Category: Paramount Theatre

@showsiveseen Max Martin and David West Read's "& Juliet" jukebox #musical at Paramount Theatre from Broadway Seattle and @Seattle Theatre Group. Starring @lois. understudying for @Rachel. The song list packed with millennial & genZ pop hits took me back to my teens and 20s. Last Seattle performance on 8/3/25! Review: showsiveseen.com/13428 Director: Luke Sheppard Choreo: Jennifer Weber Music Director: Andre Cerullo Music Supervisor: Bill Sherman Stage Mgr: Annelise Castleberry, Joel Rosen, Chloe Rose Schweizer #romeoandjuliet #shakespeare #musicaltheatre #theatre @& Juliet on Broadway ♬ Since U Been Gone – Lorna Courtney & Original Broadway Cast of & Juliet

Elevator Thoughts (aka Tweet): Max Martin and David West Read’s & Juliet jukebox musical at Paramount Theatre from Broadway Across America and Seattle Theatre Group. Starring Lois Ellise understudying for Rachel Simone Webb. The song list packed with millennial pop hits took me back to my teens and 20s. #romeoAndJuliet #shakespeare #genZ

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

Would I See It Again 3 Years from Now? Yes

Mainstream Appeal: High

If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Yes

My Synopsis (No Spoilers): What if Juliet hadn’t died? William Shakespeare and his wife Anne Hathaway overhaul the classic Romeo and Juliet tale, giving Juliet a second chance and a voice of her own.

Synopsis from the Licensor or Theatre Company: Created by the Emmy®-winning writer from Schitt’s Creek, this hilarious new musical flips the script on the greatest love story ever told. & Juliet asks: what would happen next if Juliet didn’t end it all over Romeo? Get whisked away on a fabulous journey as she ditches her famous ending for a fresh beginning and a second chance at life and love—her way. Juliet’s new story bursts to life through a playlist of pop anthems as iconic as her name, including “Since U Been Gone‚” “Roar,” “Baby One More Time,” “Larger Than Life‚” “That’s The Way It Is,“ and “Can’t Stop the Feeling!”—all from the genius songwriter/producer behind more #1 hits than any other artist this century. Break free of the balcony scene and get into this romantic comedy that proves there’s life after Romeo. The only thing tragic would be missing it.

Type: Jukebox 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: A working knowledge of Romeo and Juliet is essential. Familiarity with Shakespearean references and the Billboard top 40 hits from the past three decades will also help significantly enrich your experience.

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)

• Millennial Jukebox Fever Dream: This musical uniquely leaned hard into millennial nostalgia. It was packed with hits many of us grew up hearing on the radio or burning onto mix CDs. The soundtrack focused primarily on late ’90s and 2000s pop, with some minor attention to Gen Z favorites. Watching it must be like how Baby Boomers feel seeing Motown: The Musical or Gen Xers experiencing Rock of Ages. In other words, this is how we know we elder millennials are aging! :'( Few shows have taken on this level of millennial pop royalty … they must be paying royalties out the wazoo! The musical was bursting at the seams with iconic songs, especially from the 1990s boy band era. They even featured a group called “De Bois Band” dressed in the Backstreet Boys’ iconic glittery silver metallic outfits. It was pure Y2K pop fantasy on stage. You can find the full robust song list at the end of this review in the pictures, but below are some highlights:
  • “Larger Than Life” (Backstreet Boys): A powerhouse opening number
  • “…Baby One More Time” (Britney Spears): Reimagined as a slowed-down ballad with surprising emotional weight
  • “I’m Not a Girl, Not Yet a Woman” (Britney Spears): A moving, introspective moment that gave the song new meaning when a non-binary character May (played by Nick Drake) wrestled with the realization that his straight crush wouldn’t return his feelings.
  • “It’s My Life” (Bon Jovi): Heart-pounding, exciting, feast for the senses that revealed a pivotal character at the cliffhanger twist
  • “Blow” (Ke$ha): I’m not a fan of Ke$ha’s original song but this musical’s rendition won me over. Think strobe lights, dazzling choreography, and swinging from a chandelier.
  • Mashups: Channeling the trend popularized by the TV show Glee, the production occasionally featured clever mashups pairing songs like “Teenage Dream” (Katy Perry) with “Break Free” (Ariana Grande) or blending “Problem” (Ariana Grande) with “Can’t Feel My Face” (The Weeknd).
• Romeo: Michael Canu’s portrayal of Romeo subverted the typical romantic lead ideal. He was less of the traditional devoted star-crossed lover and more of a goofy fuckboi douchebag. Canu summed up the character’s blend of angst and absurdity as he moaned, “All I’ve ever been is a sexy young man with a tight body and a lot of feelings,” which was less Shakespearean longing and more Tinder bio. Additionally, costume designer Paloma Young interestingly styled Romeo like a beta anime softboi making his bravado feel both ridiculous and oddly endearing.

Other Musing(s) and Observation(s)

• Youthful Tone: Beyond the music, the production was loudly millennial-coded, with a light sprinkle of Gen Z flair. It got to the point that the millennial-coded energy occasionally verged on excess. That said, I was pleasantly surprised and relieved by the restraint in showcasing cell phones (I don’t think I saw one) because cell phone props are a commonly overused crutch in many productions trying to appear modern, young, and relevant. The overall vibe was reminiscent of light pop-culture-savvy shows like New Girl, Emily in Paris, Younger, Brooklyn Nine-Nine, and How I Met Your Mother.
• Vocal Suitability: At times, a few songs didn’t seem perfectly suited to the performers’ vocal ranges. The delivery occasionally lacked the vocal ease and polish typically associated with national tours or Broadway productions. Sometimes the vocals felt slightly too low or underpowered, which made me wonder if the demands of this particular performance involving last-minute cast changes might have played a role.
• Jukebox Musical Formula: As expected from a Broadway national tour, the performance was polished, impressive, and amazing. However, it gratuitously relied too heavily on the jukebox musical formula, feeling more like a millennial playlist than a meaningful narrative. While jukebox musicals often struggle with substance, this production felt particularly hollow and pandered more to top 40 hit music nostalgia. That said, the straightforward plot was easy to follow, which is always something I always value in a live production with no subtitles. Give me Legally Blonde, not Checkov … and not old Shakespearian English for that matter!
• British vs American Musical Theatre: Something about this musical weirdly reminded me of Six. Maybe it’s because both blended concert-style staging with theatrical storytelling and similar vibrant pop energy. Or perhaps it’s the fact that both are British-born pop musicals. I can’t quite put my finger on it. But despite the high-octane vibe, there was a certain “je ne sais quoi” from these two shows that doesn’t quite match American Broadway energy. & Juliet feels like the British response to the American Moulin Rouge! jukebox musical. I’m headed to the London West End for the first time next month and I’m so curious to observe the difference with American Broadway. Stay tuned for my London reviews. Let me know in my social media comments your thoughts on American vs British musical theatre!

Theatre Company: National tour courtesy of Broadway Across America and Seattle Theatre Group

Venue: Paramount Theatre

Venue Physical Address: 911 Pine Street, Seattle, WA 98101

Price Range: $55-210

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 still eligible for an organization discount.

Dates: July 29 – Aug. 3, 2025

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 former Cheesecake Factory. It’ll take you at least 30 minutes to exit that garage after the show.

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

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Buy a Ticket or Learn More:

• https://andjulietbroadway.com/
• https://www.stgpresents.org/events/juliet/
• https://seattle.broadway.com/shows/juliet/
• Program

Pictures: See production pictures below by Matthew Murphy from MurphyMade.

Cast and Production Team: See after pictures below.

@showsiveseen Lin-Manuel Miranda's "#Hamilton" #musical at the Paramount #Theatre from Broadway Seattle and @Seattle Theatre Group. Starring Blaine Alden Krauss. Great stage presence from @simonlonglegs. Review: showsiveseen.com/11511 Director: Thomas Kail Stage Mgr: Rodrigo Herrera, Rolando A Linares, Jimmie Lee Smith Choreo: Andy Blankenbuehler Music Supervision: Alex Lacamoire #showsiveseen @Hamilton ♬ original sound – Hamilton

Elevator Thoughts (aka Tweet): Lin-Manuel Miranda’s Hamilton musical at the Paramount Theatre from Broadway Seattle and Seattle Theatre Group. Starring Blaine Alden Krauss. Great stage presence from Simon Longnight.

Was This the First Time I Attended a Production of this Show? No, I’ve seen this twice already at the Paramount in 2022 and 2018. What else can I say that hasn’t already been said regarding this popular musical?

Would I See It Again 3 Years from Now? I think three times is enough for me! 🙂

Mainstream Appeal: Ordinarily, I’d say medium. But with the hype, I’d say high.

If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Yes

My Synopsis (No Spoilers): The life and times of founding father Alexander Hamilton from young adult to death during the birth of the USA.

Synopsis from the Licensor or Theatre Company: A revolutionary story of passion, unstoppable ambition, and the dawn of a new nation. HAMILTON is the epic saga that follows the rise of Founding Father Alexander Hamilton as he fights for honor, love, and a legacy that would shape the course of a nation. Based on Ron Chernow’s acclaimed biography and set to a score that blends hip-hop, jazz, R&B, and Broadway, HAMILTON has had a profound impact on culture, politics, and education. HAMILTON features book, music, and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, and musical supervision and orchestrations by Alex Lacamoire. In addition to its 11 Tony Awards, it has won Grammy®, Olivier Awards, the Pulitzer Prize for Drama, and an unprecedented special citation from the Kennedy Center Honors.

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Mostly static, but the stage rotated

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: 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) Not Mentioned Above

• Alexander Hamilton: When he wasn’t rapping, Blaine Alden Krauss (who played Hamilton) showcased a nice smooth voice.
• Final Moments: The monologue-like lines in the final moments of Alexander Hamilton’s life was compelling. However, I’m not sure I would have fully appreciated its depth without the context of seeing the musical multiple times.
• Philip Hamilton: The scenes with Philip Hamilton (played by Lucas Hinds Babcock) were endearing, especially moments like when he tried to impress his father by rapping or when he ran in an exaggerated, child-like anime manner.
• Thomas Jefferson: Simon Longnight, who played Jefferson, delivered strong stage presence. His 80s/90s afro was a nice touch. However, I always find it a bit odd when shows introduce major characters in the second act.
• “Helpless” Song: Kendyl Sayuri Yokoyama’s portrayal of Eliza Hamilton in the song “Helpless” was endearingly unconfident and vulnerable. Whether intentional or not, this worked in her favor, adding depth to the character.

Rant(s)

• Least Favorite Line: I absolutely hate when Hamilton challenges George Washington in defiance, “Call me son one more time!” The moment is so cliché.

Other Musing(s) and Observation(s)

• King’s Microphone: King George’s main microphone cut off in the beginning of one of his last solos. Fortunately, the sound engineers immediately utilized the muffled backup microphone. Oh, the magic of live theatre!
• Reputation: The characters obsess over honor, reputation, and legacy. It’s as if “I’ve got a rep to protect” is the end-all, be-all. But wouldn’t it be refreshing if we could just live our lives without worrying about what others think? It would save so much personal agony. After all, a person with a tarnished reputation, no honor, and countless scandals still recently achieved the presidency twice! 😐
• Energy: The show began with less energy than I remember. It felt as though the production got too comfortable with the hype, resting on its laurels and going through the motions. Perhaps the sound balancing played a role. Improving it so the lead singers’ voices come through more clearly could make a difference.
• Hype: Hamilton is undoubtedly groundbreaking, and the lyrics are undeniably genius. However, the intense hype surrounding it always puts me off. There are countless other musicals I’d rather see. Perhaps I’d appreciate it more if I were a fan of rap, hip-hop, or R&B. But the subject matter is dry and dressed up in an attempt to seem cool. It reminds me of a teacher at an urban public school trying to rap through a history lesson, in an effort to appeal to poor inner-city teens from the projects. When someone claim it’s their favorite musical, I can’t help but wonder if it’s because 1) they’re a fan of rap, hip-hop, or R&B 2) they don’t watch many musicals, 3) or they’re just a basic lemming.
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Theatre Company: National Tour from Broadway Across America and Seattle Theatre Group

Venue: Paramount Theatre

Venue Physical Address: 911 Pine Street, Seattle, WA 98101

Price Range: $49-289 plus the insane Ticketmaster fees. Buy your ticket at the box office to avoid the exorbitant fees. Down with the Ticketmaster Live Nation monopoly!

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: 2/4/25 to 3/2/25

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.

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

• Instagram
• TikTok
• Bluesky
• Facebook
• YouTube

Buy a Ticket or Learn More:

• https://seattle.broadway.com/shows/hamilton-2/
• https://hamiltonmusical.com/us-tour/
• https://www.stgpresents.org/events/hamilton/
• Program

Pictures: See production pictures below by Joan Marcus.

Cast and Production Team: See after pictures below.