Selected comments left by Nominators in the 2018-2019 Season. Nominators are encouraged but not required to leave comments. The number of comments is not indicative of overall Nominator scoring. Please report any errors to tps@tpsonline.org.

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Number of entries: 3927
Rules of Charity, The  - Sound Theatre Company
Defining Moment

Just a stunning production of a stunning play. Andrew Litsky's physical acting was staggering. Sharon was tough and tender and amazing. The direction was crisp and lean.


 Rules of Charity, The  - Sound Theatre Company
Defining Moment

Lighting and sound combined in conveying emotional transitions


 Rules of Charity, The  - Sound Theatre Company
Defining Moment

The characters and dialogue in general were strikingly representative of the ordinary people and exchanges we experience throughout our lives. My favorite of these exchanges was Loretta and Horace's first meeting, the attraction and flirtation interweaving an otherwise rather banal conversation.


 Rules of Charity, The  - Sound Theatre Company
Defining Moment

The father-daughter violence hit me hard


 Rules of Charity, The  - Sound Theatre Company
Defining Moment

The most memorable part for me was when {spoiler} Horace slit Mr. Millicent's throat. I hadn't anticipated that their fight would become lethal so it was such a surprise and the flinging of the blood onto the white door was very effective.


 Rules of Charity, The  - Sound Theatre Company
Defining Moment

The opening scene with Loretta hitting her father and telling him she would be cruel to him was very powerful and set the tone for the whole production.


 Rules of Charity, The  - Sound Theatre Company
Defining Moment

The opening scene. Bright lighting on the stark white set, mixed with poignant dialogue, a soundscape that evokes a sense of un-reality, the spinning of the wheels on the wheelchair, and two characters in the midst of a defining moment create a memorable picture and intense welcome to the play.


 Rules of Charity, The  - Sound Theatre Company
Defining Moment

The physical violence that burst out during the dinner scene at the end of the play was just electric. It made literally made me gasp.


 Rules of Charity, The  - Sound Theatre Company
Defining Moment

The play fittingly begins with the sound of a slap in the dark. A light snaps on to reveal Loretta, clenched, standing over the body of her father, Monty, sprawled on the floor beside his overturned wheelchair. "Cruelty is a form of goodness."


 Rules of Charity, The  - Sound Theatre Company
Defining Moment

The very last monologue by Sharon Gouran in which she is reading a passage from her father's journal was very moving. Her last expression as he dies was a beautiful grief-stricken smile that conveyed a mix of deep sadness and a sense of release from her burden.


 Rules of Charity, The  - Sound Theatre Company
Defining Moment

This play had many moments. There was one that really moved me and that was when the character Monty, played by Andrew Litzky was almost pleading with his lover LH played by Hisam Goueli to love him and "not be a coward" and LH not only said that he didn't want to because he "didn't want to be a faggot" but he then spit in his lovers face when he was further confronted. In that moment, I really felt how isolated Monty really was, and how lonely all of the characters were even though everyone was forced to cling together for survival.


 Rules of Charity, The  - Sound Theatre Company
Defining Moment

This show was nearly flawless in its execution and is an amazing example of what it means to be radically inclusive onstage and off. The defining moment of this show came when Loretta pulls a candy mint from Horace's mouth and begins to suck on it. This is gruesome intimacy, something beautiful or gentle made foul simply by human contact. What is left when our good intentions get tired? What is there when we have nothing left to sell except our dignity, or someone else's idea of it? This was a stunning show!


 Rules of Charity, The  - Sound Theatre Company
Defining Moment

Watching Monty pull himself into bed.


 Rules of Charity, The  - Sound Theatre Company
Defining Moment

When Monty tells off Poz during the interview, I got the sense of what he and "The Rules of Charity" are all about - what society demands to count someone "worthy", and what worth truly is.


 Rules of Charity, The  - Sound Theatre Company
Fune Tautala (Horace)

Fune Tautala did an especially excellent job of handling the unusual, poetic language. With his delivery the lines seemed natural, and to come from a place inside his own character. As a result, his character seemed to really fit the world of the play.


 Rules of Charity, The  - Sound Theatre Company
Fune Tautala (Horace)

The character Horace could be described as loud, drunk and violent. Fune Tautala, perhaps focusing on the character's sleep deprivation, plays him mostly soft spoken and spacey- a seemingly gentle giant. We lean in to listen and watch him and when the explosions inevitably come they are all the more startling. In addition to meeting the many challenges of the role with its emotional and physical demands, Tautala gives the character depth and an offbeat charm.


 Rules of Charity, The  - Sound Theatre Company
Maile Wong (Paz/Joyce)

Her arrival brings an unexpected bit of comic relief, but her seeming naivete gives way to an awareness of her wealth and privilege and all that can buy, including L.H.


 Rules of Charity, The  - Sound Theatre Company
Other/Final Comments

Sharon Barto Gouran and Andrew Litzky's work brought me in and held me the entire time. And I'm so glad Sound chose to produce this. It begins a conversation we should have started long ago, and I hope momentum for that dialogue continues. I think it will.


 Rules of Charity, The  - Sound Theatre Company
Other/Final Comments

The production values themselves were very good. I can see that it would be tough to make the heightened, poetic language fit the modern setting of 2004, and the team as a whole did an excellent job with that.

Especially notable were also the sound and light design specifically. They brought a surreal quality to the piece and the lights were especially effective in denoting the "dream" sequences when they happened, without any help from any other verbal or visual cue.


 Rules of Charity, The  - Sound Theatre Company
Sharon Barto Gouran (Loretta)

Gouran's Loretta brought to life the inconsistencies that live within all of us; cruelty alongside tenderness.


 Rules of Charity, The  - Sound Theatre Company
Sharon Barto Gouran (Loretta)

Sharon took all of Act 2 by the collar and never let go. Phenomenal work with a complex and difficult role. She lived this part.


 Shakespeare Dice: As You Like It  - Dacha Theatre
Ben Symons

The improvised dating show was hilarious! I was so invested in his character and appreciated the joy that this actor brought to the performance.


 Shakespeare Dice: As You Like It  - Dacha Theatre
Beth Pollack

Some of the king's ad-libbed lines were delivered with such perfect timing that it added to the comedic nature of the show.


 Shakespeare Dice: As You Like It  - Dacha Theatre
Claire Idstrom

adorable Sylvius


 Shakespeare Dice: As You Like It  - Dacha Theatre
Comments (Costume)

It was impressive how versatile the costumes were so that they were adaptable for each actor.


 Shakespeare Dice: As You Like It  - Dacha Theatre
Comments (Costume)

Simple but effective at differentiating the characters.


 Shakespeare Dice: As You Like It  - Dacha Theatre
Comments (Costume)

The crown necklace was my favorite piece, and an original way to solve the different head sizes of the rotating actors.


 Shakespeare Dice: As You Like It  - Dacha Theatre
Comments (Direction)

Great use of the space, and scenes, and what seems like an overwhelming task to direct all the cast in every role.


 Shakespeare Dice: As You Like It  - Dacha Theatre
Comments (Direction)

I would think the direction for an improvisational experience like this would be more of a challenge, as the actors change daily, but the performance rarely lagged and the entire space was used well, and the minimal costuming worked to be gender fluid, as it was not known before the performance who would play each role.


 Shakespeare Dice: As You Like It  - Dacha Theatre
Comments (Direction)

The creative use of the space was magical. I was impressed by the energy exuding from the actors!


 Shakespeare Dice: As You Like It  - Dacha Theatre
Comments (Ensemble)

Because the actors did not know who they were playing, or what scene order beforehand, they all had to be particularly focused on each other's words and actions - no one could go into autopilot because each actor brings a unique spin to each character. Also, kudos to them for memorizing the entire script and prepping to embody each part. I thought that all the actors worked well as a team and it was obvious that everyone was having a lot of fun.


 Shakespeare Dice: As You Like It  - Dacha Theatre
Comments (Ensemble)

Played off each other quite well and effectively.


 Shakespeare Dice: As You Like It  - Dacha Theatre
Comments (Ensemble)

Seamless, they were obviously enjoying themselves immensely, which meant so did the audience


 Shakespeare Dice: As You Like It  - Dacha Theatre
Comments (Ensemble)

The actors were obviously skilled at forming connections with each other and easily stepped into their various roles.


 Shakespeare Dice: As You Like It  - Dacha Theatre
Comments (Ensemble)

The cast had to work really well together to pull this of, with each actor's role being picked randomly at the beginning of the show, and the scenes in each act also being randomly selected , out of sequence, and would show up on a screen after the sound of a slot machine making its choices. The actors would then have to scramble to get the props and/or costume pieces they would need for that scene from various stations throughout the room. The actors did a great job at being able to handle everything and help each other out. A true ensemble piece!


 Shakespeare Dice: As You Like It  - Dacha Theatre
Comments (Ensemble)

There was a lot of trust happening in this world.


 Shakespeare Dice: As You Like It  - Dacha Theatre
Comments (Ensemble)

They clearly worked together well. The cast had to know the whole play and each part's blocking because they could be chosen for any part, at the start
Also, after the Act 1 scenes, they randomized the order of the scenes for Act 2, 3 and 4. In
Act 5 all 3 scenes were in order
they didn't know which scene would be first until it showed up on a screen at one side. So then the actors would run around to the place they needed to be for that scene
the scenes seemed really short, I think the play was heavily cut, so the important stuff was there but most was deleted. I'm guessing that, because the play didn't last super-long and they added about six karaoke tunes to it.


 Shakespeare Dice: As You Like It  - Dacha Theatre
Comments (Lighting)

Lighting was atmospheric and actors were well lit. A particular challenge in an improvisational piece like this, as I would assume lighting techs did not always know where actors would be at all times in this immersive performance.


 Shakespeare Dice: As You Like It  - Dacha Theatre
Comments (Overall Production)

I was skeptical about the premise, but it was surprisingly delightful.


 Shakespeare Dice: As You Like It  - Dacha Theatre
Comments (Scenic)

Fun use of the space at Gilbert and Sullivan - felt like a party with a Karaoke stage. Loved that the room already featured a mural from "where the wild things are" and the set up of audience seating with a mix of tables, chairs and couches, helped it feel more immersive.


 Shakespeare Dice: As You Like It  - Dacha Theatre
Comments (Scenic)

Simple use of the space.


 Shakespeare Dice: As You Like It  - Dacha Theatre
Comments (Sound/Music)

great combination of karaoke songs, and even the scene change music was engaging


 Shakespeare Dice: As You Like It  - Dacha Theatre
Comments (Sound/Music)

The karaoke tracks were such a unique touch to the show!


 Shakespeare Dice: As You Like It  - Dacha Theatre
Defining Moment

A defining moment for me was between acts one and two when the set was changed into the forest. It was so immersive and set up the level of audience interaction for the rest of the show. For me, it opened up the world of the show.


 Shakespeare Dice: As You Like It  - Dacha Theatre
Defining Moment

Charles the Wrestler


 Shakespeare Dice: As You Like It  - Dacha Theatre
Defining Moment

Great use of space and creating mood and ambiance.


 Shakespeare Dice: As You Like It  - Dacha Theatre
Defining Moment

I enjoyed Phoebe's karaoke song.


 Shakespeare Dice: As You Like It  - Dacha Theatre
Defining Moment

incredibly energetic, engaging and fun. I'm in awe of the ability of the actors to learn every part and switch scenes so seamlessly


 Shakespeare Dice: As You Like It  - Dacha Theatre
Defining Moment

Mile Lyon, who is tall, fairly stocky and bald, drew Rosalind. It was fun seeing him use fairly small bits of costume to suggest he was female


 Shakespeare Dice: As You Like It  - Dacha Theatre
Defining Moment

So hard to choose! I think the look on Rosalind's face when she realized she was being exiled is up there.


 Shakespeare Dice: As You Like It  - Dacha Theatre
Defining Moment

The theatre space was set up to be a Karaoke bar, so the cast members were hanging out and taking turns singing on the small stage as the audience was entering and taking their seats. The actors mingled with everyone and were all very personable, which made the audience feel very welcome and a part of what was about to happen in this intimate performance space.


 Shakespeare Dice: As You Like It  - Dacha Theatre
Defining Moment

Walking into the room, there was a great sense of fun and party-like atmosphere with a cup game in the back, video screens, music playing, bar, and lots of chatter by guests and actors mingling in the space that was just right for the set-up of a karaoke bar, with couches as well as tables. The room featured a mural from"where the wild things are", which was not part of the company's set, but added to the fun of the space. The welcoming atmosphere of entering into this space, set the audience up for an immersive experience.


 Shakespeare Dice: As You Like It  - Dacha Theatre
Defining Moment

When Mike Lion as Touchstone sang "Stapler's Mom" I lost it. The hands-down most show-stealing moment.


 Shakespeare Dice: As You Like It  - Dacha Theatre
Emily Huntingford

Emily drew Duke Frederick, the one who usurped the dukedom, and Silvius, who is a shepherd and loves Phoebe
again she was not on very long


 Shakespeare Dice: As You Like It  - Dacha Theatre
Emily Huntingford

She has such strength in her commitment and it really shown as Orlando. Also, incredibly funny.


 Shakespeare Dice: As You Like It  - Dacha Theatre
Jaime Riggs

very charming Orlando, she swooned wonderfully


 Shakespeare Dice: As You Like It  - Dacha Theatre
Mike Lion

Fantastic comedic chops.


 Shakespeare Dice: As You Like It  - Dacha Theatre
Mike Lion

Mike drew Rosalind, He's a actor that draws the eye. He was on stage a lot. He did a creditable job of being in a female part. He is an actor that draws the eye


 Shakespeare Dice: As You Like It  - Dacha Theatre
Other/Final Comments

A unique theatre experience!


 Shakespeare Dice: As You Like It  - Dacha Theatre
Other/Final Comments

I look forward to this show every year. What they're able to accomplish is truly something.


 Shakespeare Dice: As You Like It  - Dacha Theatre
Trey McGee

great physical comedy as the older brother


 Shakespeare Dice: As You Like It  - Dacha Theatre
Trey McGee

Hilarious.


 She Kills Monsters  - Theater Schmeater
Aí Nguyễn (Tilly)

Tilly easily could have become a caricature of a Manic Pixie Dream Girl: adorkable, unattainable, and a bit ridiculous. In the hands of Ai, Tilly became a real girl, remarkable, smart, sassy, and vulnerable. Ai was the perfect foil for Annelih, and it truly felt like a little sister/big sister relationship. Beautiful performance, one which will not be forgotten soon.


 She Kills Monsters  - Theater Schmeater
Alaji Marie (Kaliope/Kelly)

Alaji is the perfect combo of sexy and scary in the role of Kaliope, toying with our hearts while tearing us apart. As Kelly, she did not succumb to the trap of being the sad sick girl, but had a fully realized life and a wicked sense of humor that belied the story of her reality. Excellent.


 She Kills Monsters  - Theater Schmeater
Annelih GH Hamilton (Agnes)

Annelih took her character -and us- on an engaging journey of self discovery that embodied the pain and fear of loss, the joy of discovery, and the freedom of self acceptance.


 She Kills Monsters  - Theater Schmeater
Britt Hobson (Narrator/Gabbi)

Like a lemon, appealingly sour, the character of Gabbi -played perfectly by Britt Hobson- made us want to pucker up! Pretty and mean: Perfect.


 She Kills Monsters  - Theater Schmeater
Comments (Choreography)

At times, the choreography felt overwhelming and muddled, much like the internal monologue of the lead character. The fights were fantastical and fun, but still held emotional weight and a bit of danger. The cheerleader fight was one of my personal favorites!


 She Kills Monsters  - Theater Schmeater
Comments (Choreography)

Fantastic movement, choreography and fight choreography throughout. The Macarena number was one of the most entertaining things I’ve seen onstage lately.


 She Kills Monsters  - Theater Schmeater
Comments (Costume)

Integral to the world of D&D, the costuming provided delightful surprises and clues to character development throughout the play. A nice touch was the building of a slightly more elaborate costume for the main character as time progressed, and she became more entrenched in the fantasy world. She was also the only character to bring her D&D costume into the "real world", and that was such a subtle, yet poignant detail. It was much appreciated. These costumes were the perfect balance of a professionally designed show that still felt as though the characters made the costumes themselves.


 She Kills Monsters  - Theater Schmeater
Comments (Costume)

These costumes were amazing. Let's hire this costumer for everything.


 She Kills Monsters  - Theater Schmeater
Comments (Direction)

The direction of this play clearly draws on a background in Drag, Variety, and Burlesque. The ability to appeal to the audience through broadly drawn characters, stunning visual tableau and shtick was balanced with moments of emotional clarity, specificity of desire on the part of the characters, and stark differentiation between real life and that of the game.


 She Kills Monsters  - Theater Schmeater
Comments (Ensemble)

Rarely does an ensemble feel truly connected, as if they are all communicating on a sub-conscious level, in sync and unified. This production was a perfect example of that group unity. Clearly everyone believed in this story, and in how exactly it was to be told.


 She Kills Monsters  - Theater Schmeater
Comments (Lighting)

The lighting of this show was essential to the creation of the worlds in which the characters lived: real life, and D&D. Thoughtful, full of impact, and just plain fun!


 She Kills Monsters  - Theater Schmeater
Comments (Overall Production)

I remember reading this script when it first made the rounds a few years ago & being pretty unimpressed. The action felt flat & repetitive, every scene seemingly played out the same way - I couldn't imagine it being any fun to watch. Luckily, Butch Alice & co. are much smarter than me. She Kills Monsters was an absolute delight, kicking ass & packing emotional punches along the way. There are still elements of the script I am not in love with (more than zero dead lesbians is too many dead lesbians for me, always) - but on the whole, this production tickled me to my core. A great way to start the 2018/2019 season.


 She Kills Monsters  - Theater Schmeater
Comments (Playwright)

Having never played D&D, or even having a concept of it and the importance it holds for many people, I felt that the playwright guided me through the journey of learning about it with the lead character. I related to Agnes in her initial disgust at the idea of playing this game, her reluctance to let go of her misplaced pride and just have fun. I was with her as she began to let go of stupid societal rules about what is "cool" or "acceptable", and became joyous and triumphant as she thrived in this new world. It is a lovely allegory, and deeply affected me. Brilliant.


 She Kills Monsters  - Theater Schmeater
Comments (Scenic)

The scenic design, which is often a silent character in a play, came screaming to life as a moving, breathing creature in this production. This production would have felt empty and stark without the brilliant scenic design which drew literally from the RPG game that inspired this work, and provided a map to the hero's quest. One of the best scenic designs I have experienced, hands down.


 She Kills Monsters  - Theater Schmeater
Comments (Sound/Music)

This production leveraged sound to create atmosphere, humor, and defined important moments. Without the cheeky sound design, this production would have fallen flat.


 She Kills Monsters  - Theater Schmeater
Craig Trolli (Vera/Beholder)

Vera is a real life "dungeon master" who guides the characters through their emotional crises outside the game with a side of sass to go with her helping of heart. Craig plays her larger than life, but keeps her heart right here, in reality.


 She Kills Monsters  - Theater Schmeater
Defining Moment

Evil Tina & Evil Gabbi's first assault on the party. This was the first moment I really saw parts of the 'real-world' read into the world of the game; the ensemble choreography was excellent, the stakes were sky-high, & the entire scene really managed to capture both the agony of a kid being bullied by their peers, & the adult who finally realizes what's been going on, even though it's too late.


 She Kills Monsters  - Theater Schmeater
Defining Moment

From the minute one walked into the theater, one is transported from the humdrum monotony of daily life into the fantastical world of Dungeons and Dragons. Moments of brilliance flashed throughout the production like tiny chips of mica, each one illuminating another facet of the show. The most brilliant facet was the moment between Chuck (played by Jasmine Joshua) and Agnes (played by Annelih GH Hamilton) in the second act, when Agnes wants to disappear into the game, and Chuck brings her, painfully, back to reality. Beautiful, raw, and deftly handled. Brava.


 She Kills Monsters  - Theater Schmeater
Defining Moment

In the final scene when all the stars came down and Agnes fought the constellations. It was a fantastic technical moment. I had seen the lights on the way in but the action onstage was so engrossing that I had failed to notice them again when the show started. It was perfectly planned and took me completely by surprise.


 She Kills Monsters  - Theater Schmeater
Defining Moment

SHE KILLS MONSTERS featured some of the best uses of projections I've seen in Seattle Theater in the last couple of years. Every use of the projections was fun, clever, and thoughtful - plus the projections always added a new layer to what I was seeing onstage, while integrating with it seamlessly.

Also, special kudos to the entire "Monster Fabrication Team." So much of the fun of this world was seeing these creatures brought to life, in all their horror and - mostly - whimsy.


 She Kills Monsters  - Theater Schmeater
Defining Moment

The big second act reveal of who the villain is!


 She Kills Monsters  - Theater Schmeater
Defining Moment

The cast "fighting the dragon" at the end of the play, emotional and visually stunning.


 She Kills Monsters  - Theater Schmeater
Defining Moment

The Macarena


 She Kills Monsters  - Theater Schmeater
Defining Moment

The moment whem the 1st puppet monster heads came off was delightful!


 She Kills Monsters  - Theater Schmeater
Defining Moment

There are many examples of Butch Alice and the design team's passion for this project that showed through during the production, but nothing was quite like the final battle between Agnes (Hamilton) and the monster, Tiamet. That sequence effectively displayed the amazing design elements of the show, and was the cherry on top of a visually appealing and appropriately acted production.


 She Kills Monsters  - Theater Schmeater
Defining Moment

When Lilith dies and Agnes keeps telling Chuck to bring her back but Chuck can't. It was a beautiful metaphor connecting Agnes and what happened to her sister.


 She Kills Monsters  - Theater Schmeater
Defining Moment

When the back wall lit up with videos or special effects, I was mesmerized! What a fantastic touch!


 She Kills Monsters  - Theater Schmeater
Hiko Addison (Steve)

Hiko steals the show in a series of ever more bizarre appearances. Zany, weird, and just plain fun.


 She Kills Monsters  - Theater Schmeater
Jasmine Joshua (Chuck)

Jasmine is one of those rare performers who embodies the spirit of their characters with such earnest honesty that you forget you are watching a play. Their commitment to the reality of Chuck as a dungeon master with a side of nerd-cool while in his element, juxtaposed by the heartbreaking reality of Chuck's human persona -an unsure, smart, yet fearful teenage boy- was captivating.


 She Kills Monsters  - Theater Schmeater
Jordan-Michael Whidbey (Miles)

Jordan-Michael plays the befuddled and bemused boyfriend with a sense of compassion and naivete, which saves this character from being just a plot device. Difficult role to handle well, and Jordan Michael achieves the right balance of humanity and hubris.


 She Kills Monsters  - Theater Schmeater
Maddy Noonan (Lilith/Lily)

Maddy played Lilith with such a terrifying glee! Ready to consume the hearts she broke, Lilith was the polar opposite of Lily, the closeted quiet girl who held secrets close to her heart. Beautiful, powerful, awkward, all of these attributes were gifted to us by Maddy in her roles.


 She Kills Monsters  - Theater Schmeater
Monica Domena (Farrah the Fairy/Tina)

Terrorizing us with panache, Monica made us love to hate Farrah the Fairy!


 She Kills Monsters  - Theater Schmeater
Other/Final Comments

There was a lot of heart in this production and I could see that everyone involved really believed in and was passionate about this show!


 She Kills Monsters  - Theater Schmeater
Other/Final Comments

This production as a whole is a triumph of design, direction, and heart. 100% would love to see this remounted.


 She Kills Monsters  - Theater Schmeater
Other/Final Comments

This show was a lot of fun. It had great energy and I loved how inclusive and diverse the cast is. Casts like this are what the future of theatre should look like.


 She Kills Monsters  - Theater Schmeater
Peter Sakowicz (Orcus/Ronnie)

The character of Orcus provided the bulk of the comedic relief, with one liners and pop culture references that made us "Millenial the Elders" scream with laughter and just a bit of self deprecating recognition. Wonderful performance. Kinda want to see a show about Orcus now....


 She Stoops to Conquer  - Seattle Shakespeare Company
Basil Harris (Tony Lumpkin)

A role Mr. Harris was made for. Truly excellent work. His scenes with Mrs. Hardcastle were absolutely delightful.


 She Stoops to Conquer  - Seattle Shakespeare Company
Basil Harris (Tony Lumpkin)

Basil brought his character to life! His Tony was so fun and he really felt at home in the world of this play.


 She Stoops to Conquer  - Seattle Shakespeare Company
Basil Harris (Tony Lumpkin)

Fantastic energy, very endearing and strange. Added new depths to his character while remaining truthful.


 She Stoops to Conquer  - Seattle Shakespeare Company
Basil Harris (Tony Lumpkin)

So fun to watch. Impressive physicality. Hilarious interaction with him and his mother, with accent changes and push-pulling. Great singing. He really carried the show well.


 She Stoops to Conquer  - Seattle Shakespeare Company
Comments (Choreography)

Love the pigeon dance with everyone at the end!


 She Stoops to Conquer  - Seattle Shakespeare Company
Comments (Choreography)

Loved the dancing on and offstage as part of entrances and exits.


 She Stoops to Conquer  - Seattle Shakespeare Company
Comments (Choreography)

Very fun choreography, the pigeon dance at the end especially felt incredibly energized and gave a much needed burst of energy. Definitely some of the parts of the show that worked the best.


 She Stoops to Conquer  - Seattle Shakespeare Company
Comments (Costume)

Chelsea is always so good and I think this was among her best. The styling was so interesting and unique but perfectly fit the rest of the production and elevated it. The Mrs. Hardcastle dress/pant look was amazing.


 She Stoops to Conquer  - Seattle Shakespeare Company
Comments (Costume)

Costumes fit this production so well – the modern and vintage clothing that attempted a restoration-period look worked wonderfully. Some of my favorites were: the sumptuous brocade jacket, the long purple plaid skirt with corset-lace back, the short plaid skirt and knee highs with ruffled blouse and vintage shoes, and the mother’s gown. Also the porkpie hat and cuffed narrow pants were perfect for the trickster character of Tony Lumpkin.


 She Stoops to Conquer  - Seattle Shakespeare Company
Comments (Direction)

Incredibly smart and smooth entrances and exits, great chemistry with actors, loved the use of the original music to both enhance and move along the storyline. Fun dancing on and offstage by the actors making their entrances and exits and good use of the set windows. The pace was enough so I never looked at my watch and was engaged the entire time. Everyone was having a great time up there, and I'm guessing the direction had a lot to do with that.


 She Stoops to Conquer  - Seattle Shakespeare Company
Comments (Direction)

Wonderful, Cohesive, and Fantastic. This production was thought through in great detail and it really paid off.


 She Stoops to Conquer  - Seattle Shakespeare Company
Comments (Ensemble)

To achieve the excellent comic timing of this play, these actors worked beautifully together, the pacing was wonderful and everyone looked like they were having a great time, which was contagious for the audience.


 She Stoops to Conquer  - Seattle Shakespeare Company
Comments (Lighting)

characters were always appropriately lit and lighting helped give a sense of place for several areas: such as the use of flashing fairy lights and low- ambiance lights for the bar where the band played, and the low night lighting in the “forest.”


 She Stoops to Conquer  - Seattle Shakespeare Company
Comments (Lighting)

Loved the party lights. String lights going out into the audience helped connect our world into the play, added much needed atmosphere, and made the whole thing feel warm, fun, and playful.


 She Stoops to Conquer  - Seattle Shakespeare Company
Comments (Overall Production)

Well done all around - sets, lights, costumes, music, actors, pace, directing, sound, each piece of this production served to enhance other pieces, making for a colorful, humorous, and entertaining show.


 She Stoops to Conquer  - Seattle Shakespeare Company
Comments (Scenic)

Great set- had plenty of opportunities for actors to remain onstage but hidden, to continue the comedy. The world felt defined and playable. Really lovely and often transformative.


 She Stoops to Conquer  - Seattle Shakespeare Company
Comments (Scenic)

Such a creative and unique use of the space, plus an aesthetic I've never seen before but loved from top to bottom.


 She Stoops to Conquer  - Seattle Shakespeare Company
Comments (Scenic)

The scenic designer did a great job designing a space that could believably function as a bar, an inn, a manor house, and an outdoor garden!


 She Stoops to Conquer  - Seattle Shakespeare Company
Comments (Scenic)

This set definitely aroused curiosity and established a mood of whimsy from the beginning with its taxidermy animal heads (wearing party hats) mounted on the walls, and loud, colorful plaid floor. Blue open window-like squares that made up walls that were multi-leveled, gave the image of deeper space to the stage and the openness allowed the audience to witness entrances and exits, that was an added bonus to the action on center stage. The musician/Servants wearing horn headbands poking their heads through the windows right next to animal heads with hats was so meta.


 She Stoops to Conquer  - Seattle Shakespeare Company
Comments (Scenic)

Where did you find all the stuffed animal heads???


 She Stoops to Conquer  - Seattle Shakespeare Company
Comments (Scenic)

wonderful Trophy heads on the walls - some with party hats!


 She Stoops to Conquer  - Seattle Shakespeare Company
Comments (Sound/Music)

The original music really brought the play to life and gave me a sense of what 18th century audiences must have felt when watching it.


 She Stoops to Conquer  - Seattle Shakespeare Company
Comments (Sound/Music)

What an absolute treat to hear this ska-style music as part of this play. The music was a perfect addition, moving the storyline as well as being incredibly entertaining and bringing in another trio of actors who enhanced the production immensely. I particularly enjoyed the horn, but they all were so talented and a joy to watch. The organ music added to the melodrama-esque of the missing jewels


 She Stoops to Conquer  - Seattle Shakespeare Company
Defining Moment

Briskman using his coat to corral and demand obedience from BASSIL HARRIS,


 She Stoops to Conquer  - Seattle Shakespeare Company
Defining Moment

For me, the whole ensemble skanking at the end of the play was a winner. I love that pigeon walk - as absurd as the characters themselves!


 She Stoops to Conquer  - Seattle Shakespeare Company
Defining Moment

Hard to pick just one, but let's go with when MJ Sieber giving himself Flock of Seagulls hair and then getting his hand stuck in a moscow mule mug.


 She Stoops to Conquer  - Seattle Shakespeare Company
Defining Moment

Mr. Hardcastle exasperatedly announcing, "Tony, you're 35 years old!" It was hilarious and brought down the house.


 She Stoops to Conquer  - Seattle Shakespeare Company
Defining Moment

Praise to MJ for his effortless ability to switch character on a dime!


 She Stoops to Conquer  - Seattle Shakespeare Company
Defining Moment

The joke at the very end "Tony, you're 35." Hysterical. Actors played it well, very surprising.


 She Stoops to Conquer  - Seattle Shakespeare Company
Defining Moment

The opening monologue/song where Tony Lumpkin mentions how the audience will see wigs and corsets, of course, but also incisive social commentary (Seattle, of course...) informed me that my expectations of a classic restoration comedy were going to be challenged and this performance was going to be a lot more fun and contemporary than I thought it would be. I was immediately hooked and stayed engaged during the entire performance.


 She Stoops to Conquer  - Seattle Shakespeare Company
Defining Moment

The opening ska song.


 She Stoops to Conquer  - Seattle Shakespeare Company
Defining Moment

There were a lot of clever touches, but one that I (and many in the audience) found delightful was when some of the actors donned backpacks with tree branches sticking out the top and took places facing backwards on the stage to become the garden scenery for a scene in the garden at night, complete with night bird and owl sounds.


 She Stoops to Conquer  - Seattle Shakespeare Company
Defining Moment

When Marlow and Kate first meet and the audience first sees how differently he behaves in front of women of status was HILARIOUS. The whole show was amazing, but this stood out to me as one of the funniest scenes.


 She Stoops to Conquer  - Seattle Shakespeare Company
Defining Moment

When Marlow realizes he's been in the Hardcastle home all along.


 She Stoops to Conquer  - Seattle Shakespeare Company
Defining Moment

When MJ Sieber messes up his hair before he meets Kate, and ends up making it go to a point in front. It reminded me of a handlebar mustache. I won't forget that soon!


 She Stoops to Conquer  - Seattle Shakespeare Company
Evan Mosher

Loved the shoe bit- always engaging whether playing an instrument or just standing in the back. Very funny but with a light touch. Him along with the other two musicians were my favorite parts.


 She Stoops to Conquer  - Seattle Shakespeare Company
Harry Todd Jamieson

Three musicians often my favorite parts. Detailed character work in the background, and beautiful music that really added vital atmosphere to the show.


 She Stoops to Conquer  - Seattle Shakespeare Company
Julie Briskman (Mrs. Hardcastle)

Wonderful presence, very strong character choices that added a lot of depth and intrigue to the character.


 She Stoops to Conquer  - Seattle Shakespeare Company
Julie Briskman (Mrs. Hardcastle)

Ms. Briskman was delightful as Mrs. Hardcastle. Her hairpin turns between Hardcastle and Lumpkin accents was particularly enjoyable.


 She Stoops to Conquer  - Seattle Shakespeare Company
Julie Briskman (Mrs. Hardcastle)

So funny. Her accents were just right. Loved her "dance" with her son.


 She Stoops to Conquer  - Seattle Shakespeare Company
Lamar Legend (Hastings)

Lamar Legend's Hastings was pitch-perfect!


 She Stoops to Conquer  - Seattle Shakespeare Company
MJ Sieber (Marlow)

Great comedic timing.


 She Stoops to Conquer  - Seattle Shakespeare Company
MJ Sieber (Marlow)

MJ handled the turns from condescending gadabout to befuddled mess with expert precision. His first meeting with Kate Hardcastle was perfection.


 She Stoops to Conquer  - Seattle Shakespeare Company
MJ Sieber (Marlow)

Such a funny actor, great physical comedy and timing!


 She Stoops to Conquer  - Seattle Shakespeare Company
MJ Sieber (Marlow)

Such great changes between his two personalities, both physical and vocal, like he pulled his hair forward and changed his vocalizations and posture to become more shy addressing a higher class person, and how he just bounded around the manor demanding things when he thought he was in an inn.
The look on MJ's face when he realized he was not in an Inn, but in Hardcastle's house was absolutely priceless. It was genuine and hilarious.


 She Stoops to Conquer  - Seattle Shakespeare Company
MJ Sieber (Marlow)

switching from timid to brash in a second. Tugging his forelock over his eyes was brilliant business.


 She Stoops to Conquer  - Seattle Shakespeare Company
MJ Sieber (Marlow)

The more I see MJ Sieber the more I'm impressed with his acting.


 She Stoops to Conquer  - Seattle Shakespeare Company
Other/Final Comments

A fun play with lots of laughs and music played onstage by actor/musicians - great entertainment for all ages.


 She Stoops to Conquer  - Seattle Shakespeare Company
Other/Final Comments

This production was easily one of my favorites of the year!


 She Stoops to Conquer  - Seattle Shakespeare Company
R. Hamilton Wright (Mr. Hardcastle)

As ever, magnificent.


 She Stoops to Conquer  - Seattle Shakespeare Company
R. Hamilton Wright (Mr. Hardcastle)

Bob Wright is always fun to watch


 She Stoops to Conquer  - Seattle Shakespeare Company
R. Hamilton Wright (Mr. Hardcastle)

he does fussy with such a heart


 She Stoops to Conquer  - Seattle Shakespeare Company
R. Hamilton Wright (Mr. Hardcastle)

Incredibly funny. Fit the restoration style. He was heightened and absurd, but always truthful and engaging. An absolute delight- felt like he was in the same world as Mrs. Hardcastle and Madam Marlow.


 She Stoops to Conquer  - Seattle Shakespeare Company
Shanna Allman (Kate Hardcastle)

Great work at shifting intentions and thinking real thoughts in real time. Often very engaging.


 She Stoops to Conquer  - Seattle Shakespeare Company
Shanna Allman (Kate Hardcastle)

Impressive switching acting style and accent from refined lady to barmaid with a Milwaukee-style accent. Fun to watch, great comedy and singing voice.


 She Stoops to Conquer  - Seattle Shakespeare Company
Shanna Allman (Kate Hardcastle)

Lovely, smart performance.


 She Stoops to Conquer  - Seattle Shakespeare Company
Shanna Allman (Kate Hardcastle)

Shanna Allman's Kate was charming and grounded in excellent physicality.


 She Stoops to Conquer  - Seattle Shakespeare Company
Steven Tran

Impressive napkin-folding.


 Sheathed  - Macha Theatre Works
Comments (Costume)

i thought the armor was really cool and ayo looked amazing. the rest of the costumes and the fox fire player costume costumes were really good.


 Sheathed  - Macha Theatre Works
Comments (Playwright)

very unique characters, and i really liked the world that was created.


 Sheathed  - Macha Theatre Works
Comments (Scenic)

i liked that the set design changed and was flexible to what was happening. i also liked that it was integrated into the house and not just on the stage. it was really awesome that the background unfurled and it felt like a painting.


 Sheathed  - Macha Theatre Works
Comments (Sound/Music)

i loved the live musician. she was amazing.


 Sheathed  - Macha Theatre Works
Comments (Sound/Music)

The addition of a musician on stage as part of the action was brilliant. Leanna Keith did a lovely job helping to set the scene and move the action and the emotional flow forward.


 Sheathed  - Macha Theatre Works
Defining Moment

Absolutely the final duel and Bala finally unsheathing her sword. We all knew what was going to happen, but the build-up and slash was worth it.


 Sheathed  - Macha Theatre Works
Defining Moment

From Bala's moment of realization that her love had moved on...to Miro's death and Ren's moment of clarity, I was in tears. But it was Suman Ellis as Bala, with her strength, her tenderness, and her vulnerability, who grabbed me and sucked me in.


 Sheathed  - Macha Theatre Works
Defining Moment

Having a live musician onstage was fantastic choice


 Sheathed  - Macha Theatre Works
Defining Moment

I thought the puppet show was incredible. I love stories within stories and that was an excellent one. The theatricality of the actors performing for actors a story they already knew, but knew from different perspectives was thrilling.


 Sheathed  - Macha Theatre Works
Defining Moment

The Bridge. The way they incorporated it into "normal" staging and used it as a Crossover symbol. Incredibly powerful.


 Sheathed  - Macha Theatre Works
Defining Moment

The final scene where Bala and Ren choose to walk together after all they have seen. They cross a bridge and freeze in that moment. Equals now, forever honorable travelers.


 Sheathed  - Macha Theatre Works
Defining Moment

The first fight with the sheathed sword, the live music, the lines about walking the same road but not together, the culmination of these two souls getting what they wanted and it not being what they needed. The whole show was so stunningly beautiful!


 Sheathed  - Macha Theatre Works
Defining Moment

The moment I realized the music was being looped live.


 Sheathed  - Macha Theatre Works
Defining Moment

The moment when the actors troupe showed up. I didn't know what was happening but it immediately arrested my attention.


 Sheathed  - Macha Theatre Works
Defining Moment

The theatrical troupe's first performance, when Ren doesn't realize that they're performing a play.


 Sheathed  - Macha Theatre Works
Defining Moment

When it is revealed that Miro is the enemy that Ren is chasing.


 Sheathed  - Macha Theatre Works
Defining Moment

When Sori decides not to duel and forgive


 Sheathed  - Macha Theatre Works
Isis King (Riza)

very funny and moving.


 Sheathed  - Macha Theatre Works
Maile Wong (Sori)

one of the characters who really handled the weapons very well and was very believable. I also loved her Lady Selene character and it was very different from him Sori character. I also really loved her moments of forgiveness. They were very powerful.


 Sheathed  - Macha Theatre Works
Natalie Berg (Nessa/Soodal)

i really liked her ghost movement stuff as Nessa. Her Soodal character was good and she did well with it though she wasn't on stage a lot.


 Sheathed  - Macha Theatre Works
Other/Final Comments

the pre-show speech was a great way to get us into the world and was very imaginative.


 Sheathed  - Macha Theatre Works
Other/Final Comments

Maggie Lee delivers (again) with this beautiful, well-thought-out script. And Amy Poisson's direction lends the perfect flavor and depth to the production. They are a perfect combination!


 Sheathed  - Macha Theatre Works
Other/Final Comments

This production was absolutely incredible. One of those rare shows you stumble upon, and then walk out utterly changed. BEAUTIFUL work.


 Sheathed  - Macha Theatre Works
Sunam Ellis (Bala)

I was always aware of her on stage and wanted to watch her. I really believed when she drew that sword, that she could kill and was deadly. It was amazing to watch that in comparison to the humor and levity she brought as well as how much she was haunted.


 Sheathed  - Macha Theatre Works
Sunam Ellis (Bala)

It's difficult to NOT watch Sunam Ellis when she is on stage. Even when others are talking, she is brilliant, fully present and responsive to her fellow actors in each and every moment. She commands the stage and shows a depth in her characters that few can match. Her role as Bala was no exception. Truly a remarkable talent!


 Sherlock Holmes and the Case of the Jersey Lily  - Edmonds Driftwood Players
Comments (Costume)

Lily Langtree's costume was stunning and detailed, showed off the elegance that was so important to the "beautiful" character that created extreme jealousy in others.


 Sherlock Holmes and the Case of the Jersey Lily  - Edmonds Driftwood Players
Comments (Costume)

Lily's and Oscar's costumes were especially nicely rendered!


 Sherlock Holmes and the Case of the Jersey Lily  - Edmonds Driftwood Players
Comments (Costume)

There was some truly beautiful detailing on Lili's dresses and Wilde's ensembles were executed with precision.


 Sherlock Holmes and the Case of the Jersey Lily  - Edmonds Driftwood Players
Comments (Direction)

Marty Mackenzie did a wonderful job with the staging and timing of this play. His choices in directing were spot on.


 Sherlock Holmes and the Case of the Jersey Lily  - Edmonds Driftwood Players
Comments (Playwright)

Local playwright Katie Forgette has written a clever play, in the style of Sir Arthur Conan Doyle, that kept the audience interested and laughing until the end. Bravo!


 Sherlock Holmes and the Case of the Jersey Lily  - Edmonds Driftwood Players
Defining Moment

I really enjoyed the big "reveal" in the second act when we learn that the sweet housekeeper is actually the villain who is terribly jealous of Lily Langtree...Sarita Benson tore up the stage with her venom and rage. It was great fun!


 Sherlock Holmes and the Case of the Jersey Lily  - Edmonds Driftwood Players
Defining Moment

Scott C. Brown as Moriarty slowly beating his head against the side of the proscenium while his hench-folk argued.


 Sherlock Holmes and the Case of the Jersey Lily  - Edmonds Driftwood Players
Defining Moment

The duel between Moriarty and Holmes showed the power of choreography. The whole of it COULD have been wordless and would have been as witty and thrilling as it was with dialogue. The highlight of the night.


 Sherlock Holmes and the Case of the Jersey Lily  - Edmonds Driftwood Players
Defining Moment

The strangling scene was very effective.


 Sherlock Holmes and the Case of the Jersey Lily  - Edmonds Driftwood Players
Defining Moment

What I found most memorable was the audience reaction when, after Sherlock Holmes had finished a scene disguised as a woman and whipped off his wig, a large portion of the audience was genuinely surprised that it had been him. I had read ahead of time in the program that he plays the part of an actress reading for one of Oscar Wilde's plays, so it had seemed obvious to me - but Jay Vilhauer as Sherlock Holmes had managed to fool a lot of people. Well done!


 Sherlock Holmes and the Case of the Jersey Lily  - Edmonds Driftwood Players
Jacob Livingston (Oscar Wilde)

His comic timing was excellent, helping to cut the tension of so many dramatic scenes.


 Sherlock Holmes and the Case of the Jersey Lily  - Edmonds Driftwood Players
Jacob Livingston (Oscar Wilde)

Jacob Livingston is absolutely fabulous as Oscar Wilde.


 Sherlock Holmes and the Case of the Jersey Lily  - Edmonds Driftwood Players
Jenifer Rifernbery (Lillie Langtry)

Her Lili has intelligence along with the charm. She conveys depth, history, a woman who's childhood circumstances inform but don't define the woman she chose to become.


 Sherlock Holmes and the Case of the Jersey Lily  - Edmonds Driftwood Players
Jenifer Rifernbery (Lillie Langtry)

Jenifer Rifernbery is enchanting in this role.


 Sherlock Holmes and the Case of the Jersey Lily  - Edmonds Driftwood Players
Joe Wack (Dr. Watson)

A well-done example of a straight man owning his role. He kept it simple, never drawing unnecessary attention to himself, and let the audience decide what was funny while going on about his business.


 Sherlock Holmes and the Case of the Jersey Lily  - Edmonds Driftwood Players
Joe Wack (Dr. Watson)

Joe Wack is a very believable Dr. Watson.


 Sherlock Holmes and the Case of the Jersey Lily  - Edmonds Driftwood Players
Other/Final Comments

A very clever and fun play that is well executed.


 Sherlock Holmes and the Case of the Jersey Lily  - Edmonds Driftwood Players
Sarita Benson (Kitty Dupree)

Excellent Cockney accent and great emotions and energy!


 Sherlock Holmes and the Case of the Jersey Lily  - Edmonds Driftwood Players
Scott C. Brown (Moriarty)

Driven and intense; with a sense of wily mania.