Stage Review - The Wild Party (Sound Theatre Company)
Stage Review - The Wild Party
Presented By: Sound Theatre Company - Seattle, WA
Show Run: January 30 - February 08, 2026
Date Reviewed: Friday, January 30, 2026 (Opening Night)
Run Time: 2 Hours, 30 Minutes (including a 10 minute intermission)
Reviewed by: Breanne Jensen
On the cold, wintry evening of January 30th, 2026, I had the pleasure of attending Sound Theater Company’s opening night, concert-style performance of Andrew Lippa’s The Wild Party. I was introduced to this show in a 2013 production here in Washington State and became instantly mesmerized. The artistry is unique, captivating, complex, powerful, and quite dynamic. Just experiencing the material again live had me giddy all week, as if I were looking forward to a first date. I walked in ready to enjoy a show and ended up having myself a wild party!
The show is set in a 1929 New York apartment as a raucous party begins to unfold (think The Great Gatsby house party). The audience is introduced to Queenie and her beau, Burrs, who have found themselves in a long-term toxic relationship — the kind that has turned abusive and cyclical in nature. The party is a “test,” if you will, orchestrated by Queenie to make Burrs jealous, and a subconscious, silent cry for help as she attempts to leave her volatile situation. Masking her sorrows in booze, jazz, and a sultry smile, Queenie still holds hope that the person she once loved — both herself and Burrs — will reappear during this soirée.
As the precarious party guests enter Queenie and Burrs’ apartment, the space is brought to life, with each character bringing their own style, flair, backstory, and dependencies with them. In a desperate attempt to catch Burrs’ attention, Queenie shows interest in a man she has never met before, a guest of her friend and attendee, Kate. This mysterious guest’s name is Black, and he sees the crown that should be sitting on Queenie’s head.
Throughout the evening, the duos of Queenie and Black, as well as Burrs and Kate, play cat and mouse, appraising who will break first and betray the other. Over the course of the night (and early morning), each character has a solo moment of reflection and a duet or ballad (standouts include “An Old-Fashioned Love Story” and “Two of a Kind”) that depicts what may be going on beneath the surface — what no one else knows about. With the inside view the audience possesses, the events that tragically escalate during the party almost become relatable.
The Wild Party is written for storytellers to unravel the raw feelings and human emotions that define complex relationships. One of the show’s songs, “How Did We Come to This?”, is a moment in time everyone’s soul has resonated with. Director Corey McDaniel created a thoughtful, humanistic experience from start to finish.
The set is comprised of two digital screens and music stands that were never a distraction, but instead elevated the ambience, humor, and blocking of the show. It even produced the perception that you are sitting inside an old record player — not only hearing the story, but becoming a part of it. From dancing up and down the aisles, to audience interaction, entrances, and exits, every detail in direction, character, and space was methodically executed.
Musical Director, conductor, and keyboardist Nathan Young triumphantly leads a group of musicians who are so professional, polished, talented, and passionate that, as a jazz fanatic, I would purchase any album or song this group created. As an artist, you will find yourself wanting to play, sing, and/or dance with them because they are inspiring. The entire crew — from design and management to intimacy coordination and choreography — comes together to create one of the most professional and moving shows I have ever seen.
The talent… the talent is… wild, just like the title. The amount of skill and professionalism in the room is unfathomable. Leading role Queenie, played by powerhouse Jasmine Jean Sim, lives up to her character’s namesake. From the first note that left her mouth to the last, it was utter perfection. The power, the jazz, the sex, the tenderness, the grit, the fragility — all completely unshakable. I am now Jasmine Jean Sim’s number one fan, and anyone who attends this show or any of her upcoming projects will understand and agree. Sim’s star quality, comfort, and effortlessness should be acknowledged and emulated.
Second leading lady Kate is played fearlessly by Danielle Barnum. Kate, the epitome of “here comes trouble,” is engaged in everything she shouldn’t be, but also provides some of the best comedic relief moments — a welcome break from the serious subject matter. Barnum, a local treasure to the greater Seattle area, brought the humor, timing, talent, and the perfect dash of “girl in the slinky dress with the flask hanging out,” which can be incredibly difficult to portray. Her bold entrance as Kate carries through the entire production, intertwining with Broadway-caliber vocals that leave you on the edge of your seat for her next big note.
Queenie’s beau and leading man Burrs is played by Jason Kappus, whose résumé spans from local professional credits to Broadway and beyond. Kappus’ dark hair, blue eyes, and tattoos bring a charming “prince-turns-bad-boy” look that makes Queenie’s toxic attraction to him very understandable (sorry Jason — I’m sure you’re lovely!). Kappus brings a broad range of emotions to Burrs, and the audience goes along for the ride. His ability to evoke feeling through song, dance, and acting comes so naturally that I was reminded of what art — and specifically music — is all about.
Burrs’ competition for Queenie, Mr. Black, is brought to life by Nicholas JaPaul Bernard. Black enters cool, suave, mysterious, and ultimately kind. Bernard’s portrayal left me wanting to hug him and thank him for showing Queenie what gentle love could be like. The vocal transparency he carries is almost a spiritual experience. Professional, authoritative, and inimitable are adjectives I would use to describe Nicholas JaPaul Bernard’s talents and presence.
The quartet performance of “Poor Child” in Act One, given by the four title characters, had me holding my breath — mouth open in awe, covered in goosebumps — with my guest for the evening and I looking at each other afterward in amazement. Every member of the production has a solo or song to showcase their artistic aptitude. Each performer, whether lead or featured, rose to the occasion, supporting one another to create something unforgettable as an ensemble.
I don’t want to spoil anything for you as to how the show ends, but by now I’m sure you can imagine it probably isn’t one of the happy ones. I truly could go on endlessly about the genius production I had the honor of attending Friday evening. It is imperative that we continue to create art, ensuring that during our current climate (and beyond), human experience, expression, and acceptance cannot — and will not — be erased, diminished, or silenced.
The music is hot and swinging, the sets are shining and inclusive, the direction is a love story to art, and the actors are some of the most impressive artistic vessels you will ever encounter on stage. Whether you are a party animal or a homebody, The Wild Party at Sound Theater Company will leave you with only one complaint: it only runs two weekends. Cancel all your plans, and as Queenie says, get ready to “Raise the Roof” at The Wild Party.
The Wild Party, produced by Sound Theatre Company, runs on stage at the Centre Theatre at Seattle Armory through February 8. For more information, including ticket availability and sales, visit https://soundtheatrecompany.org/2026-season/the-wild-party/.
Photo credit: Nikeesha Gooding
