Preview Post – Little Women – Play – Seattle Rep

Celebrating Seattle Rep’s 60th anniversary at the Little Women play opening night w/ a special visit from the Seattle mayor. Performing until 12/17/23. Stay tuned for my full review! #littleWomen #showsiveseen #theatre

Final Review (Posted 11/29/23): https://www.showsiveseen.com/little-women-play-seattle-rep/

Tickets: https://www.seattlerep.org/plays/202324-season/little-women/

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Islander – Musical – Seattle Rep

Elevator Thoughts (aka Tweet): Finn Anderson & Stewart Melton’s Islander musical at Seattle Rep staring Sylvie Stenson, Stephanie MacGaraidh, Lois Craig, & Julia Murray. Novel audio concept that every played accompaniment & sound effect was dynamically recorded on-stage minutes/seconds earlier. High improv-like stakes!

Recommendation
See it if either 1) you like non-traditional musicals with a novel gimmick like Freestyle Love Supreme 2) you appreciate modern British theatre 3) or you’re okay with small-cast shows.


Synopsis from the Theatre: Myth and reality collide when the tide washes a mysterious stranger onto the shore of Eilidh’s lonely island, changing her life forever. Join us for a musical showcase of epic storytelling, intimately staged with a contemporary Scottish folk-inspired score. Two actors embody a host of characters while weaving, building, and layering their voices using live looping technology. This internationally acclaimed hit will create an expansive, ethereal soundscape for the ears and imagination as Seattle Rep kicks off the North American Tour.

Attended Performance Date: 10/25/23 (Opening Night) – See my previous preview posts here.

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) Set: Yes, because it was austere

Prior Exposure/Knowledge Required: You need to understand fast British accents.

Defined Plot/Storyline: Yes

Live Band/Orchestra: The performers and the mixing boards were the “band” in that they recorded sounds on-stage and dynamically generated an accompaniment when they weren’t singing acapella. There were no instruments or pre-recorded tracks … although we can’t prove the absence of pre-recorded tracks!

Equity Actors: Zero but I assume it was because this tour was from the UK

Total Number of Actors: 2

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 in Elevator Thoughts

  • Unique Audio Source: All the sound effects and accompaniment were recorded and mixed on-stage in front of the audience. Seconds or minutes later, the audience would hear the sounds interleaved in an audio track with different autotuned pitches and rhythms. Every time I heard a new sound, I tried to determine what portion of the show it was recorded from. Sometimes the actors would later harmonize with a recording of their own voice. This was very similar to how Taylor Swift performed her 1989 world tour “Blank Space” song in this clip (see 3:45 – 5:15). In musicals, performers are expected to dance, act, and sing. Add “operate a mixing board” to that list of duties in this musical!
  • Storm Scene Lighting: The strobe-like flashing lights were a cool (albeit easy) way to depict a lightning and rain storm.
  • Favorite Line: “Can I ask you something?” “You just did.”

Rant(s)

  • Story Comprehension: It was difficult to differentiate between characters since there was extensive cast doubling with only two performers. Plus, there were no costume changes between characters. The strong British accents also made it difficult to follow the dialogue. This is coming from someone who doesn’t attend much Shakespeare because the old English is hard to understand.

Other Musing(s) and Observation(s)

  • Pedal: Will anybody enlighten me what happened when someone pressed the foot pedal? Leave a comment on my social media links below!

Theatre Company: National Tour

Venue: Seattle Repertory Theatre

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

Price: Medium to Expensive

Tickets: https://www.seattlerep.org/plays/202324-season/islander/

Ticket Affordability Options:

Dates: October 20 to November 19, 2023

Seating: Assigned Seating

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

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Other Video +/- Pictures: See pictures in video and under video

Cast and Production Team: See after pictures and/or video below

@showsiveseen Finn Anderson & Stewart Melton's @islandermusical at @seattlerep staring Sylvie Stenson, @Steph MacGaraidh, @Lois Craig, & Julia Murray. Directed by Amy Draper. Novel audio concept that every played accompaniment & sound effect was dynamically recorded on-stage minutes/seconds earlier. High improv-like stakes! Review: showsiveseen.com/7197 #Islander #showsiveseen #theatre #scottish #scotland #whale #whales #musical ♬ love song (hesitations) (sped up) – Lofuu & Shiloh Dynasty & dprk
Stephanie MacGaraidh and Sylvie Stenson in Islander. Photo by Nate Watters.
Stephanie MacGaraidh and Sylvie Stenson in Islander. Photo by Nate Watters.
Julia Murray and Lois Craig in Islander. Photo by Sayed Alamy.
Sylvie Stenson and Stephanie MacGaraidh in Islander. Photo by Steve Tanner.
Sylvie Stenson and Stephanie MacGaraidh in Islander. Photo by Steve Tanner.
Lois Craig and Julia Murray in Islander. Photo by Steve Tanner.
Julia Murray and Lois Craig in Islander. Photo by Steve Tanner.

Miss You Like Hell – Musical – Strawberry Theatre Workshop

Elevator Thoughts (aka Tweet): Miss You Like Hell musical w/ Strawberry Theatre Workshop at 12th Ave Arts, starring Maggie Carrido & Stephanie Roman, directed by Nicholas Japaul Bernard. Best part was when an audience member loudly exclaimed, “Oh no!” Didn’t end like I expected. Pilar O’Connell rocked! Craved a tamale after the show.

Recommendation
See it if you were affected by American immigration laws.


Synopsis from the Theatre: A teenager and her estranged mother—an undocumented Mexican on the verge of deportation—embark on a road trip across the United States to mend their frayed relationship. Combined with the musical talent of Erin McKeown, Pulitzer Prize winning playwright Quiara Alegría Hudes artfully crafts a story of the barriers and the bonds of family, while also addressing the complexities of immigration in today’s America.

Attended Performance Date: 10/14/23 (Opening Night) – See my previous preview posts here.

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

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Equity Actors: 1

Total Number of Actors: 9

Perceived Pace of the Show: Slow to medium

Length (Including Any Intermission): 2 hours

Was there an intermission? No

Was This the First Time I Attended a Production of this Show? Yes and it was also my first time attending a musical by Strawberry Theatre Workshop. I’ve only previously attended their plays, which are typically good.

Would I See It Again 3 Years from Now? Maybe if it was a full-fledged professional production

Other Rave(s) Not Mentioned in Elevator Thoughts

  • Pilar O’Connell: Pilar’s singing and acting stole the show as Mo, a gay dude in leather chaps.
  • Beatriz: I think this was my first time seeing Maggie Carrido on-stage. Her unique sultry voice served her well for a role (Beatriz) that was originally portrayed by Daphne Rubin-Vega in NYC. Honestly, I prefer Maggie’s voice!
  • Favorite Lines: This musical was filled with lines that were shocking and funny. Sorry if the following examples are not quoted 100% verbatim!
    • “I was crying so much my mascara was down to my ankles”
    • Olivia told her mom “You’re a MILF”
    • “My boobs were like snow cones”
    • “My parents weren’t married. So, technically I’m a bastard.”
    • “I thought I was bleeding from my pussy”
  • Clerk Scene: The best part of the show was when an audience member loudly exclaimed “Oh no!” and passionately nearly stood up during a scene where a deliciously unlikable court clerk (played by Olivia Sutherland) rudely spoke to the main characters.

Rant(s)

  • Book and Music: Since this musical’s score and book is inherently tepid, it won’t appeal to wide audiences, especially if the production isn’t from a full-fledged professional theatre company. I’m curious how audiences received the original NYC production because the original cast soundtrack didn’t sound too impressive.
  • Sound Balancing: Hopefully this was only an issue on opening night, but the non-ensemble characters were not equally mic’ed. For example, a major character wore a microphone but I’m not sure that it was even on. Like I recently mentioned in my last review of Seattle Public Theater’s Macbeth production, try to sit away from the band so it’s easier to hear the singers. Unfortunately, that means you’ll sacrifice a little on the view.

Other Musing(s) and Observation(s)

  • Stage Layout: I’m not a huge fan of the parallel-style seating arrangement in the image below. The audience ends up seeing too many actors’ backs. An okay alternative is when the seating is more U-shaped.
  • Sullen Teenager Trope: I’m also not a huge fan of the sullen “nobody understands me” teenager trope. It’s tired and annoying. I want to tell these characters, “Oh boo hoo! Grow up, get over yourself, and join the real world!”
  • Vocal Range: Again, like I recently mentioned about Seattle Public Theater’s Macbeth production, gender-inclusive casting (though well-intentioned) often needs transposition when an actor sings a part that was written for the opposite gender in mind. Without transposition, the performer either sounds like they’re singing too high or too low.

Theatre Company: Strawberry Theatre Workshop

Venue: 12th Avenue Arts

Venue Physical Address: 1620 12th Ave #203, Seattle, WA 98122

Price: Cheap

Tickets: https://www.tickettailor.com/events/strawberrytheatreworkshop/994759

Dates: October 12 to November 11, 2023

Seating: General Admission

Parking: Paid lot or paid street parking. Street parking is extremely limited since it’s Capitol Hill. Your best luck would be East of Cal Anderson Park on 11th or 12th Ave. Cheapest paid lots are on 11th Ave next to the park. I highly suggest parking far away or taking the bus since the lots are expensive in Capitol Hill.

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Other Video +/- Pictures: See pictures in video and under video

Cast and Production Team: See after pictures and/or video below

@showsiveseen Quiara Alegria Hudes & Erin Mckeown's "Miss You Like Hell" #musical w/ Strawberry Theatre Workshop at 12th Ave Arts, starring Maggie Carrido & Stephanie Roman, directed by @Nicholas Bernard. @Pilar O'Connell rocked! Best part was when an audience member loudly exclaimed, "Oh no!" Didn't end like I expected. Craved a tamale after the show. Review: showsiveseen.com/7127 #showsiveseen #theatre #immigration #Mexican #deportation #roadTrip ♬ Dance with Me – Daphne Rubin-Vega & Danny Bolero & Latoya Edwards & 'Miss You Like Hell' Original Cast Ensemble
Stephanie Roman and Maggie Carrido
Stephanie Roman and Maggie Carrdio
Maggie Carrido and Stephanie Roman
Ensemble
Carolynne Wilcox and Maggie Carrido
Beth Pollack
RoleName
Ensemble/HigginsAntonieta Carpio
Ensemble/PearlJade Guillory-Kaub
BeatrizMaggie Carrido
Ensemble/MoPilar O’Connell*
Ensemble/Officer Andreya Pro
OliviaStephanie Roman
Ensemble/ClerkOlivia Sutherland
Ensemble/Manuel Carolynne Wilcox
Ensemble/Lawyer/RamonaBeth Pollack
Director & Choreographer Nicholas Japaul Bernard
Book & LyricsQuiara Alegria Hudes
Associate Choreographer Lexi Warden
Music & LyricsErin McKeown
Music Director Olivia Pedroza
Property ManagerAdam Zopfi Hulse
Costume DesignerPete Rush
Lighting DesignerChih-Hung Shao
Stage Manager Megan Kay Wright
Scenic DesignerGreg Carter
Assistant Stage Manager Claudia Landau
Graphic Designer Melanie Wang
DramaturgAna Maria Campoy
Box Office Manager Galen Joseph Osier
Construction DesignersAndy Swan, Aiyana Stephens, Megan Carleton, Forrest Leonard
Band Simon Alpren, Sam Brown, Toby Bruce, Thomas Cripe, Phil Demaree, Charles Eliot
* Member Actors Equity Association

Macbeth: A Rock Musical – Seattle Public Theater and Macha Theatre Works

Elevator Thoughts (aka Tweet): Macbeth: A Rock Musical by an all-femme cast from Seattle Public Theater & Macha Theatre Works. Grungy punk costumes/music/aesthetic were perfect for Seattle. Great score. Entire production run sold out quickly, but rush tickets are still available!

Recommendation
See it, especially if you like Shakespeare and musicals. It’s worth attempting obtaining rush tickets to this sold-out show. FOMO FTW!


Synopsis from the Theatre: The witches’ prophecy swallows Macbeth whole and a murderous nightmare begins. Can Macbeth upend fate? In this all femme punk rock telling of a classic Shakespearean Tragedy, MacBeth’s foul greed and hunger for power distorts his actions.

Attended Performance Date: 10/19/23 – I would have attended opening night a week earlier but it was already sold out! See my previous preview posts here.

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) Set: Mostly yes

Prior Exposure/Knowledge Required: You should be able to understand old Shakesperean English. As you might already know from my previous posts, I typically don’t prefer Shakespeare plays since they’re so difficult to understand. But this musical was one of the easier shows to comprehend in old Shakesperean English. It helped that the songs were more modern English. Additionally, you might enjoy this play more if you’re already familiar with the Macbeth story or if you’ve seen the original play, both of which didn’t apply to me. Despite this unfamiliarity, I still was able to enjoy the show and follow the general story.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes, and occasionally during the show, they even spoke dialogue (as witches), walked on-stage, and sang.

Equity Actors: 1

Total Number of Actors: 15

Perceived Pace of the Show: Medium speed

Length (Including Any Intermission): 2.75 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? Yes, but maybe only a full professional production

Other Rave(s) Not Mentioned in Elevator Thoughts

  • Costumes: Lady Macbeth’s red rubber costume and Macbeth’s spiky/sparkly jacket of were well-chosen statement pieces.
  • Fire: The letter burning stage magic early in the show was pretty cool.
  • Favorite Song: Lady Macbeth (played by Meg McLynn) sang a song with I think Brandi Birdsong’s and Melissa Owen’s character that I wish I could hear again. Unfortunately, I can’t even find an official soundtrack for this musical online!

Other Musing(s) and Observation(s)

  • Seat Choice: Like I mentioned from Seattle Public Theater’s last musical, try to make sure your seat is close to the right side of the stage (when facing the stage) since the band on the left side might drown out the lyrics.
  • The Lion King: Some people sitting close to me mentioned similarities between The Lion King movie and Macbeth, which was pretty interesting to think about while watching the show.
  • Harmony: Many song portions where they sang in unison definitely had potential for more harmony to add more interesting song facets.
  • Vocal Ranges: While I support all-femme casting, I find the vocal range disparity distracting. I frequently mention this in previous reviews. Typically, when someone sings a part that was originally written for the opposite gender, it sounds like they’re singing too high or too low. And there are songs in this musical originally written for a male vocal range. Songs should be transposed if singing a part that was originally composed for the opposite gender.

Theatre Company: Seattle Public Theater and Macha Theatre Works

Venue: Seattle Public Theater (aka Bathhouse Theatre)

Venue Physical Address: 7312 West Green Lake Dr N, Seattle, WA 98103

Price: Cheap

Tickets: https://app.arts-people.com/index.php?ticketing=spt

  • As I mentioned previously, the show is sold out. However, handicap/companion seats are still available online. Rush tickets are available on the day of the performance for $20 each. Box office opens one hour before each performance for rush ticket sales.

Ticket Affordability Options: You can self-select $10 price-accessible tickets.

Dates: October 13 to November 5, 2023

Seating: Assigned Seating

Parking: Free plentiful parking lot of Greenlake Park, which is adjacent to the theatre.

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Other Video +/- Pictures: See pictures in video and under video by Joe Iano

Cast and Production Team: See after pictures and/or video below

@showsiveseen Joe Popp & Lisa Tricomi's "#Macbeth: A #Rock #Musical" by an all-femme cast from @seattlepublictheater & Macha Theatre Works. Starring Cristin Hubbard & Meg McLynn. Directed by Amy Poisson. Grungy #punk costumes/music/aesthetic were perfect for Seattle. Great score. Entire production run sold out quickly, but rush tickets are still available! Photos: Joe Iano. Review: showsiveseen.com/7028 #shakespeare #theatre #showsiveseen #femme ♬ Bad Decisions – RedHook
Alyssa Keene, Jenn Ruzumna, Dani Davis, Meg McLynn, Erin Stewart, Cristin J. Hubbard, Sydney Maltese, Melissa Owens, Brandi Birdsong, Karis Ho, Melodie Gorow. Photo by Joe Iano.
Cristin J. Hubbard, Jenn Ruzumna, Alyssa Keene. Photo by Joe Iano.
Alyssa Keene, Erin Stewart, Dani Davis, Sydney Maltese, Jenn Ruzumna. Photo by Joe Iano.
Meg McLynn. Photo by Joe Iano.
Alicia Healey, Sherri Jerome, Sydney Maltese, Cristin J. Hubbard. Photo by Joe Iano.
NameRole
Cristin J Hubbard*Macbeth
Melissa OwensCaptain / Doctor / Lennox
Meg McLynnLady Macbeth
Alyssa KeeneRoss / Murderer
Erin StewartMacDuff
Karis HoFleance / Donalbain / Seyton
Brandi BirdsongDuncan / Gentlewoman
Dani DavisMalcom
Sydney MalteseBanquo / Soldier
Jenn RuzumnaAngus / Murderer
Melodie GorowMessenger
Sherri JeromeWitch / Lead Guitar / Vocals
Alicia HealeyWitch / Bass / Vocals
Aimee ZoeWitch / Drums / Vocals
Nick BringhurstPorter
Cordelia Carranza
Caitlin M Frances
Understudies
Amy PoissonDirector
Bailey DobbinsStage Manager
Melodie GorowAssistant Stage Manager
Nick BringhurstMusic Director and Graphic Designer
Dani NorbergLighting Designer
Holly HillCostume Designer
Joe PoppComposer
Leny ShenCostume Assistant
Lisa FinkralSound Designer
Colin PaceSound Engineer
Lisa TricomiAdaptation/Book and Associate Director
Robin MacartneyProps Designer
Joe IanoPhotographer
Jayde McCarrellMaster Electrician
Parmida ZiaeiScenic Designer
Daveh HastingTechnical Director
Garrett DillAssociate Technical Director and Builder
* Member of Actors’ Equity Association

Preview Post – Cindy of Arc – Comedy Rock Concert Show – Intiman Theatre

Cindy of Arc comedy rock concert show (from NYC) w/ Intiman Theatre at Erickson Theatre Off Broadway. Don’t wait for my full review if you want to buy tickets since there’s only 4 more performances left.

Tickets: https://www.intiman.org/cindy/

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