Union Arts Center (ACT Theatre and Seattle Shakespeare) – Page 5 – Shows I've Seen

Twelfth Night – Musical – Seattle Shakespeare Company

@showsiveseen “Twelfth Night” #musical adaptation of #Shakespeare‘s classic by Shaina Taub & Kwame Kwei-Armah at Seattle Shakespeare Company. Directed by Ruben Van Kempen & music directed by RJ Tancioco. If anything, see it for the Broadway quality score & the great voices! Seattle-ites will be sure eat up the gender themes. Review: showsiveseen.com/5330 #12thNight #TwelfthNight #theatre ♬ Play On – Shaina Taub & Ato Blankson-Wood & Nikki M. James & ‘Twelfth Night’ Company

Elevator Thoughts (aka Tweet): Twelfth Night musical adaptation of Shakespeare’s classic by Shaina Taub & Kwame Kwei-Armah at Seattle Shakespeare Company. Directed by Ruben Van Kempen and music directed by R.J. Tancioco. If anything, see it for the Broadway quality score and the great voices! Lots of gender themes Seattle-ites will be sure to eat up. #12thNight #TwelfthNight

Synopsis from the Theatre: Viola and her brother Sebastian are separated in a devastating shipwreck. Naturally, Viola decides to disguise herself as a man in this new land and, now as Cesario, get a job for Duke Orsino, with whom she instantly falls in love. Duke Orsino, however, loves the countess Olivia, and sends Viola-as-Cesario to woo her. Olivia, unaware of Viola’s disguise, falls in love with Cesario. Meanwhile, unbeknownst to Viola, Sebastian has been rescued and is about to add another angle to this love shape. Shakespeare’s romantic comedy of mistaken identity and self-discovery is given a rousing musical adaptation originally premiered at New York’s Public Theatre, featuring an onstage band and a score inspired by jazz, soul, and showtunes from critically acclaimed musician Shaina Taub.

Reviewed Performance: 5/13/23 Semi-opening Weekend – The company performed a couple of previews and I think even the opening night. But COVID prematurely closed opening weekend and the weekend after that. This was the first full weekend that they performed, which is unfortunate since that means COVID basically wiped-out half of their performances. The original run was scheduled for 4/26 to this weekend’s 5/21.

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Prior Exposure/Knowledge Required: This is best enjoyed by those familiar with the original Twelfth Night Shakespeare play story.

Defined Plot/Storyline: Yes, but it’s difficult to follow if you can’t understand Shakespearean English like me. 🙁

Live Band/Orchestra: Yes, a 6-person band with the ensemble occasionally jumping in. James Shilling played the trombone. Karin Terry (Feste) played the accordion. If I’m not mistaken, I think another actor played the ukelele.

Recommendation: See it, especially if you can follow Shakesperean English or you’re familiar with the original Twelfth Night play story. Honestly, I’m not familiar with the play and I couldn’t follow the story (Shakespeare English is hard!), but the Broadway-quality score and great voices made this show worth attending! You’ll like this show if you enjoyed the Head Over Heels mashup between old English and modern musical elements.

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 very good

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

Equity Actors: 5

Total Number of Actors: 14

Length (Including Any Intermission): 1.5 hours

Intermission: No

Other Rave(s) Not Mentioned in Elevator Thoughts

Broadway-quality Music: Since the set and graphic design was Seattle-themed with Pike Place Market and Rainier beer logos, I initially assumed this was a world premier written in Seattle. From the very first lively opening song hook “Play On” to the funky interludes like “Word on the Street” to the final gospel choir-like “Eyes of Another” song, I kept thinking that the music could be on a Broadway or West End original cast album recording. Later, I found out that this wasn’t a Seattle world premiere and there actually was a New York City production with a cast recording! Below are a couple of other song highlights:
- “Is This Not Love?” – Sung by Feste (Karin Terry). It sounded like a classic Broadway ballad.
- “What Kind of Man R U Gonna Be?” – This was in the style of 80s fitness training songs. Performers wore retro wrist/head bands. It reminded me of the Miss Step musical and Jane Fonda.
- “Count Malvolio” – Sung by Malvolio (Jon Lutyens). It reminded me of vintage golden age can-can showbiz energy. A tap dance number would have been a perfect addition!
- “You’re the Worst” – It sounded like a classic Broadway comic relief song.
- “Crazy in Love”: There was a brief wink to Beyonce’s smash hit song.
Voices: Obviously, Andi Alhadeef (Olivia) and Alexandria J Henderson (Viola) showcased their amazing diva-quality voices. They made sweet harmony together especially in “I Am She.” Their harmony was also exceptional in “If You Were My Beloved” when Hisam Goueli (Orsino) joined in. I was surprised when I heard Hisam sing since I’ve seen him so many times on-stage in Seattle in only non-singing roles. Honorable mentions to Danny Kam (Sir Toby Belch) and Jimmy Shields (Sir Andrew Aguecheek) for hitting the high notes.

Other Musing(s) and Observation(s)

Seattle Theme: As mentioned previously, the set and the graphics were Seattle-themed. Was this because of similarities between Seattle and Illyria? Or was it just chosen to indulge the Seattle audience? Let me know in my social media link comments below!
Gender Themes: Seattleites will be sure to eat up the gender bending, gender fluidity, non-binary, gender equality/empowerment themes in this show.

Theatre Company: Seattle Shakespeare Company

Venue: Center Theatre at Seattle Center Armory

Venue Physical Address: 305 Harrison St, Seattle, WA 98109

Price: Medium

Ticket Affordability Options: Surprisingly (for a Seattle theatre company) I could not find anything.

Dates: April 26 – May 21, 2023 with 2 weekends canceled because of COVID-19

Seating: Assigned Seating

Parking: Paid street parking or paid lot/garage parking. I usually park on the street near the skating park (313 Taylor Ave N, Seattle, WA 98109) East of the theatre. It’s more expensive on Climate Pledge Arena event days though. In that case, I might take the bus or park in South Lake Union around Dexter Avenue and Harrison Street.

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

Cast and Production Team: See after pictures and video below

Role	Name
Illyrian	Simone Alene
Olivia	Andi Alhadeff*
Fabian, Illyrian	Ania Briggs
Illyrian	Natalya Czosnyka
Orsino	Hisam Goueli
Viola	Alexandria J. Henderson*
Sir Toby Belch	Danny Kam
Malvolio	Jon Lutyens*
Sebastian, Illyrian	Donovan Mahannah
Maria	Pilar O’Connell*
Backstage Illyrian Singer	James Schilling
Sir Andrew Aguecheek	Jimmy Shields*
Feste	Karin Terry
Antonio, Illyrian	Jarron A. Williams
—	—
Olivia (Understudy)	Simone Alene
Viola/Sebastian (Understudy)	Ania Briggs
Fabian/Maria (Understudy)	Natalya Czosnyka
Feste (Understudy)	Pilar O’Connell*
Orsino/MaIvoIio/Toby (Understudy)	James Schilling
—	—
Keyboard/Conductor	R.J. Tancioco or Ben Bentler
Trumpet	Pavel Spichak or Harlan Feinstein
Reed	Jay Easton or Nathaniel Schleimer
Guitar	Anthony Pooley
Bass	Olivia Hamilton or Ethan Sabotta
Drums	James Pingenot or James “Rif” Reif
Orchestration and Band Arranger	Mike Brun
—	—
Director	Ruben Van Kempen
Composer and Lyricist	Shaina Taub
Writers	Kwame Kwei-Armah, Shaina Taub
Music Director	R.J. Tancioco
Choreographer	Kathryn Van Meter**
Scenic Designer	Parmida Ziaei
Costume Designer	Jocelyne Fowler
Lighting Designer	Kristi Matthews
Sound Designer	Benjamin Radin
Properties Designer	Robin Macartney
Intimacy Director	Jasmine Lomax
Fight Choreographer	Harry Todd Jamieson
Assistant Music Director	Benjamin Bentler
Text Coach	Makaela Milburn
Stage Manager	Elizabeth Stasio*
Fight/lntimacy Captain	Pilar O’Connell*
Dance Captain	Jimmy Shields*
Assistant Stage Manager	Clair Kaminski*
COVID Safety Officer	Jocelyne Fowler
Technical Director	Benjamin Radin
Assistant Technical Director	Andrew Long
Master Audio Engineer	Conor Fortner
Master Electrician – Rehearsal/Tech	Danny Herter
Master Electrician – Performances	Clint Bull
Master Painter	Jessica Christensen
Wardrobe Master	Emily Kight

*The Actors and Stage Managers Are Members of Actors’ Equity Association, The Union of Professional Actors and Stage Managers in the United States.
**Members of the Stage Directors and Choreographers Society

Every Brilliant Thing – Play – ACT Theatre

Elevator Thoughts (aka Tweet): Every Brilliant Thing one-person storytelling play w/ Ian Bell written by Duncan Macmillan & Jonny Donahoe. Feel-good show that ironically explores depression w/ the help of audience participation. First time I sat front row at ACT Theatre!

Synopsis from the Theatre: The color yellow. Sunsets. Things with stripes. Wearing a cape. Ice cream! There are a million brilliant things. Can you name them all? The hit play and international sensation Every Brilliant Thing by Duncan Macmillan with Jonny Donahoe is a one-of-a-kind storytelling experience blending comedy, improv, and audience interaction to tell the story of an adult growing up in the shadow of mental illness and learning to grapple with their own experiences of love, loss, and a finding a new way forward, one brilliant thing at a time.

Reviewed Performance: 3/23/23 Opening Night

Type: Play

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings: Several

Defined Plot/Storyline: Seemed more like a collection of related vignettes than an actual plot

Recommendation: See it if either

You like one-person plays
You’re not a cynic
You like the quirky, basic, hipster millennial, whimsical, cutesy vibes of Zooey Deschanel in New Girl
You like sentimentality
You like plays that explore depression and suicide (but remember this is a feel-good play)
You like the private “dance it out” scenes in Grey’s Anatomy w/ Meredith and Christina
You like dancing in the rain
You like seeing audience participation
Or you like participating from the audience

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

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

Equity Actors: 1

Total Number of Actors: 1

Length (Including Any Intermission): 75 minutes

Intermission: No

Other Rave(s) Not Mentioned in Elevator Thoughts

Playlist: The overhead stage playlist before and after the show was a nice selection of retro feel-good songs
Live Band: There was a live band in the lobby before and after the show. I hope they performed for more than just opening night…

Rant(s)

“Why?” Scene: For some reason, I really hate scenes on on-stage or on-screen when kids incessantly ask “Why?” in response to everything an adult tells them. It is not cute at all.

Other Musing(s) and Observation(s)

Audience Participation: There was a ton of audience participation in this production. I was a little worried when Ian Bell (the solo actor of this performance) passed out cards throughout the audience a couple of minutes before the show began. Be careful if you’re on the front row like I was! Fortunately, he didn’t choose me to participate. While I’m usually not a fan of extensive audience participation in shows (total theatre “pillow princess” here), I thought it was a novel cost-effective way to add additional actors/characters to a one-person show. There were scenes where an audience member euthanized a coat, proposed marriage to Ian Bell, or hosted a therapy session with a sock puppet! I always wonder what’s the contingency plan in shows with such extensive audience participation if a chosen person is an absolute psycho and derails the intended trajectory of the performance.

Theatre Company: ACT Theatre

Venue: ACT Theatre – Allen Theatre

Venue Physical Address: 700 Union St, Seattle, WA 98101

Price: Cheap to Expensive

Ticket Affordability Options:

Pay What You Can: You can self-select ticket prices as low as free for the value seats on the ticketing website. The value seats are just about the same view as the non-value seats.
Other ACT Theatre Discounts: https://acttheatre.org/visit/discounts/
TodayTix

Dates: March 17 to April 2, 2023

Seating: Assigned Seating

Parking: Paid lot or paid street parking. If I don’t walk to this theatre, I park in the Convention Center garage with the entrance between Seneca and Pike. There is indoor access from the garage to the ACT Theatre going through the convention center.

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Other Video +/- Pictures: See pictures below by Truman Buffet Photography

Cast and Production Team: See after pictures below

Ian Bell high-fives the entire room in *Every Brilliant Thing*, by Duncan Macmillan with Jonny Donahoe and directed by John Langs, onstage March 23-April 2, 2023 at ACT—A Contemporary Theatre. Photo credit: Truman Buffett

Ian Bell sits next to an audience member playing his first love in *Every Brilliant Thing*, by Duncan Macmillan with Jonny Donahoe and directed by John Langs, onstage March 23-April 2, 2023 at ACT—A Contemporary Theatre. Photo credit: Truman Buffett

Ian Bell hands an audience member a book in *Every Brilliant Thing*, by Duncan Macmillan with Jonny Donahoe and directed by John Langs, onstage March 23-April 2, 2023 at ACT—A Contemporary Theatre. Photo credit: Truman Buffett

Ian Bell strikes a pose in *Every Brilliant Thing*, by Duncan Macmillan with Jonny Donahoe and directed by John Langs, onstage March 23-April 2, 2023 at ACT—A Contemporary Theatre. Photo credit: Truman Buffett

Ian Bell listens for an audience response in *Every Brilliant Thing*, by Duncan Macmillan with Jonny Donahoe and directed by John Langs, onstage March 23-April 2, 2023 at ACT—A Contemporary Theatre. Photo credit: Truman Buffett

Ian Bell reflects on life’s brilliant things in *Every Brilliant Thing*, by Duncan Macmillan with Jonny Donahoe and directed by John Langs, onstage March 23-April 2, 2023 at ACT—A Contemporary Theatre. Photo credit: Truman Buffett

Ian Bell makes magic happen in *Every Brilliant Thing*, by Duncan Macmillan with Jonny Donahoe and directed by John Langs, onstage March 23-April 2, 2023 at ACT—A Contemporary Theatre. Photo credit: Truman Buffett

Role	Name
Main Character	Ian Bell*
Understudy	Imogen Love*
—	—
Director	John Langs
Playwrights	Duncan Macmillan w/ Jonny Donahoe
Scenic Designer	Parmida Ziaei
Costume Designer	Danielle Nieves
Lighting Designer	Lily McLeod
Sound Designer	Maggie L. Rogers
Stage Manager	Jeffrey K. Hanson*
Production Assistant	Max Zamorano
Stage Management Intern	Em Wittress

*Members Of Actors’ Equity Association, The Union of Professional Actors and Stage Managers in the USA

History of Theatre: About, By, For, and Near – Play – ACT Theatre and The Hansberry Project

Elevator Thoughts (aka Tweet): History of Theatre: About, By, For, and Near play at ACT Theatre w/ The Hansberry Project. Experimental show quite literally about the “history of theatre” from the perspective of past African American actors. #POC #BiPOC #vaudeville #black

Synopsis from the Theatre: Travel back in time – 200 years, to be precise – with your host, Sister Blacknall, and meet the Black theatre artists of America’s history, who have returned to ensure that this time, they will be remembered. Reginald André Jackson’s wildly original play challenges the stories we’ve been told about who makes theatre and who it is for; creating a spellbinding evening that is both illuminating and inspiring. History of Theatre: About, By, For, and Near takes audiences on a journey from 1820 to the mid-1930s, through the lens of a contemporary artist making their way in our very own Seattle theatre scene. Witness the forgotten impact of The Rabbit’s Foot founder Pat Chapelle, who created the first all-Black touring vaudeville troupe in 1900, the boundary-breaking actors Ira Aldridge and Rose McClendon, as well as members of Seattle’s own Negro Repertory Company.

Reviewed Performance: 2/3/23 on opening weekend – Sorry for the late review. I’ve been busy catching up on reviews since my dad was in town. I would have posted earlier than other reviews if I realized sooner that this play had such a short run. Usually, ACT Theatre plays last at least 3 weeks after opening night and I assumed this one was no different.

Type: Play

World Premiere: Yes

Defined Plot/Storyline: No

Recommendation: See it if you’re into history and you have prior knowledge of African American theatre origins.

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

Equity Actors: 7

Number of Actors: 8

Length (Including Any Intermission): 1 hour and 30 mins, which felt a bit long

Intermission: No

Rant(s)

Prior Knowledge: It will be difficult to enjoy this play if you don’t have prior knowledge of African American theatre history. A lot of references went over my head, and it was hard to keep track of all the characters I was unfamiliar with.

Other Musing(s) and Observation(s)

Experimental: This play was definitely different than what’s usually on stage. For starters, it was self-aware that it was play. It also addressed the 4th wall frequently and sometimes had arguments with itself. There was also time travel, which distorted the play’s chronology.
Audience: Where were the African American theatre patrons? The audience was a testament to the homogeneity in Seattle and theatre. But at least the play is a step in the right direction.

Theatre Company: ACT Theatre

Venue: ACT Theatre

Venue Physical Address: 700 Union St, Seattle, WA 98101

Price: Medium to Expensive

Ticket Affordability Options: Visit the ACT Theatre Discount Page. Usually, Goldstar and TodayTix have good deals too.

Dates: January 28 to February 12, 2023 – Opening night was February 2. Sorry this review is so late!

Seating: Assigned Seating

Parking: Paid lot or paid street parking. If I don’t walk to this theatre, I park in the Convention Center parking lot with the entrance between Seneca and Pike. There is indoor access from the garage to the ACT Theatre going through the convention center.

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Other Video +/- Pictures: See pictures below FaceBook post

Cast and Production Team: See after pictures

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Amy Thone and R. Hamilton Wright in the World Premiere of *History of Theatre: About, By, For, and Near*, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.

Tracy Michelle Hughes, Arlando Smith, and Be Russell in the World Premiere of *History of Theatre: About, By, For, and Near*, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.

Reginald André Jackson in the World Premiere of *History of Theatre: About, By, For, and Near*, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.

Dedra D. Woods and Reginald André Jackson in the World Premiere of *History of Theatre: About, By, For, and Near*, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.

R. Hamilton Wright, Amy Thone, and Tracy Michelle Hughes in the World Premiere of *History of Theatre: About, By, For, and Near*, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.

Malcolm J. West, Be Russell and Arlando Smith in the World Premiere of *History of Theatre: About, By, For, and Near*, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.

Arlando Smith, Malcolm J. West, and Be Russell in the World Premiere of *History of Theatre: About, By, For, and Near*, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.

The ensemble cast: R. Hamilton Wright, Amy Thone, Be Russell, Arlando Smith, Dedra D. Woods, Malcolm J. West, Tracy Michelle Hughes, and Reginald André Jackson in the World Premiere of *History of Theatre: About, By, For, and Near*, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.

Malcolm J. West, R. Hamilton Wright, and Be Russell in the World Premiere of *History of Theatre: About, By, For, and Near*, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.

Dedra D. Woods in front of the ensemble cast in the World Premiere of *History of Theatre: About, By, For, and Near*, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.

R. Hamilton Wright, Malcolm J. West, Arlando Smith, and Dedra D. Woods in the World Premiere of *History of Theatre: About, By, For, and Near*, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.

Role	Name
Cast	Tracy Michelle Hughes* Reginald André Jackson* Be Russell* Arlando Smith* Amy Thone* Malcolm J West Dedra D. Woods* R. Hamilton Wright*
—	—
Understudies	Anne Allgood* Nicholas Japaul Bernard* Alexandria J. Henderson*
—	—
Director	Valerie Curtis-Newton
Playwright	Reginald Andre Jackson
Choreographer	Donald Byrd
Scenic Designer	Jennifer Zeyl
Costume Designer	Cathy Hunt
Lighting Designer	Robert J. Aguilar
Sound Designer	Larry D. Fowler
Projection Designer	Juniper Shuey
Dialect Coach	Amani Dorn
Dramaturg	Martine Kei Green-Rogers
Associate Lighting Designer	LB Morse
Stage Manager	Ruth Eitemiller*
Assistant Stage Manager	Hazel Rose Gibson*
Production Assistant	Noah Sarkowsky

* Members of Actors Equity Association, the Union of Professonal Actors and Stage Managers in the USA

A Christmas Carol – Play – ACT Theatre

Elevator Thoughts (aka Tweet): A Christmas Carol at ACT Theatre. Play adaptation of the classic Charles Dickens novella. Kudos to young adult Scrooge for tearing up on-demand. Delightfully the angriest old Scrooge I’ve seen on-stage so far. Bah humbug! #xmas #AChristmasCarol #sentimental

Synopsis from the Theatre: Fill your heart with joy! Charles Dickens’ enchanting tale of redemption and compassion as A Christmas Carol comes vividly to life beginning November 25. On a snowy Christmas Eve brimming with memorable characters, ghostly apparitions, and visits to the past, present, and future, miserly Ebenezer Scrooge discovers the joy of charity and redemption. Capture the timeless magic of Dickens’ Yuletide classic, proudly returning for the 47th year. Get your tickets now.

Reviewed Performance: 11/27 Evening – Opening Night

Type: Play

World Premiere: No

Live Band/Orchestra: No

Recommendation: See it if you like Christmas plays or if you like traditional productions of this classic story.

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

Equity Actors: 8 actors out of 17

Length: 90 minutes

Intermission: No

Other Rave(s) Not Mentioned in Elevator Thoughts

Singing: I was pleasantly surprised to find singing in this play. While the musical numbers were brief, they were still good.
Floor Entrances: The production used the floor for a couple dramatic entrances/exits like the gaudy accession of “Christmas Present,” the creepy crawl of “Want and Ignorance,” or the demonic visit from Marley. The gravestone lighting was also a nice dramatic touch.

Rant(s)

“Christmas Past” Set: It would have been nice to see more developed scenic design from the “Christmas Past” segment when they were pointing at specific landmarks. But it’s probably hard to do that on an arena stage and not worth the short airtime.
Temperature: My companion and I were so cold and it had nothing to do with Scrooge’s demeanor!
B-reel (Added 12/7/22): Unfortunately, ACT Theatre noticed an error in the B-reel used for the TikTok video I made and asked me to either re-edit the my video or take it down. I opted for the latter option as these videos take hours to make and I did not have time to correct their mistake. Sorry readers! But please enjoy their fantastic pictures below.

Other Thought(s)

Scrooge and Cratchit Family: It was kind of creepy that Scrooge identified the names of the Cratchit family when they never met. It was also weird that Scrooge asked to be Tiny Tim’s father figure when they also never met.

Theatre Company : ACT Theatre

Venue: Allen Theatre at ACT Theatre

Venue Physical Address: 700 Union St, Seattle, WA 98101

Price: Medium to Expensive

Dates: November 25 to December 24, 2022

Seating: Assigned

Social Media Posts About this Performance from Shows I’ve Seen: ~~Instagram | TikTok | Facebook | Twitter | YouTube~~
I removed the social media links. See my rant above about the B-reel for an explanation why.

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Other Pictures: Pictures are by Truman Buffet Photography.

Choir Boy – Musical Play – ACT Theatre

“Choir Boy” musical play at ACT Theatre w/ the 5th Avenue Theatre. Tight accapella harmonies like TAKE 6 or Boyz II Men. The flamboyant gay student’s comebacks were so witty. Loved the shower set design. Wondering what the ending dramatic pause symbolized. #LGBT #boardingSchool #POC #prepSchool #black #theatre

Type: Play with Music

Recommendation: See it!

Rating (Out of 5 Stars): 4 stars

Theater Company: ACT Theatre and 5th Avenue Theatre

Venue: ACT Theatre

Price: $$ (Medium)

Dates: September 11, 2022 – October 23, 2022

Seating: Assigned

Link: https://order.acttheatre.org/choir-boy

@showsiveseen “#Choir Boy” #musical #play at #ACTTheatre w/ #5thAveTheatre. Tight #accapella harmonies like #Take6 or @boyziimenofficial. The flamboyant #gay student’s comebacks were so witty! Loved the shower set design. Wondering what the ending dramatic pause symbolized. #LGBT #boardingSchool #POC #prepSchool #black #ChoirBoy ♬ original sound – Shows I’ve Seen