El Coquí Espectacular & the Bottle of Doom – Play – Centerstage Theatre

Elevator Thoughts (aka Tweet): El Coquí Espectacular and the Bottle of Doom play at Centerstage Theatre. Puerto Rican (super?) hero battles with gentrification, ethnic pandering/commercialization, and racial identity in NYC. #superhero #comic #hispanic #latino #Latin #PuertoRican

Synopsis from the Theatre: Comic-book-artist Alex combats writer’s block by secretly dressing up as his creation, El Coquí Espectacular. Alex’s brother Joe struggles to fit in at work. And Yesica, the curious photographer, is following El Coqui around New York City. Together, they fight supervillains while hatching a plan to prove themselves to the world at the Puerto Rican Day Parade! El Coquí Espectacular and the Bottle of Doom is a new theatrical extravaganza that explores the ways we define our heritage, our family, and ourselves.

Reviewed Performance: 3/25/23 Evening Opening Weekend – Sorry for the late review!

Type: Play

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings: Several

Defined Plot/Storyline: Mostly yes

Recommendation: See it if you like supporting community theatre

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

Equity Actors: 0

Total Number of Actors: 7

Length (Including Any Intermission): 2.25 hours

Intermission: Yes

Theatre Company: Centerstage Theatre

Venue: Dumas Bay Centre

Venue Physical Address: 3200 SW Dash Point Rd, Federal Way, WA 98023

Price: Cheap

Dates: March 24 to April 16, 2023

Seating: Assigned Seating

Parking: Free and plentiful parking in lot on-site

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

Cast and Production Team: See after pictures and video below

@showsiveseen "El Coquí Espectacular & the Bottle of Doom" #play at Centerstage Theatre by Matt Barbot. Puerto Rican (super?) #hero battles w/ gentrification, ethnic pandering/commercialization, & racial identity in NYC. Review: showsiveseen.com/4631 #superhero #comic #hispanic #latino #Latin #PuertoRican #theatre ♬ Heroes (Live) – Jail maiden
RoleName
Alex Nick Marston
Joe Luis Ciccia
Yesica Viviana Garza
El Chupacabra/Junior Rolando Cardona-Roman
Patricia Deanna Martinez
Buzzkill/Swing Aimee Coronado
Announcer’s Voice Michael D. Blum
Understudy Travis Martinez
Director Jeanette Sanchez-Izenman
PlaywrightMatt Barbot
Rehearsal Stage Manager Madeline Hiller
Scenic Designer Taylor Kuehm, Trista Duval
Costume Designer Morgan Morgans, Trista Duval
Costume Construction Assistant Adrienne Chodnowsky
Lighting Designer John Chenault
Sound Designer Dylan Twiner
Props Designer Sam Izenman
Scenic Artist Jasmine Johnson
Assistant Scenic Artist Emi Gormley
Stage Manager Chelsea “Mo” Moniz
Assistant Stage Manager Theresa Byrd
Comic Book Artists Tyler Arns, Sam Izenman
Puerto Rican Culture and Language Consultant Richard Cubi

Free Ticket – Sense & Sensibility – Village Theatre

Update 4/6/23: Congrats to Annabel!

Leave a comment w/ your favorite play and why. Then I’ll choose a winner 48 hours from now.

Post your comment submission on my Facebook, Instagram, or Twitter. This is a free SINGLE ticket for any available “Section B” seat (worth about $56) to any of the remaining “Sense and Sensibility” performances at Village Theatre in EVERETT, Washington. The production run ends this weekend. This show is a play and not a musical. Read my review at showsiveseen.com/3773

As It is in Heaven – Play – Taproot Theatre

Elevator Thoughts (aka Tweet): As It is in Heaven play at Taproot Theatre. Interesting glimpse into the repressive & austere #Shakers culture from the women’s perspective. Reminded me of a catholic nunnery. Great vision (or hallucination?) scenes. “The emperor has no clothes!” #shaker #quaker #quakers

Synopsis from the Theatre: “Tis a gift to be simple,” sing the Shakers of Pleasant Hill. But as the young women in the community claim new spiritual gifts, Sister Hannah and the other elders must judge whether these gifts are real or rebellion. Set during America’s surge of Utopian communities, the play wrestles with belief and doubt in a swiftly changing world.

Reviewed Performance: 3/25/23 Opening Weekend Matinee

Type: Play

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings: Several

Defined Plot/Storyline: Seemed more like loosely-connected chronological vignettes than an actual defined plot

Recommendation: See it especially if you grew up in a conservative church

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: 2

Total Number of Actors: 9

Length (Including Any Intermission): 2 hours

Intermission: Yes

Other Rave(s) Not Mentioned in Elevator Thoughts

  • Songs: The actresses sang traditional Shaker hymns/spirituals occasionally between scenes in chant-like unison a cappella. Apparently, harmony was sinful!
  • Diction and Accents: The playwright and performers recreated how the Shakers might have sounded like back then. For example, “it wasn’t a dream” became “weren’t not a dream.”
  • Visions: My favorite scenes were when “the chosen” congregation members experienced hallucination-like “shaking” visions that reminded me of Pentecostals speaking in tongues. The claims of experiencing these visions were also reminiscent of The Crucible play.
  • “Pray for Me” Scene: Good commentary on when the pious only tritely say they’ll pray for someone but doesn’t make any effort to actually help them. It reminded me of abortion protestors who don’t support welfare programs that help mothers who can’t afford to raise the children they’re forced to carry.
  • Favorite Line: “I was prideful of my new apron” uttered during public confessional

Other Musing(s) and Observation(s)

  • Religious Repression: The depictions of religious repression reminded me of one reason why I left the church. However, the oppressive austerity in As It is in Heaven was extreme compared to what I grew up with. The Shakers in the play weren’t even allowed to draw, laugh, or enjoy life. It made me think of something NSFW Samantha said about conservative Charlotte in Sex and the City.
  • Social Welfare: An interesting conversation in the play alluded that a character didn’t believe in the Shaker faith, but religion was their “social security” and “Medicare” plan for when they become elderly. If I don’t have kids, maybe I need to join a congregation like this!
  • Fears of Obscurity: The play frequently touched on the universal irrelevancy/inadequately feeling elders might experience when replaced by up-and-coming youth.
  • Moral of the Story: I couldn’t grasp what message the playwright was conveying to the audience. Was it just a depiction of Shaker life and nothing more?

Theatre Company: Taproot Theatre

Venue: Taproot Theatre – Jewell Mainstage

Venue Physical Address: 212 N 85th St, Seattle, WA 98103

Price: Medium

Ticket Affordability Options: Pay what you can days, GoldStar, and TodayTix

Dates: March 22 to April 22, 2023

Seating: Assigned Seating

Parking: Paid lot or usually-free street parking. I almost always find free street parking on Greenwood Ave just South of the theatre.

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

@showsiveseen “As It is in Heaven” #play at @taproottheatre by Arlene Hutton. Interesting glimpse into the repressive & austere #Shakers culture from the women’s perspective. Reminded me of a Catholic nunnery. Great vision (or hallucination?) scenes. “The emperor has no clothes!” Photos by Robert Wade. Review: showsiveseen.com/4573 #shaker #quaker #quakers #theatre ♬ Enough – Dylan Rockoff
Jenny Vaughn Hall and the cast of As It is in Heaven at Taproot Theatre. Photo by Robert Wade.
Kristen Natalia, Jenny Vaughn Hall, Chloe Michele, Ashleigh Coe, and Justine Davis in As It is in Heaven at Taproot Theatre. Photo by Robert Wade.
Jenny Vaughn Hall and Chloe Michele in As It is in Heaven at Taproot Theatre. Photo by Robert Wade.
Chloe Michele and Ashleigh Coe in As It is in Heaven at Taproot Theatre. Photo by Robert Wade.

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

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

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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.