Category: Paramount Theatre

@showsiveseen @Peter Pan the Musical family-friendly #musical national tour from @Seattle Theatre Group & Broadway Seattle at the Paramount. Starring @nolan and @Cody Garcia. Impressive stage magic with aerial flying, fairy effects, shadow tricks, and beautiful projections that would certainly fill children & adults with wonder. Closes 8/25. Review: showsiveseen.com/9499 Director: Lonny Price Stage Manager: Megan Belgam & Kendall Stevens Conductor: Jonathan Marro #theatre #showsiveseen #peterPan #Neverland #CaptainHook ♬ I Won't Grow Up – The Fools

Elevator Thoughts (aka Tweet): Peter Pan family-friendly musical national tour from Seattle Theatre Group and Broadway Seattle at the Paramount. Starring Nolan Almeida and Cody Garcia. Impressive stage magic with aerial flying, fairy effects, shadow tricks, and beautiful projections that would certainly fill children and adults with wonder. Closes 8/25.

My Synopsis (No Spoilers): It’s the classic story of Peter Pan, the magical boy (accompanied by his fairy Tinkerbell) who never grows up. He flies Wendy and her brothers to Neverland, where they encounter the lost boys, Tiger Lilly with her indigenous gang, and Captain Hook with his pirate band.

Synopsis from the Licensor or Theatre Company: This high-flying musical has been thrilling audiences of all ages for close to 70 years and is now being brought back to life in a new adaptation by celebrated playwright Larissa FastHorse, directed by Emmy Award winner Lonny Price and choreography by Lorin Latarro. The adventure begins when Peter Pan and his mischievous sidekick, Tinker Bell, visit the bedroom of the Darling children late one night. With a sprinkle of fairy dust and a few happy thoughts, the children are taken on a magical journey they will never forget. This extraordinary musical full of excitement and adventure features iconic and timeless songs including “I’m Flying,” “I Gotta Crow,” “I Won’t Grow Up” and “Neverland.” PETER PAN embraces the child in us all so go on a journey from the second star to the right and straight on ‘til morning – your entire family will be Hooked!

Attended Performance Date: Opening Night 8/21 – Buy your tickets now since the show closes on 8/25!

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) Set? No, it was dynamically changing

Prior Exposure/Knowledge Required: No, but you’d probably appreciate this show more if you’re already familiar with the classic tale in any iteration. I personally saw the Disney film and the movie Hook.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Equity Actors: All

Total Number of Actors: 24

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours, which might be too long for a show targeted to kids

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

Would I See It Again 3 Years from Now? No

Mainstream Appeal: Medium

Other Rave(s) Not Mentioned Above

• Stage Magic:
  • Aeriel Flying: This production expertly incorporated aerial flying throughout the show starting with Peter Pan’s glitter filled grand entrance. The actors seamlessly transitioned between flying and walking. The aeriel flying would surely fill children with a sense of wonder. I certainly personally wondered when they found the time to unobtrusively attach and detach their flying cables on-stage in the middle of scenes!
  • Fairy Effects: This production portrayed the Tinkerbell fairy well with “simple” little light bulbs, which often required coordination between actors and some lite puppetry skills.
  • Shadow Tricks: Peter Pan’s shadow was so convincing. It “moved” scenery pieces like a picture frame and curtains. I didn’t even realize it wasn’t Nolan Almedia’s actual shadow until the last half of the scene. Tight synchronicity!
  • Projections: Thankfully, the projections weren’t an overused crutch like I’ve often seen in other shows. The projections augmented the flying scene spectacularly. However, it was a cop out to portray the actors in the projections during part of that scene. The vibrant realistic backgrounds blended well with the physical scenery pieces. They sometimes created wonderful transitions between settings like the jungle and ship. However, there were a few moments where movement was obvious cheesy fake CGI like water splashes, flying birds, and falling leaves.
• Scenic Design: I love the lush, vibrant green motif, especially the beautiful jungle sets.
• Bookends: Peter Pan’s visits to the real world nursery at the beginning and end of the show mirrored each other well.
• Pirates: Cody Garcia and Kurt Perry flamboyantly portrayed Captain Hook and Smee respectively. It was cleaver to see their band of pirates as an actual music band.

Rant(s)

• Kid Friendly: This is probably the most childish show I’ve seen from Broadway Across America in Seattle, San Antonio, and Houston … even more than any Disney national tour musical! I guess this is appropriate if you’re taking kids to the theatre. But it will definitely turn off childless grinch patrons like me. A part of me thinks this show is better suited for professional children’s theatre (like Seattle Children’s Theatre) instead of the Paramount. Adults acting childish with exaggerated movements (when theatre movements are already inherently exaggerated) is not my cup of tea. I also generally detest seeing elementary school children on stage since they typically milk the cuteness factor, which distracts from their actual performing talent.
  • Dying Scene (No Spoiler): Because I detested the childish elements of this show, I was drawn (like a pendulum thirsty for grown-up theatre) to the most solemn scene in the show when a character was dying. But they ruined the moment by breaking the fourth wall (vomit) and resolving it with a family-friendly pantomime cop out. Die Mufasa!
  • Moon: WTF was the talking moon? That random transient character was uncalled for and unnecessary. It shattered the suspension of disbelief. Get out of here!

Other Musing(s) and Observation(s)

• Mermaid: Unlike most Peter Pan story iterations, there were no mermaid characters in this script. Even the Peter and the Starcatcher prequel included mermaids!
• Score: The songs were fine, but not iconic. They were well-performed, but not inherently memorable. The kid-friendly nature didn’t help things out either. For example, I wasn’t a fan of Disney-like “Friends Forever” and that god-awful song about crowing. Speaking of Disney, I wish they could include some Disney Peter Pan songs like “You Can Fly.”
• Indigenous Theme: I noticed that Larissa FastHorse (who is Native American) was credited for book modifications to the 1954 script. I’m so curious how drastic her changes were to the portrayal of indigenous characters. I remember in my woke 2024 hindsight that the Disney film was racially problematic.
  • Tiger Lilly: Tiger Lilly’s (played by Raye Zaragoza) song lines were often in a lower alto-ish range. With most female leads singing soprano, I wonder what the reason for this musical decision was. Side note, Raye Zaragoza in this role strangely reminded me of Jennifer Garner in the movie 13 Going on 30.

Theatre Company: National Tour Brought by Broadway Across America and Seattle Theatre Group

Venue: Paramount Theatre

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

Price Range: $40 to 135 plus the insane Ticketmaster fees. Buy your ticket at the box office to avoid most of the Ticketmaster 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: August 21 to August 25, 2024

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.

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Buy a Ticket or Learn More:

• https://seattle.broadway.com/shows/peter-pan/
• https://www.stgpresents.org/calendar/15148/peter-pan
• https://peterpanontour.com/
• Program

Pictures: See pictures below by Matthew Murphy from MurphyMade

Cast and Production Team: See after pictures below.

@showsiveseen @CompanyBway #Sondheim #musical at the Paramount Theatre from @Seattle Theatre Group & @broadwaycom. Insights that #single aging #millennials can appreciate. Great scenic design. Gender twist starring @britneycoleman. Surprisingly enjoyed it. Closes on 7/28. #millennial #NYC #newYork #theatre #showsiveseen #company Review: showsiveseen.com/9162 Director: Marianne Elliott Conductor: @altermancharlie Stage Mangers: @Jay ♬ You Could Drive a Person Crazy – Richard Fleeshman & Matthew Seadon-Young & George Blagden

Ticket Giveaway: I’m giving away a free ticket to this production. Click here to read more details! (Update 7/28/24: Congrats to Katt!)

Elevator Thoughts (aka Tweet): Company Sondheim musical at the Paramount Theatre from Seattle Theatre Group & Seattle Broadway. Insights that single aging millennials can appreciate. Great scenic design. Gender twist starring Britney Coleman. #NYC #newYork

My Synopsis (No Spoilers): A hip New York woman faces the existential crisis of turning 35 while still single. She experiences this disaster in a series of vignettes as a third wheel with her coupled friends.

Synopsis from the Licensor or Theatre Company: PHONE RINGS, DOOR CHIMES, IN COMES COMPANY. Winner of 5 Tony Awards including Best Revival of a Musical, COMPANY “strikes like a lightning bolt. It’s brilliantly conceived and funny as hell.” (Variety). Helmed by three-time Tony Award-winning director Marianne Elliott (War Horse, The Curious Incident of the Dog in the Night-Time, Angels in America) this revelatory new production of Stephen Sondheim and George Furth’s groundbreaking musical comedy, at once boldly sophisticated, deeply insightful, and downright hilarious. It’s Bobbie’s 35th birthday party, and all her friends keep asking, Why isn’t she married? Why can’t she find the right man and isn’t it time to settle down and start a family? As Bobbie searches for answers, she discovers why being single, being married, and being alive in the 21st-century could drive a person crazy. COMPANY features Sondheim’s award-winning songs “You Could Drive a Person Crazy,” “The Ladies Who Lunch,” “Side by Side by Side” and the iconic “Being Alive.” Let’s all drink to that!

Attended Performance Date: Opening Night 7/23/24 – Buy your tickets now since the show closes on 7/28/24.

Type: Musical, but it felt more like a play with singing, dancing, and music.

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) Set? No

Prior Exposure/Knowledge Required: You should be in your 30s or past your 30s. I saw Companyin my 20s and I definitely did not appreciate the script as much as I do now with more life experience. It’s kind of like watching Sex and the City in your 20s vs your 30s … without as much humor.

Defined Plot/Storyline: No, it a series of dialogue-filled vignettes and musings similar to Songs for a New World, You’re a Good Man Charlie Brown, and even Schoolhouse Rock!

Live Band/Orchestra: Yes

Equity Actors: All

Total Number of Actors: 15

Perceived Pace of the Show: Slow to medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.75 hours

Was This the First Time I Attended a Production of this Show? No, I previously saw this at the Music Box Theatre in Houston about 10 years ago in my 20s.

Would I See It Again 3 Years from Now? Maybe. With the many gender reversals in this production, I’m so curious to compare the relationship dynamics with the original gender intent reversed back.

Mainstream Appeal: Low to medium

Other Rave(s) Not Mentioned Above

• Unexpected Surprise: I must confess that I was initially not as excited as usual to see Company. Out of Broadway Seattle’s entire 2023-2024 season lineup, this show was my least anticipated, especially because I don’t like Sondheim music/musicals. Blasphemy, I know. Also, as I previously mentioned, I already saw Company before and I hated it. I might have even left early at intermission back then! But the first production I attended was a lower budget (non-professional?) show. So, I figured I should give the musical a second chance in this high budget professional national touring production. I was subsequently surprised to appreciate/enjoy it more, especially as the show progressed. I hypothesize this is due to a combination of higher production value and more life experience.
• Gender Twist: The original Company script featured Bobby, a man, as the main character. This production reimagined the main character as Bobbie, a woman. They also changed other cast members’ genders like Bobbie’s heterosexual romantic interests. Often when gender reimagining a musical, the “new” characters are unable to adequately sing the original vocal range. They usually either sing an octave too high or too low. Fortunately, vocal range was not a problem in this production. I suspect they transposed a couple songs to accommodate the gender reversal. Side note, with all the gender reimagining, could they not have switched one of the heterosexual couples to lesbians?
• Scenic Design: This production relied heavily on a nice minimalist shadow box and neon light motif with simple clean lines.
  • Shadow Boxes The shadow boxes reminded me of the scenic design in Village Theatre’s Cinderella. This also allowed partitioning the stage into multiple apartment rooms.
  • Letters and Numbers: The “Company” neon Hollywood-Sign-like giant letters featured in PJ’s (played by Matthew Christian) “Another Hundred People” song about New York uniquely rearranged to spell “NYC.” Also, the age “35” was featured several places like party balloons and large foreboding bouncy characters. The “35” street addresses were a nice touch, demonstrating attention to detail.
• Significant Statements and Insights: There were several universal-like observations about singledom and/or your 30s scattered throughout the show like “Marry me and then everyone will finally leave us alone” or something like “Phones and divorce are similar. They make you feel both connected and disconnected.”
• Gay Couple: My friend Justin and I agree that the “Getting Married Today” scene/song was amazing. The door, cupboard, and cake entrances were funny surprises. The flamboyantly jittery Jaime (played by Kenneth Quinney Francoeur) reminded me of Nathan Lane in The Birdcage.
• Introduction to Love Interests: “You Could Drive a Person Crazy” was a light cute barbershop-style song sung by Bobbie’s three love interests Andy, PJ, and Theo (played by Jacob Dickey, Matthew Christian, and David Socolar respectively).
• Flight Attendant: Speaking of Andy, he was a delightfully airheaded hot male flight attendant. Why are hot dumb people so desirable? He was likable even before he gratuitously stripped down to his sexy skivvies.
• Relationship Montage: I absolutely love the red dress body doubles in the hypothetical montage where Bobbie accepts the mediocrity of living a conventional coupled life with children. There was so much overlapping action! It was the visual equivalent of a song with rounds.
• Marijuana: I usually don’t enjoy observing actors portray getting high or drunk on-stage or on-screen. It’s a patronizing gratuitous way to extract low brow laughs from the audience. That being said, it was amusing to watch “the square” David (played by Christopher DeAngelis) getting high.
• Flashes: This production generously shined alluring flash-like effects throughout the show. This was usually during camera phone flashes. It was much better than generating the flashs from props.

Rant(s)

• Phone Overuse: Speaking of phones, this production overused phone props way too much as a crutch to enhance modern relatability. Excessive phone use in the theatre on-stage (and in the audience) is one of my theatre pet peeves. It reminds me of my rants from Village Theatre’s Sense and Sensibility play.

Other Musing(s) and Observation(s)

• Voicemail Prompt: Who leaves a voicemail prompt about their birthday these days? It’s pretty antiquated and a bit narcissistic. It probably made sense in the 1970s Company production and I admit that it’s probably difficult to translate this practice from 1970 to 2024. Maybe Bobbie should have posted that birthday message on social media instead of creating a voicemail prompt.
• Alcohol: I suspect another relic from the 1970s was the number of times the script glorified alcohol, which doesn’t translate well for today’s 30-40 somethings. Don’t get me wrong. My friends and I binged drank too many times in our 20s, but we grew up and realized our bodies can’t handle alcohol as well in our 30s. Sobriety is sometimes even considered trendy these days, what with “California sober.” Maybe I’m a Pollyanna, but the script’s obsession with alcohol doesn’t match today’s elder millennials’ consumption.
• First Act Finale: Like most other Sondheim musicals, I thought the end of the first act was the end of the entire show.
• Moral of the Story: What was the ultimate message at the end of the show? Be single or be coupled? Personally, I thought Bobbie seemed a bit needy. Gurl, “a woman without a man is like a fish without a bicycle.” She needs to find fulfillment in herself independent of her romantic relationships. She’s a strong independant woman who don’t need no man! If anything, she was in desperate need of Sex and the City single friends. No wonder she feels inadequate when she’s surrounded by couples. I’m so curious how different I would have interpreted this needy dynamic if Bobbie (woman) was portrayed as the original Bobby (man).

Theatre Company: National tour brought by Seattle Theatre Group and Broadway Across America

Venue: Paramount Theatre

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

Price Range: $40 to 125 plus the insane Ticketmaster fees. Buy your ticket at the box office to avoid most of the Ticketmaster 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: July 23 to 28, 2024

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:

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Buy a Ticket or Learn More:

• https://seattle.broadway.com/shows/company/
• https://www.stgpresents.org/calendar/14041/company
• https://companymusical.com/
• Program

Pictures: See pictures below Matthew Murphy from MurphyMade.

@showsiveseen @Girl From the North Country jukebox #musical featuring Bob Dylan's eclectic songs at @Seattle Theatre Group's Paramount Theatre. Reminiscent of Portlandia hipsters. Tight harmonies & great solo voices. Good second act climax. Performing till 6/30. Review: showsiveseen.com/8927 #BobDylan #showsiveseen #theatre ♬ Duquesne Whistle / Señor (Tales of Yankee Power) / Is Your Love In Vain? / License to Kill (Reprise) – Girl from the North Country Ensemble & Luba Mason & Todd Almond & Caitlin Houlahan & Marc Kudisch & Colton Ryan

Elevator Thoughts (aka Tweet): Girl from the North Country jukebox musical featuring Bob Dylan’s eclectic songs. Reminiscent of Portlandia hipsters. Tight harmonies & great solo voices. Performing till 6/30.

Synopsis from the Licensor or Theatre Company: Girl From The North Country is the Tony Award®-winning new musical that the Chicago Tribune declares is “a Broadway revelation!” Written and directed by celebrated playwright Conor McPherson and featuring Tony Award-winning orchestrations by Simon Hale, Girl From The North Country reimagines 20 legendary songs of Bob Dylan as they’ve never been heard before, including “Forever Young,” “All Along The Watchtower,” “Hurricane,” “Slow Train Coming,” and “Like A Rolling Stone”. It’s 1934 in Duluth, Minnesota. We meet a group of wayward travelers whose lives intersect in a guesthouse filled with music, life and hope. Experience this ‘profoundly beautiful’ production (The New York Times) brought to vivid life by an extraordinary company of actors and musicians.

My Synopsis (No Spoilers): This musical is about a group of people in the Midwest during the Great Depression. Their lives already suck and are at the precipice of implosion. Will they survive?

Attended Performance Date: Opening Night 6/26/24 – If you want to see this show, buy your tickets now since it leaves Seattle after 6/30.

Type: Jukebox Musical – But it strangely exuded the energy of a play more than a musical.

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several rooms in a guesthouse

Static (Stationary) Set? Mostly no

Prior Exposure/Knowledge Required: You should be familiar with Bob Dylan’s songs or his style to enjoy this musical. I’m not familiar with his music and I didn’t recognize any songs except one. Personally, I don’t see what’s so great about his music and why others consider him a musical legend. The emperor is naked. Blasphemy, I know.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes, and occasionally the actors would play instruments like the drums as well.

Equity Actors: All

Total Number of Actors: 17

Perceived Pace of the Show: Slow

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

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

Would I See It Again 3 Years from Now? No

Mainstream Appeal: Low

Other Rave(s) Not Mentioned Above

• Drummer: It was refreshing to see a dolled up glamourous lady (Jill Van Velzer who also played Mrs. Burke) as a drummer, which contrasted from societal expectations. It reminded me of when Jen Leigh played the guitar in MJ: The Musical. Girl power!
• Second Act Tragedy (No Spoiler): The shocking climax of the second act was well-devised. It slowly unfolded with dread and tragedy, leading up to Elias Burke’s (played by Kyle Sherman) bright glorious rendition of “Duquesne Whistle” with a lively black-like gospel choir. I was longing for scenes like this during the majority of the sleepy, visually-dark musical.
• Voices: While I’m no fan of Bob Dylan’s music, I must admit that the actors sang in tight harmonies and good solo. Sharaé Moultrie (as Marianne Laine) effortlessly showcased her voice throughout the musical. I was also a huge fan of the retro girl-group harmonies.

Rant(s)

• Scenic Design: It was way too simple for a national profit-generating tour from Broadway. Parts of the set looked simple enough for community theatre.
• Lighting: It was way too dark. I recognize that the designers wanted a specific motif, but what’s the point of the motif if the audience can’t see actors well? I was sitting within the first 10 rows. So, I pity the audience members in the balcony. They probably saw nothing.
• Story: The story and dialogue were difficult to follow and sometimes mildly bizarre.
• Audience Reaction: An alarming mass exodus left at intermission. It was the largest mid-show exit I’ve ever seen at the Paramount Theatre. I eavesdropped on the leaving patrons, and they said, “This show is a bit of a snoozer.” and “It didn’t make any sense. I don’t know what I was watching.” Sadly, I agree with their negative sentiments. I hypothesize that the Bob Dylan association was the only thing keeping this show in production. I only feel sorry for the performers who were obviously talented but didn’t receive the full patronage and recognition they deserved. Unfortunately, they were tragic casualties of many wrong things with this production, book, and music. But on the bright side, there was no bathroom line. Plus, the people sitting in front of me left at intermission. So, I saw the stage better in the second act. However, I’m afraid they missed out a little since the second act was better than the first act.

Other Musing(s) and Observation(s)

• Energy/Style: Throughout this musical, I kept thinking about plain white bread, rural cults (like in the Unbreakable Kimmy Schmidt TV show), folksy-ness, Portlandia hipster posers, and country.
• Music: While I wasn’t a fan of Bob Dylan’s music, I appreciated the eclectic nature of his style since it was difficult to pinpoint his genre. It was a mix of soul, americana, folk, gospel and country. It reminded me of Norah Jones’ music from her later years. But while I love Norah Jones (she’s one of my top 3 favorite artists), her music is sleepy, just like the music in this show. Thus, no one should turn her music into a musical. Girl from North the County desperately needed more contrast of energetic songs like “Duquesne Whistle.”
• Selling Out: As a pragmatic person, I was rooting for Marianne and Gene Laine (played by Ben Biggers) to sell out. Gurrrl, get that bag!

Theatre Company: National Tour Sponsored by Broadway Across America and Seattle Theatre Group

Venue: Paramount Theatre

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

Price: $8 to $125 + Ticketmaster Fees

Tickets: https://www.ticketmaster.com/artist/3007857?venueId=122980&brand=paramountseattle

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: June 25 to June 30, 2024

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
• X (Formerly “Twitter”)
• Facebook
• YouTube
• Threads

Buy a Ticket or Learn More:

• https://seattle.broadway.com/shows/girl-from-the-north-country/
• https://www.stgpresents.org/calendar/14036/girl-from-the-north-country
• https://northcountrytour.com/
• Program

Pictures: See pictures below by Evan Zimmerman for MurphyMade.