Review – Shows I've Seen | Theatre Reviews

& Juliet – Jukebox Musical – Review – Paramount Theatre

@showsiveseen Max Martin and David West Read's "& Juliet" jukebox #musical at Paramount Theatre from Broadway Seattle and @Seattle Theatre Group. Starring @lois. understudying for @Rachel. The song list packed with millennial & genZ pop hits took me back to my teens and 20s. Last Seattle performance on 8/3/25! Review: showsiveseen.com/13428 Director: Luke Sheppard Choreo: Jennifer Weber Music Director: Andre Cerullo Music Supervisor: Bill Sherman Stage Mgr: Annelise Castleberry, Joel Rosen, Chloe Rose Schweizer #romeoandjuliet #shakespeare #musicaltheatre #theatre @& Juliet on Broadway ♬ Since U Been Gone – Lorna Courtney & Original Broadway Cast of & Juliet

Elevator Thoughts (aka Tweet): Max Martin and David West Read’s & Juliet jukebox musical at Paramount Theatre from Broadway Across America and Seattle Theatre Group. Starring Lois Ellise understudying for Rachel Simone Webb. The song list packed with millennial pop hits took me back to my teens and 20s. #romeoAndJuliet #shakespeare #genZ

Recommendation:
See it, especially if you enjoy jukebox musicals like Moulin Rouge! The Musical.

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: High

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

My Synopsis (No Spoilers): What if Juliet hadn’t died? William Shakespeare and his wife Anne Hathaway overhaul the classic Romeo and Juliet tale, giving Juliet a second chance and a voice of her own.

Synopsis from the Licensor or Theatre Company: Created by the Emmy®-winning writer from Schitt’s Creek, this hilarious new musical flips the script on the greatest love story ever told. & Juliet asks: what would happen next if Juliet didn’t end it all over Romeo? Get whisked away on a fabulous journey as she ditches her famous ending for a fresh beginning and a second chance at life and love—her way. Juliet’s new story bursts to life through a playlist of pop anthems as iconic as her name, including “Since U Been Gone‚” “Roar,” “Baby One More Time,” “Larger Than Life‚” “That’s The Way It Is,“ and “Can’t Stop the Feeling!”—all from the genius songwriter/producer behind more #1 hits than any other artist this century. Break free of the balcony scene and get into this romantic comedy that proves there’s life after Romeo. The only thing tragic would be missing it.

Type: Jukebox 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: A working knowledge of Romeo and Juliet is essential. Familiarity with Shakespearean references and the Billboard top 40 hits from the past three decades will also help significantly enrich your experience.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actors: All

Total Actors: 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)

Millennial Jukebox Fever Dream: This musical uniquely leaned hard into millennial nostalgia. It was packed with hits many of us grew up hearing on the radio or burning onto mix CDs. The soundtrack focused primarily on late ’90s and 2000s pop, with some minor attention to Gen Z favorites. Watching it must be like how Baby Boomers feel seeing Motown: The Musical or Gen Xers experiencing Rock of Ages. In other words, this is how we know we elder millennials are aging! :'( Few shows have taken on this level of millennial pop royalty … they must be paying royalties out the wazoo! The musical was bursting at the seams with iconic songs, especially from the 1990s boy band era. They even featured a group called “De Bois Band” dressed in the Backstreet Boys’ iconic glittery silver metallic outfits. It was pure Y2K pop fantasy on stage. You can find the full robust song list at the end of this review in the pictures, but below are some highlights:
- “Larger Than Life” (Backstreet Boys): A powerhouse opening number
- “…Baby One More Time” (Britney Spears): Reimagined as a slowed-down ballad with surprising emotional weight
- “I’m Not a Girl, Not Yet a Woman” (Britney Spears): A moving, introspective moment that gave the song new meaning when a non-binary character May (played by Nick Drake) wrestled with the realization that his straight crush wouldn’t return his feelings.
- “It’s My Life” (Bon Jovi): Heart-pounding, exciting, feast for the senses that revealed a pivotal character at the cliffhanger twist
- “Blow” (Ke$ha): I’m not a fan of Ke$ha’s original song but this musical’s rendition won me over. Think strobe lights, dazzling choreography, and swinging from a chandelier.
- Mashups: Channeling the trend popularized by the TV show Glee, the production occasionally featured clever mashups pairing songs like “Teenage Dream” (Katy Perry) with “Break Free” (Ariana Grande) or blending “Problem” (Ariana Grande) with “Can’t Feel My Face” (The Weeknd).
Romeo: Michael Canu’s portrayal of Romeo subverted the typical romantic lead ideal. He was less of the traditional devoted star-crossed lover and more of a goofy fuckboi douchebag. Canu summed up the character’s blend of angst and absurdity as he moaned, “All I’ve ever been is a sexy young man with a tight body and a lot of feelings,” which was less Shakespearean longing and more Tinder bio. Additionally, costume designer Paloma Young interestingly styled Romeo like a beta anime softboi making his bravado feel both ridiculous and oddly endearing.

Other Musing(s) and Observation(s)

Youthful Tone: Beyond the music, the production was loudly millennial-coded, with a light sprinkle of Gen Z flair. It got to the point that the millennial-coded energy occasionally verged on excess. That said, I was pleasantly surprised and relieved by the restraint in showcasing cell phones (I don’t think I saw one) because cell phone props are a commonly overused crutch in many productions trying to appear modern, young, and relevant. The overall vibe was reminiscent of light pop-culture-savvy shows like New Girl, Emily in Paris, Younger, Brooklyn Nine-Nine, and How I Met Your Mother.
Vocal Suitability: At times, a few songs didn’t seem perfectly suited to the performers’ vocal ranges. The delivery occasionally lacked the vocal ease and polish typically associated with national tours or Broadway productions. Sometimes the vocals felt slightly too low or underpowered, which made me wonder if the demands of this particular performance involving last-minute cast changes might have played a role.
Jukebox Musical Formula: As expected from a Broadway national tour, the performance was polished, impressive, and amazing. However, it gratuitously relied too heavily on the jukebox musical formula, feeling more like a millennial playlist than a meaningful narrative. While jukebox musicals often struggle with substance, this production felt particularly hollow and pandered more to top 40 hit music nostalgia. That said, the straightforward plot was easy to follow, which is always something I always value in a live production with no subtitles. Give me Legally Blonde, not Checkov … and not old Shakespearian English for that matter!
British vs American Musical Theatre: Something about this musical weirdly reminded me of Six. Maybe it’s because both blended concert-style staging with theatrical storytelling and similar vibrant pop energy. Or perhaps it’s the fact that both are British-born pop musicals. I can’t quite put my finger on it. But despite the high-octane vibe, there was a certain “je ne sais quoi” from these two shows that doesn’t quite match American Broadway energy. & Juliet feels like the British response to the American Moulin Rouge! jukebox musical. I’m headed to the London West End for the first time next month and I’m so curious to observe the difference with American Broadway. Stay tuned for my London reviews. Let me know in my social media comments your thoughts on American vs British musical theatre!

Theatre Company: National tour courtesy of Broadway Across America and Seattle Theatre Group

Venue: Paramount Theatre

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

Price Range: $55-210

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: July 29 – Aug. 3, 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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Pictures: See production pictures below by Matthew Murphy from MurphyMade.

Cast and Production Team: See after pictures below.

Teal Wicks, Rachel Simone Webb, Nick Drake and Kathryn Allison in the North American Tour of & JULIET – Photo Credit Matthew Murphy

Rachel Simone Webb and the company of the North American Tour of & JULIET – Photo Credit Matthew Murphy

Rachel Simone Webb and Michael Canu in the North American Tour of & JULIET – Photo Credit Matthew Murphy

Michael Canu and the company of the North American Tour of & JULIET – Photo Credit Matthew Murphy

Mateus Leite Cardoso and Nick Drake in the North American Tour of & JULIET – Photo Credit Matthew Murphy

Kathryn Allison and Paul-Jordan Jansen in the North American Tour of & JULIET – Photo Credit Matthew Murphy

Corey Mach and Teal Wicks in the North American Tour of & JULIET – Photo Credit Matthew Murphy

Credits from the *Encore* printed program

Song list from the *Encore* printed program

The Color Purple – Musical – Review – Village Theatre

@showsiveseen "The Color Purple" #musical at Village Theatre starring @Mariah Lyttle. Strong cast and voices. The church lady gossips (@Melany, @Kataka, & Crystal Hairston) were the highlight of the show! Closes next weekend. #Review: showsiveseen.com/13329 Production Clips: Nyhuis Creative Director: Timothy McCuen Piggee Stage Mgr: Miranda Mikolaizik Conductor: Tim Symons Choreo: @Nikki Womac #theatre #musicaltheatre #thecolorpurple ♬ Miss Celie's Pants – Original Broadway Cast Of The Color Purple

Elevator Thoughts (aka Tweet): The Color Purple at Village Theatre starring Mariah Lyttle. Strong cast and voices. The church lady gossips (Melany Bell, Kataka J. Mackenzie, & Crystal Hairston) were the highlight of the show!

Recommendation:
See it, especially if you enjoy melodramatic Lifetime TV scripts depicting abusive relationships.

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

Would I See It Again 3 Years from Now? Probably not. Three times already might be 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): Life dealt Celie a harsh hand in intersectionality. She’s Black (in the Deep South), female, ugly, queer, and poor. Despite these compounded barriers, her journey illustrates resilience, self-discovery, empowerment, and reclaiming one’s agency. Against all odds, she finds her own voice in a world determined to silence her. Beauty is found in unexpected places.

Synopsis from the Licensor or Theatre Company: A testament to the healing power of love. With a soul-raising, Grammy Award-winning score infused with jazz, gospel, ragtime and the blues, The Color Purple is a triumphant musical adapted from the Pulitzer Prize-winning novel by Alice Walker (later turned into films directed by Stephen Spielberg and Blitz Bazawule). In the early 1900s in rural Georgia, a teenage Celie is ripped from her life and forced into an abusive marriage. Despite the anguishing circumstances she endures, she comes to discover her voice, find herself, and celebrate life. This stirring and inspiring show explodes with music, beauty, and hope. Director Timothy Piggee’s (Hello, Dolly!) soaring new production of The Color Purple promises to fill your heart and awaken your soul.

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Predominantly dynamic, though austere. The understated scenic design by Carey Wong provided an open canvas that highlighted the performers’ skills, free from the distraction of flashy visuals.

Prior Exposure/Knowledge Required: No, but you’d probably appreciate this show more if you read the book. I haven’t read the book and I remember that the story was difficult to follow the first time I saw the musical more than 10 years ago.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actors: 9

Total Actors: 17

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Other Rave(s)

Church Ladies: The narrating gossips stole the show with their tight harmonies, facial expressions, and poses with attitude. Kataka J. Mackenzie’s powerhouse vocals were reminiscent of Mercedes from the Glee TV show, delivering each belt with flair and conviction.
Gospel Music: I don’t remember either of the two national tours I saw delivering a Sunday church service quite like this one. Again, the church ladies brought it. However, it was weird to witness such a spirited, high-energy Sunday church service when I saw the musical on an otherwise sleepy Wednesday evening.
Jahmaul Bakare: Jahmaul Bakare (as “Mister” Albert) skillfully shifted his voice between a rich operatic tenor and a smooth, R&B-like tone. He certainly showcased his impressive effortless vocal range.

Other Musing(s) and Observation(s)

Pantheism: Every time I see The Color Purple, the show’s overtly pantheistic themes are increasingly apparent. In “The Color Purple” song, Celie declares, “God is inside me and everyone else” which underscores the spiritual worldview where the divine is immanent in all things. I can’t think of another mainstream show that glaringly embraces pantheism. It always strikes me as strange. But I guess the theme is perfect for “woo woo” Seattle. I wonder if pantheism is as pervasive in the original book. If you’ve read the book, let me know what your thoughts in my social media comments!

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: $75-128

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

Dates:

Issaquah: May 27 – June 29, 2025
Everett: July 5—27, 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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Pictures: See production pictures below by Auston James.

Cast and Production Team: See after pictures below.

Brandi Birdsong (Nettie) and the company of *The Color Purple* at Village Theatre. Photo by Auston James (2025).

Jesimiel R. Jenkins (Harpo) and Shermona Mitchell (Sofia) in *The Color Purple* at Village Theatre. Photo by Auston James (2025).

Mariah Lyttle (Celie) in *The Color Purple* at Village Theatre. Photo by Auston James (2025).

Claudine Mboligikpelani Nako (Shug Avery) and the company of *The Color Purple* at Village Theatre. Photo by Auston James (2025).

Aniah Long and the company of *The Color Purple* at Village Theatre. Photo by Auston James (2025).

Credits from the printed *Encore* program.

The Effect – Play – Review – ArtsWest

@showsiveseen Lucy Prebble's "The Effect" #play at ArtsWest. Fantastic futuristic sci-fi vibe from the scenic, lighting, sound, & movement design. Charismatic, disarming male lead portrayal from @Morgan Gwilym Tso. Closes next weekend! #Review: showsiveseen.com/13278 Photos: John McLellan Director: Mathew Wright Stage Mgr: Neen Williams-Teramachi, @Alyda Sorm #theatre #showsiveseen #antidepressant #pharma ♬ Tomorrow – Fly By Midnight

Elevator Thoughts (aka Tweet): Lucy Prebble’s The Effect play at ArtsWest. Fantastic futuristic sci-fi vibe from the scenic, lighting, sound, & movement design. Charismatic, disarming male lead portrayal from Morgan Gwilym Tso. Closes next weekend!

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? Probably not

Mainstream Appeal: Medium

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

My Synopsis (No Spoilers): Two volunteers sign up for a clinical trial testing an experimental antidepressant. As the boundaries between science, emotion, and ethics blur, the relationships among the researchers and subjects grow increasingly complex. Will the trial yield a medical breakthrough or a personal breakdown?

Synopsis from the Licensor or Theatre Company: In this sci-fi thriller by Lucy Prebble (HBO’s Succession), a clinical drug trial is thrown off-course when two young volunteers succumb to the gravitational pull of attraction – is it love or just a side effect? As sexy as it is funny, this riveting play will have you at the edge of your seat.

Type: Play

World Premiere: Yes

Several or Few Scenes: A couple

Several or Few Settings/Locations: A couple

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: Mostly, yes. But it was more dialogue than action.

Union Actors: 1

Total Actors: 4

Perceived Pace of the Show: Slow to medium speed

Was there an intermission? No

Length (Including Any Intermission): 100 minutes

Other Rave(s)

Vibe: The production exuded a distinctly futuristic, sci-fi aesthetic, with all design elements complementing in strong harmony. Parmida Ziaei’s scenic design evoked the sleek sterility of a modern museum with clean lines, minimalist forms, and a sense of clinical precision. Trevor Cushman’s lighting design beautifully enhanced the stage trim with pulsing neon reminiscent of a hip underground club. Outside of the neon, the lighting was vividly color-saturated and occasionally dramatically shifted. It echoed the lighting design in ArtsWest’s previous production Athena. The sound design (by Sandra Huezo-Menjivar and Conor Fortner) and sound composition (by Greg Fields) reinforced the technological atmosphere with robotic sound effects and synthetic announcements. Even the choreography by Alyza DelPan-Monley aligned seamlessly with the production’s futuristic tone as the test subject characters deliberately moved in an automated way between their scenes.
The Real You: Lucy Prebble’s script thoughtfully explored the philosophical question of true identity when a patient uses psychiatric medications. Connie (played by Anna Mulia) compared taking antidepressants to being drunk saying something like, “If you’re drunk and tell me, ‘I love you, you’re my best friend,’ I wouldn’t believe you.” If a chemical (like an antidepressant) alters your mood or thoughts, is what you say or feel still truly you?
Revelation and Twist: The final scenes unveiled an unexpected revelation, punctuated by an audacious twist that heightened the drama. Utterly reckless in a good way.

Other Musing(s) and Observation(s)

Script: The script presented an intriguing premise, but it moved at a pace that often left me restless. Maybe it’s because I work in the pharmacy field and the topic hits close to home. Or maybe it’s because theatre pieces from the UK tend to move at a slower pace compared to their USA counterparts. Additionally, the script could have more effectively illuminated the dynamic between the two scientists as well as their individual background/development.

Theatre Company: ArtsWest

Venue: ArtsWest

Venue Physical Address: 4711 California Ave SW, Seattle, WA 98116

Price Range: $46

Ticket Affordability Options: Check out the discounts portion of their ticketing policies page.

Dates: 6/19/25 to 7/13/25

Seating: Assigned Seating

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Pictures: See production pictures below by John McLellan.

Cast and Production Team: See after pictures below.

Photo by John McLellan for THE EFFECT at ArtsWest (2025).

Beau the Musical – Review – Out of the Box Theatrics & Theatre 154

@showsiveseen "#Beau the #Musical" at Theatre 154 by @Out of the Box Theatrics starring @Matt Rodin & Chris Blisset. The 8 incredibly talented actors were also the band. Loved the situationship arc. Heartfelt coming of age (and coming out?) story … I even shed a single tear. #Review : showsiveseen.com/13227 Photos: Valerie Terranova Director/Choreo: Josh Rhodes Concept/Book/Lyrics/Music: @Douglas Lyons Music: Ethan D. Pakchar Stage Mgr: Jonathan Bach #offBroadway #lgbt #lgbtq #LGBTQIA #queer #gay #theatre #showsiveseen #musicaltheatre #pride ♬ Runnin' (feat. Matt Rodin) – Lyons & Pakchar

Elevator Thoughts (aka Tweet): Beau the Musical at Theatre 154 by Out of the Box Theatrics starring Matt Rodin & Chris Blisset. The 8 incredibly talented actors were also the band. Loved the situationship arc. Heartfelt coming of age (and coming out?) story … I even shed a single tear. #lgbt #queer #gay #pride #lgbtq #LGBTQIA

Recommendation:
See it, especially if you enjoy 1) concert-style productions 2) musicals where the actors are also the band 3) intimate/immersive shows 4) or folk music.

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

Would I See It Again 3 Years from Now? I think so.

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 coming-of-age story that follows a queer teenager attempting to bridge the gap with his estranged heart-of-gold grandfather.

Synopsis from the Licensor or Theatre Company: Beau features eight actor-musicians telling the story of Ace Baker – a young queer man whose life is forever changed when he discovers his deceased grandfather is actually alive. Family secrets unravel as Ace rushes to make up for lost time with a man who changes his life by putting a guitar in his hand.

Type: Musical

World Premiere: Yes

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actors: 7

Total Actors: 8

Perceived Pace of the Show: Medium speed

Was there an intermission? No

Length (Including Any Intermission): 1.5 hours

Other Rave(s)

Scenic Design: Daniel Allen transformed the space into a convincingly gritty dive bar. They even served drinks before the show, which added to the immersive atmosphere.
Music and Band: The cast showcased their impressive versatility when they doubled as the show’s folksy country band. I’m sure that saved this production some money! They played the memorized score with a wide instrument plethora from the expected acoustic/electric guitars, drums, and keyboard to more eclectic choices like the fiddle, mandolin, spoons, cowbell, and bongos. The overall vibe felt like a better version of Girl from the North Country.
Romantic Storylines: I loved the bittersweet romantic arcs, especially how the script didn’t linger on them too heavily. Since I deliberately avoid reading synopses beforehand, the sudden introductions of these arcs hit like a bombshell, which makes for good theatre. There’s something alluring (and yes, hot) about a forbidden romance steeped in internalized homophobia.
Voices: Matt Rodin (as Ace) brought a smooth, classic crooner tone to the stage. It was also a delight to see a familiar face Amelia Cormack (as Raven) from Hadestown, who delivered a powerhouse vocal moments like during the climactic end of “The Middle.”
Past vs Present: Creator Douglass Lyons skillfully intertwined past and present in the script, drawing parallels between Beau’s experiences across time. One example was the mirrored abandonment scenes of those who left Beau in the past versus those who left him in the present. Similarly, the comparison between Beau’s past romantic life and Ace’s present-day relationship deepened the emotional resonance of the piece.
Larry: The recurring gag about “this motherfucker” “goofy wack-ass Larry” (played by “fellow” Matt Wolpe) was a consistent comedic relief throughout the show. What initially felt like a creepy (almost pedophile) character evolved into an endearing surprise.

Other Musing(s) and Observation(s)

Hook: The show would benefit from diving into the story/action sooner to hook the audience earlier. It began like a band performance with hints of story. So initially, I expected a concert-style musical such as Six the Musical and didn’t anticipate much in terms of narrative. But as the plot unfolded, it gradually revealed a more linear and emotionally engaging journey. At times, I even forgot about the concert framing altogether. While my expectations were low at first from the initial moments of the show, I found myself increasingly impressed as it gained momentum.
Queer vs Gay: The show is marketed as a queer musical, but it felt more like a gay (specifically, homosexual male) narrative than the broader, more fluid spectrum that “queer” implies. Maybe that’s just the ignorant gay Texan in me still struggling to grasp all the nuances of the alphabet mafia LGBTTQQIAAPPO2SAA despite being schooled by a reader after my review of Wolf Play. From my perspective, there wasn’t much ambiguity in Beau the Musical regarding gender identity or sexual orientation. The attraction and identity dynamics appeared fairly binary.

Theatre Company: Out of the Box Theatrics

Venue: Theatre 154

Venue Physical Address: 154 Christopher St #1E, New York, NY 10014

Venue Classification: Off-Broadway

Price Range: $45-110

Dates: 6/6/25 to 7/27/25

Seating: Assigned Seating

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Pictures: See production pictures below by Valerie Terranova Photography.

Cast and Production Team: See after pictures below.

Amelia Cormack and Chris Blisset in Beau The Musical. Photo by Valerie Terranova Photography.

Cory Jeacoma and Matt Rodin in Beau The Musical. Photo by Valerie Terranova Photography.

Chris Blisset in Beau The Musical. Photo by Valerie Terranova Photography.

Smash – Musical – Review – Imperial Theatre

@showsiveseen "#Smash" #musical at the Imperial #Theatre starring @robynhurder as Ivy Lynn & #marilynMonroe. Based on the TV show. Incredibly tight choreography from Joshua Bergasse. Overflowing with incredible showstopping spectacles. So sad that it closed on #Broadway last week. Hopefully, they’ll go on national tour. #Review: showsiveseen.com/12973 Director: Susan Stroman Music Director: Paul Staroba Book: Bob Martin & Rick Elice Music/Lyrics: @Marc Shaiman and Scott Wittman Stage Mgr: Jillian M Oliver #musicalTheatre #showsiveseen #methodActing @Smash Broadway ♬ Let Me Be Your Star – Bella Coppola

Elevator Thoughts (aka Tweet): Smash musical at the Imperial Theatre starring Robyn Hurder as Ivy Lynn & Marilyn Monroe. Based on the TV show. Incredibly tight choreography from Joshua Bergasse. Overflowing with incredible showstopping spectacles. So sad that it closed on Broadway last week. Hopefully, they’ll go on national tour.

Recommendation:
See it, especially if you enjoy musicals about musicals.

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? Yes

My Synopsis (No Spoilers): A theatre production team embarks on the chaotic journey of mounting a Broadway musical about Marilyn Monroe. Hilarity unfolds as the director, producer, intern, writers, actors, stage manager, acting coach, and assistant director scramble backstage. This behind-the-scenes romp is both a comedy of errors and a heartfelt love letter to the magic (and madness) of producing a Broadway show.

Synopsis from the Licensor or Theatre Company: Inspired by the hit TV series, SMASH is the perfect musical-lover’s musical. Get ready for all the backstage pandemonium as opening night approaches for Bombshell, the splashy new show about Marilyn Monroe. Nearly breaking under the pressure, legendary Broadway star Ivy Lynn causes a series of hilarious set-backs and surprises that brings a diva director, a bewildered producer, two exasperated authors, one eager understudy, and an entire company to its knees. But the curtain’s going up, no matter what!

Type: Musical

World Premiere: Yes

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Dynamic

Prior Exposure/Knowledge Required: You’ll appreciate this show more if you’re familiar with Broadway musical theatre references. Obviously, you’ll probably also enjoy this more if you watched the original TV show. I personally didn’t see the TV show, but I heartily enjoyed the musical. Lastly, it helps if you know a little about Marilyn Monroe.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actors: All

Total Actors: 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)

Hook: The show opened with a captivating spectacle led by Robyn Hurder as Ivy Lynn, the actress portraying the legendary bombshell Marilyn Monroe. The song was filled with iconic moments like “Happy Birthday, Mr. President,” “Diamonds Are a Girl’s Best Friend,” and Monroe’s sultry nod to Chanel No. 5.
Choreography: Joshua Bergasse’s classic Broadway-style choreography was sizzling and tight. It crackled with energy and precision, capturing the essence of old-school showbiz flair. Side note, I’m surprised that there wasn’t a tap number, especially in a musical about making a musical.
Nigel: Brooks Ashmanskas delivered a hilariously over-the-top performance as Nigel, the flamboyant and melodramatic director. His portrayal in Smash evoked fond memories of his equally delightful role as Barry Glickman in The Prom.
Male Sex Appeal: This show wasn’t shy about flaunting its assets of muscley, charismatic performers (notably Equinox instructor Casey Garvin). They unapologetically leaned into the old adage that “sex sells” during the song with shirtless baseball players in a locker room. Of the six Broadway shows I saw this week, this one clearly drew the crowd with the most gays. The production knew its audience and delivered exactly what they’d appreciate.
Theatre Influencers: I enjoyed the cheeky jab at theatre influencers (such as yours truly). It’s not entirely wrong that we can be a bunch of “entitled little shits.” But like it or not, we can be the tipping point between a show’s quiet run and breakout success.
Theatre Entrance: The final backdrop of the theatre entrance by scenic designer Beowulf Boritt was a thoughtful touch like a visual bookend that mirrored the audience’s arrival at the start. Just as the show began with the audience entering the theatre, it ended with the image of that very threshold, neatly framing the story on stage. It was a clever and fitting conclusion to a musical about musicals.
Future of Theatre Audiences: I loved the Gen Z intern Scott, who Nicholas Matos played with charm and energy. His character felt like a nod to the hopeful future of theatregoers. As a young person of color, Scott’s presence refreshingly contrasted to the predominantly elderly, white demographic we see in theatre audiences today.
Female Leads: Each of the Marilyn Monroe-inspired bombshells commanded the stage with a stunning powerhouse voice. The audience went wild every time each of them showcased their vocal belt.
Musical within a Musical: Staging, writing, or performing a show within a show inevitably adds a layer of complexity for the creative team. But they pulled it off with impressive finesse. It certainly required a little more mental engagement from the audience!
USO Performance: “I Never Met a Wolf Who Didn’t Love to Howl” evoked the spirit of vintage USO performances, reminiscent of the infectious swing in the classic “Boogie Woogie Bugle Boy.”

Other Musing(s) and Observation(s)

Off-the-wall Camp: The show was full of bizarre moments like horse laxative poisoning and outlandishly campy characters like a ghoulish witchy acting coach. It felt like a musical cousin to the chaotically over-the-top The Play That Goes Wrong. While those elements aren’t usually my cup of tea, camp has always had a home in theatre and we gays do have a soft spot for it.
End of Act One: I was proud to have predicted who would save the show by intermission. It was a satisfying twist that gave Act I a solid sense of closure. Honestly, they could’ve started the curtain call and I’d have been satisfied
Theatre Knowledge: I’ve always loved musicals that celebrate and satirize theatre itself like The Noteworthy Life of Howard Barnes, The Prom and Something Rotten! But I recognize that these shows often rely heavily on insider knowledge to land their jokes and references successfully. Terms like “ghost light,” “Tony voters,” “method acting,” and “stage manager” are second nature to theatre fans, but they can be confusing or meaningless to the average audience member. Even I’m not entirely sure what a producer actually does (though I know they’re vital) which means everyday viewers probably understand even less.
Slow Moments: At times, the dialogue felt oddly stilted and out of place in the otherwise ostentatious rhythm of the musical. These moments broke the narrative flow and stood out awkwardly against the show’s dynamic rhythm.
Original TV Show: Having never seen the original TV show, I’m curious how the musical stacks up. If you’re familiar with both, drop a comment on my social media and let me know how they compare!
Gossip: I’d love to know the backstage drama of a theatre diva that everyone hates to work with in real life. If you’ve got the inside scoop, spill the tea in my social media comments. I’m dying to hear the delicious details!