Monday

Big Theater In Seattle: Why They Might Still Sell Out

On Wednesday February 11^th, the Paramount Theater will begin hosting its 2009 season of Broadway Across America. Broadway Across America makes Broadway theater accessible to many people who might not normally have the chance to fly out and see a show in New York. And while there is much to be said for “the Broadway Experience” of New York—not to mention the stars—there is also something to be said for being able to enjoy famous works in your own city. I talked to Josh LaBelle, executive director of the Seattle Theater Group, and Jim Sheeley, the Vice President of the Northwest Region for Broadway Across America, to find out a little more about bringing theater experiences to Seattle.

I learned that Seattle has been a stop for Broadway Across America for the past twenty years. When asked if he thinks this is because Seattle has a strong theater culture Sheeley asserts that, “Seattle has a great theater culture. I can’t think of any other cities outside of Chicago and New York that have repertory theaters of such size and quality.” Broadway Across America supplements this regional theater with big shows that might not otherwise come to Seattle. This season begins with The Lion King and continues to bring in classics and newer works until the end of the year. LaBelle points out that it’s a rare opportunity “to see shows like The Lion King and Wicked in the same year.” Part of the reason the Broadway Across America shows continue to do so well is that they can offer big, well-known productions, but also because they tailor their line-up to each city’s personality. “We try to look at each market individually to see what shows fit the culture and community that we are in. There are differences between each city and we try to reflect that,” Sheeley explains. “For example, we brought Spring Awakening to Seattle and Portland, but not to Salt Lake City or Orange County. Sometimes it takes a little longer for the public to be ready for it—it has to be established a little longer in the public consciousness. We try to listen to people in each place and respect that, but we also want to make a case for challenging theater.”

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