Here at The 5th Avenue Theatre, we tell stories that are big, bold, beautiful, and filled with the power of music—stories that inspire and nourish the human soul. We believe that no other art form has the full-on, visceral power to sweep audiences up and away on a magical journey like a great musical does—and the stories taken as a whole across the season are very much one joyous journey through all musical theater has to offer.
Every production we create whisks you away from your everyday life and transports you to a place where anything is possible.
This season, The 5th Avenue Theatre will give life to two astonishing new musicals bound for the world stage (Austen's Pride and Bliss), celebrate the holidays with a new musical presentation of the beloved film Mrs. Doubtfire,craft brand new productions of a masterful epic (Evita) and a joyful comedy hit (Sister Act) and thrill you with one of Broadway’s most recent transformative hits (with a special two-week only engagement!): Once On This Island.
As an added bonus, this season will see the return of one of Broadways biggest hits, Jersey Boys, as a special one-week season extra!
Subscribe today and join us for this unforgettable season of musical theater.
Book, Music, and Lyrics by Lindsay Warren Baker and Amanda Jacobs
Directed by Igor Goldin
Choreographed by Lisa Shriver
An extraordinary new musical feast bound for the world's stages!
Jane Austen enters into her most famous love story and as she does, she begins to understand something about both her characters and herself as she explores this beautiful new world. This is a musical of beauty, wit, and wisdom, wrapped up in a journey of self discovery.
It's Pride and Prejudice the way you have never before imagined. A story you will not soon forget, with an achingly beautiful score that will transport you to another time and place.
Created here at The 5th Avenue Theatre!
Book by Karey Kirkpatrick and John O'Farrell
Music and Lyrics by Wayne Kirkpatrick and Karey Kirkpatrick
Based upon the Twentieth Century Fox Motion Picture
Directed by Jerry Zaks
Choreographed by Lorin Latarro
Music Supervision by Ethan Popp
Fix your wig and slip on those pantyhose, dear, ‘cause the world premiere of Mrs. Doubtfire is strutting to Seattle this holiday season. Based upon the beloved 1993 Twentieth Century Fox Motion Picture, Mrs. Doubtfire features a book by Karey Kirkpatrick and John O’Farrell, and music and lyrics by Wayne Kirkpatrick and Karey Kirkpatrick, the Tony Award-nominated team behind Something Rotten!, with direction from four-time Tony Award winner Jerry Zaks (Hello, Dolly!), choreography by Lorin Latarro (Waitress), and music supervision by Ethan Popp (Tina: The Tina Turner Musical).
When out-of-work actor Daniel Hillard loses custody of his kids in a divorce, he disguises himself as Scottish nanny Euphegenia Doubtfire in a desperate attempt to stay in their lives. As he gets lost in his new persona and grows closer to his kids, Mrs. Doubtfire teaches Daniel more than he bargained for about how to be a father.
A heartfelt and hilarious story about the lengths we’ll go to for our loved ones, Mrs. Doubtfire is the next big musical comedy hit for the whole family*. Don’t miss your chance to see it before it's a worldwide hit!
*Recommended for ages 8+.
An Original New Musical
Book, Music, and Lyrics by Emma Lively and Tyler Beattie
Directed by Sheryl Kaller
Choreography by Josh Prince
Who says that princesses must be perfect and proper, and marry the handsome prince? Seriously!
The 5th Avenue Theatre creates for you the unforgettable world premiere of Bliss, an original musical fantasy that flips the traditional princess narrative upside down.
Hidden away for years by an overprotective father, four wildly distinctive princesses dream of the world beyond the castle walls. At last they escape, and find adventures beyond their wildest imaginations—and a world that judges them based on appearance. Now they must each decide what is worth sacrificing for a “happily ever after.”
With an addictive pop rock score, Bliss is a tale as unique as its heroines.
An adventure unlike any other awaits you at The 5th.
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.
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.
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.
Book by Marshall Brickman and Rick Elice
Music by Bob Gaudio
Lyrics by Bob Crewe
Directed by Des McAnuff
Choreographed by Sergio Trujillo
A very special ONE-WEEK engagement! The international sensation, onstage at The 5th Avenue Theatre.
They were just four guys from Jersey, until they sang their very first note. They had a sound nobody had ever heard… and the radio just couldn’t get enough of. But while their harmonies were perfect on stage, off stage it was a very different story… Go behind the music and inside the story of Frankie Valli and The Four Seasons in this Tony Award®-winning musical phenomenon.
*This show is not part of your subscription package but you can add it on by calling our Guest Services Team at 206.625.1900. Only 8 performances—get your tickets right now!
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.
Austen’s Pride is a musical adaptation of Jane Austen’s classic novel Pride and Prejudice. A 36-year-old Jane looks back on a youthful unpublished romance (First Impressions); as she rewrites the tale (which was influenced by an early disappointment in love), she discovers some truths about herself and her characters.
Adult Language: None.
Drugs/Alcohol: A character in one scene is under the influence of alcohol.
Sexual References: As in Austen’s novel, a young girl leaves her family to elope with an older man. In a seduction scene, she is carried into a bedroom by the man she expected would marry her; he is half drunk and tries to persuade her to let him “love you like a husband loves a wife.” There is no nudity or explicit sex.
Mrs. Doubtfire, like all brand-new musicals, is still being developed and its script will be undergoing changes during the rehearsal process.
Mrs. Doubtfire is based on the classic 1993 comedy film (which starred Robin Williams) in which a fun-loving but irresponsible father, faced with losing custody of his children, impersonates the perfect nanny in order to be with his family. Mrs. Doubtfire is suitable for most audience members: concerned parents and theatergoers should peruse the following advisories carefully.
Brief and Partial Nudity: The audience sees a fleeting glimpse of an impulsive and prank-playing character’s bare butt as he moons the other characters.
Adult Language: This is mild for the most part. “Goddam” is heard a couple of times; also, “crap,” “damn it,” “piss you off,” “hell,” and “shit” (heard several times) are used when characters are frustrated. “Asshole” is also used as a character fights off a mugger.
Sexual References: These are also mild; sexual innuendoes are not explicit, but rather implied (sample: “Oh, wake up and smell the pheromones, dear. Business? Funny business. His dividends won’t be the only thing on the rise”).
Alcohol/Drugs: A character’s apartment is full of empty beer cans. Characters are seen drinking wine with dinner.
Violence/Scariness: A character goes after other characters (who prove to be hallucinations) with a skillet, a knife, and other implements; the effect is humorous rather than alarming.
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.
“Bliss is a fairy tale about fairy tales-- in particular, the strange things that young princes and princesses do in the hope of finding their "happily ever after." The musical has an absurd, subversive tone, and the characters both play into and against classic fairy tale archetypes. The production must suspend reality and unapologetically embrace the whimsical, illogical logic of the world.”
--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.)
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 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).
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.”
Violence/Scariness: A character is clubbed by government officials and dragged backstage after a Perón rally.
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.
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.
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 www.5thavenue.org/asl.
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 GuestServices@5thavenue.org or call 206.625.1900 or 888.584.4849 (voice).
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 GuestServices@5thavenue.org 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|
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 GuestServices@5thavenue.org.
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 GuestServices@5thavenue.org or call 206.625.1900 or 888.584.4849 (voice).
Hunchback of Notre Dame Saturday June 23 2:00 PM
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 GuestServices@5thavenue.org 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 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 GuestServices@5thavenue.org.
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 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.
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 GuestServices@5thavenue.org.
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.