Stage Review - Bye Bye Birdie (5th Avenue Theatre)

Stage Review - Bye Bye Birdie
Presented By: 5th Avenue Theatre - Seattle, WA
Show Run: June 10 - June 29, 2025
Date Reviewed: Friday, June 13, 2025 (Opening Night)
Run Time: 2 Hours, 30 Minutes (including a 15 minute intermission)
Reviewed By: Greg Heilman

One thing all of us theatre lovers have in common is that we’ve all had a “first show”. Another is that we’ve all had that one show that inspired our interest in the art form, the one that led us to either want to participate, consume, or simply enjoy theatre, or for some all three. And sometimes the first and inspirational shows are one and the same, which is how it happed for me. I couldn’t remember how old I was when I saw 42nd Street at the National Theatre in Washington, DC, but Google tells me that it was probably in March or April of 1984, which makes sense since I think it was a band trip that took me to the nation’s capital, and 42nd Street was one of the prescribed events. I remember a few things about that show, first and foremost how far away we were in the balcony at the theatre. But I also remember being drawn in, with what to me was fun music, fantastic choreography, and so many talented performers singing and dancing on stage. It felt magical, as though the distance between my seat and the stage simply vanished. That was my first show, and it was the one that inspired me toward a love of theatre, musical theatre especially, something that I enjoyed as an audience member, then many years later I took it a step further and hopped on stage myself, and now here I am, writing about it. So, why do I bring this up? Surely nobody is all that interested in my personal backstory, but I bring it up for context. Needless to say, over the years, I’ve seen quite a number of shows, on Broadway, at regional theaters many at the Walnut St. in Philadelphia, and just a few here in Seattle. In all that time, I’ve experienced shows that I’ve thought were spectacular, some that aren’t as memorable, and others that I’d rather not talk about. But none of those captured the magic that I felt that Spring night in DC, when everything around me disappeared and I was absorbed into the moment…..until now. Bye Bye Birdie, the story of pop culture icon Conrad Birdie, his impending conscription into the Army, and the spectacle that is the kiss delivered to a “randomly chosen girl” before he heads off to war, premiered in 1960, but its history can be traced further back. As with most creations, the final product is quite different than the original idea. That original idea was to create a “happy teenage musical with a difference” and while that part didn’t change, to read about the history of the musical’s metamorphosis is to learn about an iteration that sounds a lot like the plot for Disney’s The Parent Trap as well as a potential lawsuit from one Conway Twitty. So, with those things in the rear view mirror, Bye Bye Birdie did, in fact, debut on Broadway in 1960, and it was followed shortly thereafter by a feature film starring Janet Leigh, Dick Van Dyke, and Ann-Margaret in 1963. It’s a show that won the Tony for Best Musical after its premiere and it clearly has staying power. After all, it’s been over 60 years and it’s still alive and well, and if the version running on stage at the 5th Avenue Theatre in Seattle through June 29 is any indication, there are still a lot of good years left in Bye Bye Birdie.

The 5th Avenue production is directed by Paige Price, and the task ahead of her by taking this on could not have been an easy one. Charged with overseeing a cast with a size north of 25, including about 11 or so leads and supporting actors and two ensembles comprised of actors of varied ages split into an adult ensemble and a teen ensemble. The challenge is to hold all of the actors up to the same standard, and given that many in the teen ensemble are making their 5th Avenue debut, it also means that they have to be comfortable enough on stage to cast aside any effects of their newness to performing at the venue. To Paige’s credit, not only did she manage all of this well, her creative team came to play. This starts with Jimmy Shields, the choreographer for Bye Bye Birdie. Jimmy has consistently brought choreography that is entertaining to watch, challenging and active for the dancers, and just about perfectly designed for the shows he works on, notably last season’s Something’s Afoot, also at the 5th Avenue Theatre. Bye Bye Birdie is no different, this is a classic musical and it has that larger than life feeling, and Jimmy’s work helps play into that, though some credit has to be given to scenic designer Lee Savage for leaning on set pieces that create a perspective of size, perhaps none more than the tiny houses he uses to represent the neighborhood where Kim McAfee, President of the Conrad Birdie Fan Club, and her friends live, small houses that the actors dance around and use creatively in “The Telephone Hour”. This number is one of the most impressive of the show and it’s all from the Teen Ensemble (Paul Abwao, Ana Sofia Cabrera Castro, Liz Conlon, Conor Thomas Craggan, River DeJong, Kekoa Dilay, Alexander Hernandez, Klara Tuininga, and Chalia Wendland). The group is extremely talented, their vocals in the number are spot on, and their dancing is exemplary. This number demonstrates what is so extraordinary about what Jimmy has done in the show, he holds nothing back, and he allows this group of young actors to show their best on stage with choreography that is energetic and fun to watch. A lot of credit needs to go to the group of actors in the Teen Ensemble for the vivacity the bring to their performances throughout the show as well, both on their own and with the Adult Ensemble members (Candice Song Donehoo, Jordan King, Ashley Lanyon, Nick McCarthy, Karin Terry, and Jason Weitkamp). It’s an enthusiasm that is contagious, and it lifts the entire show, there’s not a single one of them that doesn’t appear to be giving their all, and enjoying their time onstage. The members of the Adult Ensemble are called upon to play supporting characters, such as reporters that follow Birdie around, and the group is made up of actors that could lead (and have led) any show on their own, but here lend their expertise to these smaller roles in very solid performances.

As the story goes, pop sensation (see: Elvis Presley) Conrad Birdie is about to go into the Army, having been drafted into service. This fact has his agent/songwriter Albert Peterson (Noah Weisberg) in a panic as his already struggling firm (Al-Mae-Lou Music) needs the steady income to stay afloat, but his secretary and “sort of” love interest Rosie Alvarez (Ashley Pérez Flanagan) has a solution. I say “sort of” because while Rosie clearly states her intentions toward the “Al” in the company’s name, he’s at the beck and call of the “Mae” in the name, his mother. Mae Peterson (Leslie Law) is overbearing and controlling with her son, and just a tad racist in the way she treats Rosie. She deals in the currency of guilt when it comes to what would happen to her if Albert was to take his relationship with Rosie any further. Leslie is so good as Albert’s mother, who uses everything in her toolbox to try and guilt her son into staying with her, and getting in a few digs at Rosie along the way, too. So, while the name of the musical is Bye Bye Birdie and the storyline in the name may be about Conrad Birdie and the “kiss”, the musical is really a love story and this arc involving Albert and Rosie (and Mae) is well written and even better performed. Will Albert choose Rosie? Will he tell his mother off? And if he does, will Rosie still take him? That is entirely up to Rosie, of course, and Ashley is exhilerating. Rosie is a strong woman who knows what she wants, and as such can only take so much of Albert and his mother. When she’s had enough, and steps out on him, she heads to a bar to blow off a little steam and this results in a performance that blows the roof off of theatre. In “Spanish Rose”, which is Rosie’s revolt against Albert and his mother’s not so subtle racism, Ashley delivers the performance of the show. It’s choreographed wonderfully and Ashley’s singing is beyond good, accompanied by Music Director Beth G. Tankersley and the live orchestra, but it’s her overall performance that stands out. Her use of accents and her tango are both superlative. There’s a stage presence and a posture that she brings to this performance that makes it enthralling to watch, and a sultriness in her delivery that makes it unforgettable. Meanwhile Noah’s turn as Albert is entertaining in its own right, he’s conflicted between his love for Rosie and the guilt applied to him by Mae, he’s upset about the prospect of Birdie going to war, and the viability of his firm. There’s a lot to like about this character and Noah’s performance. His generally positive attitude comes to the fore in “Put On a Happy Face”, a popular number from the show that he sings to one of the Birdie fan club members when she realizes that by the time Conrad is out of the Army, she’ll be too old for him. It’s another excellent performance, and Noah nails it with smooth movements in his dance and solid vocals.

So, while Bye Bye Birdie is, as I mentioned above, really a love story, we can’t ignore the plight of Conrad Birdie. Alex Walton as Birdie captures all of the “cool” that I’d expect to see out of a character that is derived from Elvis, though of course this is a caricature of the King of Rock and Roll, so it’s done very tongue in cheek. It’s not clear at the outset if Birdie will ever speak, he’s mostly caught up in his own popularity, but when he does speak, or sing, or gyrate his hips, it’s clear how Alex is going to play him, and it’s hilarious. After Rosie develops the plan to bring more attention to Birdie by having him deliver a kiss to a “random girl”, the work starts on choosing the girl, and it doesn’t take long before they choose Kim MacAfee, president of the Conrad Birdie fan club in Sweet Apple, Ohio. While this is happening, it so happens that Kim quits the fan club because she’s now going steady, and feels that as grown woman, she is too old for those sorts of childish pursuits. Of course that changes when she receives that phone call. Kim is played by Susanna Cathryn Ballenski in a performance that is exceedingly mature for her age. Even though she’s playing a teenager, Susanna brings a level of confidence and ability to the role that is well beyond her years. Her singing voice is wonderful on her own in “How Lovely to Be a Woman” in which she goes all in on her newfound life as a post-teen teenage woman, and her duet with Ashley’s Rosie to open Act 2, “What Did I Ever See in Him?”, is stellar. Ty Willis and Jazmin Gorsline play Kim’s parents and they bring a lot of humor to their roles as well, especially when Birdie moves in with them. Ty’s characterization is especially good and when the family joins Birdie on the Ed Sullivan show for the “event”, his penchant for trying to grab the attention of Sullivan and the cameras is more than just chuckleworthy. Little brother Randolph was played by Liam Kuriatnyk on opening night, but he will be sharing the load with Elliott Aillaud throughout the run. The parents sum up what a lot of us think at one point or another when we look at our children in “Kids” and Liam adds his own flair to it in the song’s reprise.

The fantastic ensemble in Bye Bye Birdie is rounded out by Amani Velada as Kim’s friend Ursula, Tori Gresham as Gloria, the new secretary that Mae brings to Albert in hopes he will choose her over Rosie, and Isaiah Hyde, Kim’s new boyfriend who chooses the wrong time and place to stand up for himself. Each of these actors, just like the leads and ensemble members, are fun to watch, they’re very talented, and they bring an energy to the show that, when combined, lifts the show to a level that, along with Lee Savage’s set design, Xavier Pierce’s lighting, Ken Travis’ sound, and Melanie Taylor Burgess’ costumes, each of which are transportive in their design, is magical. Together, this creative team, this cast, and this crew have assembled and presented a piece of musical theatre that is the closest thing I’ve found to rekindling the same feeling I had back in 1984. Bye Bye Birdie is entertaining, it’s funny, and it’s fun. And when something is performed well and is fun to boot, it’s quite an accomplishment.

Sixty-five years after its debut on Broadway, Bye Bye Birdie is still going strong. The 5th Avenue Theatre production of this classic musical comedy proves that it’s not going anywhere soon, either. Under the stellar direction of Paige Price, the cast, which consists of professional adult and teenage actors, brings energy, enthusiasm, and a boat load of talent to bear in a musical theatre experience that is as thoroughly entertaining as anything that has been on stage this season. This is a must-see in my book, and a show that will be sure to leave a lasting impression on anyone who sees it.

The 5th Avenue Theatre production of Bye Bye Birdie runs on stage in Seattle through June 29. For more information, including ticket availability and sales, visit https://www.5thavenue.org/.

Photo credit: Tracy Martin