Category: Puget Sound (Seattle/Tacoma/Olympia/Bellevue)

@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!

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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Buy a Ticket or Learn More:

• https://www.5thavenue.org/shows/2024-25/bye-bye-birdie/
• Program

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

Cast and Production Team: See after pictures below.