break in line. This system made grabbing treats much more efficient and probably increased sales. It’s a win for both the audience and the production. Other theaters, take notes! It’s smart, modern, and definitely worth adopting everywhere.
Rant(s)
Piano: The piano was distracting and made it difficult to follow some crucial dialogue. The inconsistency in its presentation also was weird with one scene relying on a recorded track as an actor pretended to play the piano while another scene featured them actually performing a song without a recording.
Theatre Company: Intiman Theatre and The Feast
Venue: Erickson Little Theatre off Broadway
Venue Physical Address: 1524 Harvard Ave, Seattle, WA 98122
Price Range: $61.50 to $249
Ticket Affordability Options: The ticketing website offers honor code discount options for students, military, industry, … or anybody! They also offer 20 free rush tickets in-person starting 1 hour before each performance.
Dates: October 15 to November 2, 2025
Seating: Assigned Seating
Parking: It’s Capitol Hill so street/lot/garage parking is expensive. Street parking is even sparser than downtown! Ironically, the uncovered parking lots on Harvard Avenue across Seattle Central College are cheaper than street parking. Take public transit if possible.
Like/Comment/Share my Social Media Posts About this Performance:
Pictures: See production pictures below by Joe Moore.
Cast and Production Team: See after pictures below.
Brenda Joyner in THE LITTLE FOXES. Photo by Joe Moore.The cast of THE LITTLE FOXES. Photo by Joe Moore.Brenda Joyner and Nabilah Ahmed in THE LITTLE FOXES. Photo by Joe Moore.Alexandra Tavares in THE LITTLE FOXES. Photo by Joe Moore.Bradley Wrenn, Alexandra Tavares, Jomar Tagatac in THE LITTLE FOXES. Photo by Joe Moore.Credits from printed ENCORE program.
