Category: The 5th Avenue 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.

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.

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Buy a Ticket or Learn More:

• https://spamalotthemusical.com/
• https://www.5thavenue.org/shows/2025-26/monty-pythons-spamalot/
• Program

Photos: See production photos below by Matthew Murphy and Evan Zimmerman.

Cast and Production Team: See after photos below.

@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.

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

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: 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:

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Buy a Ticket or Learn More:

• https://www.5thavenue.org/shows/2025-26/elf-the-musical/
• Program

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

Cast and Production Team: See after photos below.

@showsiveseen Seattle's opening night of the "#Chicago" #musical national tour at @The 5th Avenue Theatre w/ @Seattle Theatre Group. Starring @claire.m__ & a @elliebean. Relevant commentary of the #criminal justice system. Fosse choreography w/ impressive high kicks & "All That Jazz." Closes 11/2/25. Review: showsiveseen.com/14002 Photos: Jeremy Daniel Director: David Hyslop Music Director: Andy Chen Choreo: @Gregory Butler Stage Mgr: Sofia Rose Itskovich and Elspeth Bustard @Chicago the Musical | Broadway @chicagotour #theatre #musicaltheatre ♬ All That Jazz – Broadway Allstars

Elevator Thoughts (aka Tweet): Seattle’s opening night of the Chicago musical national tour at The 5th Avenue Theatre w/ Seattle Theatre Group! Starring Claire Marshall & Ellie Roddy. Relevant commentary of the criminal justice system. Fosse choreography w/ impressive high kicks and “All That Jazz.”

Was This the First Time I Attended a Production of this Show? No, I previously saw the national tour more than a decade ago in Houston.

Would I See It Again 3 Years from Now? No, twice 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): Set in a cabaret-style show, the musical follows two rival high-profile female murderers in a Chicago prison as they navigate the challenges of preserving their celebrity status while facing the threat of capital punishment.

Synopsis from the Licensor or Theatre Company: CHICAGO is still the one musical with everything that makes Broadway shimmy-shake: a universal tale of fame, fortune, and all that jazz, with one showstopping song after another and the most astonishing dancing you’ve ever seen. In the whirlwind of Chicago’s Jazz Age, two of the Cook County Jail’s most notorious murderesses — vaudeville star Velma Kelly and chorus girl Roxie Hart — become fierce rivals as they compete for headlines amidst a media frenzy.

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Static and austere

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: Yes, but it seemed to be framed in a cabaret show of vignettes.

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)

• Modern Commentary: Though written in the 1970s, this musical remains startlingly relevant. It exposed corruption and performative spectacle in the legal system, where charisma, wealth, fame, and media attention easily outweigh justice. Lines like “Give ‘em the old razzle dazzle” showed how charm and showmanship “trump” (no pun intended to our current presidential administration) morality or legal rigor, turning even the most damning cases into public-relations triumphs like with today’s Anna Delvey.
  
  Additionally, Hunyak, the Hungarian immigrant character played by Lacey Kohn, showed the inequality in the criminal justice system. That reality is even more poignant today. However, the production could have made an even bolder statement by reimagining Hunyak as a person of color in light of today’s ICE raid injustices.
  
  The musical portrayed our hypercapitalist society where crime and “justice” alike are commodified, and the theater of the law is as performative as it is flawed.
  
  
• Band: The band was arranged on a tiered, multi-level jazz “big band” setup, bringing a sense of elegance and class to the otherwise naked stage. The actors occasionally even interacted with the conductor Andy Chen, who was also mic’ed for the audience. It’s usually a treat to see the musicians featured so prominently in a show since they’re performers in their own right, and their talent deserves recognition beyond the usual confines of “the pit.” Last month, I saw a musical with a theatre novice, and they didn’t even realize the accompaniment was live. Highlighting the band like this not only enriched the visual experience but also reminded the audience that every note and rhythm is a vital part of the performance.
• Mary Sunshine: Kudos to J. Clanton (as the melodramatic sentimental “sob sister” reporter Mary Sunshine) who hit the character’s high notes with surprising accuracy in full drag. The role was intentionally silly and over-the-top with the perfect amount of camp to not overshadow the rest of the show. It was a brief memorable presence that added un unexpected fun flair, if slightly exaggerated, to the production.
• Beefcake: Sitting far all the way back in row V, I was surprised to see Tim Canali (as the illicit “mister” lover Fred Casely) radiate such commanding physicality. Even from a distance, his toned muscular definition was unmistakable. Clearly, no stage makeup illusion could account for that kind of bulk. Canali turned heads not just with his performance but with his impressive “swole” beefcake physique.

Rant(s)

• Lighting/Set/Costume Design: The musical’s signature low-lighting motif lended dangerously close to sleep-inducing. Live theatre already inherently risks encouraging drowsiness with its dim aisles and occasionally dense dialogue/storyline. This visually dark stage and the plain black costumes only encouraged it more. In fact, at intermission, I asked my seatmate if they enjoyed their expensive nap! If you’re going for an austere set, at least crank up the spotlight intensity. Minimalism doesn’t have to equal invisibility. Some might argue that sparse lighting/scenery/costumes allow performers to exhibit their talent without distraction. But it’s difficult to impress the audience with vocal/instrumental talent alone if the crowd can only see vague visual shapes.
• General Energy: Similarly, the performance energy mirrored the subdued lighting/scenic/costume design: monotone, subtle, and a touch sleepy. I guess this is a challenge intrinsic to a Fosse show. A particularly taxing moment was Roxy’s headline-celebration scene, when a monologue-like delivery coincided with the band endlessly repeating the same musical phrase. But the blame lies with the script and score, not the actors or musicians. What this musical desperately needed was a jolt of tap-dance pizzazz akin to Some Like It Hot. Sometimes a spectacle is the spark that keeps the audience awake.

Other Musing(s) and Observation(s)

• Choreography: The Fosse choreography didn’t feel as razor-sharp, tight, abrupt, or synchronized as I would have expected. Perhaps that’s my own Millennial sensibilities, shaped by K-pop, NSYNC, and TikTok. I wonder how this company’s precision would compare to the original Fosse production. Maybe Fosse walked so Gen-Z TikTokers could run.
• Audience: Both times I saw this show, I never understood the role of the prison performers like Velma Kelly and Roxie Hart. Were they performing for an actual audience within the story, like fellow inmates or visitors from Chicago? Was their stardom due to the notoriety of their crimes or did it also come from entertaining the Chicago masses on-stage? I’m not alone in this confusion as a companion who attended with me mused the same question.

Theatre Company: National tour from Broadway Across America, The 5th Avenue Theatre, and Seattle Theatre Group

Venue: The 5th Avenue Theatre

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

Price Range: $55-210

Ticket Affordability Options: Broadway Seattle, Seattle Theatre Group, or The 5th Avenue Theatre might partner with an organization you’re affiliated with for discount tickets. For example, UW employees/students are eligible for an organization discount.

Dates: October 22 to November 2, 2025

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:

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Buy a Ticket or Learn More:

• https://chicagoontour.com/
• https://www.5thavenue.org/shows/2025-26/chicago/
• https://www.stgpresents.org/events/chicago-the-musical/
• Program

Pictures: See production pictures below by Jeremy Daniel.

Cast and Production Team: See after pictures below.

@showsiveseen Shaina Taub’s #Suffs #musical kicked off its national tour at @The 5th Avenue Theatre. Starring @Maya Keleher. Jason Crystal's impeccable "crystal" clear sound design highlighted the cast’s solid, polished voices. Ideal musical for Seattle’s #activist spirit. Closes 9/27/25! Review: showsiveseen.com/13701 Photos: Joan Marcus Director: Leigh Silverman Music Director: Dani Lee Hutch Choreo: Mayte Natalio Music Supervision: Andrea Grody #suffrage #suffragette @Suffs The Musical ♬ The March (We Demand Equality) – Hannah Cruz & Nikki M. James & Original Broadway Cast of Suffs

Elevator Thoughts (aka Tweet): Shaina Taub’s Suffs musical kicked off its national tour at The 5th Avenue Theatre. Starring Maya Keleher. Jason Crystal’s impeccable “crystal” clear sound design highlighted the cast’s solid, polished voices. Ideal musical for Seattle’s activist spirit.

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

Would I See It Again 3 Years from Now? Maybe

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): Follow the courageous struggle of women fighting for the right to vote in the 1900s.

Synopsis from the Licensor or Theatre Company: Direct from Broadway, comes the acclaimed Tony Award®-winning musical SUFFS about the brilliant, passionate, and funny American women who fought tirelessly for the right to vote. Created by Shaina Taub, the first woman to ever independently win Tony Awards® for Best Book and Best Score in the same season, this “thrilling, inspiring and dazzlingly entertaining” (Variety) new musical boldly explores the triumphs and failures of a struggle for equality that’s far from over. Winner of the Outer Critics’ Circle Award for Best New Musical.

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, but you’d probably appreciate this show more if you’re familiar with US history.

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)

• Voices and Sound Design: The exceptional sound design by Jason Crystal allowed both the voices and the band to shine in perfect harmony. It was a crisp refreshing contrast to the muddled sound balance I experienced last week at the Paramount Theatre’s Some Like It Hot. It wasn’t just my impression since I ran into a fellow patron in the elevator who enthusiastically praised the precision of the sound and the clarity of the enunciation before I even mentioned it. Fresh from its Broadway run, the cast’s voices were crystal clear, confident, and sure. Every performer brought such strength and control that it was nearly impossible to single out high performers since the ensemble’s vocal talent was uniformly remarkable.
• Song Highlights: Standout moments included Marya Grandy’s powerful rendition of “This Girl,” Jenny Ashman’s spirited performance in “Ladies,” and Laura Stracko’s commanding take on “Alva Belmont.” At times, the driving rhythms and historical subject matter of numbers like “The March (We Demand Equality)” evoked the same energy of Hamilton. But at other times, the homogenous all-female chorus was reminiscent of 1990s-2000s adult contemporary music (like from the Christian contemporary group Point of Grace).

Rant(s)

• Otherness: The script frequently leaned on the antiquated tired “quirky foreigner” trope (Polish character Ruza Wenclawska) to elicit cheap laughs from the audience. Surely theatre has moved beyond this by now!

Other Musing(s) and Observation(s)

• Vibe: As can be expected from any show about activism, the script carried a decidedly preachy tone. Additionally, inherently dry historical subject matter runs a higher risk of a tepid script that prioritizes spewing facts (albeit facts about important events) over performing entertainment. The production reminded me of a Seattle Women’s Chorus concert – purposeful, no-nonsense, and brimming with female empowerment. It was the theatrical equivalent of a smart Lane Bryant pantsuit. I was missing flashy tap dance numbers, but I admit that there’s a time and place for everything. Despite all that, the show resonates perfectly with Pacific Northwest ideals, and the enthusiastic response from the crowd made that clear.

Theatre Company: National Tour Courtesy of The 5th Avenue Theatre

Venue: The 5th Avenue Theatre

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

Price Range: $50 to $155

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: September 13 to 27, 2025

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:

• Instagram
• TikTok
• Facebook
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Buy a Ticket or Learn More:

• https://suffsmusical.com/
• https://www.5thavenue.org/shows/2025-26/suffs/
• Program

Pictures: See production pictures below by Joan Marcus.

Cast and Production Team: See after pictures below.