Review – Shows I've Seen | Theatre Reviews

Shucked – Musical – Review – Paramount Theatre

@showsiveseen 🌽 Robert Horn, Brandy Clark, & Shane McAnally’s #Shucked #musical national tour courtesy of Broadway Seattle & @Seattle Theatre Group. Witty script was a cornucopia of sly clever corny dad jokes. Foot-tapping #country melodies. @Danielle Wade was like a modern-day young Dolly Parton. Hilarious, thought-provoking musings from Mike Nappi. See it before it closes 11/9/25! Review: showsiveseen.com/14214 Director: Jack O'Brien Stage Mgr: Alan D Knight Choreo: Sarah O'Gleby Music Supervision: Jason Howland Music Director: Nick Williams #corn #theatre @Shucked Musical ♬ Independently Owned – Alex Newell & Original Broadway Cast of Shucked

Elevator Thoughts (aka Tweet):🌽 Robert Horn, Brandy Clark, & Shane McAnally’s Shucked musical national tour courtesy of Broadway Seattle & Seattle Theatre Group. Witty script was a cornucopia of sly corny clever dad jokes. Foot-tapping country melodies. Danielle Wade was like a modern-day young Dolly Parton. Hilarious, thought-provoking musings from Mike Nappi. See it before it closes 11/9/25! #heartland #midwest #corn

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

Mainstream Appeal: Medium to high

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

My Synopsis (No Spoilers): In a small Midwestern town where corn is the lifeblood of the community, the crops begin to mysteriously wither. At the cusp of her wedding, “Maizy” leaves heartland America for the big city in search of a cure for the corn. She pins her hopes on the so-called Tampa “Corn Doctor” to save her hometown.

Synopsis from the Licensor or Theatre Company: Shucked is the Tony Award®–winning musical comedy The Wall Street Journal calls “flat out hilarious!” And nobody knows funny like economists. Featuring a book by Tony Award winner Robert Horn (Tootsie), a score by the Grammy® Award–winning songwriting team of Brandy Clark and Shane McAnally (Kacey Musgraves’ “Follow Your Arrow”), and directed by Tony Award winner Jack O’Brien (Hairspray), this corn-fed, corn-bred American musical is sure to satisfy your appetite for great musical theater.

Type: Musical

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’ve got to think fast to keep up with the jokes. Those punchlines come quicker than you’d expect!

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actor(s): All

Total Actor(s): 15

Perceived Pace of the Show: Medium to fast speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Other Rave(s)

Cornucopia of Comedy: I was genuinely blown away by how many sly, blink-and-you’ll-miss-them jokes Robert Horn packed in the script and I completely lost track of the number of laugh-out-loud moments. I haven’t laughed this much at a show in ages. The humor was a smart blend of dad jokes, clever wordplay, “corny” puns, and small-town pearls of wisdom.

Like Clue: Live on Stage!, this production demanded quick thinking. You have to stay sharp to catch every punchline, or risk FOMO when everyone else is cracking up.

In the spirit of all that fast wit, absurdity, and corn, I couldn’t help but think of Titus Andromedon from Unbreakable Kimmy Schmidt. It was theatrical, self-aware, and just the right amount of ridiculous.
Uks Unbreakable Kimmy Schmidt GIFfrom Uks GIFs
Peanut: One of the funniest characters was Peanut (played by Mike Nappi), the small-town idiot savant. His running gag was prefacing his offbeat musings with “I think.” They never failed to elicit a laugh. And they always made you go, “hmmm.” A seemingly simple-minded character beginning a statement with “I think” only added to the irony. My personal favorite insight from this simpleton was “I think if a movie is based on a true story, it’s probably true, just with ugly people.”
Danielle Wade: Danielle Wade, who portrayed the female lead Maizy, delivered a performance marked by a beautifully distinctive voice. Her singing and speaking carried the charm and vivacity of a contemporary Dolly Parton, effortlessly blending youthful energy with a timeless, melodic country warmth.
Music: The music by Brandy Clark and Shane McAnally leaned a bit on the formulaic Broadway side. But honestly, that’s exactly how I like my musicals: light, catchy, and mainstream. It exuded a foot-tapping country flair so infectious that I could literally feel someone next to me tapping along. With Reba McEntire serving as co-producer and the musical’s “Official Stalksperson,” that down-home, approachable energy makes perfect sense.

“Independently Owned,” performed by Lulu (played by Miki Abraham), was a standout number, echoing the same confident, feminist “take me as I am” attitude as Hairspray’s “Big Blonde and Beautiful.” Meanwhile, the elevator-style background music during the montage with Gordy (Quinn VanAntwerp) and Maizy in Tampa surprisingly worked well. That kind of understated, almost banal style is rarely heard in musicals, which made it feel unexpectedly refreshing.
Narrators: The narrator duo evoked the dynamic of Janis (albeit kinder) and Damien from the Mean Girls musical with Joe Moeller as the semi-flamboyant gay Storyteller 2 and Maya Lagerstam, his “hag” best friend Storyteller 1. I don’t often comment on inclusive casting, but this production made a thoughtful, meaningful choice by casting BIPOC actors as Storyteller 1 and their family member. It’s a refreshing reminder that not every story in the rural country should be told as all-white.
Nick Bailey: Nick Bailey was perfectly cast as Beau, the quintessential handsome all-American, corn-fed, small-town country boy. He shined in his plaintive ballads “Somebody Will” and “Ok” while delivering a masculine rustic voice rarely heard in musical theatre.

Other Musing(s) and Observation(s)

Country Folk: The production portrayed entertaining boisterous caricatures of backwoods hillbillies complete with a small-town methhead, corn spirit moonshine, trailer-trash energy, and a distinctly conservative bend. God, country, and Trump, y’all! There was even a line “In Cob County, people think ‘Roe vs. Wade’ is a debate about the best way to cross a river.” Watching this show in an educated wealthy liberal city like Seattle, it’s easy to feel superior and almost verges on punching down. I wonder how audiences in more rural, Americana communities might receive this show.

Theatre Company: National Tour Courtesy of Broadway Across America and Seattle Theatre Group

Venue: Paramount Theatre

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

Ticket Affordability Options: $43-166

Dates: November 4 – 9, 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.

Like/Comment/Share my Social Media Posts About this Performance:

Buy a Ticket or Learn More:

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 SHUCKED. Photo by Matthew Murphy and Evan Zimmerman.

Maya Lagerstam as Storyteller 1 and Tyler Joseph Ellis as Storyteller 2 in The North American Tour of SHUCKED. Photo by Matthew Murphy and Evan Zimmerman.

Jake Odmark as Beau and Danielle Wade as Maizy in The North American Tour of SHUCKED. Photo by Matthew Murphy and Evan Zimmerman.

Quinn VanAntwerp as Gordy and Miki Abraham as Lulu in The North American Tour of SHUCKED. Photo by Matthew Murphy and Evan Zimmerman.

Miki Abraham as Lulu and Ryan Fitzgerald in The North American Tour of SHUCKED. Photo by Matthew Murphy and Evan Zimmerman.

Mike Nappi as Peanut in The North American Tour of SHUCKED. Photo by Matthew Murphy and Evan Zimmerman.

The Pirates of Penzance – Opera – Review – Seattle Opera & Seattle Symphony

@showsiveseen Happy closing performance to @seattleopera and @Seattle Symphony's "The #Pirates of #Penzance" comedic farcical #opera by #GilbertAndSullivan at McCaw Hall. Starring David Portillo. Beautiful soprano from Vanessa Becerra. Review: showsiveseen.com/14154 Director & Choreo: Seán Curran Conductor: David Charles Abell Stage Mgr: Jonathan Moore #showsiveseen ♬ I Am the Very Model of a Modern – The Pirates Of Penzance

Elevator Thoughts (aka Tweet): Happy closing performance to Seattle Opera and Seattle Symphony’s The Pirates of Penzance comedic farcical opera by Gilbert and Sullivan. Starring David Portillo. Beautiful soprano from Vanessa Becerra.

Recommendation:
See it if you enjoy musicals and would like to dip your feet in opera. English operas are a rarity!

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

Would I See It Again 3 Years from Now? No, but I’m interested to see Pirates! The Penzance Musical.

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 young pirate apprentice is ready to give up plundering and dreams of leaving the pirate life behind to settle down with a respectable young lady. But once you’ve sailed under the black flag, can you ever truly leave it behind?

Synopsis from the Licensor or Theatre Company: A swashbuckling good time! Ahoy mateys! Get ready for opera on the high seas with Gilbert and Sullivan’s popular piratical comedy. The story begins as young Frederic is due to be released from his accidental apprenticeship to a band of pirates; he dreams of living an honorable life dedicated to love. However, a leap year loophole puts his freedom on the line. When the very modern Major-General’s doting daughters arrive, hearts are promised, vows are made, and eventually pirates are pardoned in this light-hearted comedy. Making its Seattle Opera debut, this production of the family-friendly farce comes to Seattle following rave reviews at The Glimmerglass Festival, The Atlanta Opera, and Opera Theatre of St. Louis. Featuring an exciting cast of operatic talent and the Seattle Symphony Orchestra, you’ll be thrilled with rapid-fire lyrics and toe-tapping tunes.

Type: Opera

World Premiere: No

Several or Few Scenes: Few

Several or Few Settings/Locations: Few

Static (Stationary) or Dynamic Set: Dynamic

Prior Exposure/Knowledge Required: Similar to The Importance of Being Earnest, it helps if you have a knack for understanding old-timey English.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actor(s): The program indicated the “principals” were union, but it didn’t specifically mention who they were.

Total Actor(s): Too many to count

Perceived Pace of the Show: Medium

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Other Rave(s)

Captions, Clarity, and Craft: I don’t often attend opera, but this experience reminded me of the subtle advantages it holds over musical theatre and live plays. Since many operas are in the public domain, opera companies can often channel more resources into production quality rather than licensing fees … and it shows. I also appreciate the closed captions common in opera. However in this performance, the projection subtitles briefly failed three times. Still, I wish more musicals followed opera’s lead here (Hamilton, I’m looking at you). Captions can be a mixed blessing though as one audience member near me joked that captions sometimes spoil the punchlines by revealing them before the actors say them. Another thing I love about opera is the availability of a clear synopsis in the program. There’s no pre-show Googling required. Theatres, take note!
Favorite Scene: The choral harmonies in “Hail Poetry” were glorious like I was in a cathedral. “All hail, Divine Emollient!”
Scenic Design: Scenic designer James Schuette condensed the vast McCaw Hall stage into a more intimate space by framing the opera within a showbiz-style lightbulb arch topped with a grand skull-and-crossbones, draped in heavy, royal-red curtains. As a devoted fan of musical theatre, I always find this classic, live-theatre design particularly irresistible.
Costume Design: James Schuette was also the costume designer. He curated a feast for the eyes with the actors’ apparel. The pirates exuded a bohemian flair. The ladies appeared affluent and picturesque in picnic-ready attire, complete with parasols and stylish hats. The police officers were crisp and coordinated in matching cerulean uniforms with clubs. Major-General Stanley (played by Thomas Glass) commanded attention in full khaki regalia. He later swapped it for a nightrobe topped with a fez, which was no doubt a souvenir from his far-eastern expeditions.

Rant(s)

Microphone Volume: The actors could have been amplified more. Honestly, I initially assumed that they didn’t use microphones like at the Seattle Rep next door. But the B-roll production video proved otherwise.

Other Musing(s) and Observation(s)

Overture: As someone who doesn’t usually attend opera or symphony performances, I felt an immediate air of refined “pinkies-up” sophistication at the overture. Yet, it stretched longer than what I’m accustomed to in musicals. Without a clear view of the orchestra (as you would see in a symphony performance), it felt harder to justify its length.
Cast Size: The cast felt overwhelmingly large. Perhaps it ensured a wide selection of understudies? If that was true, why are we still seeing an N95 mask on-stage? Oh, Seattle! In any case, the story’s insistence on an improbable number of daughters stretches credibility. Around 10 children, and all happen to be female? Other than the genetic improbability, poor mother!
Corny Camp: I never realized opera could be so corny and camp. At times, it was almost pandering to the audience. I guess that should be expected since British comedy seems to lean into that direction anyway. Yet, when Frederic (played by David Portillo) unabashedly ogled over Mabel (played by Vanessa Becerra) as she removed her gloves, scandalously revealing her wrists, it brought a genuine twinkle to the performance. Unfortunately, the opera ending felt like a disappointing cop out, as if the story opted for an easy exit rather than a satisfying resolution.

Theatre Company: Seattle Opera +/- Seattle Symphony

Venue: McCaw Hall

Venue Physical Address: 321 Mercer St, Seattle, WA 98109

Dates: October 18 to November 1, 2025

Seating: Assigned Seating

Parking: There’s a paid parking garage across the street or paid street parking. I usually park on Mercer to the West of 1st Ave. If there’s an event in Seattle Center or Climate Pledge Arena, street parking is usually limited and much more expensive.

Like/Comment/Share my Social Media Posts About this Performance:

Buy a Ticket or Learn More:

Photos: See production photos below by David Jaewon Oh.

Cast and Production Team: See after photos below.

Tess Altiveros (Edith, front center) and Erica Convery (Kate, front right) with members of the Seattle Opera Chorus in *The Pirates of Penzance* at Seattle Opera. © David Jaewon Oh.

The cast of *The Pirates of Penzance* at Seattle Opera. © David Jaewon Oh

David Portillo (Frederic) with members of the Seattle Opera Chorus in *The Pirates of Penzance* at Seattle Opera. © David Jaewon Oh.

Nathan Stark (Sergeant of Police) with members of the Seattle Opera Chorus in *The Pirates of Penzance* at Seattle Opera. © David Jaewon Oh.

David Portillo (Frederic) and Vanessa Becerra (Mabel) in *The Pirates of Penzanc*e at Seattle Opera. © David Jaewon Oh.

Katharine Goeldner (Ruth) in *The Pirates of Penzance* at Seattle Opera. © David Jaewon Oh.

Reginald Smith Jr. (the Pirate King) and Thomas Glass (Major-General Stanley) in *The Pirates of Penzance* at Seattle Opera. © David Jaewon Oh.

The Little Foxes – Play – Review – Intiman Theatre and The Feast

@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:

Buy a Ticket or Learn More:

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.

Chicago – Musical – Review – The 5th Avenue Theatre

@showsiveseen Seattle's opening night of the "#Chicago" #musical national tour at @The 5th Avenue Theatre w/ @Seattle Theatre Group. Starring @claire.m__ & a @elliebean. Relevant commentary of the #criminal justice system. Fosse choreography w/ impressive high kicks & "All That Jazz." Closes 11/2/25. Review: showsiveseen.com/14002 Photos: Jeremy Daniel Director: David Hyslop Music Director: Andy Chen Choreo: @Gregory Butler Stage Mgr: Sofia Rose Itskovich and Elspeth Bustard @Chicago the Musical | Broadway @chicagotour #theatre #musicaltheatre ♬ All That Jazz – Broadway Allstars

Elevator Thoughts (aka Tweet): Seattle’s opening night of the Chicago musical national tour at The 5th Avenue Theatre w/ Seattle Theatre Group! Starring Claire Marshall & Ellie Roddy. Relevant commentary of the criminal justice system. Fosse choreography w/ impressive high kicks and “All That Jazz.”

Recommendation:
See it if 1) you enjoy vaudeville/Cabaret 2) or you’re okay with austere staging and costumes like the Jamie Lloyd production of Sunset Blvd.

Was This the First Time I Attended a Production of this Show? No, I previously saw the national tour more than a decade ago in Houston.

Would I See It Again 3 Years from Now? No, twice 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): Set in a cabaret-style show, the musical follows two rival high-profile female murderers in a Chicago prison as they navigate the challenges of preserving their celebrity status while facing the threat of capital punishment.

Synopsis from the Licensor or Theatre Company: CHICAGO is still the one musical with everything that makes Broadway shimmy-shake: a universal tale of fame, fortune, and all that jazz, with one showstopping song after another and the most astonishing dancing you’ve ever seen. In the whirlwind of Chicago’s Jazz Age, two of the Cook County Jail’s most notorious murderesses — vaudeville star Velma Kelly and chorus girl Roxie Hart — become fierce rivals as they compete for headlines amidst a media frenzy.

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Static and austere

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: Yes, but it seemed to be framed in a cabaret show of vignettes.

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)

Modern Commentary: Though written in the 1970s, this musical remains startlingly relevant. It exposed corruption and performative spectacle in the legal system, where charisma, wealth, fame, and media attention easily outweigh justice. Lines like “Give ‘em the old razzle dazzle” showed how charm and showmanship “trump” (no pun intended to our current presidential administration) morality or legal rigor, turning even the most damning cases into public-relations triumphs like with today’s Anna Delvey.

Additionally, Hunyak, the Hungarian immigrant character played by Lacey Kohn, showed the inequality in the criminal justice system. That reality is even more poignant today. However, the production could have made an even bolder statement by reimagining Hunyak as a person of color in light of today’s ICE raid injustices.

The musical portrayed our hypercapitalist society where crime and “justice” alike are commodified, and the theater of the law is as performative as it is flawed.
Band: The band was arranged on a tiered, multi-level jazz “big band” setup, bringing a sense of elegance and class to the otherwise naked stage. The actors occasionally even interacted with the conductor Andy Chen, who was also mic’ed for the audience. It’s usually a treat to see the musicians featured so prominently in a show since they’re performers in their own right, and their talent deserves recognition beyond the usual confines of “the pit.” Last month, I saw a musical with a theatre novice, and they didn’t even realize the accompaniment was live. Highlighting the band like this not only enriched the visual experience but also reminded the audience that every note and rhythm is a vital part of the performance.
Mary Sunshine: Kudos to J. Clanton (as the melodramatic sentimental “sob sister” reporter Mary Sunshine) who hit the character’s high notes with surprising accuracy in full drag. The role was intentionally silly and over-the-top with the perfect amount of camp to not overshadow the rest of the show. It was a brief memorable presence that added un unexpected fun flair, if slightly exaggerated, to the production.
Beefcake: Sitting far all the way back in row V, I was surprised to see Tim Canali (as the illicit “mister” lover Fred Casely) radiate such commanding physicality. Even from a distance, his toned muscular definition was unmistakable. Clearly, no stage makeup illusion could account for that kind of bulk. Canali turned heads not just with his performance but with his impressive “swole” beefcake physique.

Rant(s)

Lighting/Set/Costume Design: The musical’s signature low-lighting motif lended dangerously close to sleep-inducing. Live theatre already inherently risks encouraging drowsiness with its dim aisles and occasionally dense dialogue/storyline. This visually dark stage and the plain black costumes only encouraged it more. In fact, at intermission, I asked my seatmate if they enjoyed their expensive nap! If you’re going for an austere set, at least crank up the spotlight intensity. Minimalism doesn’t have to equal invisibility. Some might argue that sparse lighting/scenery/costumes allow performers to exhibit their talent without distraction. But it’s difficult to impress the audience with vocal/instrumental talent alone if the crowd can only see vague visual shapes.
General Energy: Similarly, the performance energy mirrored the subdued lighting/scenic/costume design: monotone, subtle, and a touch sleepy. I guess this is a challenge intrinsic to a Fosse show. A particularly taxing moment was Roxy’s headline-celebration scene, when a monologue-like delivery coincided with the band endlessly repeating the same musical phrase. But the blame lies with the script and score, not the actors or musicians. What this musical desperately needed was a jolt of tap-dance pizzazz akin to Some Like It Hot. Sometimes a spectacle is the spark that keeps the audience awake.

Other Musing(s) and Observation(s)

Choreography: The Fosse choreography didn’t feel as razor-sharp, tight, abrupt, or synchronized as I would have expected. Perhaps that’s my own Millennial sensibilities, shaped by K-pop, NSYNC, and TikTok. I wonder how this company’s precision would compare to the original Fosse production. Maybe Fosse walked so Gen-Z TikTokers could run.
Audience: Both times I saw this show, I never understood the role of the prison performers like Velma Kelly and Roxie Hart. Were they performing for an actual audience within the story, like fellow inmates or visitors from Chicago? Was their stardom due to the notoriety of their crimes or did it also come from entertaining the Chicago masses on-stage? I’m not alone in this confusion as a companion who attended with me mused the same question.

Theatre Company: National tour from Broadway Across America, The 5th Avenue Theatre, and Seattle Theatre Group

Venue: The 5th Avenue Theatre

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

Price Range: $55-210

Ticket Affordability Options: Broadway Seattle, Seattle Theatre Group, or The 5th Avenue Theatre might partner with an organization you’re affiliated with for discount tickets. For example, UW employees/students are eligible for an organization discount.

Dates: October 22 to November 2, 2025

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.

Like/Comment/Share my Social Media Posts About this Performance:

Buy a Ticket or Learn More:

Pictures: See production pictures below by Jeremy Daniel.

Cast and Production Team: See after pictures below.

Andy Chen and the CHICAGO Orchestra in “Entracte.” Photo by Jeremy Daniel.

Ellie Roddy as Roxie Hart in “Me and Me Baby.” Photo by Jeremy Daniel.

Max Cervantes as Billy Flynn and Ensemble in “All I Care About.” Photo by Jeremy Daniel.

Claire Marshall as Velma Kelly in “All That Jazz.” Photo by Jeremy Daniel.

Illeana ‘illy’ Kirven as Matron Mama Morton. Photo by Jeremy Daniel.

The Importance of Being Earnest – Play – Review – Taproot Theatre

@showsiveseen #OscarWilde's "The Importance of Being Earnest" #play at @TaprootTheatre starring Christopher Clark & Calder Jameson Shilling. The cast's infectious energy ignited the script. What a treat to witness @shaunyceo’s commanding stage presence up close. Flamboyant costumes by Danielle Nieves. Closes next weekend! Review: showsiveseen.com/13951 Photos: Robert Wade Director: @Bretteney Beverly Stage Mgr: Clara King #theatre #showsiveseen ♬ Best One Yet – Layup

Elevator Thoughts (aka Tweet): Oscar Wilde’s The Importance of Being Earnest play at Taproot Theatre starring Christopher Clark & Calder Jameson Shilling. The cast’s infectious energy ignited the script. What a treat to witness Shaunyce Omar’s commanding stage presence up close. Flamboyant costumes by Danielle Nieves. Closes next weekend!

Recommendation:
See it if you enjoy plays in old-timey dialogue.

Was This the First Time I Attended a Production of this Show? Mostly, yes. Apparently, I saw snippets of the script in Champagne + Sodomy: The Art & Crime of Oscar Wilde, which I don’t remember much.

Would I See It Again 3 Years from Now? Not sure, maybe?

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): Two thick-as-thieves friends land in a whirlwind of comedic mischief when their fake identities spiral out of control.

Synopsis from the Licensor or Theatre Company: A play of love and snacks. Indulge in the delightful absurdity of Oscar Wilde’s comedic masterpiece! In this dazzling display of deception and desire, two charming bachelors bumble through a maze of mistaken identities and appetites. Sharp, smart, and satirical, Wilde called his most popular work “A trivial comedy for serious people.”

Type: Play

World Premiere: No

Several or Few Scenes: Few

Several or Few Settings/Locations: Few

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: Written in the late 1800s, the script brims with archaic language that can be challenging to decode. If you’re fluent in the meanings behind old-fashioned speech, you’ll likely find it easier to follow. For me, these linguistic puzzles have always been a barrier. It’s the same reason why I tend to steer clear of Shakespeare.

Defined Plot/Storyline: Yes

Union Actor(s): 1

Total Actor(s): 8

Perceived Pace of the Show: Slow to medium Speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Other Rave(s)

Energy: As mentioned earlier, the script was dense with archaic language, but the cast valiantly breathed remarkable life into it. Their delivery turned what could have been heavy prose into something lively, sharp, and genuinely funny. They had the audience in stitches! You could even tell the cast was having fun when one of the actors nearly broke character in laughter.
Shaunyce Omar: I’m not used to seeing Shaunyce Omar perform in such an intimate theatre space. Experiencing her up close was striking. She brought a larger-than-life presence to the role of the bellicose, commanding, and sharply bitter Aunt Lady Bracknell.
Miss Prism: Jonelle Jordan delighted the audience in a role that felt perfectly in her wheelhouse as Miss Prism evoking the same Austen-esque charm she brought to Sense and Sensibility. Her feigning flirtations with Reverend Chasuble (played by Nik Doner) were a joy to watch, especially the little moments when she exclaimed a subtle yelp when encountering a simple stair step. This prompted the ever-gallant reverend to offer his arm. Gurl was thirsty!
Elegant Rivalry: Kelly Karcher (as Gwendolen Fairfax) and Alegra Batara (as Cecily Cardew) delivered a delightfully fierce rivalry over the same man. Their characters clashed with irresistible wit while struggling not to shatter the decorum of English civility as they bared their claws. I love a good cat fight.
Costume Design: Danielle Nieves’ costumes burst with a lush, floral opulence reminiscent of an extravagant upper-class English garden party. Perhaps the pieces would be more at home in a spring theatre production instead of the PNW fall, but I’ll take it!

Rant(s)

Thrust Stage: As I noted in Taproot Theatre’s previous Sister Act, sitting literally on the sidelines of a thrust stage evokes a certain sense of FOMO. But I recognize the financial need to sell more seats to pay for a (non-profit) production. There should be a general theatre rule to discourage placing seats past one-third of the thrust stage sidelines.
Ending (No Spoilers): The ending twists came out of nowhere from the script and felt contrived. The over-convenience of it all gave the impression of lazy plotting. Considering the playwright was the great Oscar Wilde, I’m sure this hot take is blasphemy to the theatre community.

Other Musing(s) and Observation(s)

Keeping It in the Family: I always find it jarring when romantic interests develop between relatives. Incest is taboo! I understand this is an older play and such themes were more common in its time. But it can be confusing to modern audiences. I even had to look it up afterward to make sure I hadn’t imagined it.

Theatre Company: Taproot Theatre

Venue: Jewell Mainstage at Taproot Theatre

Venue Physical Address: 204 N 85th St, Seattle, WA 98103

Price Range: $25-62

Dates: September 17 to November 1, 2025

Seating: Assigned Seating

Parking: Paid lot or usually-free street parking. I always find free street parking on Greenwood Ave just South of the theatre.

Like/Comment/Share my Social Media Posts About this Performance:

Buy a Ticket or Learn More:

Pictures: See production pictures below by Robert Wade.

Cast and Production Team: See after pictures below.