Stage Review - She Loves Me (Renton Civic Theatre)
Stage Review - She Loves Me
Presented By: Renton Civic Theatre - Renton, WA
Show Run: February 13 - March 01, 2026
Date Reviewed: Thursday, February 26, 2026
Run Time: 2 Hours, 40 Minutes (including a 15-minute intermission)
Reviewed by: Greg Heilman
I’m going to come right out and say it. I’ve been waiting to see a local live version of She Loves Me—well, since the revival with Laura Benanti, Zachary Levi, and Jane Krakowski premiered on Broadway in 2016. I’ve seen bits and pieces of that particular show online, their performance of a She Loves Me medley at the Tonys, and I’ve listened to the Broadway cast recording umpteen times, but despite all that—and the fact that I’ve never actually seen it live—this has become one of my favorite musicals. It could be because The Shop Around the Corner is one of my favorite films and the story resonates with me like it has with so many throughout its many incarnations. Regardless, when I saw this on the Renton Civic Theatre calendar, I put an extra exclamation point next to it. All this said, reviewing something one considers a “favorite” (easily within my Top 5 musicals) can be tricky. It requires a detachment from personal affection while still honestly examining how the piece lands in the moment. Tricky, but not impossible—and it’s a challenge I was more than happy to take on this past Thursday evening in Renton.
Directed by Chris Nardine, with music direction by Lindsay Delmarter, Renton Civic Theatre’s She Loves Me is rooted in a story that has proven itself time and again. Based on Miklós László’s 1937 play Parfumerie, the material has found life across page, stage, and screen—from The Shop Around the Corner to In the Good Old Summertime to You’ve Got Mail. At its core, it’s a story about connection—about the contrast between how we present ourselves in person and who we allow ourselves to be in private—and it’s a structure that continues to resonate no matter the era.
From the moment the proverbial curtain rises, the production begins to reveal itself. A live orchestra (always the better choice) immediately elevates the experience, giving this wonderful score a richness and immediacy that supports the performers throughout the evening. And it’s with those performers where this version of She Loves Me truly excels. Chris’s casting of this show is just about perfect. In pairing Casey Raiha and Ksenia Popova as the lead couple, he hit a virtual bullseye. Beyond that, assembling a supporting group that includes Mauro Bozzo, Eric Hartley, and Emma Hanson is another achievement, and even down to the ensemble—with performers like Stefanie MeiFang Van Rafelghem, whose dancing is like watching a summer breeze—this is a group that has chemistry, a synergistic dynamic, and a vocal quality that stands with anything I’ve seen on stage this season, professional or otherwise.
From the opening number, “Good Morning, Good Day,” that chemistry is immediately apparent. There’s a kind of vocal choreography at play, each interaction feeling structured and musical, and it sets the tone for what follows. “Sounds While Selling” builds on that foundation, reinforcing the strength of the ensemble and making it clear early on that this is going to be an ensemble-led success.
Regarding Casey Raiha, the first time I saw him perform was as an understudy in The 5th Avenue Theatre’s Into the Woods. His performance there was so strong it earned him a nomination for that season’s Sound on Stage Awards and, since then, he’s built a reputation as the consummate understudy—a skill that’s far more demanding than it might appear—to the extent that he is working on a book about the craft. What’s become increasingly clear over the past few seasons, however, is that Casey has firmly established himself as a leading man. From his work in The Wild Man of the Wynoochee at Key City to his performance here, the trajectory is undeniable. Make no mistake, Casey Raiha is—and should be—a major player in the Seattle theatre scene. Here, as Georg Nowack, Casey shines across the board. His vocal performance is marked by precision, range, and power; his movement is crisp; his lines are exquisite; and his ability to uncover the humor in the role is exceptional. He carries a natural ease and chemistry not only with Ksenia’s Amalia Balash, but with the entire company, and his performance serves as the bedrock of an already exceptional ensemble.
The cast is quality from top to bottom. For anyone familiar with the show, the role of Miss Balash requires a commanding soprano, almost operatic in nature, and Ksenia Popova doesn’t just meet that requirement—she exceeds it. Her voice carries both strength and control, maintaining power across her range, and she pairs that with a physicality that feels natural and unforced. She navigates the character’s sharper edges in her interactions with Georg while also fully embracing Amalia’s vulnerability, giving a well-rounded and compelling performance.
Supporting the two leads is a group that is chock full of their own talent. Mauro Bozzo is, quite simply, a triple threat, and he delivers all of that ability as Kodaly. There may be no better showcase of his talents than Act I’s “Ilona,” where his charisma and control are on full display. Kodaly is a character defined by charm that borders on insincerity—self-serving, arrogant, and aloof—and it fits Mauro like a glove, much like his previous turns as Harold Hill and Don Lockwood did. He is consistently engaging and a compelling presence throughout.
Emma Hanson’s Ilona is flirty, vibrant, and full of personality. She pairs beautifully with Ksenia in “I Don’t Know His Name,” and brings determination and humor to both “I Resolve” and “A Trip to the Library.” The only note I would make is that her vocal volume felt slightly underbalanced with the rest of the cast, making it harder to distinguish her within ensemble moments. That said, it’s a minor concern and could very well be attributed to microphone levels rather than performance. Eric Hartley delivers a Maraczek of depth and nuance. The role requires a wide emotional range—anger, hope, despair, forgiveness—and Eric navigates each with confidence. His performance of “Days Gone By” is particularly effective, capturing the poignancy of the moment with sincerity.
One of my favorite numbers in the show is “Perspective,” sung by Sipos, and here performed by Jed Slaughter. It’s the one opportunity where the character steps forward vocally, and Jed makes the most of it, comfortably reaching into the lower end of his register and delivering the number with clarity and control. Otherwise, Sipos functions as a true supporting presence, lifting the other characters without pulling focus, and Jed handles that balance well. Clara Jordan, as Arpad Laszlo, has the task of re-energizing the audience at the top of Act II with “Try Me,” and she does exactly that. This is a lively, engaging performance that sets the tone for the second half of the show.
One highlight among many is the restaurant sequence that closes Act I, bringing together a number of compelling character performances. Riley Stowell’s headwaiter is desperately trying to maintain a romantic atmosphere, his frustration with Patrick Flores’ busboy and the character’s clumsiness bubbling just beneath the surface. Stefanie MeiFang Van Rafelghem adds another layer to the scene, her dancing fluid and expressive. The sequence moves seamlessly between humor and heartbreak, and the ensemble handles those shifts with confidence and clarity.
All of this is supported by a live orchestra that matches the performers in quality, providing a solid musical foundation throughout. Under Chris’s direction and Lindsay Delmarter’s music direction, the production reaches a level that feels decidedly professional in execution. That is perhaps most evident in “Twelve Days to Christmas,” where everything comes together—Jacob Viramontes’ lighting joining the choreography, staging, and vocal performance in a passage that is as technically impressive as it is joyful. The movement among the actors is sharp and wonderfully executed, the layered vocal lines are handled with precision, and the energy from the company is palpable.
On the design side of the show, scenic designer Brett Carr has created a central unit that does a great deal of the storytelling heavy lifting—a large rotating piece that represents both the exterior façade and interior walls of Maraczek’s parfumerie. With a simple turn, the space transforms, allowing the production to move seamlessly between inside and outside moments. This is then complemented by additional set pieces—tables, chairs, counters, and hand props (Jeffery Swiney-Weaver)—that are brought on efficiently for each scene. It’s not an altogether complex design, but that’s not needed here. The result is a series of quick transitions that keep the show moving at an excellent pace, never allowing the energy to stall. That visual world is further supported by Krista Lofgren’s costume design, which nicely evokes the 1930s setting of the piece. The costumes feel period-appropriate without becoming overstated, and when paired with the actors’ hairstyles, help establish a cohesive and believable environment for the story to unfold.
This production makes a convincing case for itself not just as a successful staging of a beloved musical, but as a reminder of why this story continues to endure. With a cast that works seamlessly together, a creative team that understands how to keep the piece moving while supporting its quieter moments, and performances that consistently meet the demands of the material, this is a show that delivers on both its charm and its craftsmanship. For those who already love She Loves Me, this production offers a satisfying and well-executed take, and for those encountering it for the first time, it serves as an excellent introduction to a musical that has earned its place among the classics.
She Loves Me runs on stage at Renton Civic Theatre through March 1. For more information, including ticket availability and sales, visit https://rentoncivictheatre.org/.
Photo credit: Colin Madison Photography
