Selected comments left by Nominators in the 2017-2018 Season. Leaving comments is optional; the number of comments is not indicative of overall Nominator scoring. Please report any errors to shane@gregoryawards.org.

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Number of entries: 3301
Favorite Acting Performances Various  - Various

The very best acting performances for me were both in the same play, Eleanor Moseley and Michael Ramquist in "Who's Afraid of Virginia Woolf?", by Fully Reciprocal Theatre Company. Phenomenal!

In a less serious vein, I loved Tipsy Rose Lee as Audrey in "Little Shop of Horrors", by Reboot Theatre Company.


 Favorite Production Elements Various  - Various

Crucible - The stark set, the Chalk work - just brilliant
Mac Beth - The gory scenes were pretty great


 Favorite Production Elements Various  - Various

Every scene in "Hedwig and the Angry Inch" was spellbinding, consistently good elements throughout from the music to the acting to the costumes.
I loved the bilingual performance in the ASL version of "Midsummer Night's Dream." I was worried that seeing an ASL performance would be distracting, but it added so much to the play.


 Favorite Production Elements Various  - Various

Horse in Motion's use of The Stimson Green Mansion in Hamlet
Fifth Avenue's use of proscenium in Kiss Me Kate
Boxing ring imagery in Who's Afraid of Virginia Woolf


 Favorite Production Elements Various  - Various

I loved the chalk based set for The Crucible at ACT. Highly inventive for a well known show.

The set for Big Rock was also excellent.

All the design elements for Ride the Cyclone were fantastic. The use of tech was impressive for such a small cast show.


 Favorite Production Elements Various  - Various

I loved the Pride and Prejudice set- how there were no curtains, so the audience could see the “backstage”.
The Kiss Me, Kate and Ragtime costumes were a beautiful and era appropriate. I liked the moving staircases incorporated into Ragtime as well.


 Favorite Production Elements Various  - Various

I really enjoyed the technical elements. I felt like companies were taking fun risks exploring design.


 Favorite Production Elements Various  - Various

I really loved the scenic design of Pageant.
Ride the Cyclone had a lovely sound and set design. It was really out there.


 Favorite Production Elements Various  - Various

I still think about the design for The Crucible. The sparseness & flexibility of the set design, how it utilized the 'found' objects & space of the theater itself (my initial thought was that they just designed it like a production of Our Town which is, frankly, a brilliant approach); the modern but conservative, hyper-stylized costumes to bring the audience closer & recognize more of ourselves in the action of the play. World-class. Similarly, the set & video design for The Nether was some of the cleanest integration of overall-dramaturgical-concept being realized through design that I've ever seen; every time the projections changed, the audience gasped. Truly gorgeous work.


 Favorite Production Elements Various  - Various

Lighting at Seattle Rep is always a treat
Ride the Cyclone for its energy


 Favorite Production Elements Various  - Various

Lighting design for "Noosphere" (Live Girls!)
Lighting design for "Statements After an Arrest Under the Immorality Act" (Theater Schmeater)
Original music in "Las Marisposas" (Forward Flux)
Every single part of "Ragtime" (5th Avenue)
The set for "Ride the Cyclone" (ACT/5th Avenue)
Sound design for "Peerless" (ArtsWest) and "Mac Beth" (Seattle Rep)
The set for "Frost/Nixon" (StrawShop)
The set for "The Great Leap" (Seattle Rep)
The set for "The Wolves" (ACT)
The set for "Hir" (ArtsWest)
The set and direction of "JOURNEY WEST" (Copious Love)
The staging of "The Portrait of Dorian Gray" (Book-It Rep)
The set for "Dragon Lady" (Intiman)
The PLU Choir for "The Hunchback of Notre Dame" (5th Avenue)


 Favorite Production Elements Various  - Various

MAC BETH - Seattle Repertory Theater - The set and water effects were outstanding!
The Last Five Years - Taproot Theatre Company - The turntable with the piano on top. Brilliant.
The immersive sets of ACT Theatre's The Wolves and ArtsWests' Lady Day at Emerson's Bar and Grill and Village Theatre's Into the Woods were spectacular!
The sound in ASL Midsummer Night's Dream at Sound Theatre Company and in The Hunchback of Notre Dam at The 5th Avenue Theatre.


 Favorite Production Elements Various  - Various

Ride the Cyclone had so many intoxicating elements that felt magical and appropriate--set, sound, lights, backdrop, costumes, flying rig?? Wow.
Familiar's gorgeous set!
The genius and effective incorporation of live music of "Smoked!"
The super cool backdrop from "The Nether"
"Two Trains Running" also had a gorgeous set
Frost/Nixon's set was so effective and yet so simple.
"Teh Internet" had a set that served as a perfect digital playground. So ambitious for that space, and it worked magnificently.
The revolve of the piano in "The Last Five Years" kept a small, intimate show with minimal set very dynamic.
The set of American Buffalo! Holy crap that pawn shop!!
The set of The Wolves was brilliant and executed perfectly.
Costume and the entire production design for Pride and Prejudice were so fun, playful and effective. The sisters dancing with the men's coats was genius. Such a cohesive production design that still enabled these actors to just PLAY.
Production design for the Crucible was completely effective.
The dragon and the door in King of the Yees!!


 Favorite Production Elements Various  - Various

Seattle Rep's MAC Beth set, rain onstage and the headless girl (and head revealed!) at the end.
Ride the Cyclone at ACT - the set, spinning one of the actors in almost a full blackout, the actor looking so fake I thought it was a machine, the sound/lights, etc.


 Favorite Production Elements Various  - Various

The bells as well as the full choir for Hunchback of Notre Dame

The use of space and set for Hand to God. The set took a beating!

Scenic design for Best Wondorous Life of Oscar Wao

Howls Moving Castle


 Favorite Production Elements Various  - Various

The explosion of the set at the end of An octoroon shook me to my core.

The best part of MAC BETH was the extended rain over the witches' cauldron scene.


 Favorite Production Elements Various  - Various

The lighting in 5th Avenue's Ragtime
The multi-level staging and hearing/signing partnerships in ASL Midsummer Night's Dream
The sets in Two Trains Running
The Choreography in Village's Newsies


 Favorite Production Elements Various  - Various

The scenic design of The Happiest Song Plays Last was evocative, imaginative, and created some memorable transitions.
All design elements of Two Trains Running were top notch.
Costume Design, How I Learned to Drive
Costume Design, An octoroon
scenic design, You Can't Take it With You
lighting design, I Know Why the Caged Bird Sings


 Favorite Production Elements Various  - Various

The set and production this year at the ACT has been amazing. For both the "King of the Yees" and the "Crucible:" it was an amazing use of the space and using the cast to actively move the set around.


 Favorite Production Elements Various  - Various

The set, lights, and sound of octoroon - so versatile, usable, multitasking and mysterious.


 Favorite Production Elements Various  - Various

The shadows and bare stagining in Ragtime
Howl's Moving Castle tech elements
Dorian Gray set and lighting
Ride the Cyclone set and other tech elements like the dance choreo being in the air and the projections on clothing
Forbidden Planet projections and set
Frost/Nixon use of TVs as part of set and live taping that was an exact mirror of what was aired
Vanishing Point set
Hand to God...the puppets!
Wit set and projections
How To Break incorporation of music and sound cues and projections to tell narrative
Row Yr Boat tech (sound and light cues especially)
Silhouette lighting and sound cues
Ironbound set and use of lighting
Wolves set and use of the theatre in round spacing
Hunchback production elements were all amazing
We are PR use of space (starting the audience outside and then bringing them in), the set, use of lights, sound


 Favorite Production Elements Various  - Various

The simple but incredibly versatile and lovely silk pyramid structures in Silhouette at Annex Theatre

The set for octoroon at ArtsWest, an amazing antique-store jumble of props and objects that tumbles symbolically at the end


 Favorite Production Elements Various  - Various

Use of natural, backyard porches in PROOF bu the Proof Porch Product
Choreography in THE EARTH MOVES, Heron
Use of Spanish in Proof by the Proof Porch Product
Set design in KING OF THE YEES
Set design in TEH INTERNET IS SERIOUS BUSINESS
The barebones set of PRIDE AND PREJUDICE at Seattle Rep
Set design at HAPPY HAPPY HAPPY, Macha
Set and lights at CORIOLANUS FIGHT LIKE A BITCH
Sets and Costume in THE FLIGHT BEFORE XMAS
Set design in TWO TRAINS RUNNING, Seattle Rep
Set and sound THE HAPPIEST SONG PLAYS LAST, Theatre 22
Set and lights ASL MIDSUMMER NIGHTS DREAM
Lights and set THE NETHER, WET
Lights LADY DAY AT EMERSON'S BAR
Lights, PERSIMMON NIGHTS, Cafe Nordo


 Favorite Productions Various  - Various

My favorite, as I predicted it might be when I saw it way back last summer, was "Goblin Market" by Sound Theatre Company. It was an enchanting, magical, perfectly polished jewel of a musical.

I also loved "Last Stop on Lilac" at the Annex Theatre, "Dead Man's Cellphone" at Centerstage Theatre, Little Shop of Horrors" by Reboot Theatre Company, "Who's Afraid of Virginia Woolf?" by Fully Reciprocal Theatre Company, and (the, I believe to Broadway-bound,) " Ibsen in Chicago" at the Seattle Rep.


 Theatre of the Year Comments Various  - Various

ACT Started off with a bang with The Crucible. One of the best this year. Lots of great content this year.
Seattle Rep was a close second with an unbelievable Mac Beth with a young and unknown cast which blew everyone away.
Book it is constantly doing great theater - and Dorian Gray was really one of their best.
Taproot was the surprise for me - it did Crowns which i thought was charming.
And rounding out Strawberry Theater Workshop who did Frost/Nixon with an all female lead cast was bold and ambitious and it came out fantastic


 Theatre of the Year Comments Various  - Various

ArtsWest crafted a tightly curated season around a central theme that brought strong texts by diverse playwrights into the hands of talented, young, and diverse directors. Not a single bad play or bad production, and they have a willingness to push their audiences out of their comfort zones. They are the #1 theatre of the 2017-2018 season.


 Theatre of the Year Comments Various  - Various

ArtsWest had a very compelling season offering that featured diverse voices and performers. Excited for the next season also! WET is included for "Straight White Men" which was so brilliantly done. I loved "The Flight Before X-mas" at SPT - it should become a holiday staple. "Ride the Cyclone" and "King of the Yees"at ACT were highlights of the season. Intiman had a great season.


 Theatre of the Year Comments Various  - Various

Strawberry Theatre Workshop has two of my favorite shows of the year in How I Learned to Drive and Frost/Nixon. I enjoyed everything I saw at Book It, despite not actually being the biggest fan of their style. I was also impressed by the breadth and variety of their season. Washington Ensemble Theatre also had a great season. Their works were daring and interesting and I appreciate that they push the envelope in the medium sized theatres.


 Theatre of the Year Comments Various  - Various

I'm placing ArtsWest at the top of my list because they fall into a "most improved" category. Not only have they upped the quality of their productions, but their play choices have become increasingly challenging and socially relevant. Strawberry Theatre Workshop is also up there in terms of social relevance. As for my choice of Re-Act, they are they little theater that could and I'd love to see them recognized for being prescient, utilizing multi-cultural casting long before other theaters even considered it.


 Theatre of the Year Comments Various  - Various

It has been a pleasure to follow Horse in Motion. Their shows are exciting and the collaboration is obvious. Passionate people working to create.

Seattle Public Theater continues to delight in a small playing space.


 Theatre of the Year Comments Various  - Various

Strawshop has been boldly updating modern classics.
ArtsWest has been producing bold and inclusive works.


 Theatre of the Year Comments Various  - Various

The partnership between Intiman and ArtsWest produced some of this season's most compelling theatre. It is my hope that that partnership continues to blossom and grow and create more art.


 Theatre of the Year Comments Various  - Various

The Seattle Rep presents polished and enjoyable shows every time.
Reboot Theatre Company does a fresh take on classic shows, with great results.
Sound Theatre Company presents each season with a theme that is usually under-represented in theater in general, and produces wonderful shows.


 Comments (Lighting) Gin Game, The  - Village Theatre

Beautiful night lighting and lightening effects.


 Comments (Lighting) Gin Game, The  - Village Theatre

Nice subtle shifts to indicate changes of time of day or that the weather outside is different.


 Comments (Scenic) Gin Game, The  - Village Theatre

beautiful attention to detail, loved the ragged ferns and the texture of the house, floor.


 Comments (Scenic) Gin Game, The  - Village Theatre

Great attention to the slow delapidation of the house. Flaking paint, worn out pillows on the furniture, old and missed matched furniture.


 Comments (Scenic) Gin Game, The  - Village Theatre

My God, the details! The leaves and grass on the roof and the gutters and electric meter, the crooked light switch. The dirty screens and selective junk giving a cluttered forgotten sort of feel that was so perfect. Even the air conditioner. There was so much decaying detail that offered deeply appropriate feeling of the 'left behind.'


 Defining Moment Gin Game, The  - Village Theatre

I really enjoyed when the roof sprang a leak. It seemed to coincide nicely with the veneer of the characters breaking loose.


 Defining Moment Gin Game, The  - Village Theatre

In the first scene Fansio drops a few cards end up putting one in her mouth, with out thinking about it. begins looking around for the card misplaced like someone looking for their sunglasses that they had put on the top of there head. It showed this sweet absent minded, forgetful quality.

Welller flips the card table at the end of Act1. It for shadows the festering anger and frustration he has.


 Defining Moment Gin Game, The  - Village Theatre

It was a well-executed psychological horror under a thin veil of comedy.


 Defining Moment Gin Game, The  - Village Theatre

The moment I entered the theater and saw the exposed set, I was transported to the place these two people are inhabiting in this play. What an extremely well done set with the exterior of an old, weathered house (including some grass growing up on the roof in the rain gutter - nice detail), screened porch where they spend their time playing gin, with just a view into the house when the door is open and another glimpse outside the screen door to the yard. The collection of odds and ends stored on the porch completed the setting perfectly.


 Defining Moment Gin Game, The  - Village Theatre

There were many defining moments in this piece. It started when they were discussing medical problems and divorce and came the question, "How did you get over it?" The answer, "Just time" was poignant and well-delivered.

When they started dancing, it was personal and took their relationship to a new level, as did the yelling, "bitch!" then the slap. Fonsia: "This is so upsetting" delivered beautifully.

Fonsia swearing for the first time: "Gin, God damnit, Gin!"

Many wonderful moments!


 Defining Moment Gin Game, The  - Village Theatre

Walking into the theater and being able to see the amazing detail of the set.


 Defining Moment Gin Game, The  - Village Theatre

Weller in his childlike rage flipping over the card table at the end of Act 1 and Fonsia finding her fire and slapping Weller lightly but with conviction after he called her a bitch.


 Kurt Beattie (Weller Martin) Gin Game, The  - Village Theatre

Devastatingly effective in his fight choreography, range of tantrums, embodied swearing and despair. Bravo!


 Marianne Owen (Fonsia Dorsey) Gin Game, The  - Village Theatre

A wide range in this role and diverse embodiment, nervous innocence into an unfolding charm into the toe for toe meeting her abusive opponent in the ring.


 Marianne Owen (Fonsia Dorsey) Gin Game, The  - Village Theatre

Plays sweet very well.


 Other/Final Comments Gin Game, The  - Village Theatre

I was glad to see a show about the concerns of elders and the hard positions they have to make as health and finances decline. This is topic that is not considered enough, and we will all have to face it.


 Other/Final Comments Gin Game, The  - Village Theatre

A perfectly timed play. It moved along effortlessly and I was engaged the entire time. Great pacing and a beautiful range and dance between the two characters.


 Other/Final Comments Gin Game, The  - Village Theatre

A very well done show that had the audience laughing loudly throughout.


 Other/Final Comments Gin Game, The  - Village Theatre

What a joy to see these 2 actors together!


 Becca Orts (Penny Pingleton) Hairspray  - Village Theatre

Her performance as Penny was adorable and endearing.


 Christine Riippi (Prudy Pingleton/Gym Teacher/Matron) Hairspray  - Village Theatre

Amazing, a delight and so much fun!


 Christine Riippi (Prudy Pingleton/Gym Teacher/Matron) Hairspray  - Village Theatre

Ms. Riippi looked like she was having fun in all her roles.


 Christine Riippi (Prudy Pingleton/Gym Teacher/Matron) Hairspray  - Village Theatre

Wish we got to see more of her! A wonderful performance, delivered with glee and a side-helping of terribleness. I couldn't wait to see what she was going to do next!


 Comments (Costume) Hairspray  - Village Theatre

Every bit of the costume design was superb -- although poor Tracy in those tight skirts! Amber's dress in the final scene was a knock out.


 Comments (Costume) Hairspray  - Village Theatre

Oh my god, these costumes! From the pink flamingo suit to the Supremes-style mini-dresses, those 50s cocktail dresses (especially the white and blue one!), the fabulous go-go boots and sparkly dress, the yellow trousers and shirt set, even the house-dresses - every single outfit was on-point.


 Comments (Direction) Hairspray  - Village Theatre

I couldn't have enjoyed this show more! What a moving, energetic, fantastic production.


 Comments (Ensemble) Hairspray  - Village Theatre

Worked together seamlessly. Everyone a stand out without taking away from the leads.


 Comments (Lighting) Hairspray  - Village Theatre

That curtain of light was just gorgeous! Great follow spots!


 Comments (Scenic) Hairspray  - Village Theatre

Simple but effective, in particular the Opening scene with the bed and the jail scenes.


 Comments (Sound/Music) Hairspray  - Village Theatre

Perfect levels.


 Defining Moment Hairspray  - Village Theatre

“I Know Where I’ve Been”.


 Defining Moment Hairspray  - Village Theatre

I know where I've been brought down the house. Outstanding performance by Shaunyce Omar.


 Defining Moment Hairspray  - Village Theatre

I really enjoyed the moment when the Tracy's parents sang their duet all the way downstage of the curtain. It felt very old time vaudeville.


 Defining Moment Hairspray  - Village Theatre

Motormouth Maybel's songs were very emotional and beautiful


 Defining Moment Hairspray  - Village Theatre

Motormouth's song I Know Where I've Been


 Defining Moment Hairspray  - Village Theatre

Opening number, Good Morning Baltimore


 Defining Moment Hairspray  - Village Theatre

The ensemble crashing the Miss Hairspray competition, integrating the stage.


 Defining Moment Hairspray  - Village Theatre

The moment when the giant can of hairspray pops open.


 Defining Moment Hairspray  - Village Theatre

The unveiling of Edna (Nick DeSantis) in the Hairspray can at the end of the show!


 Defining Moment Hairspray  - Village Theatre

This production is as good as any you might see anywhere. It was simply outstanding.


 Defining Moment Hairspray  - Village Theatre

Tracy's facial expressions during It Takes Two was the best thing I have seen in a long time. Also the character Brad's wig was amazing. I laughed everytime he came on stage.


 Ethan Carpenter (Link Larkin) Hairspray  - Village Theatre

The scene where Tracy hears bells - how did he do that? Terrific physicality, star-quality, a voice you just want to swoon over!


 Nick DeSantis (Edna Turnblad) Hairspray  - Village Theatre

Nick DeSantis was INCREDIBLE. Such a lovely and fun Edna, and a delight to watch onstage.


 Nick DeSantis (Edna Turnblad) Hairspray  - Village Theatre

Truly a delight to watch. A nuanced, poignant performance mixed with unbeatable comic timing, a fabulous voice and plenty of moxie.


 Nick DeSantis (Edna Turnblad) Hairspray  - Village Theatre

What a sweet performance! It felt so authentic and sincere. I loved it!


 Other/Final Comments Hairspray  - Village Theatre

shout-out to Jayden Terry-Olson, who did a great job on a stage full of older, more experienced actors!


 Other/Final Comments Hairspray  - Village Theatre

A simply spectacular production. There weren’t any holes.


 Other/Final Comments Hairspray  - Village Theatre

One of the best shows I have ever seen. I want to see it again.


 Other/Final Comments Hairspray  - Village Theatre

Really unique and wonderful production of an inspiring story.


 Other/Final Comments Hairspray  - Village Theatre

Such a great show! Timeless and yet so poignant for today's political climate.


 Peter Crook (Wilbur Turnblad) Hairspray  - Village Theatre

I cannot BELIEVE this was the same Peter Crooks who was in Frozen at ArtsWest! What a range!


 Peter Crook (Wilbur Turnblad) Hairspray  - Village Theatre

I think of Peter in roles like that in Frozen -- what a surprise and delight to see his over the top zaniness of Wilbur.


 Shaunyce Omar (Motormouth Maybelle) Hairspray  - Village Theatre

Her rendition of I KNOW WHERE I"VE BEEN, with its resonance both in the 60s and for today, brought down the house. A powerhouse performance both fun and moving.


 Shaunyce Omar (Motormouth Maybelle) Hairspray  - Village Theatre

What a voice! What a presence onstage. Owned every moment, and then some!


 Shaunyce Omar (Motormouth Maybelle) Hairspray  - Village Theatre

While her character wasn't onstage as much as I would've liked, she radiated when onstage and KILLED her musical numbers. What a voice, what a presence.


 Allison Standley (Cinderella) Into The Woods  - Village Theatre

Truth and clarity and great comic timing. A lovely, effective performance.


 Arika Matoba (Little Red Ridinghood) Into The Woods  - Village Theatre

SHE WAS PERFECT AND FIERCE AND NAIVE AND POWERFUL. Loved her.


 Christine Marie Brown (Baker's Wife) Into The Woods  - Village Theatre

GOD I wish it was the Baker who had died, because as soon as she got crushed I was sad because it meant she wouldn't be in the show any more.


 Christine Marie Brown (Baker's Wife) Into The Woods  - Village Theatre

She was warm and joyful and wary and...a great Baker's Wife!


 Comments (Actors) Into The Woods  - Village Theatre

Stepmother was phenomenal!


 Comments (Costume) Into The Woods  - Village Theatre

Loved the stepsisters


 Comments (Costume) Into The Woods  - Village Theatre

The costumes were incredibly effective as they were beautiful and evocative, and probably very expensive and well-crafted, but they did not look expensive and tacky.


 Comments (Direction) Into The Woods  - Village Theatre

Great use of the space


 Comments (Lighting) Into The Woods  - Village Theatre

A gorgeously lit production. Fantastical and colorful and so very "Into the Woods."


 Comments (Scenic) Into The Woods  - Village Theatre

One of the most inventive and visually appealing scenic designs I have ever seen onstage. The use of levels on the set allowed the actors to push the boundaries of their characters, and invited the audience to really immerse themselves in the world of the musical.


 Comments (Scenic) Into The Woods  - Village Theatre

Truly amazing set -- absolutely loved it


 Comments (Scenic) Into The Woods  - Village Theatre

WOW this was an ambitious and well-executed scenic design. The "woods" in particularly were completely effective and enchanting, set on a revolve that kept the action moving at multiple levels. The woods (and the set as a whole) truly felt like a character in the play.


 Defining Moment Into The Woods  - Village Theatre

Agony Reprise was phenomenal


 Defining Moment Into The Woods  - Village Theatre

In the second act, there is a particular lighting cue used for the Giant. Even though the other characters are speaking to the Giant offstage, there were some movements of shadow within that light, which added to the illusion of a towering being speaking to the characters we see onstage. It was a small detail that added depth to the scene, and I'm glad the lighting designer took the time to implement it.


 Defining Moment Into The Woods  - Village Theatre

Opening of Act II was clear and fun and we were immediately in the new world of the increased wealth of the characters.


 Defining Moment Into The Woods  - Village Theatre

The first time the set began to spin was phenomenal


 Defining Moment Into The Woods  - Village Theatre

The turning Woods was luring, stunning, and enchanting. As the actors ventured through the story, the set showed as much depth as the plot itself. The woods were like a supporting actor themselves.


 Defining Moment Into The Woods  - Village Theatre

The use of pages fluttering from the ceiling when the giant appeared


 Defining Moment Into The Woods  - Village Theatre

The way that paper was utilized as a storytelling tool was absolutely fascinating and gratifying. The paper was such an integral part of the show- not just a cool set piece, but a character and indicator of action in and of itself. Cinderella's bird friends were letters hanging off a tree banch and were somehow much more vivid and expressive than if they had been lifelike bird puppets. The giant's approach was marked by falling paper, which again, was so much more visceral than just a sound cue or a large foot that came down from the fly.


 Defining Moment Into The Woods  - Village Theatre

The work of the ensemble as a whole was beautiful to watch. When they were all onstage singing and interacting together, especially before intermission was mesmerizing.


 Defining Moment Into The Woods  - Village Theatre

When the set rotated the first time, it was very impressive!


 Defining Moment Into The Woods  - Village Theatre

Wishes written on paper falling down as "leaves" onto the stage and audience. Just one of the surprising, magical moments in a play that is full of them.


 Kevin Vortmann (Wolf/Cinderella's Prince) Into The Woods  - Village Theatre

I just grinned like an idiot whenever Kevin was onstage, particularly as Cinderella's Prince. He relished this role, and it showed so beautifully.


 Kevin Vortmann (Wolf/Cinderella's Prince) Into The Woods  - Village Theatre

Stole the show!


 Mari Nelson (Witch) Into The Woods  - Village Theatre

GREAT casting choice - she was powerful and felt as though she might have felt "the other" in that world.


 Mari Nelson (Witch) Into The Woods  - Village Theatre

She was fierce and fabulous and touching and terrifying. She lent the Witch a pathos and depth that is necessary and rare. I loved her performance.


 Other/Final Comments Into The Woods  - Village Theatre

Both Jayne Muirhead and Corinna Munter jumped off the stage whenever they were on. They were exactly- supporting characters without whom the story cannot be told nor this show done. The worth of a show like Into the Woods in a professional theatre is exemplified by the actors in roles like these. Both these women deserve to be noticed in this musical.


 Rafael Molina (Jack) Into The Woods  - Village Theatre

Rafael was just a perfect Jack. Spot on.


 Rafael Molina (Jack) Into The Woods  - Village Theatre

This is the second time I have had the pleasure of seeing Molina in a production, and he does not disappoint. Certainly an actor to keep your eye on.


 Comments (Actors) Newsies  - Village Theatre

Kudos to Jared Jones who was swinging for Lukas the night I saw - his performance was seamless and had there not have been a piece of paper in my program letting me know he was stepping in, I would have never noticed - the ensemble worked together as one and obviously had great training to step in where needed.
Andrew Davison was an incredibly versatile actor in his various roles
Davione Gordon's flips and turns were magnificent
Chrerisse Martinelli really stood out in her parts - her funny accent and looks were nice comic relief without fully taking over the scene.


 Comments (Choreography) Newsies  - Village Theatre

Energetic, tight, fun, and acrobatic - great use of multi-level set for dances.


 Comments (Choreography) Newsies  - Village Theatre

Vibrant, explosive and utterly delighting. Made such incredible use of the small space.


 Comments (Costume) Newsies  - Village Theatre

Very period and great palette for each character and scene.


 Comments (Direction) Newsies  - Village Theatre

Great storytelling, incredible energy, wonderful costumes and set, and terrific acting, singing and dancing. The principals were believable and the storyline moved well.


 Comments (Overall Production) Newsies  - Village Theatre

I am a serious fan of Newsies – I saw and loved it on Broadway, and actually flew to San Francisco to see the 1st national tour before it hit Seattle. I was actually nervous that a local production would not meet my high expectations. I had no need to be – the size of this theater, and the genuine-ness of each and every cast member helped bring this story to light in a beautiful way. The energy was invigorating, and the poignancy and human-ness of this show was very impactful. There were no holes in this stellar cast – each actor/dancer brought their A game. The lights, sets, props – including the actual papers used to dance on – and then thrown into the audience, a great way to bring us into their world, period costumes, use of multilevel sets, energetic choreography all worked together to make this an epic performance.


 Comments (Overall Production) Newsies  - Village Theatre

The Village Theatre delivered an amazing evening of musical theater, with knockout performances, first class production values and a top notch dance numbers.


 Comments (Scenic) Newsies  - Village Theatre

Set worked perfectly for the production – every part of the bridge/walkway/ladders in the primary set were used – I loved how the newsies climbed up and down, jumped and hung upside down on the set. The bridge/walkway enhanced the production by giving different physical levels to scenes – and set both a sense of place and separated rooms, like the fire-escape and theater – when different events were happening at the same time – it was believable. Even the simple writing desk and typewriter used for Catherine’s solo scene was all that was needed to help audience focus on the words of her song and her personal feelings conveyed in such. Everything flowed well mechanically and it was all done very naturally. The use of choreography to bring new set pieces in allowed for smooth transitions and each piece seemed deliberate – there was no unnecessary clutter at all. The backdrops and use of projections for Jack’s art was well designed and executed – and I thought the pulling down of the headlines was a clever and effective way to bring the audience into what the Newsies were seeing. In addition, wow – that printing press – that really seemed to work and the use of the stacked papers to dance on. The set felt period and geographically-appropriate in all ways as well, which includes the Jewish Deli where they had one of their meetings. The entire set worked in tandem with everything else to bring me into the world of the Newsies.


 Comments (Sound/Music) Newsies  - Village Theatre

Great music direction -good blend of harmonies, appropriate underscoring that lead right from words to song, and tight cutoffs.


 Defining Moment Newsies  - Village Theatre

enjoyed the brooklyn gang's appearance


 Defining Moment Newsies  - Village Theatre

Everytime the ensemble did a group dance number, this production soared. They were perfection.


 Defining Moment Newsies  - Village Theatre

Jack and Katherine's chemistry on stage.


 Defining Moment Newsies  - Village Theatre

The final ensemble dance before the bows.


 Defining Moment Newsies  - Village Theatre

The first Santa Fe duet, sung by Jack and Crutchie on the upper platform with the dim end-of-the-day city lights glowing on the green urban jungle around them.


 Defining Moment Newsies  - Village Theatre

The moment in the song “Once and For All” when the song is turned into a hopeful anthem rather than one of revenge. The vocals and overall power was stunning.


 Defining Moment Newsies  - Village Theatre

The moment when Theodore Roosevelt comes out and then tells Joe he has to comply with what the newsies are asking for!


 Defining Moment Newsies  - Village Theatre

The opening number truly set the tone for all that was to follow.


 Defining Moment Newsies  - Village Theatre

Those crazy flips and turns! And Newsies dancing on papers and then throwing them into the crowd.


 Defining Moment Newsies  - Village Theatre

When the boys stood facing the audience and sang that just because you are old doesn't mean you get to hold everything I felt the point was directed at the population who usually sees Village's shows. That made me feel the show was working to be timely.


 Greg Stone (Joseph Pulitzer) Newsies  - Village Theatre

Greg has an amazing voice, and made Pulitzer a wonderfully hissable villain.


 Greg Stone (Joseph Pulitzer) Newsies  - Village Theatre

Greg was the best Pulitzer I have seen (I saw Newsies on Broadway and also the 1st National Tour). He is an incredibly versatile actor and very believable in his role. Even though he was a "bad guy" in the beginning, he did not play him as a caricature. Additionally, it was incredibly refreshing to see a Pulitzer who had a great singing voice, as well - better than Broadway.


 Joey Barreiro (Jack Kelly) Newsies  - Village Theatre

Joey brought a great humanity and charisma to the role of Jack. His vocal talent was terrific, too.


 Joey Barreiro (Jack Kelly) Newsies  - Village Theatre

Joey is the perfect Jack - he was strong, emotional, believable and likeable. He had wonderful chemistry with Taylor, and was a believable leader for the Newsies. I know he has played this part for numerous shows, but his performance seemed fresh and nuanced - his speaking voice took on several levels based on who he was dealing with, and he has a great singing voice. And he made me cry in his Santa Fe reprise - looked like he was crying, too!


 Marlette Buchanan (Medda Larkin) Newsies  - Village Theatre

Great commanding stage presence. Played her role with a lot of heart and humor.


 Michael Krenning (Crutchie) Newsies  - Village Theatre

Loved Michael as Crutchie! His limp, humor, and poignancy - he was completely believable in his part.


 Other/Final Comments Newsies  - Village Theatre

Bravissimo to an engaged and fully engaging newsboy ensemble! They had so much electricity and energy every second of their time onstage, both when dancing and when simply telling the story.


 Other/Final Comments Newsies  - Village Theatre

Brilliant to say the least.


 Other/Final Comments Newsies  - Village Theatre

The ensemble did an incredible job of bringing the world of the play to the stage.


 Rico Lastrapes (Race) Newsies  - Village Theatre

Dancing and singing whilst trying to keep a cigar in his mouth was an incredibly notable feat - it was like an additional appendage - great attitude, command of stage and dancing.


 Taylor Niemeyer (Katherine) Newsies  - Village Theatre

Taylor played Katherine with great precision and specificity. She went from uptight bystander, to a totally involved fighter, with ease.


 Taylor Niemeyer (Katherine) Newsies  - Village Theatre

Taylor was born to play this role. Watching her solo on stage in Watch What Happens, you could literally see what she was thinking and feeling. Her singing and speaking voice are excellent, she has wonderful diction and breath support and most importantly for her character, she had a perfect blend of playfulness, strength and maturity.


 Bobbi Kotula (Geneva) String  - Village Theatre

was amazing as the mother. completely different from the janitorial character.


 Comments (Actors) String  - Village Theatre

The whole cast was amazing. Michael Feldman was amazing as Zeus and did a great job in ensemble.


 Comments (Choreography) String  - Village Theatre

stellar. great combination of movement and actual choreography. also great use of movement in the elevators and desk scenes.


 Comments (Choreography) String  - Village Theatre

The choreography for the show was light and fun.


 Comments (Costume) String  - Village Theatre

I adored all three of the Fates' costumes. They were so personal and so glamorous and fun. The work on the chorus was also incredibly specific to the point where I felt like I knew each of those people based solely on what they were wearing.


 Comments (Costume) String  - Village Theatre

I loved that they were not in stereotypical greek outfits and their clothes in the modern world were striking and beautiful and distinct for each sister. but the sisters were also distinctive from the rest of the cast. costumes helped to support and tell the story.


 Comments (Direction) String  - Village Theatre

very well balanced. event thought it was tech heavy, it did not feel tech heavy. every element of the show worked together seamlessly.


 Comments (Ensemble) String  - Village Theatre

great teamwork. very seamless. not confusing when ensemble changed characters.


 Comments (Lighting) String  - Village Theatre

the contrast between Greece, NY, indoor, outdoor, etc were all very distinctive. imaginative use of light in the elevators and the big string room. as well as the mother scene with the lights supporting it.


 Comments (Lighting) String  - Village Theatre

The lighting for this play created a number of beautiful looks. Moments like lighting the tapestry and the elevators were memorable and helped further the story.


 Comments (Overall Production) String  - Village Theatre

Points for developing a new musical and putting it in their mainstage season. Also points for not white-washing the cast.


 Comments (Playwright) String  - Village Theatre

amazing story. very original. I loved seeing the progression from beta to this version. didn't feel like there were any plot holes or character development issues. the choices they made made sense for who they were. loved the strong female leads. it was just so good. the songs were amazing and moving. I still think about the song lost and found.


 Comments (Playwright) String  - Village Theatre

The play was sweet and fun with a number of songs I really enjoyed. The story moved along and included not just compelling main characters but endearing side characters. The ending was not fully fulfilling, but felt like the best way forward of a number of tough choices.


 Comments (Scenic) String  - Village Theatre

Really loved how the elevators were created and used throughout. Very functional. Additionally, the desk, security camera screens, and bending machines added so much, especially with the lighting decisions to illuminate each piece.


 Comments (Scenic) String  - Village Theatre

The elevators alone were amazing. They weren't overly complicated, but communicated the setting beautifully and clearly. The tapestry room was also a beautiful interpretation of something that could have been taken literally and looked really cheesy, but instead was evocative and lovely.


 Comments (Scenic) String  - Village Theatre

The vending machines were particularly outstanding.


 Comments (Scenic) String  - Village Theatre

they did not build a skyscraper however, it was never unclear where the actors were in the show. the use of minimal shapes and set pieces to bring forward scenes was not confusing and imaginative. but it was also never confusing. also the monitors for the security room very cool.


 Comments (Sound/Music) String  - Village Theatre

Loved the songs, loved the sound quality throughout.


 Comments (Sound/Music) String  - Village Theatre

sound cues and mics and everything were blended and nothing stuck out as an issue.


 Comments (Sound/Music) String  - Village Theatre

The rare musical with 100% flawless sound. The mixing was unobtrusive with no errors or issues, and I heard every word the actors said.


 Defining Moment String  - Village Theatre

As Eric Ankrim (Mickey) plays with a yo-yo, Jessica Skerritt (Atropos) cannot resist her impulse to cut the string. As a Fate, this is her duty. It's funny in the moment, but tragic as we move deeper into the story.


 Defining Moment String  - Village Theatre

Best moment was the Night mother floating in and singing with her daughters.


 Defining Moment String  - Village Theatre

Definitely the most 'lean-forward' moment was the act two opener, with five people stuck in separate elevators. The orchestration and movement worked together very well to create the feeling that we were coming in and out of chaos and insanity, like the characters. Kudos to the ensemble especially.


 Defining Moment String  - Village Theatre

The elevator staging at the close of the second act


 Defining Moment String  - Village Theatre

The greatest moment was when Mickey's string is finally cut. Atropos and Mickey sing their goodbyes, the string is cut and the lights go dark. It so well done. The world really stopped in that moment for them.


 Defining Moment String  - Village Theatre

The song "Chocolate" and my subsequent cravings.


 Defining Moment String  - Village Theatre

This production had some really fun ensemble numbers. My favorite was when the elevators got stuck and the audience became flies on the wall, watching the private moments of panic, discomfort and dismay of multiple elevators, each with an individual passenger.


 Defining Moment String  - Village Theatre

when Atropos cut Mickey's string


 Defining Moment String  - Village Theatre

When she acknowledges her own feelings for him and realizes she just cannot get herself to cut the string


 Eric Ankrim (Mickey) String  - Village Theatre

great work in the physicality and acting of the emotional breakdown


 Eric Ankrim (Mickey) String  - Village Theatre

Mr. Ankrim was adorable and endearing as Mickey without being over the top.


 Jessica Skerritt (Atropos) String  - Village Theatre

Ms. Skerritt was a wonderful Atropos. She covered a large emotional range in the show and I bought all of it. Her journey from uptight workaholic to finding joy in the human world was a delight to watch and her singing was beautiful.


 Jessica Skerritt (Atropos) String  - Village Theatre

phenomenal. always amazing. such a moving performance


 Lauren Du Pree (Lachesis) String  - Village Theatre

loved that she was unapologetic but fiercely loyal to her sisters


 Nathaniel Tenenbaum (O'Brien) String  - Village Theatre

A superb voice paired with great comic timing, and surprising grace and energy for a man of his substantial proportions.


 Nathaniel Tenenbaum (O'Brien) String  - Village Theatre

good job. always funny.


 Nathaniel Tenenbaum (O'Brien) String  - Village Theatre

Mr. Tenenbaum was a live wire with unstoppable energy. It was impossible not to smile when he was onstage.


 Other/Final Comments String  - Village Theatre

amazing show.


 Other/Final Comments String  - Village Theatre

Such a great show.


 Other/Final Comments String  - Village Theatre

The ensemble for the show was wonderful and I applaud the local trend of casting Michael Feldman in roles where he gets to have the most outrageous hair and costume.


 Sara Porkalob (Clotho) String  - Village Theatre

always amazing.


 Sara Porkalob (Clotho) String  - Village Theatre

I enjoyed Sara Porkalob as Clotho very much. Her character was fun and funny without ever stealing the spotlight when it wasn't appropriate. It can be hard to make the innocent younger character compelling, but she did it wonderfully.


 Comments (Costume) Nether, The  - Washington Ensemble Theatre

Great transition between futuristic and Victorian looks. Morris's shoes! What a stunning detail and her sleek exquisitely tailored leather outfit. Beautiful dressing of Iris. I deeply appreciated the simplistic of the white undergarments that felt Victorian specific. Everyone had great shoes, especially Iris.


 Comments (Lighting) Nether, The  - Washington Ensemble Theatre

Gorgeous and effective.


 Comments (Lighting) Nether, The  - Washington Ensemble Theatre

Really exceptional use of lighting from the illuminated square table and matching light fixture that could also turn red, to the fractal projections on the back wall. Really beautiful creative and enhancing light plot. Well done!


 Comments (Lighting) Nether, The  - Washington Ensemble Theatre

The lighting and scenic design were fascinating to look at, especially when the action was moving into The Nether.


 Comments (Scenic) Nether, The  - Washington Ensemble Theatre

That backdrop was freaking amazing. Evocative and effective projection work.


 Comments (Scenic) Nether, The  - Washington Ensemble Theatre

The lighting and scenic design were fascinating to look at, especially when the action was moving into The Nether.


 Comments (Scenic) Nether, The  - Washington Ensemble Theatre

Truly impressive set design. Loved the fractal squares that later would hold projected images. Beautiful Victorian house with an impressive scale and beautiful simple detailing.


 Defining Moment Nether, The  - Washington Ensemble Theatre

Absolutely heartbreaking moment with Doyle at the end of the play reciting Iris's lines to Papa as himself.


 Defining Moment Nether, The  - Washington Ensemble Theatre

I found myself constantly in awe of the shifting, multi-dimensional set/projection/lighting design that immersed us into the world of the play.


 Defining Moment Nether, The  - Washington Ensemble Theatre

The defining moment for me was the last scene with the two men just standing and talking to each other, but without facing each other. The last line "You cannot know how much I love you." is heartbreaking and holds so much of the play's question.