Recommendation See it if you like introspective thinking, soliloquies, religious discourse, sermons, audio books, or podcasts.
Synopsis from the Theatre: Intimate mysteries are revealed as a quartet of souls yearning for connection are brought together through extraordinary correspondence. Across time and oceans, these strangers share letters of faith, letters of family, and letters of love … haunted by a city once destroyed by war. Don’t miss this companion play to ANIMALS OUT OF PAPER!
Attended Performance Date: 5/11/24 – Keep your eyes peeled for my preview posts on my website and social media if you want earlier notification of shows I’ve seen. Get your tickets now since the show closes this weekend.
Type: Play
World Premiere: No
Several or Few Scenes: Few
Several or Few Settings/Locations: Few
Static (Stationary) Set? Yes
Prior Exposure/Knowledge Required: You’d probably appreciate this show more if you’re familiar the previous play Animals Out of Paper.
Defined Plot/Storyline: No, it was mostly reciting messages to each other.
Equity Actors: 0
Total Number of Actors: 4
Perceived Pace of the Show: Slow to medium speed
Was there an intermission? No
Was This the First Time I Attended a Production of this Show? Yes
Would I See It Again 3 Years from Now? No
Other Musing(s) and Observation(s)
Actor Interactions: There was uniquely very little interaction between actors in this play, like a show full of soliloquies. I think there was only one brief scene where the script prompted the characters to actually talk directly to each other through a phone call.
Theatre Company: ReACT Theatre & Pratidhwani
Venue: 12th Avenue Arts
Venue Physical Address: 1620 12th Ave, Seattle, WA 98122
Parking: Paid lot or paid street parking. Street parking is extremely limited since it’s Capitol Hill. Even if you can find street parking, it often costs more than some parking lots. I highly recommend the paid lot at 1300 E Olive St with the entrance on 14th Ave.
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Pictures: See pictures below and in video above by Quinlan Corbett.
Marianna de Fazio as Amelia in LETTERS OF SURESH. Photo by Quinlan Corbett.Mona Leach as Melody in LETTERS OF SURESH. Photo by Quinlan Corbett.Stephen Sumida as Father Hashimoto in LETTERS OF SURESH. Photo by Quinlan Corbett.Nirvan Patnaik as Suresh in LETTERS OF SURESH. Photo by Quinlan Corbett.
Elevator Thoughts (aka Tweet): Stefano Massini’s “The Lehman Trilogy” epic 3-act play at ACT Theatre. Lehman Brothers’ fascinating rise from humble slavery-tainted beginnings to late-stage capitalism. Convincing accents & cast doubling. #LehmanBrothers #jewish #BaruchHashem #capitalism #bank #banking #finance
Recommendation See it, especially if you’re okay with epic 3-act shows.
Synopsis from the Theatre: The Tony Award®-winning Best Play comes to Seattle after a triumphant run on London’s West End and Broadway. The Lehmans began as many American immigrants did in the 19th century: on a cold dock in New York City in 1844 as a young Jewish man enters his new country for the first time. Joined by his two brothers, they live the American Dream: from humble beginnings to outrageous success. 163 years later, that legacy—The Lehman Brothers—comes crashing down, triggering the largest financial crisis in history. How? Why? This extraordinary feat of storytelling invites us to question what success is worth, how legacy is defined, and what we value in the wake of devastating collapse.
Attended Performance Date: Opening Night 5/2/24 – Keep your eyes peeled for my preview posts on my website and social media if you want earlier notification of shows I’ve seen. Get you tickets now since the show closes this weekend.
Type: Play
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings/Locations: Several
Static (Stationary) Set? Mostly, yes
Prior Exposure/Knowledge Required: No, but you’d probably appreciate this more if you’re familiar with the Lehman Brothers collapse during the Great Recession.
Defined Plot/Storyline: Yes
Equity Actors: 2
Total Number of Actors: 3
Perceived Pace of the Show: The play started slow while introducing a single character for several minutes with the typical energy of a one-person show. A good play hooks the audience at the beginning, but this one did not. When the two remaining actors entered the stage, the show picked up the pace. But after the second act, the sheer epic length slowed it down again!
Length (Including Any Intermission): A whopping 3.5 hours!
Was there an intermission? Two
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.
Other Rave(s) Not Mentioned Above
Philip Lehman: Philip Lehman (played by Robert Pescovitz) was delightfully pragmatic and cold like a robot. Some may view his personality as calculating or controlling, but I saw him as an inspiration. He wouldn’t let emotions get in the way of progress.
New York City: Maybe it’s my jealousy of not living in “The Big Apple,” but this is the first time I was a little annoyed by the way plays and musicals idolize New York City. We get it … everywhere else is trash!
Great Recession: I was surprised that the play didn’t focus more on the 2008 financial crisis.
Jewish References: The script was quite heavy on Jewish references compared to what’s usually in live theatre. That would be fine if the main intent of the play was to showcase Jewish American culture. If that was not the main intention, then the references should be more subtle to not distract from the main messages. Without this subtlety, the play just becomes a Jewish show like Fiddler on the Roof. I don’t remember much about Fiddler on the Roof except that there were a bunch of Jewish themes. Interestingly enough, The Lehman Trilogy playwright was Italian!
Theatre Company: ACT Theatre
Venue: The Falls Theatre at ACT Theatre
Venue Physical Address: 700 Union St, Seattle, WA 98101
Parking: Paid lot or paid street parking. If I don’t walk to this theatre, I park in the old convention center garage with the entrance between Seneca and Pike. There is indoor access from the garage to the theatre if you walk through the old convention center.
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Pictures: See pictures below and in video above by Rosemary Dai Ross.
Brandon J Simmons. Photo by Rosemary Dai Ross.Brandon J Simmons, Bradford Farwell, & Robert Pescovitz. Photo by Rosemary Dai Ross.Robert Pescovitz, Bradford Farwell, & Brandon J Simmons. Photo by Rosemary Dai Ross.Brandon J Simmons, Robert Pescovitz, & Bradford Farwell. Photo by Rosemary Dai Ross.Bradford Farwell, Brandon J Simmons, & Robert Pescovitz. Photo by Rosemary Dai Ross.
Elevator Thoughts (aka Tweet): Disney’s Aladdin musical at Paramount Theatre w/ Seattle Theatre Group & Broadway Across America starring Adi Roy & Senzel Ahmady. Marcus M. Martin’s Genie gave Robbin Williams a run for his money. Clever comedic relief jokes with Middle Eastern references.
Recommendation See it, especially if you enjoyed the movie.
Synopsis from the Theatre: Discover a whole new world at Disney’s Aladdin, the hit Broadway musical. From the producer of The Lion King comes the timeless story of Aladdin, a thrilling new production filled with unforgettable beauty, magic, comedy and breathtaking spectacle. It’s an extraordinary theatrical event where one lamp and three wishes make the possibilities infinite.
Attended Performance Date: 4/24/24 – Get you tickets now since the tour is only in-town for one week till 4/28/24.
Type: Musical
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings/Locations: Several
Static (Stationary) Set? No
Prior Exposure/Knowledge Required: No, but you’d probably appreciate this more if you’ve seen the original film.
Defined Plot/Storyline: Yes
Live Band/Orchestra: Yes
Equity Actors: All
Total Number of Actors: 31
Perceived Pace of the Show: Medium to fast speed
Length (Including Any Intermission): 2.5 hours
Was there an intermission? Yes
Was This the First Time I Attended a Production of this Show? No, I saw the national tour in 2017, also at Paramount Theatre. Plus, I saw the movie countless times.
Would I See It Again 3 Years from Now? Two times seeing the national tour is probably enough for me. But obviously, the production value is inherently good since it’s a national tour.
Other Rave(s) Not Mentioned Above
Cave of Wonders: The show’s energy felt off a couple of times in the beginning until the cave of wonders segment. The scene had a dazzling set, an alluring premise, and tap dance! It was an entertaining introduction to the Genie character (played by the delightful Marcus M. Martin).
Comedic Relief: The jokes were funny … if not a bit corny. One of my favorites was “She [Princess Jasmine] is a beauty what with the hair and the belly button.” Most other jokes were Middle Eastern-themed (like “Tom, Dick, and Hassim”) that frequently mentioned Arabic food.
Other Musing(s) and Observation(s)
“Price Ali” Song: This would have been a better pre-intermission showstopper than a second act opener.
“Proud of Your Boy” Song: Every time they sang this song, I kept thinking about how the Proud Boys adopted it as their anthem. It’s ruined for me!
Dance Synchronicity : Maybe I’ve been spoiled by the last national tour (MJ: The Musical) that I saw at the Paramount Theatre, but it felt like the choreography could have been tighter.
Honest Guards: The guards could have rubbed the lamp when it was handed to them at the end!
“A Whole New World” Song: It was definitely not as epic as the movie’s classic hit song. But the magic carpet stage effects was pretty cool to see. Side note, the magic carpet could be likened to a car. How high school cliche is it for a girl to fall for a guy after she finds out he has a new fancy car!
Theatre Company: National Tour Brought by Seattle Theatre Group and Broadway Across America
Venue: Paramount Theatre
Venue Physical Address: 911 Pine St, Seattle, WA 98101
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 eligible for an organization discount.
Dates: April 24 – 28, 2024
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 Cheesecake Factory. It’ll take you at least 30 minutes to exit that garage after the show.
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Pictures: See pictures below and in video above by Deen van Meer.
Senzel Ahmady and Company in Aladdin Tour. Photo by Deen van Meer.Marcus M Martin and Company in Aladdin Tour. Photo by Deen van Meer.Marcus M Martin and Company in Aladdin Tour. Photo by Deen van Meer.Jake Letts, Ben Chavez, Adi Roy, Colt Prattes in Aladdin Tour. Photo by Deen van Meer.Arabian Nights Men in Aladdin on Broadway. Photo by Deen van Meer. Anand Nagraj and Aaron Choi in Aladdin Tour. Photo by Deen van Meer.Adi Roy in Aladdin Tour. Photo by Deen van Meer.
Elevator Thoughts (aka Tweet): English play at ArtsWest w/ Seda Iranian Theatre Ensemble. Clever accent switching dramatic device. Thoughtful contrasting commentary on ethnic/racial identity in an English-dominated global society. Closes this weekend. Sold out, waitlist only! #ethnicity #race #language #ESL #theatre #showsiveseen #TOEFL #iranian #Farsi #Parsi #Persian #bilingual #identity #accent
Recommendation See it if either 1) you’re bilingual, 2) you have immigrant connections, 2) or you’re okay with plays that are mostly dialogue and less action.
Synopsis from the Theatre: Two words set in motion award-winning playwright Sanaz Toossi’s intricate and profound New York debut: “English Only.” This is the mantra that rules one classroom in Iran, where four adult students are preparing for the TOEFL — the Test of English as a Foreign Language. Chasing fluency through a maze of word games, listening exercises, and show-and-tell sessions, they hope that one day, English will make them whole. But it might be splitting them each in half.
Attended Performance Date: 4/19/24 – Keep your eyes peeled for my preview posts on my website and social media if you want earlier notification of shows I’ve seen. Since the remaining show run (ending 4/28/24 this weekend) is sold out, read how to join the waitlist here.
Type: Play
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings/Locations: One – a classroom
Static (Stationary) Set? Yes
Prior Exposure/Knowledge Required: No, but you’d probably appreciate this more if you’re not Caucasian American/British/Commonwealth.
Defined Plot/Storyline: Not really. It was more a collection of exercises and discussions in a classroom throughout a semester.
Equity Actors: 2
Total Number of Actors: 5
Perceived Pace of the Show: Medium speed
Length (Including Any Intermission): 1.5 hours
Was there an intermission? No
Was This the First Time I Attended a Production of this Show? Yes
Would I See It Again 3 Years from Now? No
Other Rave(s) Not Mentioned Above
Accent Switching: In the first scene, I immediately noticed the actors delivered their lines switching between an Iranian and an American accent. Initially, I thought this was bad acting and breaking character. But after a couple of minutes, I realized their American accent portrayed that they were speaking Farsi (Persian) while their Iranian accent portrayed that they were speaking English. This novel approach effectively conveyed distinct languages to an English-speaking audience without using subtitles.
Recording: Another clever theatre device was the English recording the Iranian characters listened to. The recording was intentionally difficult for the audience to understand. This effectively portrayed how non-English speakers hear English.
Ethnic Identity: As a second-generation immigrant, it was comforting to observe the dynamic commentary on internalized racism, the subsequent resentment of colonialism, and ethnic identity. It brought to light many conscious and unconscious questions I asked myself while growing up in the USA as a child of first-generation immigrant parents. Like why does the English accent of my people sound ugly? Why are all the “desirable accents” from Caucasian countries? If I was born in the USA, why do I still sometimes feel like a foreigner? What would it be like to live outside this ethnic limbo since I didn’t grow up with people who look like me? What would it have been like to grow up in a society where I was part of the majority? Similarly, one of the play’s characters posed the question, what would global society be like if the Persian empire was still the dominant superpower?
Favorite Line: “Our mothers get to name us. Not foreigners.” This quote reminds me of immigrants who have an American name in addition to their original name.
Other Musing(s) and Observation(s)
Unanswered Questions: I still don’t understand why the teacher Marjan (played by Vahishta Vafadari) left the UK and Omid (played by Emon Elboudwarej) left the USA.
Theatre Company: ArtsWest and Seda Iranian Theatre Ensemble
Venue: ArtsWest
Venue Physical Address: 4711 California Ave SW, Seattle, WA 98116
Price: Cheap to Medium
Tickets: The remaining show run is sold out! See how to join the waitlist here.
Dates: April 4 – 28, 2024
Seating: Assigned Seating
Parking: There are paid lots and free street parking. I usually park on 44th or 45th Ave behind the theatre.
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ArtsWest presents English by Sanaz Toossi, directed by Naghmeh Samini. Running April 4 – April 28, 2024. Photo by Jenny Crooks.ArtsWest presents English by Sanaz Toossi, directed by Naghmeh Samini. Running April 4 – April 28, 2024. Photo by John McLellan.ArtsWest presents English by Sanaz Toossi, directed by Naghmeh Samini. Running April 4 – April 28, 2024. Photo by John McLellan.ArtsWest presents English by Sanaz Toossi, directed by Naghmeh Samini. Running April 4 – April 28, 2024. Photo by John McLellan.ArtsWest presents English by Sanaz Toossi, directed by Naghmeh Samini. Running April 4 – April 28, 2024. Photo by John McLellan.
Elevator Thoughts (aka Tweet): “How to Write a New Book for the Bible” play at Taproot Theatre. Digs into the sad process of caring for ill, aging, dying #parents. Oh lawd, don’t let me get old or sick! Closes this weekend. #children #family
Recommendation See it if you’re okay with sentimental or downer shows.
Synopsis from the Theatre: Playwright and Jesuit priest Bill Cain moves home to care for his strong-spirited mother. Through his eyes we witness his long-dead father, a brother coming to terms with his service in Vietnam, baseball games, and birthday pumpkins. In this bracingly personal and frankly funny play, Cain shows us why the details in our lives matter.
Attended Performance Date: Opening Night 3/22/24 – Keep your eyes peeled for my preview posts on my website and social media if you want earlier notification of shows I’ve seen. Get your tickets now since it closes this weekend on 4/20/24!
Type: Play
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings/Locations: Several
Static (Stationary) Set? Yes
Prior Exposure/Knowledge Required: No
Defined Plot/Storyline: Not really. It was more a collection of flashbacks.
Equity Actors: 2
Total Number of Actors: 4
Perceived Pace of the Show: Medium speed
Length (Including Any Intermission): 2.5 hours
Was there an intermission? Yes
Was This the First Time I Attended a Production of this Show? Yes
Would I See It Again 3 Years from Now? No
Rant(s)
Physician Coat Length: If an actor portrays a physician (even an intern or resident), they shouldn’t wear a hip-length coat. Only health care professional students (like medical school or pharmacy school students) wear white coats that short. It’s surprising how many theatres incorrectly dress their physicians as if they were medical students.
Other Musing(s) and Observation(s)
Moral of the Story: What was the message the playwright was trying to convey? “Aging sucks?”
Bible Reference: Why was the bible mentioned in the play’s title? The narrator briefly touched on it, but it seemed like a far-reaching connection. There were random biblical references through the play like “Do you know what commandment follows ‘Honor your father and mother?’ ‘Thou shalt not kill.'” But the religious references were too few to merit mentioning “bible” in the title. The play’s title attracts Christian audiences to buy tickets, but the script ultimately doesn’t deliver enough religious themes. At the same time, the play’s title deters secular audiences from attending the show. This weird religiously-themed title reminds me of A Case for the Existence of God.
Theatre Company: Taproot Theatre
Venue: Jewell Mainstage at Taproot Theatre
Venue Physical Address: 204 N 85th St, Seattle, WA 98103
From top left: Nik Doner, Scott Nolte, Richard Nguyen Sloniker, and Pam Nolte in How to Write a New Book for the Bible at Taproot Theatre. Photo by Robert Wade.Pam Nolte and Scott Nolte in How to Write a New Book for the Bible at Taproot Theatre. Photo by Robert Wade.Scott Nolte with Pam Nolte and Richard Nguyen Sloniker in How to Write a New Book for the Bible at Taproot Theatre. Photo by Robert Wade.Nik Doner with Pam Nolte and Scott Nolte in How to Write a New Book for the Bible at Taproot Theatre. Photo by Robert Wade. Nik Doner and Richard Nguyen Sloniker in How to Write a New Book for the Bible at Taproot Theatre. Photo by Robert Wade.
