Godzilla x Kong: The New Empire

Last night I went to a Thursday preview of Godzilla x Kong: The New Empire and, as is the case with the other movies in the MonsterVerse (Kong: Skull Island, Godzilla: King of the Monsters, and Godzilla vs. Kong), the monsters are compelling and so much fun to watch and the humans exist only to provide convoluted exposition.  Kong has taken up residence in Hollow Earth but, because he is lonely, he ventures deeper and deeper into uncharted territory looking for other apes.  He finds a tribe, including a young ape named Suko and their brutal leader Skar King who controls the powerful ice titan Shimo.  The scientists working at a Monarch outpost, including Dr. Ilene Andrews (Rebecca Hall), pick up an unexplained signal which is especially distressing to Jia (Kaylee Hottle) and triggers Godzilla to go on the move.  Andrews, Jia, a daredevil veterinarian named Trapper (Dan Stevens), and the conspiracy theory podcaster Bernie Hayes (Brian Tyree Henry) travel to Hollow Earth and discover that the last remaining members of the Iwi tribe, from which Jia is descended, sent the signal requesting help against Shimo.  Kong fights Skar King and Shimo but is outmatched and wounded (prompting Trapper to give him a mechanized arm) so Jia awakens Mothra who convinces Godzilla to join forces with Kong.  An epic battle ensues.  The first two acts are kind of a slog to get through with a few fun moments, such as Henry providing comic relief and the touching relationship between Kong and his mini-me Suko, but the third act is amazing with exhilarating battle sequences both inside Hollow Earth and on Earth (the Iwi have technology that controls gravity because of course they do).  All of the visuals are absolutely incredible, especially the Iwi's civilization in Hollow Earth, Godzilla's dorsal plates when they light up, and Mothra's wings.  This is probably the most ridiculous and least interesting installment in the MonsterVerse but I would by lying if I said I didn't enjoy it!  I recommend it to fans of the franchise.

Immaculate

I was very excited to see Immaculate after all of the positive reviews from SXSW but, after seeing it last night, I was still surprised by how much I enjoyed it.  Cecilia (Sydney Sweeney) is a devout young woman searching for God's will after being saved from a near death experience as a child and this search eventually brings her to a remote convent in the Italian countryside.  She takes her vows and attempts to integrate with life in the convent but begins noticing strange goings-on in the middle of the night.  Strangest of all is when she discovers that she is pregnant despite the fact that she is a virgin.  Cardinal Franco Merola (Giorgio Colangeli) and Father Tedeschi (Alvaro Morte) proclaim it to be a miracle and, while most of the nuns venerate her as a saint, one attempts to kill her which leads her to suspect that something more sinister is going on.  The first two acts are unsettling and slowly build a sense of dread with a gloomy location (lots of long corridors), atmospheric lighting (lots of glimmering candles), ominous sound design, and eerie religious chanting.  Then the final act becomes a suspenseful survival thriller with impressive amounts of gore and an ending that is incredibly bold (it won't be for everyone but I liked the focus on the evils of man rather than the supernatural).  Sweeney gives one of her best performances because her escalating fear and desperation are palpable, especially in a long tracking shot through catacombs and in a haunting final shot.  Character development is very surface level and there are some inconsistencies that are never fully resolved but the narrative is an interesting twist on religious horror and I appreciated the tension and the mood.  I really dug this and recommend it to fans of the genre.

Late Night with the Devil

The next movie in my double feature at the Broadway last night was Late Night with the Devil and it was fun seeing this with a large late-night crowd!  This begins like a documentary investigating a disturbing incident that happened during a live broadcast of a late night talk show called Night Owls with Jack Delroy on October 31, 1977.  We learn details about Jack Delroy (David Dastmalchian), including his career trajectory and competition with Johnny Carson, his mysterious connection to an exclusive men's club, the death of his wife Madeleine (Georgina Haig) which has caused his show to suffer a steady decline, and his decision, against the objections of his sidekick Gus McConnell (Rhys Auteri), to do an occult-themed show on Halloween in order to boost ratings.  Then it shifts to the "found footage" from the episode featuring Christou (Fayssal Bazzi), a medium, Carmichael the Conjurer (Ian Bliss), a former magician turned skeptic, Dr. June Ross-Mitchell (Laura Gordon), a parapsychologist, and her subject Lilly D'Abo (Ingrid Torelli), a survivor of a Satanic cult who seems to be possessed by a demon.  During the course of the broadcast, Jack and his producer Leo Fiske (Josh Quong Tart) convince June to summon the demon with terrifying results.  I found the premise to be very interesting but I was a bit disappointed with the ending because the message about the high cost of success is a bit jumbled.  However, I really loved Dastmalchian's performance because he nails the smarmy persona of the late night talk show hosts of the era (more about that) and he portrays Delroy's uncertainty about what is happening so well that the audience begins to question it as well.  The rest of the cast commits fully to the bit but Torelli is especially unnerving!  The 1970s vibe is absolutely brilliant and I loved the retro design of the brown and orange set, the cheesy theme music, the period costumes and hairstyles, the aspect ratio, and the grainy film aesthetic.  This is more unsettling than scary (although there are some suitably gory sequences) but it is really entertaining, especially with a crowd, and I recommend it.

Problemista

Last night I had another double feature at the Broadway starting with Problemista.  I saw a preview for this last fall and it really piqued my interest but it got delayed so I've been waiting a long time to see it.  It was worth the wait because I loved this imaginative and whimsical take on the American dream.  Alejandro (Julio Torres) is an aspiring toy designer from El Salvador who keeps getting rejected from a development training program at Hasbro.  In the meantime, he works at a cryogenics facility and is tasked with monitoring the frozen body of an artist named Bobby (RZA) but an incident with the power generator gets him fired which puts his work visa in jeopardy.  On his way out he meets Bobby's eccentric wife Elizabeth (Tilda Swinton), an art critic who has alienated everyone in the art world with her outrageous and deranged behavior.  She decides to hire Alejandro, after he lies about knowing FileMaker Pro (a hilarious running joke), to help her curate a show of Bobby's paintings.  She promises him that she will sponsor him on his visa application if the show is a success but she is almost impossible to please and seems to create obstacle after obstacle.  However, he ends up being the one person who understands her and she ends up giving him the confidence to go after his dream.  As someone who has had dealings with the immigration system in the U.S., I found the surrealistic portrayal of the bureaucracy involved to be both hilarious and poignant, especially when Alejandro must climb through an endless maze that gets him nowhere as the sands in an hourglass fall faster and faster.  I also loved the personification of Craigslist (Larry Owens) as a genie, who Alejandro uses to find jobs that pay under the table, to be really clever.  Torres gives a subdued performance as Alejandro shuffles through (literally) all of the outlandish situations in which he finds himself and this is highly effective in juxtaposition to Swinton's over the top portrayal of entitlement on steroids.  This is definitely a social satire about inequality but it is one with a highly original vision that mostly succeeds and I couldn't stop laughing!

Ghostbusters: Frozen Empire

I actually had a lot of fun with Ghostbusters: Afterlife so I decided to see the latest installment in the franchise, Ghostbusters: Frozen Empire, last night.  There is a good movie in there somewhere but, unfortunately, it is overstuffed with nostalgia, unnecessary characters, and distracting subplots.  Callie Spengler (Carrie Coon), her children Trevor (Finn Wolfhard) and Phoebe (McKenna Grace), and her boyfriend Gary Grooberson (Paul Rudd) are now living in the iconic fire station in NYC and working as ghostbusters.  Their latest exploit leads to a lot of collateral damage which gets the attention of Mayor Walter Peck (William Atherton) who wants to shut them down.  He settles for suspending Phoebe because she is a minor.  This leads the rebellious Phoebe, who feels useless and left out, to befriend Melody (Emily Alyn Lind), a restless ghost desperate to reunite with her family who died in a fire.  Meanwhile, Nadeem Razmaadi (Kumail Nanjiani) sells an ancient artifact once owned by his grandmother to Ray Stanz (Dan Aykroyd) because he is now collecting cursed objects.  A demonic god named Garraka, who uses fear to lower the temperature to absolute zero, is trapped inside but Melody, who hopes that Garraka will reunite her with her family, uses Phoebe to free it from the artifact which unleashes a new ice age on NYC.  Phoebe must join forces with Melody and Razmaadi, who has heretofore unknown powers as the Fire Master, to stop it.  This story takes a really long time to get going but it is the best part of the movie.  However, it becomes a convoluted mess with the addition of nostalgia characters such as Peter Venkman (Bill Murray), Winston Zeddemore (Ernie Hudson), and Janine Melnitz (Annie Potts), who do nothing but provide callbacks to the original movie, unnecessary characters such as Podcast (Logan Kim) and Lucky (Celeste O'Connor), who do nothing but provide callbacks to the last move, and characters, such as Dr. Lars Pinfield (James Acaster) and Dr. Hubert Wartzki (Patton Osward), who exist only to provide endless exposition dumps.  There are also some subplots, including Trevor's desire to to be taken seriously as an adult, Gary's struggle to be a father figure, and Ray's fear of irrelevance, that don't really come together.  I liked Phoebe's arc and I really enjoyed Nanjiani because he provides a lot of comic relief but the rest of it is a slog to get through.  I wouldn't recommend it unless you are a die hard fan of the franchise but, honestly, Afterlife is a much better legacy sequel.

Note:  I think, going forward, the movies should only focus on the younger Spenglers or it might be time to end this franchise.

Tashena's Bridal Shower

Yesterday afternoon my sister Marilyn and I hosted a bridal shower for our niece Tashena.  The theme was Around the Clock and every guest was assigned a specific time of day in order to bring a gift that could be used at that time.  The invitations featured gold and silver clocks and so our decorations were gold and silver and we has cute clocks as cupcake toppers.  This theme was really fun because the gifts were so unique, such as the ingredients to make brunch, cooking items (a cock pot, an instant pot, and a wok) to make dinner, games to play in the afternoon, etc.  We served chicken salad sandwiches on croissants, fruit cups, punch, and chocolate cupcakes.  We only played one game (it is called bride babble), but it got everyone laughing out loud, and then Tashena opened her presents.  It was really great to see so many of Tashena's family members and friends come and support her!  Marilyn and I weren't sure if we could pull this off (huge thanks to Trent, Kristine, and Sean, especially during the balloon arch incident) but Tashena was happy and everyone seemed to have a good time so we are calling it a success!

Next up is the wedding in Washington state in May.

Danny Elfman's Percussion Concerto

I always love it when I walk into Abravanel Hall and see lots of percussion instruments on the stage because I know that I am in for a good time!  Last night's Utah Symphony concert featured more percussion instruments than I've ever seen assembled and it was amazing!  The concert began with a spotlight on percussionist Colin Currie as he performed a piece for a solo marimba called Tromp Miniature by Bryce Dessner (who founded the band The National with his brother Aaron).  Currie described it as a lullaby and I found it to be almost hypnotic.  Next, the orchestra joined Currie on stage for Danny Elfman's Percussion Concerto and, as a huge fan of Oingo Boingo, I was beyond excited for this and I loved it!  Currie, as the soloist, played 12 instruments (and assorted other objects) himself but there were also five additional percussionists along with the strings and piano.  The piece was instantly recognizable as an Elfman composition because, like all of his film scores, it is intense and dramatic but also a little bit playful.  I loved the interaction between the percussion instruments in the first movement, the themes played by the strings in the third movement, and the vibraphone in the spectacular final movement.  I also enjoyed seeing Currie run across the stage to reach all of the instruments in order to keep up with the frenetic pace.  I am so glad that I got to hear this thrilling and exciting piece (and I highly suggest that fans of Elfman get a ticket to tonight's performance sooner rather than later because there were very few empty seats in Abravanel Hall last night).  After the intermission, the concert concluded with Symphony No.1 by Johannes Brahms which was also quite exciting and dramatic.  I really loved the slow and somewhat ominous introduction to the first movement by the timpani followed by a palpable tension between the woodwinds and the violins, the themes played by the bassoons and the horns (meant to mimic an alpenhorn) in the second movement, and the themes played by the strings and then repeated by the woodwinds and then the full orchestra (which sounded very similar to "Ode to Joy" from Beethoven's Ninth Symphony) in the final movement.  This was one of my favorite concerts this season and I highly recommend it (go here for tickets to tonight's performance).

Shrek the Musical at the SCERA Center for the Performing Arts

Last night I went to see a production of Shrek the Musical at the SCERA Center for the Performing Arts featuring an incredibly talented group of high school students belonging to the award-winning acting troupe called Acting Up! I figured that, if they could produce an enjoyable version of a show that I dislike, they would definitely do a phenomenal job with a show I actually do like and I was right! It was so much fun! Shrek (Finn Parks) is an ogre just minding his own business when his swamp is invaded after Lord Farquaad (Mark Triplett) banishes all of the Fairytale Creatures from Duloc. After some encouragement from Pinocchio (Al Sorensen), he decides to visit Farquaad himself to get his swamp back and, along the way, he saves Donkey (Noah Hinckley) from Farquaad's guards and they end up traveling to Duloc together. Farquaad, who wants to be King, agrees to give Shrek back his swamp if he rescues Princess Fiona (Tanya Cespedes) from a tower guarded by a fire-breathing Dragon (Kaisa Judd) so he can marry her. Donkey distracts Dragon so Shrek can rescue Fiona but chaos ensues on the way back to Duloc when Shrek develops feelings for her. Parks is great in the title role because he shows a vulnerability behind the gruff exterior and he displays a lot of charisma in his performance (but I sometimes couldn't hear him during his songs, especially in "Who I'd Be" and "When Words Fail"). Hinckley is a lot of fun because he is fast-talking and frenetic in his physical performance and I loved his version of "Forever" with Judd. Cespedes has a beautiful voice, particularly in the song "I Know It's Today" with Claire Moreira as Young Fiona and Rachel Paz as Teen Fiona (they harmonize so well), but I also enjoyed her physicality, especially in "I Think I Got You Beat" with Parks (the children in the audience absolutely loved the *ahem* sound effects in this number). However, it is Triplett who steals the show! As is often the case in this musical, he portrays Farquaad's short stature by appearing on his knees with tiny fake legs dangling in front of him and a large cape hiding his real legs, but Triplett adds another layer of hilarity with lots of big gestures with his arms and exaggerated facial expressions. I laughed non-stop whenever he was on stage and his songs "What's Up Duloc" and "Ballad of Farquaad" were highlights for me! I was also very impressed by Judd because she gives a fantastic performance while effortlessly manipulating an amazing dragon puppet (with the help of another puppeteer). The outstanding ensemble provided some more of my favorite moments, including "The Story of My Life" and "Freak Flag," with colorful costumes and dazzling choreography. Honorable mentions go to Sorensen as Pinocchio, Sabrina Barker as the Fairy Godmother, Alyssa Abildskov as the Wicked Witch, and Macey South as Gingy. The fabulous stage features a series of steps configured to look like a forest with fun set pieces for Shrek's swamp, Farquaad's castle, the Dragon's keep, and Fiona's tower. I was so impressed with these young actors and I cannot recommend this production enough! Definitely let your freak flag fly and get a ticket (go here) for one of the remaining performances through March 30.

Arsenic and Old Lace at the Grand Theatre

 

Last night I had a lot of fun seeing the hilarious play Arsenic and Old Lace at the Grand Theatre.  Mortimer Brewster (Bryan Harper) visits his elderly aunts Abby (Betsy West) and Martha (Alyssa Hickman Grove) only to discover a dead body in the window seat.  He learns that several old and lonely men have visited, answering an advertisement for a room to rent, and that the Brewster sisters have done their Christian duty by ending their misery with a glass of elderberry wine (with the addition of arsenic).  Their nephew and Mortimer's brother Teddy (Jim Nelson), who believes that he is Teddy Roosevelt, buries these men in the cellar because he thinks he is digging locks for the Panama Canal.  Chaos ensues when Mortimer's other brother Jonathan (David Hanson), a homicidal maniac, returns to the house needing to dispose of his own dead body which eventually ends up in the window seat, too!  Add an unwilling accomplice (Isaac Maltby), a bumbling policeman who really wants to be a playwright (Robert A. Easton), and a curious fiance (Katie Plott) and you have a thoroughly entertaining dark comedy that will keep you laughing all evening!  I really enjoyed the physicality of the performances and the cast has great comedic timing.  I especially loved it every time Teddy charges up the staircase as if he were in the Battle of San Juan Hill and when Mortimer and Jonathan each think they are hiding a different body in the window seat.  I also enjoyed the over the top characterizations because Harper is completely overwrought as Mortimer, West and Grove are incredibly dry and understated as the Brewster sisters, and Hanson is suitably menacing as Jonathan.  Finally, I loved the elaborate multi-level set (the staircase and window seat are fantastic) which includes all of the little details that you would see in a fussy drawing room inhabited by spinsters (the lace antimacassar on the back of the chair was my favorite) and the period costumes (the old fashioned dresses worn by the Brewster sisters are so funny compared to the other costumes).  This play is a classic comedy for a reason and fans of the genre are sure to love it (there was a big crowd last night).  It runs Thursdays, Fridays, and Saturdays (with several Saturday matinees) through April 6 (go here for tickets).

Seussical the Musical at CPT

I am not a fan of Seussical the Musical but Utah audiences seem to love it so local theatre companies program it a lot. Because I am a subscriber, I saw CPT's production last night and, while the sets, projections, costumes, and performances are outstanding, nothing can compensate for the fact that the story is nonsensical, convoluted, and loses focus in the second act. This musical shoehorns the children's stories of Dr. Seuss, including Horton Hears a Who, Gertrude McFuzz, How the Grinch Stole Christmas!, Green Eggs and Ham, Hop on Pop, Yertle the Turtle, Horton Hatches the Egg, I Had Trouble Getting to Solla Sollew, And to Think That I Saw It on Mulberry Street, McElligot's Pool, Oh Say Can You Say?, Hunches in Bunches, If I Ran the Circus, Dr. Seuss's ABC, The Butter Battle Book, Oh, the Thinks You Can Think!, Fox in Socks, The Cat in the Hat, The Sneetches and Other Stories, Did I Ever Tell You How Lucky You Are?, and Oh, The Places You'll Go!, into an incomprehensible story about an imaginative boy named Jojo, who sometimes gets in trouble for all of the thinks that he thinks, and the adventures he goes on with The Cat in the Hat. The positive message at the end is that anything is possible and that you can go anywhere you want just by thinking your thinks but it is all just so overstuffed with too many characters and ideas. I even find the music to be very repetitive. There are endless reprises of "Oh, The Things You Can Think" and "How Lucky You Are" and, even though the songs feature lots of different genres, they all blur together. The best thing about this show is the unbelievably talented cast, especially Emily Henwood as Gertrude McFuzz because she is so awkward and endearing, Dan Call as Horton the Elephant because he is incredibly sympathetic (his versions of "Alone in the Universe" and "Solla Sollew" were definitely the highlights for me), Meish Roundy as The Cat in the Hat because he makes for a boisterous and entertaining emcee, and Lelini Iongi as Jojo because he is absolutely adorable. The sets and projections mimic the bold, colorful, and fantastical world of Dr. Seuss's books and the costumes are a lot of fun, especially the fanciful feathered costumes worn by Gertrude, Mayzie (Janae Klumpp Gibb) and the Bird Girls (Katherine Frandsen, Brookelynn Alapa, and Cassie Dibbins) and the leather vests worn by Wickersham Brothers (Dylan Floyd Panter, Joshua David Lee, and Sterling Shane Allen).  The staging and choreography are imaginative and dynamic, particularly in "Here on Who," "It's Possible," "Monkey Around," "Circus McGurkus," "A Message From the Front," and "Havin' a Hunch." I really cannot find anything to fault with this production but I think this show just isn't for me and I have given myself permission to never see it again. Seussical the Musical runs on the Barlow Main Stage at CPT through April 13 and I recommend it because others seem to enjoy it much more than I do (go here for tickets).

Note:  Does anyone want my ticket to HCTO's production in June?

National Theatre Live: Vanya

The main focus of my BA in English was British literature but if I were to do it all over again I would definitely study Russian literature because I love it.  I don't know what this says about me but I really relate to the dark themes in the works of Dostoevsky (my favorite author), Tolstoy, Pushkin, and Chekhov.  So I was really excited to have the chance see Vanya, a bold retelling of the play Uncle Vanya by Anton Chekhov starring Andrew Scott, which was filmed live on stage by National Theatre Live during its sold out run at the Duke of York's Theatre in London.  I saw this screening, presented by the Tanner Humanities Center and the Salt Lake Film Society, yesterday and it is absolutely brilliant.  The original setting has been changed to a potato farm in Ireland, the names have been anglicized, the dialogue has been modernized, and Scott portrays all of the characters with a very minimal set but the impact is just as powerful as the source material.  Alexander, an elderly filmmaker who hasn't had a hit in years, visits the vast estate he inherited from his late wife Anna with his much younger second wife Helena.  Anna's brother Ivan and Anna and Alexander's daughter Sonia have been running the estate for years and are bitter and angry at the disruption.  Ivan is in love with Helena and cannot understand why she is wasting her life with such a worthless old man like Alexander.  Sonia is secretly in love with her father's doctor Michael and calls him repeatedly to see to his aches and pains but he keeps returning because he is also in love with Helena.  These repressed passions and resentments eventually lead to a dramatic confrontation when Alexander announces that he plans to sell the estate.  Sonia reassures Ivan that, even though they have no joy in their lives, they will eventually receive their reward.  Scott brings each of these characters, and several others who provide comic relief, to life with very specific accents, body language, and props and it is absolutely mesmerizing (I loved it whenever Helena would play with her necklace and when Maureen, the housekeeper, would chain smoke).  It is easy to distinguish between the characters, even when they are interacting with each other, and Scott portrays their boredom, frustration, and unhappiness with so much passion.  It is a remarkable performance!  The nearly empty stage is filled with mismatched pieces, such as what one might see during rehearsals, and a large mirror gives the impression of more than one character on the stage.  Scott is dressed simply so as not to detract from his performance and this is very effective.  I was blown away by this production and I can't think of a better way to spend a Saturday afternoon than by seeing a Russian play about the meaninglessness of life!

Arthur the King

Mark Wahlberg is hit or miss with me but I love dogs so I decided to see Arthur the King last night and, for the second night in a row, I needed tissues for another inspirational true story.  Michael Light (Wahlberg) is an adventure racer desperate for what might be his last chance to win after failing to complete his last race.  He assembles a team for the world championships in the Dominican Republic including Chik (Ali Suliman), who was dropped by his former team after a knee injury, Olivia (Nathalie Emmanuel), who is fighting her own demons, and Leo (Simu Liu), a former teammate stipulated by a sponsor because of his large social media following.  As they begin the grueling race, which consists of trekking through dense vegetation, mountain climbing, biking through treacherous terrain, and kayaking, Michael notices an injured stray dog at a transition station and feeds him.  The dog, who they name Arthur, begins following them and, at a crucial moment, he saves their lives.  Michael bonds with him as he becomes a sort of mascot for the team and this friendship becomes more important than winning.  I really enjoyed this movie because it features exciting action, including an incredibly tense scene involving a zip-line, a compelling character seeking redemption for past failures, and an emotional story about a man and a dog who end up saving each other.  Wahlberg actually does a great job portraying the bond between his character and Arthur and has undeniable chemistry with Ukai (the dog who plays Arthur), especially in a scene where he has to coax Arthur into a crate.  I was very invested in their friendship and I was definitely crying during several emotional moments (I was not the only one).  This is not very deep or groundbreaking but it is a feel-good movie that dog lovers are sure to enjoy!

One Life

Last night I went to see a Thursday preview of One Life, the true story of how an ordinary man did something extraordinary to save hundreds of children on the eve of World War II, and I am glad I brought tissues because I definitely needed them!  In 1988, Nicholas Winton (Anthony Hopkins) is retired and living in Maidenhead, England with his wife Grete (Lena Olin).  She is exasperated by all of the clutter that he has held on to over the years so, while she is out of town, he attempts to organize it and finds a scrapbook from his time helping refugees in Czechoslovakia.  As he thinks about what to do with the scrapbook, the narrative shifts to 1938 when twenty-nine year old Nicholas Winton (Johnny Flynn) visits Czechoslovakia after the Munich Agreement gives Hitler control of the Sudetenland.  He is horrified by the appalling conditions in which many of the refugees, but especially the children, pouring into Prague are forced to live and requests that Doreen Warriner (Romola Garai), the head of the British Committee for Refugees from Czechoslovakia, help them but she tells him that she must prioritize the political figures facing arrest.  He decides to evacuate the children himself with the help of his mother Babi (Helena Bonham Carter), herself a former refugee.  Nicholas and his mother overcome tremendous obstacles to acquire visas, raise funds, and find foster homes in England for 669 children, most of whom are Jewish, before the border is closed after the German invasion of Poland.  The narrative then shifts back to 1988 after Winton's scrapbook ends up with the producers of the That's Life! TV show.  He is invited to a taping of the show but is surprised to discover that many of the children he saved are in the audience (I loved that the descendants of the children saved by Winton were used as extras in this scene) and has an emotional reunion with them.  This movie is a very conventional British period piece in terms of execution (luckily I happen to love these) but it is elevated by an incredibly compelling and moving story and by wonderful performances.  I loved learning more about this unlikely hero who acts simply because of a sense of altruism and there are several poignant scenes that had me (and most of the audience) crying, especially one where Winton is finally able to express his feelings after repressing his guilt at not being able to save all of the children for so long and multiple scenes where parents say heart wrenching goodbyes to the children they will most likely never see again as they board the trains to England.  I also really liked a scene where the young Winton gives his reasons why a rabbi should trust him with a list of children's names.  Hopkins is brilliant, particularly in the silences, but I really love the way in which Flynn, in one of his best performances, adopts all of his mannerisms and the two of them really do seem like an older and younger version of the same person.  Bonham Carter is also a standout, especially when Babi imperiously tells a bureaucrat to sit down and listen to her and, even though Doreen is not a very well-developed character, Garai portrays her frustration in a very visceral way.  The message that one man can make a difference in the world is a powerful one and I highly recommend this inspiring movie (just bring lots of tissues).

Utah Opera's The Marriage of Figaro

I generally prefer the tragic operas where everyone dies at the end but there are a few comedic ones that I really love and Mozart's The Marriage of Figaro is definitely one of them!  I had the chance to see Utah Opera's current production of this hilarious tale about a licentious nobleman and his scheming servants last night and I thoroughly enjoyed it!  Figaro (Adam Lau) and Susanna (Madison Leonard) are soon to be married but she is concerned because their employer, Count Almaviva (Michael Adams), wants to revive the feudal custom of bedding a servant on her wedding night.  The two of them devise a plan to get back at the Count by making him jealous of a fake dalliance between the love-sick page boy Cherubino (Mary Beth Nelson) and the Countess (Katherine Whyte).  Chaos ensues when the characters continue to plot and scheme, impersonate each other, and hide (often in plain sight!) in order to eavesdrop on conversations until there is a powerful and emotional moment of love and reconciliation at the end.  This opera features a lot of physical comedy, which had the audience laughing out loud, and I especially loved all of the over the top choreography as Cherubino tries to evade almost every character (a scene where he tries to hide in a chair is so funny).  The four leads are outstanding and, while this opera is definitely a farce filled with many recitatives, it does feature some lovely arias such as "Grant, love, some comfort" and "Where are they, the beautiful moments" sung very poignantly by Whyte and an emotional rendition of "Countess, forgive me" by Adams (a nice contrast to his caddish portrayal in earlier acts).  I also really enjoyed Lau's amusing version of "If you want to dance, Sir Count" as he vows to outwit Almaviva as well as the hilarious duet "After you, brilliant madam" between Leonard and Nina Yoshida Nelsen (as Marcelina, the Count's housekeeper who has designs on Figaro).  The costumes have a Downton Abbey feel to them (which makes sense for a libretto about class divisions in society) and the simple set featuring mirrored panels that rotate is very effective (although it was sometimes distracting when the stage lights are caught in the reflection).  Former Utah Symphony Associate Conductor Conner Gray Covington is making his Utah Opera debut with this production and his light touch with the orchestra is perfect for Mozart's instantly recognizable music.  Even though this opera is over three hours long, it is a lot of fun to watch so the time flies by and I think it is one that most audiences will enjoy.  There are two more performances and I highly recommend getting a ticket (go here).

Jazz vs. Celtics

It is always a lot of fun going to Utah Jazz games with my friend Angela even when it is not a very good game!  Last night the Jazz played the Boston Celtics and I think there were more Celtics fans at the Delta Center than Jazz fans (it definitely sounded like it).  The Jazz were without their leading scorer Lauri Markannen but they started the first quarter strong.  Then they relinquished their early lead at the 9:00 minute mark and never gained it back for the rest of the game.  They ended the first half down 72-57 but they rallied in the third quarter (and I started paying attention again) with some pretty three-pointers from Sexton, Collins, and Samanic.  Clarkson got them within two (and got the crowd back in the game) after trailing by double digits for most of the game and they ended the third quarter 98-91.  Then the Jazz had a disastrous fourth quarter and let the Celtics go on a 20-0 run which got the Celtics fans in the crowd (at least the ones around us) up and screaming at the top of their lungs.  It is pretty embarrassing when your team doesn't even score a basket for most of the fourth quarter!  George, who ended the night with 26 points, and Clarkson, who had 21, did what they could with a few nice jump shots in the final minutes but the Jazz had no answer for Jayson Tatum, who scored 38 points, and Derrick White, who scored 24.  They ended up losing 123-107 but I still enjoyed the game because it gave me a chance to catch up with Angela!

Io Capitano

Last night I went to the Broadway to see Io Capitano, which was nominated for the Best International Feature Academy Award and won the Silver Lion for director Matteo Garrone at the Venice Film Festival, and I was incredibly moved by this powerful story of migration.  Two Senegalese teens, Seydou (Seydou Sarr) and his cousin Moussa (Moustapha Fall), secretly work construction jobs for six months to earn enough money to emigrate to Europe for a better life. Seydou begins having second thoughts about the dangers involved but Moussa convinces him and they leave without telling their families.  They pay an exorbitant price to be taken across the Sahara Desert during a harrowing journey with a group on foot but they are separated when Moussa is arrested and Seydou ends up in a detention camp in Libya.  Seydou survives the horrors of the detention camp and being sold into indentured servitude with the help of a fellow detainee named Martin (Issaka Sawagodo) who takes him under his wing but he refuses to continue on to Italy with him in order to stay and search for Moussa in Tripoli.  He eventually finds Moussa only to discover that he was shot while escaping from prison.  Desperate to get Moussa to Italy for medical care, Seydou takes the only option available to him which is to pilot a boat, overcrowded with desperate woman and children for whom he feels responsible, in a daring journey across the Mediterranean Sea.  It was sometimes very difficult to watch everything that Seydou and Moussa go through but, even though there are lots of people who ruthlessly take advantage of their situation, there are just as many people who show them kindness and I loved the use of magical realism as a way of coping with the horrors they are experiencing.  Both Sarr and Fall give highly sympathetic and compelling performances but I was especially invested in Seydou's fate because we see everything through his eyes and he humanizes a global problem.  The suspense is almost unbearable in the third act because of how much I had come to care for these characters but I loved the ending because it is cautiously optimistic without minimizing the dangers they still face.  I loved this and would highly recommend it.

Encore: A Musical Review at the Eccles

Even though I just saw him in concert last summer at the SCERA Shell, I was so excited to be able to see Jeremy Jordan again, this time with fellow Broadway stars Kara Lindsay and Jessica Vosk, yesterday at the Eccles Theater.  I went to the matinee with my friend Wendy (we have had Broadway at the Eccles season tickets next to each other since the theater opened) and we had so much fun (we were practically screaming like thirteen year old girls during Jordan's entire set).  Voss took the stage first and began with a stirring rendition of "Don't Rain on My Parade" from Funny Girl which got the crowd cheering (not for the first time).  She continued with "Almost Like Being in Love" and "Both Sides Now" and then Lindsay joined her for the beautiful duet  "I Will Never Leave You" from Side Show.  She followed this with a fun version of "Gimme, Gimme" from Thoroughly Modern Millie and then told a funny story about having to go on as Golde in Fiddler on the Roof unexpectedly in Act 2 (she told lots of stories) before singing an amazing mash-up of "Do You Love Me?" from Fiddler, "I Don't Know How to Love Him" from Jesus Christ Superstar, and "Everybody Says Don't" from Anyone Can Whistle.  She ended her set with a powerful version of "Heart of Stone" from SIX with everyone in the audience singing along (this was a really cool moment).  Lindsay took the stage next with "Not for the Life of Me" from Thoroughly Modern Millie.  She gave a hilarious performance of "Adelaide's Lament" (complete with props) and then the crowd went absolutely crazy when she sang "Watch What Happens" followed by "Something to Believe In" with Jordan (she originated the role of Katherine Plumber and he originated the role of Jack Kelly in Newsies).  I saw Lindsay as Glinda in Wicked when the Broadway touring company came to SLC (she is one of the best Glindas I've seen) so I was really excited when she sang "Popular" next.  She ended her set with lovely renditions of "My House" from Matilda and "Goodnight My Someone" from The Music Man.  Jordan began his set, as he did when I saw him last summer, with "Something's Coming" from West Side Story and then gave us a preview of the upcoming musical The Great Gatsby by singing "For Her."  He continued with "Broadway Here I Come" from the TV show Smash and "Movin' Too Fast" from the movie The Last Five Years.  Voss joined him for an incredible version of "You Matter to Me" from Waitress and then he had an audience member play Audrey II for his amusing rendition of "Grow for Me" from Little Shop of Horrors.  I was hoping for "Santa Fe" from Newsies and he obliged me with a performance that gave me goosebumps!  He was such a goofball on stage and I loved it so much!  This was a wonderful show and I'm so glad Wendy offered me the ticket!

Robot Dreams

Last night I went to the Broadway for an early access screening of Robot Dreams, a nominee for the Best Animated Feature Academy Award this year, and it made me feel all the things.  Dog lives a lonely life in a small apartment in the East Village where he spends his time playing video games, watching TV, and eating microwaved dinners.  He sees an ad for a Robot companion and decides to order one. Soon Dog and Robot are inseparable, riding the subway, roller skating in the park, rowing on the lake, eating hot dogs from street vendors, and watching The Wizard of Oz together.  At the end of the summer they take a trip to the beach and spend a fun day swimming and sunbathing but the water makes Robot rust in place and, when Dog cannot move him, he reluctantly leaves in order to get the tools to fix him.  Unfortunately, when he returns, the beach is closed for the winter and he can't get to Robot.  While they wait for the summer, Robot has a series of hopeful dreams in which he reunites with Dog while Dog goes on with his life trying to find another connection.  Eventually, Robot ends up in a scrap yard and is rebuilt by Rascal the Racoon and Dog buys another Robot named Tin.  When Robot sees Dog on the street he decides not to approach him because Dog has formed a new friendship with Tin and he has done the same with Rascal.  I found the message that friendships sometimes grow apart through no fault of anyone involved to be incredibly moving (and not at all what I was expecting) and it actually brought me to tears.  I loved that this is able to convey just about every emotion imaginable without any dialogue (I especially loved Robot's expression of wide-eyed wonder) and I loved the colorful 2-D animation.  The depiction of New York City in the 80s is perfectly realized with lots of little details that put a smile on my face and the sound design featuring the background noise of the city is very effective. Finally, the use of "September" by Earth, Wind & Fire is a lot of fun in the roller skating scene but it becomes increasingly more poignant and the movie progresses.  I do think that some of the dream sequences go on longer than they need to but I loved this more than I was expecting to and I highly recommend it when it gets a wide-release this summer.

Note:  This would be a perfect double feature with Past Lives (but only if you have enough tissues).

How to Succeed in Business Without Really Trying at HCTO

I always love it when I have the opportunity to see a popular show that I haven't seen before and that is what happened at HCTO last night when I got to see their production of How to Succeed in Business Without Really Trying.  It is a charming old-fashioned musical satirizing life on the corporate ladder and I loved it.  J. Pierpont Finch (Josh Valdez) is a lowly window washer for the World Wide Wicket Company with big ambitions.  After consulting the book How to Succeed in Business Without Really Trying, he impresses the boss J.B. Biggley (David Morley-Walker) and he gets a job working in the mail room.  Despite the attention from Rosemary Pilkington (Morgan Fenner), a secretary who has decided to marry him, and the scheming of Bud Frump (Joseph Paul Branca), Mr. Biggley's incompetent nephew who is jealous of him, he becomes a junior executive in the Plans and Systems Department, then Vice President of Advertising, and eventually takes the place of Wally Womper (Michael D. Fox) as Chairman of the Board.  The best part of this show is the dazzling and innovative choreography and I loved watching the incredibly talented ensemble perform in the big song and dance numbers "Coffee Break," "The Company Way," "A Secretary Is Not a Toy," "Paris Original," "Cinderella, Darlin'," "I Believe In You," and "Brotherhood of Man."  I had a huge smile on my face during all of these numbers and so did everyone in the audience.  The cast is outstanding!  Valdez has just the right combination of earnestness and charisma to shine as Finch and I loved his touching performance in "Rosemary" and his raucous rendition of "Grand Old Ivy" with Morley-Walker (which made me laugh out loud).  The female roles are a bit outdated for a modern audience but Fenner, Lisa Zimmerman (as Hedy LaRue), and McKell Shaw (as the secretary Smitty) add a lot of comedic elements to their performances.  However, it is Branca who absolutely steals the show because he is so petulant as Frump and his physicality and facial expressions are hilarious (I think I laughed at every single thing he did).  The stage features a black and white checkerboard floor, stylized logos for the World Wide Wicket Company (which reminded me of the Pan Am logo), and geometric set pieces that emphasize a 1960s vibe.  These geometric patterns are also used in panels with colored LED lights all around the theater and I loved how the lights flashed in sync with the music.  The period costumes are all a lot of fun, especially the Paris "original" gowns worn by all of the secretaries to a reception.  I definitely enjoyed this show (without really trying) and I recommend it highly (go here for tickets).  It runs every night but Sunday with several matinees through April 13.

The Complete Works of William Shakespeare (Abridged) at the Terrace Plaza Playhouse

I saw the hilarious show The Complete Works of William Shakespeare (Abridged) at the Utah Shakespeare Festival years ago and I loved it so I was really looking forward to seeing the Terrace Plaza Playhouse's production last night. It was so much fun! A group of actors (Josh Curtis, Jenni Cooper, and Whitney Cahoon), who portray themselves and break the fourth wall to speak directly to the audience, attempt to perform all of Shakespeare's plays in 90 minutes. Hilarity ensues! They begin with a brief biography of Shakespeare, but they mistake the bard for Adolf Hitler, and then continue with the tragedies (Romeo and Juliet, which features commentary about consent, Titus Andronicus, which is presented as a cooking show, and Macbeth, which is performed with incomprehensible Scottish accents, are the highlights). Next they present the comedies as one long play with interchangeable characters (designated by different hats) because they all have the same plot and then perform all of the history plays as a football game with all of the kings as players and a crown instead of a ball (they call a flag on the play when King Lear tries to divide the kingdom between his daughters). At this point they realize that they have forgotten Hamlet but decide that they need a break. After the intermission, they present the sonnets (with help from the audience using Mad-Libs) and then perform an over the top version of Hamlet with lots of audience participation when they decide to psychoanalyze Ophelia. They finish early so they decide to perform Hamlet again in an attempt to break the record for the fastest production (53 seconds) and, when they do that, they decide to perform it backwards! I could not stop laughing during the entire show because it involves a lot of physical comedy.  It also allows for the addition of current pop culture references (I loved the use of Taylor Swift's song "Love Story" at the end of Romeo and Juliet), people and events specific to the area (there were many mentions of The Real Housewives of Salt Lake City), interactions with the audience (there was a large group of high school students in attendance which made this really fun), as well as lots of improvisation (especially when props would malfunction). The cast is fantastic with brilliant comedic timing, especially in the scenes where they are portraying multiple characters, and I loved all of their facial expressions. The actors wear white blouses, black pantaloons, white hose, and black Converse high-tops and this allows them to become multiple characters with the addition of different costume pieces (my favorite costume was for the nurse in Romeo and Juliet because the audience howled with laughter at the obviously fake boobs). The stage is very simple with three red curtains, from which the actors make their entrances, and two large trunks on either side containing costumes and props. I had so much fun watching this show and I was really impressed with all of the students in the audience because they definitely picked up on all of the references! I highly recommend getting a ticket (go here) during its run with shows Mondays, Fridays, and Saturdays through April 6.

Bonnie & Clyde at PTC

I have been looking forward to Bonnie & Clyde at PTC ever since the 2023-2024 season was announced so I braved the wind driving to and the snow driving from the theater to see a matinee yesterday. It was worth it because I really loved this show (I had never seen it before). A young Bonnie Parker (Elisabeth Wilkins) wants to be a star on the big screen just like Clara Bow while Clyde Barrow (Daniel Michael Sorokine) spends his youth yearning for the excitement of being an outlaw like Billy the Kid. When they meet during the height of the Great Depression, Bonnie (Alanna Saunders) is a waitress and Clyde (Michael William Nigro) is an escaped convict but they both want to leave West Dallas. They fall in love and Bonnie is drawn into Clyde's life of crime, first when she helps him escape from prison again and then when they go on the run in her 1931 roadster. They become heroes to those who have suffered during the depression and, as their fame grows, they escalate from robbery to murder which gets the attention of retired Texas Ranger Frank Hamer (Daniel Simons). As they become more and more reckless and involve Clyde's brother Buck (Dan DeLuca) and his wife Blanche (Gina Milo), their adventure comes to an inevitable end when their car is ambushed on a Louisiana road. The story takes a long time to get going in the first act and then seems a bit rushed in the second act but I still found it to be very compelling, particularly the juxtaposition between the relationship between Bonnie and Clyde and that of Buck and Blanche. The music in this show is fantastic with a blues, gospel, and rockabilly sound. I especially loved "Picture Show" as Bonnie dreams of being on the screen, "This World Will Remember Me" as Clyde dreams of being an outlaw, "God's Arms Are Always Open" as a Preacher (Christian Brailsford) and Blanche try to get Buck to give up his life of crime, "You Love Who You Love" as Bonnie and Blanche realize that they can't help loving the Barrow brothers, "Raise A Little Hell" as Clyde plots to break out of prison, "Made in America" as the people express their desperation over their circumstances, and "Dyin' Ain't So Bad" as Bonnie consoles herself with the knowledge that she and Clyde have lived life on their terms. Both Saunders and Nigro have beautiful voices and give incredible performances that just about blow the roof off the theater. They are matched by the performances of DeLuca and Milo, especially when the four of them sing together. I also really liked Ben Jacoby as Ted Hinton, a policeman who is interested in Bonnie, because exhibits so much longing in the song "You Can Do Better Than Him."  This show features one of my favorite sets at PTC because it is so unique.  The backdrop is a three-story structure made of corrugated metal (it looks like the kind of bleak structure that would exist during the Great Depression) which features the mugshots of Bonnie, Clyde, Buck, and Blanche as well as a giant marquee (it looks like the front of a movie theater) that lights up to show the various locations in the show.  The action takes place in front of the backdrop with the addition of a few minimal props (I loved the roadster) as well as within an area inside that represents the couple's hideout. The lighting design is moody and atmospheric with sepia tones that turn into a dramatic splash of red during the scenes involving violence. The period costumes also feature sepia tones but Bonnie's become more colorful the more notorious she becomes. The story itself could have been more cohesive but I loved every aspect of this production and I highly recommend it (the audience at my performance was the largest I've seen at PTC this season). It runs through March 9 and tickets may be purchased here.

Clue at HCT

Yesterday afternoon I went to see a matinee of Clue on the Sorenson Legacy Jewel Box Stage at HCT. At this point I have seen several productions of this play based on a movie based on a board game and, while I did enjoy some of the elements, this is probably my least favorite (the best one I've seen was at the Utah Shakespeare Festival). Six guests, including Colonel Mustard (Sanford Porter), Mrs. Peacock (Jayne Luke), Professor Plum (Taylor Seth Hall), Mrs. White (Stephanie Breinholt), Mr. Green (Jeffrey Whitlock), and Miss Scarlet (Kristi Curtis), are invited by Mr. Boddy (Jacob Thomason) to his manor under unusual circumstances on a dark and stormy evening. Mr. Boddy has been blackmailing each of them and, after providing them with weapons, he tells them that he will return the evidence he has against them if they kill his butler Wadsworth (Bryan Dayley). Murder and mayhem ensue! This show is one of the funniest that I have ever seen but this production felt really flat to me and I rarely heard the audience laughing. Dayley, who is one of my favorite comedic actors at HCT, gives an incredibly physical performance (which I loved) as Wadsworth that is completely over the top and at a fever pitch but all of the other actors play it straight as if they are appearing in a traditional murder mystery and I thought this sometimes caused some pacing issues (this performance featured a mix of actors from both the MWF and THS casts who are not used to performing together so that may have added to the low energy). In one particular scene, for example, Dayley reenacts every murder in great detail (so much so that he is completely out of breath at the end of it) while the rest of the cast stands inert around him (there are quite a few scenes where the cast just stands in a straight line). In most productions that I have seen, the guests use elaborate, and often hilarious, choreography to move from room to room but in this show Dayley is the only one who does this while the others just follow him around. Mr. Green is usually one of my favorite characters because he is so flamboyant but in this production Whitlock plays him as more of a nerd (so his final line really falls flat). Speaking of dialogue, it is incredibly witty and is usually performed at a rapid-fire speed. The delivery from this cast was almost sluggish (it involved a lot of empty silences) and many of the jokes didn't seem to land. I am not sure if these choices were made consciously by the production team to distinguish it from other versions but I found it a bit disappointing in comparison. I did not, however, find the elaborate two-story set to be disappointing! There are two doors on either side of the stage used by the actors to travel from room to room and a turntable that rotates to reveal the entry hall, the lounge, the study, the kitchen, and the billiards room at various times with set pieces for the library coming down from above and projections for the conservatory (located on the upper level). I also really enjoyed the dramatic lighting, especially the spotlight on each guest as he or she arrives at the manor, and the costumes which feature just a bit of each character's signature color are a lot of fun. Finally, an organist (Kevin Self) located on the upper level plays melodramatic music throughout the proceedings and this really adds to the murder-mystery atmosphere. Maybe I am being too hard on this production (or maybe I have seen this show too many times) but the tickets are really expensive so I can't in good conscience recommend this simply because the production design is good. Go see Fiddler on the Roof instead!  It is fantastic and runs on the Young Living Centre Stage through March 30 (go here for tickets).

MJ The Musical at the Eccles

Last night I had so much fun seeing MJ The Musical at the Eccles Theatre.  I am a big fan of Michael Jackson's music so I literally had to stop myself from singing along with every song!  This is a jukebox musical featuring many of Jackson's best known hits and it tells his life story but the premise is very clever.  Michael Jackson is creating his 1992 Dangerous World Tour and is facing resistance from his tour manager Rob and his financial advisor Dave because some of his ideas are deemed impossible and too expensive.  He refuses to compromise his vision and rehearses the numbers in the show, including "Beat It," "Billie Jean," "Smooth Criminal," "Jam," "Bad," and "Black or White."  In between numbers he is interviewed for a documentary by Rachel and her cameraman Alejandro and he recounts his experiences with the Jackson 5 ("The Love You Save," "I Want You Back," and "ABC"), his fear of never pleasing his father Joe ("I'll Be There"), his decision to leave Berry Gordy at Motown to collaborate with Quincy Jones ("Don't Stop 'Till You Get Enough" "Wanna Be Startin' Somethin'"), his fear that the new album and tour won't live up to expectations ("They Don't Care About Us"), and his frustrations with the press ("Human Nature").  He finally faces his demons ("Thriller") and decides to let his music tell the story ("Man in the Mirror").  As you can imagine, the elaborate choreography is absolutely amazing and it brilliantly recreates some of Jackson's most iconic performances (my favorite was "Billie Jean," which mimics his performance at the Motown 25th Anniversary concert, because I have vivid memories of watching it at the time).  I also really enjoyed the staging of the musical numbers because the rehearsal of the tour takes place on a stripped down stage and the flashbacks feature projections and set pieces that are moved seamlessly on and off that same stage as if Michael is remembering events as he is describing them to Rachel.  Specific songs are used very well to advance the narrative about Jackson's life (I especially loved "Stranger in Moscow" because, even though it was written after the Dangerous World Tour, it perfectly illustrates the isolation Jackson feels as his ideas are rejected) so it feels like a story rather than just a concert.  Three different actors portray Jackson at different stages of his life.  MJ (Roman Banks) rehearses the tour while Michael (Brandon Lee Harris) and Little Michael (Josiah Benson) appear in the flashback sequences.  All three give outstanding performances and there were moments when it really seemed like it was actually Michael Jackson on the stage (Benson is adorable).  Almost all of the ensemble play multiple roles and they sometimes transform from one to the other right on stage.  Having Devin Bowles portray both Joe Jackson and Rob is especially effective because both characters serve the same function in Jackson's life.  This is a high-energy show that fans of Michael Jackson are sure to enjoy and I highly recommend it.  It runs at the Eccles Theatre though March 3 (go here for tickets).