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
West Side Story  - The 5th Avenue Theatre
Comments (Direction)

This show was a pure delight! All of the many moving parts were orchestrated seamlessly. Reminded me of everything that's great about a big, showy Broadway musical.


 West Side Story  - The 5th Avenue Theatre
Comments (Ensemble)

Dance numbers were outstanding, and the Officer Krupke sequence was stellar: incredible energy and focus, really driving its message home.


 West Side Story  - The 5th Avenue Theatre
Comments (Ensemble)

Great dynamic work between both Sharks and Jets. Really enjoyed watching these groups play on stage with each other. The dancing was superb and the vocals dazzled. Officer Krupke was a true show stopper.


 West Side Story  - The 5th Avenue Theatre
Comments (Ensemble)

So much on stage charisma and chemistry in this ensemble!


 West Side Story  - The 5th Avenue Theatre
Comments (Lighting)

It would be challenging to create a more exceptional lighting design for this show. The colored bulbs, the disco lights, the blood red spots in the violent scenes, the harsh white light on Tony as he was shot, all of enhanced the story and drama 100 fold.


 West Side Story  - The 5th Avenue Theatre
Comments (Lighting)

lighting for the fight scene was amazing!


 West Side Story  - The 5th Avenue Theatre
Comments (Lighting)

Such brilliant use of color!


 West Side Story  - The 5th Avenue Theatre
Comments (Scenic)

Great use of levels, bars, walls alleys on stage. It felt like the actors alternated between being in a cage, being behind a border wall and being on a jungle gym. I really loved the dress forms suspended from the ceiling and streamers coming in like lightening and then lifting to frame the stage.


 West Side Story  - The 5th Avenue Theatre
Comments (Scenic)

Love the way the fence was incorporated into the brawl scene. And the street overpass was perfectly done- a unique take that still felt familiar.


 West Side Story  - The 5th Avenue Theatre
Comments (Scenic)

The rumble under the freeway was especially well designed. Loved the colorful streamers at the dance and the disco ball....really set the vibe.


 West Side Story  - The 5th Avenue Theatre
Danielle Gonzalez (Anita)

Beautiful sensual embodiment, great play and use of dialect and punctuated movements in her songs and text.


 West Side Story  - The 5th Avenue Theatre
Danielle Gonzalez (Anita)

Gonzalez was born to play this role. She was so fantastic and her dancing and singing, especially in "America" was ALL OUT. Brilliant.


 West Side Story  - The 5th Avenue Theatre
Defining Moment

End of the first act--two bodies are bathed in red light which only intensifies as the stage goes black.


 West Side Story  - The 5th Avenue Theatre
Defining Moment

Maria talking with Tony and remarking their face and hands were "the same." Beautifully delivered.


 West Side Story  - The 5th Avenue Theatre
Defining Moment

The end of the first act where we hear a loud bell ringing while red spots are on the two dead bodies as the curtain quietly closes


 West Side Story  - The 5th Avenue Theatre
Defining Moment

The fabric rising and falling during the dream ballet


 West Side Story  - The 5th Avenue Theatre
Defining Moment

The opening scene when the colored lights first hit the chain link curtain, underlining the many levels and types of social barriers the characters are confronted with throughout the show.


 West Side Story  - The 5th Avenue Theatre
Defining Moment

The parallels between the two gangs, especially in the dance sequences.


 West Side Story  - The 5th Avenue Theatre
Defining Moment

The tonight medley just before the rumble, when you see so many different points of view and lives


 West Side Story  - The 5th Avenue Theatre
Defining Moment

The twinkling rainbow lights that descended from above during the dance. Magical!


 West Side Story  - The 5th Avenue Theatre
Defining Moment

There was a beautiful transition moment in Act 2 in which the ensemble reset back to where the two bodies were and it was very striking.


 West Side Story  - The 5th Avenue Theatre
Defining Moment

When the streamers dropped to the ground from the rafters as the high school dance began and the disco lights circled with a swell of music and the actors burst onto stage. An exceptional moment!


 West Side Story  - The 5th Avenue Theatre
Other/Final Comments

Of course I look to West Side Story as a love story, but the true story here seemed to play best with the current social issues of immigrant rights, racism and abuse of power in law enforcement. This was an incredibly relevant piece of theatre for the time we're in and felt like producing this was part of healing the collective.


 West Side Story  - The 5th Avenue Theatre
Rebbekah Vega-Romero (Maria)

Beautiful vocals and a sweet naiveté as a young girl coming into her body and into love.


 West Side Story  - The 5th Avenue Theatre
Rebbekah Vega-Romero (Maria)

gorgeous innocence, beautiful voice. Wiping a tear at curtain call was beautiful to watch.


 West Side Story  - The 5th Avenue Theatre
William Branner (Tony)

Beautiful vocals.


 West Side Story  - The 5th Avenue Theatre
William Branner (Tony)

Branner reached the audience so completely with his performance of "Maria" that I thought we was singing right through to my soul. Beautiful connection with the audience.


 White Snake, The  - ReAct Theatre
Anna Seaphan (White Snake)

Anna's work was consistent; she was not reliant on being a likable version of this character as much as being true, and a strong female character. Her work in this in turn made her incredibly relatable + likable.


 White Snake, The  - ReAct Theatre
Anna Seaphan (White Snake)

Charming, and a very convincing maiden in love- even when she's irritated.


 White Snake, The  - ReAct Theatre
Anna Seaphan (White Snake)

Lovely performance by Anna! Really made me feel for the complex character.


 White Snake, The  - ReAct Theatre
Christina Chon (Guan Yin/Doubt)

Christina was not the most memorable of performances.


 White Snake, The  - ReAct Theatre
Comments (Costume)

Beautiful gowns and suits. I could tell a lot of care and handcrafting went into their creation.


 White Snake, The  - ReAct Theatre
Comments (Direction)

The movement of the actors and narrators was well timed with the action, and the way they filled the space always felt natural, and helped to tell the story seamlessly.


 White Snake, The  - ReAct Theatre
Comments (Lighting)

the shadow-lighting for the bedroom was beautiful


 White Snake, The  - ReAct Theatre
Comments (Lighting)

The use of shadows as storytelling was expertly done!


 White Snake, The  - ReAct Theatre
Comments (Overall Production)

I thought that this production made an extraordinary use of their resources - they found ways to add magic moments with very simple yet effective theatrical elements. I was refreshing to see a show in this style and the ensemble worked well to live within the whimsical yet grounded world of the play.


 White Snake, The  - ReAct Theatre
Comments (Sound/Music)

Steven Tran's composition/arrangements were an integral part of the show -- they wove together the classic style of storytelling while moving the action along.


 White Snake, The  - ReAct Theatre
Defining Moment

I particularly loved the interaction between Lady Bai and Greenie, they were immensely charming together, and obviously dear friends


 White Snake, The  - ReAct Theatre
Defining Moment

I thought the falling water was magically theatrical and I loved the use if it in the final moment.


 White Snake, The  - ReAct Theatre
Defining Moment

Streamers as rain falling from the grid. So clever!


 White Snake, The  - ReAct Theatre
Defining Moment

The amazing use of simplicity in the design


 White Snake, The  - ReAct Theatre
Defining Moment

The expressions of the storytellers, esp Kathy's Hsieh's joyful expressions were delightful.


 White Snake, The  - ReAct Theatre
Defining Moment

The falling fabric rain! Such a beautiful effect.


 White Snake, The  - ReAct Theatre
Defining Moment

The use of the blue silk for the rain, and the wooden screen becoming transparent and the white snake rearing up over Xu Xian were both beautiful, striking moments!


 White Snake, The  - ReAct Theatre
Defining Moment

The use of the snake puppets was pretty cool.


 White Snake, The  - ReAct Theatre
Defining Moment

Thge lovely cascading blue fabric coming down from the sky


 White Snake, The  - ReAct Theatre
Defining Moment

When the snake becomes really large and stuns the husband to death


 White Snake, The  - ReAct Theatre
Henry Vu (Xu Xian)

Served the role well in a classical way, wasn't overly distracting and moved the story along.


 White Snake, The  - ReAct Theatre
Jessica Wu Barlas (Narrator #2/Sister)

Graceful + a nice pillar to the story.


 White Snake, The  - ReAct Theatre
Kathy Hsieh (Narrator #1/Madame Lin)

Kathy's expressive narration really kind of stole the show 🙂


 White Snake, The  - ReAct Theatre
Other/Final Comments

Beautiful visual storytelling!


 White Snake, The  - ReAct Theatre
Tammy Nguyen (Narrator #3/Crane Spirit)

Tammy made the most of her character! Very authentic performance and leaned into the style of the storytelling.


 White Snake, The  - ReAct Theatre
Tim Takeuchi (Canopus/Boatman)

Tim transformed himself completely--each of his 3 characters were completely distinct physically and vocally.


 White Snake, The  - ReAct Theatre
Yena Han (Green Snake)

Stand out performance! Such charisma and truly made this role their own.
Excited to see more of this actor!


 White Snake, The  - ReAct Theatre
Yena Han (Green Snake)

Such fantastic charm and charisma!


 White Snake, The  - ReAct Theatre
Yena Han (Green Snake)

Very funny. A very engaging performance, always interesting and amusing, a very charming part for the play


 White Snake, The  - ReAct Theatre
Yena Han (Green Snake)

Yena Han really made Green Snake come alive--she made her relationship with White Snake crystal clear and brought so much humor to the role!


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Comments (Choreography)

Wow! So many people, with so many different skills highlighted excellently in a tiny stage with several steps in the middle - yet glorious & transporting to all the locales of the story.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Comments (Choreography)

My favorite element of the production. Elicited a few gasps of delight from the audience at points. The use of voguing-like choreography to evoke the levers of a pinball machine was inspired.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Comments (Choreography)

Needed more rehearsal. The pinball playing arm gestures used mostly by the medium size Young Tommy (Fiona Alhadeff) could have been more crisply articulated. It took a long time to determine what she was doing.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Comments (Choreography)

There were moments of great physicality and invention in the choreography I really enjoyed.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Comments (Costume)

The costumes AND THE MAKEUP were solidly late 1980's - early 1990's which was amazing to see. It made me think I recognized all the performers, none of whom I actually know. The look took me back to that era, though the music took me to an earlier era...


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Comments (Direction)

I respected the idea to cast Tommy as three people, and was intrigued with the ideas behind the color and gender blind casting.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Comments (Ensemble)

All the actors fit their roles nicely, connected well with each other and appeared to be having a lot of fun!


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Comments (Ensemble)

Fantastic work by the ensemble; strong and energetic throughout;


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Comments (Ensemble)

This ensemble committed deeply to the world of the play and to each other. They enthusiastically gave it their all with trust and synchronicity.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Comments (Ensemble)

This ensemble ROCKED. Everyone seemed to enjoy moving and have fun! With tons of movement/quick changes, the Ensemble was the REAL MVP.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Comments (Lighting)

Ahren Buhmann's projections were phenomenal! They WERE the set and enhanced the story.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Comments (Lighting)

Outstanding lighting and projections - these elements set the entire tone for the show and were a vital part in telling the story.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Comments (Lighting)

The lighting was evocative and the stage well-lit.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Comments (Lighting)

The lighting was impressive and totally changed the space. Great work.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Comments (Scenic)

A simple stage pulled off very nicely and totally in service to the production.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Defining Moment

Full cast fast, large movement and choreography and singing on multiple levels in a tight yet-somehow-loose staging and backed with amazing set graphics - this was an experience that delivered to a broader audience than the original.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Defining Moment

I found the final moment where the cast was singing straight to the audience and letting us know we were Tommy's inspiration to be very powerful. I was smiling broadly and happy to join in clapping.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Defining Moment

Lighting design/Projections. No doubt this show was a rock opera from start to finish. Strong lighting that created tension, separation and finally resolution. Solid work.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Defining Moment

Like with many musicals written in this time, Tommy tends to have a loose plot. The production did a great job of telling the story through great blocking and movement.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Defining Moment

Particular to this production, I loved watching a play featuring an interracial, homosexual couple that didn't have to spend the whole play talking about exactly that. We could let them be a family and get on with it.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Defining Moment

Ryan McCabe's two numbers were an absolute delight. He played to the audience delightfully.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Defining Moment

The entire production had a look, feel, and vibe that pulled the audience into the experience. The projections, lighting, and choreography set the tone for outstanding ensemble work.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Defining Moment

The first instance of voguing choreography to indicate the movement of a pinball machine.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Defining Moment

The lighting effects against the back wall were striking throughout the show but there was one moment in particular that really stood out. The art against the back wall displayed a stylized house and we were in that house with the family on stage and as that family was dying, as a unit, in front of our very eyes the house began to fracture and resemble more and more an abstract painting.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Defining Moment

Uncle Ernie's sales pitch for Tommy memorabilia and souvenirs was the best sung and most memorable part of the production.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Defining Moment

When all three adult Tommy’s appeared onstage with younger Tommy, there is a moment of realization that they are all playing the same character, regardless of the race or sex of the actor, which is really cool for the audience.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Defining Moment

When the Acid Queen appears.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Fiona Alhadeff (Young Tommy)

One of the most remarkable performances by a young actor I've seen in recent memory (and that's without any spoken lines!). Exceptional focus and intensity, and a great handle on choreography and movement. It's hard to be the center of attention when you're standing silent and stark-still, surrounded by people dancing in neon glitter clothing, but she managed to do it all the same.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Fiona Alhadeff (Young Tommy)

Soooo cute. Really did a wonderful job. Keep pursing this gift. I heard this was your first musical...It seemed like you have been doing theatre for years! Such a natural.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Fiona Alhadeff (Young Tommy)

Talented in the extreme, this is a young performer to watch.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Garrett Dill / Emily Welter / Varsha Raghavan (Tommy)

Excellent work as a team creating the various parts of the character; each individual was a strong character and yet they were able to collaborate into a singular entity quite well


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Garrett Dill / Emily Welter / Varsha Raghavan (Tommy)

Great concept & execution of the 3-part Tommy. I really wanted to see them rock out more.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Garrett Dill / Emily Welter / Varsha Raghavan (Tommy)

Very nice moments of acting together.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Jeff Orton (Acid Queen)

But dancing in those shoes?! WOW Clear character work, and again - the choreography was very smart with how people did different things in layers across a packed stage.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Jeff Orton (Acid Queen)

Great singing. Managed the platform spikes beautifully..


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Jeff Orton (Acid Queen)

I love watching Jeff on stage and seeing him own this role was a real delight.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Nastacia Guimont (Captain Walker)

I appreciated that Nastacia played a male character as a man. Her attention was on how the character was written, not on the fact that she/the actor is female. Tori (Mrs. Walker) and Nastascia were a believable couple, and have voices that matched and blended well. As actors they communicated with one another well.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Other/Final Comments

A very energetic cast is always fun to watch. The show was always moving and never uninteresting.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Other/Final Comments

I thought the lighting design and projection mix was really special. It made the play more lively and contemporary. Kudos to the designer.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Rory Eaden (Cousin Kevin)

Loved his stage presence and the ability to be convincingly sinister without transgressing into outright camp.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Rory Eaden (Cousin Kevin)

Loved the about face from "bully" to "constant family supporter". Also a good voice, clear intentions, distinct character.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Ryan McCabe (Uncle Ernie)

Creepily perfect.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Ryan McCabe (Uncle Ernie)

Creepy. Effective. Really nice voice. The sales pitch at the end was a startling and wonderful revelation.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Ryan McCabe (Uncle Ernie)

He gave "Fiddle About" such a salaciously creepy edge it made my skin crawl.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Ryan McCabe (Uncle Ernie)

Ryan stole the show with his two numbers. The definition of an actor who knew exactly what to bring to the role mixed with the ability to deliver. I wish there was more of him in this!


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Ryan McCabe (Uncle Ernie)

Uncle Ernie was creeepy and gross. Nice work.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Savannah Lynn (Sally Simpson)

Out of a team of standouts, Savannah stood out for dance talent.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Tori Spero (Mrs. Walker)

Honest portrayal of "Mom". Tori and Nastacia (Captain Walker) were a believable couple, and have voices that matched and blended well. As actors they communicated with one another well.


 Who's Tommy, The  - Seattle Gilbert & Sullivan Society
Vivienne Ridao (Young Tommy)

Wow. My favorite moment was when Young Tommy first sang after being silent for so long!


 Witching Hour, The  - Café Nordo
Cody Smith (Aleister/Harm)

He played Aleister and Harm very well and very different. He had several funny moments during the Occultist scene.


 Witching Hour, The  - Café Nordo
Cody Smith (Aleister/Harm)

Impressed with his vocal choices.


 Witching Hour, The  - Café Nordo
Comments (Actors)

Katheryn Reed had a bit part as one of the servers yet she added extra excitement to the show with her physical comedy.


 Witching Hour, The  - Café Nordo
Comments (Choreography)

The fight choreography was executed flawlessly and was so engaging! Great timing.


 Witching Hour, The  - Café Nordo
Comments (Costume)

Costumes really elevated the show! Each costume had so many layers of detail. Filth by far was the most excellent.


 Witching Hour, The  - Café Nordo
Comments (Costume)

I loved that Loneliness' costume included a mirrored mask and how Filth's costume included his cane (from his prior persona) becoming an extension of his arm. It was fantastic how the costume designer maintained some human characteristics into their Night Terror personalities.


 Witching Hour, The  - Café Nordo
Comments (Costume)

Outstanding and inventive Costume Design.


 Witching Hour, The  - Café Nordo
Comments (Costume)

Really rich looks – the transformation of each actor to their respective monster trait worked well –some characters changed offstage, while we got to witness the transformation of Florence to Failure before our eyes – as she whipped off her wig, and rolled up her pants as her legs spouted large, bulbous growths. Harm’s horns on his back enhanced his menacing presence, and I thought that Chaos’s upside-down outfit was so clever, but humorous. All costumes worked great for their characters and had good detail – and you could tell the difference between the primary servers and principal cast by the costumes.


 Witching Hour, The  - Café Nordo
Comments (Costume)

The costumes for the Fears were all so well-designed, and I especially loved Loneliness's gown.


 Witching Hour, The  - Café Nordo
Comments (Costume)

The costumes were great. It must have been really hard to put concepts like Loneliness and Chaos into costumes, so it was decently done. I especially liked that Loneliness' costume had the face/crown so when she bent over, she could be even creepier. I also liked that her dress matched the wall color so she could blend into the background of the space. The costumes of the Occultists really matched their personalities and helped to bring them out. I especially liked that their stones and how they were carried also spoke to that.


 Witching Hour, The  - Café Nordo
Comments (Direction)

Directing an interactive play with a meal served throughout by actors seems like it could be quite chaotic – if not directed well – but that was not the case with this production. All stage action and music was timed well to go along with the meal and the scene transitions were very smooth


 Witching Hour, The  - Café Nordo
Comments (Direction)

I'd never been to Nordo before, and it's such a unique space. I thought that the highlight of the direction was how well and creatively the space was used.


 Witching Hour, The  - Café Nordo
Comments (Ensemble)

The servers were a critical part of the cast as well! I loved their dedication to the show (including one of them shouting "Corner" while being dragged off stage). Hilarious and worked well together.


 Witching Hour, The  - Café Nordo
Comments (Lighting)

Just the right amount of low-light to build a mysterious mood and allow for characters to come out of "nowhere" at times. Light was used well to define the focus space as the set never changed, but different parts of it all over the room were used.


 Witching Hour, The  - Café Nordo
Comments (Lighting)

The lighting really helped tell the story and was keyed into to the style and tone of the play. It was really cool how the Nocturnal Fears emerged from the Ether and the lighting support of that moment.


 Witching Hour, The  - Café Nordo
Comments (Lighting)

The lighting was incredibly unique. I loved how Filth was portrayed as a light prior to embodying Algernon. Also I was so impressed how the lights were synchronized with the actor as he was switching between Justin and Chaos.


 Witching Hour, The  - Café Nordo
Comments (Overall Production)

This experience stuck with me for a few days, a sign that the piece made an impact. It definitely felt that a lot of detail went into this production. The thematic meal and servers make the audience a part of the production, which makes one more than just an observer. In addition, because there were several “curses” in the meal, the onstage action had to be segmented to coincide with each course, and was timed to keep us guessing as to what would come next. I thought that both the server/actors and the principals were convincing in their respective roles and was impressed that the servers, especially, never broke character. I was also pleasantly surprised at some of the humor in the story-line, because of the title and the feel of the space, I was prepared for more of a scary time, and happily did not have that experience. The menu featured thematic foods and drinks, as well as offered audience members the opportunity to conduct a magic spell with their first course, which included an imaginative use of dry ice that elevated the magical experience.


 Witching Hour, The  - Café Nordo
Comments (Scenic)

I loved that even the pictures in Nordo were a part of this production. Everything was placed purposefully and with intention.


 Witching Hour, The  - Café Nordo
Comments (Scenic)

It's always amazing how Nordo completely reimagines the space and turns each show into a fully immersive experience. In this show specifically, many of the set pieces like the clock and skull candle lit up. Also, some of the paintings spun, which add to the ghost/haunting effect.


 Witching Hour, The  - Café Nordo
Comments (Scenic)

The set was all-encompassing, and was entirely used – all entrances and exits were defined well and actors used all parts of the sets, such as climbing up the bookshelf, conducting magic on the elevated stage and emerging from a dark part of the room with a backdrop. The band performed in an enlarged music box that was a replica of the one used by the actors, connecting the two. The walls featured obscure art such as a replica of the Goya painting of Saturn eating his son and a framed 3-D of real “fairy wings” (one, of which fell onto our table).


 Witching Hour, The  - Café Nordo
Comments (Scenic)

Very detailed and thoughtful. Incredible use of the space.


 Witching Hour, The  - Café Nordo
Comments (Sound/Music)

Bravo to the band! Versatile musicians made up these three piece band and added vital support to the story telling.


 Witching Hour, The  - Café Nordo
Comments (Sound/Music)

Music was used as an underscore and interstitial for this show, but it worked well. It seemed that there were some wonderful original works, interspersed with classics such as a cover of Bowie’s A Space Oddity, which fit the mood of the performance. The musicians were one of my favorite parts of the night, the singers and instruments were impressive, they also coordinated the live sound effects(such as a scratchy record and the scraping sound of the brick wall opening) perfectly with the actors movements. Some interesting spooky/amplified-voices on some of the mics heightened some character effects.


 Witching Hour, The  - Café Nordo
Comments (Sound/Music)

The band was amazing. Not sure if it counts as part of the show, as it was the music in between.


 Witching Hour, The  - Café Nordo
Comments (Sound/Music)

The live band was awesome! The music matched the tone of the scenes and supported the overall story. I loved how the sound design modified the actors' voices as well (echo/reverberation).


 Witching Hour, The  - Café Nordo
Comments (Sound/Music)

THE LIVE BAND WAS PHENOMENAL!!!! Live singing, live playing- it was so great!


 Witching Hour, The  - Café Nordo
Comments (Sound/Music)

There was some mic popping at top of show, but nothing too distracting. Further, the challenge for Nordo is always the blend of the live music with the sound design and I think Nordo did a great job with it in this show. It was seamless the transition between the band playing music and then moving into it being a record sound cue and then played over speakers. All this on top of the effects for the fears.


 Witching Hour, The  - Café Nordo
Defining Moment

All of the curious artwork and pieces on the wall were amazing and I loved how they moved or lit up during the show.


 Witching Hour, The  - Café Nordo
Defining Moment

I definitely enjoyed the entrance of the Loneliness-Actress Tatiana Pavela, it sucked us into the play and the world.


 Witching Hour, The  - Café Nordo
Defining Moment

Justin climbing up the bookcase during his transformation. It was the first of many impressive transformations of the characters into their counter Night Terror character. I was so impressed by their dedication and commitment to strong choices.


 Witching Hour, The  - Café Nordo
Defining Moment

Steven's initial transformation


 Witching Hour, The  - Café Nordo
Defining Moment

The first time Loneliness appeared onstage. The lighting and effects on that one day were impeccable, her costume made her fade in and out of the shadows perfectly, and her whole presence was spot on. A remarkable performance that really set the tone.


 Witching Hour, The  - Café Nordo
Defining Moment

The first time the brick wall disappeared and Loneliness came slithering through.


 Witching Hour, The  - Café Nordo
Defining Moment

The first time you see Loneliness emerge from the Ether


 Witching Hour, The  - Café Nordo
Defining Moment

The physical acting by the ensemble member who got "dragged" off into the kitchen! Also the moment when Steven uses the canned fog in the ritual. The whole scene brought the world of the play together and was clever and fun!


 Witching Hour, The  - Café Nordo
Defining Moment

The Robert's Rules of Order sequence.


 Witching Hour, The  - Café Nordo
Defining Moment

To transition us from one of the courses ("curses") into the next act, one of the stewards was dragged offstage by an invisible force.


 Witching Hour, The  - Café Nordo
Defining Moment

When the “brick” wall suddenly opened like an elevator door and a character from another “world” came through.


 Witching Hour, The  - Café Nordo
Jesse Parce (Justin/Chaos)

Great job as far as having to showcase two characters that often bounced back and forth between each other multiple times in a scene. His physicality and voice behind Chaos was very clear and different than when he played Justin.


 Witching Hour, The  - Café Nordo
Jesse Parce (Justin/Chaos)

Invested and dedicated. Strong yet subtle choices.


 Witching Hour, The  - Café Nordo
Opal Peachey (Florence/Failure)

Her Florence character and Failure character were very different. I loved her transformation to Failure on stage. Great physicality.


 Witching Hour, The  - Café Nordo
Other/Final Comments

Although the food that goes with the show is not necessarily part of the grading rubric, Erin Brindley did an amazing job with the menu and it really complimented the show.


 Witching Hour, The  - Café Nordo
Other/Final Comments

I know the Servers are not characters, but they did a great job bringing in people to the space and getting everyone into the mindset. They all had distinctive characters and stuck with them. Kaetheryn Reed especially had a lot of great movement and physicality, which helped to transition the from food service back to the show. Further, what is a Nordo show without it's food? Erin did a great job making the food into different spells, which was a very unique experience and helped with the overall immersion into the show.


 Witching Hour, The  - Café Nordo
Other/Final Comments

Our server was Mugwort and they, along with other servers really helped immerse the audience and never broke character. I loved the imaginative usage of fresh herbs and dry ice for the first "curse" of the meal.


 Witching Hour, The  - Café Nordo
Other/Final Comments

The "stewards" that served our meal were fantastic, fully realized characters, with detailed physical and vocal work including a few rather elaborate physical bits that should be called attention to. Watching the three of them work was, undoubtedly, my favorite piece of the performance.


 Witching Hour, The  - Café Nordo
Tatiana Pavela (Loneliness)

Amazing performance. From the moment that she stepped out of the Ether (what an entrance) to every time she was on stage, I really believed her as Loneliness. She brought the most depth to her fear.


 Witching Hour, The  - Café Nordo
Tatiana Pavela (Loneliness)

Very in control of her movement and used it to support her character development.


 Witching Hour, The  - Café Nordo
Tom Dang (Algernon/Filth)

Tom's transformation to Filth was the best transformation to a Fear. The physicality and body work (movement) really helped to sell it.


 Yes Anderson  - Jet City Improv
Comments (Actors)

Greg Gerbus and Kykaela Hopps deserve special shout outs for their energy, wit and expressiveness!


 Yes Anderson  - Jet City Improv
Comments (Actors)

The actor who played Florence, the dancer with a tutu in his suitcase was the best. He seemed free to look into the character and come up with some realization of a character in terms of words and motion and being.


 Yes Anderson  - Jet City Improv
Comments (Direction)

I thought the concept was clever. I enjoyed picking out some of the subtle and not so subtle references from Wes Anderson movies.


 Yes Anderson  - Jet City Improv
Comments (Ensemble)

This piece gave me a new appreciation for comedy. I know that it must be really difficult. I really appreciated the cast's effort.


 Yes Anderson  - Jet City Improv
Defining Moment

Margaret Erickson blowing "hemp smoke" out of a train window


 Yes Anderson  - Jet City Improv
Defining Moment

My first imrpov show in a very long time, and an amazing blend for me of the spontaneity of improv and the structure of traditional theatre.


 Yes Anderson  - Jet City Improv
Defining Moment

Playing Fleetwood Mac's "Landslide" during intermission, right after one of the actor's had made a joke about a landslide happening in the play.


 Yes Anderson  - Jet City Improv
Defining Moment

The overhead projection asides were great and really added a lot to the show. It really tied the whole theme together.


 Yes Anderson  - Jet City Improv
Defining Moment

The screen to the side of the stage where someone was drawing in real time to accompany the action was very charming. The train trip imagery was cute.


 Yes Anderson  - Jet City Improv
Defining Moment

When the son (Patrick) finds his true calling


 Yes Anderson  - Jet City Improv
Other/Final Comments

Beauttiful sets!


 Yes Anderson  - Jet City Improv
Other/Final Comments

Sky L. Boggs and Camilla Franklin stood out. There characters were just existing in the world, there wasn't too much pushing or trying. Delightful to watch.


   -
Theatre of the Year Comments

ACT is pushing the boundaries by taking big risks and presenting thought-provoking work through a unique lens.


   -
Theatre of the Year Comments

Annex is on the top of my list because of the truely innovative shows I've seen there, the diversity of programing and new stories they bring to life


   -
Theatre of the Year Comments

ArtsWest pushed boundaries this season and moved the conversation forward about certain controversies. From Skeleton Crew to Jane Eyre to M. Butterfly, audiences were treated to eye-opening experiences with imaginative sets, costumes, and brilliant players. I leave the theater having learned something each time at ArtsWest. They are telling extraordinary stories and deserve recognition.


   -
Theatre of the Year Comments

I put the 5th Avenue theatre at the top because it has such great productions, but also their educational offerings are quite wonderful. They include the Rising Star Project where high school students get to put on the same production that just closed in a professional production. They get to use the sets, costumes etc. from the professional production. Students are on stage, but also in the orchestra, backstage, helping in costume, hair, makeup, development, marketing etc. It requires major fundraising. Each student costs about $3500 but all participate for free. This year almost 50 high schools participated, from Thurston to Snohomish counties.


   -
Theatre of the Year Comments

I think what upstart crow collective is accomplishing with Shakespeare and all female casting is the most remarkable work being done in Seattle this last year.


   -
Theatre of the Year Comments

Not only did Intiman Theatre retire their debt this year and turn around their finances, their goals and aspirations are clear and well communicated with the Community Ticket Project, which offered FREE tickets for all performances of THE EVENTS. They will continue offering art to the public for free. They believe "Access to art is a human right!"


   -
Theatre of the Year Comments

Seattle Public Theater is my top choice this year because everything I have seen there this season has moved me to my core.

Pratidhwani consistently does excellently beautiful work and I believe that that they should be recognized for it.

Copious love is a special and talented group of people. I love that they are here for the queer community and are as fun and funny as they are.

ACT theater does solid work. I don't think that it would be fair if I didn't mention them on my top ten list.

The leadership at Sound Theater is very thoughtful and intentional in the planning of their seasons and who they choose to collaborate with. It is obvious in the work that they do. I can tell that they do their very best to be inclusive and make sure that all people are represented and heard.

Seattle Rep is solid. They do good work most of the time.


   -
Theatre of the Year Comments

Seattle Public Theatre has come into its own with powerful, timely plays produced by an inspiring group of artists. Support what they do, because what they are making is what we've been talking about all along.

Macha Theatre Works has refined it's vision and taken up a much-deserved space in the Seattle theatre community.

18th & Union is reinventing what it means to have an intimate performance space in Seattle. More and more companies are finding big plays of smaller scope to produce in the space and it is quite impressive.


   -
Theatre of the Year Comments

The shows that Seattle Public Theatre presented this year were not only reasonably priced, they were absolutely riveting to behold - timely, gut-wrenching storytelling with absolutely fantastic ensemble work and production values. This small theatre suffered vandalism and break-ins this year, yet their works were consistently fabulous.


   -
Theatre of the Year Comments

Theater Simple does work that challenges the imagination on a shoestring budget. They are producing actual art, not just plays that appeal to the masses or generate ticket sales. They take risks, dream big, and play hard. Theater Simple has something to say, and they say it with a joyous shout.


   -
Theatre of the Year Comments

Village Theatre is the only theatre where I saw more than one show at that completely amazed me and in different ways. Really solid, diverse season, from what I saw, full of new theatre done in an innovative way.


   -
Nom Survey - Favorite Performances

1. The entire cast of the Master & Margarita deserve acknowledgement for their amazing performances, particularly Monique Kleinhans and Teague M. Parker. Their work was stunning.

2. Christian Quinto gave a haunting, heartbreaking, painfully real performance in ArtsWest's Office Hour.

3. Caitlin Macy-Beckwith as Kat in Ponyworld Theatre's Parliament Square gave a raw, wrenching, haunting performance.

4. Yena Han's performance as Green Snake in ReACT's The White Snake completely elevated the material. She was glorious and transcendent.

5. Jadyn Muralt as Elle Woods in Seattle Musical Theatre's Legally Blonde was amazing--it's been almost a year, and I am still so impressed that she killed her duet with a mic'd actor even after hers shorted out.

6. Reginald Andre Jackson's Ben in The Last of the Boys at Seattle Rep was glorious. His physicality was detailed, nuanced, and told us so many stories without saying a word.

7. Amber Tanaka's Eisenring in The Arsonists was brilliant, funny, full of mystery and rich inner life, and gorgeously, wryly funny.

8. Naho Shioya's performance in Office Hour was clear and luminous.

9. Lamar Legend was outstanding as Darren in Take Me Out. He really carried the show.

10. Jenny Hall's Marianne in The Liberation was complex, nuanced, and completely believable.


   -
Nom Survey - Favorite Performances

ACT/5th Avenue Urinetown had an awesome ensemble!

upstart crow collective/Seattle Shakes Richard III blew me away with the acting!

The ensemble of Jane Eyre at ArtsWest was great!

Strawshop Take Me Out was a great ensemble!


   -
Nom Survey - Favorite Performances

Amy Thone- Nurse/Prince, Romeo and Juliet
Sunam Ellis- Sonya, Uncle Vanya
Rachel Guyer Mafune0- Christine in Feathers and Teeth
Julie Briskman- Sugar, Tiny Beautiful Things


   -
Nom Survey - Favorite Performances

Andrew Litzky (Rules of Charity)
Charles Wright (Dez)
Dane Stokinger (Rock of Ages)
Gustavo Gutierez (The Little Mermaid)
Jennifer Faulkner (The Master & Margarita)
Llysa Holland (The Master & Margarita)
Maddy Noonan (Peggy: The Plumber Who Saved The Galaxy)
Mari Nelson (Richard III)
Marianne Owen (John)
Rachel Guyer-Mafune (ArtsWest)
Sarah Harlett (Richard III)
Suzanne Bouchard (Richard III)


   -
Nom Survey - Favorite Performances

Angelica McMillan- Behold the Dreamers


   -
Nom Survey - Favorite Performances

Annelih Hamilton in She Kills Monsters
Treavor Lovelle and


   -
Nom Survey - Favorite Performances

Ayo Tushinde in "The Call" (Seattle Public)
Joshua Castille in "Romeo + Juliet" (ACT)
Rachel Guyer-Mafune in "The Last Octopus" (ArtsWest)


   -
Nom Survey - Favorite Performances

Beth DeVries, Sylvester Foday Kamara, and Anjelica McMillan in "Behold the Dreamers" at Book-It Rep - extraordinarily powerful!
Sunam Ellis in "Sheathed" with Macha Theatre Works. Sunam Ellis... need I say more? She is perfection on stage!
Sarah Harlett in "Richard III" at Seattle Shakes!


   -
Nom Survey - Favorite Performances

Both performers of The Agitators
Everyone in Uncle Vanya
Everyone in Jitterbug Perfume
Everyone in Parliament Square
Everyone in Curious Incident of Dog in the Night-Time
Everyone in Kim's Convenience
Everyone in Million Dollar Quartet
Both performers in The Events
Everyone in Fade
Everyone in The Who's Tommy
Both performers in Skylight


   -
Nom Survey - Favorite Performances

Brandon O'Neill, Martyn G Krouse, Darragh Kennan in Oslo at ACT. Darragh Kennan, Gabriella O'Fallon, Amy Thone, Joshua Castille, in Romeo & Juliet at ACT.


   -
Nom Survey - Favorite Performances

Brandon Ryan (Trevor) - Trevor - A Tragicomedy
Gustavo Gutierez (Ursula) - The Little Mermaid
Josh Kenji (Anthony) - I and You
Visesia Fakatoufifita (Annie) - Annie
Cynthia Jones (Miss Hannigan) - Annie
Kendra Kassebaum (Agnes) - I Do! I Do!
Peter Saide (Michael) - I Do! I Do!
Alexandra Tavares (Yelena) - Uncle Vanya
The cast of Rock of Ages (and including Galen Disston (Drew) and Diana Huey (Sherrie))
Gin Hammond - Returning the Bones
The cast of Dry Land, including Madilyn Cooper (Ester)
Blake Simpson (Clair Kinsbury/Winnie Lewis) - Drag - A Homosexual Comedy in Three Acts
Robert A. Barnett (Robert Maranda) - Death and the Maiden
The cast of Bright Star (including Brenna Wagner (Alice Murphy) and Brian Pucheu)


   -
Nom Survey - Favorite Performances

Cayman Ilika as Patsy Cline in "Always...Patsy Cline" at Taproot Theatre Company and as Dyanne in "Million Dollar Quartet" at Village Theatre.

Rick Wright as Fester in "Addams Family, A New Musical" at Edmonds Driftwood Players.

Cynthia Geary as Paula Scobar in "Death And The Maiden" at Theatre 9/12.


   -
Nom Survey - Favorite Performances

Chip Sherman as Benvolio in Romeo + Juliet at ACT
Shaunyce Omar as Sarah in Nina Simone: Four Women at the Rep
Suzanne Bouchard as Buckingham in upstart crow's Richard III


   -
Nom Survey - Favorite Performances

Chris Ensweiler - "Matilda"
Cindy Giese French - "The Clean House"
Cobey Mandarino, Shermona Mitchell - "The Call"
Trick Danneker - "Take Me Out"
Mark Rabe, Hayley Gaarde - "Princess Ida"
Treavor Lovelle - "Pass Over"
MJ Sieber, Anastasia Higham - "Prelude to a Kiss"
Dane Stokinger - "Rock of Ages"
Reginald André Jackson - "The Agitators"


   -
Nom Survey - Favorite Performances

Corey McDaniel - As You Like It (Seattle Shakespeare)

Ben Symons - As You Like It (Dacha Theatre)

Mari Nelson - Richard III (upstart crow)

Sarah Hartlett - Richard III (upstart crow)

Suzanne Bouchard - Richard III (upstart crow)

Sunam Ellis - Sheathed (Macha Theatre Works)

Fune Tautala -Rules of Charity- (Sound Theatre Co)

Brian Pucheau - Jitterbug Perfume (Cafe Nordo)

Jonelle Jordan - As You Like It (Seattle Shakes)

Marco Voli - Fade (SPT)


   -
Nom Survey - Favorite Performances

Ensemble of She Kills Monsters
Sophie Franco in Native Gardens
Sarah Harlett in Richard III
Tracy Michelle Hughes and Allyson Lee Brown in Skeleton Crew
Reginald André Jackson and Michael Winters in Lonely Planet
Jasmine Jean Sim in Noteworthy Life of Howard Barnes
Visesia Fakatoufifita in Annie
Ensemble of Everybody, but especially Lamar Legend, Annelih GH Hamilton, and Megan Ahiers
Diana Huey, Sara Porkalob, and Nik Hagen, in Rock of Ages
Joshua M. Castille and Chip Sherman in Romeo + Juliet
Suzy Hunt and Marianne Owen in John
Ensemble of Urinetown, but especially Mikko Juan and Arika Matoba
Naho Shioya and Christian Quinto in Office Hour
Ensemble of Nina Simone: Four Women
Ensemble of Take Me Out, but especially Trick Danneker, Jon Lutyens, and Lamar Legend
Charles Leggett in Tiny Beautiful Things
All three actors in Pass Over
Ensemble of Citizen: An American Lyric
Rachel Guyer-Mafune in Last World Octopus Wrestling Champion


   -
Nom Survey - Favorite Performances

Everyone in She Stoops to Conquer at Seattle Shakespeare

Anansai and the Halfing - Ensemble - Annex Theatre
Madison Jade Jones - Maizah - Anasai and the Halfing - Annex Theatre

Mandy Rose Nicholas - Sweeny Todd - Reboot
Britt Allyson - Anthony - Sweeny Todd - Reboot


   -
Nom Survey - Favorite Performances

Mari Nelson and Suzanne Bouchard, Richard III
Megan Ahiers, Everybody
Marena Kleinpeter and Elizabeth Shipman, Silent Sky
Danielle Daggerty, Trevor
Thone, R+J
Madilyn Cooper, Dry Land
Gin Hammond, Returning the Bones

Performance of the Year: Teri Lazzara, Trevor


   -
Nom Survey - Favorite Performances

Gin Hammond in Returning the Bones
Marco Voli in Fade
Brian Pucheu in Miss Bennet: Christmas at Pemberley
Shontina Vernon in Nina Simone: 4 Women
the ensembles of Shakespeare Dice: As You Like It (Dacha) and A Small History of Amal, Age 7


   -
Nom Survey - Favorite Performances

Gin Hammond in Returning the Bones.

Justin Huertas, Julie Briskman, Charles Legget, and Chantal DeGroat from Tiny Beautiful Things.

Treavor Lovelle, Preston Butler, and Avery Clark in PASSOVER.


   -
Nom Survey - Favorite Performances

Gin Hammond's deeply personal tour-de-force, one-person piece, Returning the Bones was unforgettable.

Nik Doner and Samuel Hagen were a perfect pairing in Yussef El Guindi's Hostages at 18th and Union.

Libby Barnard's performance as Amy in Ruby Rae Spiegel's Dry Land at SPT was so super-charged and authentic it made me weep.

Good God, if you missed Sarah Harlett as the lead in upstart crow's Richard III then I feel sad for you. She was stellar and supported by and equally powerful ensemble. The production was the perfect follow-up to the company's production of Bring Down the House. Some of us were more excited by the news upstart crow was doing RIII than word of a new Star Wars flick.

Reginald Andre Jackson and Michael Winters in Steven Dietz' Lonely Planet at West of Lenin were a joy to watch together.

Ayo Tushinde tore it up this season with The Call at SPT, but perhaps even more so in Macha Theatre Works production of Sheathed by Maggie Lee. My only regret is I only saw Sheathed once.


   -
Nom Survey - Favorite Performances

I thought Skylight at ACT was really incredible. Great performance by Tom Sargeant, and especially loves Kyra Hollis.
I love a good new musical, and Howard Barnes was just a great time. Kudos to Josh Carter for his entirely lovable Howard.


   -
Nom Survey - Favorite Performances

in no particular order...

SUPPORTING ACTOR
Karin Terry (Guron) - Princess Ida by Seattle Glibert Sullivan
Michael D Blum (Jim) - Trevor by MAP
Keiko Green (Blanche/Bertha) - Jane Eyre by Book-It Rep
Khanh Doan (Emmy Helmer) - Doss House Part 2 - Seattle Rep

ACTOR
Preston Butler III (Kitch) - Pass Over by ACT
Jonelle Jordan - As You Like It by Seattle Shakespeare
Sunam Ellis - As You Like It by Seattle Shakespeare
Abhijeet Rain (Samir) - Language Rooms by Pony World
Shanna Allman (Kate Hardcastle) - She Stoops to Conquer by Seattle Shakespeare
Justin Huertas (God) - Everybody by Strawshop
Sunam Ellis (Sonya) - Uncle Vanya by Seagull Project
Christian Quinto (Dennis) - Office Hour by ArtsWest

ACTOR in musical
Brandon O'Neill (Stacee Jaxx/Father) - Rock of Ages by 5th Avenue