Review – Page 2 – Shows I've Seen

Here There Are Blueberries – Play – Review – Seattle Rep, La Jolla Playhouse, and Tectonic Theatre Project

@showsiveseen Happy closing performance to Moises Kaufman and Amanda Gronich's "Here There Are Blueberries" #play from @Seattle Rep, @La Jolla Playhouse, and Tectonic Theater Project. Thoughtful scenic design, projection design, and sound design by Derek McLane, Bobby McElver, and David Bengali respectively. Well-executed, riveting, and chillingly relevant. Review: showsiveseen.com/14604 Photography: Kevin Parry Stage Mgr: Jacob Russell #photograph #photographs #theatre ♬ 2 Little 2 Late – Levi & Mario

Elevator Thoughts (aka Tweet): Happy closing weekend to Moises Kaufman and Amanda Gronich’s Here There Are Blueberries play from Seattle Rep, La Jolla Playhouse, and Tectonic Theater Project. Thoughtful scenic design, projection design, and sound design by Derek McLane, Bobby McElver, and David Bengali respectively. Well-executed, riveting, and chillingly relevant.

Recommendation:
See it if you’re okay with shows that are not heavy on a linear story

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: Medium

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

My Synopsis (No Spoilers): A Holocaust museum acquires a scrapbook from the Auschwitz concentration camp containing photographs exclusively of Nazi personnel, with no Jewish prisoners depicted. The play investigates the origins of these images and the unsettling story behind each of these pictures.

Synopsis from the Licensor or Theatre Company: In 2007, a mysterious album featuring Nazi-era photographs arrived at the desk of a U.S. Holocaust Memorial Museum archivist. As curators unravel the shocking truth behind the images, the album soon makes headlines and ignites a debate that reverberates far beyond the museum walls. Based on real events, Here There Are Blueberries tells the story of these historical photographs—what they reveal about the perpetrators of the Holocaust, and our own humanity.

Type: Play

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 need to be at least remotely familiar with the Holocaust.

Defined Plot/Storyline: Not fully defined, but there was still some story linearity with the museum staff to weave each photograph together.

Live Band/Orchestra: N/A – But occasionally one of the actors played the accordion

Union Actor(s): All

Total Actor(s): 8

Perceived Pace of the Show: Medium speed

Was there an intermission? No

Length (Including Any Intermission): 90 minutes

Other Rave(s)

Nazi Photographs: The script offered a unique perspective by focusing on how Nazis lived in Auschwitz. It was a viewpoint rarely explored in mainstream narratives, which typically center on Jewish prisoners. Through a plethora of images, the production showed the seemingly ordinary daily life of the perpetrators with a track and field event, a vacation resort, Christmas celebrations, working women relaxing, a singing gathering (where they celebrated a certain major mass genocide), and innocent children living feet away from the gas chambers. The pictures depicted a deceptive, almost idyllic normalcy. It was a chilling reminder that ordinary people are capable of extraordinary cruelty. Who’s behind the ICE mask and who’s wearing the MAGA hat?

The script depicted Nazis as people – not monsters – and forced us to confront the uncomfortable truth that atrocity can emerge from everyday individuals. It pointed out that it’s easier to assign culpability to people portrayed as monsters than people portrayed as run-of-the-mill citizens. At the same time, the production was careful not to glorify or elevate the perpetrators. It navigated a delicate, controversial balance with nuance. The images would disturb most viewers, while unfortuantely a neo-Nazi might even find the depiction appealing. But the script’s intent was clear to see the opposite perspective of this atrocious history without excusing it.
Background Audio: Much like a museum providing background audio to complement its exhibits, this production paired each image with its own carefully crafted soundscape by sound designer Bobby McElver. The audience was treated to an audio backdrop of women laughing, men singing (accompanied by Marrick Smith on accordion), and women enjoying blueberries. It all created a layered, immersive experience that brought the still images to life.
Scenic Design: The visuals were thoughtfully designed and executed by scenic designer Derek McLane, evoking the feel of an industrial museum curated with precision. Actors moved among projection “easels,” allowing them to display additional photographs or zoom in on details. The gas-chamber-like door at the end was a haunting detail underscoring the gravity of the Holocaust narrative.
Projection Design: Interestingly, the projection designer David Bengali briefly employed two technically ambitious effects that hinted at greater possibilities. One involved live recording an actor on stage and projecting it in real time, while another used an overhead projector (unless it was just a prerecorded video) reminiscent of Book-It Theatre’s staging of Everything Is Illuminated. Typically, a production that invests in such complex technology integrates it throughout the show. But here, each device appeared for only a few minutes, leaving the audience wanting more.
Relevance: This play feels incredibly timely given current events surrounding ICE. In a few years, when another playwright inevitably tackles the ICE events we’re seeing today, there will be even more visual documentation thanks to ubiquitous smartphone cameras. But will history deniers dismiss those images as AI-generated?

Theatre Company: National Tour from Seattle Rep, La Jolla Playhouse, and Tectonic Theatre Project

Venue: Bagley Wright Theater at Seattle Rep

Venue Physical Address: 155 Mercer St, Seattle, WA 98109

Dates: January 21 – February 15, 2026

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

Buy a Ticket or Learn More:

Photos: See production photos below by Kevin Parry Photography.

Cast and Production Team: See after photos below.

Barbara Pitts, Jeanne Sakata, and Delia Cunningham in *Here There Are Blueberries* at the Wallis Annenberg Center for the Performing Arts. Photo by Kevin Parry Photography.

Nemuna Ceesay and Scott Barrow in *Here There Are Blueberries* at the Wallis Annenberg Center for the Performing Arts. Photo by Kevin Parry Photography.

Delia Cunningham and Scott Barrow in *Here There Are Blueberries* at the Wallis Annenberg Center for the Performing Arts. Photo by Kevin Parry Photography.

Spamalot – Musical – Review – The 5th Ave Theatre

@showsiveseen Monty Python’s "#Spamalot" #musical national tour at @The 5th Avenue Theatre. Silly, corny, and fully self-aware, with lyrics and jokes updated for the modern age. The tap numbers absolutely deliver. Starring @Major Attaway as #KingArthur. See it before it closes 2/15/26. Review: showsiveseen.com/14645 Director/Choreo: Josh Rhodes Music Supervision: John Bell Conductor: Jonathan W Gorst Stage Mgr: Matthew Brooks #Camelot #theatre @Monty Python’s Spamalot ♬ Look On The Bright Side Of Life (All Things Dull And Ugly) – From "Life Of Brian" Original Motion Picture Soundtrack – Monty Python

Elevator Thoughts (aka Tweet): Monty Python’s Spamalot musical national tour at The 5th Avenue Theatre. Silly, corny, and fully self-aware, with lyrics and jokes updated for the modern age. The tap numbers absolutely deliver. Starring Major Attaway as King Arthur. See it before it closes 2/15/26.

Recommendation:
See it if you enjoy silly British comedy.

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

Would I See It Again 3 Years from Now? Eh, I think 3 times 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): Parodies of King Arthur legends

Synopsis from the Licensor or Theatre Company: SPAMALOT, which first galloped onto Broadway in 2005, features a book & lyrics by Eric Idle and music by John Du Prez and Eric Idle. The original Broadway production was nominated for fourteen Tony Awards and won three, including Best Musical. The musical comedy lovingly ripped off from the film classic, Monty Python and the Holy Grail, has everything that makes a great knight at the theatre, from flying cows to killer rabbits, British royalty to French taunters, dancing girls, rubbery shrubbery, and of course, the Lady of the Lake. SPAMALOT features well-known song titles such as “Always Look on the Bright Side of Life,” “The Song That Goes Like This,” “Find Your Grail” and more that have become beloved classics in the musical theatre canon.

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: You need to be remotely familiar with King Arthur legends. It might help if you also saw the film Monty Python and the Holy Grail.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

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)

Tap Dance: The tap numbers (choreographed by director Josh Rhodes) were a highlight, especially in the Vegas-style “Camelot” and the encouraging “Always Look on the Bright Side of Life.” Several performers even took to tap-dancing on tables, which was a nice touch that ensured the audience appreciated the intricate footwork. We in the orchestra level often miss this because of our vantage point. First world problems, I know.
Modern References: The production loaded the script and lyrics with contemporary references. At its best, this was genuinely funny. I loved the parody of the recent viral Miss Universe France meme. At times, though, the show relied too heavily on this device, to the point where the references felt forced rather than clever. Moments like dropping modern songs (Demon Pop Hunters) mid-scene or inserting in references like “67″ (is that even in anymore?) felt like they were trying too hard. What began as quick satire occasionally tipped into gratuitous excess.

Rant(s)

Sound: Compared to the last two national tours I’ve seen of this show, the sound felt noticeably less expansive. It was quieter and less fluid. The production didn’t seem to fully fill the space. In earlier tours, both the band and vocals carried a richer, more enveloping presence. I don’t know if increasing the volume could even help. By contrast, most local 5th Avenue Theatre productions tend to sound more robust and complete. Even The Wild Party recently by Sound Theatre Company (a semi-equity production in a much smaller venue) felt fuller and more immersive sonically.
Animated Projections: The use of animation often feels like a cost-saving substitute for traditional scenic design. And when the visuals lean heavily into obvious CGI, it ultimately cheapens the production’s overall quality.

Theatre Company: National tour brought by The 5th Avenue Theatre

Venue: The 5th Avenue Theatre

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

Price Range: $50-180

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 and my apartment complex. Rush tickets are typically also available the day of the performance at the box office.

Dates: February 4 – 15, 2026

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:

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 SPAMALOT. Photo Credit: Photo by Matthew Murphy and Evan Zimmerman.

(L-R) Steven Telsey, L’ogan J’ones, Chris Collins-Pisano, and Connor Coughlin in the North American Tour of SPAMALOT. Photo Credit: Photo by Matthew Murphy and Evan Zimmerman.

(L-R) Leo Roberts and Amanda Robles in the North American Tour of SPAMALOT. Photo Credit: Photo by Matthew Murphy and Evan Zimmerman.

(L-R) Delaney Benson, Meridien Terrell, Claire Kennard, and Lindsay Lee Alhady in the North American Tour of SPAMALOT. Photo Credit: Photo by Matthew Murphy and Evan Zimmerman.

Chris Collins-Pisano and Ensemble in the North American Tour of SPAMALOT. Photo Credit: Photo by Matthew Murphy and Evan Zimmerman.

Amanda Robles and Ensemble in the North American Tour of SPAMALOT. Photo Credit: Photo by Matthew Murphy and Evan Zimmerman.

Credits from the ENCORE printed program.

A Beautiful Noise: The Niel Diamond Musical – Review – Paramount Theatre

@showsiveseen A Beautiful Noise: The #NeilDiamond #Musical national tour at the Paramount Theatre from Seattle Theatre Group and Broadway Seattle. Starring Robert Westenberg and the smooth-voiced American Idol winner @nfradiani Unexpectedly thoughtful exploration of mental health beneath the glittering jukebox exterior. Closes on Sunday! Review: showsiveseen.com/14520 #theatre #musicaltheatre #showsiveseen @Neil Diamond @The Noise ♬ Sweet Caroline – Neil Diamond

Elevator Thoughts (aka Tweet): A Beautiful Noise: The Neil Diamond Musical national tour at the Paramount Theatre from Seattle Theatre Group and Broadway Seattle. Starring Robert Westenberg and the smooth-voiced American Idol winner Nick Fradiani. Unexpectedly thoughtful exploration of mental health beneath the glittering jukebox exterior.

Recommendation:
See it if you’re a fan Neil Diamond’s music or if you’re okay with jukebox musicals.

Was This the First Time I Attended a Production of this Show? No

Would I See It Again 3 Years from Now? Hard pass

Mainstream Appeal: Medium

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

My Synopsis (No Spoilers): Neil Diamond reflects on his life and career as he revisits his discography alongside his therapist.

Synopsis from the Licensor or Theatre Company: The untold true story of a Brooklyn kid who became a chart-busting, show-stopping, award-winning American icon. Created in collaboration with Neil Diamond himself, A Beautiful Noise is the uplifting true story of how a kid from Brooklyn became a chart-busting, show-stopping American rock icon. With 120 million albums sold, a catalogue of classics like “America,” “Forever in Blue Jeans,” and “Sweet Caroline,” an induction into the Songwriters and Rock and Roll Halls of Fame, a Grammy® Lifetime Achievement Award, and sold-out concerts around the world that made him bigger than Elvis, Neil Diamond’s story was made to shine on Broadway – and head out on the road across America. Like Jersey Boys and Beautiful: The Carole King Musical before it, A Beautiful Noise: The Neil Diamond Musical is an inspiring, exhilarating, energy-filled musical memoir, that tells the untold true story of how America’s greatest hitmaker became a star, set to the songs that defined his career.

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: You need to be familiar with Niel Diamond’s hits to enjoy this musical.

Defined Plot/Storyline: Mostly yes. It was biographical format with less of a classic plot structure.

Live Band/Orchestra: Yes

Union Actor(s): All

Total Actor(s): Too many to count

Perceived Pace of the Show: Slow to medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Other Rave(s)

Nick Fradiani Vocals: Nick Fradiani’s voice as a young Neil Diamond was downright sexy. His raspy voice radiated a smoldering charm. As the script put it, his tone was “gravel wrapped in velvet, like it just woke up and tripped over an ashtray.” He perfectly encapsulated the hot brooding, heartthrob archetype.
Mental Illness: The script unexpectedly delved into themes of mental illness. I’d expect this from Dear Evan Hansen, not a jukebox musical! Tackling universal feelings of depression, anxiety, loneliness, and fear resonates well with Seattle audiences. The inclusion of imaginary friends added a tender layer. The wolf analogy was striking: “Everyone has two wolves fighting inside of them… one wolf is happy… the other wolf, angry, sad… So which one wins?” … “The one we feed.”
Shilo: On the topic of imaginary friends, Spencer Donovan Jones from the ensemble delivered a stunning rendition of “Shilo,” accompanying himself on guitar with a performance that brought to mind the heartfelt style of Gabe Bondoc.
Scenic Design and Band: During intermission, an audience member complained about the austerity and visual darkness of the first act’s set. In response, the second act ramped up the glitz and glamour, particularly when the band was occasionally revealed under flashy lights (Kevin Adams lighting designer) and a saturated, alternating-color backdrop (David Rockwell scenic designer) that evoked the iconic Apple iPod commercials of the 2000s. One especially ostentatious number left my ears ringing. I briefly feared I had developed tinnitus, only to realize the piercing high-pitched sound was coming from the theater’s sound system!

Rant(s)

Jukebox Musical: I’m not well-versed in Neil Diamond’s catalog. But honestly, the material felt too tepid to be worthy of a musical. Blasphemy, I know. When will someone make a Lady Gaga musical? This show fell prey to textbook jukebox musical pitfalls. It was a relentless parade of songs stitched together with a story that often felt forced.
Sluggish Disconnect: The therapy scenes, which framed the show’s narration, moved at a glacial pace. After a promising 30 second opening, the next scene (which was a long therapy session) immediately doused the momentum. And the frog/king analogy therapy exercise with musical chairs fell flat. I frequently found myself growing restless, praying for the show to end. Perhaps familiarity with the songs would have made the experience more engaging. The show felt tailored to an older, more traditional audience. It was definitely a reflection of Seattle’s theater scene. The absence of projected lyrics for audience sing-alongs made it clear this show was aimed at a very specific audience … and not anyone else! As a BiPOC who is on the younger spectrum of theatergoers, I could not relate.

Other Musing(s) and Observation(s)

Narrative Gap: The script never explained why Neil Diamond stopped performing. If that ambiguity was intentional, it unnecessarily left the non-target audience wondering.

Theatre Company: National tour brought by Seattle Theatre Group and Broadway Across America

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: January 13 – 18, 2026

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 Jeremy Daniel.

Cast and Production Team: See after photos below.

(Center left) Tiffany Tatreau as Jaye Posner’ Nick Fradiani as “Neil – Then,” and Kate A. Mulligan as Ellie Greenwich in *A Beautiful Noise: The Neil Diamond Musical*. Photo by Jeremy Daniel.

Mary Page Nance as Marcia Murphy in *A Beautiful Noise: The Neil Diamond Musical*. Photo by Jeremy Daniel.

Tuck Milligan as Tommy O’Rourke, Michael Accardo as Bert Berns, and Nick Fradiani as “Neil – Then” in *A Beautiful Noise: The Neil Diamond Musical*. Photo by Jeremy Daniel.

Lisa Reneé Pitts as Doctor in *A Beautiful Noise: The Neil Diamond Musical*. Photo by Jeremy Daniel.

(From left) Nick Fradiani as “Neil – Then,” Robert Westenberg as “Neil – Now” and Lisa Reneé Pitts as Doctor in *A Beautiful Noise: The Neil Diamond Musical*. Photo by Jeremy Daniel.

Nick Fradiani as “Neil – Then” (center) with “The Noise” and the Band in *A Beautiful Noise: The Neil Diamond Musical*. Photo by Jeremy Daniel.

Nick Fradiani as “Neil – Then” (center) and “The Noise” in *A Beautiful Noise: The Neil Diamond Musical*. Photo by Jeremy Daniel.

Elf – Musical – Review – The 5th Avenue Theatre

@showsiveseen "#Elf: The #Musical" at @The 5th Avenue Theatre is pure #holiday cheer. A swinging live orchestra (led by Matthew Smedal) delivering that classic big-band Broadway showbiz sound and all the sparkle of an NYC #Christmas. A joyful, festive escape starring Eric Ankrim. Closes #xmas ♬ Sparklejollytwinklejingley – Sebastian Arcelus & Michael Mandell & The Original Broadway Company Of 'Elf – The Musical'

Elevator Thoughts (aka Tweet): Elf: The Musical at The 5th Avenue Theatre is pure holiday cheer. A swinging live orchestra (led by Matthew Smedal) delivering that classic big-band Broadway showbiz sound and all the sparkle of an NYC Christmas. A joyful, festive escape starring Eric Ankrim.

Recommendation:
See it if you want to get into the Christmas spirit.

Was This the First Time I Attended a Production of this Show? No, I saw the national tour and a community production.

Would I See It Again 3 Years from Now? Probably not, twice is enough for me.

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): Inspired by the film, this light Christmas musical follows Buddy who realizes he’s a human and not a North Pole elf. He journeys to New York City to find his biological father.

Synopsis from the Licensor or Theatre Company: Son of a Nutcracker! Buddy’s back! Buddy the Elf has spent his life fulfilling his elf-ly duties in the North Pole helping Santa get ready for Christmas. The only problem is, he’s always been a little different. He stands feet above everyone else, is slower at making toys, and can’t quite fit in a standard elf-sized bed. After finding out he’s actually a human, Buddy embarks on a journey to the big city to discover his true identity—while also bringing a little Christmas spirit to everyone he meets. Based on the beloved 2003 New Line Cinema film starring Will Ferrell, this musical adaptation is a hilarious, fish-out-of-water comedy that’s full of heart, adventure, and holiday cheer. Whether you’re young, or just young at heart, make sure you’re on the nice list, because this show is a festive treat you don’t want to miss.

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: You’ll likely appreciate this more if you saw the movie, but it’s not required. I’ve never seen it.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

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)

Music: The true stars of the evening were the orchestra (led by Matthew Smedal) and the score (by Matthew Skylar). The 5th Avenue Theatre once again proved why it boasts the finest musical theatre orchestra in town, opening the show with a glorious, swinging overture. From there, the big-band, showbiz Broadway sound soared in numbers like “Sparklejollytwinklejingley,” “Nobody Cares About Santa,” and “The Story of Buddy,” before arriving at a standout moment in Jovie’s (played by Tori Gresham) beautifully delivered solo, “Never Fall in Love (With an Elf).” Together, the music and performances effortlessly conjured that cozy, classic New York City Christmas feeling.
“There Is a Santa Claus”: Echoing her memorable role in White Christmas at The 5th Avenue Theatre, Cayman Ilika (as mother Emily Hobbs) showcased her gorgeous voice in the duet “There Is a Santa Claus,” joined by the promising young Conor Sullivan (as son Michael Hobbs).

Other Musing(s) and Observation(s)

Tap Dance: Throughout the performance, I kept wondering when the quintessential grand tap dance number would appear. It finally surfaced in the final number, which was an oddly placed choice. Usually, it would be somewhere in the middle of the 1st act. However, the dancing itself (choreographed by director Denis Jones) was obviously strong quality like any tap dance number from The 5th Avenue Theatre.
Snow: It’s unclear whether this was intentional, but in one scene the actors gazed at the “snow,” which appeared only as a projection. Several minutes later, snow particles finally drifted down from the ceiling, raising the question of whether the delayed snowfall was a deliberate choice or simply a technical malfunction.
Plot Holes: The story contained major practical and professional inconsistencies. For instance, a Christmas book commissioned by Christmas would realistically miss the publishing window until the following holiday season. Likewise, the plot glosses over legal concerns, such as the apparent reuse of material from a previous employer without addressing intellectual property rights or non-compete agreements.
Holiday Formula: The script openly pandered into the Christmas spirit, as many seasonal live theatre shows do. It wasn’t especially deep or substantial, but unlike much of the Christmas-themed filler drivel and slop (can we please stop producing A Christmas Carol?!) that floods theatre stages each year, this show was enjoyable. Its primary aim was simply to put the audience in a festive mood. And in that, it succeeded.

Theatre Company: The 5th Avenue Theatre

Venue: The 5th Avenue Theatre

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

Price Range: $60-198

Dates: 11/28/25 to 12/28/25

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.

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

Buy a Ticket or Learn More:

Photos: See production photos below by Michael B. Maine.

Cast and Production Team: See after photos below.

Eric Ankrim and the Fake Santas in ELF THE MUSICAL at The 5th Avenue Theatre. Photo by Michael B. Maine.

Eric Ankrim and Tori-Gresham in ELF THE MUSICAL at The 5th Avenue Theatre. Photo by Michael B. Maine.

Richard Ziman and the cast of ELF THE MUSICAL at The 5th Avenue Theatre. Photo by Michael B. Maine.

Richard Ziman. Eric Ankrim, and the cast of ELF THE MUSICAL at The 5th Avenue Theatre. Photo by Michael B. Maine.

The Lion King – Musical – Review – Paramount Theatre

@showsiveseen @Disney's "The Lion King" #musical at Paramount Theatre from @BwayAmerica & @Seattle Theatre Group. Spectacular synergy between puppetry, costume, & scenic design. Starring Gilbert Domally, Aaron Chao, & Josiah Watson. Performing in Seattle till 1/4/26. Review: showsiveseen.com/14376 Photos: Matthew Murphy, Deen Van Meer, Joan Marcus Director: Julie Taymor Conductor: Karl Shymanovitz Stage Mgr: Charles Underhill Choreo: Garth Fagan #disney #lionKing #theLionKing #theatre ♬ Circle of Life – Ndlovu Youth Choir

Elevator Thoughts (aka Tweet): Happy opening weekend to Disney’s The Lion King musical at Paramount Theatre from Broadway Seattle and Seattle Theatre Group. Spectacular synergy between puppetry, costume, and scenic design. Performing in Seattle till 1/4/26.

Recommendation:
Whether young or old, see it!

Was This the First Time I Attended a Production of this Show? No, I saw the tour the last time it came to Paramount Theatre.

Would I See It Again 3 Years from Now? Probably not, twice is enough for me

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): Inspired by the classic Disney film, the story follows a young lion prince thrust into exile who must find the courage to reclaim his rightful place as the lion king.

Synopsis from the Licensor or Theatre Company: Giraffes strut. Birds swoop. Gazelles leap. The entire Serengeti comes to life as never before. And as the music soars, Pride Rock slowly emerges from the mist. More than 100 million people around the world have experienced the awe-inspiring visual artistry, the unforgettable music, and the uniquely theatrical storytelling of this Broadway spectacular – one of the most breathtaking and beloved productions ever to grace the stage. Winner of six Tony Awards®, including Best Musical, The Lion King brings together one of the most imaginative creative teams on Broadway. Tony Award®-winning director Julie Taymor brings to life a story filled with hope and adventure set against an amazing backdrop of stunning visuals. The Lion King also features the extraordinary work of Tony Award®-winning choreographer Garth Fagan and some of Broadway’s most recognizable music, crafted by Tony Award®-winning artists Elton John and Tim Rice. There is simply nothing else like The Lion King.

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: You’ll appreciate this more if you saw the movie, but it’s not required.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

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)

Design: The production’s true star was the extensive puppetry, costume, and scenic design by Julie Taymor, Michael Curry, and Richard Hudson. While reminiscent of the intricate style seen in Life of Pi, the puppetry here was even more ambitious. The designers didn’t limit themselves to the iconic animals of the African savanna. Every element, down to the swaying grass, was transformed into a living, moving piece of costume/puppet art. Among the most memorable creations were the tears built into the lioness’s mask and the mesmerizing gazelle hunt, in which the gazelle’s body fractured into multiple body parts.
“Circle of Life” Bookends: The show opens with a glorious hook in “The Circle of Life” song. The stage (and even the audience lovel itself) was alive with action, offering so much to take in that I found myself with a bit of FOMO torn between multiple points of focus. It was overwhelming in a good way. If you have the chance, sit on the orchestra level. I remember watching from the balcony last time and missing much of this immersive energy from the actors roaming the audience. The opening song built to a triumphant climax. The musical came full “circle” in a bookend, closing with the same piece for a thrilling, satisfying conclusion.
“He Lives in You”: This song was executed with breathtaking imagination. At first, the staging hinted at Mufasa’s reflection, assimilating gradually like a hidden portrait in an autostereogram optical illusion. The audience sensed it before it suddenly appeared like a revelation. Midway through the number, illuminated faces of the performers materialized as if out of thin air, heightening the sense of revelation. And then, in a final flourish, a burst of vibrantly saturated, rainbow-colored dancers appeared, sharply contrasting the monochromatic palette that had defined the song until that moment.
“Be Prepared”: Scar’s (Peter Hargrave) rendition of “Be Prepared” was another standout. It was elevated by several sharply conceived staging choices in gleeful villainous theatrical flair. The hyenas swarmed into the audience and their movements eventually snaped into a militaristic choreography that evoked the rigid precision of a North Korean (dare I say Nazi?) army parade. At one point, the number even shifted into a scene with the pulsing energy of a gay nightclub, as sculpted, bare torso-ed hyenas performed a tango-infused sequence. The whole moment brought to mind Matteo Lane’s joke about Disney villains being gay.
Voices: Gilbert Domally’s adult Simba brought an unexpected burst of energy with his surprisingly high voice in “Hakuna Matata.” He reignited that spark again in “He Lives in You.” It’s a shame Domally didn’t get more opportunities to showcase this vocal flair. But, he and Thembelihle Cele (as Nala) created beautifully sweet harmonies in “Can You Feel the Love Tonight.”
African Themes: The stage adaptation brought a vibrant African flair that the movie didn’t come close to replicating. It was a refreshing burst of color and energy to Seattle’s typically homogenous scene. I especially loved Rafiki, whose performance (complete with a vividly painted mandrill butt) incorporated African clicking sounds into their speech.

Other Musing(s) and Observation(s)

Climax: Disney is notorious for being accused of slipping subtle adult references into its family-friendly fare. In this production, Shenzi the hyena (played by Martina Sykes) delivered an unforgettably … enthusiastic reaction (basically an orgasm) to Mufasa’s name. This was definitely not something I saw in the movie. It was weird observing that sitting next to my nephew!

Theatre Company: National Tour from Broadway Across America and Seattle Theatre Group

Venue: Paramount Theatre

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

Price Range: $49-230

Dates: 12/4/25 to 1/4/26

Seating: Assigned Seating

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

Buy a Ticket or Learn More:

Photos: See production photos below by Matthew Murphy, Deen Van Meer, Joan Marcus.

Cast and Production Team: See after photos below.