3-, 4-, and 5-Show Packages are now available!

Whether you love musical theater because it is full of laughter and delight or you love powerful shows combining artistry, musicality, and story, our 19/20 season has something for everyone! 

Creating your own package of shows lets you select ones sure to put a smile on your face like Bliss and Sister Act or one full of powerful musicals to carry you worlds away from the every day like Once On This Island and Evita

No matter what size package you choose, our subscriptions come at a significant savings over single tickets with a host of other discounts and benefits. Great seats are still available for all of our shows!

You can’t go wrong! Don’t miss one more magical moment, wondering whether or not it would it would have been worth it. It is. And you deserve it.



Subscribe today and join us for this unforgettable season of musical theater.

February 1 - February 23, 2020

An Original New Musical
Book, Music, and Lyrics by Emma Lively and Tyler Beattie
Directed by Sheryl Kaller
Choreography by Josh Prince

Welcome to the Deep Dark Forest, a mysterious place where fairy godfathers await to grant your every wish—“happily ever after” guaranteed. Or is it? Bliss is an electrifying new musical that tears up the rules on happy endings.

In this addictive fractured fairytale created at The 5th, four wildly distinctive royal sisters sneak out of their castle and discover an intoxicating world of fancy balls and dreamy princes—and a burning desire to be at the center of it all. 

In a world that demands they fit in, it will take a sister’s love to remind them to stand out. Together they discover that chasing their bliss means leaving expectation behind.

Take an adventure unlike any other!

Sister Act
March 13 - April 5, 2020

Music by Alan Menken
Lyrics by Glenn Slater
Book by Cheri and Bill Steinkellner
Additional Book Materials by Douglas Carter-Beane
Directed & Choreographed by Lisa Shriver

Here is the feel-good musical comedy sensation based on the hit 1992 film! Featuring original music by eight-time Oscar winner Alan Menken, this uplifting musical was nominated for five Tony Awards® including Best Musical.

When disco diva Deloris Van Cartier witnesses a murder, she is put in protective custody in the one place the cops are sure she won't be a found: a convent! Using her unique disco moves and singing talent to inspire the choir, Deloris breathes new life into the church and community. 

Powerful gospel music! Outrageous dancing! Our production of Sister Act will leave you breathless.

Once On This Island
May 12 - 24, 2020

Book and Lyrics by Lynn Ahrens
Music by Stephen Flaherty
Directed by Michael Arden
Choreographed by Camille A. Brown

“What a delight it is to enter the world of Once On This Island!” raves The New York Times.

Winner of the 2018 Tony Award for Best Revival of a Musical, Once On This Island is the sweeping, universal tale of Ti Moune, a fearless peasant girl in search of her place in the world, and ready to risk it all for love. Guided by the mighty island gods, Ti Moune sets out on a remarkable journey to reunite with the man who has captured her heart.

A very special two-week engagement

^If you choose the second Sunday evening series or any third week series, your seats for Once On This Island will be in a different location than the other shows in your subscription. You will be seated as close as possible to your seats for the other productions. If we are unable to seat you in the same price zone, you will be contacted as it may result in a change of price.

June 12 - July 3, 2020

Music by Andrew Lloyd Webber
Lyrics and Book by Tim Rice
Directed by Timothy McCuen Piggee

The stunning and majestic, award-winning musical—a fantastic new production created by The 5th Avenue Theatre!

This is the smash-hit musical based on the life of Eva Peron, an unknown actress who became the wife of the Argentinean president, and the most beloved—and hated—woman in Argentina.

An epic and soaring musical from the creators of Jesus Christ Superstar! Don’t miss this exquisite new 5th Avenue Theatre production.


2019/20 Subscription Seating Chart



Some shows deal with mature themes and may not be appropriate for all guests. We strongly encourage you to read the Content Advisories for each production listed below.

Children under 4, including babes in arms, will not be admitted. 

Please note: Content guidelines are based solely on the text of the script. We create our shows just for you, so there may be additional sensitive content based on the direction of the show which we are not aware of until the show opens. Additional content warnings will be posted in the lobby when you attend a performance, or you can call our Guest Services team for more information, once a show has opened, at 206.625.1900.

2019/20 Content Advisories


Bliss, like all brand-new musicals, is still being developed and its script will be undergoing changes during the rehearsal process. Bliss is considered appropriate for most audience members, but parents and concerned theatergoers are advised to consult the guidelines below.


"We were inspired with Bliss to write a fairy tale about fairy tales,  where we challenge the fairy tale tropes that feel so last century, and broaden the definition of a 'happily ever after.' We wanted to create princesses who would fight against unrealistic societal expectations— and that it would indeed be a fight. Bliss explores themes of authenticity, conformity, and empowerment; what do we give up when we give in to societal assumptions? What if the quest for perfection is a false goal? And what it the messy truth is what is actually beautiful? At its core, Bliss asks the question, 'Can I be who I really am and still get what I really want?' We hope that the answer is, 'It’s definitely worth finding out.'"

--Emma Lively and Tyler Beattie

This fairy tale concerns four unique young princesses are kept in a high tower by their overprotective father.  What will happen when they escape and venture out into the world?

Important Themes: The four sisters encounter a group of familiar fairytale types, the “Perfect Princesses,” whom they are expected to emulate. One of the four princesses, who is “plus-sized in body and spirit,” wonders: “Why do they all look the same?” The “Perfect Princesses” are never angry, weird, or loud, nor do they “question more than allowed;” they have no unladylike interests, they never appear “threateningly smart,” and their clothes never fit too snugly. They ask the four princesses, “Would you rather be perfect  . . . or ugly?”

Adult Language: The language is very mild. One character complains that her boots smell like “feces.” A prince (Devin) boasts that he has “a pimped-out carriage and an entourage.”

“Crap,” one character complains under her voice when an adult makes an inconvenient entrance. “Holy crap!” is heard twice when the same character is startled.

Violence/Scariness: One of the sisters encounters a dragon. She unsheathes her sword and charges as the lights go down.

Sexual References: As the four princesses begin to worry about their looks compared with “Perfect Princesses,” one of them complains about the size of her “boobs” and her “butt.” The king, searching for his lost daughters, worries they have gone to the “mossy meadow” where there’s “touching and necking.” (They haven’t.)

Alcohol/Drugs: None.

Sister Act

Sister Act, adapted from the popular 1992 film, tells the story of a nightclub singer who takes refuge from gangster hit men by disguising herself as a nun and hiding in a convent; her life and the lives of the nuns are changed forever by this encounter.

Sexual References: The show’s protagonist, night club singer Deloris, is having an affair with gangster and club owner Curtis; she is devastated that the card in his Christmas gift is addressed to his wife.

Drugs/Alcohol: One of Deloris’s backup singers offers her a Quaalude to deal with her disappointment. Smelling incense in the convent church, Deloris declares, “Somebody smokin’ weed in here!” She attempts to smoke a cigarette but is not allowed. Deloris will eventually escape to a nearby bar where she will order a beer.

Adult Language: There are a few hells and damns. The expressions, “Christ on a stick!” and “Jesus Christ!” are heard.

Violence/Scariness:  Curtis and his henchmen sing what sounds (and choreographs) like a love song but with very different lyrics (“And when I find that girl / I’m gonna kill that girl / Gonna wham! Bam! Blam! And drill that girl”) that give a new meaning to “When I find my baby / Ain’t never lettin’ her go.”  The scene is played for humor rather than scariness. 

A character is shot to death onstage, and the shooter and his cronies chase an innocent witness, firing their guns (and missing).  During a chase scene, some of the gangsters are hit on the head or kneed in the groin.  Several characters are threatened with guns and one character is shot in the shoulder.  (All of the violence is stylized, not explicit; it is played for humor, not shock, and there is no blood.)

Once On This Island

Once on This Island is a musical based on Hans Christian Andersen’s The Little Mermaid; it is set on a fictional island (resembling Haiti) in the French Antilles in the Caribbean Sea. The show’s love story (a peasant girl falls in love with a wealthy man from the other side of the island) is a fairy tale told to a small child by the chorus (the villagers).

Please note: This production features theatrical haze, fog, live flame, sand, and water elements.

Violence/Scariness: In a song about the origin of the beauxhommes, the  light-skinned island gentry, the chorus tells of a Frenchman, Armand, who came to the island in the time of Napoleon and married a pale blonde woman, but also “took his pleasure with the women / Who served him / Black peasant girls from the village beyond.”  Today, the chorus points out, “They despise us for our blackness / It reminds them where they’re from.”

A character is threatened by a deadly flood and shelters in a tree.  During a storm, another character is injured in a car crash.  The show’s staging of these events (the car crash, the storm) is theatrical rather than realistic. 

A character approaches a grand hotel, but he is refused entry by the guard at the gate, who knocks him down.

A character is given a knife and told that she must take another’s life; she raises the knife, but does not use it.

Sexual References: Sexual references are implied or suggested, rather than explicit.

A man invites a woman to “stay the night and show me your powers.  Make me forget this pain.”  The chorus surrounds them and hides them from view.  There is no explicit sex.

Adult Language: None.

Alcohol/Drug Use: None.


Evita is the classic musical by Andrew Lloyd Webber and Tim Rice. Parents and concerned theatergoers should peruse the following guidelines carefully.

Mature Themes: Evita is the tale of a historical figure, Eva Perón—considered a saint by some and a demagogue by others—who rose from a hardscrabble background to become the most powerful woman any Latin American country had ever seen. It deals with a number of themes, including the improbable rags-to riches ascension of an unlikely heroine, the use of propaganda and populism to affect public perception, and the effects of “star quality” as a campaign and governing tactic.

Adult Language: The language is mild for the most part. There is one use of the word “screw” (as an expletive, not a sexual term), and Eva’s critics refer to her as a “bitch” and a “whore.” There are a few vulgar expressions (“up yours”) and a couple of uses of “hell.”

Sexual References: Eva is only 15 when she begins working as an actress; she encounters powerful men who exploit her, while offering to help her career and enhance her fame.  There are no explicit scenes to convey her early history.

A young girl, a military officer’s mistress, is replaced and unceremoniously evicted to survive as best she can.

The military officers (never friends with Argentina’s first lady) are wary of Eva’s influence and power and reduce her to sexual terms.  Sample: “Her only good parts are between her thighs / She should stare at the ceiling, not reach for the skies / For she could be his last whore. / The evidence suggests / She has other interests / She should know that she’s not paid / To be loud but to be laid.”

Drugs/Alcohol: None.

Violence/Scariness: A character is clubbed by government officials and dragged backstage after a Perón rally.

Jersey Boys

Jersey Boys contains strong language and sexual situations. Parents are advised to peruse the advisories carefully.

A Word about the Language in Jersey Boys:

Full Disclosure: The characters in Jersey Boys, like many of the real people they portray, sometimes use language that may shock some members of our audience.  But it is certainly not our intention to offend.  We have no wish to take anybody in the theater “out” of the show, only a desire to honestly tell the story of four guys who were more likely to end up in Sing Sing than the Rock & Roll Hall of Fame.  To give you an authentic experience, we present the Four Seasons songs as they sounded on the records, and present the guys themselves as they sounded on the streets – where tough language was nothing less than a badge of honor and a means of survival.

--Rick Elice, co-writer of Jersey Boys

Adult Language: Very strong adult language is used throughout the show; the “f” word is used a little over thirty times, always as an expletive rather than a sexual term (sample: “I’ll tell you what the f--n’ problem is!”).  The Four Seasons and their associates were working-class Italian Americans who hailed from Mob-dominated, crime-ridden, poverty-stricken neighborhoods.  Prison records were common among these young men and the profane “Jersey Language” in the script was an authentic part of their culture.  As Frankie Valli puts it, “We didn’t have playgrounds and after-school programs.  What we had was hanging out on the corner and B and E’s” (Breaking and Entering). 

Drugs/Alcohol: Characters are seen smoking and drinking.  One character dies (offstage) from a drug overdose.

Sexual References: One character has his sexual initiation (offstage) with a girl in a Chicago hotel. 

Violence/Scariness: None.


2019/20 Subscriber Benefits

Where to Eat

Where to Park


Ready to exchange your tickets? Click here.

Please note: exchanges can only be processed on a laptop/desktop only. Mobile exchanges are not available at this time.

*Tickets can only be exchanged for the same show. Exchanges are fee free for subscribers, but upgrade fees may apply.


Accessibility Services



The 5th Avenue Theatre offers a variety of accessibility services to our patrons. If you have any questions or concerns, please call 206.625.1900 or 888.584.4849. We welcome your feedback and suggestions for enhancing these services.

ASL and Open Captioned Performances

The 5th Avenue provides American Sign Language-interpreted performances for hard-of-hearing and Deaf patrons. Reserved seating located close to the ASL interpreters is available for our guests needing those services*. Ticket prices for ASL performances vary. To purchase tickets to individual ASL performances online, visit

To purchase ASL tickets on a mobile device, select the ASL interpreted date you want to attend. Enter promo code ASL by tapping on the box under the show title. Once your code is applied, tap "Get Tickets" to select your seats in the front of the orchestra level on the left side of the house.

*These seats are reserved for our Deaf and hard-of-hearing guests who require the services of an interpreter and for their companions. For students learning American Sign Language, we offer a student discount for our ASL performances. Please contact Guest Services at 206.625.1900 or visit our box office to discuss seat availability in a nearby section at the student rate.

Open captioning designed for those with mild to complete hearing loss so you can enjoy theater as never before. Performances with this service feature a text display located to one side of the stage. The dialogue and lyrics of the show scroll across the display in synchronicity with the actual performance. Now you can catch quick punch lines, fast-patter lyrics, and hushed dialogue. For more information, please visit the Box Office, email or call 206.625.1900 or 888.584.4849 (voice).

ASL and Open Captioned Performance Schedule

2018/19 Season

In our 2018/19 season, ASL interpretation and open captions will take place during the same performance. All ASL/Open Caption dates will happen on the third Sunday matinee of the respective production. Dates below.

If you are interested in subscribing to our ASL/Open Caption performances, please call 206.625.1900 or email for more information.

Come From Away Sunday, October 28, 2018 at 1.30 PM
Annie Sunday, December 16, 2018 at 1.30 PM
Rock of Ages Sunday, February 24, 2019 at 1.30 PM
Little Dancer Sunday, April 14, 2019 at 1.30 PM
The Lightning Thief Sunday, April 28 at 1.30 PM
West Side Story Sunday, June 23, 2019 at 1.30 PM

Assistive Listening Devices

The 5th Avenue Theatre has Sennheiser Listening System headsets for patrons who are hard-of-hearing. We also offer inductive neck loops. Both devices are complimentary, but subject to availability. You may reserve a headset when you purchase your tickets. To reserve your headset, visit the Box Office, call 206.625.1900 or 888.584.4849 (voice), or e-mail

Audio-Described Performances

Using the Sennheiser Listening System, The 5th Avenue Theatre offers select audio-described performances for visually impaired and blind patrons. The Sennheiser Listening System works throughout the auditorium so you may purchase tickets in any section of the theater. For more information, please visit the Box Office, email or call 206.625.1900 or 888.584.4849 (voice).

Audio Described Performance Schedule

2017/18 Season
Hunchback of Notre Dame                       Saturday June 23 2:00 PM

2018/19 Season
In our 2018/19 season, all audio-described performances will happen on the third Saturday matinee of the production. Dates below.

If you are interested in subscribing to our audio-described performances, please call 206.625.1900 or email Guest Services at for more information.

Come From Away Saturday, October 27 at 2.00 PM
Annie Saturday, December 15 at 2.00 PM
Rock of Ages Saturday, February 23 at 2.00 PM
Little Dancer Saturday, April 13 at 2.00 PM
The Lightning Thief Saturday, April 27 at 2.00 PM
West Side Story Saturday, June 22 at 2.00 PM

Wheelchair Seating

Wheelchair seating space is located on the orchestra level (main floor) of the auditorium.  The seating is located House Right at the end of rows F, K and P and House Left at the end of rows G, J and Q. If no wheelchair seats are available on the website please contact Guest Services by calling 206.625.1900 or 888.584.4849 (voice) or emailing

Elevator Access Inside the Theatre
If you’re seated on the balcony level and stairs present a challenge, we can provide you with elevator assistance.  However, please note that all balcony seating involves negotiating some stairs. You may proceed directly to the lobby of Skinner Building (located at 1326 5th Avenue, 4 doors north of the Theatre's main entrance) where an usher will meet and assist you. You may also request assistance when you arrive at the Theater doors.

Braille and Large Print Programs

Braille and large print programs are both available, free of charge, at Coat Check, located in the lobby near Aisle 3. Programs are checked out with a valid ID and should please be returned at the end of the performance. Braille programs are subject to availability.

Scripts & Book Lights

If you would like a script and book light to use during a performance, please request one at Coat Check, located in the lobby near Aisle 3. Scripts may checked out with photo ID, and are subject to availability on a show-by-show basis. To reserve a script and book light, please call the Guest Services at 206.625.1900 or 888.584.4849 (voice) or e-mail

Wheelchair-Accessible Parking

The parking garages at City Centre and LAZ 6th Ave (formerly known as The Hilton Garage) both have accessible parking and elevators and are located within one block of the Theatre.

LAZ 6th Ave Garage is connected to the Theatre via an underground concourse; however, if you are in a wheelchair, it will be faster to exit on the street level, not the concourse level, and go around the block to the Theatre’s marquee entrance. If you would prefer using the concourse level, you will need to be escorted by one of the 5th Avenue Theatre ushers to the Skinner Building’s elevators. If you do not see one of our ushers in the concourse, please call coat check at 206.625.1294. The building’s elevators will take you to the Skinner Lobby, and you will then still have to go outside and travel one-half of a block uphill to the Theatre’s marquee entrance. Please be advised: the LAZ 6th Ave Garage is also the busiest of our partner garages on show days, so please expect longer wait times before and after the show.