Stage Review - Aviatrix (Seattle Public Theatre)
Stage Review - Aviatrix
Presented By: Seattle Public Theater - Seattle, WA
Show Run: May 15 - June 07, 2026
Date Reviewed: Thursday, May 21, 2026
Run Time: 2 Hours, 30 Minutes (including a 15-minute intermission)
Reviewed by: Breanne Jensen
The reason musicals exist is to remind us that sometimes our emotions are so exquisite and profound that words alone don’t do justice to how life can move us. When I attended the Thursday evening performance of “Aviatrix” the world premiere musical at Seattle Public Theater, the evening was full of firsts for me as a theater enthusiast and audience member, so much so, that I had to look up a word that could express how I felt because my vocabulary itself couldn’t do this production justice. The word I found best to describe my evening with “Aviatrix” is claircognizanc, which means suddenly realizing you’ve just witnessed something extraordinary!
The story of “Aviatrix” is the life behind the trailblazer of the aviation world, we know as Elizabeth “Bessie” Coleman. Bessie Coleman was the first African American and Native American woman to earn an international pilot’s license in the year 1921. With book and lyrics by Seattle’s own local talent, Angela Poe Russell (whom I was lucky enough to shake hands with at the performance) as well as music and lyrics by Dionne McClain-Freeney and developed with and directed by Amy Poisson over the last four years, this historical show is Broadway bound, mark my words!
Modern musicals can be such a hit or miss these days but this show has something special and unforgettable like “Hamilton” or “Six”. The audience has the pleasure of diving deeper into HERstory (history) while meeting Bessie just as she is about to embark on her next chapter in Chicago, to live with her big brother, Walter. Along the way she meets Ms. Pearl the Beauty Parlor manager, her future husband Claude and some prominent businessman who would see her vision almost as clearly as Bessie sees it herself. The show is well laid out and structured, the lyrics are impactful and perfectly placed, each character has depth and the sets are crafted to use the space effectively while leaving surprises for the audience as the show progresses. The musical contains thirty-one songs, which fly by (pun intended) as you become further engrossed in Bessie’s life. There are only three songs I felt that were unnecessary to the plot and even they were highly enjoyable.
The set (designed by Parmida Ziaei) illustrates the outline of an airplane with minimalistic staging, otherwise, allowing for the setting to transform locations, years and structures during the show’s progression. The middle of the set reflecting the aircraft has compartments that open up to become the Coleman home, Bessie’s future employment at the White Sox Parlor as well as a big surprise I’ll keep to the shock and awe that this production so justly deserves. The use of space and staging is impactful and methodical. The music is so beautifully written performed and played by the band that some songs feel as if you are floating amongst the clouds yourself as you listen to each new melody. But, best of all with the music is the mix of tonality and culture. From jazz standards (featuring Josephine Baker), to gospel/ choral hymns and spoken word, the audience has no mistake of where they are at, at all times and I myself could barely sit still the music is so evoking! Vocals (and assistant direction) by Kataka J. Mackenzie are flawless, lighting design by Dani Norberg are fresh and pristine, sound design by Lisa Finkral, left no crumbs in terms of uneven sound levels or mic issues and for a small venue with a close band to the audience, the performers were never once drowned out by the band which is almost unheard of. The costume design, led by Carlisia Minnis, hits every mark historically and flatters every cast member. Props design by Robin Macartney, is functional and era appropriate as is all movement and choreography by Lexi Warden. Congratulations as well goes out to Stage Manager, Bailey Dobbins, Assistant stage manager- Indira Rampersad and production assistant, Riley J. Ellis!
The leading role of Bessie Coleman, is infectiously and inspiringly played by actress Haley Dortch. Dortch’s portrayal of Coleman is groundbreaking, moving, emotional, enticing, engaging and I am beyond sure that the show’s creators as well as Coleman herself are tremendously proud of her work. Her voice is effortless yet striking and strong, never missing a note and leaving the audience yearning for more each time she finished singing. Dortch is headed for greatness and I hope that this show is one she can bring to the masses for recognition of the work itself and the justice she does to and for it! I could listen to her sing every day. Young Bessie is played by Samara Jeffrey, her acting/ voice are equally as beautiful as she is and no stone goes unturned, no story is left untold when it comes to Jeffrey and her shining star. I hope she achieves every greatness she desires and strives for! Bessie’s beau and husband Claude, is played by Donovan Mahannah, who brings charm, warmth and sparkle both to the role and Bessie’s life. Mahannah plays the handsome leading man well, while also packing a punch with his rich and velvety vocals. Bessie’s backbone and tether to life is her mother, Susan, perfected by Crystal Hairston. Hairston radiates maternal energy and when she sings “Broken” at the end of the show, her voice sang almost as if her heart was crying and I felt every broken part of her as she poured into me as the audience member. Inspiration to Bessie, Pearl, is played by Angela M. Thomas, who lights up the stage with her gorgeous smile, comedic relief moments and truth bombs that are delivered the way only an Auntie would know how. Walter, Bessie’s stubborn older brother, is poignantly played by Gerald Germajesty Price, who perfects the feeling of wanting to flick him in the face but also hug him at the same time, aka a brother indeed. However, Price’s vocals are anything but infuriating. Lastly I’d like to not only give a warm and heartfelt applause to all of the other featured and ensemble members of this production who brought it to life with such passion and genuine intention but also someone who never stopped working from the second the lights came up, to the end of the show and that is Elijah Spreier. Spreier plays easily 15 different characters, with different accents, costume changes and even a tap number!
It was delightful to see such a beautiful and diversely cast production representing history as well as the people around us. THAT’S WHAT ART SHOULD BE ABOUT! This world premiere production layered its historic and cultural spoken word into the lyrics, leaving words buzzing like smooth jazz notes hitting our veins in a morning cup of warm joe, never feeling out of place-invigorating. Bessie was a first of her time and for her community. Some quotes from the show that stand out to me are in the song “Flying” when Bessie proclaims, “My veins have just been injected with song”, which is something any artist can truly relate to feeling when they feel as if they are fulfilling their purpose and how that feeling is the equivalent to flying. Robert Abbot from the Chicago Defender newspaper tells Bessie when he helps her get to France to go to flight school, “I don’t know anyone at the top who got there alone, And if they say it, they’re lyin’”. This felt so profound because sometimes dreams can truly feel so out of reach and when that one person comes along who not only also believes in you and your vision but can help you get there, it is a form of unconditional love we all should receive at some point in our lives. Lastly, when told she will never fly and her dreams aren’t obtainable, Bessie states, “Don’t need someone else’s vision, they don t have my sight”. Creating a legacy, creating change, changing history, creating a tribute to Bessie’s life, are all things no one could do if they had someone else’s sight for their vision.
As I mentioned, “Aviatrix” is a world premiere musical, which makes it a first and after intermission, two minutes into the second act, another first happened for me. The fire alarm was tripped for the building and mid song, Dortch had to leave the stage, while boss lady and hero Amy Poisson, tried to help the fire department disarm the alarm that possessed a loud stinging sound with equally as loud flashing lights. While the crew kept us abreast of the situation, the incredible band played the audience jazz standards, with each member getting a moment to solo riff their instrument. Live theatre, am I right? After a bit of enjoying the gorgeous music, the ringing sound turned off leaving just the flashing lights. With the readiness of Poisson to end the show, the audience persisted on seeing act two in its entirety and the cast agreed. After one song back, the lights flashing just became part of the end of Bessie Coleman’s story. This may have added to delaying my evening’s drive home, but it also added to my heart and inspiration as well.
My sight sees a future in which Bessie Coleman’s heroic story brought back to life in “Aviatrix” makes its historic flight to Manhattan right on to a large Broadway stage (Im manifesting The Winter Garden). Every element of this show can be as big or as small as you want to make it, thanks to the life and bravery of Bessie Coleman and the way her story is written and developed by Russell, McClain-Freeney and Poisson. These strong women shine a spotlight on another strong and beautiful woman of color who continued to create paths for everyone who thinks there isn’t a path in sight. Coleman didn’t take no for an answer, she said (in her song “Five Doors”) “I’m gonna knock on every door” until one opens, or I bust it down before they get to say no. “Aviatrix” is art that the world needs not only right now, but in the future for generations to come.
To learn history, within art, while celebrating the accomplishments of women and women of color and all minorities entrenched in culture is imperative to the legacies we now have the opportunity to create and continue to leave. The sets, the lyrics, the talent, the dedication and the impact of “Aviatrix” the world premiere musical at Seattle Public Theater, left me wanting only for an encore performance, a soundtrack to sing along to and a yearning to create something spectacular. Sometimes, all it takes is a spark!
The Seattle Public Theater production of Aviatrix runs on stage through June 8. For more information, including ticket availability and sales, visit https://www.seattlepublictheater.org/.
Photo credit: Joe Iano
