Happy opening weekend to Frida… A Self-Portrait one-person play at Union Arts Center! The personable and charismatic Vanessa Severo magnetically navigated the eccentric, emotional rollercoaster of Frida Kahlo. Beautifully executed poses and graceful movements. Genius, multi-purpose use of a clothesline for props, characters, costumes, and scenic design. Closes 6/28/26. #saudade
Written & Performed by Vanessa Severo
Directed by Joanie Schultz
June 6 – 28, 2026
CAST
VANESSA SEVERO*^
FRIDA KAHLO & PLAYWRIGHT
CREATIVE TEAM
JOANIE SCHULTZ
DIRECTOR
JACQUELINE PENROD
SCENIC DESIGNER
KATHERINE DAVIS
COSTUME DESIGNER
RACHAEL CADY
LIGHTING DESIGNER
CAMI TALIAFERRO-BARBER
ASSISTANT LIGHTING DESIGNER
THOMAS DIXON
SOUND DESIGNER & COMPOSER
STAGE MANAGEMENT
JANINE VANDERHOFF*
STAGE MANAGER
SEASON SPONSORS
4 CULTURE | ARTSFUND | KATHARYN ALVORD GERLICH | DAVID C. ALLAIS
GROUSEMONT FOUNDATION | NESHOLM FAMILY FOUNDATION | THE SHUBERT FOUNDATION INC. | MacDonald-Miller FACILITY SOLUTIONS
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States
^Member of Stage Directors and Choreographers Society
@showsiveseen @Angela Poe Russell and Dionne McClain-Freeney’s #worldPremiere#musical "Aviatrix" by @seattlepublictheater w/ Macha Theatre Works starring @🐲haley🐲 . It’s shows like this that remind me why I attend local smaller #theatre – for a chance to uncover a rare, unexpected worthy gem like this. With a solidly written, eclectic score, this runaway hit is ready for a major stage. Run, don't walk, to snag rush/waitlist tickets to this sold-out show before it closes on Sunday! Review: showsiveseen.com/15596 Director: Amy Poisson Stage Mgr: Bailey Dobbins Choreo: Lexi Warden #musicaltheatre#pilot♬ Standards – Keke Palmer
Elevator Thoughts (aka Tweet): Angela Poe Russell and Dionne McClain-Freeney’s world premiere musical Aviatrix by Seattle Public Theater w/ Macha Theatre Works starring Haley Dortch. It’s shows like this that remind me why I attend local smaller theatre – for a chance to uncover a rare, unexpected worthy gem like this. With a solidly written, eclectic score, this runaway hit is ready for a major stage. Run, don’t walk, to snag rush/waitlist tickets to this sold-out show before it closes in 2 days.
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, I’m curious to see what this would look like on a major stage.
Mainstream Appeal: Medium
If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Absolutely
My Synopsis (No Spoilers): This biographical musical chronicles the extraordinary ascent of Bessie Coleman, charting her historic journey to become the world’s first Black female aviator in the face of all odds.
Synopsis from the Licensor or Theatre Company: Determined to make something of herself, a girl from rural Texas dreams of flying. But it’s 1917, and flight schools don’t accept women, much less one who is Black and Native. Refusing to take no for an answer, Bessie Coleman goes to extraordinary lengths to make her dream of flying a reality.
Type: Musical
World Premiere: Yes
Several or Few Scenes: Several
Several or Few Settings/Locations: Several
Static (Stationary) or Dynamic Set: Stationary
Prior Exposure/Knowledge Required: I imagine you’d appreciate this show more if you were familiar with Bessie Coleman. I personally had never heard of her before this show.
Defined Plot/Storyline: Yes
Live Band/Orchestra: Yes
Union Actor(s): 1
Total Actor(s): 12
Perceived Pace of the Show: Medium speed
Was there an intermission? Yes
Length (Including Any Intermission): 2.5 hours
Other Rave(s)
Surprise Hit: I will admit, I was not planning to post a full review of this production. But while watching the show, I felt compelled to share the news about this unexpected sleeper hit. It evoked that rare thrill of discovering a worthy gem out of nowhere like the time I attended Sidecountry Theatre’s Murder Ballad (twice). Perhaps my impression was amplified by initially low expectations since it was a world premiere at a tiny venue with a premise that I mistakenly assumed would feel dry and overly preachy, akin to the tone of Suffs. Instead, it proved to be a mature work in a theatrical landscape often cluttered with half-baked world premieres. This is one of those rare productions that clearly has a bright future ahead in a more substantial venue like Village Theatre.
Powerhouse Vocals: There was something truly special about the actors portraying Bessie Coleman’s blood relatives. Crystal Hairston (as Bessie’s mother, Susan) possessed an effortlessly powerful voice, established immediately in her introductory number “Go Where You’re Lead” and “Enough.” Later, she effectively channeled that vocal strength into a wailing lamentation during the heart-wrenchingly mournful song, “Broken.” Gerald Germajesty Price (as Bessie’s brother, Walter) matched this effortless vocal prowess. He showcased his natural charisma pairing his smooth tone with equally smooth moves. Samara Jeffrey (as Young Bessie) also delivered promising vocals in “The Cards We Must Play.” I only wish she was given more opportunities to show off the impressive chops she previously displayed in Intiman Theatre’s Black Nativity.
Music: Dionne McClain-Freeney’s score was a masterfully eclectic blend of gospel, jazz, and spoken-word poetry, elevated by well-designed harmonies and wonderful chord progressions. Even the intentional dissonance during the bomb scene was remarkably effective. The gospel influences shone brightly during the church service scene, complete with the signature polyrhythmic clapping of a Black church, as well as in the rich “Closer to Yes.” I found myself genuinely smiling during the gospel-infused moments of “Faith” and the Act I finale, “Nothing and Everything.” The latter featured a determined, classic Broadway-style melody that served as a perfect, triumphant act one break, functioning much like “Defying Gravity” did for Wicked. Act II opened with a lively French number, “Je Suis Là,” followed by elegant jazz sequences as Shana Emile (playing Josephine Baker) sang “Josephine’s Pressure” in a nightclub setting. However, the standout jazz moment was the charming dance scene between Bessie (played by Haley Dortch) and Claude (played by Donovan Mahannah) during “When One Becomes Two.” It was a sophisticated, jazzy love song boasting sweet harmonies, nostalgic retro TV vibes, and superb chord progression.
Spoken Word: The production uniquely incorporated un-melodized, spoken-word interludes. There were similarities with Hamilton, but the execution here leaned much closer to the rhythmic cadence of flow poetry. The only other theatrical work I have seen utilize this specific storytelling style is Vietgone.
Band-Actor Synergy: Occasionally, the conductor (composer and lyricist Dionne McClain-Freeney) and the band directly interacted with the actors. While breaking the fourth wall in this manner usually falls awkwardly or forced in other shows, it felt entirely organic here.
Design: Scenic designer Parmida Ziaei crafted a stage backdrop reminiscent of an airplane fuselage cross section, utilizing gill-like structural panels. This design worked in beautiful tandem with lighting designer Dani Norberg’s background illumination behind the “gills.” Watching the stage open to reveal an airplane seat and propeller was a nice surprise.
Tap Dance: Elijah Spreier was a wonderful ensemble member, seamlessly shifting between several roles like a Frenchman and an announcer. But where he truly shined was during his unexpected tap dance solo. My only complaint was that it felt like a tease. He left the audience wanting much more tap dance from choreographer Lexi Warden.
Rant(s)
Odd Moments: The production had some minor “turbulence”. The rapid scene changes between cities could have benefited from transitional music rather than awkward silence. Additionally, there was an odd choice during a flashback moment when pre-recorded lines played over the sound system while the actor who delivered it stood silently on stage to depict Bessie’s memory. As a general rule, if the actor is physically present in the scene, the recording is unnecessary. Simply let the actor recite the line live.
Other Musing(s) and Observation(s)
Narrative Focus: I was initially surprised that the book did not establish Bessie Coleman’s desire to fly earlier in the plot. Instead, her motivation began as a generic longing for “something more,” rather than a specific yearning for the sky. For much of the runtime, the narrative felt less focused on aviation itself, especially given the rapid progression to her becoming a pilot in Act II. However, in hindsight, this structure served the musical well. By grounding her initial ambitions in universal longing, the story was more relatable, allowing the audience to easily map their own dreams and aspirations onto Bessie’s journey.
Theatre Company: Seattle Public Theater and Macha Theatre Works
Venue: Bathhouse Theater at Greenlake
Venue Physical Address: 7312 West Green Lake Dr N, Seattle, WA 98103
Price Range: 10-100 USD
Ticket Affordability Options: You can self-select $10 price-accessible seats on the ticketing website.
Dates: May 15 – June 7, 2026
Seating: Assigned Seats
Parking: Free plentiful parking lot of Greenlake Park, which is adjacent to the theatre.
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Barefoot in the Park play at Taproot Theatre. Charming ode to young love, compromise, and opposites that attract ❤️… then attack 💔! The cynical Scrooge in me was secretly cheering for the pragmatic realists. Ays Garcia & Arjun Pande are fantastic newlyweds, and Alexandra Tavares steals scenes as the chic, elegant, overbearing NYC-area mother. Closes 6/20! 🎭
Playing in the Jewell Mainstage Theatre: Barefoot in the Park by Neil Simon
Cast
Corie Bratter: Ays Garcia
Paul Bratter: Arjun Pande*
Mother: Alexandra Tavares*
Victor Velasco & Delivery Man: Mike Wu
Telephone Repair Man: Brian Pucheu
Understudies
Corie Bratter: Kate Anders
Paul Bratter & Telephone Repair Man: Christian Bolduc
Mother: Ellen Dessler Smith
Victor Velasco & Delivery Man: Nolan Palmer
Production
Director: Karen Lund**
Associate Director: Aaron Lamb
Scenic & Sound Designer: Mark Lund
Costume Designer: Nanette Acosta
Lighting Designer: Tucker Goodman
Prop Master: Jaiden Clark
Intimacy Director: Bretteney Beverly
Stage Manager: Brigid Ridge*
Dramaturg: Natalie Westgor
Setting & Show Information
Setting: 1963. The top floor of a brownstone on East 48th Street, New York City.
Run Time:Barefoot in the Park is approximately two hours and 15 minutes including one 15-minute intermission.
Licensing: “Barefoot in the Park” is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. www.concordtheatricals.com
Actors’ Equity Note (*): Appearing through an agreement between this theatre, Taproot Theatre Company, and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
Directors’ Union Note (**): The Director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union.
Production Crew
Crew
Assistant Stage Manager: Ashley Winrod
Directing Observer: Sabrina Ruff & Olivia Widmer
Casting
Casting Director: Bretteney Beverly
Casting Associate: Pilar O’Connell
Costume Staff
Dresser: Brooke Thomas
Draper: Martha Mitchell
Stitcher: Scían Hayes
Wig Specialist: Jaclyn Deshaye
Wig Designer: Joyce Degenfelder
Scenic & Lighting Staff
Master Electrician: Aiyana Stephens
Scenic Carpenters: Garrett Dill, Jaime Tapia
Scenic Charge Artist: Mark Lund
Scenic Artist: Jaiden Clark
Light Board Operator: Matthew Ray
Electricians: Morgan Poirier, Matthew Ray, Madeleine Rush
Scenic Strike: Kenneth Bryant†, David Natale†, Alvin Scottbotler†
Technical Union Affiliations
I.A.T.S.E. Note (†): All stage work performed by employees represented by I.A.T.S.E., Local No. 15.
