"SOMETHING ROTTEN!" at The 5th Avenue Offers Both Shock and Awe, For Better or Worse

Cast of the Something Rotten! National Tour - Photo Credit Jeremy Daniel

The 5th Avenue Theatre in Seattle just opened its 2017-2018 season with the touring Broadway musical comedy Something Rotten!, which runs now through October 1, 2017. It should completely delight the most ardent fans of musicals. I mean people who really love musical theater, those who can hear a snippet of a song and name the title and show, who eat up every cliché the genre can possibly offer. For them, this quick-paced, colorful, and clever production is a feast. However, to others, Something Rotten! might feel like an orgy of excesses. 

It comes from a team with very impressive credentials. Casey Nicholas, a Tony Award winner who did The Book of Mormon and Aladdin, directs this production and also did the choreography. Wayne Kirkpatrick (a Grammy Award winner and Tony Award nominee) and Karen Kirkpatrick (Golden Globe Award winner and Tony Award nominee) wrote the music and lyrics, with Karen Kirkpatrick also writing the book with best-selling author John O-Farrell.

The show opens with the Minstrel (Nick Rashad Burroughs) starting off the fun and funny "Welcome to the Renaissance." He is soon joined by the chorus as we move into a lively London street scene, including the Globe Theatre. This is the 1590s world of William Shakespeare (who is also a primary character, played by Adam Pascal).  I instantly loved the colors of the set and costumes, by Broadway veterans Scott Park and Gregg Barnes, respectively. Rich shades of rust, gold, brown, and teal pleased me, as did Jeff Croiter's perfect lighting. 

Something Rotten! revolves around the dilemma faced by two playwright brothers, Nick and Nigel Bottom (Rob McClure and Josh Grisetti, respectively) Struggling to survive in the shadow of Shakespeare, whose success has turned him into the rock star of his times, they must come up with a new play on short notice, to compete and keep their troupe going. Unfortunately, the two brothers disagree on almost everything. Nick, unbeknownst to his wife Bea (Maggie Lakis) uses their meager savings to hire a soothsayer named Nostradamus (Blake Hammond), to give him a winning idea and reveal the next big thing in theater. This Nostradamus is the nephew of the Nostradamus, and his clairvoyance is not quite spot on. 

Cast of the Something Rotten! National Tour - Photo Credit Jeremy Daniel

As Nostradamus describes his vague vision of a potential smash hit we recognize as Shakespeare's future play Hamlet, he interprets the title as Omelet. Running with the idea, Nick comes up with a completely ridiculous, over-the-top-silly script involving chefs with frying pans and dancing omelets. Most importantly, Nostradamus makes the seemingly outlandish suggestion that the playwrights have actors sing their lines, rather than speak them, setting the whole play to music and including dance. Ta da! They are about to invent something completely new—musical theater! Is this insanity or genius? Can it succeed?

Something Rotten! also involves romance of course. The sensitive and poetic brother, Nigel, falls in love with Portia (Autumn Hurlbert), daughter of a Puritan preacher, Brother Jeremiah (Patrick John Moran), a man whose repressed sexual fantasies causes enough Freudian slips to rate as psychological banana peels. 

Speaking of music, Peter Hylenski's sound design, along with Phil Reno's music direction of Glen Kelly's arrangements and Larry Hochman's orchestrations, bring out the full potential of the amazing musicians we never see but so appreciate. A combination of the Something Rotten! orchestra (conducted by Brian P. Kennedy) and our beloved 5th Avenue Theatre Orchestra, delivers a wide variety of music so skillfully you would think they had all played these exact tunes for years.  

Cast of the Something Rotten! National Tour - Photo Credit Jeremy Daniel

So, with great music, singing, dancing, sets, and costumes, what's not to like?
After all, the annoying woman sitting behind me burst out with ear-splitting cackles over everything. The show begins with so much dazzling sensory sensations, it later struggles to maintain that high. There was plenty of genuinely good humor, which I, too, enjoyed, to a point, because there was also plenty of in-your-face crassness that started to get old. There is good reason it is recommended for those 10 years of age or older. Ironically, much of the bawdy humor would go over the heads of younger children whereas kids over 10, in today's society, would probably catch the implications. Content Advisories.  

How many times can you ask an audience to find the same thing funny (like winking references to the brothers' surname of "Bottom" or the outrageous behavior of the repressed Puritan?) How much attention must be focus on the exaggerated codpiece portion of the men's costumes? (You are going to want to click on that link to read a fascinating article.) How many musical "quotes" from other Broadway shows can you stomach? How many sexual innuendos of the same type do we need to get the obvious point? How much belief must we suspend to believe what some of these characters do, like the Puritan daughter getting drunk? 

Picture this scenario. You invite a group of notable chefs into the kitchen and provide them with unlimited quantities of the highest quality ingredients, some of which are best used judiciously. Then, they each add every one of those high quality ingredients with abandon, plus extra, for good measure, stir it all together, and crank up the heat. The end result might make you say "WOW," but does that make it good? 

I will let you decide. Audience reaction on opening night indicated how many people loved this show. If you are in the mood for a meal of many flavors, colors, textures, and tunes, go, and enjoy yourself. However, after this experience, you might decide the best chaser would be a glass of plain water and a quiet drive home.

Review of "THE PAJAMA GAME" at The 5th Avenue Theatre — No slumber at this lively party.

The Pajama Game, at The 5th Avenue Theatre in Seattle, now through March 5, 2017, invites your news-weary brain to slip into something more comfortable. But don't expect to get any sleep. This rollicking musical packs great music, dance, and song into a tale of workplace romance, office politics, and labor union woes, all with a happy resolution. Based on a 1953 novel called 7 1/2 Cents, by Richard Bissell, it portrays both romantic and economic conflicts in a story about the struggles employees of the Sleep-Tite pajama factory face when they ask for a raise in that amount. The company's owner, Mr. Hasler (David Pichette), will have none of it and expects his handsome new hire, Supervisor Sid Sorokin (Josh Davis) to support and enforce his views. When Sorokin falls for the union's Grievance Committee head, Katherine "Babe" Williams (Billie Wildrick), the sexual tension heats up, especially with the two of them on opposite sides of the issue. The story is dated, true, but put it in the context of society in the 1950s, get past the issues, and just enjoy it for what it is.

Sid Sorokin (Joshua Davis) and Katherine "Babe" Williams (Billie Wildrick)  in The Pajama Game at The 5th Avenue Theatre.
Photo credit Tracy Martin

George Abbott and Richard Bissell wrote the book for this musical, which first opened on Broadway on May 13, 1954, winning Tony Awards® in 1955 in three categories— Best Musical, Best Performance by a Featured Actress in a Musical, for Carol Haney, and Best Choreography, for Bob Fosse. Richard Adler and Jerry Ross wrote the music and lyrics for this and their other hit, Damn Yankees, before Ross died suddenly and unexpectedly in 1955. Unlike other teams, Adler and Ross were each both composer and lyricist and contributed their skills equally. Post war musicals, like the era's pop music (not counting rock 'n' roll) had a tamer, more civilized sound than during the Swing Years. The energy of The Pajama Game harkened back to the spectacularly jazzy and lively musicals of the 1930s. Tunes like Steam Heat, Hey There, There Once Was a Man, and Hernado's Hideaway thrilled audiences and became hits in their own right. 

Gladys (Sarah Rose Davis) dances at Hernando's Hideaway in The Pajama Game at The 5th Avenue Theatre.
Photo credit Tracy Martin

No group of musicians could have performed these tunes better than the fabulous orchestra at The 5th Avenue Theatre did when I attended on opening night. With musical direction by Joel Fram, this orchestra deserves much of the credit for The 5th Avenue having become the nation's supreme home for musical theater. The 17 members were flawless in their abilities. Even the volume seemed perfect. And speaking of sounds, Sound Designer Ken Travis made magic. Touches like the hiss of steam irons helped bring it all to life.

The company of The Pajama Game at The 5th Avenue Theatre.
Photo credit Mark Kitaoka

Director Bill Berry brought out the absolute best in this talented cast, where even minor parts make major contributions to a production packed full of fun. Here is an Ensemble so full of characters with distinct and memorable personalities. The chemistry of the lead couple felt realistic in their portrayal of the hot and cold, angst and ecstasy of being madly in love.  The first chance to hear Davis sing was his solo number A New Town is a Blue Town. The power of his voice made me eager to hear more. Then, when he and Wildrick sang as a duo, I loved the way their two fine voices seem as made for each other as their characters were. They blended beautifully, which is not always the case. 

Hines (Greg McCormick Allen) and Mabel (Shaunyce Omar) in The Pajama Game at The 5th Avenue Theatre. 
​Photo credit Mark Kitaoka

Other relationships, whether romantic or casual, offered just as much sparkle. Factory foreman, Hines (Greg McCormick) has a serious jealousy problem concerning his flirtatious girlfriend, the boss's secretary Gladys (Sarah Rose Davis). He deals with it (unconvincingly) with hilarious help from the receptionist, Mabel (Shaunyce Omar) in the song I'll Never be Jealous Again. Omar, McCormick, Omar, and Davis all infused their characters with so much personality they will stick in your mind. So will the boss, Mr. Hasler. Pichette gave a fun and fiery performance. So did Taryn Darr as Mae, the hot blooded, redhead union member. Other fine performances were given by Kyle Robert Carter, as the union "Prez," Allen Galli, as Babe's "Pop," and the charismatic Lauren Du Pree in the role of the employee Brenda and as a member of the Ensemble.

Prez (Kyle Carter) and Mae (Taryn Darr) in The Pajama Game at The 5th Avenue Theatre.
Photo credit Tracy Martin

Bob Richard's perfect choreography (including the tap numbers I always crave) contributed so much to the revelation of character and emotion, as much as any singing or acting. Director Bill Berry, in addition to allover excellence in direction, would be the one to thank for the impactful touches of physical comedy so important to the enjoyment factor in this production. This cast is obviously having a great time, and the audience feels that vibe. 

Outside of the non-stop movement and actual dancing, the greatest visual impact came from the wow-worthy set designs, costumes, and lighting, by Carol Wolfe Clay, Rose Peterson, and Robert J. Aguilar, respectively. Wooden posts supporting the roof inside the factory magically turned into the trucks of leafy trees in a park or surrounding a house. Period perfect clothing was a delight, and the lighting used during the scene of the company picnic on a summer day seemed so natural I could almost feel the heat. Other times, as in the nightclub scene at Hernando's Hideaway, creative use of lighting made the mood.

The company of The Pajama Game at The 5th Avenue Theatre.
Photo credit Tracy Martin

Whenever I watch a performance, I think about what it takes, including behind the scenes, to pull a great show together. Everyone involved gives it all they have. However, even as a reviewer who likes to emphasize the positive, I still often observe aspects of plays and musicals that, in my opinion, detract at least slightly. On our long drive home after each show we see, my husband and I discuss and compare our impressions. In this case we heartily agreed that this production of The Pajama Game is a masterpiece, possibly the best musical we have ever seen at The 5th Avenue. Dare I call it flawless? YES! For the first time ever, I will!

I recommend going to the theater's online box office right now to order tickets for The Pajama Game immediately. 

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MUSICAL "GREASE" AT THE 5TH AVENUE DOES NOT KNOW WHICH WAY TO SLIDE

Danny Zuko (Bryan Gula) and Sandy Dumbrowski (Solea Pfeiffer), center, with the Company of Grease at The 5th Avenue Theatre.
Photo credit Mark Kitaoka

I looked forward to the musical “Grease” at The 5th Avenue for months, but came away with mixed feelings. This production, which runs July 9-Aug. 2, 2015, got off to a great start. The Dusty 45s, a 1950s-style Seattle band, opened the show, supposedly playing for a reunion of a Class of ’59 from a fictitious high school. Led by the energetic guitar and trumpet player Billy Joe Huels (Johnny Casino, here) every member contributed rocket fuel for a blast of a performance leading into the musical, and other fine musicians joined them later. That music set the mood and was probably the main reason most of the audience went wild for this production, directed by Eric Ankrim. That audience included people ranging in age from those young enough to think of the ‘50s as their grandparents’ era to those who probably did graduate in 1959. 

The Company of Grease at The 5th Avenue Theatre.
Photo credit Tracy Martin

The problem with this show was that it is neither raw enough to feel painfully realistic nor sweet enough to come across as pure hokey nostalgia. Some of the things said, done, and talked about, especially in mixed company, were just too far-fetchef, if you wanted nostalgia. On the rougher side, the raunchy trash talk seemed gratuitous, like a added dose of token "bad ass" but not convincingly scary, just crass. 

In spite of that, everyone in the cast performed well within the confines of their roles. The 5th Avenue’s version of Grease does have plenty to offer if you want to spend a fun evening immersed in a clichéd view of the ‘50s with a Mickey-Mouse-Club-turned-naughty feel. The male lead, Bryan Gula, as Danny Zuko of the “greaser” crowd, and Solea Pfeiffer as the proper good girl, Sandy Dumbrowski, did not entirely convince me of their teenage angst and frustration, but they gave it a good try. Petite fireball Kirsten deLohr Helland will be remembered for her edgier role as bad girl Betty Rizzo (who actually had more depth and integrity than some of her peers), but she had a bit too much of an attitude at times. Fortunately, Helland did a fine job of bringing out Rizzo's humanity when it counted, giving this musical a badly needed touch of real drama. Kudos to her.

Rizzo (Kirsten deLohr Helland, center) and the Company of Grease at The 5th Avenue Theatre.
Photo credit Tracy Martin

The plot suffers from disjointedness and confusion. One minute a rumble is about to happen among the boys (although the threat never seemed real), and the next minute we’re on to a new scene with no idea whether or not the rumble happened. The lead couple is on the outs and then suddenly on the hood of the car, ready to kiss, but when did they reconcile? Ironically, one of the best scenes I saw seemed inserted into the story without any logical reason. It centered around Frenchie (Sarah Rose Davis), the beauty school dropout, and Teen Angel (Kyle Robert Carter) and provided not only creative and fun examples of set and costume design, but also a chance to hear Carter's wonderful solo, the best voice I heard all evening.

Frenchie (Sarah Rose Davis) and Teen Angel (Kyle Robert Carter), center, and the Company of Grease at The 5th Avenue Theatre.              Photo credit Tracy Martin

There were other good voices, but I did not like the way the microphones affected them and sometimes thought they were too loud in comparison with the live music. I loved the choreography throughout. There was a lot of talent on that stage, a lot of it very young talent, but the cast also included veteran actress Marianne Owen, who played the one adult in the musical, Miss Lynch. Owen always gives a great performance. I enjoyed and appreciated Harmony Arnold’s costume designs, Christopher Mumaw’s stage sets, and Tom Sturge’s typically perfect lighting.

Danny Zuko (Bryan Gula) and Sandy Dumbrowski (Solea Pfeiffer) in Grease at The 5th Avenue Theatre.
Photo credit Tracy Martin

People in the audience seemed to love this show. The woman sitting next to me could possibly have been in high school in the late ‘50s, and she and her friends were having a great time. She whooped and whistled, moved to the music, and applauded wildly. Meanwhile, I sat there next to my equally quiet husband, thinking, Man, what’s wrong with me? I must be way, way too serious. I did enjoy it, did applaud, but in spite of great performances and fun music, I just didn’t feel truly engaged, much less on the verge of swooning, and some of it irritated me.

Sandy Dumbrowsk (Solea Pfeiffer, center) and the Company of Grease at The 5th Avenue Theatre.
Photo credit Mark Kitaoka

As we watched what was supposed to be these characters' mapless journeys from the struggles and insecurities of youth to adulthood, I suspected that most of them would miss the turnoff and never reach their destination. This had to be the most immature bunch of high school seniors ever, posing as tough gang members and their girlfriends. I questioned why this musical celebrates Sandy's rise in social status gained by completely succumbing to peer pressure, giving up her good girl looks and ways for sleaze appeal, as victorious. According to the program, this was a transition from “uptight teenager to a joyful young woman,” as if cigarettes, tight pants, a boy friend who treats you badly, and conformity necessarily lead to a joyful life. (I wonder how Sandy looked at the 30-year reunion.)

Maybe the problem was that my memories of 1959 are those of a very young child from what people would have called a "respectable family" in a small town. My older sister and her boyfriend were high school seniors about that time. My sister could have stepped right out of a 1950s movie role. Pretty and popular, she lived, it seemed to my four-year-old self, in a magical swirl of high school clubs, dances, football games, wool skirts and sweaters, saddle shoes, record players, 45s, and all. From my adult viewpoint, there’s little doubt that beer, cigarettes, and sex entered into the picture during their teen years too, but those things never entered my innocent mind at the time I was making my own memories of the late '50s. The closest thing to Grease in my young life was whatever my sister’s boyfriend used to slick his hair back into a D.A., and I adored him. After all, he let me sit on his lap and steer his car.

Kenickie (Saxton Jay, center) and (l-r) Sonny (Jorden Bolden), Doody (Kody Bringman), and Roger (Patrick Shelton) in Grease at The 5th Avenue Theatre.
Photo credit Mark Kitaoka

This fascination with the ‘50s puzzles me sometimes. I asked my husband why he thought that decade became symbolic of carefree youth, fun, and happiness, when in reality, it included the Korean War, McCarthyism, segregation, bomb shelters, and a post World War II society that pressured women back into the Betty Crocker cookbook role of subservient housewives, after they had held vital jobs in the defense industry. Why are so many people so in love with a fantasy?

“It was the music,” he said. “It had all that energy.” 

He’s right, I’m sure. An evening spent watching Grease at The 5th Avenue will definitely energize you. Go. Have fun. Just don’t believe everything you see and hear.

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"CAROUSEL" BRINGS BOTH BEAUTY AND DARKNESS TO THE 5TH AVENUE THEATRE STAGE

Although I have always been aware of the musical Carousel, I had never seen a single production of it until last week, at The 5th Avenue Theatre in Seattle, where it runs through March 1, 2015. Neither have I seen the 1956 film by the same name. I knew nothing of the plot and took my seat with an open mind. Carousel initially appeared on Broadway in 1945 as the second collaboration between composer Richard Rodgers and lyricist Oscar Hammerstein, their first having been Oklahoma. Although I try to avoid reading or hearing the opinions of others before I judge for myself, it is interesting that two people who spoke to me at different times on the evening I attended made equally true but opposite comments, and I ended up agreeing with both of them.

The first person told me, just as I arrived, “This is such a beautiful musical. You’re going to love it.” Yes, it is truly beautiful. All aspects under the control of the theater were offered in glorious style and abundance—great singing, dancing, acting, etc. The orchestra, 21 pieces this time, performed Richard Rodger’s unforgettable compositions so beautifully I hated for them to end. 

Carrie Pipperidge (Billie Wildrick) and Enoch Snow (Joshua Downs)
in Rodgers & Hammerstein's Carousel at The 5th Avenue Theatre.  ​Photo Credit: Mark Kitaoka

A couple of highlights for me were Billy Bigelow (Brandon O’Neill) singing his Soliloquy and Nettie Fowler (Anne Allgood) singing You’ll Never Walk Alone. Both are amazing. I especially enjoyed Billie Wildrick's character of Carrie Pipperidge—funny, vivacious, and delightful with a voice as fresh and pretty as a bird on a spring morning and full of warmth. Those in other supporting roles also gave outstanding performances. Best of all, this is an exclusively Seattle-grown production, drawing on the immense amount of local theatrical talent to create something other cities should envy.

So, yes, it was beautiful, but there was another side. The second person who spoke to me that evening, during the intermission, offered a warning. In essence, he said, “The second half gets much darker. This is actually a very dark story.” He also spoke the truth. This is no fairy tale, and it can make you sad or cynical, depending on your personality, without offering what I would consider an adequate reward of satisfaction to balance that. It deals with domestic violence and suicide. Its publicity speaks of “redemption,” but true redemption seemed incomplete or impossible. Of course this is the fault of the material, not the production. Set in the late 1880s, when women were still often seen as chattel, the musical looks at domestic violence in a noncommittal way, leaving me to wonder what Rodgers and Hammerstein actually thought about that issue. By the time the film adaptation came out in 1956, and even a decade after that, attitudes had not changed much. What are they now?

Billy Bigelow (Brandon O'Neill) and Julie Jordan (Laura Griffith)
 in Rodgers & Hammerstein's Carousel at The 5th Avenue Theatre.  
Photo Credit: Mark Kitaoka

In Carousel, the female protagonist, a young woman named Julie Jordan (Laura Griffith) is a rather serious loner, working in a textile mill in a small coastal New England town in the late 1880s. She meets a handsome but tormented “bad boy” carnival barker named Billy Bigelow (Brandon O’Neill), and it is lust at first sight. Julie risks everything to be with this obviously flawed roustabout she just met (which seems unlikely in that time and place) and they do fall in love, but neither will admit their feelings to the other. They scoff at marriage, but get married. Then they continue to make matters worse.

When I see musicals, I try to remind myself that they are mostly about the music, singing, and dancing. Sometimes I can enjoy all those things immensely and still not feel sympathetic toward certain characters, even characters I am expected to like, and this has nothing to do with how well the parts are acted. 

The character Julie might seem strong and inspiring to some, the epitome of the loving and loyal wife, who would never leave the man who treats her badly. I saw her as good, kind, loving, and loyal, but also weak, lacking self-respect, and enabling. As for Billy, he was not devoid of caring, tenderness, or a sense of right and wrong, but he was still abusive and self-centered. After reacting to everything immaturely, he ultimately takes the easy way out.

As happens in many families, bad decisions result in consequences that impact the next generation, in this case, the daughter they would never raise together. In spite of great acting and singing on the part of Griffith and O’Neill, this leading couple we would hope to cheer, identify with, and embrace, offered little for me to admire. 

The company of Spectrum Dance Theatre
 in Rodgers & Hammerstein's Carousel at The 5th Avenue Theatre.  
Phot Credit: Mark Kitaoka

Some things just plain annoyed me, even while I would call this a dazzling production and a “must see.” If that seems contradictory, let me stress that it was a visual and aural delight. The warm, earthy colors of the costumes glowed against a backdrop of cleverly conceived, minimalistic scenery that, for the most part, didn’t take up room on the stage, allowing plenty of space for the cast and the members of Spectrum Dance Theatre who took part in this co-production. Martin Christoffel’s set designs included the silhouettes of highly stylized sailboats suggesting a harbor, and stacked wooden crates on the shoreline of the 19th century New England town where the story takes place. The carousel itself was also more suggested than shown, although a rotating circle in the stage floor helped create the illusion. The music seemed perfectly balanced and the volume at the right level. I could hear and understand all the lyrics and appreciated special effects, such as sounds typical of the waterfront, adding realism to the abstractions. I loved the lighting too.

Carousel is a story full of beauty, wonderful music, poignancy, laughter, yearnings, romances (although few I would call psychologically healthy), plus illusions, emotional dysfunction, and plenty of regrets. Sounds more like real life than escapism, doesn't it? The show’s reminder that we all experience regrets and rarely get second chances moved me more than anything else. This story included little evidence of character development and, probably unintentionally, posed harsh questions. When are people truly victims of circumstance, and when are they victims of themselves and their own bad choices? Is there virtue, (even an expression of “love”) in accepting bad behavior because you think the perpetrator can’t help themselves? Or does that just make you a fool? Should the notion of loyalty include tolerance of abuse? Not in my mind. I don’t care much for excuses. 

The company of Rodgers & Hammerstein's Carousel at The 5th Avenue Theatre.  
​Photo Credit: Mark Kitaoka

Although I found so much to enjoy and appreciate in this production of a classical musical, most especially the music itself, I kept wondering, “What were Rodgers and Hammerstein really thinking?” When Julie sang “What’s the Use of Wonderin’” (all about her unconditional love for a guy who acts like a jerk), I kept hearing strains of Tammy Wynette’s “Stand by Your Man,” an equally gag-worthy song that was released in 1968, a year that I could swear was only yesterday. Naturally, it became a huge hit. 

I wasn’t even born when the Broadway musical Carousel made its debut. Later, when the film adaptation made the rounds, I might have been an aspiring writer, but one using a crayon instead of a pen and surrounded by dolls and teddy bears who agreed with all of my opinions. Those were the good old days. I'm sure many people disagree with me now. If I had been an adult reviewer in that era when so many of us were unconscious of our unconsciousness, I wonder if my own views would have differed. As beautiful as it is, the main value in Carousel lies in the fact that it might make us look at relationships and see how far we have come, (if we have truly come far at all). I fear way too many people have a warped idea of romance that celebrates martyrdom. They still get weepy over Tammy’s 1968 lyrics:

“You’ll have bad times, and he’ll have good times, doing things that you don’t understand. But if you love him, you’ll forgive him...”  

Would you? I suggest you go see it and then ask yourself that question. We all take away something different, and remember, both people who gave me their opinions were correct; it is both beautiful and dark, and also well worth seeing if for no other reason than to test your own cringe response. 

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2014 GYPSY ROSE LEE AWARDS—SEATTLE THEATER WRITERS ANNOUNCE THE WINNERS!

Joshua Carter as Seymour Audrey II Puppeteer: Eric Esteb Voice of Audrey II: Ekello Harrid Jr.
 ACT Theatre        Photo: Tracy Martin 

And the Winners are….

Seattle Theater Writers Announce the 2014 Winners of 

The Fourth Annual Gypsy Rose Lee Awards

Good Life Northwest congratulates all the winners! 

Nothing is more difficult than choosing winners from a selection of outstanding nominees, but the Seattle Theater Writers critics circle had to do just that before we could present our annual Gypsy Rose Lee Awards for the fourth year. Even though we did not all agree on everything, we do all agree on the excellence of Seattle's live theater scene, yet another reason to love life in the Northwest. 

This year's awards include a Special Award of Recognition for Excellence in Playwriting, which has been given to Tony Award winner Mr. Robert Schenkkan. The Seattle Repertory Theatre presented his two-play history of Lyndon B. Johnson—All the Way and The Great Society. 

Seattle Theater Writers recommendations: Get out and see more shows this year. Read our reviews. Form your own opinions. Note the names, follow the news, and please support what all these talented people do to enrich our lives. Enjoy reading through this list of winners! I can already hear the applause.

William Ontiveros grips Elijah Alexander in "The Invisible Hand" at ACT Theatre
Photo: Chris Bennion 

The 2014 Gypsy Rose Lee Award Winners are:

Excellence in Production of a Play 

(Larger Theater): The Invisible Hand - ACT Theatre

(Smaller Theater): A Small Fire - Sound Theatre Company

Excellence in Production of a Musical

In the Heights - Village Theatre

Excellence in Direction of a Play

(Larger Theater): Myra Platt - The Amazing Adventures of Kavalier & Clay (Book-It Repertory Theatre)

(Smaller Theater): Julie Beckman - A Small Fire (Sound Theatre Company)

Excellence in Direction of a Musical

Bill Berry - Little Shop of Horrors (The 5th Avenue Theatre/ACT Theatre co-production)

Excellence in Performance as a Lead Actor in a Play (Male)

(Larger Theater): Greg Lyle-Newton - The Normal Heart (Strawberry Theatre Workshop)

(Smaller Theater): Reginald Andre Jackson - The Mountaintop (ArtsWest)

Excellence in Performance as a Lead Actor in a Musical (Male)

Joshua Carter - Little Shop of Horrors (The 5th Avenue Theatre/ACT Theatre co-production)

Excellence in Performance as a Lead Actor in a Play (Female)

(Larger Theater): Tracy Michelle Hughes - Pretty Fire (Taproot Theatre)

(Smaller Theater): Teri Lazzara - A Small Fire (Sound Theatre Company)

Excellence in Performance as a Lead Actor in a Musical (Female) 

Jessica Skerritt - Little Shop of Horrors (The 5th Avenue Theatre/ACT Theatre co-production)

Excellence in Performance as a Supporting Actor in a Play (Male) - any non-lead

(Larger Theater): Timothy McCuen Piggee - Angels in America (Intiman Theatre)

(Smaller Theater): Ray Tagavilla - A Small Fire (Sound Theatre Company)

Excellence in Performance of a Supporting Actor in a Musical (Male) - any non-lead 

Dane Stokinger - Monty Python's Spamalot (The 5th Avenue Theatre)

Excellence in Performance as a Supporting Actor in a Play (Female) - any non-lead

(Larger Theater): Betsy Schwartz - Tails of Wasps (New Century Theatre Company)

(Smaller Theater): Evelyn DeHais - Chaos Theory (Annex Theatre)

Excellence in Performance as a Supporting Actor in a Musical (Female) - any non-lead

Taryn Darr - A Chorus Line (The 5th Avenue Theatre)

Richard Peacock plays Richie in A Chorus Line at The 5th Avenue Theatre.  
Photo Credit Mark Kitaoka

Excellence in Performance as an Ensemble

(Larger Theater): Tails of Wasps (New Century Theatre Company: Sylvie Davidson, Brenda Joyner, Hannah Mootz, Betsy Schwartz, Paul Morgan Stetler) 

(Smaller Theater): Gidion's Knot (Seattle Public Theater: Heather Hawkins, Rebecca Olson)

Excellence in Set Design

(Larger Theater): Carey Wong - The Boy at the Edge of Everything (Seattle Childrens' Theatre)

(Smaller Theater): Robin Macartney - Girl You Know It's True (The Stay Up Late Show/Theatre Off Jackson co-production)

Excellence in Costume Design

(Larger Theater): Christine Meyers - Twelfth Night (Seattle Shakespeare Company)

(Smaller Theater): Cami Funk - Balconies (Annex Theatre)

Excellence in Lighting Design

(Larger Theater): Andrew D. Smith - The Boy at the Edge of Everything (Seattle Childrens' Theatre)

(Smaller Theater): Marnie Cummings - Returning to Albert Joseph (Satori Group)

Excellence in Sound Design

(Larger Theater): Brendan Patrick Hogan - The Invisible Hand (ACT Theatre)

(Smaller Theater): Josh Blaisdel - The Lisbon Traviata (Theatre22)

Excellence in Musical Direction

RJ Tancioco - In the Heights (Village Theatre)

Excellence in Choreography or Movement

Daniel Cruz - In the Heights (Village Theatre)

Excellence in Local Playwriting

Stephanie Timm - Tails of Wasps (New Century Theatre Company)

Excellence in Local Composing

Mark Siano and Opal Peachey - Seattle Vice (Marxiano Productions)

Full cast of Seattle Vice at ACT Theater    Photo: John Cornicello

About Seattle Theater Writers:

Founded in 2011 by Miryam Gordon and comprised of local writers and reviewers, Seattle Theater Writers is a group dedicated to raising public awareness of theater practitioners and the work produced by professional theater organizations. Seattle Theater Writers’ hope is that awareness can encourage attendance and enjoyment of our rich cultural offerings.  Born from this mission are the annual Gypsy Rose Lee Awards, recognizing excellence in Seattle theater across 32 categories.

The participants in this year’s award process were Jose Amador (www.seattlestar.net), Candace Brown (goodlifenw.blogspot.com), Miryam Gordon (Seattle Gay News and miryamstheatermusings.blogspot.com), David-Edward Hughes (www.talkinbroadway.com/regional/seattle), Rosemary Jones (www.examiner.com/theater-in-seattle/rosemary-jones), Alice Kaderlan (blog.seattlepi.com/feetfirst), Dusty Somers (blogcritics.org/author/Dusty-Somers), and Michael Strangeways (www.seattlegayscene.com/).

For more information, go to www.facebook.com/SeattleTheaterWriters. The Notes section shows the evolution of the awards.

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