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Four show subscriptions are now available, and we’ve built two great packages for you to choose from!

Want to mix and match? Just call our friendly customer service department and let them know what you want in your personalized season ticket package.

For a lover of the classics with a true devotion to musical theater, there can be no better choice than The 5th Avenue Essentials Package. You’ll get tickets to our holiday hit Rodgers & Hammerstein’s The Sound of Music, Pulitzer Prize-winning big business satire How to Succeed in Business Without Really Trying, the reinvented classic Paint Your Wagon, and Broadway’s 2014 Tony Award® winner for Best Musical, A Gentleman’s Guide to Love and Murder.


Rodgers and Hammerstein's The Sound of Music

November 24, 2015-January 3, 2016
Book by Russell Crouse and Howard Lindsay
Music by Richard Rodgers
Lyrics by Oscar Hammerstein
Directed by David Bennett

Long before Julie Andrews sang from the mountaintops in the legendary1965 film, The Sound of Music captured the imagination of theatergoers world-wide. This story of the young governess Maria, who brings much-needed tenderness and joy to the Von Trapp family, has everything – romance, danger, bravery, and love.

The Sound of Music is one of the most beloved musicals and with good reason. Who could forget such memorable songs as “My Favorite Things,” “Do Re Mi,” “How You Solve a Problem Like Maria,” and, of course “Climb Ev’ry Mountain.” This year marks the 50th anniversary of this iconic film.

If you’ve never seen a fully staged professional production of this classic, this is your chance to experience this Broadway musical done as only The 5th can – with a full orchestra, stunning sets and costumes and of course a stellar cast of Seattle favorites.


How to Succeed in Business Without Really Trying

Never before on our stage!

January 28-February 21, 2016
Book by Abe Burrows, Jack Weinstock, and Willie Gilbert
Music and Lyrics by Frank Loesser
Directed by Bill Berry

The title says it all. J. Pierpont Finch is a man on a mission – to achieve stunning success at the World Wide Wicket Company while doing as little as possible to deserve it. This musical satire of corporate ladder-climbing and office hanky-panky opened on Broadway in 1961, ran for a remarkable 1,417 performances and earned seven Tony Awards®, the Drama Critics Circle Award for Best Musical, and the 1962 Pulitzer Prize for Drama.

Audiences will love this swingin’ tune-filled musical set in the era of TV’s Mad Men, boasting an exhilarating score including “I Believe in You,” “Brotherhood of Man,” and “The Company Way.” This Northwest production will be directed by 5th Avenue Producing Artistic Director Bill Berry.

Power, sex, ambition, greed... it’s just another day at the office in this classic satire of big business.

Lerner & Loewe's Paint Your Wagon

First time on our stage in 24 years!

June 2-25, 2016
Music by Frederick Loewe
Book and Lyrics by Alan J. Lerner
New Book Adaptation by Jon Marans
Directed by David Armstrong

A sweeping saga of the mythic west and the pursuit of the American Dream, Lerner and Loewe’s Paint Your Wagon is filled with some of the greatest songs ever written for the musical stage—“They Call the Wind Maria,” “I’m On My Way,” “I Talk to the Trees,” and “I Was Born Under a Wand’rin Star.” Now, audiences can experience this lusty musical set in the rough and tumble world of the 1849 California Gold Rush as it has never been seen before. The 5th is famous for inventing new musicals—this time we are reinventing a classic.

The 5th Avenue Theatre commissioned celebrated writer Jon Marans to create a new book for the show, and Seattle audiences will be the first in the world to see this new incarnation of this thrilling musical adventure under the direction of 5th Avenue Theatre Executive Producer and Artistic Director David Armstrong.


A Gentleman's Guide to Love & Murder

July 12-31, 2016
Book and Lyrics by Robert L. Freedman
Music and Lyrics by Steven Lutvak
Directed by Darko Tresnjak

Getting away with murder can be so much fun… and there’s no better proof than the knock-‘em-dead hit show that’s earned unanimous raves and won the 2014 Tony Award® for best musical—A Gentleman’s Guide to Love & Murder!

Coming direct from New York, where a most gentlemanly NPR critic said he’d “never laughed so hard at a Broadway musical,” Gentleman’s Guide tells the uproarious story of Monty Navarro, a distant heir to a family fortune who sets out to jump the line of succession, by any means necessary. All the while, he’s got to juggle his mistress (she’s after more than just love), his fiancée (she’s his cousin but who’s keeping track?), and the constant threat of landing behind bars! Of course, it will all be worth it if he can slay his way to his inheritance… and be done in time for tea.

This new musical will have you dying with laughter!






Do you walk on the wild side, and prefer musicals with an edge? Then this is the package for you. Rock out with the first lady of rock 'n' roll in A Night with Janis Joplin. Witness history in the making at Assassins (co-presented at ACT – A Contemporary Theatre). Kick up your heels to Cyndi Lauper’s Tony Award®-winning score at Kinky Boots. And finally, getting away with murder can be so much fun! Learn how with A Gentleman’s Guide to Love and Murder.



A co-production with and performed at ACT—A Contemporary Theatre

February 27-May 8, 2016
Book by John Weidman
Music and Lyrics by Stephen Sondheim
Directed by John Langs

Welcome to the carnival, where everybody has the right to be happy! In this tawdry carnival’s shooting gallery, you’ll find yourself in the company of some of the most notorious figures in American history—the assassins who tried (and in some cases succeeded) to kill the president. John Wilkes Booth, Lee Harvey Oswald, Lynette “Squeaky” Fromme, John Hinkley and others reveal the stories of their troubled lives and deadly deeds. Created by one of the undisputed masters of musical theater, Stephen Sondheim, this powerful work is by turns funny, dark, and haunting.

This provocative musical directed by incoming ACT—A Contemporary Theatre Artistic Director John Langs is one musical that you won’t want to miss.


A Night With Janis Joplin

Northwest Premiere

March 25-April 17, 2016
Created, Written and Directed by Randy Johnson

Like a comet that burns far too brightly to last, Janis Joplin exploded onto the music scene in 1967 and, almost overnight, became the queen of rock & roll. The unmistakable voice, filled with raw emotion and tinged with Southern Comfort, made her a must-see headliner from Monterey to Woodstock. Now, you’re invited to share an evening with the woman and her influences in the new Broadway musical A Night With Janis Joplin.

Fueled by such unforgettable songs as “Me and Bobby McGee,” “Piece of My Heart,”  “Mercedes Benz,” “Cry Baby” and “Summertime,” and a remarkable cast, A Night With Janis Joplin, written and directed by Randy Johnson, is a musical journey celebrating Janis and her biggest musical influences—icons like Aretha Franklin, Etta James, Odetta, Nina Simone and Bessie Smith, who inspired one of rock & roll’s greatest legends.



Kinky Boots

Returning to The 5th by popular demand! 

April 27- May 8, 2016


Everbody say Yeah! Kinky Boots is back at The 5th for a limited 2 week engagement! Kinky Boots is Broadway’s huge-hearted, high-heeled hit! With songs by Grammy® and Tony® winning pop icon Cyndi Lauper, this joyous musical celebration is about the friendships we discover, and the belief that you can change the world when you change your mind. Inspired by true events, Kinky Boots takes you from a gentlemen’s shoe factory in Northampton to the glamorous catwalks of Milan.




A Gentleman's Guide to Love & Murder

July 12-31, 2016
Book and Lyrics by Robert L. Freedman
Music and Lyrics by Steven Lutvak
Directed by Darko Tresnjak

Getting away with murder can be so much fun… and there’s no better proof than the knock-‘em-dead hit show that’s earned unanimous raves and won the 2014 Tony Award® for best musical—A Gentleman’s Guide to Love & Murder!

Coming direct from New York, where a most gentlemanly NPR critic said he’d “never laughed so hard at a Broadway musical,” Gentleman’s Guide tells the uproarious story of Monty Navarro, a distant heir to a family fortune who sets out to jump the line of succession, by any means necessary. All the while, he’s got to juggle his mistress (she’s after more than just love), his fiancée (she’s his cousin but who’s keeping track?), and the constant threat of landing behind bars! Of course, it will all be worth it if he can slay his way to his inheritance… and be done in time for tea.

This new musical will have you dying with laughter!


Special Subscription Packages

The 5th Avenue Theatre offers a variety of special subscription options:

  • Are you age 35 or under?  Click here to learn about 35 and Under Subscriptions.

  • Are you age 65 or over?  Click here to learn about Silver Matinee Subscriptions.

  • Do you need special assistance?  Click here to learn about Accessible Subscriptions.

These special subscription packages may only be purchased by phone.

For more information, please call the Box Office at 206-625-1900.




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Some shows deal with mature themes and may not be appropriate for all children. For information about whether a particular show is suitable for your child, 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. 

2015/16 Content Guidelines:

Some shows deal with mature themes and may not be appropriate for all children. For information about whether a particular show is suitable for your child, we strongly encourage you to read the Content Advisories for each production. Children under 4, including babes in arms, will not be admitted.


Content Guidelines

Patrons should be aware that Waterfall is a brand-new musical and its script is still subject to revision. 

Rating: PG

Waterfall is a musical romance set in Bangkok and Tokyo in the years before World War II.  22-year-old Noppon, a shopkeeper’s son in Thailand (which he describes as “a beautiful world where everyone is polite and nothing ever happens” ), dreams of making history and declares, “My life should matter!”   He is amazed when a peaceful revolution brings democracy to his country, giving him the opportunity to make a career in the foreign service.   He is appointed to assist Chao Khun, a 65-year-old diplomat, but when Noppon meets  Katherine, Chao Khun’s 35-year-old American wife, he immediately falls in love. 

Adult Language:

Noppon’s friend Kumiko, who was born in New York, is an American citizen (a privilege not extended to her parents, who were born in Japan), “but at the dance clubs,” she says, “they’d see my slanty eyes and throw me out.”  She sings:

She promises such promises
Ravishing and rich
America will break your heart
She draws you in, she sings to you,
Then it’s bait and switch
America will break your heart.

Noppon’s friend Surin then remarks, “She’s saying the lady’s a bitch!”

Sexual References:

When Katherine and Noppon are sightseeing, they suddenly come upon three men in loincloths pounding on Japanese Taiko drums who “move around each other in a ballet of masculine power.”  Katherine fans herself afterward and  jokes to Noppon that  “If your secret plan was to get me aroused, you certainly succeeded!”

At the end of act one, we see two characters, one of them married to someone else, embrace on the banks of a stream as the lights go down.


The characters drink sake at an embassy reception.


Gunshots are heard when an assassination attempt (offstage) is made on the American ambassador in Tokyo.  In the second act, Japanese officers shut down Kumiko’s dance studio as “decadent” and attack  Noppon and his friends with batons when they protest.

Important Issues:  Waterfall’s script highlights prejudices common to the period.  While Noppon says that he loves everything American,  his friends inform him that Americans don’t love Asians in return: their Immigration Act (passed in 1924 and not modified until 1965) declares that America will not admit “epileptics, alcoholics, idiots, mental defectives, homosexuals, polygamists, anarchists, and Asians.”  


The Sound of Music

Rating: PG

The Sound of Music is a family show and should be appropriate for most theatergoers.  The show contains no adult language, sexual references, or violence. Guests at Captain von Trapp’s party are seen drinking brandy and champagne.


How to Succeed in Business without Really Trying

Rating: PG-13

How to Succeed in Business Without Really Trying, which first opened on Broadway in the fall of 1961, could be called the original Mad Men; like the television series, the musical satirizes the foibles, faults, follies, and failings of the mid-20th Century business world.  The show concerns the rise of J. Pierpont Finch, who is young, ambitious, and following all the hints offered in a self-help book with the same title as the show.

Adult Language:

This is mild, for the most part, with lots of “damns,” occasional “goddams.”

Sexual References:

Mr. Gatch makes a pass at Rosemary, who rejects him (“Please, Mr. Gatch!”).  He comments, “I’ve got to stop reading Playboy!”

Boss J. B. Biggley fights with his wife over the phone (wives are regarded as nags) and then is heard talking to another woman, obviously his girlfriend.  Later this girlfriend, Hedy LaRue, will appear in the office to apply for a job as a secretary.  She is described in the script as “a dish.  A real dish,” and all of the men are staring at her. When she is told that the company will need her “particulars,” she responds with her measurements.  One of the mesmerized businessmen exclaims, “I win the pool!”

Office staff, male and female, join together to declare in song that “A Secretary is Not a Toy, / No, my boy, / Not a toy, / To fondle and dandle / And playfully handle / In search of some puerile joy.”  Nevertheless, in a subsequent scene, the men are seen waiting for the elevators as they discuss their business goals and ambitions; they are followed by the women, who discuss how to handle the men’s unwanted advances.

The “executive secretaries” are invited to a reception “to act as hostesses.”  One secretary, Smitty, who wants to be popular, says she is “thinking of starting a secret rumor that I’m a nymphomaniac.”


Smoking is unapologetically indulged in, as is alcohol.

The leading character, J. Pierpont Finch, is seen smoking a cigar; another member of the staff declares he is going out for a smoke.  Characters are seen drinking at an office reception, some of them to excess.

Important Issues:

The characters  take the period’s rigid gender roles for granted: secretaries/typists are female (and called “girls”), business executives are male. The company line is that “A Secretary is Not a Toy,” but the female employees are nonetheless seen discussing their efforts to repel unwanted overtures from their bosses.   Rosemary’s song, “Happy to Keep His Dinner Warm,” which is echoed by the other secretaries in the company, satirizes what is supposedly the secret wish of every working woman in the late 50s/early 60s: “Oh, to be loved / By a man I respect / To bask in the glow / Of his perfectly understandable neglect. / Wearing the wifely uniform / While he goes onward and upward.”

Intrigue, flattery, deceit, and sabotage are all weapons used in the ruthless struggle to climb the corporate ladder.  For instance, Finch is alarmed when he is assigned Hedy LaRue as a secretary: his book warns him that “The smaller her skills, the bigger her protector,” and Hedy’s complete lack of skills indicates she is the boss’s girlfriend.  He sends her to Mr. Gatch’s office, where she is grabbed by him (the lights go down).  When the lights come up, Finch is sitting at the desk of the unfortunate Mr. Gatch, who has been transferred to Venezuela.



Rating: PG-13

Assassins first opened in New York in 1991, with music and lyrics by Stephen Sondheim and a script by John Weidman.  “Everybody’s got the right to their dreams” says one of this show’s songs, and its people have dreams and ambitions not unlike the characters in Gypsy, Dreamgirls, or Jersey Boys: they want to see their names in lights, they want to get the girl, they want to be remembered.  However, this misbegotten  group is made up of all the men and women who have ever killed or tried to kill a U.S. president and their stories bring into focus the dark side of the American dream. With a brilliant score, Sondheim gives a genuine voice to characters who could be called losers, misfits, or freaks.

 Charles Isherwood, reviewing a recent London production, observed that “The yearning to inscribe their names in the history books – to be somebody – that drives so many of the would-be assassins feels like an ever more delusional wish in our era of a rapidly widening economic divide.  We can’t all be Steve Jobs, of course, but these days, landing a fulfilling middle-class job seems like a lottery win, and gun violence born of desperation an ever more prevalent blight.” 

A note from the playwright:

Thirteen people have tried to kill the President of the United States.  Four have succeeded.  These murderers and would-be murderers are generally dismissed as maniacs and misfits who have little in common with each other, and nothing in common with the rest of us.

Assassins suggests otherwise.  Assassins suggests that while these individuals are, to say the least, peculiar – taken as a group, they are peculiarly American.  And that behind the variety of motives which they articulated for their murderous outbursts, they share a common purpose: a desperate desire to reconcile intolerable feelings of impotence with an inflamed and malignant sense of entitlement.

Why do these dreadful events happen here, with such horrifying frequency, and in such an appallingly similar fashion?  Assassins suggests it is because we live in a country whose most cherished national myths, at least as currently propagated, encourage us to believe that in America our dreams not only can come true, but should come true, and that if they don’t someone or something is to blame.

--John Weidman

Adult Language:

The “f” word is used fourteen times, twelve times as an expletive (“F-k me, f-k you”) and twice as a sexual term (“Does she kiss you? And f-k you?”)  “Shit” is heard frequently (“you don’t have to sit / And put up with the shit”), as is “bullshit,” as are “damns,” one “Goddam” and a few “hells.”  One character calls a whining child “an asshole.”

Booth uses a racial slur when referring to Lincoln.

Sexual References:

Squeaky Fromme observes that she was called a whore by her father.  Sam Byck, who tries to kill President Nixon (and who has an obsession with Leonard Bernstein), accuses the composer of ignoring his telephone messages because “you and your shit hot buddies had a plane to catch to Paris, France, for dinner and a blow job.”


The characters are seen at one point in a late 19th century saloon where they drink beer and whiskey.


In the opening scene, set at fairground shooting gallery, the assassins (and would-be assassins) appear together and are sold guns by the proprietor, who sing, “No job? Cupboard bare? / One room, no one there? / Hey, pal, don’t despair -- / You wanna shoot a President?”

John Wilkes Booth is seen shooting a Union soldier, then killing himself.  The assassinations or assassination attempts usually take place offstage or are staged in a stylized manner.

Guiseppe Zangara, who attempted to kill President Roosevelt, and killed Miami’s mayor, is seen strapped into an electric chair.  Charles Guiteau (who assassinated President Garfield) is seen dancing and singing his way up to the gallows (Guiteau did in fact dance on the occasion and recited a poem he had written, “I am Going to the Lordy,” which provides the lyrics for his song).

Squeaky Fromme (who attempted to assassinate President Ford) describes “Helter Skelter,”  “Charlie” Manson’s violent prediction of America’s fate (“Charlie says that in the Armageddon which ensues, women will be raped and disemboweled. Men will be castrated, lynched, and burned alive.  Blood and gore will choke our streets.”)

Dean Czolgosz, who assassinated President William McKinley, sings the “Gun Song:” “What a wonder is a gun! / What a versatile invention! / First of all, when you’ve a gun -- / Everybody pays attention.”


A Night With Janis Joplin

Rating: PG-13

The show may be inappropriate for 11 and under as there is strong language. Please note that children under the age of 4 are not permitted in the theatre.


Kinky Boots

Rating: PG

Kinky Boots is adapted from the 2005 British film of the same name, which was based on a true story.  The musical won six Tonys, including Best Musical and Best Score.

Charlie, a shy and straitlaced shoe factory owner, and Lola, a flamboyant drag queen (and professionally trained boxer), form an unlikely partnership to save Charlie’s failing business: instead of men’s dress shoes, they will produce fancy footwear for drag artists. In the process, they discover some truths about accepting other people as they are.

Adult Language:

The language is relatively mild, especially since most of the terms are British and do not have the same impact in the states (“What do I know about producing a bloody fashion show in bleedin’ Italy?”).  A couple of vulgar expressions are heard (“Shite,” “Piss off!” “We’ve gone tits up”) as well as “pouf” and “poufy,” British derogatory words for gay men.

Sexual References:

These are implied rather than explicit.  Sample line: LOLA: “Sex shouldn’t be comfy!” TRISH: “Oh, good.  I thought it was just me.”  In the song “The Sex is in the Heels,” Lola describes the seductive quality the footwear should have: “two and a half feet of irresistible tubular sex.”

Lola’s chorus, the Angels, are seen dancing suggestively and Lola and Pat, a female factory worker, dance a sexy tango together.


Three hooligans pursue Lola, who threatens them with a boot, but hits Charlie by mistake.  Two characters engage in a boxing match. 


Characters are seen toasting each other with champagne and drinking in pubs.


Paint Your Wagon

Rating: PG-13

Paint Your Wagon, created by Alan Jay Lerner and Frederick Loewe, is the story of a small mining town founded during the California gold rush.  The musical premiered on Broadway in 1951, where it ran 289 performances – at that time a successful run.  The show was much praised for its songs, which became very popular and some tunes, such as “Mariah” became folk standards.  The script, however, was thought to need revision, and the 5th Avenue Theatre has received permission from the Lerner and Loewe estates to commission a brand-new book for the show by playwright Jon Marans.

Please note that because this is a new script, there will be some changes made throughout the show’s run.

Adult Language:

The language consists mainly of “hells” and “damns.”  A few vulgar expressions are used (“Get off, lard asses!” “bullshit, “You boys betting or pissing in the wind?”).  “Jesus!” is also used as an exclamation.

The “f” word is used when a character declares that the wagon train is in the middle of “West Bumf-k nowhere.”  A version of it is used again when the Irishman, William, receives upsetting news from home and cries out, “Feck , feck, feck!”


A boy is left an orphan when his parents die as a result of the hardships of following the trail to California.

One character, a Mormon with two wives, bullies and mistreats them, especially the second wife, Cayla; he is seen twisting her arm, hitting her in the face, and accusing her of acting “like a whore.” 

A fight breaks out between Armando and Jake over payment for mining equipment; Jake pulls a knife, but the newly-arrived trapper Ben forces Jake to drop it and pay what he owes.

In the second act, the gold is no longer plentiful and many of the characters find themselves in hopeless debt as a result of gambling in Jake’s Palace.  In a choreographed piece, we see the world of the town beginning to collapse: fights break out among the desperate gamblers, an attempted rape is prevented and the attacker is branded with a hot iron, a man who attempts to rob a miner is stabbed, and a trapper is caught in one of his own traps.

Sexual References:

The founders of No Name City (all men) express their frustration with the dullness of their lives: “Lord, we’d dig straight down to Hades / To kiss the lips of scarlet ladies!”

Cayla’s husband is persuaded by the miners to sell her and she agrees (“Any of these men would be a better husband than you!”).  Ben objects (“You can’t sell a woman!”), but when Jake bids on Cayla, thinking of using her to start a new business,  Ben, who marries her, places the highest bid. The lyrics of the song “In Between,” sung by Ben and Cayla on their wedding night, contain some innuendo: “You’re a beauty who needs lovin’ / And to rise to that, I’m game / But the past might weigh me down / And that would be a shame.”

 Later Jake opens a new business featuring gambling and girls: “Jake’s Girls” dress scantily (for 1878), dance suggestively, and occasionally disappear upstairs with customers.  The miners sing of their arrival: “There’s a coach comin’ in, hurry, hurry, did you hear/With a cargo of joy from Paree/In a week, maybe less, we’ll have sins to confess/Venial sins, mortal sins, no, all three!”  One girl, Pearl, announces to Jake that she is “at your service, Mr. Rutland – and anyone else’s – who can pay!”


Characters are frequently seen drinking alcohol (whiskey, bourbon, champagne), sometimes to excess, as well as using chewing tobacco.

Important Issues:

Paint Your Wagon addresses the status of women in this frontier community (Cayla observes that “Out here, either you’re married or a prostitute!  I don’t want to be a prostitute.”)  It also shows the conflicts resulting from prejudice as people from different backgrounds  (wives, Mormons, dance hall girls,  Southern slaveholders, slaves, free people of color, Chinese, Irish, and Greek immigrants, Mexicans, trappers, businessmen) succumb to gold fever.             


A Gentleman’s Guide to Love and Murder

Rating: PG

In this currently-running Broadway hit, a penniless British commoner, Monty Navarro, learns that he is ninth in line to inherit the earldom of Highhurst.  He proceeds to get rid of the ghastly D’Ysquith (pronounced DIE- squith) family members that stand in his way.  The action all takes place inside the frame of an English music-hall stage, a locale that fits both its music and its farcical humor.

Sexual References:

Monty has a mistress, Sibella Hallward, who has been considering leaving him for a richer man, while at the same time he is attracted by the lovely Phoebe D’Ysquith (who is sweet and innocent and, fortunately for her, not in line to inherit).

A number of innuendoes and double entendres are heard, particularly in a duet  (“Better with a Man”) between Monty and the gay beekeeper Henry D’Ysquith.


Monty Navarro does indeed bump off his inconvenient relatives, most of whom are quite unlovable (and all played by the same actor), but the “accidents” are played for comedy, not horror.  The New York Times review observed that “you’ll be laughing too hard to shed a tear for any of them” and that “there’s nothing here to frighten children.”