Plays – Page 10 – Shows I've Seen

Preview Post – Mother Russia – Play – Seattle Rep

Happy opening night to the world premiere production of Lauren Yee’s Mother Russia play at Seattle Rep. On stage till 4/13/25. Keep your eyes peeled for my full review!

Tickets: https://www.seattlerep.org/plays/202425-season/mother-russia/

Final Full Review: https://www.showsiveseen.com/mother-russia-play-review-seattle-rep/

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Time Stands Still – Play – Review – Thalia’s Umbrella

@showsiveseen Donald Margulies's "Time Stands Still" #play by Thalia's Umbrella at 12th Ave Arts. Engaging dialogue packed with poignant moments. Loved the charming Elle Woods-like comic relief contrast from @Cricket. Closes next weekend! #Review: showsiveseen.com/11977 Photos: Annabel Clark Director: Terry Edward Moore #theatre #showsiveseen #photographer #reporter #journalist ♬ Flashed Junk Mind – 2025 – Milky Chance & ORF Vienna Radio Symphony Orchestra

Elevator Thoughts (aka Tweet): Time Stands Still by Thalia’s Umbrella at 12th Ave Arts. Engaging dialogue packed with poignant moments. Loved the charming Elle Woods-like comic relief contrast from Tessa “Cricket” James.

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? Maybe if it was produced somewhere like Seattle Rep or ACT Theatre

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 renowned photojournalist, celebrated for her daring assignments abroad, returns home to the USA injured after surviving a roadside bomb. As she grapples with physical and emotional scars, she struggles accepting the monotony of mundane conventional existence.

Synopsis from the Licensor or Theatre Company: A photo-journalist has been badly injured in a war zone, and she returns home to recuperate and figure out what is next. Her partner wants to get married and have kids. She wants to get back on her feet. Even for those for whom this dangerous work is a calling, there must come a time when they have risked enough, lost enough. Done enough. How do they decide if that time has come? Both funny and poignant, TIME STANDS STILL offers four different models of how to live a good life in troubled times.

Type: Play

World Premiere: No

Several or Few Scenes: Few

Several or Few Settings/Locations: Just one – a Brooklyn apartment

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: Yes-ish, but it was mostly dialogue. There’s only so much that can occur in an apartment.

Union Actors: 2

Total Actors: 4

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 130 minutes

Other Rave(s)

Character Contrasts: I loved the juxtaposition between Sarah Goodwin (played by Jen Taylor) and Mandy Bloom (played by Tessa “Cricket” James). Sarah was a cynical, fiercely independent, world-hardened, respected photojournalist who didn’t need no man! She carried herself with a serious, no-nonsense edge, exuding an air of intellectual elitism and slight masochism. Mandy, on the other hand, was her complete opposite—the epitome of a ditsy girly girl. As Pilates-practicing event planner, she radiated warmth and naivety, embracing a lighthearted approach to life, loving babies/puppies and enjoying the moment. Their dynamic felt like the classic culture clash of NYC intensity vs LA sorority and it sparked humorous tension on stage.
Dialogue: I usually prefer plays with more action, but the writing was so engaging that I didn’t even realize how dialogue-heavy it was until midway through the first act. The script was also filled with many poignant and thought-provoking lines.
Gasp-worthy Moments: I love a good gasp-worthy moment that jolts the audience with raw, unexpected intensity. It could be a sudden shout of self-defense, an unintended blow to an already vulnerable partner, an emotional outburst in a partner’s defense, or a spiteful breakup argument. Sure, they can sometimes feel gratuitous. But what can I say? I live for the drama!
The Price of Journalism: This play interestingly brings to light the mental anguish and emotional detachment that reporters and photojournalists must endure in their work. In the comfort of a peaceful, developed nation like the USA, we passively view images of atrocities from places afar without considering the toll on those who capture them. Behind many compelling photos or urgent new reports is someone who compartmentalized their emotions to bring the truth to the general public.
“Favorite Lefty Pastime”: James Dodd (played by Quinlan Corbett) delivers a biting tirade on the futility of featuring progressive ideals in theatre scripts. Admittedly, he makes a compelling point. Too often, these productions preach to the choir. The very audiences who need to hear these messages the most aren’t in the seats. Meanwhile, those who do attend the shows “go home feeling like they’ve done something, when in fact all they’ve done is assuaged their liberal guilt!” As much as I hate to admit it… he’s not off base.

Rant(s)

Stage Configuration: The traverse stage layout (where the audience sits on the north and south of the stage but not the east and west) felt inequitable. For this general admission show, I highly recommend sitting on the side closest to the audience entrance. The opposite side offers a noticeably inferior view. I often found myself frequently staring at the backs of actors sitting on a loveseat, which left me feeling a bit of FOMO. It also took me far too long to notice that one character wore scar makeup on one side of their face, which I missed from my vantage point. I’ve now seen at least two recent productions at 12th Ave Arts (Cost of Living and Miss You Like Hell) that employed this traverse stage layout. In all cases, I would have preferred traditional front-facing or L-shaped staging. While traverse layout can create intimacy, it also risks alienating half the audience at any given moment.

Other Musing(s) and Observation(s)

Local Appeal: The protagonist, Sarah Goodwin (portrayed by Jen Taylor), likely resonates with Pacific Northwest audiences, what with the REI-style outdoor adventurism, hero-complex progressive idealism, modest approach to privilege/wealth, and the affinity toward “vacationing” in developing countries.

Theatre Company: Thalia’s Umbrella

Venue: 12th Avenue Arts

Venue Physical Address: 1620 12th Ave, Seattle, WA 98122

Price Range: ~$50

Seating: General Admission

Parking: Paid lot or paid street parking. Street parking is extremely limited since it’s Capitol Hill. Even if you can find street parking, it often costs more than some parking lots. If you don’t take the bus, I highly recommend the paid lot at 1300 E Olive St with the entrance on 14th Ave.

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https://www.brownpapertickets.com/event/6514006

Pictures: See production pictures below.

Cast and Production Team: See after pictures below.

Tessa “Cricket” James and Mark Kuntz. Photo by Valerie Ryan Miller.

Jen Taylor and Quinlan Corbett. Photo by Annabel Clark.

Tessa “Cricket” James and Mark Kuntz. Photo by Annabel Clark.

Jen Taylor, Mark Kuntz, Tessa “Cricket” James, and Quinlan Corbett. Photo by Annabel Clark.

Preview Post – Time Stands Still – Play – Thalia’s Umbrella

Congrats to Thalia’s Umbrella on the opening night of their Time Stands Still play production. Performing at 12th Ave Arts till 3/15/25. Look out for my full review! #photographer #reporter #journalist

Tickets: https://timestandsstill.brownpapertickets.com/

Final Full Review: https://www.showsiveseen.com/time-stands-still-play-review-thalias-umbrella/

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The Hula-Hoopin’ Queen – Play – Review – Seattle Children’s Theatre

@showsiveseen "The Hula-Hoopin’ Queen" #play at Seattle Children's Theatre starring @kataka.j.mackenzie (or understudy Neely Seams). Celebrating a nostalgic tight-knit neighborly #community culture that modern society now lacks. #Kids don't play in the streets anymore! Colorful #hulaHoop-themed #Harlem facade set (from Parmida Ziaei) that opened like a dollhouse. Review: showsiveseen.com/11897 Photos: Truman Buffett Photography Director: Jacole Kitchen #showsiveseen #theatre #hulahoops ♬ Work Hard – Tony Brown & Chantelle Readman

Elevator Thoughts (aka Tweet): The Hula-Hoopin’ Queen play at Seattle Children’s Theatre. Celebrating a nostalgic tight-knit neighborly community culture that modern society now lacks. Kids don’t play in the streets anymore! Colorful hula hoop-themed Harlem facade set (from Parmida Ziaei) that opened like a dollhouse.

Recommendation:
See it if you want your kids to experience live theatre.

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

Would I See It Again 3 Years from Now? No

Mainstream Appeal: Medium

If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Only if they were taking kids

My Synopsis (No Spoilers): Kameeka dreams of being crowned the best hula-hooper in Harlem, but her ambition comes at a steep cost: her friendships and responsibilities. As she grapples with her pursuit of glory, Kameeka must decide if her goal is worth the sacrifices it requires.

Synopsis from the Licensor or Theatre Company: Three Harlem girls vie for the crown of The Hula-Hoopin’ Queen, encouraged and mentored by the community elders in master playwright Gloria Bond Clunie’s spirited adaptation of Thelma Lynne Godin’s book. A sweet, funny, and energetic slice-of-life reminder of the essential loops that bind our communities.

Type: Play

World Premiere: No

Several or Few Scenes: A couple

Several or Few Settings/Locations: Few

Static (Stationary) or Dynamic Set: Mostly static, but one of the Harlem homes opened up to show the interior like a dollhouse.

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: Mostly yes

Union Actors: 2

Total Actors: 6

Perceived Pace of the Show: Medium speed

Was there an intermission? No

Length (Including Any Intermission): 70 minutes

Other Rave(s)

Miz Adeline: I always enjoy Michelle Blackmon’s portrayals on-stage. In this production, she played Miz Adeline, the beloved community matriarch.

Rant(s)

Sound: The production would have greatly benefited from microphones. Even sitting up close, I struggled to catch many lines. I can only imagine how difficult it must be for those in the back rows. Perhaps they were counting on young kids having particularly sharp ears compared to this aging millennial?

Other Musing(s) and Observation(s)

Competition: I can’t say that I agree with the message that winning means sacrificing friendship. If there’s no winner, where’s the fun in competition? It reminds me of the flawed weak “everyone gets a trophy” mentality, which undermines the value of true competition.
Target Audience: Unlike many other productions at Seattle Children’s Theatre that appeal to a broad range of ages, this show seems to be specifically geared towards younger audiences what with the “calamity” involving cake. In contrast, productions like The Snow Queen, Luchadora!, The Boy Who Kissed the Sky, and Diary of Anne Frank offer a more mature script and plot that adults without kids can easily appreciate.

Theatre Company: Seattle Children’s Theatre

Venue: Charlotte Martin Theatre at Seattle Children’s Theatre

Venue Physical Address: 201 Thomas St, Seattle, WA 98109

Price Range: $20-50

Ticket Affordability Options: Check out the theatre’s discount page.

Dates: 2/12/25 to 3/23/25

Seating: Assigned Seating

Parking: Paid street parking or various paid parking lots/garages. Street parking is sparse when there’s a major Seattle Center or Climate Pledge Arena event. I usually find luck with street parking around Lenny Wilkins Way next to the theatre on non-event days. I try to take the bus on event days since even the event street parking costs more than $12.

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Pictures: See production pictures below by Truman Buffett Photography.

Cast and Production Team: See after pictures below.

Rebecca M. Davis, Kataka Corn, and Michelle Blackmon at *The Hula-Hoopin’ Queen*. Photos by Truman Buffett Photography.

Kataka Corn, Lexi Warden, and Niyah Reid in *The Hula-Hoopin’ Queen*. Photos by Truman Buffett Photography.

Michelle Blackmon and Kataka Corn in *The Hula-Hoopin’ Queen*. Photos by Truman Buffett Photography.

Michelle Blackmon, Niyah Reid, Lexi Warden, and Rebecca M. Davis in *The Hula-Hoopin’ Queen*. Photos by Truman Buffett Photography.

Michelle Blackmon, Niyah Reid, Aishé Keita, Rebecca M. Davis, and Kataka Corn in *The Hula-Hoopin’ Queen*. Photos by Truman Buffett Photography.

Kataka Corn, Lexi Warden, and Rebecca M. Davis in *The Hula-Hoopin’ Queen*. Photos by Truman Buffett Photography.

Aishé Keita and Kataka Corn in *The Hula-Hoopin’ Queen*. Photos by Truman Buffett Photography.

Credits from the printed *Encore* program.

Crave – Play – Review – Intiman Theatre

@showsiveseen "Crave" #avantGarde #abstract #play by @Intiman Theatre at Erickson #Theatre Off Broadway. Loved the water & shadow box aperture scenic design by Jennifer Zeyl. Impressive script memorization. Elegant, #poetic execution. Closes next weekend! #showsiveseen ♬ Good Things – ESPER

Elevator Thoughts (aka Tweet): Crave avant garde abstract play by Intiman Theatre at Erickson Theatre Off Broadway. Loved the water & shadow box aperture scenic design by Jennifer Zeyl. Impressive script memorization. Elegant, poetic execution.

Recommendation:
See it if you either enjoy 1) analyzing poetry/literature, 2) visiting modern art museums, 3) or watching weird experimental plays like Washington Ensemble Theatre’s Arlington.

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

Would I See It Again 3 Years from Now? No

Mainstream Appeal: Low to medium

My Synopsis (No Spoilers): Describing this play is a challenge, since it is an abstract, experimental work without conventional storytelling. The narrative (if you can call it that) is elusive. As someone who typically engages with theater on a more surface level, it was impossible for me to grasp the script’s deeper meanings. The performance featured four actors, who delivered their random lines directly to the audience in a poetic manner while hardly looking at each other. The experience was beautifully designed, but the overall impact was more sensory than narrative. It was akin to an art installation that I didn’t understand at a museum.

Synopsis from the Licensor or Theatre Company: Love, loss, sex and desire play across the stage in this poetic and deeply personal play from legendary playwright Sarah Kane, returning to Seattle nearly two decades after it last stunned audiences as one of the first productions from Washington Ensemble Theatre (WET). For this revisiting of the material, Intiman will bring together many of the original artists for an encore production, including Roger Benigton, Marc Kenison (Waxie Moon), and Marya Sea Kaminski. Intiman Artistic Director Jennifer Zeyl, will once again design the set, having won the Stranger Genius Award in 2006 for her original design. Peer deep inside the mind of four fragmented and fractured characters as they strive to find peace and connection in a lonely world. A visceral and transcendent experience that will leave you breathless.

Type: Play

World Premiere: No

Several or Few Scenes: One continuous scene

Several or Few Settings/Locations: One ambiguous location

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: You’ll enjoy this play more if you have a strong ability to interpret the deeper meanings of an art piece – whether in literature, poetry, paintings, music, etc.

Defined Plot/Storyline: No

Union Actors: 3

Total Actors: 4

Perceived Pace of the Show: Medium speed

Was there an intermission? No

Length (Including Any Intermission): 50 minutes

Other Rave(s) Not Mentioned Above

Scenic Design: The scenic design by Jennifer Zeyl was the highlight of this production. It brought to mind the set of Lady Gaga’s “Bad Romance” music video, with its modern aesthetic. I’m always drawn to shadow box apertures on stage, like those in Village Theatre’s Cinderella or the national tour of Company, and Zeyl’s design didn’t disappoint in that regard with a giant shadow box where most of the acting took place.

The reflective floor, which at first glance appeared to be a mirror, turned out to be a pool of water. I didn’t realize this until the first third of the play when the pool was disturbed, creating mesmerizing ripples that projected beautiful patterns on the ceiling. I’m sure lighting designer Jessica Trundy played a major part in this masterful execution.

After a dramatic curtain fall (a theatrical element I always appreciate), performers waded into the water and interacted with it, nearly splashing us in the front row! I couldn’t help but worry about the risks for the actors what with all the electronics and lighting equipment just inches away from the reflecting pool.

The use of water in this production also reminded me of Intiman Theatre’s The Sign in Sidney Brustein’s Window from 2023, which featured a waterfall. It seems that this theatre company gravitates towards aquatic scenic design motifs.
Setting the Stage: The opening moments of the play began with the lights gradually dimming to black at a deliciously glacial pace, accompanied by a soundscape designed by Matthew Starritt. This simple “overture” was surprisingly a heady, meditative, and peaceful experience, setting a tone of anticipation and calm before the performers began.
Memorization: The script demanded extraordinary memorization abilities from the performers due to its lack of a clear linear plot or chronological structure. In addition to its fragmented nature, the fast-paced call-and-response exchanges between the actors and the fact that they rarely made eye contact added to the challenges. As Alexandra Tavares (who played “M”) aptly mentioned during the talk-back, the script was particularly tough to memorize because it lacked any “connective tissue” between the lines.

Other Musing(s) and Observation(s)

Character Names: The characters were named “A,” “B,” “C,” and “M” played by Lathrop Walker, Christopher Morson, Marya Sea Kaminski, and Alexandra Tavares respectively. What is the significance of “M” not being “D?” Leave a comment in my social media if you have any ideas.
Cassette Tape: The characters occasionally interacted with a tape recorder and a cassette tape, which made me wonder if younger audience members (especially Gen Z) would even recognize these props. How much longer will these items remain relevant in theatre? It reminded me of the corded phone as a key plot device in ACT Theatre’s Stew, which was another example of how quickly technology can feel outdated on stage.

Theatre Company: Intiman Theatre

Venue: Erickson Theatre Off Broadway

Venue Physical Address: 1524 Harvard Ave, Seattle, WA 98122

Price Range: $65-80

Ticket Affordability Options: The ticketing website offers honor code discount options for students, military, industry, … or anybody! They also offer 20 free rush tickets 1 hour in-person before each performance.

Dates: 2/11/25 to 3/2/25

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. I highly suggest taking public transit if possible.

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Pictures: See production pictures below by Joe Moore.

Cast and Production Team: See after pictures below.