Blue Man Group – Show – Paramount Theatre

Elevator Thoughts (aka Tweet): Blue Man Group w/ Seattle Theatre Group at the Paramount Theatre. Mime-like wordless skits w/ catchy percussion & a spectacular visual feast. Similar to Cirque du Soleil w/o the acrobatics. Lots of audience participation. The alien-like blue man even walked through my leg room space to drag a “lucky” audience member on-stage! #drums #blueMan #blueManGroup

Synopsis from the Theatre: More than 35 million people around the world have experienced the smash hit phenomenon that is BLUE MAN GROUP and now it’s your turn! BLUE MAN GROUP returns to Seattle for a limited engagement on their new North American tour. It’s everything you know and love about BLUE MAN GROUP—signature drumming, colorful moments of creativity and quirky comedy—the men are still blue but the rest is all new! Featuring pulsing, original music, custom-made instruments, surprise audience interaction and hilarious absurdity, join the Blue Men in a joyful experience that unites audiences of all ages.

Reviewed Performance: 11/25 Evening – Opening Night

Type: Performance Art Show

World Premiere: No

Live Band/Orchestra: Yes

Recommendation: See it especially if you like percussion, visual special effects, or performance art. This show is also kid friendly. Throughout the performance, I could hear kids calling out things like “Pick me!”

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

Equity Actors: The program didn’t specify any Equity information. Maybe they didn’t mention this because the show wasn’t a play or musical. However, the show’s caliber felt just like other touring Equity musical productions that perform at the Paramount Theatre.

Length: 75 minutes

Intermission: No

Other Rave(s) Not Mentioned in Elevator Thoughts

  • Instruments: They designed several unique looking/sounding instruments. My favorites were the adjustable-pitch PVC pipe drum and the giant dulcimer-looking xylophonic percussion instrument.
  • Gumball Trick: I was impressed how one of the blue men caught several gumballs in his mouth. I’m still wondering what stage magic allowed him to fit them all in there.

Rant(s)

  • VR Skit: There was a section where the Blue Men captured a live video feed around stage and audience. Later, they took the camera offstage and performed a skit involving virtual reality headsets. I’m assuming the offstage portion was pre-recorded. I’m usually not impressed when live shows display pre-recorded video as a segment of the show. I attended to see a live performance, not something I could find on YouTube. If you think this segment was actually performed live offstage, please leave me a comment in my social media to explain.

Other Thought(s)

  • Gender Spin: With gender issues on the forefront of the theatre scene (and the political stage), it’s time for a “Blue Woman Group.” Or maybe switch out one of the three men with one woman. Or instead of women, maybe recruit transgender performers. Shake it up a bit!
  • Audience Plants : Throughout the first half of the show, I assumed the audience members they involved in the show were audience plants. However, the reactions from someone and their friends in my row who was dragged on-stage made me think otherwise. I wonder how they plan for weird audience members called on-stage who could derail the show’s planned narrative.
  • Earplugs and Ponchos: Before the performance, the theatre handed out free earplugs to everybody and ponchos to those on the front couple of rows, which worried me of what was to come. Fortunately, I never needed the earplugs and it didn’t look like the Blue Men splashed the front row.
  • Blue Skin Magic: Since one of the blue men was literally in my personal leg room space to drag someone else on stage, I saw his “skin” up close. It made me wonder what stage magic made his skin blue. I’m pretty sure they wear blue gloves instead of painting their hands. Since he had no ears, I’m assuming part of his blue skin was not painted human skin but maybe some painted latex-like covering. However, I couldn’t determine where the latex-like covering and the human skin would have bordered. I was even more puzzled when I saw a shiny sweat-like sheen on him, which could mean there was no latex-like covering! Leave a comment in my social media posts below if you have any ideas what stage magic is involved.

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: Medium to Expensive

Dates: November 25 – 27, 2022

Seating: Assigned

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 get closer to the West Precinct (810 Virginia St, Seattle, WA 98101).

Social Media Posts About this Performance from Shows I’ve Seen: Instagram | TikTok | Facebook | Twitter | YouTube

Buy a Ticket or Learn More:

Cast and Production Team: See under the multimedia below.

Other Video +/- Pictures: Credit for pictures in video are in picture captions below video.

@showsiveseen @bluemangroup w/ @seattletheatregroup at Paramount Theatre. #Mime-like wordless skits w/ catchy #percussion & a #spectacular visual feast. Similar to @cirquedusoleil w/o the acrobatics. Lots of audience participation. The alien-like #blue man even walked through my leg room space to drag a “lucky” audience member on-stage! Review + Photo Credit: showsiveseen.com/2247 #drums #blueMan #blueManGroup #performanceArt ♬ Blue (Da Ba Dee) (Gabry Ponte Ice Pop Radio) – Eiffel 65
Blue Man Group Paint Drumming, Photo by Lindsey Best
Blue Man New Tour, photo by Evan Zimmerman for MurphyMade
Blue Man New Tour, photo by Evan Zimmerman for MurphyMade
Blue Man Group Portrait, Photo by Lindsey Best
Blue Man New Tour, photo by Joan Marcus
Blue Man New Tour, photo by Evan Zimmerman for MurphyMade
Blue Man Group Toss and Catch, Courtesy of Blue Man Productions
Blue Man New Tour, photo by Joan Marcus
Blue Man New Tour, photo by Evan Zimmerman for MurphyMade
Blue Man Group New Tour, photo by Evan Zimmerman for MurphyMade
Blue Man New Tour, photo by Evan Zimmerman for MurphyMade
Blue Man New Tour, photo by Evan Zimmerman for MurphyMade
Blue Man Group New Tour, photo by Evan Zimmerman for MurphyMade
Blue Man Group New Tour, photo by Evan Zimmerman for MurphyMade
Blue Man New Tour, photo by Evan Zimmerman for MurphyMade
RoleName
Blue MenMERIDIAN
MIKE BROWN
JOSH WILLS
ADAM ZUICK
BandCORKY GAINSFORD
CHRIS REISS
CHRIS SCHULTZ
Director
MICHAEL DAHLEN
WritersJONATHAN KNIGHT
MICHAEL DAHLEN
BLUE MAN GROUP
Set DesignerJASON ARDIZZONE-WEST
Lighting DesignerJEN SCHRIEVER
Costume DesignerPATRICIA MURPHY
Sound DesignerCREST FACTOR
Video DesignerLUCY MACKINNON
Tour Costume DesignEMILIO SOSA
SFX DesignerBILL SWARTZ
Creative DirectorJONATHAN KNIGHT
Music DirectorBYRON ESTEP
Production Stage ManagerERIN ALBRECHT
Company ManagerALANNA SWOVELIN
General ManagementGENTRY & ASSOCIATES
PEARCE LANDRY-WEGENER
Tour Booking, Marketing and Publicity DirectionBOND THEATRICAL GROUP
Production ManagementNETWORKS PRESENTATIONS
WALKER WHITE
Line ProducerJENNIE RYAN
Executive ProducersWENDY EDWARDS & SETH WENIG

Cabaret – Musical – Cornish College of the Arts

Elevator Thoughts (aka Tweet): Cabaret the musical sold out at Cornish College of the Arts. Novel immersive stage. Well-cast Cliff actor. Good ensemble, Emcee, & Sally too. #musical #theatre #Cabaret

Synopsis from the Theatre: In a Berlin nightclub, as the 1920’s draw to a close, a garish Master of Ceremonies welcomes the audience and assures them they will forget all their troubles at the Cabaret. With the Emcee’s bawdy songs as wry commentary, Cabaret explores the dark, heady, and tumultuous life of Berlin’s natives and expatriates as Germany slowly yields to the emerging Third Reich. Cliff, a young American writer newly arrived in Berlin, is immediately taken with English singer Sally Bowles. Meanwhile, Fräulein Schneider, proprietor of Cliff and Sally’s boarding house, tentatively begins a romance with Herr Schultz, a mild-mannered fruit seller who happens to be Jewish. Musical numbers include “Willkommen,” “Cabaret,” “Don’t Tell Mama” and “Two Ladies.”

Type: Musical

World Premiere: No

Live Band/Orchestra: Yes

Recommendation: See it especially if you like to support student actors. Unfortunately, this production already completed its run though. Also, the entire run was sold out at least 2 weeks before opening night. The only possible way to see a performance was through the waitlist.

Would I See It Again 3 Years from Now?: Always. I’ve probably seen 5 separate productions of this show. One of them was the professional tour.

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

Equity Actors: None

Length: 2.5-2.75 hours

Intermission: Yes

Rant(s)

  • Cell Phone Check-in: I was completely baffled when they asked the audience to check-in their cell phone before entering the performance space. A theatre has never asked me to do that … and I’ve attended more than 360 shows since 2017. It didn’t help that my cell phone case also incidentally included my pen so I was unable my write down more impressions of the performance for my review.
  • Set Movement: The frequent set movement and audience re-seating was a bit distracting.
  • Vocal Range: There were 1-2 male performers who couldn’t reach the high notes. Consequently, they sounded a little off-key. Also, there were 1-2 female performers who could barely reach the low notes. Consequently, the audience couldn’t hear them.
  • Character Age: Drama schools students tend to be young in their twenties, late teens, or even thirties. So, it’s difficult to appropriately cast someone in middle-aged or senior character roles. I suggest drama schools either 1) choose performance pieces that don’t contain major characters older than 40 years old, 2) invest heavily in makeup/wardrobe, 3) or recruit a non-student actor to perform these roles. I personally like option 3 the best. For example, UW School of Drama recruited alumnus Malcolm West in this year’s production of Father Comes Home from the Wars.

Other Thought(s)

  • Audience Participation: The website said “This production is an immersive experience and will include and encourage audience participation” which made me a little nervous they’d want me to get up and dance. When it comes to theatre, I’d rather sit and (at most) clap. Theatre “pillow princess” here. 😛 In actuality, the actors thankfully didn’t goad the audience to participate much more than a traditional non-immersive performance.
  • Immersive Theatre: One of the limitations of immersive, 360 degree, or arena theatre is that the audience doesn’t always see everything. There was a scene in the second act where the audience kept looking at a back wall near the entrance where I couldn’t see. Queue the FOMO! Leave me a comment on the social media links below to tell me what I’ve missed.

Theatre Company : Cornish College of the Arts

Venue: Skinner Theatre at Raisbeck Performance Hall

Venue Physical Address: 2015 Boren Ave, Seattle, WA 98121

Price: Cheap

Dates: November 17 to 20, 2022 – I would have prioritized this review earlier if the college gave me a press ticket. But apparently, they don’t encourage reviewers, which baffled me. In my opinion, “there is no such thing as bad publicity!”

Seating: General Admission

Parking: Street parking (sometimes free) usually available within 3 blocks from the theatre. There’s also various paid parking lots in the area. This part of downtown is closer to South Lake Union neighborhood so it’s not that busy.

Social Media Posts About this Performance from Shows I’ve Seen: Instagram | TikTok | Facebook | Twitter | YouTube

Buy a Ticket or Learn More:

Cast and Production Team: See under the multimedia below.

Other Video +/- Pictures:

@showsiveseen #Cabaret the #Musical sold out at #Cornish College of the Arts. Novel #immersive stage. Well-cast Cliff (Elias Capestany). Good ensemble, Emcee (@anteiadelaney), & Sally (Adia Beaulieu) too. Review: showsiveseen.com/2201 #theatre ♬ Perfectly Marvelous – Natasha Richardson & John Benjamin Hickey
RoleName
Sally BowlesAdia Beaulieu
Helga/Fight CaptainAllison Renee Heath
(u/s Schneider)
EmceeAnteia DeLaney
Max/Hans/SailorCarolyn Scherbinske
Fraulein Fritze KostCoco Justino
Cliff BradshawElias Capestany
Victor/Dance CaptainElizabeth Blackmun
Herr SchultzFisher
RosieGenna Dow
(u/s Sally)
FrenchieGennavieve Smith
Customs Officer/Herman/Sailor Grace Andresen
(u/s Ernst)
Fraulein SchneiderHayley Martin
LuluMadison Neal
(u/s Kost)
TexasMaggie Reichgott
(u/s Schultz)
Ensemble Oliver Munguia
(u/s Will, Theo, Carolyn, Gray)

Olivia Sheaffer
(u/s Genna, Madison, Gennavieve, Allie, Maggie)
ErnstTagen Mathews
SailorTony Caraveo
(u/s Emcee)
Bobby Will Ehrlich
(u/s Cliff)
Upright BassJon Butler
DrummerEnzo Periera
Alto SaxDavid Volpini
PianistRich Gray
Book AuthorJoe Masterof

(Based on the lay by John Van Druten
& stories by Christopher Isherwood)
ComposerJohn Kander
LyricistFred Ebb
DirectorKathryn Van Meter
Stage ManagerEmily Grierson
Music DirectorsRich Gray & Danny Kam
ChoreographerNicole Beerman
Sound DesignerSandra Menjivar
Lighting DesignerGwen Cubbage
Scenic DesignerChristopher Mumaw
Costume DesignerIsabella L. Price
Assistant DirectorTony Caraveo
Props ManagerJessica Christensen
Technical DirectorMatthew McCarren
Assistant Music DirectorDavid Volpini
Fight ChoreographerGeof Alm
Intimacy DirectorSarah Harlett
Assistant ChoreographerGennavieve Smith
Dialect/Vocal CoachKate Myre
Scenic DesignerChristopher Mumaw
Assistant Stage ManagerSema Serifsoy-DiFalco
Costume AssistantElla Swenson
Assistant Dialect CoachElizabeth Blackmun
Carolyn Scherbinske
DramaturgMaggie Reichgott
Deck CrewSam Ingram
Olivia Freeman
Followspot OperatorElla Accacia
Deck CrewCharlotte Seaver
Visual & Performing Arts Production ManagerGavin Yehle
Scene Shop SupervisorMatthew McCarren
Theater Dept. Faculty ChairSheila Daniels
Props & Paint SupervisorJessica Christensen
Cabaret Faculty LiaisonRobin Lynn Smith
TH 147 InstructorAmy LaZerte
Costume Shop Supervisor & Practicum Costume AdvisorCarl Bronsdon
Director of CSESPinky Estell
TH/PP Department CoordinatorRachel Brinn
CSES Technical SupervisorMarc Mixon

Language of Angels – Play – University of Washington School of Drama

Elevator Thoughts (aka Tweet): Language of Angels play w/ UW School of Drama about chilling, haunting, mysterious tragedies in small town USA. Professional-quality production. Great acting, projections, sound effects, & set design. Novel use of darkness. Interesting accents. #theatre #karma

Synopsis from the Theatre: “I didn’t get all that when I was little, all that stuff about angels and god in heaven. I thought it was all puffy clouds and angel babies playing harps. I didn’t get the other part, the secret part, like some kinda sign. The language of angels, and how light burns.” Many years after their friend Celie goes missing in the caves near a rural North Carolina town, many of her close-knit friends recall the inexplicable impacts of her loss. As the play unfolds, we see how Celie’s disappearance continues to affect each of them in different ways. Against the echoes of Celie’s ghostly cries, the survivors continue to struggle to unravel the mysteries of that fateful night. In this haunting yet touching play, Iizuka weaves a story on grief, loss, guilt, and karma into a play with elements of Japanese Noh drama set in Appalachia.

Type: Play

World Premiere: No

Reviewed Performance: 11/20 Afternoon

Recommendation: See it even if you don’t like to watch student actor performances. This production had many professional quality elements.

Would I See It Again 3 Years from Now?: Yes if it was an Equity production.

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

Equity Actors: None

Length: 80 mins

Intermission?: No

Other Rave(s) Not Mentioned in Elevator Thoughts

  • Favorite Line: Something like “I’m starting to look like my mom and she was ugly!”
  • Parking Lot Scene: Set looked very detailed especially with the leaves, grass, paint lines, and streetlamp. The occasional headlights were a nice touch too.
  • Darkness: Novel use of darkness … maybe even bordering on too much darkness. The theatre was so dark when I entered that it was difficult to take good pictures! You can see this by the distorted heavily-filtered picture above. A lot of times we focus on spectacular theatre lighting effects but we can’t appreciate the light without knowing the darkness.
  • Cave Description: Good visceral descriptions of cave experiences. This play took me back to a negative personal caving experience in Enchanted Rock, TX.

Rant(s)

  • Ending: The ending was so abrupt! I was waiting to see more of the story and to see an explanation of the last 10 seconds! Maybe the sudden ending was intentional to leave the audience at the edge of their seats.
  • Multiple Stories: There were 5 separate stories and it was a little difficult to piece together each one.

Other Thought(s)

  • Production Run Dates: This would have been better staged in October for Halloween. Of course, there might have been school-related scheduling constraints. I think schools like to time their plays toward the end of the semester.
  • Title: Why does the title reference angels? Did angels equal spirits in this story? Leave me a comments in the social media links below if you have any ideas!

Theatre Company : University of Washington School of Drama

Venue: Floyd and Delores Jones Playhouse Theatre

Venue Physical Address: 4045 University Way NE, Seattle, WA 98105

Price: Cheap

Dates: November 17 – December 4, 2022

Seating: General Admission

Parking: Street parking (sometimes free) usually available within 3 blocks from the theatre. There’s also a paid parking lot a block away going North.

My Social Media Posts About this Show: Instagram | TikTok | Facebook | Twitter | YouTube

Buy a Ticket or Learn More:

Cast and Production Team: See under the multimedia below.

Other Video +/- Pictures:

@showsiveseen "Language of Angels" #play w/ @uofwa School of Drama about #chilling, #haunting, mysterious tragedies in #smallTown USA. Professional-quality production. Great acting, projections, sound effects, & set design. Novel use of darkness. Interesting accents. Took me back to a scary cave experience in Enchanted Rock, TX. Review: showsiveseen.com/2167 #theatre #karma ♬ Secret – The Pierces
RoleName
SethRuby O’malley
CelieAurelia Ca’zorzi
KendraHailey Henderson
JBGabriel Trimbur
Michael/TommyJesimiel Jenkins
AllisonIveliz Martel
DanielleChinelo Okpala
BillyNic Morden
PlaywrightNaomi Iizuka
DirectorValerie Curtis-Newton
Stage ManagerKimberly Le
Assistant Stage ManagerWeiyu Guo
Set DesignerAdair Maccormack
Costume DesignerCandace Frank
Light DesignerTrevor Cushman
Sound DesignerM.L. Dogg
Technical Director, Shop Supervisor, Production Manager:Alex Danilchik
Master CarpenterTres Tracy Ballon
Charge Scenic ArtistJennifer Law
Master ElectricianJay McAleer
Costume Shop ManagerRicky German
Costume LeadDeborah Skorstad
Costume SpecialistVal Mayse
Prop MasterAndrea Bush
Assistant Scenic DesignerLukas White
Assistant Lighting DesignerLandon Elder
Assistant Costume DesignerAntonio Torrez
Alex Mellor
Light Board OperatorAurora Asay
Sound Board OperatorTaylor Freeman
Wardrobe CrewKalea Levy
Brionna Olson
Natalie Tassielli
Deck CrewNoelle Bi
Evan Ponyah
Eric Wang
Logan West

Elf – Musical – Edmonds Driftwood Players

Elevator Thoughts (aka Tweet): Elf the Musical at Edmonds Driftwood Players sold out! Energetic talented Buddy actor. Pleasantly surprised there was a tap dance number at the end! Family-friendly #musical based on the movie. #theatre #Christmas #Xmas #Santa #elf #holiday #nyc

Synopsis from the Theatre: A title known the world over, Elf The Musical is a must-see holiday musical, based on the cherished 2003 New Line Cinema hit, Elf. Buddy, a young orphan, mistakenly crawls into Santa’s bag of gifts and is transported to the North Pole. The would-be elf is raised, unaware that he is actually a human until his enormous size and poor toy-making abilities cause him to face the truth. With Santa’s permission, Buddy embarks on a journey to New York City to find his birth father and discover his true identity. Faced with the harsh realities that his father is on the naughty list and his half-brother doesn’t even believe in Santa, Buddy is determined to win over his new family and help New York remember the true meaning of Christmas. This modern-day holiday classic is sure to make everyone embrace their inner elf. After all, the best way to spread Christmas Cheer is singing loud for all to hear.

Reviewed Performance Date: 11/19/22 Evening

Type: Musical

World Premiere: No

Live Band/Orchestra: 4 live musicians and a 5th musician running a program that fills in the rest of the orchestration parts.

Recommendation: See it if you’d like to take your kids to a musical this holiday season. Good luck getting tickets though. It’s all sold out online! Try the wait list.

Would I See It Again 3 Years from Now?: Yes if it was an Equity production. I actually already saw the professional tour at the Paramount Theatre in Seattle.

Equity Actors: None

Length: 2.5 hours

Intermission?: Yes

Other Rave(s) Not Mentioned in Elevator Thoughts

  • Favorite Line: “asparagus children … [are] self-conscious about the way their pee smell.”

Rant(s)

  • Flow: Some of the acting flow was a little awkward and stilted. This production needs more time to cure. However, I attended the opening weekend and this problem will certainly improve as they continue to perform this show.
  • Sound Balancing: The band and microphones should be louder. It also sounded like some actors weren’t mic’ed. If all actors can’t be mic’ed, a part of me thinks none of them should be mic’ed for better vocal blending.
  • Scene Transitions: It was often distracting when scenes changed because the set needed to be switched out or props needed to be placed. I’m not sure how other community productions manage to avoid this distraction. That being said, I thought it was ingenious that the waitress bussed the restaurant tables in the background while the Santas performed their number.

Other Thought(s)

  • Tap Dance: I’m always so thrilled when musicals have a tap dance number. I thought it was really weird though that it was at the end of the show. I don’t remember this weird placement in the professional tour production … but I could be wrong.
  • NYC References: The many references to life in New York City made me want to move there more!

Theatre Company : Edmonds Driftwood Players

Venue: Edmonds Driftwood Players

Venue Physical Address: 950 Main St, Edmonds, WA 98020

Price: Cheap

Dates: November 18 – December 18, 2022

Seating: Assigned Seating

Parking: Free street parking or free adjacent parking lot. The parking lot is usually full if you don’t arrive early. But street parking is plentiful and easy to find.

Social Media Posts: Instagram | TikTok | Facebook | Twitter | YouTube

Buy a Ticket or Learn More:

Cast and Production Team: See under the multimedia below.

Other Video +/- Pictures: Pictures in video and under video by Dale Sutton from Magic Photo

@showsiveseen#Elf The #Musical” sold out at Edmonds Driftwood Players! Energetic talented Buddy actor @thatjordanking. Pleasantly surprised there was a tap dance number at the end! Waitlist is available for this family-friendly #musical based on the movie. Review + Photo Credit: showsiveseen.com/2123 #theatre #Christmas #Xmas #Santa #holiday #nyc ♬ The Story of Buddy The Elf – Fred Armisenm & Ed Asner & Rachel Bloom & Max Charles & Larry Dorf & Kevin Shinick & Jim Parsonsm & Rachael MacFarlane & Mark Hamill & Gilbert Gottfriedm & Steve Higgins & Rachel Ramras & Kate Micucci
RoleName
BookThomas Meehan
Bob Martin
ComposerMatthew Skylar
LyricsChad Beguelin
DirectorCraig Schieber
Stage ManagerSean Morrone
Co-Producers
Katie Soulé
Brian Fletcher
Music DirectorsMark & Nancy Press
Vocal DirectorChristopher Puckett
Choreographers
Elizabeth Posluns
Laura Mcfarlane
Lead Costume DesignerMelina Boivin
Costume DesignersFaye Matthingley
Jenna Mcelroy
Sound EngineerJeff Vaughan
Lighting DesignerRichard Beckerman
Set DesignerTom Williams
Sound DesignerBrian Fletcher
Properties DesignerNancy Johnson
Assistant Properties DesignRex Goulding
Assistant Stage ManagerBethany Arneson
BuddyJordan King
Jovie Sydney Penticuff
Walter HobbsBen Fitch
Emily Hobbs Sydney Kaser
Michael Hobbs Calvin Stephens
SantaEric Hartley
Deb/EnsembleMiki Murray
Manager/Ensemble
Lillie Paries
Mr. Greenway/EnsembleIsaac Tian
Chadwick/EnsembleMeagan Castillo
Charlotte/EnsembleKeri Marie Hill
Matthews/EnsembleJonathan Olson
Perfume Lady/EnsembleErin Carter
Rose/Ensemble Olivia Markle
Tiara/Ensemble
Co-Dance Captain
Chloe Miller
Charlie/Ensemble Jaret Miller
Fake Santa/Ensemble Eric Wu

Cinderella – Musical – Village Theatre

Elevator Thoughts (aka Tweet): This ain’t your granny’s Rodgers & Hammerstein Cinderella musical! Colorful retro costumes/hair. Stunning orchestra w/ the occasional funky beat. Nice ballroom choreography. Soothing voice from Prince James Schilling. Proud to see Pinay Ays Garcia play Cinderella at Village Theatre. Takes me back to Brandy & Whitney Houston’s TV special.

Synopsis from the Theatre: “Do I love you because you’re beautiful? Or are you beautiful because I love you?” Rodgers and Hammerstein’s Cinderella comes to life in a timeless new production full of theatrical invention, tuneful melodies, and romance galore. With favorite songs like “In My Own Little Corner” and “Do I Love You Because You’re Beautiful,” Rodgers and Hammerstein’s Cinderella was last seen on the Village Theatre stage in 1985. Now, under the inspired direction of the acclaimed Desdemona Chiang, with a script drawn from the 1997 television adaptation, Chiang’s production of Cinderella brings the story into the present with scintillating new costumes, a top-tier cast of Seattle stars, and a spectacular 16-person orchestra you’ll have to hear to believe. With an assist from her fairy godmother, as Cinderella dreams of finding her own place in a perfect world, she steps into her glass slippers to meet the prince of her dreams —only to lose him as the clock strikes midnight. Rodgers and Hammerstein’s Cinderella promises to be an unforgettable trip to the theatre, perfect for the whole family as memories are made together.

Reviewed Performance Date: 11/18/22 Evening

Type: Musical

World Premiere: No

Live Band/Orchestra: Yes

Recommendation: See it!

Would I See It Again 3 Years from Now?: Always! This is the second (maybe 3rd if you count the TV special) time I’ve seen a separate version of Rodger and Hammerstein’s Cinderella.

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

Equity Actors: 13 out of 20

Length: 2 hours

Intermission?: Yes

Other Rave(s) Not Mentioned in Elevator Thoughts

  • Kiss: I kinda liked that Cinderella made the first move. The conservatives would have been reeling though!
  • Shoulder Sleeves: The puffy shoulder sleeves on Cinderella’s initial dress were a great touch. I wonder if it was an intentional nod to retro Filipina/Filipinx/Filipino fashion since the Cinderella actress was Pinay. I assume it was since Village Theatre included a barong in their previous production of Mamma Mia.
  • Fairy Godmother: Novel portrayal of a non-traditional fairy godmother who’s typically either in an unflattering frumpy-albeit-comfortable muumuu-like dress, in a tulle-ly dress, or a granny. This one had a more butch lesbian vibe (I can say that since I’m gay right?) in a sparkly pant suit. Reminded me of the time the 5th Ave Theatre fairy godfather in Bliss was an actual gay Italian man.
  • Pharmacist: As someone in the pharmacy profession, thank you Village Theatre for recognizing most pharmacists are doctorate graduates!
  • Shadow Box Set: I’m a huge fan of shadow boxes in home decor and it was cool seeing them as set frames. However, I suggest removing the vertical lines from Cinderella’s house so it doesn’t look like a shipping container … unless it was intentional to show the family’s financial status.
  • Favorite Line: Something like “A glass slipper. A pumpkin. What a night!” Not sure why this was so funny.
  • Down to Earth: Ays Garcia portrayed Cinderella as someone more relatable. Usually, Cinderella is typically portrayed as someone more regal, unrealistic, with a dash of Stepford. I wonder what children would think of this Cinderella if they’ve never seen any other portrayal.
  • Stepmother: She made some amusing trembles! 😛

Rant(s)

  • Flow: Some of the acting flow was a little awkward and stilted. This production needs more time to cure. However, I attended the opening night and this problem will certainly improve as they continue to perform this piece.
  • Stage Space: Great ballroom choreography but the stage space looked too cramped for the dancers.
  • Stained Glass: I wasn’t really a fan of using a stained glass motif around the sides of the stage. Not sure why. I think it felt like wasted space on the already tiny-for-ballroom-scenes stage. Maybe it would be more suitable for Beauty and the Beast?
  • Staircase: Should have been more regal than a simple metal wobbly thing. It would have been nice to see a more dramatic Cinderella entrance on it.
  • Carriage: Should have been more pumpkin-looking. Although, a pumpkin carriage might be too big for the stage.
  • Puffer Jacket: I loved their groovy costumes. But a Patagonia-like puffer jacket as a ballroom costume piece? Oh the PNW … I guess they know their audience!

Other Thought(s)

  • Glass Slipper: I wish there was a better way to show live theatre audiences a glass slipper than just a glittery shoe. It’s easier to do this on-screen but nearly impossible to do this on a stage. Some people in the audience wouldn’t even see a glass slipper but just feet since the slipper is transparent.
  • Technical Pause: They had to stop in the middle of the second act for a technical glitch. I think one of the set pieces wasn’t moving. I wouldn’t hold it against them too much since it’s part of the the magic of live theatre!
  • Dress Down: While I appreciated Stepmother’s scathing figurative dress down, I would have also loved to see a more dramatic literal dress down of Cinderella’s first dress where the stepsisters eviscerate it in cat fight-like fray. But to be fair, I think most Rodgers and Hammerstein Cinderella musicals actually don’t show a first dress like in the Disney versions.
  • Lyrics and Songslist: I recently learned the songlist and lyrics between each Rodgers & Hammerstein Cinderella production I’ve seen have been different. It’s interesting to observe these variations.
  • Animals: Not sure how I feel about the incorporation of animal characterization and puppetry in this version of Cinderella. I don’t think we normally see this from other Rodgers & Hammerstein Cinderella productions. If anything, it’s novel to see!

Theatre Company : Village Theatre

Venue: Village Theatre Issaquah (Additional Performances in Everett)

Venue Physical Address: 303 Front St N, Issaquah, WA 98027

Price: Medium

Dates: Issaquah Nov 16 – Dec 23, 2022 | Everett Jan 6 – Jan 29, 2023

Seating: Assigned Seating

Parking: Free street parking and some free parking lot. Lot parking is pretty difficult to find though. I’ve basically given up on that. I usually end up parking on Rainier Boulevard North. As a last resort, I think you can always find parking at the library but it’s a little far. Remember, there’s a bottom floor parking lot under the library’s main parking lot that most non-locals don’t know about.

Social Media Posts: Instagram | TikTok | Facebook | Twitter | YouTube

Buy a Ticket or Learn More:

Cast and Production Team: See under the multimedia below.

Other Video +/- Pictures: B-reel clips in TikTok video by Nyhuis Creative

@showsiveseen This ain’t your granny’s @rodgersandhammerstein #Cinderella #musical! Colorful retro costumes/hair. Stunning orchestra w/ the occasional funky beat. Nice ballroom choreography. Soothing voice from Prince James Schilling. Proud to see #Pinay @aysgarcia play Cinderella at #VillageTheatre. Takes me back to @brandy & @whitneyhouston’s TV special. Review + Video Credit: showsiveseen.com/2047 #theatre ♬ “Ten Minutes Ago” (Reprise) – Rodgers + Hammerstein’s Cinderella Original Broadway Ensemble
Ays Garcia and Cassi Q Kohl in Village Theatre’s Cinderella. Photo by Angela Sterling.
Anne Allgood, Mia Mooko, and Carly Corey in Village Theatre’s Cinderella. Photo by Angela Sterling.
Brandon O’Neill and Candice Donehoo in Village Theatre’s Cinderella. Photo by Angela Sterling.
Jason Weitkamp and the cast of Village Theatre’s Cinderella. Photo by Angela Sterling.
Cassi Q Kohl in Village Theatre’s Cinderella. Photo by Angela Sterling.
The cast of Village Theatre’s Cinderella. Photo by Angela Sterling.
Ays Garcia in Village Theatre’s Cinderella. Photo by Angela Sterling.
Mia Mooko and Carly Corey in Village Theatre’s Cinderella. Photo by Angela Sterling.
Ays Garcia and James Schilling in Village Theatre’s Cinderella. Photo by Angela Sterling.
Ays Garcia and James Schilling in Village Theatre’s Cinderella. Photo by Angela Sterling.
Ays Garcia, James Schilling, and the cast of Village Theatre’s Cinderella. Photo by Angela Sterling.
RoleName
Fairy GodmotherCassi Q Kohl*
Candice Donehoo* (u/s)
GraceCarly Corey*
Bridgid Abrams* (u/s)
LionelJason Weitkamp*
Fune Tautala (u/s)
CinderellaAys Garcia*
Beth Pollack (u/s)
JoyMia Mooko
Mackenzie Neusiok
Queen ConstantinaCandice Donehoo*
Rebecca Maiten
StepmotherAnne Allgood*
Beth DeVries*
ChristopherJames Schilling
Kawika Huston
King MaximillianBrandon O’Neill*
Mark Emerson*
EnsembleBridgid Abrams*
Beth DeVries*
Keola Kapulani Holt
Sade Aset
Mark Emerson*
Mackenzie Neusiok
Ethan Carpenter*
Kawika Huston
Fune Tautala
Gabriel Corey*
Charlie Johnson
Ensemble SwingsLisa Kwak
Christopher Sweet
Director/Conductor/Keyboard 2R.J. Tancioco
Violin 1/ConcertmasterWinnie Dungey
Violin 2Valerie Tung
CelloGrant Olson
BassOlivia Hamilton
Reed 1Alicia Suarez
or Susan Telford
Reed 2Koryn Orcutt
or Bruce Carpenter
Reed 3Jay Easton
Reed 4Robyn Watson
Keyboard 1Benjamin Bentler
Trumpet 1Greg Lyons
Trumpet 2William Ward
Horn 1David McBride
Horn 2Jill Jaques
TromboneKeith Winkle
PercussionJesse Whitford
Stage ManagerJamie J. Kranz*
Assistant Stage ManagersMichelle Chesley
Alyx Kruger
ComposerRichard Rodgers
Book and LyricsOscar Hammerstein II
Adapted by Tom Briggs from the teleplay by Robert L. Freedman
Scenic DesignersLauren Nichols
Arnel Sancianco
Costume DesignerChelsea Cook
Lighting DesignerAndrew D. Smith
Sound DesignerKurt Conway
ChoreographerKaty Tabb
DirectorDesdemona Chiang
*The Actors and Stage Managers are members of the Actors’ Equity Association, the Union of Professional Actors and Stage
Managers in the United States.