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).

SIX at the Eccles

My first live theatre production of 2024 was SIX at the Eccles last night.  I had the chance to see this show with my sister Kristine in Las Vegas in 2022 and we both loved it so I was really excited to see it again!  The former wives of King Henry VIII, including Catherine of Aragon (Gerianne Perez), Anne Boleyn (Zan Berube), Jane Seymour (Amina Faye), Anna of Cleves  (Terica Marie), Katherine Howard (Aline Mayagoitia), and Catherine Parr (Adriana Scalice), get together to perform a concert with their band, The Ladies in Waiting (Jane Cardona on Keyboard, Sterlyn Termine on Bass, Rose Laguana on Guitars, and Kami Lujan on Drums).  They decide to have a competition to see which one of them has suffered the most heartache to determine the leader of the group and then each Queen proceeds to tell her story.  Catherine of Aragon (Divorced) agreed to leave her homeland at age 15, come to a country where she didn't speak the language, marry a man she had never met, spend seven years in a nunnery after he died, and then marry his brother but she did not agree to be replaced in "No Way."  Anne Boleyn (Beheaded) is sorry not sorry because she was just trying to have a little fun (what was she meant to do?) in "Don't Lose Ur Head."  Jane Seymour (Died) loved Henry but she knows that his love for her was only because of her son in "Heart of Stone."  Anna of Cleves (Divorced) was rejected by Henry for not looking like her profile picture but she ended up with a castle and more money than she can spend with no one to tell her what to do in "Get Down."  Katherine Howard (Beheaded) says her only crime was to be irresistible to men who used her in "All You Wanna Do."  Catherine Parr (Survived) argues that, even though she survived her marriage, she had to sacrifice true love in order to marry Henry in "I Don't Need Your Love."  The Queens eventually realize that they don't want to be defined by Henry and decide to lead the group together in the ultimate ode to girl power, "Six."  What I love so much about this musical is how clever it is!  Each Queen's song embodies her history so well and each performance is inspired by a real life pop star (Aragon by Beyonce, Boleyn by Avril Levigne, Seymour by Adele, Cleves by Nicki Minaj, Howard by Ariana Grande, and Parr by Alicia Keyes).  I also love how the costumes are inspired by Tudor silhouettes but feature the fabrics and bling of contemporary pop queens and how the set design mimics Tudor architecture but uses flashing LED lights.  All of the actresses give really fun performances (I think the crowd last night was the loudest I've ever heard at the Eccles) but my favorite was Faye (she was the same actress I saw in Las Vegas and she was also my favorite then) because she is incredibly powerful in "Heart of Stone."  I have been talking this show up to the friends I sit by ever since this season was announced and (luckily) they loved it just as much as I do so I can confidently talk it up here, too!  It runs at the Eccles Theatre through January 24 and tickets may be purchased here.

Note:  I love it so much I will be seeing it again Sunday night with both my sisters, my brother-in-law, and my nephew!

Mamma Mia at the Eccles

The first time I saw the musical Mamma Mia was in London on a theatre trip.  The older gentleman sitting next to me sang every word of every song at the top of his lungs and, at first, I thought it was really annoying but by the end of the show I was singing along, too!  The second time I saw it was on a trip to London with my mom.  She was incredibly reserved but she was dancing in the aisle during the finale!  This show is just so much fun you can't help singing and dancing!  I loved seeing the Broadway touring production again last night and I don't think I will ever get tired of it.  Sophie Sheriden (Alisa Melendez) is getting married and she wants her father to walk her down the aisle but she doesn't know who he is!  She discovers that there are three possibilities and decides to invite all three of them, Sam Carmichael (Victor Wallace), Bill Austin (Jim Newman), and Harry Bright (Rob Marnell), to her wedding without telling her mother, Donna (Christine Sherrill).  Chaos (and nearly two dozen Abba songs) ensues!  Sherrill is great as Donna and I especially enjoyed her poignant performance of "Slipping Through My Fingers" and her powerful rendition of "The Winner Takes It All" (which both occur in the same scene).  I also really enjoyed Wallace's version of "Knowing Me, Knowing You" (which is my favorite Abba song).  Jalynn Steele, as Tanya, adds a bit of soul to "Does Your Mother Know" and I loved Carly Sakolove, as Rose, because her physicality as she tries to hit her poses in "Dancing Queen" and as she chases Bill in "Take a Chance on Me" is hilarious. I have really enjoyed some local productions of this show but I absolutely love the original choreography in the Broadway version, especially when Tanya uses a hair dryer as a microphone in "Chiquitita," when the boys dance in flippers during "Lay All Your Love on Me," when the dancers freeze whenever Sophie talks to Sam, Bill, and Harry during "Gimme! Gimme! Gimme!" and "Voulez-Vous," when the flippers make another appearance in "Under Attack" (my favorite number in the show), and when Pepper (Patrick Park) tries to impress Tanya in "Does Your Mother Know." I also love the original set (a white stucco taverna that is reconfigured several times) and the original costumes (the colorful spandex jumpsuits during the performance of "Dancing Queen" and "Waterloo" during the finale are awesome) in the Broadway version.  I had a blast and I was definitely dancing at the end (I defy anyone to remain seated during "Dancing Queen").  There are a few more performances at the Eccles and I highly recommend getting a ticket (go here).

Note:  This was my final live theatre performance of 2023.  I ended up seeing 81 shows this year and my favorites were Into the Woods at SCERA, Beauty and the Beast at the Terrace Plaza Playhouse, Oliver and Pride and Prejudice at HCTO (I loved everything at HCTO this year), The Prom at PTC, and Titanic The Musical at HCT.

My Fair Lady at the Eccles

I'm a big fan of the musical My Fair Lady (there is just something comforting about all of the old favorites from Broadway's Golden Era) so I have been looking forward to the Lincoln Center production currently touring ever since the 2023-2024 Broadway at the Eccles season was announced!  I was able to see it last night and, unfortunately, I was a little bit underwhelmed by it.  When Professor Henry Higgins (Jonathan Grunert) and Colonel Pickering (John Adkison) encounter a Cockney flower girl named Eliza Doolittle (Annette Barrios-Torres) in 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 becomes a true lady when she compels Higgins to treat her like one.  While I love all of the music in this show and wait with great anticipation for all of my favorite songs, including "Wouldn't It Be Loverly," With a Little Bit of Luck," "Just You Wait," "The Rain in Spain," "I Could Have Danced All Night," "On the Street Where You Live," "Get Me to the Church on Time," and "I've Grown Accustomed to Her Face," I found the performances to lack energy despite the fact that everyone in the cast has a beautiful voice (especially Borrios-Torres).  The big production numbers, "With a Little Bit of Luck" and "Get Me to the Church on Time," are the best scenes in the show thanks to Michael Hegarty's comedic turn as Alfred P. Doolittle (and some cross-dressing can-can dancers) but every other number has surprisingly unimaginative choreography and nothing really grabbed my attention.  I especially found the ball scene to be oddly anticlimactic because it features couples dancing without much opportunity for Eliza to practice her correct diction with Professor Zoltan Karpathy (Christopher Isolando).  The costumes at Ascot are usually a highlight of the show for me but the ones in this scene are muted pastels rather than the dramatic black and white ones that you usually see (they are admittedly very beautiful, especially the hats, but they do not have a lot of impact).  I did, however, love the jewel-toned gowns, particularly Eliza's golden one, at the ball and both Higgins and Pickering have some opulent dressing gowns and smoking jackets.  The other aspect of the production that really impressed me was the set, especially the opera house in Covent Garden, Henry Higgins' wood paneled study (I loved the spiral staircase connecting the two levels and the large arched window), and the Embassy ballroom (the lighting in this scene is gorgeous).  I will always love this show and this version is "loverly" enough for me to recommend it but, honestly, I have seen much better local productions (especially this one) with tickets at half the price.  It runs at the Eccles Theatre through November 18 (go here for tickets).

Beetlejuice at the Eccles

Believe it or not I have never seen the movie Beetlejuice (the people I sit by at the Eccles Theater were incredulous when I mentioned this) so I didn't really know what to expect when I saw the musical adaptation last night.  It ended up being a lot of fun and I thoroughly enjoyed it.  Beetlejuice (Andrew Kober) is a lonely demon who is tired of being invisible but in order to be seen he needs someone who is alive to say his name three times.  He enlists the help of Barbara and Adam Maitland (Britney Coleman and Will Burton, respectively), a recently deceased but very mild-mannered couple, and convinces them to haunt their former house which is now owned by Charles Deetz (Jesse Sharp) and his daughter Lydia (Isabella Esler).  She is obsessed with death because she is still mourning the loss of her mother and this enables her to see the Maitlands and Beetlejuice.  Chaos ensues as Lydia uses Beetlejuice and the Maitlands to stop her father from replacing her mother with her life coach Delia (Kate Marilly) and to find her mother in the Netherworld while Beetlejuice uses her to bring him to life.  As with many musicals that are adapted from popular movies, most of the songs (except for"Dead Mom" and "Home" which are my favorites from the show) are not particularly memorable but the performances more than make up for this.  Kober acts as a sort of Master of Ceremonies and breaks the fourth wall with lots of off-color but humorous asides to the audience.  His renditions of "The Whole 'Being Dead' Thing," and its many reprises, "Fright of Their Lives," "Say My Name," and "That Beautiful Sound" are incredibly frenetic and highly entertaining with an ensemble backing him up as a marching band and cheerleaders, a gospel choir, cloned versions of himself, and large skeleton puppets.  Marilly brings a lot of comedy and physicality to "No Reason" and both Coleman and Burton are the perfect foils to Kober's mania in "Fright of Their Lives" and "Say My Name."  However, the star of the show, in my opinion, is Esler.  Her version of "Dead Mom" is incredibly moving as Lydia asks her mother to help her through her grief.  I think this show loses a bit of focus and momentum in the second act but the song "Home" is such a beautiful turning point because Lydia realizes that her mother is dead but that there are people in her life who love her and Esler just about blows the roof off the Eccles Theater singing it.  I loved all of the special effects, especially how falling into the Netherworld is depicted, the amazing set featuring a house that is transformed multiple times, and the iconic Beetlejuice striped suit (which I saw many people in the audience wearing).  I enjoyed this so much more than I expected and I am sure fans of the movie will love it (although the people around me told me that it differed quite a bit from the source material but in a good way).  It runs at the Eccles Theater through Sunday August 13 (go here for tickets).

Les Miserables at the Eccles

When I was in high school I wanted to see the musical Les Miserables more than anything I have ever wanted.  I finally had the chance on a study abroad trip to London in college and hearing those opening notes played live for the first time was an experience I will never forget!  I have now seen it at least 30 times (a conservative estimate) and I still get goosebumps when I hear those opening notes.  I had the opportunity to see it again last night since the Broadway touring production is currently at the Eccles Theatre and I loved it as much as I did the first time I saw it.  The story of Jean Valjean's redemption is so inspiring and the music is glorious (I really have to stop myself from singing every single word).  I always anticipate my favorite moments and this cast definitely did not disappoint me!  Haley Dortch (the best Fantine I have ever seen) was so beautiful and heartbreaking in "I Dreamed a Dream" that I had tears running down my face, Preston Truman Boyd (Javert) was incredibly powerful in "Stars," Devin Archer (Enjolras) made me want to stand up and cheer in "Do You Hear the People Sing," Nick Cartell (Valjean) gave a highly emotional performance of "Bring Him Home" which elicited the biggest response from the crowd all night, and Gregory Lee Rodriguez (Marius) reduced me to tears once again in "Empty Chairs at Empty Tables."  My favorite moment in the show is when Eponine sings "On My Own" and I always sit impatiently through the intermission waiting for it!  Christine Heesun Hwang gave a highly nuanced performance full of so many different emotions and I was very moved by it.  I also really enjoyed Christina Rose Hall (Madame Thenardier) because her characterization was a little different than what I have seen before.  This production features the new staging without the turntable and I actually prefer it because the sets and are much more elaborate and true to the events in the novel by Victor Hugo, especially the Prologue and "At the End of the Day."  I only miss the turntable in the scene where the barricade slowly turns after the battle to reveal Enjolras upside down holding the flag because that was so dramatic.  The projections in this newer production are also very effective and I particularly liked the different perspectives when Valjean carries Marius through the sewers and the visual effects used in Javert's "Soliloquy."  Even after seeing this show so many times I had an incredible experience last night (I will be on a high for days) and highly recommend getting one of the very few tickets available for the remaining shows (go here).  I would see it again if I could!

Tina: The Tina Turner Musical at the Eccles

Last night I saw Tina: The Tina Turner Musical at the Eccles Theatre and I found it to be especially poignant after the recent passing of Tina Turner.  This is a jukebox musical about the life of Tina Turner (Zurin Villenueva) from her humble beginnings as Anna Mae Bullock (Ayvah Johnson) in Nutbush, Tennessee to her rise to success with Ike Turner (Roderick Lawrence) and then her reinvention as a global superstar after overcoming prejudices against her race, gender, and age.  I knew that Tina was physically abused by Ike but I didn't know everything else that she endured in her life so I found the narrative to be incredibly compelling.  However, the best part of this show is the music and I think its use in a thematic order, rather than a chronological one, is very effective in giving context to her struggles and ultimate triumph.  I especially enjoyed how "Let's Stay Together," "Better Be Good to Me," and "I Don't Wanna Fight No More," show her dysfunctional relationship with Ike, how "Private Dancer" shows her years of performing in Las Vegas to pay her debts after leaving Ike, and how "We Don't Need Another Hero" shows the turning point in her life and career.  Villenueva gives a powerful vocal performance and her renditions of "River Deep - Mountain High" and "(Simply) The Best" just about blew the roof off the Eccles (and gave me goosebumps).  The choreography is energetic, to say the least, and Villenueva and Aliyah Caldwell, Reyna Guerra, Takia Hopson, and Parris Lewis (as the Ikettes) are so much fun to watch in "I Want to Take You Higher" and "Proud Mary" (the highlight of the show for me).  Because of Turner's recent passing, I've seen a lot of footage of her performances, especially during her time with Ike Turner, and I was really impressed with how well the real-life choreography and costumes are replicated.  This production makes use of projections and minimal set pieces but the final set depicting the stage of a concert in Brazil is spectacular with amazing lighting effects (it was almost like an actual rock concert with lots of enthusiastic audience participation).  This show is an incredibly moving tribute to a remarkable woman and I highly recommend it (although it features very disturbing scenes of domestic violence, lots of profanity, and the use of racial epithets which some might find upsetting).  Go here for tickets to one of the four remaining performances.

Note:  Stay through the bows for a continuation of the concert featuring "Nutbush City Limits" and "Proud Mary."

Hairspray at the Eccles

Last night I had the chance to see Hairspray at the Eccles Theater and it is such a fun production!  Plus-sized Tracy Turnblad (Niki Metcalf) dreams of dancing on The Corny Collins (Billy Dawson) Show, of being noticed by teen heartthrob Link Larkin (Nick Cortazzo), of integrating the show so that her Black friends can dance with her, and of becoming Miss Teenage Hairspray 1962.  Velma Von Tussle (Addison Garner), the former Miss Baltimore Crabs, and her daughter Amber (Ryahn Evers) do everything they can to stop her but Tracy and her friends Penny Pingleton (Emery Henderson) and Seaweed J. Stubbs (Charlie Bryant III) and her parents Edna (Andrew Levitt AKA Nina West) and Wilbur (Ralph Prentice Daniel) prove that you can't stop the beat and make all of their dreams come true!  The main cast is outstanding but I was really impressed with Metcalf as Tracy because she is incredibly charismatic and can really sing and dance.  I also really enjoyed Lauren Johnson as Motormouth Maybelle, because her rendition of "I Know Where I've Been" just about blew the roof off of the Eccles Theater, as well as Levitt and Daniel, because their antics had the audience hooting with laughter during "Timeless to Me."  The ensemble is also fantastic, especially the dancers on The Corny Collins Show and the Dynamites (Sydney Archibald, Melanie Puente Ervin, and Jade Turner), because they execute the high-energy choreography very well, particularly in "The Nicest Kids in Town," "I Can Hear the Bells," "Welcome to the '60s," "Run and Tell That," "The Big Dollhouse," and "You Can't Stop the Beat."  My favorite song in the show is "Mama, I'm a Big Girl Now" and I really like how they staged it with the girls and their mothers in front of their vanities.  The sets have a fun retro vibe (although some of the set pieces seemed to be a bit unwieldy to move on and off the stage) with my favorites being Motormouth Maybelle's Record Shop and the Baltimore Eventorium (the giant can of Ultra Clutch Hairspray is awesome) and the period costumes are colorful and sparkly.  The humor is really suggestive so keep that in mind but I highly recommend this show for the great message about loving yourself and standing up for what you believe in.  It runs at the Eccles through April 16 (go here for tickets).