After Midnight – Musical Revue – The 5th Avenue Theatre

@showsiveseen "After Midnight" #jazz #musical #revue at @The 5th Avenue Theatre starring Porscha Shaw and Yusef Seevers. Novel vantage point from the beautifully-painted first-row table seats. I lost count of the magical songs performed by Porscha Shaw and @licahennings. Dapper vintage NYC #Harlem costumes by Ricky German. Captivating tap numbers choreographed by @pamelayasutake. Closing next weekend! #dukeellington Review: showsiveseen.com/13529 Photos: Michael B. Maine Director: @missjaymeow ♬ I Can't Give You Anything But Love, Baby – Ella Fitzgerald

Elevator Thoughts (aka Tweet): After Midnight jazz musical revue at The 5th Avenue Theatre. Novel vantage point from the beautifully-painted first-row table seats. I lost count of the magical songs performed by Porscha Shaw and Nalica Hennings. Dapper vintage NYC Harlem costumes by Ricky German. Captivating tap numbers choreographed by Pamela Yasutake. Closing next weekend!

Recommendation:
See it if you enjoy either 1) musical revues without a narrative 2) or Duke Ellington music.


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 lively showcase of Harlem’s rich jazz musical heritage mostly centered around jazz standards and Duke Ellington’s timeless works.

Synopsis from the Licensor or Theatre Company: Immerse yourself in the sultry, swingin’ Jazz Age of the Harlem Renaissance, where the Cotton Club is the place to be! Infused with the iconic tunes of Duke Ellington, Dorothy Fields, Harold Arlen, and more, After Midnight weaves groundbreaking jazz standards with rapturous dance and the rhythmic poetry of Langston Hughes in a jubilant production fit to blow the roof off the theater. Timeless songs like “Stormy Weather,” “On the Sunny Side of the Street,” and “It Don’t Mean a Thing” will have you leaping to your feet to join the fun.

Type: Musical Revue

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: No, but you’d probably appreciate the show more if you were familiar with Duke Ellington’s music or jazz standards.

Defined Plot/Storyline: No

Live Band/Orchestra: Yes

Union Actors: 10

Total Actors: 10

Perceived Pace of the Show: Medium speed

Was there an intermission? No

Length (Including Any Intermission): 80 minutes

Other Rave(s)

  • Table Seats: I was fortunate to sit at one of the nightclub tables just in front of the first row. It offered a rare, almost immersive perspective that 99% of the audience didn’t experience. I was close enough to see sweat drop from the performers! It was a truly intimate vantage point to appreciate the intricate choreography, nuanced facial expressions, and exquisite costume details. From this spot, I could feel the rhythm in my chest and hear the echo of the performance reverberate from the back of the theatre. Regardless of where you sit, check out the beautifully-painted tabletops at the beginning or end of the show. Local Black artists Charde’ Brown, Al Doggett, Sabella Flagg, Aramis Hamer, Susan Mask, and Stephanie Morales painted these “slices of Harlem life.” The tabletop paintings were a delightful detail to Carey Wong’s scenic design. So many audience members excitedly took pictures of these pieces. See my pictures at the bottom of this post.
  • Song Highlights:
    • “Raisin’ the Rent” and “It Don’t Mean a Thing” – Exhilarating tap dance showcase
    • “The Skrontch” – Vintage choreography with retro charm
    • “Between the Devil and the Deep Blue Sea” – Tight, old-school girl group (Iris Beaumier, Madison Willis, and Trina Mill) blended close harmonies in a playful sway.
    • “On the Sunny Side of the Street” – Warm, magical rendition by Porscha Shaw
    • “Woman Be Wise (Don’t Advertise Your Man)” – Charmingly playful song performed by Nalica Hennings
    • “I Can’t Give You Anything but Love” – Porscha Shaw’s crystalline tone let the jazz standard gleam.
    • “Peckin’” – Cheeky, rooster‑strut choreography with swagger
    • “Stormy Weather” – Porscha Shaw performed the nightclub‑sleek ballad with a controlled, sophisticated build to a satisfying bloom.
    • “Ain’t It the Truth” and “Daybreak Express” – Yusef Seevers’s rich assured tenor rode the band’s brassy lift.
    • “Go Back to Where You Stayed Last Night” – Nalica Hennings’s burnished, golden timbre had a bluesy bite.

Other Musing(s) and Observation(s)

  • Venue: Similar to what I said about Taproot Theatre’s Always … Patsy Cline, this show might shine even more in a nightclub-like venue such as The Triple Door with tables/drinks/food rather than a traditional theatre. That said, I’m curious how the revenue would compare between the two settings.
  • “Creole Love Call”: In a song that featured only vocalizations and no lyrics, what was the meaning behind the interpretive choreography in “Creole Love Call.” Was it illustrating the lifecycle of relationships: courtship, intimacy, marriage, then in-sickness-and-in-health? Let me know your thoughts in my social media comments.

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

Dates: August 5 – 24, 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:

Buy a Ticket or Learn More:

Pictures: See production pictures below by Michael B. Maine.

Cast and Production Team: See after pictures below.

Iris Beaumier and Nehemiah Hooks in After Midnight at The 5th Avenue Theatre. Photo Credit: Photo by Michael B. Maine. Courtesy of The 5th Avenue Theatre.
Porscha Shaw and the cast of After Midnight at The 5th Avenue Theatre. Photo Credit: Photo by Michael B. Maine. Courtesy of The 5th Avenue Theatre.
The cast of After Midnight at The 5th Avenue Theatre. Photo Credit: Photo by Michael B. Maine. Courtesy of The 5th Avenue Theatre.
The cast of After Midnight at The 5th Avenue Theatre. Photo Credit: Photo by Michael B. Maine. Courtesy of The 5th Avenue Theatre.
Credits from the printed ENCORE program.
Credits from the printed ENCORE program.
Credits from the printed ENCORE program.
Credits from the printed ENCORE program.

Preview Post – After Midnight – Musical Revue – The 5th Avenue Theatre

Happy opening night to The 5th Avenue Theatre production of the After Midnight musical revue. Playing till 8/24/25. Front row jazz club/lounge-style table seats are available. Full review coming soon! #harlem #DukeEllington

Tickets: https://www.5thavenue.org/shows/2024-25/after-midnight/

Final Full Review: https://www.showsiveseen.com/after-midnight-musical-revue-the-5th-avenue-theatre/

Like/Comment/Share my Social Media Preview Posts About this Show:

Bye Bye Birdie – Musical – Review – The 5th Avenue Theatre

@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!

Recommendation:
See it!


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.

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

Buy a Ticket or Learn More:

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

Cast and Production Team: See after pictures below.

The cast of Bye Bye Birdie at The 5th Avenue Theatre. Photo by Mark Kitaoka. Courtesy of The 5th Avenue Theatre.
Jazmin Gorsline and Susanna Cathryn Ballenski in Bye Bye Birdie at The 5th Avenue Theatre. Photo by Tracy Martin. Courtesy of The 5th Avenue Theatre.
The cast of Bye Bye Birdie at The 5th Avenue Theatre. Photo by Tracy Martin. Courtesy of The 5th Avenue Theatre.
Ashley Perez Flanagan, Nick McCarthy, and Jason Weitkamp in Bye Bye Birdie at The 5th Avenue Theatre. Photo by Tracy Martin. Courtesy of The 5th Avenue Theatre.
The cast of Bye Bye Birdie at The 5th Avenue Theatre. Photo by Tracy Martin. Courtesy of The 5th Avenue Theatre.
Credits from the printed Encore program.
Credits from the printed Encore program.
Credits from the printed Encore program.
Credits from the printed Encore program.

Preview Post – Bye Bye Birdie – Musical – The 5th Avenue Theatre

Happy opening night to The 5th Avenue Theatre production of the Bye Bye Birdie musical. Congrats to the 4 (or 5?) high school seniors who missed their graduation to perform this opening night. Good personal decision y’all. Rockin’ till the 6/29/25. This ain’t the last kiss … my full review is just around the corner!

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

Final Full Review: https://www.showsiveseen.com/bye-bye-birdie-musical-review-the-5th-avenue-theatre/

Like/Comment/Share my Social Media Preview Posts About this Show:

Parade – Musical – Review – The 5th Avenue Theatre

@showsiveseen Alfred Uhry & @JRB's "#Parade" #musical at @The 5th Avenue Theatre. Starring @maxcherns & @Talia Suskauer. Prescient message for these troubling USA times. Glorious ensemble. Interesting dissonant musical mashups. Critical commentary on #theSouth. Leaves Seattle on 5/4! #Review: showsiveseen.com/12586 Photos: Joan Marcus Director: Michael Arden Music Director: @altermancharlie Choreo: @Lauren & Christopher Grant Stage Mgr: Veronica Aglow, TJ Kearney, Egypt Dixon #southern #theatre #showsiveseen @Parade Tour #georgia #paradeMusical ♬ original sound – Parade Tour

Elevator Thoughts (aka Tweet): Alfred Uhry & Jason Robert Brown’s Parade musical at The 5th Avenue Theatre. Starring Max Chernin & Talia Suskauer. Prescient message for these troubling USA times. Glorious ensemble. Interesting dissonant musical mashups. Critical commentary on the South. Leaves Seattle on 5/4!

Recommendation:
See it, especially if you enjoy “earthy” musicals like Girl from The North County


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): Based on a true story, a Jewish man is accused of a crime punishable by death. Can he expect a fair trial in the courts of the conservative Deep South?

Synopsis from the Licensor or Theatre Company: Based on a true story, Leo and Lucille Frank are a newlywed Jewish couple struggling to make a life in the old red hills of Georgia. When Leo is accused of an unspeakable crime, the aftermath propels them into an unimaginable test of faith, humanity, justice and devotion. Riveting and gloriously hopeful, Parade reminds us that to love, we must truly see one another. The New York Times hails it as a Critic’s Pick and “the best-sung musical in many a New York season. It recalls an era of big casts, big stories, and big talent – a time when musicals actually felt like events.”

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Mostly static

Prior Exposure/Knowledge Required: No, but you might appreciate this more if you’re remotely familiar with American 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): 2.75 hours

Other Rave(s)

  • Timely Message: Book writer Alfred Uhry’s message was relevant to the xenophobic realities we’re facing today like anti-immigrant and anti-refugee sentiment where due process is often undermined by ICE. Throughout the entire first act, I felt tense knot in my stomach as a visceral reaction to the injustices portrayed onstage that mirror those unfolding around us today.
  • Musical Contradictions: Composer Jason Robert Brown’s score masterfully creates discomfort through dissonance, often by transposing cheerful melodies into minor keys or pairing uplifting tunes with somber moments (and vice versa). The unexpected mashup between “It Don’t Make Sense” with the well-known hymn “There Is a Fountain Filled with Blood” was a fascinating, unconventional blend. One song was damning while the other song was redeeming. Additionally, the upbeat music juxtaposed against a death sentence scene was particularly haunting.
  • Symbol of Innocence: The simple balloon prop to evoke innocence was striking. The loss when flying away served as a poignant metaphor to symbolize violated innocence. It might have been even more impactful if the balloon popped suddenly as it rose to the theatre rafters.
  • Ensemble Songs: The moments when the full cast came together in song were majestically glorious, particularly in the opening anthem “The Dream of Atlanta.” Unfortunately, as is often the case with mass ensemble numbers in musical theatre, the lyrics were difficult to understand.
  • Voices: While there weren’t many moments for Max Chernin (who played Leo Frank) to fully display his vocal talents, he certainly made an impact with his twisted “Come Up to My Office” song. Additionally, Ramone Nelson (who played Jim Conley) showcased his smooth voice in both “That’s What He Said” and “Feel the Rain Fall.” Of note, Chernin and Nelson expertly mirrored each other like mimes during “That’s What He Said.”
  • Tom Watson: It was fitting (but probably not intentional) for the villain Tom Watson (played by Griffin Binnicker) to visually resemble JD Vance. Additionally, Binnicker’s sharp tenor voice brought a striking edge to the character and added a fresh layer of menace. It was a welcome departure from the typical bass or baritone parts sung by evil characters.
  • Southern Culture: Leo Frank’s line, “I didn’t understand that being Southern isn’t just being in the South,” was a poignant reflection on the complexities of Southern identity. This show was a critical commentary of Southern culture, exploring the region’s deeply rooted issues. The production powerfully underscored the South’s unwavering pride in its Confederate past. It’s a backwards place where the state flag, the Confederate flag, and the USA flag can fly side by side. Thank goodness I no longer call this place home.
  • Southern Dialect: Speaking of the south, dialect coach Dawn-Elin Fraser made sure the actors’ Southern diction and accents were masterfully delivered, each word slipping from their mouths like the rich Savannah molasses.
  • Projections: As each new character appeared throughout the show, projection designer Sven Ortel displayed their names and original historical portraits onto the backdrop of the stage. This was especially helpful, as it is often challenging for me to keep track of character names in theatre … and in life! It was the theatre equivalent of name tags.
  • Intermission: During intermission, Max Chernin uniquely remained in-character and aimlessly wandered around his prison cell without stepping offstage. This offered something for the audience to watch while waiting for the second act to begin. I assumed he finally got his mid-show break time during some scenes without him in the beginning of the second act. Sadly, this means he can never interact with the rest of the cast in a more laid-back intermission setting.
  • Human Nature: The show masterfully explored the darker sides of human nature, like bribery, extortion, corruption, and villainization. Much like primal animals, the angry mob fueled by a sense of injustice desperately searched for any scapegoat to vilify. This was powerfully reflected by the townspeople’s outraged response in the song “That’s When He Said.” It underscored how some lynchings are not always physical, but are sometimes social or psychological. The play starkly illustrated how easily a crowd can be swayed by lies and manipulation, much like prosecutor Hugh Dorsey’s (played by Andrew Samonsky) theatrical use of a bloody dress to elicit an emotional reaction from a grieving mother. The entire experience echoed the manipulative hysteria of The Crucible.

Other Musing(s) and Observation(s)

  • Hook: The musical opened with a handsome man undressing before a brief sex scene. While I appreciate a strong theatrical hook (and he was certainly hot), the moment felt unrelated to the rest of the show like it was gratuitously milking the “sex sells” phenomenon.
  • Broadway Cares: I haven’t seen a Broadway Cares post-curtain call appeal at the end of a national tour since before COVID-19! Are we closer to a better financial place in the theatre?
  • First Act Ending: The conclusion of the first act was like the conclusion of a Sondheim musical first act since it culminated in a moment that felt like a natural endpoint for the entire show.
  • Vulnerability: At the start, Leo Frank came across as somewhat elitist and entitled, particularly when he requested a special diet in prison without any sense of humility. His attitude conveyed an “it can’t happen to me” mentality. It reminded me of the many privileged individuals today that fail to grasp the vulnerability of their own rights as the rights of others are gradually eroded before our very eyes. This echos sentiments of the famous “First They Came” poem, which serves as a stark reminder of how easily injustice can spread until it affects us personally.
  • Double Standard: Throughout the first act, I reflected on the widespread outrage surrounding young Mary Phagan’s brutalization in comparison to 1990s JonBenét Ramsey. Both were innocent, beautiful white girls with the privilege of easily evoking sympathy from the general public. It struck me that people of color, in similar circumstances, wouldn’t garner nearly as much public outcry, if any at all. I felt somewhat vindicated when the second act’s opening number, “A Rumblin’ and a Rollin’,” brought this double standard to the forefront.
  • Parade: The reasoning behind the parade motif felt unclear. While it’s obviously a significant symbol (given that the show is named after it) its relevance to the story was not evident. I do like the explanations offered on Reddit though.
  • Perpetrator: This particular performance seemed to imply that the actual perpetrator was a different character than the person traditionally believed to have committed the crime.

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: $40 to 150

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: 4/16/25 to 5/4/25

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:

Pictures: See production pictures below by Joan Marcus.

Cast and Production Team: See after pictures below.

Max Chernin (center) and company in the National Tour of PARADE. Photo by Joan Marcus.
The National Touring Company of PARADE. Photo by Joan Marcus.
Prentiss E. Mouton and Oluchi Nwaokorie in the National Tour of PARADE. Photo by Joan Marcus.
Chris Shyer (center) and company in the National Tour of PARADE. Photo by Joan Marcus.
Olivia Goosman, Jack Roden and company in the National Tour of PARADE. Photo by Joan Marcus.
Emily Rose DeMartino, Bailee Endebrock, Sophia Manicone and company in the National Tour of PARADE. Photo by Joan Marcus.
Danielle Lee Greaves and Talia Suskauer in the National Tour of PARADE. Photo by Joan Marcus.
Credits from the ENCORE printed program.
Credits from the ENCORE printed program.
Credits from the ENCORE printed program.
Credits from the ENCORE printed program.
Credits from the ENCORE printed program.