At The 5th Avenue Theatre, we believe in the power of good storytelling, and we believe that the most powerful form of storytelling is musical theater.
Unfortunately, subscriptions are no longer available for our 2018/19 Season. You can still buy individual tickets for the remaining shows in our season.
But never fear: The 5th has big plans to tell you big stories in new, exciting, and original ways during our 2019/20 Season too! Stay tuned for our season announcement on Monday, March 11.
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.
Please note: Content guidelines are based solely on the text of the script. We create our shows just for you, so there is often sensitive content based on the actual 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.
Rock of Ages is a “jukebox musical” with a score of songs from some of the 1980s most popular bands (Styx, Whitesnake, Poison, Starship, Foreigner, Joan Jett, REO Speedwagon, Pat Benatar, Twisted Sister, and more). Its story is set in and around the LA Sunset Strip in the mid to late eighties and concerns aspiring rocker Drew; innocent aspiring actress turned stripper Sherrie; Lonny and Dennis, who work at the Bourbon Room rock club; Hertz and Franz, German developers who want to destroy the strip and create a clean, pure, and efficient environment free of rock; Regina, a city planner who wants to stop them and save the strip; Stacee, a rock star; and Justice, who runs a nearby strip joint.
Rock of Ages contains strong language and adult themes. It should be pointed out that the show’s depiction of heavy metal culture is done with affectionate humor and irony (tongue firmly in cheek). (Sample: the pre-show announcement informs us that “Flash photography and recording devices are strictly prohibited. Unless, of course, you are really, really hot and willing to take off all your clothes. Furthermore, all cell phones should be turned off, text messaging makes you look like an asshole, and if you have one of those ‘blue tooth’ things in your ear... Please. Come on. You look like a tool.” )
Rock of Ages may not be suitable for all audience members, and theatergoers may continue reading the following guidelines for more specific information.
** Please be advised: The following contains plot spoilers.
The special effects in this production of Rock of Ages include but are not limited to: atmospheric smoke/haze, pyrotechnics, and strobe lights and other intense lighting which may affect those with photosensitivity.
Rock of Ages contains extensive use of strong language, including the “f” word. A few vulgar expressions, such as “shit” or “crap” are used frequently, as a a couple of “goddams,” one “Jesus!” and “Christ!” and several “hells” and “damns.” The characters are creative with insults, calling each other “asshole,” “dickweed” and “dicklickers.”
A fictional rock band is said to be called "Concrete Ballz." A novice songwriter, trying to write a love song, sings, "I wanna make boobies hard!" and "she was reachin' for my sack!"
A character confesses to having once “shivved a guy for talking shit about Kip Winger.” Sherrie is knocked down and her purse is snatched on her first day in Los Angeles. Stacee and his guitarist get in a shoving match and then Stacee is hit in the head with the guitar.
Regina and her protesters attempt to block the developers from demolishing the Bourbon Room; they are beaten in slow motion by the police. Later Regina douses herself with gasoline and threatens to set herself on fire in protest.
Sherrie performs an exotic dance for a rocker who rejected her and takes her revenge by knocking him out.
The show’s narrator Lonny announces that LA in the 80s was a “majestic acidwash epicenter. If you had a dream, a 5th of Jack, and a decent amount of hair, there was nowhere else to be.”
Two characters are seen sharing a joint; another is seen running down the streets with his pants down (there is no nudity), claiming he is “high." When Dennis is discouraged at the prospect of losing his club, Lonny encourages him to “Chew a prozac!”
Lonnie addresses the audience: “Ever listen to Warrant’s ‘Cherry Pie’ after speed-balling two grams of crystal meth and a six-pack diet Shasta? Rip your goddamn heart out.”
Drew brings Sherrie a six pack of wine coolers (Stacee grabs them).
Regina confesses she once jumped off the Golden Gate Bridge as a protest to legalize pot.
A depressed Hertz is seen on the street drinking from a bottle of whisky.
Rock of Ages contains quite a few sexual references, some more explicit than others.
Innocent Sherrie Christian arrives in LA hoping to make it as an actress; she is startled and excited by the people she encounters on the Sunset Strip, including a hooker. When Sherrie picks up a “lucky penny,” the boys at the Bourbon Room notice her “flawless behind,” and Dennis changes his mind about hiring her.
Dennis observes that Stacee should agree to perform because “he still owes me from that hotel incident with the cool whip and the baby llama.” Later he will blackmail Stacee to accept his offer to host the group’s last gig: “Remember when you teabagged that baby llama?”
Sherrie is considering auditioning for a film called “Encino Hot Tub Police,” but she is unsure what is meant by “suggested fellatio,” thinking it means she needs to work on an accent.
A character uses “I have an enormous penis” to test a microphone before auditions take place at the club.
On their first date, Sherrie is shy and Drew says there’s no pressure – they are just two friends. Sherrie agrees. Lonnie, eavesdropping, winces at the mistake and observes that the inner Sherrie feels very differently in a fantasy sequence. We see Sherrie suddenly become her sexed-up inner self and, through choreography, suggests her sexual attraction to Drew (“You’re so good / when we make love it’s understood”) but then the fantasy ends and she becomes innocent Sherrie again.
Stacee’s band hates him, Lonny admits. “But stars are undeniable. Like herpes.”
Stacee meets Sherrie and invites her into the men’s bathroom “where we can talk about our dreams and feelings and shit.” He rips off her shirt as they sing, “I want to know what love is,” and carries her into a bathroom stall. Asked by the waitress, Sherrie says it was “magical.” “His hands?” “Magical!” “What about his . . . “ “Smaller than I thought, but magical.”
Lonny announces the intermission (“All right, go get more drinks!”) and addresses a woman in the audience: “You, my dressing room. Two minutes!”
A predatory movie producer asks Sherrie, now a stripper, to meet him at his beach house, saying he sees “Molly Ringwald” potential in her. Sherrie, skeptical, says, “You got that from a ‘two for one’ lapdance?”
At the Strip Club, Stacee addresses a dancer named Candi: “Come here, you sexy little poptart! How much does two hundred bucks get me?” He is startled when Candi replies “in an alarming man’s voice”: “Two hundred bucks basically gets you four dances and a full release.”
Marie's story is inspired by the famous sculpture of a young ballerina by Edgar Degas; the show is set in Paris in 1880 and 1917. Marie, the model for the sculpture, is one of the Paris Opera Ballet’s so-called “little rats,” the ballet’s student dancers.
Marie is a brand-new musical which is still being developed, so some alterations may be made in the show’s book and lyrics during the rehearsal and preview process.
There is little adult language and it is mild. Characters throw insults at each other when they are quarreling or have had too much to drink. These are shouted over a comic melee and are unintelligible. “Whore!” is among the insults shouted.
The “Abonnes,” wealthy gentlemen who are patrons of the ballet, have the privilege of visiting the dancers backstage, exchanging gifts and favors, common practice at that time. One of the men, seeing Marie’s broken toe shoes, offers to buy her new ones, but she refuses.
Marie’s mother was once a dancer. She reveals that finding herself “in the family way” ruined her career and she wants Marie to succeed.
Marie’s oldest sister is a high-living courtesan. She takes Marie on the town and tries to instruct her in the ways of the world. Told that Marie has attracted the attention of a musician, her sister jokes that he must have “a very nice instrument.”
Marie’s mother has had a hard life and drinks too much from time to time. Marie hides her earnings (and booty from picking pockets) to protect it lest her mother squander it.
At a café, Marie is offered a drink by a man, but another gentleman sweeps it away.
In the café, Marie’s mother and the landlord quarrel and begin slapping at each other; Marie intervenes to defend her mother. This is a comic sequence.
Marie has a fight with her mother and gets slapped.
The musician punches an Abonne for making an unwanted advance to Marie.
Marie’s older sister slaps her lover for his attempted infidelity.
Urinetown, which ran on Broadway from 2001 to 2004 and won Tonys for Best Book and Best Score in 2002, is a satirical comedy that lampoons political corruption, economic inequality and irresponsible handling of the environment.
In the world of Urinetown, as Officer Lockstock informs us, “Everyone has to use public bathrooms to take care of their private business;” this is the result of a catastrophic twenty-year drought, which has made water scarce and precious. As the play opens, The Poor are waiting in front of “Public Amenity # 9”; admission is high (the facilities are run by a private corporation – Urine Good Company), so the Poor must wait in line for hours to use “the poorest, filthiest urinal in town.” Anyone caught “peeing for free” is exiled to the mythical Urinetown. As the guardian of “Public Amenity #9 sings, “The politicians in their wisdom saw/That there should be a law.”
Adult language is mild in Urinetown (there is some use of “damned” and “damn it”), but there is a lot of bathroom humor. Ms. Pennywise, who manages Public Amenity #9, sings, “The Good Lord made us so we’d piss each day / Until we piss away.”
Cladwell, the owner of Urine Good Company, observes to his staff: “I made flushing mean flush at the bank/I’m the man with the plan/So who should you thank?”
A character is unable to wait and begins peeing in public, objecting, “This is no way to live!” (There is no nudity.) The police arrive to arrest him for breaking the Public Health Act, an exiling offense.
Senator Fipp, a corrupt politician being bribed by UGC, meets Hope, the young daughter of Cladwell; innocent and idealistic, she has just finished school. The senator attempts to flirt with her, and is quickly dismissed by Cladwell.
Officer Lockstock, a crooked cop, also attempts to flirt with Hope. He says her father failed to mention “the size and purity of your beauty” and kisses Hope’s hand. “Does beauty have a size, Officer?” Hope asks.
When it looks as if the rebel poor will kill Hope, a character confesses to being her (unwed) mother.
A character is dragged off by the police for deportation to Urinetown when he is unable to pay for access to a public facility.
When asked what Urinetown is like, Officer Lockstock demurs: “Its power depends on mystery. I can’t just blurt it out, like ‘There is no Urinetown! We just kill people!’ Oh, no. The information must be oozed out slowly until it bursts forth in one mighty cathartic moment. Somewhere in Act Two.”
Bobby Strong, who becomes the leader of the Rebel Poor, believes that “Urinetown’s a lie/A means to keep the poor in check/Until the day they die.”
Little Sally, on the other hand, believes Urinetown is “here/It’s the town wherever/ People learn to live in fear.”
Eventually, the poor people at Public Facility #9 refuse to pay, rescind the Public Health Act and the Water Preservation Act and begin “peeing for free.”
They revolt and seize the company head’s daughter (Hope) as a hostage.
They threaten to string her up in the song, “Snuff That Girl.” (Bobby arrives to object: “This has got to be about more than revenge and stringing up someone who can’t defend herself.”)
A character is arrested and fights with her captors as they attempt to deliver her to Urinetown; she escapes. Another character is taken to “Urinetown,” which turns out to be the roof of the UGC, where he is to be thrown off.
One of the policemen is killed in an attack by the Rebel Poor.
As the chorus of the Poor sings, “Rich folks get the good life / Poor folks get the woe; / In the end it’s nothing you don’t know.” The poor beg for pennies for a pee; Ms. Pennywise, who guards the door and collects the money, informs them, “No one’s getting’ anywhere for free! Don’t you think I have bills of my own to pay?! Don’t you think I have taxes and tariffs and payoffs to meet too?” She tells them, “It’s a privilege to pee / Water’s worth its weight in gold these days.”
Meanwhile Senator Fipp is waiting for the “dough” he will get from the hike in facility fees (if the vote passes) so he can escape on a “fact-finding” mission to Rio. He is worried that it’s a “powder keg” out there because of possible public reaction. Hope, assured that this is all for the general welfare, innocently remarks, “Gosh, I never realized large monopolizing corporations could be such a force for good in the world!”
Bobby, as he leads the Rebel Poor, declares he made himself “A promise that from this day on, no one man would be denied his essential humanity because of the condition of his pocketbook. That no man in need would be ignored by another with the means to help him. Here and now, from this day forward, because of you, and you, and you, we will look into the faces of our fellow man and see not only a brother, but a sister as well.” (The idealism of the rebels and even the innocent Hope is eventually undercut, however, because it turns out they have no solution for the water shortage.)
West Side Story is an American version of Romeo and Juliet and it follows the play’s plot very closely. While Shakespeare’s tale concerns feuding aristocratic families in 15th Century Verona, West Side Story’s creators (music by Leonard Bernstein, lyrics by Stephen Sondheim, book by Arthur Laurents, choreography by Jerome Robbins) focus on a clash between second-generation Americans and newly-arrived Puerto Ricans in 1950s New York.
There is a little vulgar language, but it is very mild. Lt. Schrank, for instance, threatens to “beat the crap out of every one of you and then run you in!”
The conflict between the characters is fueled by racial prejudice, which is illustrated by the racist language used. Lieutenant Schrank, the cop on the beat, is openly racist in his remarks to the Sharks, the Puerto Rican gang (“Boy what you Puerto Ricans have done to this neighborhood.” “Get your trash out of here!” To the Jets: “I gotta put up with them and so do you!”). Later at Doc’s Candy Store, Schrank will be even more explicit: “Clear out, Spics. Sure it’s a free country and I ain’t got the right. But it’s a country with laws: and I can find the right. I got the badge, you got the skin. It’s tough all over. Beat it!” When the Jets refuse to cooperate with Lt. Schrank, he shouts, “You oughta be taken down to the station house and have your skulls mashed to pulp! You and the tin horn immigrant scum you came from!”
The Jets complain that the Puerto Ricans are “ruinin’ free enterprise.” Bernardo and the sharks, on the other hand, point out that Tony is a “Polack”: “The mother of Tony was born in Poland; Tony was born in America, so that makes him an American. But us? Foreigners! Lice! Cockroaches!” The war council between the Jets and the Sharks escalates into racial epithets: “Move where you’re wanted!” “Back where ya came from!” “Spics!” “Micks!” “Wop!”
These are implied rather than explicit. Anybodys, a girl and a wanna-be Jet, pleads: “How about me gettin’ in the gang now?” A-rab responds: “How about the gang gettin’ in – ahhh, who’d wanta?” Later when she makes fun of Baby John (“You let him be a Jet!”), he responds, “Ah, go walk the streets like ya sister.” Trying to taunt the Jets into giving him information about the coming rumble, Lt. Schrank asks one of them, “How’s the action on your mother’s mattress, Action?”
Maria pleads with Anita to lower the neck of her gown: “It is now to be dress for dancing, no longer for kneeling in front of an altar.” Anita replies, “With those boys, you can start out dancing and end up kneeling.” When Anita says Puerto Ricans came to America “ready, eager, with our hearts open,” Consuela echoes, “Our arms open -” and her boyfriend counters, “You came with your pants open.”
Anita, waiting for Bernardo to return from the rumble, sings, “He’ll walk in hot and tired / So what? / Don’t matter if he’s tired / As long he’s hot / Tonight!”
After the Sharks and the Jets rumble, Tony and Maria meet in Maria’s bedroom; they kiss and embrace and the lights go down. Later they are seen asleep in the bed (there is no nudity).
The “Jet Song” observes that “When you’re a Jet, / You’re a Jet all the way / From your first cigarette / To your last dyin’ day.”
In the song “Gee Officer Krupke,” the Jets derisively claim that their delinquency is a result of their upbringing: “Our mothers all are junkies / Our fathers all are drunks / Golly Moses – Natcherly we’re punks! . . . Dear kindly judge, your honor / My parents treat me rough / With all their marijuana / They won’t give me a puff. / They didn’t wanna have me / But somehow I was had. / Leapin’ lizards – that’s why I’m so bad!” In a mocking confession to an “analyst,” another Jet declares, “My grandpa’s always plastered / My grandma pushes tea” (marijuana).
Like Romeo and Juliet, West Side Story begins with a brawl between rival gangs, the Jets and the Sharks; the fighting is stylized and choreographed.
Two characters die in a knife fight, and a third is shot and killed; the deaths occur onstage.
In the “taunting scene,” Anita, Bernardo’s girlfriend is insulted (“Bernardo’s tramp!” “Lyin’ spic!”); she is pushed, jeered at, and forced to lunge for her shawl. The attempted rape that ensues is highly stylized and choreographed rather than being depicted graphically or realistically; there is no nudity, no explicitly sexual gestures and no overt violence.
The Lightning Thief, based on a best-selling young adult novel, takes place in a world where the Greek gods are real and causing a lot of trouble for Percy Jackson (he’s been kicked out of six schools in six years, and has just discovered he’s the son of Poseidon, the god of the sea). Intrigued by the new powers he’s learning to control and encouraged by the company of other young half-bloods (who lament, “Oh, things couldn’t be worse / When your parents run the universe”), Percy sets off on a quest to find the lightning bolt of Zeus, defeat the monsters following him, and prevent a war between the gods. He encounters a number of legendary opponents, including the Furies, Medusa, the minotaur, and the shadowy Hades, king of the Underworld. “Judging from the enthusiastic reactions of the tweens surrounding me, this musical is worthy of the gods. But with its campy humor, clever no-tech effects, and agreeable pop-rock tunes, it offers pleasures for mere mortal grown-ups, too” (Time Out/New York).
The Lightning Thief is recommended for families with school-aged children, particularly those 8 and older. Parents are encouraged to peruse the following advisories to ensure that the show is suitable for their family members.
None. The characters do refer to “Dam snacks,” but this is a reference to Hoover Dam, not a swear word, although it could be mistaken for “damn.”
The Lightning Thief contains onstage combat with swords and knives; the show also includes monsters, which might be scary for younger children.
In a song lyric, Sally implies that she and Poseidon conceived Percy on the beach: “He was handsome and strong / And before too long / You came to exist.” Selena complains of her mother, Aphrodite, the goddess of love: “I try to seek help / From even the Fates / But she steals my mascara and all of my dates.”
“I was reading these books in my 20s, but was still figuring out what to do with my life. I’d technically come of age already, but the feeling that you’re living in someone else’s world never really goes away. Young adult fiction depicts that so well. In Lightning Thief, the Gods have created the world, but then vacated it to hang out at the top of the Empire State Building—leaving the rest of us to figure out where we fit in.” -- Joe Tracz, author of Lightning Thief’s script