There are entertainers, there are musicians, and then there is Jeff Goldblum—a man who can turn a simple raised eyebrow into a standing ovation. On Sunday, October 11, Goldblum brought his signature charm, quirky humor, and impressive piano skills to Seattle for an unforgettable evening with his Mildred Snitzer Orchestra and the Seattle Symphony. Under the direction of the uber-talented Bryan Carter, the evening was a delightful combination of jazz, Broadway, Hollywood nostalgia, and spontaneous comedy. And if you thought Goldblum was eccentric on the big screen, you should see him conducting an audience with nothing more than a mischievous grin and those impossibly long fingers.
What made the evening particularly special was the reunion between Goldblum and Carter, who served as an arranger and music director on the Wicked films, in which Goldblum portrayed the wonderfully manipulative Wizard of Oz. Carter’s musical arrangements brought a lush, cinematic quality to the evening, blending the intimacy of Goldblum’s jazz ensemble with the grandeur of the Seattle Symphony. It was a musical marriage that worked beautifully, with Carter effortlessly guiding the musicians through everything from Broadway standards to contemporary pop.
The evening opened with an overture before Goldblum launched into “Wonderful” from Wicked, immediately reminding the audience that the Wizard himself had arrived in Seattle. Of course, Goldblum couldn’t resist adding his own theatrical flair. His playful Seattle-themed number, “Jeff Goldblum’s Hosting Tonight,” was a crowd-pleaser, demonstrating that he knows how to make an entire concert hall feel like an intimate supper club.
And then there was Goldblum’s wonderfully eccentric stage presence. When he wasn’t seated at the piano, he was swaying to the music like a bandleader who had just discovered the joy of interpretive dance. With exaggerated hand gestures, playful glances, and spontaneous interactions—particularly with the lucky audience members in the front row—Goldblum turned the performance into something far more personal than your typical symphony concert. At times, you weren’t sure whether you were watching a jazz concert, a comedy show, or an audition for the world’s most charmingly unpredictable lounge act. Whatever it was, it worked.
Musically, the first set offered an impressive variety of selections. “Pure Imagination,” made famous by Gene Wilder in Willy Wonka & the Chocolate Factory, seemed especially appropriate for an entertainer who lives somewhere between fantasy and reality. The jazz classic “Misty” showcased the musicianship of the ensemble, while Billie Eilish’s haunting James Bond theme, “No Time to Die,” provided an unexpected contemporary twist.
Goldblum also revisited another beloved Oz classic with “If I Only Had a Brain,” proving that his connection to the Emerald City extends well beyond Wicked. And really, performing that song in Seattle, otherwise known as the Emerald City, was almost too perfect. Stevie Wonder’s “Don’t You Worry ’bout a Thing” brought a welcome dose of funk and energy, giving the orchestra an opportunity to loosen up and swing.
One of the evening’s highlights was the appearance of Broadway performer Khailah Johnson, whose vocals added an exciting theatrical dimension to the concert. Goldblum accompanied her on piano and joined her vocally, demonstrating an easy musical chemistry. His singing may not be the traditional powerhouse Broadway variety, but what he lacks in vocal theatrics, he makes up for with personality, phrasing, and undeniable charm. Johnson, meanwhile, brought the vocal polish and stage presence that made her a perfect complement to Goldblum’s unconventional style.
Another standout guest was jazz vocalist Gina Saputo, who delivered “Mean to Me,” the vintage standard associated with Ben Bernie and His Orchestra. Her performance brought a sophisticated nightclub atmosphere to the hall, transporting the audience back to an era when jazz singers commanded attention with nothing more than a microphone, impeccable timing, and a little attitude.
Following intermission, the second set continued the musical journey with “As Time Goes By,” the timeless classic immortalized in Casablanca. Quincy Jones’ “Soul Bossa Nova” added a playful burst of rhythm, while “A Sentimental Man” from Wicked provided another welcome connection to Goldblum’s recent cinematic success. Hearing the music performed with the Seattle Symphony under Carter’s direction gave the number an added sense of occasion.
Perhaps the evening’s biggest surprise was the inclusion of Taylor Swift’s “Lover,” demonstrating that Goldblum’s musical tastes are as unpredictable as his film career. One moment we’re in a smoky jazz club, the next we’re in Swiftie territory. Somehow, Goldblum made the transition feel perfectly natural. Burt Bacharach’s “(They Long to Be) Close to You” added a romantic touch, while “Somewhere Over the Rainbow” brought the evening full circle, connecting the classic Wizard of Oz with the modern world of Wicked.
Throughout the performance, Carter proved to be an essential part of the evening’s success. His command of the Seattle Symphony was impressive, balancing the sophistication of the orchestral arrangements with the spontaneity of Goldblum’s jazz musicians. The orchestra never overwhelmed the smaller ensemble, instead enhancing the music with rich textures and dramatic flourishes. Carter also appeared completely comfortable navigating Goldblum’s unpredictable personality, which may be a talent worthy of its own Tony Award.
For the encore, Goldblum and company delivered Ray Charles’ “What’d I Say,” sending the audience home with a lively dose of rhythm and blues. It was a fitting finale to an evening that celebrated the joy of live music without taking itself too seriously.
At 73, Goldblum remains one of Hollywood’s most fascinating personalities. Whether he’s battling dinosaurs in Jurassic Park, transforming into a scientist-gone-wrong in The Fly, or charming audiences as the Wizard in Wicked, he has always possessed that rare ability to make even the most outrageous characters feel strangely lovable. Onstage, however, there are no special effects or cinematic tricks—just a man, his piano, a collection of talented musicians, and an audience completely under his spell.
What I loved most about this concert was that Goldblum wasn’t trying to reinvent himself as the next Frank Sinatra or Harry Connick Jr. He was simply having the time of his life, inviting Seattle along for the ride. His joy was infectious, his humor delightfully offbeat, and his genuine appreciation for the musicians around him was evident throughout the evening.
And with Bryan Carter and the Seattle Symphony providing the musical magic, the result was something truly special.
Jeff Goldblum may have played the Wizard on the big screen, but on Sunday night in Seattle, he didn’t need a curtain, a smoke machine, or a trip down the Yellow Brick Road to work his magic. All he needed was a piano, a little jazz, and that irresistible Goldblum charm.
And frankly, my dears, it was wonderful.
