Elevator Thoughts (aka Tweet): Lucy Prebble’s The Effect play at ArtsWest. Fantastic futuristic sci-fi vibe from the scenic, lighting, sound, & movement design. Charismatic, disarming male lead portrayal from Morgan Gwilym Tso. Closes next weekend!
Recommendation: See it.
Was This the First Time I Attended a Production of this Show? Yes
Would I See It Again 3 Years from Now? Probably not
Mainstream Appeal: Medium
If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Probably
My Synopsis (No Spoilers): Two volunteers sign up for a clinical trial testing an experimental antidepressant. As the boundaries between science, emotion, and ethics blur, the relationships among the researchers and subjects grow increasingly complex. Will the trial yield a medical breakthrough or a personal breakdown?
Synopsis from the Licensor or Theatre Company: In this sci-fi thriller by Lucy Prebble (HBO’s Succession), a clinical drug trial is thrown off-course when two young volunteers succumb to the gravitational pull of attraction – is it love or just a side effect? As sexy as it is funny, this riveting play will have you at the edge of your seat.
Type: Play
World Premiere: Yes
Several or Few Scenes: A couple
Several or Few Settings/Locations: A couple
Static (Stationary) or Dynamic Set: Static
Prior Exposure/Knowledge Required: No
Defined Plot/Storyline: Mostly, yes. But it was more dialogue than action.
Union Actors: 1
Total Actors: 4
Perceived Pace of the Show: Slow to medium speed
Was there an intermission? No
Length (Including Any Intermission): 100 minutes
Other Rave(s)
Vibe: The production exuded a distinctly futuristic, sci-fi aesthetic, with all design elements complementing in strong harmony. Parmida Ziaei’s scenic design evoked the sleek sterility of a modern museum with clean lines, minimalist forms, and a sense of clinical precision. Trevor Cushman’s lighting design beautifully enhanced the stage trim with pulsing neon reminiscent of a hip underground club. Outside of the neon, the lighting was vividly color-saturated and occasionally dramatically shifted. It echoed the lighting design in ArtsWest’s previous production Athena. The sound design (by Sandra Huezo-Menjivar and Conor Fortner) and sound composition (by Greg Fields) reinforced the technological atmosphere with robotic sound effects and synthetic announcements. Even the choreography by Alyza DelPan-Monley aligned seamlessly with the production’s futuristic tone as the test subject characters deliberately moved in an automated way between their scenes.
The Real You: Lucy Prebble’s script thoughtfully explored the philosophical question of true identity when a patient uses psychiatric medications. Connie (played by Anna Mulia) compared taking antidepressants to being drunk saying something like, “If you’re drunk and tell me, ‘I love you, you’re my best friend,’ I wouldn’t believe you.” If a chemical (like an antidepressant) alters your mood or thoughts, is what you say or feel still truly you?
Revelation and Twist: The final scenes unveiled an unexpected revelation, punctuated by an audacious twist that heightened the drama. Utterly reckless in a good way.
Other Musing(s) and Observation(s)
Script: The script presented an intriguing premise, but it moved at a pace that often left me restless. Maybe it’s because I work in the pharmacy field and the topic hits close to home. Or maybe it’s because theatre pieces from the UK tend to move at a slower pace compared to their USA counterparts. Additionally, the script could have more effectively illuminated the dynamic between the two scientists as well as their individual background/development.
Theatre Company: ArtsWest
Venue: ArtsWest
Venue Physical Address: 4711 California Ave SW, Seattle, WA 98116
Pictures: See production pictures below by John McLellan.
Cast and Production Team: See after pictures below.
Photo by John McLellan for THE EFFECT at ArtsWest (2025). Photo by John McLellan for THE EFFECT at ArtsWest (2025). Photo by John McLellan for THE EFFECT at ArtsWest (2025). Photo by John McLellan for THE EFFECT at ArtsWest (2025). Photo by John McLellan for THE EFFECT at ArtsWest (2025). Photo by John McLellan for THE EFFECT at ArtsWest (2025). Photo by John McLellan for THE EFFECT at ArtsWest (2025). Photo by John McLellan for THE EFFECT at ArtsWest (2025). Credits from the printed program.Credits from the printed program.
Elevator Thoughts (aka Tweet): Beau the Musical at Theatre 154 by Out of the Box Theatrics starring Matt Rodin & Chris Blisset. The 8 incredibly talented actors were also the band. Loved the situationship arc. Heartfelt coming of age (and coming out?) story … I even shed a single tear. #lgbt #queer #gay #pride #lgbtq #LGBTQIA
Recommendation: See it, especially if you enjoy 1) concert-style productions 2) musicals where the actors are also the band 3) intimate/immersive shows 4) or folk music.
Was This the First Time I Attended a Production of this Show? Yes
Would I See It Again 3 Years from Now? I think so.
Mainstream Appeal: Medium
If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Yes
My Synopsis (No Spoilers):
A coming-of-age story that follows a queer teenager attempting to bridge the gap with his estranged heart-of-gold grandfather.
Synopsis from the Licensor or Theatre Company: Beau features eight actor-musicians telling the story of Ace Baker – a young queer man whose life is forever changed when he discovers his deceased grandfather is actually alive. Family secrets unravel as Ace rushes to make up for lost time with a man who changes his life by putting a guitar in his hand.
Type: Musical
World Premiere: Yes
Several or Few Scenes: Several
Several or Few Settings/Locations: Several
Static (Stationary) or Dynamic Set: Static
Prior Exposure/Knowledge Required: No
Defined Plot/Storyline: Yes
Live Band/Orchestra: Yes
Union Actors: 7
Total Actors: 8
Perceived Pace of the Show: Medium speed
Was there an intermission? No
Length (Including Any Intermission): 1.5 hours
Other Rave(s)
Scenic Design: Daniel Allen transformed the space into a convincingly gritty dive bar. They even served drinks before the show, which added to the immersive atmosphere.
Music and Band: The cast showcased their impressive versatility when they doubled as the show’s folksy country band. I’m sure that saved this production some money! They played the memorized score with a wide instrument plethora from the expected acoustic/electric guitars, drums, and keyboard to more eclectic choices like the fiddle, mandolin, spoons, cowbell, and bongos. The overall vibe felt like a better version of Girl from the North Country.
Romantic Storylines: I loved the bittersweet romantic arcs, especially how the script didn’t linger on them too heavily. Since I deliberately avoid reading synopses beforehand, the sudden introductions of these arcs hit like a bombshell, which makes for good theatre. There’s something alluring (and yes, hot) about a forbidden romance steeped in internalized homophobia.
Voices: Matt Rodin (as Ace) brought a smooth, classic crooner tone to the stage. It was also a delight to see a familiar face Amelia Cormack (as Raven) from Hadestown, who delivered a powerhouse vocal moments like during the climactic end of “The Middle.”
Past vs Present: Creator Douglass Lyons skillfully intertwined past and present in the script, drawing parallels between Beau’s experiences across time. One example was the mirrored abandonment scenes of those who left Beau in the past versus those who left him in the present. Similarly, the comparison between Beau’s past romantic life and Ace’s present-day relationship deepened the emotional resonance of the piece.
Larry: The recurring gag about “this motherfucker” “goofy wack-ass Larry” (played by “fellow” Matt Wolpe) was a consistent comedic relief throughout the show. What initially felt like a creepy (almost pedophile) character evolved into an endearing surprise.
Other Musing(s) and Observation(s)
Hook: The show would benefit from diving into the story/action sooner to hook the audience earlier. It began like a band performance with hints of story. So initially, I expected a concert-style musical such as Six the Musical and didn’t anticipate much in terms of narrative. But as the plot unfolded, it gradually revealed a more linear and emotionally engaging journey. At times, I even forgot about the concert framing altogether. While my expectations were low at first from the initial moments of the show, I found myself increasingly impressed as it gained momentum.
Queer vs Gay: The show is marketed as a queer musical, but it felt more like a gay (specifically, homosexual male) narrative than the broader, more fluid spectrum that “queer” implies. Maybe that’s just the ignorant gay Texan in me still struggling to grasp all the nuances of the alphabet mafia LGBTTQQIAAPPO2SAA despite being schooled by a reader after my review of Wolf Play. From my perspective, there wasn’t much ambiguity in Beau the Musical regarding gender identity or sexual orientation. The attraction and identity dynamics appeared fairly binary.
Theatre Company: Out of the Box Theatrics
Venue: Theatre 154
Venue Physical Address: 154 Christopher St #1E, New York, NY 10014
Venue Classification: Off-Broadway
Price Range: $45-110
Dates: 6/6/25 to 7/27/25
Seating: Assigned Seating
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Cast and Production Team: See after pictures below.
Amelia Cormack and Chris Blisset in Beau The Musical. Photo by Valerie Terranova Photography.Cory Jeacoma and Matt Rodin in Beau The Musical. Photo by Valerie Terranova Photography.Cory Jeacoma and Matt Rodin in Beau The Musical. Photo by Valerie Terranova Photography.Chris Blisset in Beau The Musical. Photo by Valerie Terranova Photography.Cory Jeacoma and Matt Rodin in Beau The Musical. Photo by Valerie Terranova Photography.Credits from the printed program.Credits from the printed program.Credits from the printed program.
Elevator Thoughts (aka Tweet): Smash musical at the Imperial Theatre starring Robyn Hurder as Ivy Lynn & Marilyn Monroe. Based on the TV show. Incredibly tight choreography from Joshua Bergasse. Overflowing with incredible showstopping spectacles. So sad that it closed on Broadway last week. Hopefully, they’ll go on national tour.
Recommendation: See it, especially if you enjoy musicals about musicals.
Was This the First Time I Attended a Production of this Show? Yes
Would I See It Again 3 Years from Now? Yes
Mainstream Appeal: Medium to high
If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Yes
My Synopsis (No Spoilers): A theatre production team embarks on the chaotic journey of mounting a Broadway musical about Marilyn Monroe. Hilarity unfolds as the director, producer, intern, writers, actors, stage manager, acting coach, and assistant director scramble backstage. This behind-the-scenes romp is both a comedy of errors and a heartfelt love letter to the magic (and madness) of producing a Broadway show.
Synopsis from the Licensor or Theatre Company: Inspired by the hit TV series, SMASH is the perfect musical-lover’s musical. Get ready for all the backstage pandemonium as opening night approaches for Bombshell, the splashy new show about Marilyn Monroe. Nearly breaking under the pressure, legendary Broadway star Ivy Lynn causes a series of hilarious set-backs and surprises that brings a diva director, a bewildered producer, two exasperated authors, one eager understudy, and an entire company to its knees. But the curtain’s going up, no matter what!
Type: Musical
World Premiere: Yes
Several or Few Scenes: Several
Several or Few Settings/Locations: Several
Static (Stationary) or Dynamic Set: Dynamic
Prior Exposure/Knowledge Required: You’ll appreciate this show more if you’re familiar with Broadway musical theatre references. Obviously, you’ll probably also enjoy this more if you watched the original TV show. I personally didn’t see the TV show, but I heartily enjoyed the musical. Lastly, it helps if you know a little about Marilyn Monroe.
Defined Plot/Storyline: Yes
Live Band/Orchestra: Yes
Union Actors: All
Total Actors: Too many to count
Perceived Pace of the Show: Medium speed
Was there an intermission? Yes
Length (Including Any Intermission): 2.5 hours
Other Rave(s)
Hook: The show opened with a captivating spectacle led by Robyn Hurder as Ivy Lynn, the actress portraying the legendary bombshell Marilyn Monroe. The song was filled with iconic moments like “Happy Birthday, Mr. President,” “Diamonds Are a Girl’s Best Friend,” and Monroe’s sultry nod to Chanel No. 5.
Choreography: Joshua Bergasse’s classic Broadway-style choreography was sizzling and tight. It crackled with energy and precision, capturing the essence of old-school showbiz flair. Side note, I’m surprised that there wasn’t a tap number, especially in a musical about making a musical.
Nigel: Brooks Ashmanskas delivered a hilariously over-the-top performance as Nigel, the flamboyant and melodramatic director. His portrayal in Smash evoked fond memories of his equally delightful role as Barry Glickman in The Prom.
Male Sex Appeal: This show wasn’t shy about flaunting its assets of muscley, charismatic performers (notably Equinox instructor Casey Garvin). They unapologetically leaned into the old adage that “sex sells” during the song with shirtless baseball players in a locker room. Of the six Broadway shows I saw this week, this one clearly drew the crowd with the most gays. The production knew its audience and delivered exactly what they’d appreciate.
Theatre Influencers: I enjoyed the cheeky jab at theatre influencers (such as yours truly). It’s not entirely wrong that we can be a bunch of “entitled little shits.” But like it or not, we can be the tipping point between a show’s quiet run and breakout success.
Theatre Entrance: The final backdrop of the theatre entrance by scenic designer Beowulf Boritt was a thoughtful touch like a visual bookend that mirrored the audience’s arrival at the start. Just as the show began with the audience entering the theatre, it ended with the image of that very threshold, neatly framing the story on stage. It was a clever and fitting conclusion to a musical about musicals.
Future of Theatre Audiences: I loved the Gen Z intern Scott, who Nicholas Matos played with charm and energy. His character felt like a nod to the hopeful future of theatregoers. As a young person of color, Scott’s presence refreshingly contrasted to the predominantly elderly, white demographic we see in theatre audiences today.
Female Leads: Each of the Marilyn Monroe-inspired bombshells commanded the stage with a stunning powerhouse voice. The audience went wild every time each of them showcased their vocal belt.
Musical within a Musical: Staging, writing, or performing a show within a show inevitably adds a layer of complexity for the creative team. But they pulled it off with impressive finesse. It certainly required a little more mental engagement from the audience!
USO Performance: “I Never Met a Wolf Who Didn’t Love to Howl” evoked the spirit of vintage USO performances, reminiscent of the infectious swing in the classic “Boogie Woogie Bugle Boy.”
Other Musing(s) and Observation(s)
Off-the-wall Camp: The show was full of bizarre moments like horse laxative poisoning and outlandishly campy characters like a ghoulish witchy acting coach. It felt like a musical cousin to the chaotically over-the-top The Play That Goes Wrong. While those elements aren’t usually my cup of tea, camp has always had a home in theatre and we gays do have a soft spot for it.
End of Act One: I was proud to have predicted who would save the show by intermission. It was a satisfying twist that gave Act I a solid sense of closure. Honestly, they could’ve started the curtain call and I’d have been satisfied
Theatre Knowledge: I’ve always loved musicals that celebrate and satirize theatre itself like The Noteworthy Life of Howard Barnes, The Prom and Something Rotten! But I recognize that these shows often rely heavily on insider knowledge to land their jokes and references successfully. Terms like “ghost light,” “Tony voters,” “method acting,” and “stage manager” are second nature to theatre fans, but they can be confusing or meaningless to the average audience member. Even I’m not entirely sure what a producer actually does (though I know they’re vital) which means everyday viewers probably understand even less.
Slow Moments: At times, the dialogue felt oddly stilted and out of place in the otherwise ostentatious rhythm of the musical. These moments broke the narrative flow and stood out awkwardly against the show’s dynamic rhythm.
Original TV Show: Having never seen the original TV show, I’m curious how the musical stacks up. If you’re familiar with both, drop a comment on my social media and let me know how they compare!
Gossip: I’d love to know the backstage drama of a theatre diva that everyone hates to work with in real life. If you’ve got the inside scoop, spill the tea in my social media comments. I’m dying to hear the delicious details!
Venue: Imperial Theatre
Venue Physical Address: 249 W 45th St, New York, NY 10036
Venue Classification: Broadway
Price Range: $99-321
Dates: 3/11/25 to 6/22/25
Seating: Assigned Seating
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Cast and Production Team: See after pictures below.
Robyn Hurder (Ivy Lynn) and the cast of SMASH. CREDIT: Paul Kolnik, 2025.Robyn Hurder (Ivy Lynn) and the cast of SMASH. CREDIT: Matthew Murphy, 2025.(left to right) Megan Kane (Holly), Brooks Ashmanskas (Nigel), Robyn Hurder (Ivy Lynn), Kristine Nielsen (Susan Proctor), Krysta Rodriguez (Tracy), and John Behlmann (Jerry) in SMASH. CREDIT: Matthew Murphy, 2025.(left to right) Nicholas Matos (Scott), Jacqueline B. Arnold (Anita), John Behlmann (Jerry), Krysta Rodriguez (Tracy), Bella Coppola (Chloe), Brooks Ashmanskas (Nigel), and Kristine Nielsen (Susan Proctor) in SMASH; CREDIT: Matthew Murphy, 2025.Krysta Rodriguez (Tracy) and John Behlmann (Jerry) in SMASH. CREDIT: Matthew Murphy, 2025.Caroline Bowman (Karen) and the cast of SMASH. CREDIT: Matthew Murphy, 2025.Robyn Hurder (Ivy Lynn) and the cast of SMASH. CREDIT: Matthew Murphy, 2025
The Effect play at ArtsWest. On-stage in West Seattle till 7/13/25. Keep posted for my full review! #depression #antidepressant #pharma #pharmaceutical
Happy sold-out closing show tonight to the Here & Their rock queer nonbinary musical by Jasmine Joshua and Heather Ragusa. It was a very Capitol Hill-chic crowd last night at 12th Ave Arts. Don’t wait for my full review to join tonight’s waitlist. Entry is still very possible. Last night, several wait list folks got in and some were even standing room only. Great way to celebrate Pride weekend! #lgbt #lesbian #LGBTQIA #trans #gay
