Hadestown at the Eccles

I love the musical Hadestown so, even though I just saw the Teen Edition two weeks ago, I was thrilled to be able to see the Broadway touring production again last night at the Eccles. I really enjoyed some of the subtle changes in characterization from the original. Orpheus (Jose Contreras) is a poor boy with the gift of music who dreams of the world as it could be. Eurydice (Hawa Kamara) is a hungry girl who has only experienced the world as it is. She falls in love with Orpheus when he promises her a song that will bring back spring after Hades (Nickolaus Colon) calls Persephone (Namisa Mdlalose Bizana) back to him early. But times are hard and Eurydice is lured to the underworld by Hades in exchange for food. Orpheus travels there to rescue her when she is trapped in a cycle of endless work and desperation and Hades allows him to leave with her after hearing his song but the Fates (Gia Keddy, Miriam Navarrette, and Jayna Westcoatt) intervene and Orpheus is ultimately plagued by doubt. However, Hermes (Rudy Foster) reminds us that, even though the song is a sad one, we must keep singing it if we want to change the outcome. The music in this show is amazing and the performances from this cast definitely do it justice! Foster is quite the character as Hermes and I laughed out loud every time he milked the crowd in "Road to Hell" and "Way Down Hadestown." Bizana is a hoot as Persephone and she really leans into the physical comedy in "Livin' It Up On Top" and "Our Lady of the Underground" but she can really sing the blues and I loved her emotional performance of "How Long?" with Colon. He has an amazing baritone voice and that, combined with an imposing physicality, makes his Hades very menacing. His phrasing is a little bit different and he uses a reverb in "Why We Build the Wall" that makes it even more intimidating (I always get goosebumps in this song). Keddy, Navarrette, and Wescoatt reminded me of a gospel choir because their vocals are so powerful in "When the Chips Are Down," "Nothing Changes," and "Word to the Wise." The way they harmonize in "Doubt Comes In" gave me chills! Contreras has a beautiful voice and I actually liked it more than Reeve Carney's (he originated the role on Broadway). His renditions of "If It's True" and "Epic III" brought tears to my eyes! I loved every performance but Kamara's was my favorite. Her Eurydice is incredibly defiant in "Any Way the Wind Blows" (this is my favorite song in the show and I loved this interpretation) and guarded in "Come Home With Me" and "Wedding Song" so when she shows vulnerability in "Flowers" (another favorite song) it is absolutely devastating. The choreography and staging are iconic, especially for "Chant," because the way the Workers Chorus (Jonice Bernard, Bryan Chan, Ryaan Farhadi, Erin McMillen, and Joe Rumi) is incorporated mimics a factory assembly line, and "Wait For Me (Reprise)," because the journey through the underworld is conveyed through dramatic lighting (I have seen this performed with large ensembles lately and I was surprised by how moving I found the simpler choreography). This musical is up there with Hamilton and Les Miserables for me so it was an incredible experience to see it again and I highly recommend it! There are five performance left in the run at the Eccles Theatre (go here for tickets).

Clue at the Eccles

By now I have seen Clue many times (my favorite version was at the Utah Shakespeare Festival and my least favorite was at HCT) so I was really interested in how the staging for the Broadway touring production would compare. I went to the matinee yesterday and it was so much fun! Six guests using aliases arrive at an isolated manor on a dark and stormy night, including the blustering Colonel Mustard (Nate Curlott), the flustered Mrs. Peacock (Madeline Raube), the womanizing Professor Plum (Kyle Yampiro), the dramatic Mrs. White (Sarah Mackenzie Baron), the accident-prone Mr. Green (TJ Lamando), and the glamorous Miss Scarlet (Camille Capers), at the invitation of the mysterious Mr. Boddy (Joseph Dalfonso). It is soon revealed that he has been blackmailing each of them and, after providing them with weapons, he offers to return the evidence he has against them if they kill his butler Wadsworth (Adam Brett). However, Mr. Boddy, the Cook (AT Sanders), a Motorist (Kebron Woodfin), a Cop (Kebron Woodfin), Yvette the Maid (Zoie Tannous), and a Singing Telegram Girl (AT Sanders) are murdered instead and mayhem ensues as the guests try to determine the killer, the weapon, and the location of each murder. The set is one of the best I've seen for this show and includes a mahogany paneled main entry with backdrops for a hallway and dining room that come down from the rafters and doors that open from the wings and rotate on stage to reveal the lounge, the study, the library, the kitchen, the conservatory, and the billiards room. The elaborate choreography as the characters move from room to room while the set is reconfigured is both extremely clever and hilarious to watch, especially when the characters dance as they separate into pairs to search the entire manor. The lighting and sound cues also add to the hi-jinks. The dialogue is incredibly witty and delivered at lightning speed (the joke about the Republican party got lots of laughs and applause), the sight gags are amusing (my favorite was the use of the board game as a map to the manor), and the physical comedy is the highlight of the show (everyone in the cast has brilliant comedic timing). Mr. Green is my favorite character because he is always so hilariously overwrought and I loved Lamando's physicality as he is trapped under two different bodies and a chandelier but Brett steals the show as Mr. Boddy because he is completely over the top in the scene where he reenacts all of the murders (his imitations of all of the other characters are so spot-on that the audience was hooting with laughter). I probably didn’t need to see this again but I really enjoyed it. I recommend attending one of the two remaining performances (go here for tickets) if you are in need of a laugh.

Note: I still prefer the production at the Utah Shakespeare Festival but this is a close second!

A Beautiful Noise at the Eccles

Last night I went to the Broadway touring production of A Beautiful Noise at the Eccles Theatre and, even though I am only a casual fan of Neil Diamond, I really loved it! This is a jukebox musical based on the life and music of Neil Diamond and it uses the framing device of having the present day Neil (Robert Westenberg), who has retired from performing, attend a therapy session at the behest of his wife. He struggles to talk about himself so his doctor (Lisa Renee Pitts) brings out her second-hand copy of The Complete Lyrics of Neil Diamond and has him react to some of his lyrics in order to get him to open up ("A Beautiful Noise"). His songs prompt him to relive key moments from his life as the younger Neil (Nick Fradiani) performs them, including his work as a songwriter for other artists ("I'm a Believer"), his early days as a performer ("Solitary Man" and "Cracklin' Rosie"), his battle with depression ("Song Sung Blue"), his guilt over an affair ("Cherry, Cherry" and "September Morn'"), the end of his first marriage ("Love on the Rocks"), the pressure for him to continue writing hits ("Hello" and "Sweet Caroline"), his life on the road ("Brother Love's Traveling Salvation Show"), the price of fame on his relationships ("Play Me" and "Forever in Blue Jeans"), and the end of his second marriage ("You Don't Bring Me Flowers"). He is forced to reconcile the trauma of a lonely childhood as the son of immigrants ("Brooklyn Roads," "America," and "Shilo") and accept that his diagnosis with Parkinson's disease has ended his career ("I am...I  Said") before he is able to express gratitude for his extraordinary life ("Holly Holy"). I really enjoyed the structure because, just like with The Four Seasons in Jersey Boys, Diamond's music was informed by what was happening in his life at the time (both musicals were produced by Bob Gaudio) so it is very effective in driving the narrative forward. The music is amazing and elicited a lot of audience participation, particularly during "Sweet Caroline."  I love the songs "Love on the Rocks" and "Holly Holy" but I was surprised by how many other songs I remembered and I had to try really hard not to sing along. The staging is very clever because the ensemble performs as a group called The Noise who appear as background singers and dancers for the young Neil and as the noise inside the present day Neil's head. The way that both of the Neils interact with each other is very powerful, especially during a highly emotional performance of "I Am... I Said," and so is the interaction between Jaye (Tiffany Tatreau) and Marcia (Mary Page Nance) during "Forever in Blue Jeans" because it is as if the first wife is warning the second one about what will eventually happen. Fradiani is amazing in the lead role because, even though he sounds so much like Neil Diamond that it is almost uncanny, he is still able to differentiate his performance enough that it is not merely a rote impersonation. He has tremendous charisma as a performer and you cannot take your eyes off him during the big production numbers in Act II (the sequins may also have something to do with it) but I think his simple acoustic version of "Solitary Man" with just him on the guitar is even more compelling. This is a thoroughly entertaining show and a must-see for fans of Neil Diamond! There are five more performances at the Eccles Theatre (go here for tickets) and I highly recommend it.

'Twas the Night Before at the Eccles

I really enjoyed the Cirque du Soleil shows that I have seen (Mystere and Love in Las Vegas) so I was excited to see their first ever Christmas show, 'Twas the Night Before, last night at the Eccles Theatre. As expected, it is a dazzling spectacle that is sure to give you a big dose of Christmas cheer! Isabella (Elodie Sanna) and her Father (William Borges) always read "A Visit From Saint Nicholas" by Clement C. Moore together but this year she feels that she has outgrown the tradition and even rejects the bicycle he gives her as a present. Then a winter storm separates them and they are transported by mischievous elves into a magical world inspired by the poem and brought to life by whimsical aerialists, jugglers, and acrobats. They are eventually reunited by Santa Claus (Chris Aguirre Aceituno) and his reindeer with a new sense of joy and wonder for the holiday. The stage features a glittering backdrop of tinsel and lights with a large ramp (which I thought would be used more) connecting an upper level to the main level. The show also includes really fun remixes of traditional Christmas songs (my favorite was "O Come, O Come, Emmanuel" performed by a cello during an aerial routine) with choreography that is perfectly in sync with the beat. The performances are nothing short of amazing and there were multiple times when I wondered how the cast members were able to execute such impressive stunts (the audience broke out into spontaneous applause in the middle of almost every number). The highlight for me was when a group, including Shih-Rong Huang, Yi-Fang Chen, Yu-Hui Teng, and Shih-Wei Huang, toss illuminated diabolos, or spinning tops on wires, across the stage and into the audience because it looks so cool (I have no idea how they were able to catch them on the wires). I also loved seeing an aerialist (Victoria Baudry-McPherson) spin on a rotating hotel cart, a group of reindeer (Aaron Blomme, Esteban Masco, David Tanner, Lucas Costa De Souza, Mohamed Conte, Changzheng Xu, and Shane William Minerich) jump and perform somersaults through impossibly high rings, and Isabella balance on a moving bicycle. This show is not quite as immersive as the ones I have seen in Las Vegas (which are performed in the round) but it is a lot of fun and it is perfect for families during this holiday season. It runs at the Eccles Theatre through December 14 with multiple shows on Saturdays and Sundays (go here for tickets).

Suffs at the Eccles

Last night I went to see the Broadway touring production of Suffs at the Eccles Theatre and I really loved it (both the story, involving fictionalized versions of historical characters, and the music, featuring stirring anthems, reminded me a lot of Hamilton). It focuses on the women's suffrage movement beginning in 1913 until the ratification of the Nineteenth Amendment to the U.S. Constitution in 1920 from the perspectives of Carrie Chapman Catt (Marya Grandy), who leads the National American Woman Suffrage Association (NAWSA) and advocates for a conservative and respectful approach to make women's suffrage palatable to President Woodrow Wilson (Jenny Ashman), and Alice Paul (Maya Keleher), who eventually forms the National Woman's Party (NWP) and pushes for direct action to force Wilson to support them. There is also a parallel story involving a rift between Ida B. Wells (Danyel Fulton), a prominent Black journalist and activist who openly criticizes Paul for compromising on suffrage for Black women, and Mary Church Terrell (Trisha Jeffrey), a Black teacher and activist who thinks working with Paul will eventually help their cause. Along with the infighting and disagreements between the women, this also explores the sacrifices they make and the mistreatment they suffer while working for the vote. I found the story to be incredibly compelling and I loved seeing depictions of real historical events such as the women's march on Washington the day before Wilson's inauguration, the suffragists standing silently in protest at the gates of the White House, the hunger strikes by the suffragists in prison, and the dramatic ratification of the Nineteenth Amendment by a single vote. The music is absolutely incredible and there were several moments when I wanted to stand up and cheer! My favorite songs were "Wait My Turn" as Ida expresses her anger at being excluded from the march, "The March (We Demand Equality)" as the women show their determination to be heard (this reminded me so much of "My Shot" from Hamilton and it gave me goosebumps), "Worth It" as Alice thinks about the challenges of defying societal norms, "This Girl" as Carrie describes the generational differences between her and Alice, "The Young Are at the Gates" as the women silently protest outside the White House, "Fire & Tea" as Carrie and the NAWSA have tea with President Wilson while Alice and the NWP burn him in effigy, and "Keep Marching" as the women continue their fight for equality. The performances are outstanding and filled with passion, the costumes are beautiful and do much to differentiate between the different generations, and the minimal sets keep the action moving. I loved everything about this powerful show and I highly recommend getting a ticket (go here). It runs at the Eccles Theatre through November 16 with matinees on Saturday and Sunday.

Some Like It Hot at the Eccles

The 2025-2026 Broadway at the Eccles season began with a tap dancing extravaganza! I was really excited to see Some Like It Hot last night because I love the movie but had never seen the stage adaptation before. The musical follows the basic plot of the movie but it leans more heavily into the theme of identity and being true to yourself and I really liked it. During the Prohibition era in Chicago, two struggling musicians, Joe (Matt Loehr) and Jerry (Tavis Kordell), accidentally witness a mob hit by their boss Spats Colombo (Devon Goffman). In order to flee from the city without being caught, they are forced to disguise themselves as women, Josephine and Daphne, in order to join an all-female band, led by Sweet Sue (Dequina Moore), traveling to San Diego. Complications ensue when Joe disguises himself as an Austrian screenwriter to pursue the singer Sugar Kane (Leandra Ellis-Gaston), when the eccentric millionaire Osgood Fielding III (Edward Juvier) pursues Daphne, and when Spats eventually finds them. It turns out that Joe must discard Josephine and Kip von der Plotz and Jerry must embrace Daphne for them to find success and happiness. The choreography in this show is amazing! I am always impressed by tap dancing and I absolutely loved the dazzling performances in the dynamic high-energy numbers "You Can't Have Me (If You Don't Have Him)," "I'm California Bound," "Take It Up a Step," "Zee Bap," "Some Like It Hot," "Let's Be Bad" (the synchronization in this blew me away), "Dance the World Away," and "Baby, Let's Get Good." However, the number that impressed me the most is "Tip Tap Trouble" because the entire cast is involved in an epic chase sequence while tap dancing through constantly moving doors in the Hotel del Coronado. The precision and timing required for the complicated staging of this number is impressive, to say the least, and it is executed to perfection! Loehr and Kordell are outstanding dancers, especially when they dance in heels, and the ensemble is one of the best I've seen. This production features two powerhouse voices because both Moore and Ellis-Gaston just about blow the roof off the Eccles Theatre in "What Are You Thirsty For?" and "Ride Out the Storm," respectively. There are some really poignant moments, especially when Sugar sings about wanting to be a star in "At the Old Majestic Nickel Matinee" and when Osgood tells Daphne to just be herself in "Fly, Mariposa, Fly," but, like the movie, this show is really funny with lots of witty one-liners. I especially loved a running bit about how old Josephine looks but I laughed out loud at just about everything Osgood says and does (Juvier's hilarious performance is definitely one of the highlights). Finally, the Art Deco inspired sets and the glamorous costumes are a lot of fun. I had a blast watching this Tony Award-winning show and highly recommend getting a ticket (go here) for one of the five remaining performances.

Note: I have been sitting next to the same group of people ever since the Eccles Theatre opened (they have pretty much adopted me). This season they decided to give up one of their seats and my friend Angela was able to buy it. I had so much fun watching this show with her so I am really looking forward to the rest of the season.

& Juliet at the Eccles

I have been looking forward to seeing & Juliet ever since the Broadway at the Eccles 2024 - 2025 season was announced and I finally had the chance last night.  I loved it and I had so much fun singing along to all of the pop songs and laughing at all of the Shakespeare references!  William Shakespeare (Corey Mach) is ready to present his latest play Romeo and Juliet when his wife Anne Hathaway (Teal Wicks) unexpectedly arrives to watch it.  She is immediately unhappy with the tragic ending and offers suggestions for an alternate one.  Shakespeare reluctantly listens to her ideas while her version is acted out in front of them.  Juliet (Rachel Simone Webb) wakes up in her tomb to find Romeo (Michael Canu) dead and impulsively decides that she shouldn't kill herself over a man she hardly knows.  She learns that her parents plan to send her to a convent to punish her for forbidden relationship with Romeo so her Nurse (Kathryn Allison), her best friend May (Nick Drake), and her new friend April (who is portrayed by Anne), encourage her to run away.  They travel to Paris and crash the Renaissance Ball, a party thrown by Lance Du Bois (Paul-Jordan Jansen) to encourage his son Francois (Mateus Leite Cardoso) to find a bride, and soon "Frankie" and Juliet are bonding over the control their parents have over them.  Frankie proposes when his father tells him that he must either get married or join the army and Juliet accepts him when her parents arrive to take her to the convent.  However, Shakespeare is unhappy that there isn't enough conflict in the play so he secretly brings Romeo back from the dead which angers Anne.  Will Juliet choose Frankie, Romeo, or herself?  Will Shakespeare ever understand why Anne wants Juliet to have a choice?  This show is so clever because it reimagines a classic to tell a very modern story about empowerment and the use of pop songs written by Max Martin for the Backstreet Boys, Britney Spears, Kelly Clarkson, Jessie J, Katy Perry, The Weeknd, and others is absolutely brilliant.  The songs fit the narrative really well and I especially loved "Larger than Life"  when Shakespeare is first introduced, "Overprotected" when Frankie and Juliet complain about their parents, "Oops!... I Did It Again" when Juliet realizes that she has started yet another relationship too quickly, "Since U Been Gone" when Romeo suddenly reappears in Juliet's life, "Stronger" when Juliet refuses to do what her parents want, and "Roar" when she takes control of her life.  I laughed so hard when Frankie sings "It's Gonna Be Me" as he confesses his feelings for May (iykyk) and I also laughed out loud at a hilarious reference to Macbeth.  I loved Webb's dynamic performance, the fun choreography, the modern take on the Renaissance silhouette in the costumes, and the vivid neon colored set pieces and projections (especially the use of signs featuring the names Juliet and Romeo).  I had such a great time at this show and I highly recommend getting a ticket to one of the five remaining performances at the Eccles Theatre (go here).

Wicked at the Eccles

I really love the musical Wicked because not only is it a powerful ode to anyone who has ever felt different but it is also extremely clever in the way it sets up the events in The Wizard of Oz and the music is so stirring.  I love it so much that I don't think I will ever get tired of seeing it (the usher, who talks to me before every show, asked me how many times I've seen it and I think the number is now ten).  It was so much fun to see it again last night at the Eccles Theatre, especially now that I have seen the movie (I cannot wait for the second part now).  I am really glad that it is still the original production and that it hasn't been changed to conform to the choreography, costumes, and production design of the movie because I've always really enjoyed all of these elements in the stage version (although I thought the projections for the tornado were really underwhelming this time around).  I noticed that the pace is so much faster in comparison to the movie with scenes moving very quickly but I actually appreciated this because I always sit with great anticipation for all of my favorite numbers.  The two leads in this production, Austen Danielle Bohmer as Glinda and Lauren Samuels as Elphaba, are wonderful and I especially enjoyed Bohmer's hilarious rendition of "Popular" (I loved it when she hunched down to get her wand working) and Samuels is incredibly powerful in "The Wizard and I," "Defying Gravity," and "No Good Deed" as well as very affecting in "I'm Not That Girl" (my favorite song in the show).  They also sound great together in "What Is This Feeling?" and "For Good" although their physicality is a bit off because Samuels is very slight in stature (I always think that Elphaba should be larger and more awkward than Glinda).  I also really liked Xavier McKinnon as Fiyero because he is charismatic (and is a great dancer) in "Dancing Through Life" and he has a lot of chemistry with Samuels in "As Long As You're Mine."  He is especially awkward with Samuels when she leaves Shiz for the Emerald City as well as with Bohmer during "Thank Goodness."  Aymee Garcia is one of the sassiest Madame Morribles I've seen and Blake Hammond is suitably smarmy as the Wonderful Wizard of Oz but I found Erica Ito and Alex Vinh to be a bit bland as Nessarose and Boq, respectively.  This show will always be a favorite and I absolutely loved seeing so many people around me experience the stage version for the first time after being introduced to the story by the movie.  I highly recommend getting a ticket (go here) through the run at the Eccles Theatre which continues through May 25.

Note:  After seeing the movie, I decided to read Wicked: The Life and Times of the Wicked Witch of the West by Gregory Maguire.  It is extremely dark and very weird (Elphaba and Glinda do not even interact very much) and I definitely prefer the stage adaptation.

Life of Pi at the Eccles

I really love the book Life of Pi by Yann Martel and I also enjoyed the movie adaptation but I wondered how it would translate to the stage because the book is very interior and the movie is incredibly cinematic.  I had the chance to see the Broadway touring production at the Eccles Theatre last night and I was blown away by the spectacular staging and an incredible central performance.  After surviving 227 days at sea, Piscine "Pi" Patel (Taha Mandviwala) is washed on shore in Mexico as the sole survivor of a Japanese freighter that was sunk during a storm.  He is questioned by officials and begins recounting his life at his family's zoo in India, their decision to emigrate to Canada with the animals, the sinking of the ship, and his fantastical journey at sea trapped in a lifeboat with a Bengal tiger named Richard Parker.  The officials do not believe his story about coexisting at sea with a dangerous animal so he tells them a more plausible one and leaves it up to them to determine which one is true.  I loved the emphasis on the power of storytelling and that sometimes the better story requires you to believe something without proof.  I also found the emphasis on survival and the need to create a story in order to live with what was done in the name of survival to be very compelling.  The interiority of the novel is very cleverly portrayed by having characters physically appear to Pi during his darkest moments at sea to give him instructions for survival (the admiral, portrayed by Sinclair Mitchell, who reads to Pi from his survival guide was my favorite).  The visuals used in this production are absolutely stunning and I especially loved the projections and fog used to represent the undulating ocean waves all around the lifeboat and the lighting effects that mimic a starry night at sea.  The set is absolutely brilliant and the transitions from the hospital, to the zoo, to the ship, to the lifeboat, and back to the hospital again happen in an instant.  The animals are portrayed by the most amazing puppets (they were designed by Finn Caldwell who also worked on the puppets in War Horse) and the way the puppeteers manipulate them is ingenious!  I was giggling out loud watching the orangutan swing from branch to branch in the zoo as well as the iridescent fish swimming around the lifeboat but the appearance of Richard Parker (performed by Jon Hoche, Anna Vomáčka, and Andrew Wilson) took my breath away because his movements are so lifelike and I couldn't take my eyes off him whenever he was on stage.  Finally, this production is worth seeing for Mandviwala's energetic physical performance alone.  This is one of the most mesmerizing shows I've seen and it is certainly my favorite from the 2024-2025 Broadway at the Eccles season (which is ironic because I wasn't especially looking forward to it).  There are five more performances left at the Eccles and I highly recommend getting a ticket for one of them (go here).

Les Miserables at the Eccles

The first time I saw Les Miserables while on a study abroad trip to London, I was almost overcome when I heard those dramatic opening notes and, even though I have now seen it more times than I can count, I was still still incredibly moved when I heard them again at the Eccles Theatre last night.  I always wait with great anticipation for all of my favorite numbers and I loved every one of them in this production because it has one of the best casts I've ever seen!  As expected, Nick Cartell (who also played Jean Valjean that last time this show was in town) gives a highly emotional performance of "Bring Him Home" but I was actually moved to tears during Valjean's "Soliloquy" because his transformation is palpable.  I don't think I have ever had such a strong reaction to this song before but I was an absolute mess after Cartell's beautiful rendition.  Lindsay Heather Pearce, as Fantine, is heartbreaking in her version of "I Dreamed a Dream" because you can really feel her disillusionment.  Nick Rehberger, as Javert, is incredibly powerful during "Stars" because he just about blows the roof off of the Eccles Theatre.  Christian Mark Gibbs, as Enjolras, is especially stirring in "Red and Black" and "Do You Hear the People Sing" because I wanted to stand up and cheer (I really loved his voice).  Jake David Smith, as Marius, is absolutely devastating in his performance of "Empty Chairs at Empty Tables" because I was reduced to tears once again by his anguish during this scene.  I was also really struck by Andrew Marks Maughan, as Combeferre, because I loved both his physicality (he is very tall) and his voice in "Red and Black," "Do You Hear the People Sing," and "Drink with Me to Days Gone By."  Finally, I always judge every production by how Eponine sings "On My Own" (my favorite song in the show) and Mya Rena Hunter absolutely delivered.  She imbues this song (as well as "A Little Fall of Rain") with a vulnerability that is in sharp contrast to her previous interactions with Marius and I loved this characterization.  I love the new staging without the turntable because the sets are more elaborate and truer to the events in the novel, especially in "Look Down" and "At the End of the Day," and the new backdrops feature Victor Hugo's original illustrations which are very striking.  The only element that I miss from the original staging is when the turntable slowly rotates to reveal Enjolras upside down on the barricade with the flag (he is now shown with the flag on a dogcart but it isn't as dramatic).  I love this show and I love that it still has the power to affect me in such a profound way every time I see it.  There are still tickets available for the five remaining performances (go here) and I highly recommend it!

The Book of Mormon at the Eccles

Watching The Book of Mormon in Sal Tlay Ka Siti is so much fun because audiences here get all of the jokes!  I saw the Broadway touring production again last night at the Eccles Theatre and I don't think I stopped laughing the whole time!  After spending some time at the Missionary Training Center learning how to preach the gospel around the world ("Hello"), Elder Price (Sam McLellan) and Elder Cunningham (Diego Enrico) are called to serve in a remote village in Uganda.  Elder Price is very disappointed in the location because he had hoped to go to Orlando, the most wonderful and magical place on Earth.  He is also disappointed in his companion because Elder Cunningham has a tendency to lie to compensate for his low self-esteem.  However, he soon realizes that he will be a great missionary no matter the circumstances ("You and Me But Mostly Me").  When they meet their fellow missionaries in Africa, they get some advice about dealing with any unusual feelings they might be having ("Turn it Off") and they soon realize that Africa is nothing like The Lion King because the villagers are more concerned with poverty, famine, AIDS, and a violent warlord than with their message ("An American Prophet").  Elder Price gets discouraged and decides to go home but, when the chief's daughter Nabulungi (Keke Nesbitt) shows some interest because she wants to leave Africa and go to paradise ("Sal Tlay Ka Siti"), Elder Cunningham must teach her on his own ("Man Up").  He has never actually read The Book of Mormon because it is boring so he begins embellishing it with references to The Matrix, Star Wars, Star Trek, and The Lord of the Rings ("Making Things Up Again") and eventually baptizes Nabulungi ("Baptize Me") and then the rest of the village.  Meanwhile, Elder Price decides to return after having a dream about being in Hell with Jeffrey Dahmer, Genghis Khan, Hitler, and people who drink Starbucks coffee ("Spooky Mormon Hell Dream").  Even though they get in trouble for their false teachings, they see that they have made the lives of the villagers better so they decide to stay and even send missionaries out to teach The Book of Arnold ("Hello Reprise").  In my opinion, this is an absolutely hilarious satire that exaggerates what is already humorous about the religion but people could definitely find it offensive because it is outrageous and often very inappropriate (there is a lot of profanity).  However, my audience seemed to feel as I do because it was one of the most enthusiastic I've seen and the laughter was sometimes louder than the actors, especially during "Sal Tlay Ka Siti."  In addition to the humor, the sets and costumes are visually stunning, the musical numbers are very catchy, and the choreography is incredible, especially in "Turn it Off" (I always enjoy tap dancing) and "I Am Africa."  The performances of the three leads are fantastic but Craig Franke steals the show as Elder McKinley, a missionary trying to pretend that he is not gay.  I had a blast watching this but I suggest doing a little research before buying tickets (which may be purchased here) to make sure it is something you would enjoy.  It runs at the Eccles Theatre through January 26.

Kimberly Akimbo at the Eccles

Last night I went to see the Broadway touring production of Kimberly Akimbo.  This was one of my most anticipated shows this season because it won so many Tony Awards and, even though it is very dark, I liked its quirkiness and message about living life to the fullest.  Kimberly Levaco (Carolee Carmello) is a teenager with an unnamed disease that causes her body to age four times faster than normal and will soon prove fatal.  She also has a dysfunctional family with an alcoholic father named Buddy (Brandon Springman) and a narcissistic mother named Pattie (Dana Steingold), who are having another baby to replace her, as well as an aunt named Debra (Emily Koch) who is a criminal and may or may not have necessitated a hasty move by the family to New Jersey.  Kimberly is now trying to navigate the normal travails of adolescence in a new school with these added issues but, when she meets the nerdy Seth (Miguel Gil), who speaks Elvish, plays the tuba, and loves anagrams, and four members of the show choir, Delia (Grace Capeless), Martin (Darron Hayes), Teresa (Skye Alyssa Friedman), and Aaron (Pierce Wheeler), who act as a Greek Chorus, she decides to experience everything the world has to offer while she can.  All of the shifts in tone really work in this show.  Kimberly's fate is tragic and her family members are despicable but humor (I laughed out loud multiple times, especially at a running joke about the unrequited feelings the members of the show choir have for each other) is one of the ways she deals with her situation and she is ultimately able to thrive (the morality of what she does may be up for debate but I loved the feel-good ending).  I definitely don't think the music in this show is strong enough to warrant the Best Musical Tony but I did love "Father Time," which Pattie sings as a lullaby to her unborn child but is really a plea for more time with Kimberly, "Good Kid" in which Seth laments that he has always done the right thing but it hasn't made much of a difference, and "Our Disease" in which Kimberly realizes that getting older is her disease but it is the cure for everything that plagues her friends.  Carmello does an outstanding job portraying a 16 year old trapped in the body of a 70 year old but I didn't always love her vocal performance (it was sometimes very strident).  Gil is amazing as the irrepressible Seth (it was his performance that really drew me in) and I also really loved the young ensemble.  The set design is simple but really creative (I loved the ice skating rink because it appears as if the characters are actually ice skating) and I was especially impressed by the seamless transitions between scenes.  The costumes are perfect for the 90s setting.  I enjoyed this and recommend getting a ticket to one of the five remaining performances at the Eccles Theatre (go here) with the proviso that there is quite a bit of profanity.

Peter Pan at the Eccles

Last night I went to see a new and updated version of Peter Pan and I was very impressed with all of the magical special effects (at one point I was actually giggling out loud).  Peter Pan (Nolan Almeida) climbs through the window of the Darling children's bedroom to reclaim his shadow and ends up taking Wendy (Hawa Kamara), John (William Foon), and Michael (Camden Kwok) on an adventure to Neverland to meet the Lost Boys.  They run afoul of Tiger Lily (Raye Zaragoza) and her tribe but they eventually join forces to defeat Captain Hook (Cody Garcia) and his pirates.  Peter does not want to grow up so he stays behind when the Darling children take the Lost Boys back home but he returns years later to take Wendy's daughter Jane (Christina Helene Braa) on a new adventure.  At first it was a little bit disconcerting to see a more contemporary version set in the U.S. instead of Victorian England with references to social media but as soon as Almeida appeared and starting singing "I Gotta Crow" I was completely captivated.  Other changes include a multicultural cast of children, a male actor playing Peter, better representation for Tiger Lily and the other indigenous people (they clash with the Lost Boys because of their lack of reverence for the land and the problematic song "Ugg-a-Wugg" is replaced with "Friends Forever" which emphasizes cooperation), an expanded role for Wendy, and the addition of the poignant song "When I Went Home" (it was cut from the original 1954 production) which explains why Peter wants to stay in Neverland.  Almeida is the highlight of the show because his performance is incredibly dynamic and he displays a child-like wonder that is very appealing.  I loved his voice and I loved watching him during the high-energy choreography, particularly when he interacts with his shadow and when he fights a duel with Hook.  Garcia is a hoot as Captain Hook and I laughed at all of his antics, especially during "Hook's Tango," "Hook's Tarantella,"  and "Hook's Waltz" (all of his pirates play musical instruments during these songs and it is hilarious).  As I mentioned, the technical elements in this show are dazzling!  The flying sequences are amazing (the projections as they fly to Neverland are absolutely spectacular and I actually felt like I was flying, too) and the lighting design for Tinkerbell is so much fun. In addition to the projections, the physical sets include an elaborate bedroom for the Darling children, the lair used by Peter and the Lost Boys in the middle of a lush forest, and the deck of Captain Hook's pirate ship and they are quite impressive.  I appreciated the care taken with the costumes for the indigenous people but my favorite one was for Captain Hook (a red waistcoat and frock coat with gold embroidery, a white ruffled shirt, and black knee boots).  I had so much fun watching this (much more than I was expecting) and I highly recommend getting a ticket for one of the five remaining performances (go here for tickets).

Funny Girl at the Eccles

I have seen the movie Funny Girl dozens of times so I was really excited to see the stage musical upon which it is based last night at the Eccles.  I absolutely loved it!  After Fanny Brice (Leah Platt) is fired from the chorus of a vaudeville show, she and her friend Eddie Ryan (Izaiah Montaque Harris) contrive to get her back on stage and she wins the audience over.  This leads to stardom with Florenz Ziegfeld (Mathew Fedorek) and the Ziegfeld Follies as well as love, and eventual heartache, with Nick Arnstein (Stephen Mark Lukas). I loved hearing all of the instantly recognizable songs, especially my favorites "I'm the Greatest Star," "People," "You Are Woman, I Am Man," "Don't Rain on my Parade," "Sadie, Sadie," and "Who Are You Now," and I really had to try, sometimes unsuccessfully, not to sing along (I don't feel too badly about singing occasionally because the man sitting behind me was saying some of the dialogue out loud).  The staging of the big Ziegfeld Follies numbers "His Love Makes Me Beautiful" and "Rat-Tat-Tat-Tat" are really fun and I also enjoyed the choreography for "Henry Street" because it is so exuberant.  Platt does a great job as Fanny because she makes the iconic character, immortalized by Barbra Streisand, her own.  I loved her unique interpretation of "People" and her heartfelt versions of "The Music That Makes Me Dance" and  "Funny Girl" but I was most impressed by her rendition of "Don't Rain on my Parade (Reprise II)" at the end of the show because she just about blew the roof off of the Eccles Theatre.  Lukas is gorgeous (iykyk) and charismatic, especially in "You Are Woman, I Am Man," but my favorite performance from him was "Temporary Arrangement" because his vulnerability is palpable.  Singer Melissa Manchester is Mrs. Brice (she received applause when she took the stage for the first time) and I loved how she and her cronies Mrs. Strakosh (Cheryl Stern) and Mrs. Meeker (Christine Bunuan) serve as a Greek chorus as they play cards on Henry Street.  I was happy to see all of the traditional backdrops (this really feels like a big old-fashioned musical) and the period costumes are fabulous.  It was great to finally get to see this show after being a fan of the movie for so long and I highly recommend it.  There are five more shows through October 13 (go here for tickets).

Mrs. Doubtfire at the Eccles

It is no secret that I am not a fan of turning a popular movie into a stage musical so, when the Broadway at the Eccles 2024-2025 season was announced, Mrs. Doubtfire (based on the 1993 movie of the same name) was the show that I was the least excited about.  I saw it last night and I was very pleasantly surprised by how much I enjoyed it.  Daniel Hillard (Rob McClure) is an unemployed voice actor who loses custody of his children, Lydia (Giselle Gutierrez), Christopher (Sam Bird), and Natalie (Sunny Lauren Holder), after a messy divorce from his wife Miranda (Catherine Brunell).  When he learns that Miranda is hiring a nanny, Daniel creates the character of a Scottish nanny named Euphegenia Doubtfire and applies for the position so that he can spend time with his children.  However, the character begins to take on a life of her own but she ultimately teaches Daniel how to be a better father and that love is what makes a family.  The show is absolutely hilarious (I was laughing out loud all night) because it recreates most of the really memorable moments from the movie including when Mrs. Doubtfire tries to cook.  It is also quite heartwarming with some poignant messages about divorce from the POV of the children involved and I especially loved the songs "Just Pretend" and "As Long as There Is Love" (the woman sitting in front of me was sobbing during this number).  McClure, who originated the role on Broadway, had big shoes to fill in taking on a character played by Robin Williams but he absolutely kills it!  I loved all of his different voice impersonations (one of Donald Trump and an ad libbed joke about it got the biggest laugh all night) and his physical comedy is brilliant, particularly in scenes where Daniel changes in and out of the Mrs. Doubtfire disguise quickly.  One of the biggest criticisms that I have about turning movies into musicals is that the songs are often contrived and forgettable but I actually loved many of the songs (as well as the choreography and staging) in this show.  In addition to the aforementioned "Just Pretend" and "As Long as There Is Love," I especially loved the disco anthem "Make Me a Woman" where Daniel asks his brother Frank (Aaron Kaburick) and his brother-in-law Andre (Marquez Linder) to help him disguise himself as a nanny and they model his transformation on Jackie O, Princess Diana, Cher, Madonna, and Donna Summer (who appear on stage) until Daniel mentions that his character is an old woman and then Eleanor Roosevelt, Julia Child, Margaret Thatcher, and Janet Reno join them for a hilarious dance number.  I was not expecting to love this but I did and I highly recommend it!  Go here for tickets to one of the five remaining performances through September 15.

Hamilton at the Eccles

I have now seen Hamilton thirteen times in seven cities (New York, Los Angeles, Denver, SLC, Las Vegas, Chicago, and San Francisco) and I can honestly say that I was just as excited last night at the Eccles Theatre as I was when I saw the Original Broadway Cast on Broadway!  I love this show so much and I don't think I will ever get tired of seeing it.  I anticipate every single number (I really have to make an effort to keep from singing along) and last night I particularly enjoyed what each actor in this production did to make the role his or her own.  Understudy Alex Nicholson has a different look than the other actors I've seen play Alexander Hamilton but I really liked the humor he was able to infuse into the character, particularly when he imitates other characters during "Farmer Refuted," "Cabinet Battle #1," and "Cabinet Battle #2."  I also liked his interpretation of "It's Quiet Uptown," especially when he bows deeply towards Eliza after she takes his hand (I have never made it through this song without crying).  Josh Marin, another understudy, is one of my favorite actors to play Aaron Burr because he gave me goosebumps during his powerful performance of "Wait For It" (his transition from the verse to the chorus blew me away), made me laugh during "The Room Where It Happens," and made me cry during his emotional performances of "Dear Theodosia" and "The World Was Wide Enough."  Kameron Richardson is a diminutive George Washington but that didn't stop him from blowing the roof off of the Eccles Theatre during "Right Hand Man" (I got chills when he first came on stage) and "One Last Time."  Simon Longnight is a more flamboyant Thomas Jefferson while Paul Louis Lessard is a more subdued (but hilarious) King George III than I've seen before.  Kendyl Sayuri Yokoyama is very soft as Eliza (I loved all of the bits of girly business she adds to "Helpless") and this worked for me because it is such a big contrast to the way that Lencia Kebede portrays Angelica and it creates a dynamic moment during "Burn" when she builds to a dramatic crescendo.  However, I wanted more of a reaction from her during "Stay Alive (Reprise)."  There were quite a few people around me who were seeing this for the first time and the energy from the crowd was so much fun!  I loved the spontaneous audience participation during "You'll Be Back" and the cheers during the dance break in "Yorktown."  Finally, I always notice something new every time I see this and last night it was the ensemble doffing their hats to George Washington as he leaves the stage after "One Last Time."  I can't begin to describe the thrill I felt, even after seeing it so many times, watching this last night!  It will definitely be a highlight of the year for me.  This runs at the Eccles Theatre through September 1 (go here for tickets) and, obviously, I highly recommend getting a ticket, especially if you have never seen it before!

Girl from the North Country at the Eccles

The latest Broadway touring production to hit the Eccles Theatre stage is Girl from the North Country and the reaction from SLC audiences has been pretty negative (to say the least).  I decided to try and have an open mind when I went to see it last night and I am so glad that I did because I found it to be very well done and very moving.  The story is set in Duluth, Minnesota in 1934 during the Great Depression.  Nick Paine (Joe Schiappa) owns a guesthouse, occupied by his family and a group of other lost souls struggling to find a way to survive their dire circumstances, but it is about to be foreclosed on by the bank.  His wife Elizabeth (Jennifer Blood) is suffering from a form of dementia and is becoming more and more difficult to handle, his son Gene (Ben Biggers) is an alcoholic trying to find himself and is devastated when his girlfriend Kate (Chiara Trentalange) leaves him for someone with better prospects, and his adopted daughter Marianne (Sharae Moultrie) is pregnant and not forthcoming about the identity of the baby's father but does not want to marry the older man (Jay Russell) her father has arranged for her.  The residents include Mrs. Nielsen (Carla Woods), a widow waiting for her husband's estate to be settled and dreaming of the life she will have with Nick (with whom she is having an affair) once she receives the money, Mr. Burke (David Benoit), who lost his business during the stock market crash, Mrs. Burke (Jill Van Velzer), who is struggling with her loss of status, and Elias (Aidan Wharton), the Burkes' feeble-minded son.  One night during a storm, Joe Scott (Matt Manuel), a boxer recently released from prison who is trying to get back on his feet, and the Reverend Marlowe (Jeremy Webb), a suspicious bible salesman, arrive looking for shelter.  This is more like a slice-of-life depiction of the different ways in which people cope with adversity during a tumultuous time in history rather than a straightforward narrative and, while there are some very heavy themes, the message is that, no matter how difficult life may be, you must continue to press on (there is a glimmer of hope for several characters).  The musicians, including members of the cast, perform on stage using instruments from the 1930s and the new arrangements of over 20 songs written by Bob Dylan are beautiful (this won the Tony Award for Best Orchestrations).  Dylan's music is particularly well suited to this narrative because much of it is about protesting against injustice or fate but it is used more to showcase a character's state of mind rather than to advance the story.  The performances are all beyond amazing and it is hard to single anything out but my favorites were "Tight Connection to My Heart (Has Anybody Seen My Love)" by Moultrie, "Slow Train" by the Company, "I Want You" by Biggers and Trentalange, "Like a Rolling Stone" by Blood, "Hurricane"/ "All Along the Watchtower"/ "Idiot Wind" by Manuel and Moultrie, and "Pressing On" by Woods (this was a powerful moment).  I really liked the sets and I loved the staging of this show because the characters step away from the action to sing with old-fashioned microphone stands and I think this is a very effective way to portray their innermost feelings about their situation.  I can definitely understand why people might not like this show but I am really glad that I gave it a chance because I liked it (the more I think about it the more I like it).  It runs at the Eccles Theatre through June 16 (go here for tickets).

Come From Away at the Eccles

I was able to see Come From Away the last time the Broadway touring company made a stop in SLC and I loved it so much!  The only time I stopped crying was when I was laughing out loud!  I was so happy for the chance to see it again last night and my response was pretty much the same because not only is it a touching and entertaining true story about the power of community and the indomitable human spirit but it is also makes me feel incredibly nostalgic for Canada (all of the pop culture references made me smile).  After the 9/11 attacks, U.S. airspace is restricted and 38 international flights have to 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 townspeople willingly do everything they can to provide them with food, clothing, shelter, and comfort.  This show features an outstanding ensemble cast of twelve who seamlessly, with just the addition of a article of clothing or a prop, play multiple roles to tell the stories of both the townspeople and the stranded passengers and crew.  My favorites involve a local woman named Beulah (Kristin Litzenberg) comforting a passenger named Hannah (Candace Alyssa Rhodes) when she cannot locate her firefighter son in New York, two lonely passengers, Diane (Molly Samson) from Texas and and Nick (Stanton Morales) from England, who begin a relationship after being thrown together, and a member of the local ASPCA (Kathleen Cameron) who sneaks on board the empty planes to care for the animals left behind (including a pregnant bonobo chimpanzee).  I love all of the music in this show but my favorite songs are "Prayer" because it incorporates elements of multiple religions into a beautiful message of comfort, "Screech In" because it is a hilarious ceremony to become an honorary Newfoundlander involving copious amounts of alcohol and a codfish, and "Something's Missing" because it perfectly captures that hollow feeling I remember in the days after the attacks (I also have to give a shout-out to a rendition of "My Heart Will Go On" during an impromptu karaoke session).  The set is very minimal but it is impressive how just a few tables and chairs are quickly configured to represent the airport, buses, planes, the legion hall, and emergency shelters and I loved how the lighting design portrays the fear and confusion of the passengers as they arrive in Gander in "Wherever We Are" and "Darkness and Trees."  This is a show that will restore your faith in humanity and I highly recommend it (just bring tissues because everyone around me was also crying).  There are four more performances at the Eccles Theatre through Sunday, April 28 (go here for tickets).

Pretty Woman at the Eccles

I am not a fan of turning movies into musicals so, when Broadway at the Eccles announced the 2023-2024 season, Pretty Woman was the show that I was the least interested in.  I saw it last night and, while it will never be one of my favorites, I enjoyed it more than I thought I would. Edward Lewis (Chase Wolfe) is in Los Angeles for a week on business when he gets lost on Hollywood Boulevard.  Vivian Ward (Ellie Baker), a young woman down on her luck and working as a prostitute, offers to help him for a price and eventually spends the night with him at the Beverley Wilshire Hotel.  Since he has a number of social obligations while in L.A., he suggests that she be his escort for the week and they negotiate a price.  As they spend time together, they have a positive effect on each other because Edward decides to become a partner in the company he was going to dismantle and Vivian sees that she is worth more than a life of prostitution but will they realize that they love each other?  All of the iconic scenes from the movie are recreated on stage, such as Vivian's shopping trip on Rodeo Drive and when Edward snaps the lid of the jewelry case on her fingers, and they are fun (the subdued audience was the most engaged during these moments).  One of the reasons why I dislike turning movies into musicals is because most of the time the music feels very contrived and is instantly forgettable and, unfortunately, that is the case with this show.  The one exception for me was "You and I" when Edward and Vivian attend the opera.  Who knew that a mash-up of a power ballad by Bryan Adams and an aria from Verdi's La Traviata could work so well?  It gave me goosebumps.  Wolfe and Baker have beautiful voices but their performances are a bit bland, especially their dancing.  However, Adam du Plessis (as the narrator and the manager of the hotel) and Connor Kabat (as a bellhop) are unbelievably entertaining and steal the show, particularly in their interactions together.  Kabat is by far the best dancer in the company and appears in almost every dance sequence (whether a bellhop is needed or not).  The sets are serviceable (they are recognizable as Hollywood Blvd., Rodeo Dr., and the Beverly Wilshire Hotel because there are large signs proclaiming them as such) but I was a little disappointed in the costumes because they pale in comparison to the iconic originals from the movie, especially Vivian's red opera dress.  I never need to see this again but I definitely didn't hate it and I suspect that fans of the movie will love it.  There are five more performances through April 7 with lots of available tickets (go here).

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).