Review – Shows I've Seen | Theatre Reviews

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!

Venue: Imperial Theatre

Venue Physical Address: 249 W 45th St, New York, NY 10036

Venue Classification: Broadway

Price Range: $99-321

Dates: 3/11/25 to 6/22/25

Seating: Assigned Seating

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Pictures: See production pictures below by Matthew Murphy or Paul Kolnik.

Cast and Production Team: See after pictures below.

Robyn Hurder (Ivy Lynn) and the cast of SMASH. CREDIT: Paul Kolnik, 2025.

Robyn Hurder (Ivy Lynn) and the cast of SMASH. CREDIT: Matthew Murphy, 2025.

(left to right) Megan Kane (Holly), Brooks Ashmanskas (Nigel), Robyn Hurder (Ivy Lynn), Kristine Nielsen (Susan Proctor), Krysta Rodriguez (Tracy), and John Behlmann (Jerry) in SMASH. CREDIT: Matthew Murphy, 2025.

(left to right) Nicholas Matos (Scott), Jacqueline B. Arnold (Anita), John Behlmann (Jerry), Krysta Rodriguez (Tracy), Bella Coppola (Chloe), Brooks Ashmanskas (Nigel), and Kristine Nielsen (Susan Proctor) in SMASH; CREDIT: Matthew Murphy, 2025.

Krysta Rodriguez (Tracy) and John Behlmann (Jerry) in SMASH. CREDIT: Matthew Murphy, 2025.

Caroline Bowman (Karen) and the cast of SMASH. CREDIT: Matthew Murphy, 2025.

Bye Bye Birdie – Musical – Review – The 5th Avenue Theatre

@showsiveseen "Bye Bye Birdie" at @The 5th Avenue Theatre. Cute, charming, old-timey, lighthearted #musical that surely made me "put on a happy face." Loved @Leslie Law's passive aggressive motherly remarks. Buy your tickets now before it closes 6/29/25! #Review: showsiveseen.com/13130 Photos: Tracy Martin and Mark Kitaoka Director: Paige Price Music Director: Beth G Tankersley Stage Mgr: @Erin Zatloka Choreographer: @Jimmy Shields #showsiveseen #theatre #musicaltheatre #ByeByeBirdie ♬ Put On A Happy Face – Dick Van Dyke

Elevator Thoughts (aka Tweet): Bye Bye Birdie at The 5th Avenue Theatre. Cute, charming, old-timey, lighthearted musical that surely made me “put on a happy face.” Loved Leslie Law’s passive aggressive motherly remarks. Buy your tickets now before it closes 6/29/25!

Recommendation:
See it!

Was This the First Time I Attended a Production of this Show? No, I’ve seen two community theatre productions at Centerstage Theatre and SecondStory Rep.

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): America’s beloved teenage rock icon (an Elvis Presley-type heartthrob) is unexpectedly drafted into the army. His management agency cooks up one final PR stunt to ride the wave of his fame before it’s too late.

Synopsis from the Licensor or Theatre Company: Candy-coated and bursting with spectacular charm, the classic Bye Bye Birdie gets a fresh twist on The 5th’s stage! When teen idol Conrad Birdie gets drafted into the Army, he decides to shake up small town Sweet Apple, Ohio with one last performance and a kiss for a fan on The Ed Sullivan Show. This true gem of the musical theater canon will knock your socks off-it’s time for the telephone hour! Bye Bye Birdie is a hip-swinging, high-energy, rock-n-roll, show-stopping delight.

Type: 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: No

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): 2.25 hours

Other Rave(s)

Orchestra and Score: From the very first notes of the overture, the orchestra conducted by music director Beth G. Tankersley delivered the swinging, catchy score with glorious energy.
Mae Peterson: Leslie Law’s portrayal of Mae Peterson evoked shades of Kathy Bates with her sharp comic timing and commanding presence. Her passive-aggressive barbs perfectly captured the overbearing energy of a mama’s boy’s mother and the almost-mother-in-law from hell. Her “you’re killing me” melodramatic guilt trips were hilarious. For example, she once deadpanned, “Don’t worry! I won’t make a fuss. I’ll do what any intelligent mother has to do. Goodbye, dear. Don’t worry about the coat. You’ll have three mink stoles as soon as the train passes over.”
Simplicity: My favorite musicals are often light, simple musicals like this one. As Nostradamus sang in Something Rotten!, sometimes it’s nice to “go see something more relaxing and less taxing on the brain.” That spirit was perfectly captured in Conrad Birdie’s (played by Alex Walton) well-choreographed numbers (choreographed by Jimmy Shields), “Honestly Sincere” and “One Last Kiss.” Despite the stupidly simpleton lyrics, he still managed to “suffer” the audience (in a good way). His songs reminded me of the delightfully shallow lyrics in “Who Put the Bomp” from Beautiful: The Carole King Musical.
Vintage Vibe: There’s a delightful charm to old-timey vintage musicals like this one, set in the nostalgic innocence of the 1950s. It evoked the spirit of shows like The Best of Everything and Bells are Ringing. When Albert Peterson (played by Noah Weisberg) performed the beloved classic “Put On a Happy Face,” the scene felt joyously reminiscent of Singin’ in the Rain.
Flexibility: Kudos to Tori Gresham for her impressive flexibility and sass as the virtuously dubious Gloria Rasputin. Her high kicks and effortless splits were as bold as her character.
Song Highlights: Several songs from this production stood out as truly memorable. “An English Teacher” sung by Ashley Perez Flanagan (as Rosie Alvarez) was an unexpectedly catchy tune to a seemingly dull topic. The majestically reverent “Hymn for a Sunday Evening” lead by Ty Willis (as Mr. MacAfee) brought humor and heart to the dream of appearing on The Ed Sullivan Show. The vibrant press scene culminating in “A Healthy, Normal American Boy” was a glorious high point just before the troupe’s arrival in Chicago. Meanwhile, “Baby, Talk to Me” led by Noah Weisberg (as Albert Peterson) charmed the audience with its retro barbershop-style harmonies. But for me, the highlight of the show was the timeless “One Boy”, featuring lovely, sweet harmonies lead by Susanna Cathryn Ballenski (who played Kim MacAfee) that captured the innocent romanticism of the 1950s. I still catch myself singing the song to myself weeks after the show.
Design: Scenic designer Lee Savage (possibly in collaboration with lighting designer Xavier Pierce?) crafted a stunning hanging visual centerpiece installation of hanging lightbulbs spelling out “Bye Bye Birdie” similar to a marquee. Reminiscent of the “Cleveland Union Depot” sign from Broadway’s recent Funny Girl, the piece pulsed with nostalgic charm. The bulbs occasionally animated in playful, dynamic patterns, enhancing the retro Broadway feel. Additionally, in some musical numbers, a dazzling matrix of background lights lit up in animated designs like hearts. Another visual highlight was the file cabinets lining the Al Mae Lou music agency office set.

Rant(s)

Climate Control: Somebody turn on the A/C! I was reminded of how sweltering it was during Something Rotten! There’s just something about summer and winter (like in The Wiz) at The 5th Avenue Theatre where the climate control doesn’t quite keep up in the admittedly older building.

Other Musing(s) and Observation(s)

Younger Actors: I often forget that this show frequently casts younger performers, which makes sense given that many of the lead roles are written as teenagers. While I don’t prefer productions with young actors, the teen ensemble delivered. Their performances brought a genuine sense of youthful energy and innocence that the script demands. “The Telephone Hour” was particularly well-executed. From a practical standpoint, casting younger actors likely benefits the theatre company’s budget and offers a convenient pool for understudies and swings.
Faux Pas in Wokeness: Choosing to preform “The Spanish Rose” in the woke PNW was a ballsy move given that the song depicts caricatures of Hispanic stereotypes. As an Asian viewer, I would find it a little offensive if a similar hypothetical song were built around “Ching Chong Asian” tropes. It reminded me of my surprise (and disappointment) when SecondStory Rep cut “The Girl for You” from First Date presumably out of fear the comedic Jewish references would offend. Ironically though, “The Spanish Rose” was probably the crowd favorite of the night. And to be fair, I admit that Ashley Perez Flanaga (as Rosie Alvarez) performed the song well. I’d love to hear what others think, especially if you’re of Hispanic descent. Drop a comment in my social media post!

Theatre Company: The 5th Avenue Theatre

Venue: The 5th Avenue Theatre

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

Price Range: $50-169

Ticket Affordability Options: The 5th Avenue Theatre often partners with organizations you’re affiliated with for discount tickets. For example, they sometimes offer a discount for my employer affiliation. Rush tickets are typically also available the day of the performance at the box office.

Dates: 6/10/25 to 6/29/25

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.

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Pictures: See production pictures below by Tracy Martin and Mark Kitaoka.

Cast and Production Team: See after pictures below.

The cast of *Bye Bye Birdie* at The 5th Avenue Theatre. Photo by Mark Kitaoka. Courtesy of The 5th Avenue Theatre.

Jazmin Gorsline and Susanna Cathryn Ballenski in *Bye Bye Birdie* at The 5th Avenue Theatre. Photo by Tracy Martin. Courtesy of The 5th Avenue Theatre.

The cast of *Bye Bye Birdie* at The 5th Avenue Theatre. Photo by Tracy Martin. Courtesy of The 5th Avenue Theatre.

Ashley Perez Flanagan, Nick McCarthy, and Jason Weitkamp in *Bye Bye Birdie* at The 5th Avenue Theatre. Photo by Tracy Martin. Courtesy of The 5th Avenue Theatre.

Credits from the printed *Encore* program.

Real Women Have Curves – Musical – Review – James Earl Jones Theatre

@showsiveseen "Real Women Have Curves" #musical at the James Earl Jones #Theatre. Starring @Tatianna Cordoba. Timely story of resilience that hits close to home on what is happening right now in the USA. So many good quips in the script and lyrics. See it before it closes 6/29/25! #Review: showsiveseen.com/13073 Director/Choreo: Sergio Trujillo Music Director: Roberto Sinha Stage Mgr: Tripp Phillips and Kelly A Martindale Book: Lisa Loomer and Nell Benjamin Music/Lyrics: @Joy and @Benjamin Velez #Broadway #hispanic #spanish #musicaltheatre #showsiveseen @Real Women Have Curves ♬ Real Women Have Curves – Tatianna Córdoba & Carla Jimenez & Florencia Cuenca & Justina Machado & Real Women Have Curves Original Broadway Company

Elevator Thoughts (aka Tweet): Real Women Have Curves musical at the James Earl Jones Theatre. Staring Tatianna Cordoba. Timely story of resilience that hits close to home on what is happening right now in the USA. So many good quips in the script and lyrics. See it before it closes 6/29/25! #hispanic #spanish

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): Inspired by both the original play and film, the story follows Ana, a young Latina torn between familial obligations in Los Angeles and her aspirations of becoming a journalist at Columbia University in New York City. As she dreams of a future beyond the family’s garment business, she and her loved ones face mounting pressure to meet an impossible dressmaking deadline and to avoid the looming threat of deportation.

Synopsis from the Licensor or Theatre Company: But when her family’s East Los Angeles garment business receives a make-or-break order for 200 dresses, Ana finds herself juggling her own ambitions, her mother Carmen’s (Tony Award nominee Justina Machado) expectations, and a community of women all trying to make it work against the odds.

Type: 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 basic familiarity with Spanish is helpful for fully appreciating the show. For example, they mentioned some common expressions like “chisme” (gossip), “de nada” (you’re welcome), “pendejo” (a rude insult term for someone foolish/stupid), and “mira” (look). There were also more specific phrases, such as “sexo cada día” (sex every day) and “dulce pica candy” (a sweet-and-spicy treat). As with many Hispanic-themed productions like Laughs in Spanish, some understanding of the Spanish language enriches the experience and feels almost expected of the audience. Additionally, you’ll probably appreciate this show more if you’ve seen the play or the movie. Personally, I saw neither, but I still heartily enjoyed the musical.

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): 2.25 hours

Other Rave(s)

Hook: I’m a sucker for a strong opening hook in a theatre show. The catchy “Make It Work” song absolutely delivered in grabbing my attention.
Script and Lyrics: The script was sharply written, filled with poignant, clever, and often hilarious lines that drew frequent reactions from the audience. For example, they said “being an immigrant is like being born in debt.” Or to a worker’s complaint that “my sewing machine is vibrating,” their coworker replied, “enjoy it!” I’m curious how much of the dialogue originated from the film versus what the book writers (Lisa Loomer and Nell Benjamin) and lyricists (Joy Huerta and Benjamin Velez) crafted.
Broadway Bares: In the song “Real Women Have Curves,” the performers stripped down to their underwear as a bold, celebratory act of body positivity. They showcased a diverse range of bodies without the pressure to appear flawless on stage, on screen, or in photos. The cast included a plus-sized actress proudly wearing a muumuu and a woman dressed in butch lesbian underwear, further challenging narrow female standards. This act resonated with the audience and earned a standing ovation.
Menopause: In “Adios Andrés,” the cast sang a grandiose, uproarious ode to menopause. The moment echoed the spirit of Menopause the Musical, with its cheeky humor and unabashed celebration of womanhood.

Other Musing(s) and Observation(s)

Love Interest: Initially, I found it refreshing that the story didn’t revolve around a love interest. When one was introduced later on (played by the delightful Mason Reeves), it felt more like a side dish than the main course. It was easily ignorable and not central to the plot. However, the sex scene, though amusing with its quirky reporter role-play foreplay, felt out of place in the script. I would have been more impressed if the musical had fully committed to leaving out a romantic subplot crutch altogether. That bold choice would have made it stand out even more.
Ending Solution: I kept wondering how they’d pull off completing their dressmaking order deadline by the end of the show. The way it was resolved felt a bit anticlimactic and underwhelming. It missed a clever inventive twist that would’ve made for stronger storytelling.
Previous Works: Having never seen the original film or play, I wonder how they compare to this musical adaptation. I’m especially curious whether the earlier versions emphasized immigration and familial obligation themes as strongly as this one does. I was surprised by how little focus the musical placed on body positivity, which I had expected to be more central given the title. If you’ve seen the earlier versions of this story, let me know your thoughts in my social media comments!
Investment: The workers’ decision to hand their hard-earned paycheck back to the boss for business reinvestment left me baffled. Unless you’re a shareholder, why wouldn’t you keep it? Aren’t these people poor?
Tough Decision: Ana’s central conflict felt a bit like a no-brainer. She was torn between owning the family business (which promises more likelihood of financial stability and independence) vs pursuing a career as a journalist (which sounds as difficult as becoming a successful actor). If it weren’t for the full scholarship to an Ivy League university, the pragmatic part of me would have thought she should have just stayed home. But alas, “follow your dreams” is a better story.
Potential Future Production: It’s a shame this production is ending this weekend on Broadway. But, it could be a strong future fit for Seattle Repertory Theatre, especially given the theatre’s recent embrace of Latin-centered works like Quixote Nuevo, I’m Not Your Perfect Mexican Daughter, Laughs in Spanish, and In the Heights. Beyond thematic alignment, it’s the kind of script that speaks to Seattle’s enduring appetite for art that confronts cultural identity while nursing a warm cup of “white privilege guilt.”

Venue: James Earl Jones Theatre

Venue Physical Address: 138 W 48th St, New York, NY 10036

Venue Classification: Broadway

Price Range: $125 to $319

Dates: 4/1/25 to 6/29/25

Seating: Assigned Seating

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Pictures: See production pictures below by Julieta Cervantes.

Cast and Production Team: See after pictures below.

Tatianna Córdoba and Company. Photo Julieta Cervantes.

Mauricio Mendoza and Justina Machado. Photo Julieta Cervantes.

Florencia Cuenca Tatianna Córdoba and Justina Machado. Photo Julieta Cervantes.

Tatianna Córdoba and Aline Mayagoitia. Photo Julieta Cervantes.

Real Women Have Curves Company. Photo Julieta Cervantes.

Mason Reeves and Tatianna Córdoba. Photo Julieta Cervantes.

Florencia Cuenca and Company. Photo Julieta Cervantes.

Always … Patsy Cline – Musical – Review – Taproot Theatre

@showsiveseen Happy closing show last weekend to the "Always … Patsy Cline" #concert #country jukebox #musical production at @TaprootTheatre. Featuring the charming effortlessly-polished vocals of @Cayman Ilika with sidekick narration by @Jaegerlicious. Elegant nostalgic costumes by Brynne Johnson-McKeen. Magical ballads. #Review: showsiveseen.com/13017 Photos: Robert Wade Director: Karen Lund Stage Mgr: Cassie Fitzgerald Conductor: @Evan Barrett #HonkyTonk #countryMusic #PatsyCline @Patsy Cline #theatre #musicalTheatre #showsiveseen ♬ Gotta Lot of Rhythm in My Soul – Patsy Cline

Elevator Thoughts (aka Tweet): Happy closing show last weekend to the Always … Patsy Cline concert country jukebox musical production at Taproot Theatre. Featuring the charming effortlessly-polished vocals of Cayman Ilika with sidekick narration by Kate Jaeger. Elegant nostalgic costumes by Brynne Johnson-McKeen. Magical ballads. #HonkyTonk #countryMusic

Recommendation:
See if you enjoy either 1) Patsy Cline’s music, 2) honkytonk music similar to The Best Little Whorehouse in Texas, 3) concert style musicals with less of a story like Six 4) or shows with 1 or 2 actors.

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

Would I See It Again 3 Years from Now? Probably not, but it was good.

Mainstream Appeal: Low to medium

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

My Synopsis (No Spoilers): Inspired by true events, this heartfelt tale follows a devoted Patsy Cline fan whose unexpected chance encounter with the country music legend blossoms into an unlikely friendship.

Synopsis from the Licensor or Theatre Company: Journey through the joy and heartbreak of Patsy Cline’s groundbreaking career through her unlikely friendship with her biggest fan. With unforgettable songs including “Walkin’ After Midnight,” “I Fall to Pieces,” and “Crazy,” you’ll experience the power of love, longing, and friendship. It’s time to kick off your boots and dance!

Type: Concert-style Jukebox Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: Obviously, you’ll appreciate this show more if you’re familiar Patsy Cline’s discography. I personally only knew the songs that Norah Jones covered, but I still enjoyed the musical.

Defined Plot/Storyline: While there was a story, it wasn’t very substantial. It was more of a framework to showcase Patsy Cline songs.

Live Band/Orchestra: Yes

Union Actors: 2

Total Actors: 2

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 1.75 hours

Other Rave(s)

Cayman Ilika: Cayman Ilika’s bluesy voice was unquestionably the highlight of the production. Her sound is distinct and deeply resonant, with a rounded, almost operatic pronunciation that feels both effortless and assured. There’s a confident steadiness to her polished delivery infused with a charming, old-time elegance reminiscent of the transatlantic accent. It brought to mind her memorable performances in White Christmas and Kiss Me, Kate at The 5th Avenue Theatre.
Ballads: There were magical moments during the ballads, especially “You Belong to Me” when Cayman Ilika (as Patsy Cline), dressed in a shimmering black gown, took the stage at the Esquire Ballroom with heartfelt elegance. These moments would have been perfect in a lounge venue like Triple Door (where the venue could have earned a pretty penny on drink service during the show) instead of a theatre.
Costume Design: Costume designer Brynne McKeen dressed Patsy Cline in elegantly vintage ensembles that perfectly captured the charm of the era. The pieces were both stylish and nostalgic.

Other Musing(s) and Observation(s)

Small Cast: Although the production featured two performers, it frequently felt like a one-person show.
Relatability: As a (relatively) young(-ish) person of color, I found it difficult to connect with the script, music, and story. A meaningful way to modernize the piece might be to intentionally cast at least one of the roles with an actor from a more diverse racial background. Doing so could help open the narrative to a wider audience without compromising its core.

Theatre Company: Taproot Theatre

Venue: Jewell Mainstage at Taproot Theatre

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

Dates: 5/14/25 to 6/21/25

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.

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Pictures: See production pictures below by Robert Wade.

Cast and Production Team: See after pictures below.