The Social Reckoning

Last night my nephew and I went to see The Social Reckoning at the Broadway and, while I didn't hate it, I found it to be very underwhelming.  Jeff Horowitz (Jeremy Allen White) is a reporter for The Wall Street Journal who transfers to the San Francisco Bureau in 2019 to investigate the role Facebook plays in influencing politics and culture.  When he reaches out to members of Facebook's Civic Integrity Team, data engineer Frances Haugen (Mikey Madison) is the only employee to respond.  She was motivated to examine the algorithms used by Facebook after her friend Kayleigh (Portia Doubleday) became radicalized by a white supremacy group on the site.  She discovers that the platform is prioritizing hateful and divisive content for engagement and revenue without regard for the consequences to the user and, while she is initially hesitant about revealing information that would harm Facebook or her job there, she eventually shares internal documents with Horowitz and then goes on the record which leads to testifying before the Senate.  This narrative is interrupted by repetitive scenes in which Mark Zuckerberg (Jeremy Strong) is prepped by a crisis management team led by Raya (Wunmi Mosaku) for his upcoming testimony before the Senate about content moderation in 2021.  The investigation is interesting, even if it does go on longer than necessary, but it is not very compelling.  I already knew about the manipulation of algorithms on platforms such as Facebook after watching the documentary The Social Dilemma so the conclusion was a bit anticlimactic for me.  Strong is brilliant as Zuckerberg (his voice and lack of expression are uncanny) but, in my opinion, his many scenes are more for effect than to advance the plot because all but one of them consist of him telling everyone that he is a free speech absolutist with no obligation to monitor content (these scenes stop the momentum of the investigation).  On a positive note, White and Madison do a good job of making Sorkin's dialogue sound believable and the verbal sparring between the two is entertaining (I loved the running gag about Horowitz's lack of tech knowledge).  However, while it is unfair to compare this to The Social Network (which is brilliant), it lacks the tension and visual flair of that movie and I can't help wondering what might have been if David Fincher had directed it.  This is definitely a movie you can wait to see when it streams.

Note:  This was my 100th new release in theaters this year.  I usually hit this milestone earlier but I only saw one movie at Sundance (instead of my usual 20-25) so I am a bit behind.

Utah Opera's Zorro

Last night I went to see Utah Opera's production of Zorro and I absolutely loved it!  The Spanish nobleman Diego de la Vega (César Delgado) trains in secret to become a master swordsman at the mountain fortress of the Order of Zazueta in Spain.  After he passes his final test, his master Zazueta (Stephen Pace) carves the letter "Z" into his upper arm and sends him home to fulfill his destiny.  He returns to Spanish California and discovers that the peasants and indigenous people are suffering under the cruel and corrupt mayor, General Octavio Rivera y Moncada (Octavio Moreno).  He also returns home to two women who love him, the noblewoman Carlota de Obragón (Stephanie Sánchez) and the peasant Ana Maria Soza (Zulimar Lopez-Hernandez).  He is forced to choose between his noble lineage and his duty to the poor and oppressed and ultimately declares his love for Ana Maria and dons a black mask, cape, and hat to become the vigilante Zorro.  He clashes with Moncada's soldiers to rescue those unjustly imprisoned and leaves his signature "Z" at the scene of his exploits.  When Ana Maria is targeted, Carlota warns her but is killed by Moncada as a result.  He captures Ana Maria, falsely accuses her of Carlota's murder, and sentences her to the firing squad.  Meanwhile, Moncada's ambitious soldier José Maria Gomez (Armando Contreras) has fallen in love with the peasant Luisa (Arianna Rodriguez) so he refuses Moncada's order to execute Ana Maria.  A group of peasants overwhelm the soldiers (one of them uses her shoe) and Zorro challenges Moncada to an epic duel to the death.  This features lots of exciting action and swashbuckling adventure with an important message about taking action against tyranny (which is all too relevant) but it is also a moving love story with a lush score incorporating Hispanic and Mexican musical elements (I especially loved the Spanish guitar).  My favorite moment came in the second act with the duet "Abrázame" as Diego and Ana Maria declare their love for each other because it is so romantic and Delgado and López-Hernández sing it beautifully with voices that match each other in tone perfectly (I had goosebumps).  Delgado does a great job differentiating the two characters (his first appearance as Zorro is spectacular) and López-Hernández is passionate as the firebrand revolutionary.  Sánchez has a poignant moment when Carlota tells Ana Maria that she is helping her because she still loves Diego and wants him to be happy while Moreno's deep baritone is incredibly menacing as Mancada pursues Carlota.  Another highlight is when the four of them sing a quartet at the end of the first act in which they express their desires.  Both Contreras and Rodriguez bring a lot of playful energy and the chorus is very moving in "Ahi Viene la Madrugada" as the peasants lament their oppression.  The fight choreography is thrilling and I was very impressed by the lively flamenco dancing by Katie Sheen-Abbott at the masquerade ball.  I loved the colorful costumes worn by the peasants, the rich fabrics used for the nobility, and the authentic colonial uniforms worn by the soldiers.  The set is very minimal, with adobe walls and rough-hewn timbers that become different locations with the addition of simple pieces, but it captures the time and place very effectively.  I also loved the dramatic projection of the "Z," one line at a time, during key moments.  I was not familiar with this opera but it is now one of my favorite Utah Opera productions!  I highly encourage everyone to get a ticket for one of the three remaining performances (go here).

Note:  The singing alternates between English and Spanish and the supertitles are in both languages.

Pumpkin Carving 2026

My nephew wanted to carve pumpkins a little bit earlier than usual this year so we did it last night (he arranged everything including dinner beforehand).  We had a lot of fun (it was the perfect thing to do on a cold, dark, and rainy evening) and I think they turned out great!  I used a stencil for my spider web but everyone else drew their designs freehand.  I especially love Marilyn's cat.

This is a fun Halloween tradition and I'm glad my nephew wanted to do it this year!

Pride and Prejudice at The Ruth

I spent a wonderful afternoon with both my sisters at The Ruth seeing Pride and Prejudice yesterday (we are big Jane Austen fans).  I really love this specific adaptation by Melissa Leilani Larson and I always try to see it whenever it is playing (this was my fifth production).  When Mr. Bingley (Braden Clement), a single man in possession of a fortune, lets Netherfield Hall, Mrs. Bennett (Anne Post Fife) immediately sets her sights on him as a possible husband for one of her five daughters.  Bingley falls in love with the beautiful Jane (Kylee Thurman) but her sister Elizabeth (Elena Belen Shill) takes an immediate dislike to his friend Mr. Darcy (James Carter) because he is so aloof and disdainful.  Elizabeth must overcome her prejudice and Mr. Darcy must overcome his pride for them to realize that they belong together.  The actress playing Mrs. Bennett is deaf and she signs all of her lines while her daughters translate for everyone in the scene and the audience.  I have to admit that when I first heard about this casting choice I thought it would be really distracting but including Fife really adds a deeper understanding of the family dynamic because her daughters translate for her in character.  This is especially true for Lydia (Sydney Claire Olson), because she is the one who is drunk, not her mother, while translating at the Netherfield ball (an intriguing distinction), and for Mary (Emma Lamm), because she becomes despondent when she translates her mother's praise for Elizabeth to Mr. Collins (Anthony Tibolla) while secretly pining for him.  There are also lots of comedic interactions with Fife, such as when Elizabeth signs very aggressively to tell her mother that she refuses to marry Mr. Collins and when Mr. Bennett (Marshall Lamm) shakes the clacker that she uses to get attention back at her.  However, my favorite moment was when Darcy signs to Mrs. Bennett because this is yet another way for him to show his respect for Elizabeth and her family (everyone sitting near me said "awe" in unison at this moment).  I thoroughly enjoyed Fife's performance and it was very moving to see the audience use the sign for applause during her bows.  I also enjoyed Shill and Carter, because they have tremendous chemistry when they spar back and forth, as well as Tibolla and Lamm, because they made me laugh out loud multiple times (both are absolutely hilarious when they dance).  One of the aspects of this adaptation that really works for me is the inclusion of letters between the characters and I loved the way that this is portrayed in this production, especially the unsent letters between Jane and Bingley (it is so clever and so romantic).  The set is minimal but effective (I liked the way different areas of the theater are used as set pieces are brought to the stage), the regency costumes are gorgeous (especially all of the embellished fabrics), and the lighting design does a brilliant job of highlighting vignettes within scenes. Finally, I loved the orchestral arrangements of pop songs used in between scenes.  My favorites were "Somebody That I Used to Know" by Gotye when Bingley leaves Netherfield and Jane leaves Longbourn, "Royals" by Lorde when Elizabeth visits Lady Catherine de Bourgh (Delayne Bluth Dayton), "Trouble" by Taylor Swift when Elizabeth learns that Darcy separated Bingley and Jane, and "Single Ladies" by Beyonce during the bows.  Both of my sisters and I loved this charming production (we agree that it is our favorite version of this show) and we highly recommend it!  Go here for tickets to one of the remaining performances in the Lindsay Legacy Theatre through November 7.

Note:  The Ruth's current production of The Addams Family is also my favorite version of that show (go here for tickets) so they are two for two!

Rogers & Hammerstein's Cinderella at Hopebox Theatre

Last night I went to see Rogers & Hammerstein's Cinderella at Hopebox Theatre. I don't particularly like this version of the classic fairy tale (Cinderella is a social reformer who rescues the prince from his advisors at court) but I thoroughly enjoyed what Hopebox did with it. The music is really beautiful and, because it is by Rogers and Hammerstein, it requires an impressive vocal range. This cast is definitely up for the challenge, especially Jennica Johnson as Ella and Brianna Skeen as Marie/ Fairy Godmother. I loved their performances of "In My Own Little Corner," "Impossible," "Glass Slipper/ It's Possible," and "There Is Music In You" because they imbue these songs with so much emotion. Johnson also has a lot of chemistry with with John Derington, as Prince Topher, and their songs together, "Ten Minutes Ago," "Loneliness Of Evening," and "Do I Love You Because You're Beautiful," are incredibly romantic. Other highlights from the cast include Hillary McChesney as Madame, because she is channeling her inner Christine Baranski with her haughty demeanor and over the top line deliveries (she made me laugh out loud multiple times), Alexa Thomas as Charlotte, because her version of "Stepsister's Lament" is hilarious and she just about steals the show with her accordion playing in "When You're Driving Through The Moonlight," and Josh Rogers as Lord Pinkerton, because is is so overwrought (I loved his handkerchief). The choreography is a lot of fun for "The Prince Is Giving a Ball/ Now Is The Time" and "Ten Minutes Ago (Reprise)" and I was especially impressed with the number of synchronized couples twirling on such a small stage during the latter song. I was also impressed by the staging "Glass Slipper/ It's Possible" and "The Pursuit" because the transformations of the Fox and Raccoon into the Coachman (Kira Wootton) and the Footman (McKenna Mills), respectively, and back again are magical (even without the technical wizardry of professional theaters). Speaking of transformations, Marie's change into the Fairy Godmother and Cinderella's change into her ball gown are dazzling (a little girl in the audience squealed with delight). I really loved the set, which features backdrops of Cinderella's cottage, the prince's castle, and the town square created with rotating panels, because they look like the illustrations found in books of fairy tales. This fairy tale aesthetic is continued in the set pieces brought on stage, particularly the spectacular coach and white horses that take Cinderella to the ball. Finally, the costumes are gorgeous, especially the ball gowns (although most of the hems are starting to show some wear and tear), and the puppets are really cute (be sure to watch them). As with every production at the Hopebox Theatre, the proceeds will go to someone battling cancer in the community (go here to meet the recipient for this show, Alan Goodfellow) so you will have a delightful evening of entertainment and support a very good cause by buying a ticket (go here). It runs on Mondays, Wednesdays, Fridays, and Saturdays through October 30.