Tuner

I was so excited to see Tuner with my nephew at the Broadway last night because the trailer reminded me a lot of Baby Driver, a movie I absolutely love, and it definitely did not disappoint.  Niki White (Leo Woodall) was once a promising pianist but hyperacusis, a condition which makes him extremely sensitive to loud noise, forced him to stop playing.  He now works as an apprentice to a piano tuner named Harry Horowitz (Dustin Hoffman), a friend of his late father, and he begins a relationship with a student named Ruthie (Havana Rose Liu) after he tunes a piano at her conservatory.  When Harry has a heart attack and is faced with mounting medical bills, Niki reluctantly starts working for the group of thieves, led by Uri (Lior Raz), who manipulated him into opening a safe using his heightened sense of hearing at a wealthy client's house.  While Niki is able to pay all of Harry's bills and impress Ruthie with a meaningful gift, the heists become more and more dangerous and this threatens his relationships and, eventually, his life.  I think the screenplay is very clever (there are similarities to Baby Driver but it definitely has its own vibe), especially when Niki uses Uri's criminal philosophy against him to pull a heist of his own and when he uses the music he has denied himself for so long to form a real, if bittersweet, connection with Ruthie (the final scene is exhilarating).  I loved Niki's character arc (even though it is a suspenseful heist movie with some fun romantic elements, it is mostly a compelling character study about a young man who has lost himself) and I also loved Woodall's performance because the juxtaposition between his detachment and his joy in the final scene is incredibly powerful.  Finally, I enjoyed seeing all of the moving cogs in the safecracking scenes and hearing much of the action from Niki's POV (the sound design, in both the loud and quiet moments, is incredible because it is so immersive).  This is one of my favorite movies this year and I highly recommend it!

Passenger

The second movie in my double feature yesterday was Passenger and I am definitely happy that I saw it after my most recent solo road trip!  Maddie (Lou Llobell) and Tyler (Jacob Scipio) are a couple who leave everything behind to live the so-called "van life" but it soon becomes apparent that Tyler is more enamored with the lifestyle than Maddie is.  When they are unable to stay at a planned camping spot, they end up driving on an isolated road late at night and witness a car crash.  They stop to help the driver but are unable to save him.  When Maddie looks at their dashcam footage of the crash, she sees a mysterious figure in the passenger seat of the car and then imagines that this same figure is following them.  Tyler thinks that Maddie might be making excuses to quit living on the road but, when they participate in a van life gathering, they learn about a malevolent entity known as the "Passenger" who is believed to be responsible for the disappearance of many people over the years and a woman named Diana (Melissa Leo) warns them about stopping on the road at night.  It ultimately becomes a fight for survival when the Passenger (Joseph Lopez) starts attacking them wherever they go.  There are definitely some issues, most notably the lack of a backstory to explain the origin and defining characteristics of the enigmatic Passenger and a resolution that feels rushed, but I found this to be incredibly atmospheric and scary.  The cinematography uses light and shadow to great effect to evoke a sense of dread about what might be out there in the dark.  There are also several well-composed set pieces that are almost unbearably tense, including a scene in which Maddie hears someone following her while walking through an empty parking lot to get to the van which seems to get farther and farther away, a scene in which Maddie and Tyler use the light from their movie projector to locate the Passenger stalking them at their campsite (seeing Gregory Peck and Audrey Hepburn's faces, as their characters from the movie Roman Holiday, superimposed on the Passenger's face is incredibly creepy), and a scene in which Maddie and Tyler have to stop to change a flat tire knowing that the Passenger is out there in the dark.  Both Llobell and Scipio do a great job communicating their terror and I liked the dynamic between their characters, especially that he believes her before he actually sees the Passenger.  I enjoyed this, and recommend it to fans of the genre, mostly because I was reminded of all the times I have driven on isolated roads by myself late at night!!

I Love Boosters

Yesterday I had another double feature in the middle of the day and I started with with I Love Boosters because I think Sorry to Bother You, Boots Riley's directorial debut, is absolutely brilliant.  As with his previous movie, I Love Boosters is full of scathing commentary that is as funny as it is thought-provoking.  Corvette (Keke Palmer), an aspiring fashion designer, and her friends Sade (Naomi Ackie) and Mariah (Taylour Paige) regularly steal, or "boost," designer clothes from high-end stores and sell them at a discount to low-income people in their community.  This is a way for Sade to earn a better living for her two children but it becomes personal for Corvette when she discovers that her favorite fashion mogul, Christie Smith (Demi Moore), has stolen one of her designs.  Now Corvette wants to target Metro Designers, a clothing chain owned by Smith, so they get jobs at one of the stores run by Grayson (Will Poulter) and plan to steal the entire inventory.  However, their plan is disrupted by an employee named Violetta (Eiza Gonzalez) who is trying to organize a strike for better working conditions at all of the Metro Designer stores and a factory worker named Jianhu (Poppy Liu) who is protesting against conditions in Smith's sweatshops in China.  They eventually join forces to disrupt Smith's fall fashion show but mayhem is caused by a teleportation device, a mysterious man (LaKeith Stanfield) pursuing Corvette, and a group of media personalities (Don Cheadle, Kara Young, Jason Ritter, and Jermaine Fowler) who are used by Smith to influence opinion.  Much like Sorry to Bother You, this is an indictment of late-stage capitalism, income inequality, workplace abuse, exploitation, and propaganda framed as a comedy of the absurd with a wild and chaotic third act that requires a major suspension of disbelief.  This bold swing for the fences didn't work for me as much as it did in the previous movie but I really liked the surrealistic visual style, especially Smith's tilted office building, and the hyper-stylized costumes, particularly those worn in a boosting montage.  I enjoyed all of the performances (Poulter is a hoot and Cheadle is almost unrecognizable) and, even though some of the characters are not very well developed (Stansfield's character feels superfluous), the friendship between Corvette and Sade is quite poignant.  I didn't love this as much as Sorry to Bother You but I had a lot of fun with it.

Note:  My favorite scene is a documentary about Christie Smith's rise to success as a designer because it is narrated by Viggo Mortensen (I laughed out loud when I realized who it was).

My Fair Lady at HCT

HCT's production of My Fair Lady is loverly (one of the best I've seen) and it put a huge smile on my face last night! When Professor Henry Higgins (Kelton Davis) and Colonel Pickering (Mark Pulham) encounter a Cockney flower girl named Eliza Doolittle (Lisa Zimmerman) outside Covent Garden, Higgins boasts that he could pass her off as a duchess at the Embassy Ball within six months by teaching her to speak properly. Even though Eliza is a success at the ball, she only becomes a lady when she compels Higgins to treat her like one! I loved every member of this amazing cast! Higgins is kind of a problematic character but Davis portrays him with a glint in his eye and a spring in his step that makes him very appealing in the songs "Why Can't the English," "I'm an Ordinary Man," and "A Hymn to Him" and I loved his poignant rendition of "I've Grown Accustomed to Her Face" as well as his vulnerable delivery of the final line because it really changes the vibe of the ending (in a good way). Zimmerman, who has a beautiful voice, gives an incredibly dynamic performance as Eliza because she is feisty in "Just You Wait," "Show Me," and "Without You," charming in "Wouldn't It Be Loverly" and "I Could Have Danced All Night," and elegant in "The Embassy Waltz." I also really appreciated the gradual change in her accent during "The Rain in Spain" because this makes her transformation more believable (I usually find this to be very sudden in other productions). Duane Stephens is energetic and entertaining as Alfred P. Doolittle and Doug Wadley is absolutely hilarious as the lovestruck Freddy Eynsford-Hill (his version of "On the Street Where You Live," which is my favorite song in the show, is a lot of fun). I laughed out loud at all of their antics. Barta Heiner is an adorable Mrs. Higgins and I really enjoyed her exasperated interactions with Davis. I was impressed by the use of props in the lively choreography, particularly a large flower cart in "Wouldn't It Be Loverly," brooms in "With a Little Bit of Luck," a library ladder in "Just You Wait," and pewter mugs in "Get Me to the Church On Time." I was even more impressed by the spectacular set, especially Higgins' elaborate wood-clad study, which includes wrought iron spiral staircases leading to the second level and lots of amusing details (I tried counting all of the different clocks but eventually stopped at five), and the dazzling chandeliers (that seem to dance along with the waltzing couples) and dramatic staircase at the Embassy Ball. Finally, the costumes are gorgeous and, as expected, the gowns and hats worn at Ascot and Eliza's gown at the Embassy Ball were my favorites (I loved the use of gray rather than the usual black and white in the Ascot costumes). Every aspect of this production is outstanding (it really is one of the best versions of this classic musical that I have seen) and I cannot recommend it highly enough but act quickly (go here for tickets) because many shows are already sold out! It runs on the Young Living Centre Stage through June 11.

Stanley Cup Playoffs Part Two!

Even though I recently crossed seeing an NHL playoff game off my bucket list, a small part of me was sad that I didn't see the Colorado Avalanche compete for Lord Stanley's Cup.  I have been a fan since the Quebec Nordiques relocated to Denver in 1995 and I have so many memories of watching them in the postseason with my dad.  When both the Avalanche and the Golden Knights advanced to the second round, I realized that they might possibly play each other in the Western Conference Final and I got the crazy idea that I could see a game in Las Vegas (it is faster and easier to drive there than to Denver).  I actually started looking at tickets immediately after Vegas eliminated Anaheim and, when I found one for Game 3 that was only slightly more than the dollar limit I set for myself, I bought it in a fit of madness!  The Avalanche were down 0-2 in the series so this game was huge for them and I was both excited and anxious.  I was also a little bit intimidated to walk into T-Mobile Arena wearing the opposing team's jersey but the Vegas fans I interacted with were very friendly (the fans at the Air Canada Centre, as it was called then, were more hostile when I saw the Avs play the Leafs in Toronto) and there were a lot of other Avalanche fans at the game, especially in my section.  The first period was so much fun because the Avs came out really fired up (like the team I watched all season rather than the team I watched in the first two games of this series) and, when Gabriel Landeskog, Nazem Kadri, and Jack Drury scored really pretty goals, all of the Colorado fans around me went crazy and we high-fived each other!  I started feeling really optimistic about their chances to win this game because Vegas couldn't seem to get anything going and their one goal was waved off.  However, all of the momentum shifted from Colorado to Vegas in the second period.  Mark Stone scored a power play goal for the Knights 19 seconds in and the Avalanche completely imploded from that moment on.  William Karlsson and Keegan Kolesar scored to even it up 3-3 to end the disastrous second period.  During the second intermission I tried to resign myself to the fact that the Avalanche were going to lose the game because Nathan MacKinnon injured his knee attempting to block a shot in the last few minutes of the period but I still had a sliver of hope because I have seen them rally many times.  That hope was dashed when Tomas Hertl scored the go-ahead goal at 8:21 and Brett Howden scored an empty-netter in the last minute of the game.  I was so disheartened by the fact that the Avs blew a 3 goal lead to lose 5-3 when they have been the team to beat since the start of the playoffs.  I have never seen a team melt down so spectacularly!  It is highly unlikely that the Avs can come back from an 0-3 deficit to win the series so my only hope is that one of the teams in the east can take down the Golden Knights (they have now become my most hated team).  Even though this game was disappointing (the drive home was a long one), I am still really glad that I took this road trip because it is my goal to be more spontaneous this year.

Note:  I have now seen two Stanley Cup playoff games and, in both of them, my team was defeated by Vegas.  Grrr!

No Time for Sergeants at Parker Theatre

Last night I went to Parker Theatre's production of No Time for Sergeants and I was very excited because it had been a really long time since I had seen it (I think it was at HCT many years ago). Will Stockdale (Truman Schipper) is a simple and guileless country bumpkin from rural Georgia who is drafted into the Air Force. He immediately runs afoul of all the other recruits in his barracks except for Ben Whitledge (Zach Harvey) who is desperate for a transfer to the infantry. Will soon starts asking for a transfer, too, and his exasperated commanding officer Sergeant King (Stu Mitchell) punishes him by giving him permanent latrine duty. Will thinks it is a promotion and cleans the latrine so well that King's commanding officer notices him and learns of his excessive punishment. King must now help Will get through the classification exams or face disciplinary measures himself but Will's naivete leads to a series of misadventures. This results in King's demotion to private and his assignment to gunnery school with Will and Ben. Chaos ensues when Will and Ben are mistakenly declared dead by King after their plane gets lost during their first flight. General Bush (Tyler Oliphant) awards them a posthumous medal but, when they suddenly appear at the ceremony, Will and Ben get the transfer to the infantry that they wanted all along so Bush can avoid public humiliation and, in an ironic twist of fate, King is given a promotion to be their commanding officer. This play is so funny (the audience was laughing out loud the entire show which was a lot of fun) and the action is non-stop. The entire cast does a brilliant job with the physical comedy and I especially loved a scene involving a drunken barroom brawl and another chaotic scene aboard a plane being flown by an incompetent crew (I laughed out loud every time the characters screamed in fear). Schipper is incredibly charming as Will (he is basically the straight man in the midst of all of the mayhem) and Harvey is hilariously overwrought as Ben but Oliphant steals the show as the superficial Bush (I loved hearing him practice the same line from his speech over and over). I was very impressed with all of the elaborate stagecraft, including the lighting design, sound design, and projections, used for the plane crash and I especially loved seeing Will and Ben hanging from a parachute. The set is very clever because it consists of riveted metal panels (meant to mimic 1950s military airplanes) that move to reveal the barracks, a latrine, and various offices and the costumes include authentic-looking military uniforms. This was a great show to see Memorial Day weekend and I thoroughly enjoyed the slapstick humor from a simpler time. I highly recommend getting a ticket (go here) for one of the performances on Fridays and Saturdays through June 27.

The Mandalorian and Grogu

Last night my sister, my nephew, and I went to a Thursday preview of The Mandalorian and Grogu.  I am a huge fan of the series on Disney+ and I enjoyed this even though it is basically like watching several episodes of the show on the big screen.  Din Djarin (Pedro Pascal) and his apprentice Grogu are now bounty hunters searching for the last of the Imperial warlords on behalf of the New Republic.  Commander Ward (Sigourney Weaver) asks them to visit the Hut Twins to get information needed to capture the mysterious warlord Janu Coin (Jonny Coyne).  However, the Twins will only disclose this information if they find their kidnapped nephew Rotta (Jeremy Allen White), the son and heir of Jabba.  Djarin and Grogu travel to the planet Shakari to rescue him from the crime syndicate holding him captive but he doesn't want to go back to Nal Hutta (for reasons).  Djarin ultimately finds Coin himself to avoid having to return Rotta to the Twins but complications ensue when they seek retribution for breaking their agreement.  This does have a very episodic feel to it with lots of side quests (I even noticed when each episode could possibly begin and end) and the action sequences become a bit monotonous as Djarin fights one CGI creature after another (my favorite action set pieces are those that reference other films and shows in the Star Wars franchise, such as when Djarin and Grogu take down several AT-AT walkers, when Grogu and the Anzellans attempt to rescue Djarin, and when Ward attacks a droid army with a fleet of X-wing fighters).  I really liked Rotta's character arc as a son trying to move out of his notorious father's shadow (although I thought it was weird that Jeremy Allen White's voice is almost unrecognizable) and I absolutely loved Grogu's development as an apprentice proving himself to his master (I think the scenes in which he cares for Djarin are absolutely magical).  Another highlight is Ludwig Goransson's score, particularly during the scenes on Shakari and the scenes with Grogu on Nal Hutta (the music here is incredible because it evokes such a sense of wonder).  This is a lot of inconsequential fun and, if you are a fan of the series, you will probably enjoy it.

Note:  All I wanted from this movie was to learn how Djarin got the Razor Crest back and the explanation worked for me.

The Wizard of the Kremlin

The second movie in my double feature at the Broadway yesterday was The Wizard of the Kremlin.  I found it very intriguing because I love Russian history but also a bit of a slog to get through (can both things be true?).  An American academic named Lawrence Rowland (Jeffrey Wright) arrives in Moscow to research a Russian author when he is contacted by Vadim Baranov (Paul Dano) and invited to his isolated dacha to interview him about his former role as advisor to Vladimir Putin (Jude Law).  Barasov chronicles his rise from an avant-garde theatre director after the fall of communism to become the producer of trashy reality television during the surge in organized crime and then a media mogul as the new class of oligarchs manipulate the rule of Boris Yeltsin (George Sogis).  When the oligarchs realize that Yeltsin's health is declining, they handpick Putin, the balding and nondescript leader of the FSB, to be his successor because they think he will be easy to manage only to have him take control of the media away from them.  Baranov quickly makes himself indispensable to Putin and helps him manipulate public opinion about the Second Chechen War, the sinking of the Kursk submarine, and the invasion of the Crimea (the start of the war in Ukraine).  He also uses internet trolls to destabilize events in the West and propaganda during the Sochi Winter Olympics to change the world's perception of Russia.  However, it is his love for a woman named Ksenia (Alicia Vikander) that ultimately leads to his downfall.  Baranov is a fictionalized character (loosely based on Vladislav Surkov) who is at the fulcrum of Russian history from the dissolution of the Soviet Union to the formation of the current authoritarian regime but the narrative is simultaneously bloated with too much information and superficial without providing any insight.  My mind wandered multiple times during the endless exposition dumps.  Even though Dano, Law, and Vikander give fascinating performances (their inconsistent accents notwithstanding), their characters are very thinly drawn and I didn't really learn anything new about Putin.  I recommend giving this a miss.

Note:  I think this might have worked better as a limited series.

Omaha

Yesterday I had a double feature at the Broadway in the middle of the day (with a large group of other retired people who are now my new best friends) and I started with Omaha.  When this movie premiered at the Sundance Film Festival two years ago, the filmmakers (who are from Utah) invited so many friends and family members that even pass holders were not able to get into the screening. A lot of people were really upset but I knew that it would eventually come to the Broadway so I just got in line for something else.  Needless to say, after all of that drama I was really excited to finally be able to see it but it left me feeling very bleak.  An unnamed father (John Magaro) suddenly wakes his two children, nine-year-old Ella (Molly Belle Wright) and six-year-old Charlie (Wyatt Solis), early in the morning in order to go on a cross-country road trip along with their golden retriever Rex.  Ella is immediately suspicious because he won't tell them where they are going and she starts noticing other clues that lead her to believe that something about this trip is very wrong.  It is implied that their mother is dead and that the bank is foreclosing on their house but it is obvious that their father is on edge and that he is rapidly running out of money.  They have a series of adventures, including flying a kite on the Bonneville Salt Flats, swimming in a motel pool, and visiting a zoo together, but the real reason for their trip is finally revealed when they arrive in Nebraska.  I thought that I knew where the narrative was going because, like Ella, I also noticed the clues but the resolution is somehow even worse than I was expecting and I'm not sure how I am supposed to feel about the father's actions because there is almost no context provided.  The action is very episodic and impressionistic with no exposition and very little dialogue so I was left with many questions, chief among them being why they had to go to Nebraska (this is answered in a closing title card that left me gutted as well as frustrated).  Magaro gives an incredible performance because he becomes more and more agitated as the trip goes on while trying to create happy memories with his children (it is a tightrope of emotion and he balances it well).  I was also very impressed with Wright because you can see the worry on her face even as she tries to give her father the benefit of the doubt and shield her brother from her growing suspicions (it is one of the best performances by a child that I have seen).  This is absolutely devastating but I don't think it goes far enough in its indictment of the father's circumstances.

Fiddler on the Roof at CPT

I went with both of my sisters to see Fiddler on the Roof at CPT last night and we really enjoyed this production. In my opinion, seeing this classic musical is a guaranteed fun night out and I noticed that everyone around me (the theatre was packed) had big smiles on their faces during all of the well-known song and dance numbers. I definitely had to stop myself from singing along with the cast during "Tradition," "Matchmaker," "If I Were a Rich Man," "Sabbath Prayer," "To Life," and "Sunrise, Sunset." I loved the choreography and staging because there are obvious influences from the original Broadway production and the 1971 movie but also some fun new details that keep things fresh, particularly when the women and girls circle around the praying men and boys in "Tradition," when Yente is shown alone in "Sabbath Prayer," when the townspeople come on stage to reprise "Tradition" after Tevye rejects Chava at the end of "Chavaleh," and when the Constable and soldiers escort the townspeople out of Anatevka. As always, my favorite numbers were "To Life" because the Russian dance is very high-energy and exuberant, "The Wedding" because the bottle dance is thrilling, and "Tevye's Dream" because I always eagerly anticipate seeing how Fruma-Sarah will make her entrance (when I played her I came up from Tevye and Golde's bed) and it did not disappoint because she flies and it is pretty spectacular! The set is really beautiful with an elaborate thatched-roof house made of wood that opens up to reveal the interior and other large wooden set pieces that come down from the rafters and in from the wings to become the village inn, Motel's tailor shop, and the railway station. I loved the attention to detail, especially the smoke that periodically comes from the chimney, the barrels inside the inn, and the weathered trees all around the proscenium. The costumes are also very striking and I liked the pops of green and yellow used in the women's dresses and the white tattered gown worn by Fruma-Sarah. The large puppets that feature in "Tevye's Dream" are scary but incredibly cool. Finally, the cast is outstanding! Danny Inkley is a boisterous Tevye who emphasizes the humor in "If I Were a Rich Man" and "To Life" but he is also quite vulnerable in "Do You Love Me?" (Golde is played by his wife Wendy Inkley and their interactions feel very authentic) and absolutely heartbreaking in "Chavaleh" (the crack in his voice brought a tear to my eye). I was also impressed with Jordyn Tracy, Chloe Warnas, and Maren Messerly as Tzeitel, Hodel, and Chava, respectively, because they harmonize beautifully in "Matchmaker." This production is a crowd-pleaser that the whole family will enjoy and I highly recommend getting a ticket (go here). It runs on the Mountain America Main Stage through June 18.

Note:  I find it amusing that the 2026 season at CPT includes both See How They Run and Fiddler on the Roof because my two biggest acting roles to date are Miss Skillon and Fruma-Sarah (I was also in the chorus of Damn Yankees but I haven't seen that performed since my high school did it in 1985).

Les Miserables at Tuacahn Amphitheatre

Before I became obsessed with Hamilton, Les Miserables had a 30 year run as my favorite musical.  I still absolutely love it and try to see it every chance I get so I took a quick road trip to St. George yesterday for a production at Tuacahn Ampitheatre.  It was an incredible experience to see such an epic story performed against the dramatic red rock of the ampitheatre!  I have obviously seen this show many times so I really appreciated several bold changes in the staging, particularly the use of the natural backdrop in the Prologue when the prisoners in the chain gang cut the red rock into blocks using pick axes and the use of real farm animals as Valjean searches the countryside for work.  I was also struck by the inclusion of Young Eponine on the periphery in the scenes between Valjean and Young Cosette because it really adds to her characterization and I was incredibly moved when the women place articles of clothing worn by the students who died on the barricade at the edge of the stage during "Turning" and then when the students rise up from the pit to claim them during "Empty Chairs at Empty Tables" (this song always makes me cry).  I had goosebumps during "Stars" because the stars projected on the red rock are so beautiful and during the final battle on the barricade because the pyrotechnics are pretty spectacular.  I was very impressed with the cast, especially with how Mindy Smoot Robbins as Fantine, Randal Keith as Javert, Kelsey Lee Smith as Eponine, David Toole as Valjean, and Coby Oram as Marius (the understudy) are able to command such a large stage by themselves in "I Dreamed a Dream," "Stars," "On My Own," "Bring Him Home," and "Empty Chairs at Empty Tables," respectively.  The large LED screens feature illustrations reminiscent of the ones used by Victor Hugo in his novel and elaborate set pieces are configured and reconfigured to become the factory and waterfront in Montreuil-sur-Mer, the Thenardiers' inn, the streets of Paris, the barricade, and the sewers.  The period costumes are very much informed by those in the original production but I found the wide-legged trousers worn by the guards and sailors to be very amusing.  This is the biggest show I've seen at Tuacahn (it is even bigger than their 2008 production of Les Miserables) and it is so well-done!  It was definitely worth the four hour drive to see it and I highly recommend getting a ticket (go here).  It is being performed in the Outdoor Amphitheatre at Tuachan in repertory with Disney's Finding Nemo and Grease through October 23.

Obsession

Last night my nephew and I went to a Thursday preview of Obsession and we both had so much fun watching it with a big crowd.  Baron "Bear" Bailey (Michael Johnston) wants to tell his childhood friend Nikki Freeman (Inde Navarrette) that he has feelings for her but his co-workers Ian (Cooper Tomlinson) and Sarah (Megan Lawless) try to talk him out of it (for reasons).  When he misses a perfect opportunity to tell her in a moment of vulnerability, Bear uses a novelty item to wish for Nikki to love him more than anything in the world.  His wish immediately comes true although both he and Nikki recognize that something is amiss when she makes advances towards him.  He eventually comes to enjoy her attentions and they become a couple much to the chagrin of Ian and Sarah.  However, Nikki is increasingly needy, then possessive, and then absolutely terrifying.  Even though he fears for his life, Bear ultimately realizes that Nikki is the real victim and takes drastic steps to cancel his wish.  The scenes in which Nikki shows her *ahem* devotion are so much fun to watch, especially in a packed theater, because they are uncomfortably disturbing (the people in our audience were either laughing out loud or jumping out of their seats and, at one point, I wanted to throw up).  I loved the way these scenes are lit and framed because Nikki is often obscured and that adds to the unbearable tension.  Johnston is perfect as a character so passive that he doesn't even recognize that the girl he has a crush on might reciprocate his feelings without having to go to such extraordinary lengths and watching his downward spiral is oddly compelling (I loved his mannerisms and facial expressions) but Navarrette is brilliant because she is absolutely unhinged (in the best possible way) and yet she is also sympathetic as a woman who has lost her agency.  This is much more thought-provoking that it might seem on the surface but it is so wildly entertaining that my nephew and I had a blast with it.  I highly recommend it to fans of the genre.

Hokum

The second movie in my double feature at the Broadway last night was Hokum.  The story is a bit messy but there were moments when I was genuinely scared.  Ohm Bauman (Adam Scott) is a popular horror author suffering from writer's block (and his own personal demons) so he decides to travel to the remote and atmospheric hotel in Ireland where his parents spent their honeymoon so he can scatter their ashes there.  He is incredibly rude and antagonistic to the staff, including the owner Cob (Brendan Conroy), the front desk clerk Mal (Peter Coonan), the groundskeeper Fergal (Michael Patric), the bartender Fiona (Florence Ordesh), and the bellhop Alby (Will O'Connell), and dismisses their claims that the honeymoon suite is haunted by a witch from Irish folklore.  He also encounters an eccentric local named Jerry (David Wilmot) who lives in the woods and frequently ingests hallucinogenic mushrooms.  He eventually bonds with Fiona (for reasons) and, when she mysteriously goes missing after a Halloween party, he suspects that she might be trapped in the locked honeymoon suite.  He sneaks inside to look for her and becomes trapped and increasingly tormented by a supernatural figure that may or may not be the witch.  This sometimes doesn't know what kind of movie it wants to be (is it an exploration of grief and trauma, a mystery involving a missing person and a possible murder, or a supernatural ghost story?) but there is no doubt that it is incredibly unnerving.  Most of the action takes place in one darkly-lit and claustrophobic location that is only accessible by a creepy elevator and an even creepier dumbwaiter.  The tension builds and builds, more from what you don't see than from what you do, and Scott does a great job communicating his escalating terror (his performance is outstanding because he excels at making unsympathetic characters compelling).  There are some really effective jump scares (someone in my audience screamed) and I loved the use of folklore because I think that always makes the threat more plausible and, therefore, more frightening.  I had a lot of fun watching this with a large crowd late at night and I recommend it to fans of the genre.

Blue Heron

Last night I had a double feature at the Broadway starting with Blue Heron.  This is an incredibly moving look at the fallibility of memory and I absolutely loved it.  The narrative begins with flashbacks to when an eight-year-old girl named Sasha (Eylul Guven) moves to Vancouver Island in the 1990s with her mother (Iringo Reti), father (Adam Tompa), and older brothers Jeremy (Edik Beddoes), Henry (Liam Serg), and Felix (Preston Drabble) and her parents become worried about her brother Jeremy's increasingly erratic behavior.  Events are shown from Sasha's eight year old perspective with images that are hazy and fragmentary as the family settles into their new surroundings (the cinematography is beautiful).  Jeremy's actions are largely on the periphery with little explanation for what is motivating his behavior and dialogue is often muted, particularly when Sasha overhears tense phone calls to family members and conversations with psychologists and social workers.  The narrative then shifts to Sasha (Amy Zimmer) as an adult twenty years later.  She is working on a documentary about the events depicted and, as she views the photographs and videos taken during this period and listens to the interviews with psychologists and social workers with a different perspective, her memories are recontextualized.  She is finally able to reconcile her lack of understanding about her brother and his mental health issues and to absolve her parents for his fate (in an incredibly poignant twist that I will not spoil here).  I really love the theme of art as a way to heal and not only is this theme beautifully and hauntingly portrayed in this film but, because it is semi-autobiographical, the film itself is director Sophy Romvari's attempt to process her own childhood memories.  The structure is very impressionistic but every seemingly random vignette is imbued with meaning that is eventually revealed and I found it spellbinding.  I cannot recommend this enough but be prepared for an emotional response.

Utah Opera's La Traviata

I was thrilled to be at Capitol Theatre last night for Utah Opera's production of La Traviata by Giuseppe Verdi because it is one of my favorite operas (I always prefer the tragedies). It was magnificent and I loved everything about it!  Violetta (Lydia Katarina) is a beautiful and glamorous courtesan who lives only for pleasure.  Even though she is suffering from consumption, her patron, Baron Douphol (Christopher Clayton), hosts a lavish party for her and she encourages her guests to sing a wild drinking song.  When she grows too tired to dance, a young man named Alfredo (Isaac Hurtado) approaches her and declares his love.  She resists him because she likes her simple life of pleasure but, when he leaves, she realizes that she is in love with him.  They live happily together in the country until Alfredo's father Germont (Weston Hurt) comes to ask Violetta to end the affair because their relationship is scandalizing the family and ruining his daughter's prospects for marriage.  Violetta tearfully agrees and returns to Paris leaving Alfredo heartbroken.  She attends a masquerade ball hosted by her friend Flora (Julia Holoman) with the Baron but, when Alfredo see her with him, he treats her with such contempt that his father reveals the truth.  Alfredo eventually begs Violetta to forgive him and she dies in his arms.  The music in this opera is very well known and the three leads performed my favorite arias beautifully.  Katarina is thrilling in her passionate performance of "Sempre Libera" as she questions whether her love for Alfredo is worth giving up her life of freedom and incredibly moving in "Addio, del passato bei sogni ridenti" as she contemplates her death.  She also gave me goosebumps with her emotional outburst begging Alfredo to love her ("Amami, Alfredo").  Hurtado did not disappoint with his stirring rendition of the famous Brindisi ("Libiamo ne'lieti calici") but his captivating performance of the aria "De'miei bollenti spiriti" as Alfredo sings of his life with Violetta is especially swoon-worthy.  Other highlights included Hurt's performance of "Pura siccome un angelo" as he begs Violetta to think of his family because it is very genuine and deeply felt and when the Chorus denounces Alfredo for his treatment of Violetta in "Di donne ignobile insultatore, di qua allontanati, ne desti orror!" because it so dramatic.  This production also features six dancers (Maeve Friedman, Emily Marsh, Ruger Memmott, Madeline Nelson, Tyler Schnese, and Brandin Steffensen) who perform a waltz at Violetta's party and Spanish dances at Flora's masquerade ball but I was particularly struck by the reprise of the opening waltz at Violetta's deathbed because the dreamlike sequence symbolizes everything that she has sacrificed for love (I have never seen this done before and it was definitely another goosebump moment).  As always, the sets and costumes are striking (I loved the opulent ballroom and Violetta's dramatic red gown).  I find tragic operas to be very cathartic and this production left me breathless!  I highly recommend getting a ticket (go here) because, even if you are not an opera aficionado, you will probably recognize a lot of the music! It runs at Capitol Theatre through May 17.

The Sheep Detectives

Last night I went to see The Sheep Detectives and I absolutely loved it!  I may or may not have had a tear in my eye on more that one occasion!  George Hardy (Hugh Jackman) is a shepherd content to live on his own with his flock of sheep just outside the village of Denbrook.  He interacts more with the sheep (he reads to them from detective novels every night) than the villagers because he has a contentious relationship with most of them.  When George is found murdered, Tim Derry (Nicholas Braun), a dim-witted policeman, and Elliot Matthews (Nicholas Galitzine), a reporter desperate for a big break, begin investigating but the sheep soon realize that the two of them are in over their heads and begin their own investigation.  They eavesdrop on the reading of the will by George's lawyer Lydia Harbottle (Emma Thompson) and determine that the main suspects include Rebecca Hampstead (Molly Gordon), George's estranged daughter, Caleb Merrow (Tosin Cole), a rival shepherd, Ham Gilyard (Conleth Hill), the local butcher, Beth Pennock (Hong Chau), a woman scorned by George, and Reverend Hillcoate (Kobna Holdbrook-Smith), a priest with whom George has had mysterious dealings.  The sheep, led by Lily (Julia Louis-Dreyfus), Mopple (Chris O'Dowd), Cloud (Regina Hall), Sir Richfield (Patrick Stewart), Zora (Bella Ramsey), Wool-Eyes (Rhys Darby), and twins Reggie and Ronnie (Brett Goldstein), discover multiple clues (and find highly amusing ways to inform Derry of their findings) but they must ultimately accept help from Sebastian (Bryan Cranston) and Winter Lamb (Tommy Birchall), two sheep who have been ostracized from the flock, to solve George's murder.  This is a clever murder mystery (I did not guess the identity of the murderer) that plays with the genre's tropes as the sheep try to figure out what to do but it is also surprisingly poignant with some powerful messages about grief and belonging.  I really loved the cast, especially the voice cast, and all of the performances are incredibly charming (but some of the actors, particularly Chau and Thompson, do not have a lot to do).  I also enjoyed the pacing, the action set pieces, the visual effects (I only noticed the CGI in one scene), and the bucolic setting (I really want to live in an English village).  This is an unexpected delight (it is so much better than I was expecting) and it is now one of my favorites this year.  I highly recommend it for everyone!

Disney's Descendants at the Empress Theatre

I remember watching the Disney Channel Original Movie Descendants with my nephew (I thought it was extremely clever and he loved it) so I was really intrigued when I learned that the Empress Theatre would be performing the stage adaptation this season. I was even more intrigued when I learned that the entire cast would include actors who are all over the age of 45! I had the chance to see it last night with my sister and it was incredibly heartwarming to watch a cast perform with so much obvious joy and exuberance! Prince Ben (Scott Sorensen), the son of Belle (Chalese Craig) and the Beast (Carri Baddley), wants to give the children of Auradon's most notorious villains, who are now imprisoned on the Isle of the Lost, the opportunity to attend Auradon Prep so Mal (Diana Sorensen), the daughter of Maleficent (Crystal Ahlemann), Evie (Amy Hallett), the daughter of the Evil Queen (Carri Baddley), Jay (Brad Goodman), the son of Jafar (Brian Sorensen), and Carlos (James Hutchings), the son of Cruella de Vil (Wendy Sorensen), arrive with instructions from their parents to steal the wand belonging to the Fairy Godmother (Stacy Mayren) so they can use it to break the spell keeping them in captivity. Chaos ensues when the four of them have a difficult time interacting with the sons and daughters of their parents' sworn enemies, especially Audrey (Stacy Childs Hutchings), the daughter of Sleeping Beauty, and Chad (Joel Clark), the son of Cinderella and Prince Charming, but their loyalty to their parents is soon tested and Ben eventually shows them that they can choose their own path. The high-energy songs and choreography are so much fun to watch (my favorite numbers are "Rotten to the Core," "Evil Like Me," "Goal," "Ways to Be Wicked," and "Chillin' Like a Villain") and this is mostly due to the fact that everyone in the cast is having the time of their lives channeling their inner teenagers! Their enthusiasm is infectious and the crowd last night definitely responded with gusto which made the entire experience an absolute blast. I especially enjoyed Sorenson as Ben because he has so much boyish charm (he was the most believable teenager), Hutchings as Audrey because she has the perfect mean girl attitude, Goodman as Jay because he has a lot of swagger, and Clark as the dim-witted Chad because he has some hilarious facial expressions and line deliveries.  However, no one is having more fun than Ahlemann because she absolutely revels in the villainy and I laughed out loud practically every time Maleficent appeared on stage. I really enjoyed her rendition of "Evil Like Me" but her maniacal cackling at the end of the second reprise was the highlight of the show for me! I loved the minimal set, with the brightly colored fairy-tale prep school at one end and the dark and dreary graffiti-covered Isle of the Lost at the other end, as well as the costumes, which feature a matching aesthetic (I was impressed by the attention to detail with the Auradon Prep crest on the sweater vests and cardigans and the black feathers on Maleficent's cape). If this show doesn't put a smile on your face I don't know what will! It runs on Thursdays, Fridays, and Saturdays through May 23 and I definitely recommend getting a ticket (go here).

Note:  A huge thank you to the Empress for graciously providing me with tickets to this fun and entertaining show!

Come From Away at PTC

I love the musical Come From Away so much and I have yet to make it through a performance without crying. While the tears flowed once again when I saw it at PTC last night, there were elements of the production that I didn't like. U.S. airspace is restricted in the immediate aftermath of the attacks on 9/11 so 38 international flights without enough fuel to return to their city of origin must be diverted to the airport in the tiny town of Gander, Newfoundland, Canada. The nearly 7,000 stranded passengers almost double the population of Gander but the ordinary townspeople rise to the extraordinary occasion and willingly do whatever they can to provide transportation (which involves the temporary resolution of a contentious strike by bus drivers), food (which involves the suspension of all hockey games to use the ice rink to refrigerate perishables), clothing, shelter, and comfort. An ensemble cast of fourteen play multiple roles, often with just the addition of an article of clothing or prop, to provide the perspectives of both the townspeople and the so-called plane people. Their interactions will restore your faith in humanity, especially when a local woman named Beulah (Mary Fanning Driggs) comforts a passenger named Hannah (Galyana Castillo) when she cannot locate her firefighter son in NYC and when another local named Annette (Jessica Rush) allows Ali (Nathan Andrew Riley), a Muslim passenger who has come under suspicion, to use the library to pray. I also loved it when Bonnie (Angie Schworer), an SPCA worker, sneaks on a plane to give comfort to the animals abandoned on board, including a pregnant bonobo chimpanzee. Everyone is forever changed by the experience and I was, as always, incredibly moved by the powerful messages about compassion, community, and the indomitable human spirit. I love every song in the show but I particularly enjoyed hearing "Prayer," because it incorporates elements from multiple religions to provide a beautiful message of comfort and it always makes me cry, "Screech In," because it is a hilarious ceremony to become an honorary Newfoundlander involving copious amounts of alcohol and a codfish and it always makes me laugh out loud, and "Something's Missing" because it accurately describes the often jarring return to normal life after an intense experience and it always makes me long for the unity felt right after the attacks (especially with all of the division in the U.S. currently). I was also impressed by the performances because the cast does a great job differentiating between all of the characters. The standout for me was Rush because her rendition of "Me and the Sky" gave me goosebumps. What was missing from this production for me was the nostalgia for my native land that this show usually evokes. I especially disliked the set because it is too cold, sleek, and modern in my opinion. It is devoid of all of the quirky charm found in the original Broadway production and there are no visual references to Canada (where are the neon Tim Horton's and Molson Canadian signs?). Also, I don't know what dialect the townspeople are trying to speak but they didn't sound like any Canadian I know. I appreciate that they did try to say Newfoundland like a local but it didn't sound right to my ears because the emphasis should be on the third syllable rather than the second. I recognize that I might be the only one who cares but this production is so nondescript that it could have taken place anywhere and that really bothered this Canadian expat. Even though I didn't love this particular version, I still highly recommend getting a ticket (go here) because the show itself is definitely worth seeing and it is sure to warm even the most cynical heart. It runs through May 9.

Once on This Island at The Ruth

The last show I saw before Covid shut everything down was PTC's production of Once on This Island.  I loved this retelling of The Little Mermaid with Caribbean flair so I was very excited when The Ruth announced it as part of the 2026 season, especially since it is not done very often.  I saw it last night and I think I loved it even more than PTC's version!  A Little Girl (Nahla Fernelius) who lives on an island in the French Antilles is frightened by a storm so a group of Storytellers tell her about another girl on the island who once survived a storm to comfort her. This girl is a peasant named Ti Moune (Blythe Snowden) and she is rescued by Asaka, Mother of the Earth (Aria Love Jackson); Agwe, God of Water (Yahosh Bonner); Erzulie, Goddess of Love (Anya Sulimoni); and Papa Ge, Demon of Death (Beatriz Melo), then adopted by Mama Euralie (Koryn Sobel) and Tonton Julian (Oba Bonner).  She believes that she was saved for a reason and, as she grows up, she prays for the gods to reveal her destiny.  The gods decide to intervene again and, when a grand homme (a descendant of the original French plantation owners and their slaves) named Daniel Beauxhomme (JRay Kuhn) is injured in a car crash as a result, Ti Moune falls in love with him even though a relationship between a peasant and a grand homme is forbidden.  When the gods intervene yet again, Ti Moune sacrifices herself for love but her sacrifice ultimately brings the peasants and the grands hommes together and this is why they tell her story.  I loved the message about the power of love and the power of storytelling to unite a community divided by race and class because it is, unfortunately, very relevant at the moment.  I also really loved the percussive Caribbean music (I am strangely obsessed with steel drums), especially the songs "And the Gods Heard Her Prayer," "Rain," "Pray," "Forever Yours," "Mama Will Provide," "The Human Heart," "Some Girls," and "Why We Tell the Story." The entire cast is outstanding but I was particularly struck by Melo because she is so expressive and fun to watch and Snowden because her singing and dancing are lovely and her performance is incredibly emotional. The choreography by Izzy Arrieta (one of my favorite local choreographers) is an integral part of the storytelling and it is lively, energetic, and absolutely captivating.  The costumes feature vibrant colors and patterns and the set, which divides the stage into the beach (it is made of real sand and water) occupied by the peasants and the multi-level plantations occupied by the grands hommes, just might be my favorite at The Ruth (I loved all of the tropical flowers on stage and all around the theater).  This is a beautiful and powerful show that should not be missed (go here for tickets).  It runs in the Lindsay Legacy Theater through July 3.

Note:  One of my earliest memories as a child is seeing a group playing the steel drums on a street corner in Toronto.  I have loved them ever since.

Eugene Onegin at The Met

I really want to attend an opera at The Met (now that I have seen an NHL playoff game this is at the top of my bucket list) but, until I can make that happen, I decided the next best thing would be to see a live transmission of a production on the big screen.  I have just been waiting for an opera that I love and, when I learned that The Met was programming Eugene Onegin this season, I immediately got a ticket and went to see it yesterday.  I fell in love with this opera when I saw a production by Utah Opera in 2000 (I have been waiting for them for them to program it again ever since).  The novel upon which it is based by Alexander Pushkin is one of my favorite pieces of Russian literature and I think you all know how I feel about the composer Pyotr Ilyich Tchaikovsky so I couldn't help but love it.  Tatiana (Asmik Grigorian) is a young girl who longs for the kind of romance she finds in novels but her carefree sister Olga (Maria Barakova), who is engaged to their neighbor Lenski (Stanislas de Barbeyrac), tells her to stop dreaming and enjoy life.  When Lenski brings the wealthy and aristocratic Eugene Onegin (Iurii Samoilov) to their estate in the country for a visit, Tatiana falls passionately in love with him.  She spends a sleepless night pining for him then impulsively writes a letter expressing her feelings and has it delivered to him at dawn.  Onegin is a man of the world who refuses to be limited by marriage so he coldly rejects her and lectures her about her impetuosity.  Several months later, Lenski and Onegin attend Tatiana's name day celebration but Onegin is bored with country life and recklessly flirts with Olga, who momentarily falls under his spell, to distract himself.  Lenski feels betrayed by his friend and demands satisfaction.  When Onegin tries to reconcile, Lenski is unmoved and the duel proceeds with tragic results.  Several years later, Onegin is tormented by remorse for killing his friend and wanders aimlessly abroad.  Upon his return to St. Petersburg, he attends a ball given by Prince Gremin (Alexander Tsymbalyuk) and is surprised to learn that Tatiana is his wife.  As Gremin describes his happiness with Tatiana, Onegin realizes that he loves her and contrives to meet with her privately.  He begs her to forgive him for his mistake in refusing her but she is now a woman of the world with a prominent position in society and, even though she still loves him, she leaves him in despair.  This production is breathtaking with emotional performances that are absolutely riveting. Grigorian is a world-renowned soprano known for her dramatic and immersive interpretations of complex characters and her rendition of the famous Letter Scene did not disappoint.  She portrays so many different emotions (infatuation, longing, passion, exhilaration, vulnerability, fear, shame, and desperation) that I had goosebumps!  I love Tchaikovsky's music in this scene and The Met Orchestra, under the baton of Timur Zangiev, also infuses different moods into the repeating melody.  Barbeyac gives a beautiful and heartbreaking performance of the aria "Where have you gone, O golden days of my spring" as he hopes that Olga will remember him when he is dead and the juxtaposition between Samoilov's aloof rendition of "If I had wanted to limit my life to the family circle" and his desperation in "Is this the same Tatiana" is incredibly striking, especially when his voice falters from the intense emotion in the latter.  The staging is very dynamic, particularly the choreography for the folk dances at the harvest celebration, the waltzes at Tatiana's name day celebration, and the stylized promenade at the ball.  The sets are much more minimal than I was expecting considering the size of the stage but I loved the snow-covered trees and the sunrise projection used during the duel.  I have to admit that it felt odd eating popcorn at an opera but I loved this and will definitely see another live transmission at my local movie theater (go here for upcoming performances).

Note:  The cameras went backstage during the pauses and intermissions and I was impressed with the sheer number of people needed for the scene changes and how efficiently they worked (especially by how fast they covered the stage in snow which was rivaled only by how fast they removed it).

The Devil Wears Prada 2

Last night my sister and I went to see a Thursday preview of The Devil Wears Prada 2 and, as big fans of the original, we liked it but didn't love it.  Since leaving Runway magazine, Andy Sachs (Anne Hathaway) has become a respected and award-winning journalist but she is unceremoniously fired by text from the newspaper she works for when it folds.  Miranda Priestly (Meryl Streep) is having her own problems at Runway because she allowed an article praising a brand that uses sweatshop labor to be published.  The chairman, Irv Ravitz (Tibor Feldman), thinks that Andy will bring respectability back to the magazine and offers her the position of features editor.  She accepts because she now needs a job, much to Miranda's chagrin, but she finds things very different at Runway.  Nigel Kipling (Stanley Tucci) explains that Miranda has had to tone down her imperiousness to appease HR (in some hilarious scenes involving her new assistant played by Simone Ashley) as well as advertisers, including Emily Charlton (Emily Blunt) who now works at Dior, but she is surprised at Miranda's passive acceptance when Irv's son Jay (B.J. Novak) succeeds him as chairman and proposes new draconian cutbacks (including flying economy class to Italy).  However, Andy eventually inspires her to fight back when a tech billionaire (Justin Theroux) attempts to buy the magazine from Jay for nefarious reasons during Milan Fashion Week.  I really liked the commentary on the current state of journalism and the importance of keeping it alive because it makes the sequel relevant rather than mere fan service but, having said that, a Miranda resigned to the ever-changing media landscape for most of the runtime is not as much fun (I prefer the imperious Miranda).  That is not to say that there isn't a lot of fun to be had because it includes lots of buzzy cameos from fashion designers, models, and celebrities (my favorite was Lady Gaga), fabulous clothes, luxurious locations, and amusing call-backs to the original (a reference to using florals for spring made me laugh out loud).  While I do think that there are a lot of extraneous characters and subplots, I have to admit that I enjoyed seeing Streep, Hathaway, Blunt, and Tucci do what they do best and I liked their character development, especially the relationship between Miranda and Nigel.  This is good but not quite as good as the first movie.