Preview Post – Once More, Just for You – Play – Seattle Public Theater & Macha Theatre Works

Once More, Just for You play by Seattle Public Theatre and Macha Theatre. Performing until 2/25/24. Stay tuned for my full review! #asian

Tickets: https://www.seattlepublictheater.org/oncemore

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

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

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


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

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

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) Set: Mostly yes

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

Defined Plot/Storyline: Yes

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

Equity Actors: 1

Total Number of Actors: 15

Perceived Pace of the Show: Medium speed

Length (Including Any Intermission): 2.75 hours

Was there an intermission? Yes

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

Would I See It Again 3 Years from Now? Yes, but maybe only a full professional production

Other Rave(s) Not Mentioned in Elevator Thoughts

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

Other Musing(s) and Observation(s)

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

Theatre Company: Seattle Public Theater and Macha Theatre Works

Venue: Seattle Public Theater (aka Bathhouse Theatre)

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

Price: Cheap

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

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

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

Dates: October 13 to November 5, 2023

Seating: Assigned Seating

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

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

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

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

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

Macbeth: A Rock Musical by Seattle Public Theater and Macha Theatre Works. Performing until 11/5/23. Don’t wait for my full review to buy tickets since this weekend is already sold out! #showsiveseen #theatre

Tickets: https://www.seattlepublictheater.org/current-production

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Hometown Boy – Play – Seattle Public Theater

Elevator Thoughts (aka Tweet): Hometown Boy play by Keiko Green at Seattle Public Theater. A city boy visits his rural hometown and opens old wounds. Good acting and outburst scenes. Is it better to rectify past wrongs or just go on with your life?

Synopsis from the Theatre: James hasn’t been back to his rural Georgia hometown in over a decade, but reluctantly returns to check in on his father, whose behavior has become worryingly erratic. And since the South has a way of holding onto secrets, he soon stumbles into a life he thought he had left behind as a child. That stench in the air isn’t just his father’s decaying house, but the rotten core of long-buried secrets teeming just under the surface and ready to explode.

Reviewed Performance: 5/6/23 Opening Weekend

Type: Play

World Premiere: No, this is the play’s second production

Several or Few Scenes: Several

Several or Few Settings/Locations: Only around 3 locations

Prior Exposure/Knowledge Required: None

Defined Plot/Storyline: There was a storyline, but it wasn’t particularly extensive. Instead, the play was filled with dialogue and reminiscing.

Recommendation: See it if you like plays that are more dialogue than action

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

Rating Compared to Other Shows with the Same Production Value:
4.5 stars (Out of 5 Stars)

Equity Actors: 1

Total Number of Actors: 6

Length (Including Any Intermission): 2 hours

Intermission: Yes

Other Rave(s) Not Mentioned in Elevator Thoughts

  • Multitasking Dialogue: There were two scenes that reminded me of TikTok/Reel “sludge content” … in a good way! In one scene, bartender Collin (Tim Gouran) mixed a drink while reciting his lines. And in the other scene, Sam (Jennifer Ewing) decorated a cake also while reciting her lines. Just like “sludge content,” these bits were mesmerizing and strangely beneficial for my attention span. They were reminiscent of ACT Theatre’s production of Skylight when one of the characters sauteed onions/garlic and cooked Italian dish while reciting their lines.

Other Musing(s) and Observation(s)

  • First Act Ending (No Spoiler): The first act ended at a weird point in the story. It would have been better to end it at a cliffhanger when they revealed the unexpected twist at the beginning of the second act.
  • Motivations: It wasn’t clear why the main character’s dad stayed in the boondocks many years ago. Let me know your thoughts in the comments of my social media links below!

Theatre Company: Seattle Public Theater

Venue: Seattle Public Theatre (aka Bathhouse Theatre)

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

Price: Cheap

Ticket Affordability Options: You can self-select ticket prices as low as $5 on the ticketing website if you find the higher options a financial barrier to enjoying great theatre. There is also no seat placement difference between ticket prices.

Dates: May 4 – 28, 2023

Seating: Assigned Seating

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

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Other Video +/- Pictures: See pictures in video and under video by John Ulman Photography

@showsiveseen "Hometown Boy" #play by Keiko Green directed by @annielareau1 at @seattlepublictheater. A city boy visits his rural Southern hometown & opens old wounds. Good acting & outburst scenes. Is it better to rectify past wrongs or just go on w/ your life? Photos by John Ulman. Review: showsiveseen.com/5285 #theatre ♬ HURT SO BAD – RØNIN
Michael Wu, Tim Hyland (Actors Equity Association Member), Stephen Sumida, Rachel Mae Guyer-Mafune. Photo by John Ulman Photography.
Tim Hyland (Actors Equity Association Member). Photo by John Ulman Photography.
Jennifer Ewing. Photo by John Ulman Photography.
Tim Gouran (background), Micheal Wu. Photo by John Ulman Photography.
Tim Gouran. Photo by John Ulman Photography.
Rachel Mae Guyer-Mafune. Photo by John Ulman Photography.
Stephen Sumida, Michael Wu. Photo by John Ulman Photography.

110 in the Shade – Musical – Reboot Theatre Company & Seattle Public Theatre

Elevator Thoughts (aka Tweet): 110 in the Shade musical w/ Seattle Public Theatre & Reboot Theatre Company. Wonderful production that touches on what it means to be a woman … through the lens of genderblind casting! Loved the juxtaposition between life choices of nomadic adventure vs quiet stability.

Synopsis from the Theatre: Reboot Theatre Company, known for its intriguing deep dives and fresh interpretations of theater, brings to life 110 in the Shade, a beautiful exploration of love, hope, and acceptance. From the creators of The Fantasticks, 110 in the Shade is a touching and intimate musical adaptation of the hit play The Rainmaker. Set in a small western town besieged by drought, Lizzie, intelligent and independent, struggles with the societal pressure to do as a “woman” should do. One blistering hot day, Lizzie’s family urges her to marry the recently widowed Sheriff File, while charismatic stranger Starbuck comes to town with promises of being able to make it rain. Immediately suspicious, Lizzie tries to pick apart Starbuck’s story, but realizes a deeper truth about herself along the way. While the source material was written in the 1950’s, director Scot Charles Anderson will take a closer look at the seemingly simplified gender roles in classic Reboot style.

Reviewed Performance: 3/17/23 Opening Night

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings: Several

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes, they also included a banjo, bass, and a fiddle for that authentic country feel. Some cast members even played instruments like the guitar and ukelele!

Recommendation: See it!

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

Would I See It Again 3 Years from Now: Yes

Rating Compared to Other Shows with the Same Production Value:
4.75 Stars (Out of 5 Stars)

Equity Actors: 0

Total Number of Actors: 12

Length (Including Any Intermission): 2.5 hours

Intermission: Yes

Other Rave(s) Not Mentioned in Elevator Thoughts

  • Scenic Design: Nice rustic design with a windmill and a circular stage. Very Restoration Hardware. Who knew you could make such a great background with a bunch of two-by-fours! See pictures and video at the end of this article.
  • Dramatic Climax: I’m a huge fan of scenes when a character is verbally eviscerated on-stage. The simple “you’re plain!” pronouncement toward the end of the first act conveyed the same thrilling ring as “you’re a virgin who can’t drive.”
  • Delightful Characters: It was pleasure watching June Apollo Johns (Bill Starbuck) and Walden Barnett Marcus (Jimmy Curry) portray their characters on-stage. Tessa James (as the ditsy Snookie Updegraff) made the scenes with Walden even more delightful!
  • Lizzy: Paris Manzanares was well-cast as the female lead character Lizzy. Paris manifested a graceful feminine energy with a good country accent. It was interesting to observe the script’s commentary on what it means to be a woman when a trans actress played the female lead. The line “if you don’t believe you’re a woman, you’re not” was particularly poignant with this casting decision. Paris’s vocal range difference from her character’s soprano melodies also didn’t detract from her performance. I loved how this production paired a trans woman opposite of a traditionally handsome/ideal cis male (the dashing Ricky Spaulding who portrayed Sheriff File). I typically don’t see a lot of those pairings in theatre or the media. It didn’t hurt that they had great chemistry too.
  • A Simple Life: The message in “Simple Little Things” song rang true for me since I don’t particularly crave an exciting life … other than seeing ~3 shows per week! Some may even consider my career boring, but I kind of like boring. I also hate surprises, traveling, adrenaline rushes (like skydiving), and partying. I’m more of a homebody. “Simple Little Things” says that’s okay.
  • Sound Effects: Instead of recorded audio clips, the cast and band generated most of the sound effects like radio music, a rusty windmill, a train, and an owl.
  • Fireflies: It was novel how the ensemble depicted fireflies in the background during the evening scenes as they surrounded the main characters. I’m glad it gave them something to do since I kind of felt bad for them sitting on-stage excluded from the main action.

Rant(s)

  • Sound Balancing: The actors were not mic’ed and the band sometimes overpowered the singers, but it wasn’t nearly as bad as the recent Rock of Ages I attended. I suggest finding a seat far away from the band like on the right side of theatre (if you face the stage). My seat was on the left side of the theatre, which was the same side as the band.

Other Musing(s) and Observation(s)

  • Genderblind Casting: In true Reboot Theatre Company fashion, they “genderblindly” cast many roles. It was very woke Seattle. However, as I frequently rant in my reviews, genderblind casting in musicals is sometimes a problem if performers sing parts that were originally written for a different vocal range. As mentioned above, this thankfully wasn’t a problem with Lizzy for some strange reason (maybe they transposed for her?), but it was occasionally a problem for other cast members. Singing an octave higher or lower than the original melody usually doesn’t sound good. I don’t know a great solution for this. Gender inclusivity is important in theatre, but I also want to hear melodies without awkward vocal placement.
  • Heat: For a show with a hot temperature in its name, I thought there’d be more references to heat. I feel like the only mention of heat was during the first couple of minutes. There were a lot of references to dryness/drought but that doesn’t necessarily mean hot.
  • Lizzie Appearance Flaw: I was confused with what was supposedly wrong with Lizzie. The dialogue frequently mentioned that Lizzy was plain, but the actress was actually beautiful. While the wig looked nice, the actress didn’t look terrible without it. Was this mismatch of what I saw vs what I heard a commentary on how internal/external voices can negate how beautiful we truly are? They say your biggest critic is yourself. Let me know what you think in my social media comment links below!
  • Gun Holster Belt: I kept worrying Sherrif File’s holster would fall! Do they usually sag so low?

Theatre Company: Reboot Theatre Company and Seattle Public Theatre

Venue: Seattle Public Theatre (aka Bathhouse Theatre)

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

Price: Cheap

Ticket Affordability Options: You can self-select ticket prices as low as $5 on the ticketing website for those who find the higher options a financial barrier to enjoying great theatre. There is also no seat placement difference between ticket prices.

Dates: March 16 to April 9, 2023

Seating: Assigned Seating

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

Like/Comment/Share my Social Media Posts About this Performance:
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Buy a Ticket or Learn More:

Other Video +/- Pictures: See pictures in video and under video below by Colin Madison Photography

@showsiveseen “110 in the Shade” #musical w/ @seattlepublictheater & Reboot Theatre. Wonderful production that explores what it means to be a woman … through the lens of genderblind casting! Loved the juxtaposition between life choices of nomadic adventure vs quiet stability. Based on “The #Rainmaker” play. Photos by Colin Madison. Review showsiveseen.com/4434 #theatre ♬ Lizzie’s Comin’ Home – Will Geer & Steve Roland & Scooter Teague
Walden Barrett, Natalie Moe, Ricky Spaulding, and Lyam White in 110 IN THE SHADE, a co-production between Reboot Theatre and Seattle Public Theater.
Natalie Moe, June Apollo Johns, and Paris Manzanares in 110 IN THE SHADE, a co-production between Reboot Theatre and Seattle Public Theater.
Natalie Moe, Paris Manzanares, June Apollo Johns, and Walden Barnett in 110 IN THE SHADE, a co-production between Reboot Theatre and Seattle Public Theater.
Walden Barnett Marcus, Natalie Moe, and Paris Manzanares in 110 IN THE SHADE, a co-production between Reboot Theatre and Seattle Public Theater.
The company of 110 IN THE SHADE, a co-production between Reboot Theatre and Seattle Public Theater.
Tessa James and Walden Barnett Marcus in 110 IN THE SHADE, a co-production between Reboot Theatre and Seattle Public Theater.
Paris Manzanares and Lyam White in 110 IN THE SHADE, a co-production between Reboot Theatre and Seattle Public Theater.
Paris Manzanares and June Apollo Johns in 110 IN THE SHADE, a co-production between Reboot Theatre and Seattle Public Theater.
Walden Barnett Marcus and Tessa James in 110 IN THE SHADE, a co-production between Reboot Theatre and Seattle Public Theater.