The Scarlet Pimpernel at The Ruth

I was absolutely obsessed with Baroness Orczy's novel The Scarlet Pimpernel when I was a teenager (I also really loved the movie adaptation starring Anthony Edwards and Jane Seymour) so I always try to see the stage adaptation whenever it is playing near me.  I went to The Ruth's production last night and I had so much fun anticipating all of my favorite numbers.  Sir Percy Blakeney (Scott Hendrickson) disguises himself as the Scarlet Pimpernel and recruits a league of followers (Elijah Wolford, Maxx Teuscher, Kegan Bjornn, Charlie Flint, Tanner Garner, and Joshua Jones) from his fellow aristocrats in order to save the people of Paris from the sinister Chauvelin (Bronson Dameron) and the guillotine during the French Revolution.  He keeps his identity secret from his wife Marguerite St. Just (Malia Morley), a Parisian actress, because he believes that she is helping Chauvelin, her former lover.  He also keeps his identity secret from the Prince of Wales (Daniel Clegg) by pretending to be a foppish nincompoop!  However, he must make his most daring rescue yet when Marguerite and her brother Armand (Cole Hixson) are arrested.  When I entered the theater, I was really struck by the dramatic set, featuring large stone arches that become the Comedie-Francaise, Blakeney Manor, the prison at the Conciergerie, the square at the Place de la Concorde, and the Fisherman's Rest with just the addition of a few backdrops and set pieces (the most notable is the guillotine), as well as the bold red lighting which is extremely effective at creating a mood immediately.  I was also very impressed by the gorgeous costumes, particularly the flamboyantly frou frou outfits worn in "The Creation of Man" and the stylized wigs worn in "Storybook."  The staging of some of the most memorable scenes is simple but incredibly clever and I loved the transition from Percy's study to the ship as the league travels to France during "Into the Fire," the way they save people from the guillotine in "The Rescue," and the way Percy fools Chauvelin in "The Duel." I also really enjoyed the choreography during the intricate "Ouilles Gavotte" as Marguerite questions the men to learn the identity of the Pimpernel and the dramatic way that Percy, Marguerite, and Chauvelin circle each other during "The Riddle."  The three leads are outstanding but Hendrickson, especially, does an amazing job portraying Percy's strength as the Pimpernel, his vulnerability as a man who loves but can't trust his wife (his performances of "Prayer" and "She Was There" gave me chills), and his silliness as a man trying to hide his identity.  His interactions with Dameron are hilarious because the latter becomes visibly exasperated whenever he conspicuously mispronounces his name.  This show is a favorite with Utah audiences and The Ruth's production is one of the best I've seen so I highly recommend getting a ticket (go here) before they are gone.  It runs in the Smith Grand Theater through August 22.

Hell's Kitchen at the Eccles

As a big fan of Alicia Keys, I have been looking forward to Hell's Kitchen ever since the 2025-2026 Broadway at the Eccles season was announced. I finally had the chance to see it last night and I loved it because the music, the choreography, and the performances are amazing! This features songs by Alicia Keys with a semi-autobiographical story about her experiences growing up in Manhattan in the 1990s. Seventeen-year-old Ali (Maya Drake) is trying to find her voice and place in the world with her overprotective mother Jersey (Kennedy Caughell), who is afraid that her daughter will make the same mistakes she did, and her absent father Davis (Desmond Sean Ellington), who prioritizes his music career over his responsibilities, while pursuing an ill-advised relationship with an older man named Knuck (JonAvery Worrell), who becomes a victim of discrimination and overpolicing. She finds refuge when Miss Liza Jane (Roz White), a resident of the subsidized artist housing where she lives, begins teaching her how to play the piano and she ultimately channels her anger, pain, and passion into her music. In my opinion, the weakest element is the story because there are a quite a few themes that are only explored on a superficial level as well as several underdeveloped characters who disappear in the second act after they are no longer needed to advance the plot but I did really enjoy the way the mother-daughter relationship is portrayed and the resolution between Ali and Jersey is very satisfying. The highlight is the music (I had to stop myself multiple times from singing along). I loved hearing several of my favorite Alicia Keys songs reinterpreted to fit within the narrative, such as "Girl on Fire" which Ali's friends Tiny (Gigi Lewis) and Jessica (Marley Soleil) sing as both an anthem to female empowerment but also as a cautionary tale, "Fallin'" as duet between Jersey and Davis as she criticizes him for his abandonment but still feels a romantic pull when he flirts with her, "If I Ain't Got You" as a duet between Davis and Ali as they sing the song he wrote for her to show he loves her even if he is not there for her, "No One" as a duet between Jersey and Ali as they reflect on their mother-daughter bond, and, of course, "Empire State of Mind" (my favorite Alicia Keys song) as a triumphant ode to the neighborhood that formed her. There are a few new songs included and my favorite was "Kaleidoscope" because it is such a pivotal moment when Ali's world expands after she meets Miss Liza Jane and plays the piano for the first time. I also really loved the dynamic choreography because the high-energy steps performed by the ensemble are a reflection of Ali's environment, especially in "The Gospel," "You Don't Know My Name," "Kaleidoscope" (this was my favorite because the ensemble seems to dance with the grand piano), "Girl on Fire," and "Empire State of Mind," and the more soulful movements performed by smaller groups embody Ali's internal journey, particularly in "Un-Thinkable (I'm Ready)" and "Hallelujah." The performances blew me away! I was especially impressed by newcomer Drake (who is a recent high school graduate making her professional stage debut) because she effortlessly carries the show with her powerful vocals and electric stage presence. I also enjoyed Caughell because she brings the house down with her rendition of "Pawn It All" and White because her performance of "Perfect Way to Die" is absolutely devastating. Finally, towering metal structures and projections bring the high-rise building where Ali lives and the surrounding neighborhood to life very vividly (I loved the projections used for the elevator) and the costumes effectively transport the audience back to the 1990s. This show is on fire and I highly recommend it! There are five more performances at the Eccles through July 12 (go here for tickets).

Lukas Nelson at Sandy Amphitheater

I really love Lukas Nelson (he sounds a lot like his dad Willie Nelson but I think his voice is much more expressive) so I always try to see his band Promise of the Real when they come to SLC.  I bought a ticket as soon as I learned that he would be performing solo at Sandy Amphitheater and last night's concert was the fifth time I have seen him live (sixth if you count when Promise of the Real backed Neil Young on tour).  I was worried about how hot it might be but it actually started raining while we were waiting for the show to start.  The cute ladies sitting in front of me gave me an umbrella to use but then the rain stopped right when Nelson took the stage.  He began with "Entirely Different Stars" and "Fool Me Once," both Promise of the Real songs, but then it started raining again and we had to be evacuated from the amphitheater because of the lightning.  It looked like the concert might be canceled because lightning was in the forecast for the rest of the night but we were eventually allowed to go back in after about 30 minutes.  Nelson resumed the show with the Promise of the Real songs "Every Time I Drink," and "Wrong House" and then played a few songs, including "Pretty Much," "Born Runnin' Outta Time," and "The Last Wild River," from his recent solo album American Romance.  I really like this album and I definitely enjoyed hearing these songs live for the first time.  The rest of the concert featured all of my favorites and I think he sounded better than I have ever heard him!  I loved his acoustic performance of "Just Outside of Austin" while standing under a spotlight (it gave me goosebumps) but, when I heard the opening notes of "(Forget About) Georgia," I just about lost my mind and his passionate rendition of this song was the highlight of the night for me!  Next came "Carolina" and "Die Alone" but then he had to end with an extended version of "Find Yourself" because the venue has a very strict curfew of 10:00.  I was a little sad that we didn't get the full show because he has been performing "Set Me Down on a Cloud" (my favorite Promise of the Real song) as an encore during this tour but I got over it because he was amazing and he promised us that he would be back!  I will definitely be there!

Note:  This was my first concert of 2026 and it was certainly memorable!

Our Town at HCT

Last night was my first time seeing Thornton Wilder's classic play Our Town (you would think that someone with a literature degree and a love of theatre would have seen it by now) and it was also my first time seeing a production on the new Beehive Stage at HCT. I loved both the performance and the venue!  A Stage Manager (Michael Hohl) often breaks the fourth wall to introduce the audience to Grover's Corners, New Hampshire during the early years of the 20th century and the narrative unfolds on a minimal stage without props.  Act 1 includes the every day activities of the inhabitants: Joe Crowell (Samuel Karlinsey) delivers the newspaper, Howie Newsome (Austin Zimmerman) delivers the milk, Dr. Gibbs (Sanford Porter) returns home from delivering twins, Mr. Webb (Ben Parkes) observes the goings-on in the town as editor of the newspaper, Mrs. Gibbs (Cecily Ellis-Bills) and Mrs. Webb (Becca Ingram) make breakfast and get their children, George and Rebecca Gibbs (Timothy Quesenberry and Tessa Jensen, respectively) and Emily and Wally Webb (Mariah Grace Bowman and Wyatt Bills, respectively), ready for school, Simon Stimson (Jared Stewart) struggles to control his alcoholism, and Mrs. Luella Soames (Jayne Luke) gossips with the women of the town. Act 2, which takes place three years later, includes the courtship and marriage of George Gibbs and Emily Webb against the backdrop of these same every day activities (Joe's younger brother Si now delivers the newspapers). Act 3, which takes place nine years later, includes the funeral of Emily Gibbs, who died in childbirth, during which she observes the living before joining the dead of Grover's Corners.  This is very slow, deliberate, and episodic and I have to admit that I found it to be incredibly tedious until the reason for this restraint was revealed in Act 3. Emily ultimately realizes that life is fleeting and that the mundane activities we often take for granted are what make life beautiful and meaningful. This is a powerful and poignant message and I had tears in my eyes by the end of the act. I think the use of metatheatrical devices, such as having the Stage Manager give the characters direction as well as break the fourth wall, is absolutely brilliant because it blurs the line between fiction and reality and lets the audience observe what is happening from a distance much like Emily does after her death.  I also loved the minimal stage with just the hint of various locations, particularly the chalk drawings on the LED screen, because this emphasizes that Grover's Corners could be any town (the more intimate Beehive Stage is the perfect venue for this play). Finally, I found the performances to be very moving, particularly when Hohl speaks about eternity and when Quesenbery and Bowman finally reveal their feelings for each other, but also quite funny, especially when Parkes tries to give advice to his future son-in-law. I am so happy that I finally had the opportunity to see this groundbreaking play and I highly recommend getting a ticket (go here). It runs on the new Miller Family Beehive Stage through Oct. 19.

Note:  I cannot recommend Harmony enough!  It is also playing at HCT on the Sorenson Legacy Jewel Box Stage through August 1 (go here for tickets).

Young Washington

I went back and forth about seeing Young Washington (for reasons) but I ultimately decided that I wanted to and did so last night.  I actually really liked it!  Eleven-year-old George Washington (Will Joseph) is forced to withdraw from school to work on the farm after the death of his father but his older half-brother Lawrence Washington (John Foss), a commissioned officer in the British Army, encourages him to continue learning and improving himself on his own.  Washington (William Franklyn-Miller) grows up to be incredibly ambitious but becomes a surveyor after he is refused a royal commission due to his lowly colonial background.  Eager to impress Lord Fairfax (Kelsey Grammer), and the young noblewoman (Mia Rodgers) betrothed to his son, he volunteers to survey the Ohio territory adjoining his land with his friend Christopher Gist (Leo Hanna) and, during their expedition, they discover that French forces are building a fort on land claimed by the Crown.  He reports this information to Virginia Lieutenant Governor Robert Dinwiddle (Ben Kingsley) who appoints him a Major in the Virginia Militia and sends him to deliver a message to Joseph Jumonville (Clement Toyon) ordering him to leave.  Washington forms an alliance with a group of Seneca led by Tanacharison (Ryan Begay) after Jumonville refuses to leave but they open fire which precipitates the French and Indian War.  Washington hastily builds the stockade known as Fort Necessity in an area open to attack and is eventually forced to surrender to the French after a bloody battle which kills Gist.  Washington is demoralized and resigns his commission but his mother Mary (Mary-Louise Parker) convinces him to stay the course and he volunteers to act as aide-de-camp to General Edward Braddock (Andy Serkis).  He attempts to convince Braddock to abandon the traditional British battle formations based on his experience at Necessity but he is rebuffed and their forces are ambushed during the Battle of Monogahela.  He ultimately forms a rear guard using his own battle tactics to save the men from Virginia and this brings him great acclaim.  The narrative leans into the idea that Washington was successful because of divine providence and, while there is a scene in which the Seneca tell him that he was protected by the Creator's Spirit in battle, it is definitely not as heavy-handed as I feared it would be.  In fact, much of the criticism that I had read beforehand about belabored metaphors is very much exaggerated.  I really enjoyed Washington's character arc as a inexperienced soldier who learns from his mistakes and an ambitious leader who develops humility.  The cast is outstanding and Franklyn-Miller, especially, gives a compelling performance, particularly during the heartbreaking surrender of Fort Necessity.  I was also very captivated by Begay because he reminded me so much of Graham Greene (one of my favorite actors).  The battle sequences are exhilarating and the locations and production design are stunning.  I found this very entertaining and I encourage you to ignore the criticism and decide for yourself!