Twelve Angry Men at HCT

Last night I was back at Hale Theatre to see Twelve Angry Men and I think it is not only one of the best productions I have seen at HCT but it is one of the best productions I have seen anywhere! It is a sweltering afternoon in New York City in the summer of 1957 when the jurors (Bradley Moss, Bradley Mackay, Jake Ben Suazo, Neal C. Johnson, Garret Woolley, Dustin Bolt, Bryan Dayley, Dylan Hamilton Wright, David Nieman, Brian Neal Clark, Mark Fotheringham, and Derrick Dean) begin deliberating a first degree murder case involving a sixteen-year-old boy who is accused of stabbing his father to death. Eleven of the jurors are convinced that he is guilty but, because a guilty verdict carries an automatic sentence of death, one lone juror insists that they examine the case against him in detail (much to the chagrin of everyone else). As they slowly work their way through the witnesses and the evidence, tempers are frayed, recriminations are leveled, and prejudices and biases are revealed but they eventually reach a unanimous verdict. Despite the fact that this takes place in one location (the set is minimal but highly effective) in real time with lots of dialogue and very little action, it is absolutely riveting and there were moments when everyone in the audience was holding their breath (I heard a collective sigh of relief followed by nervous laughter after a particularly charged scene at the end of the first act). I was on the edge of my seat waiting in anticipation to see what would eventually change each juror's mind and I was especially struck by the scene where one of the jurors realizes that he has been projecting his troubled relationship with his son on to the defendant (this is an amazing moment). The message of this play is incredibly powerful (and timely) because it is so important to stand up for what you believe even if you are the only one standing. Finally, every member of the cast is giving a master class in acting and they all have moments of absolute brilliance but I was beyond impressed with Clark because his monologue near the end of act two is a literal show stopper (this was another moment when the audience was holding its breath). Believe me when I say that you definitely do not want to miss this thought-provoking show (tickets may be purchased here). It runs on the Sorenson Legacy Jewel Box Stage through July 26.

Finding Neverland at HCT

I don't think I have ever had a more emotional response to a show than than the one I had when I saw Finding Neverland on Broadway (I was crying my eyes out by the end) so I was beyond excited when it was announced as part of the 2025 season at HCT and I have been eagerly awaiting my chance to see it ever since (I've also been recommending it to all of my theatre friends). I went to a matinee yesterday afternoon and, while I thoroughly enjoyed it, I feel like it is missing some of the magic of the Broadway production. J.M. Barrie (Keith McKay Evans) is a playwright suffering from writers' block, much to the chagrin of his snobby society wife Mary (Jordyn Aspyn Durfey) and his exasperated theatre director Charles Frohman (Alex King), when he meets the Llewelyn Davies brothers, George (Lucas Huizingh), Jack (Andrew Laudie), Peter (Flynn Mitchell), and Michael (Link Evans), and their mother Sylvia (Amy Shreeve Keeler), in Kensington Gardens. The Llewelyn Davies family, especially Sylvia and Peter, help him find his imagination again and inspire him to write the play Peter Pan while Barrie helps Sylvia, who is sick, and Peter, who is still mourning the loss of his father, learn that you shouldn't take life too seriously. I really love all of the music in this show but I was especially impressed by Evans' passionate rendition of "My Imagination" and Keeler's powerful performance of "All That Matters" (they both have beautiful voices) and their chemistry is palpable in "Neverland" and "What You Mean to Me."  I loved the innovative staging of "Believe," when the brothers fly around Kensington Gardens in a giant paper boat, "Circus of Your Mind," when ticking clocks (which represent the people who disapprove of Barrie) are transformed into a giant crocodile, "Stronger," when Barrie's alter ego Captain Hook (Alex King) takes him to a pirate ship to encourage him to be bolder, and "What You Mean to Me," as Barrie and Sylvia dance with their shadows (performed by aerialists Lance Nielson and Samantha Nielson). I also enjoyed seeing Peter Pan (Tyson Russell) fly around Barrie in certain scenes because he represents Barrie. The stage is brilliantly configured as a series of giant books with projections of text all around the theatre and many of the set pieces, which come in from the wings, up from the pit, and down from the rafters, look like line drawings (I especially liked the duvets on the beds in the nursery). The period costumes are gorgeous, especially all of Sylvia's gowns and Captain Cook's elaborate frock coat. However, with the exception of Shelby Maughan, who plays Mr. Henshaw, and Colton James Kraus, who plays Mr. Cromer, I found the acting troupe to be very bland (they are completely over-the-top in the Broadway production) so the songs "The World Is Upside Down," "Something About This Night," and "Neverland (Reprise)" are a bit underwhelming. To be fair, I attended a matinee with many empty seats (my whole row was empty) so that may have affected the energy. Finally, I waited with great anticipation for the penultimate scene with Sylvia because, in the Broadway production, it is one of the most magical bits of stage craft that I have ever seen and, honestly, I was disappointed with this version because I found it a bit pedestrian (I expected more from Dave Tinney and the state-of-the-art stage). There is actually a lot to love about HCT's version and my comparison to the Broadway production is probably unfair so I definitely think it is worth seeing. It runs on the Young Living Centre Stage through June 14 (go here for tickets) but act quickly because many shows are sold out.

Note:  A huge shout-out to Indy, who is making her acting debut as the Barries' dog Porthos, because she is adorable and she does such a great job!

The Prince of Egypt at HCT

I have always regretted that I didn't make more of an effort to see The Prince of Egypt when it was at Tuacahn in 2018 so I was very excited when it was included in the 2025 season at HCT. I had the chance to see it last night and I really enjoyed it. A baby named Moses is set adrift on the Nile by his Hebrew mother Yocheved (Sophia Morrill Mancilla) in order to save his life. Queen Tuya (Mack) rescues him and then raises him alongside her son Ramses in the court of Egypt. Ramses (Ren Cottam) and Moses (Ethan Kelso) form a close bond as they vie for the attention of the Pharaoh Seti (Danté J. L. Murray) but Ramses eventually marries Nefertari (Annakaitlyn Burningham) to unite two kingdoms and, when Moses learns his true identity from his biological sister Miriam (Jaden Chandie Nandkeshwar) and biological brother Aaron (Spencer Anapol), he flees to the desert.  Moses is taken in by Jethro (Aioleoge Lesa) and falls in love with his daughter Tzipporah (Rebecca Burroughs) before realizing that his destiny is to free the Hebrew slaves. Moses must return to Egypt and to Ramses, who is now the Pharaoh, for a confrontation that culminates with the parting of the Red Sea and a new understanding between the brothers. I was absolutely dazzled by the staging of the well-known biblical events. The basket carrying the baby Moses floats above the stage on a river made of silks, the burning bush is depicted by a series of ropes that represent the bonds that keep people enslaved (this symbolism is very powerful), the plagues are shown with different projections on gauzy fabric covering the stage and members of the ensemble (this is particularly effective), and the parting of the Red Sea is depicted with blue scrims that circle the stage (it is really cool). I also really loved the many elaborate set pieces (most of which are moved on and off stage by the ensemble) that bring ancient Egypt to life, including the chariots that race above a traditional market and a temple, the throne room, a secret room in the palace, a royal barge on the Nile, a well in the desert, Jethro's tent, and various construction sites and ruins. The costumes are gorgeous and feature muted colors for the Hebrews, vibrant colors and patterns for Midianites, and luxurious fabrics for the Egyptians.  However, I was especially impressed by how director Dave Tinney was able to find the perfect balance between the spectacle and the intimate story being told. The technical wizardry is fun but, in my opinion, the story is at its best whenever it focuses on the relationship between Moses and Ramses, especially in the songs "Faster," "Make It Right," and "Always On Your Side."  The main cast is outstanding but Kelso's renditions of "Footprints on the Sand" and "For the Rest of My Life" are incredibly poignant and Nandkeshwar and Burroughs sing "When You Believe" so beautifully. The multicultural members of the ensemble, most of whom play multiple roles (Hebrews, Egyptians, and Midianites), do a great job with the choreography and I especially loved "Deliver Us" because it is very powerful and "Through Heaven's Eyes" because it is so exuberant. There is definitely a focus on the human relationships rather than the divine and some might not like that but I did and would highly recommend this beautiful production. It runs on the Young Living Centre Stage through April 12 but almost all of the performances are sold out so act quickly (go here for tickets).

Note:  I can also highly recommend Little Women which is currently on the Sorenson Legacy Jewel Box Stage through April 23 (go here for tickets).

Little Women at HCT

Last night I went to see the musical Little Women at HCT and I loved it so much! The March sisters, Jo (Scout Smith), Meg (Kat Hawley Cook), Beth (Julia Bradford), and Amy (Olivia Shelton), come of age in Concord, Massachusetts during and after the Civil War. We first meet Jo when she is in New York City pursuing her dream of becoming a writer.  When Professor Bhaer (Landon Horton), another resident at her boardinghouse, tells her that she should write about what she knows rather than the sensational pieces she has been submitting to magazines, there are flashbacks to the trials and triumphs of her adolescence with her sisters and mother "Marmee" (Claire Kenny), her neighbor Theodore "Laurie" Lawrence (Weston Wright), his grandfather Mr. Lawrence (Mark Knowles), and her Aunt March (Jen Kroff). My favorite character from the novel by Louisa May Alcott has always been Jo because she is so fiery and independent and Smith perfectly embodies these qualities, especially in the scene where she rejects Laurie's proposal and in the scene where Aunt March tells she won't be going to Europe with her. She has a beautiful voice and she is incredibly powerful in "Astonishing" and "The Fire Within Me" and her emotional version of "Some Things Are Meant to Be" with Bradford had me in tears. However, I think my favorite moment came during "The Weekly Volcano Press" when she reads one of her sensational stories to Professor Bhaer as it is acted out by all of the other characters because she mouths the dialogue and pantomimes the action in a hilariously over the top performance. There are a lot of other memorable moments from the rest of the cast as well, including a heartfelt performance of "Here Alone" from Kenny, a moment of vulnerability from Knowles during "Off to Massachusetts," and a delightful version of "Take a Chance On Me" from Wright who is as irrepressible as a puppy (the girls sitting near me were very taken with him and eagerly read his bio aloud during intermission). The set, which rotates on a turntable to reveal the parlor in the March home on one side and the attic and various locations on the other side, is lovely and the staircases connecting the two areas are used in very innovative ways, particularly in the choreography for "Five Forever." I also really loved the projections of Jo's writing and Amy's paintings (watch the pages located on the proscenium arch very carefully before the show). Finally, the costumes are absolutely exquisite with beautifully embellished fabrics. My favorite is the dress Jo wears to Sallie Moffat's ball because it features gorgeous appliqued flowers (and a scorch mark in the back). I thoroughly enjoyed this beautiful production and I am sure that fans of the classic novel will love it as much as I did. It runs on the Sorenson Legacy Jewel Box Stage through May 3 and tickets may be purchased here but, as always, act quickly because many shows are sold out.

Beauty and the Beast at HCT

My sister Kristine loves the musical Beauty and the Beast so I exchanged my original ticket to HCT's current production for one to a show that both of us could attend together. The only performance with tickets available was a matinee that was added to the initial run (they keep adding matinees because it is so popular). We saw it yesterday and to say that it is spectacular would be an understatement. The set is absolutely amazing! I loved the attention to detail with the cobblestone streets and houses in Belle's village and the antlers in Gaston's tavern but that was nothing compared to the Beast's castle which is multi-level with a curved staircase around the perimeter upon which the characters walk as it rotates! Various rooms within the castle come up from the pit and down from the rafters and I especially loved Belle's room, the terrace, the West wing (the stairs going up to the rose are very dramatic), and the tower (I was, however, underwhelmed by the library). I also loved all of the Gothic arches, particularly the ones in front of the LED screens around the theater (the projections on these screens are fantastic and I did love the ones used in the library). It is certainly a technical achievement to coordinate everything so seamlessly because the set is always moving and the actors need to know where they are and what they are doing at all times (there was a small mishap right in front of us and, even though it was handled very well, it made me think of the potential for accidents!). The costumes are stunning because they are instantly recognizable from the 1991 animated movie but they also feature some fun embellishments to make them interesting. Belle's iconic yellow ball gown is so beautiful (I loved all of the yellow and pink roses attached to the skirts) and the enchanted objects are a lot of fun. The character design for the Beast is very well done, especially during the transformation, but I was also impressed with the wolves, who come to the stage from the aisles, because their glowing yellow eyes gave me a bit of a fright (there were lots of children in the audience and one started to cry when the wolves appeared). The choreography is lively and dynamic and I definitely loved "Belle," "Gaston" (especially when Gaston and Le Fou climb onto the antler chandelier), "Human Again," and "The Mob Song." However, "Be Our Guest" is just unbelievable and features a pas de deux between the salt and pepper shakers, a tango between Lumiere and Babette, a can-can with the napkins, an aerial act with the china, and a finale with a giant layer cake complete with fizzing (literally) champagne bottles and confetti (although the confetti guns held by the ensemble look like pipes and felt a little out of place). My sister's favorite song in the show is "If I Can't Love Her" by the Beast and at intermission she told me that Darick Pead's rendition more than exceeded her high expectations (I liked it, too!). I also really enjoyed Shae Robins, who has a beautiful voice, as Belle, Angel Martinez, who delivers a hilarious physical performance, as Le Fou, and Scott Hendrickson, whose facial expressions are so much fun to watch, as Lumiere. I had been told by a friend that Gaston was the highlight of the show (I laughed out loud at all of his antics in "Me" and "Gaston") but I was surprised to learn at intermission that the understudy Zack Wilson was performing the role because he was also the highlight for me (my sister didn't believe he was the understudy until I showed her in the program because he was so good). This is an absolutely magical production and all of the children in the audience were spellbound so this is the perfect show to see over the Christmas holiday. Tickets are hard to come by (go here) but, as I mentioned, a few matinees have been added and they have the best availability.

Note:  My sister and I were sitting on the first row and there were a few times when it was difficult to see some of the actors on the top level of the stage so, if you have the option, it would be better to sit higher up (although being able to see facial expressions close up was definitely compensation).

A Christmas Carol at HCT 2024

Last night I went to Hale Centre Theatre for the fourth of five productions of A Christmas Carol that I have scheduled this holiday season. This is a very traditional version of Ebenezer Scrooge's reclamation by the Ghosts of Christmas Past, Present, and Future and it is my sentimental favorite. I have been attending this show 25+ years and, since it isn't part of the season subscription, I sometimes try to convince myself that I don't need to see it every year but then I realize that I would really miss it and end up getting a ticket. I am so glad that I did this year because I enjoyed this production even more than usual. I wait with anticipation for every single scene (I think I have the whole show memorized) and I love seeing actors return year after year in the same role, particularly Stephen Kerr as Scrooge because his transformation is very powerful. I also really enjoy seeing new interpretations of characters and I especially loved John Rex Kocherhans because he brings a dignity to Bob Cratchit, Ben Parkes because he is so overwrought as Marley, and Taylor J. Smith because he is absolutely hilarious as the Ghost of Christmas Present (his facial expressions are so funny and I laughed out loud every time he threw confetti at Scrooge). One of the things I love best about HCT's production is the use of music to tell the story with an octet (Brett Myers, Zack Grob, Dan VanOrmer, Quinn Dietlein, Rachel Worthen Grob, Jennifer Riley, Luana Parkes, and Courtney McMullin) who sing in between the scenes and various characters who sing as part of the narrative. My favorites are "Bring a Torch, Jeanette, Isabella" by Mr. Fezziwig (Mark Brocksmith) and his party guests, "Greensleeves" by Belle (Jordyn Aspyn Durfey), "Wassail, Wassail" by Fred (Josh Durfey) and his party guests, "Infant Holy, Infant Lowly" by the Poor Wife (Dawn Dietlein), and "Sussex Carol" by the Company. I also really love the elaborate sets, particularly the attention to detail in Scrooge's counting house (I love the ledgers and file boxes on the shelves), Scrooge's bed chamber (I love the opulent fabrics and wallpaper), Bob Cratchit's house (I love the fireplace), Fred's house (I love the Christmas tree), and the Rag and Bottle Shop (I love all of the items for sale displayed on the shelves). The only criticism I ever have of this show is that I think the scene at the Rag and Bottle Shop goes on a bit too long but last night I loved it because Taylor J. Smith made me laugh out loud as Old Joe. The holidays just wouldn't be the same without this show and I highly recommend getting a ticket (go here) but act quickly because many dates are sold out. It runs on the Sorenson Legacy Jewel Box Stage through December 28.

The Magician's Elephant at HCT

Last night I saw the U.S. premiere of The Magician's Elephant, a musical originally commissioned by the Royal Shakespeare Company based on the book of the same name by Kate DiCamillo, and I really enjoyed this fantastical tale about believing in the impossible. The town of Baltese is still suffering the effects of a long war so Peter Duchene (Weston Wright), an orphan whose father died in battle and whose mother died in childbirth, is being trained by his guardian Vilna Lutz (Mark Knowles) to be a soldier. However, Peter is more interested in his recurring dream about a crying baby than in discipline, control, and routine so, when he is sent to the town square to buy stale bread, he gives the coin to a fortune teller (Malia Morris) that only he can see instead. She tells him that the baby in his dream is his long lost sister and that he can find her by following the elephant. Peter is doubtful until a Magician (Bryan Dayley), who only intended to summon lilies, accidentally conjures an elephant during his show at the opera house. At first the Police Chief (Jake Ben Suazo) tries to hide it and a Countess (Michelle Blake) imprisons it in her ballroom for attention but soon the elephant brings hope to Peter and the whole town but in an unexpected way. The story about how a town is brought back to life by magic is really touching and, while the music is a bit underwhelming (the lyrics are very repetitive), I enjoyed the songs "If This Is True," "What If Why Not Could It Be," and "Anything Could Happen" because they express a longing for normalcy after a traumatic event and that is something that I think many people can relate to. I also really enjoyed the comedic elements in "Count Who Doesn't Count." Wright, who appears in almost every scene, is incredibly endearing with a lovely voice and I also liked Keith Evans' performance as the policeman Leo Matienne because he is so earnest in his desire to help Peter and his wife Gloria (Becky Jeanne Knowles), who longs for a child, believe in magic. The elephant puppet, designed and fabricated by Acheson Walsh Studios and brought to life by puppeteers Sam Cooper, Julia Wihongi, Daniel Miskin, and Sarah Neipp, is absolutely astonishing and I was particularly struck by how expressive it is because it really does seem to be sad when it is chained up. The costumes, which look like they are inspired by the folklore of Eastern Europe (I loved the traditional embroidery), are gorgeous with drab colors that are distressed in the first act and vibrant pastels in the second to reflect the mood of the town. Finally, the stage is definitely a highlight because it reminded me of a medieval town in Eastern Europe with cobblestone streets, a city wall, a market square complete with a fountain, and a crenelated castle that rises up. I also loved the dirigible used by the Countess and the fortune teller's tent. In my opinion, the magic of this production overcomes the issues I had with the music and I would definitely recommend getting a ticket (go here) because we could all use a bit of magic. It runs on the Young Living Centre Stage through October 26.

Note:  Don't forget the hilarious production of The Addams Family now playing on the Sorenson Legacy Jewel Box Stage through November 16 (go here for tickets).

The Addams Family at HCT

I consider HCT's 2019 production of The Addams Family to be one of the best I've seen of this show so I was very excited to see a new version last night. I had so much fun watching it (I was sitting next to a teen seeing it for the first time and her excitement was infectious) and I think it may even surpass their earlier production! The Addams family relies on their dead ancestors to help them through life and they need them now more than ever because Wednesday (Tearza Leigh Foyston) has fallen in love with a boy from Ohio named Lucas Beineke (Danny Kenny). She wants his uptight parents, Mal (Chandler Bishop) and Alice (Claire Kenny), to meet her family, including her father Gomez (Josh Richardson), her mother Morticia (Bailee Morris), her brother Pugsley (John Nelson Wakley), her uncle Fester (Dallin Bradford), her Gradma (Heidi Scott), and their butler Lurch (Thomas Wood), so she arranges a dinner and requests that they give her just one normal night. Chaos ensues when a mishap involving a poisonous potion occurs and it is up to Uncle Fester, with the help of the ancestors (Alec Foote, Alex Joyner, Jonathan Avila, Collin Larsen, Sophi Keller, Kristi Curtis, Channing Spotts, and Kennedy Bradford), to convince everyone that love is the answer.  This features a nearly perfect cast and I especially enjoyed Richardson (reprising the same role from the 2019 production) and Morris as Gomez and Morticia, respectively, because their interactions are hilarious (watch their facial expressions). Foyston is one of my favorite Wednesdays because her voice is very well-suited to the score. I especially enjoyed her renditions of "Pulled" and "Crazier Than You" because they are so powerful. Wakley is adorable as Pugsley (he can definitely scream) and Bradford is a different Fester than I've seen before (I liked him) but Wood absolutely steals the show as Lurch (he is often in the background but you should watch everything he does because he had me laughing out loud, especially his interactions with Thing). The choreography is a lot of fun and, in addition to the big song and dance numbers "When You're an Addams," "Trapped," "One Normal Night," "Full Disclosure," and "Move Towards the Darkness," I really loved the integration of the ancestors in a kick-line with Morticia in "Just Around the Corner," a Pas de Quatre with Fester in "The Moon and Me," and a tango with Gomez and Morticia in "Tango de Amor." I loved Wednesday's iconic black minidress, all of Morticia's slinky gowns, and Gomez's velvet smoking jacket but the costumes for all of the ancestors are epic (my favorites are the Conquistador and the Viking). Finally, the set is absolutely incredible. The proscenium is surrounded by portraits of ancestors (be sure to watch them throughout the show) and the stage is dominated by an ornate wrought iron staircase that is rotated to become different rooms with the addition of elaborate set pieces and props (I loved all of the dead flower arrangements). The visuals, which change for each of the different rooms, are my favorite aspect of this production and they, along with lots of amusing little details, are what make it so spectacular! This would be the perfect show to see during the Halloween season and I highly recommend getting a ticket (go here). It runs on the Sorenson Legacy Jewel Box Stage through November 16.

The Nutty Professor at HCT

Other than one of the best versions of Fiddler on the Roof that I've ever seen, I haven't been very impressed with the shows at HCT this season. Happily, that changed with their production of the new musical The Nutty Professor, which I was able to see last night, because it is so much fun! I don't know what I loved more: the story, the performances, the choreography, the costumes, the sets, or the projections! Julius Kelp (Spencer Jackson Hohl) is a nerdy and socially awkward chemistry professor at Korwin College who is often reprimanded by the dean, Dr. Warfield (BJ Whimpey), for blowing up his lab. He befriends Stella Purdy (Bre Welch), a new adjunct professor, but when he is humiliated by the star football players (Eric Ascione and Even McKay Naef), he decides that he must make some changes in order to impress her. He creates a serum that transforms him into the handsome and charismatic, but narcissistic, Buddy Love and soon the entire studentbody, including Stella, is under his spell. However, when Stella sees that Buddy is having a negative influence on the students, she realizes that it is Julius who she truly loves! This is a delightful and entertaining show and I love the message that it is always better to be yourself. Hohl is absolutely hilarious as Julius/Buddy because he is so good at the physical comedy! A scene where the serum wears off and he keeps transforming from Buddy to Julius and back again at inopportune times, with just a change in posture and facial expression, had me laughing out loud. He is also incredibly charming in all of the scenes with the students and it is entirely believable that Buddy could have them all swooning over him (I think Hohl may have actually taken the serum because all of the girls around me were swooning over him, too!). Welch has a beautiful voice and I especially loved her performances of "Too Much for Me" and "While I Still Have the Time." Everyone in the ensemble is insanely talented but I have to give a shoutout to Phil Lewis for the epic baton twirling! The choreography by Afton Wilson is amazing and it is worth the price of admission just to see all of the dazzling song and dance numbers. My favorites were "Dance to My Own Drummer," "(Hey Is It Me Or) Is It Hot in Here," "Buddy's Place" (especially when Julius suddenly appears and starts dancing awkwardly and then all of the students mimic him), "Everything You've Ever Learned is Wrong," and "Step Out of Your Shell" (the ballroom dancing is lovely). All of Joy Zhu's costumes are incredible (I was impressed by the sheer number of them) but I really loved the purple sequined suit worn by Buddy the first time he appears and all of the purple and yellow uniforms worn by the Korwin College cheerleaders, football players, and marching band (probably because they are the same colors as my college alma mater). I always love the sets at HCT and this one is no exception! The attention to detail in Julius' laboratory (I loved all of the neon potions in the beakers) is fabulous! Finally, the projections featuring atoms and the periodic table on the LED screens around the theater and on the stage are very amusing! I really cannot say enough about every aspect of this production and I highly recommend that you do not miss it! It runs on the Young Living Centre Stage through August 17 and tickets may be purchased here (but act quickly because many shows are sold out).

Note:  I saw Bre Welch last night in this show and her husband Addison the night before in Kiss Me Kate!

The Time Machine at HCT

Last night I went to Hale Theatre for the world premiere of The Time Machine, an original work by local playwright Michael D. Fox inspired by the novella of the same name by H.G. Wells. The premise is an interesting one and the sets, projections, and special effects are very impressive but, unfortunately, the narrative is a mess. Fifteen-year-old Skye Mason (Mariah Grace Bowman) opens a mysterious package meant for her grandmother Helene Briggs (Lori Rees) and discovers a puzzle box containing a handwritten manuscript of The Time Machine by H.G. Wells. Helene panics when she sees the manuscript because she believes it is a desperate message across time telling her that she is in danger. She reveals that the story in the manuscript is real and that it was inspired by her travels to the future in a machine of her own invention. A young Helene (Amber Dodge) travels to the far future and returns to 1888 with a powerful source of energy stolen from a savage group known as the Morlocks. Fearing what use might be made of such a powerful object she seeks advice from her friend Gregory Whitman (Kaden Caldwell) and her fiance H.G. Wells (Dallin Suman). She ultimately decides that she should take the power source to the future and hide it and, since she cannot go back to a specific time and place more than once, she stays in 1988 and makes a life for herself. However, the message from Wells sends her and her granddaughter on a journey through time to keep the power source safe from someone with plans to abuse it. The way the original novella is integrated into a new story is clever but I found it really convoluted (lots of overly complicated exposition about time travel), hard to follow (lots of jumps between timelines and relationships between characters that are not very explicit), and inconsistent (there are a few elements that did not make sense to me). I definitely think this could have used another draft before it was performed for an audience (I usually do not have this much trouble following a plot). What really impressed me about this production, however, is the set!  I was intrigued by it the moment I took my seat because it is made up of large geometric panels that move to form concentric circles through which different set pieces (including an elaborate time machine) move on and off stage and on which various images are projected. I especially loved the clock motif that is used in many of the projections. The lighting design is very dramatic, particularly the lightning effects that happen when the time machine travels, and so is the score (which was composed by fifteen-year-old Cameron Dietlein!). Once again, Hale delivered on the style without much of the substance and I was left feeling underwhelmed.

Note:  I have only really loved one production out of the four I've seen at Hale this season.

May We All at HCT

Last night I had a chance to see May We All, a new jukebox musical featuring songs by Brooks & Dunn, Chris Stapleton, Dolly Parton, Florida Georgia Line, Johnny Cash, Kacey Musgraves, Keith Urban, Kenny Chesney, Little Big Town, Loretta Lynn, Miranda Lambert, Reba McEntire, Sara Evans, Tim McGraw, and Zac Brown Band, and, despite a really cheesy story, some exaggerated performances that feel more like caricatures than real people, and a genre of music that I usually dislike, I enjoyed it a lot more than I thought I would (I almost didn't go because I thought I would hate it). Jenna Coates (Dawn Deitlein) returns to her hometown of Harmony, Tennessee after struggling to pursue her dream of becoming a country music star in Nashville for two years.  However, going home again is not as easy as she expected because Harmony is facing a hard economic future, her parents Crystal (Adrien Swenson) and Harley (Brock Harris) and her sister Kylie (Savannah Carrasco) are hurt that she has seemingly abandoned them for fame and fortune, her best friend Liz (Libby Ferguson) is struggling with the loss of her brother, and her ex-boyfriend Dustin (Nathan Bowser) is seeing someone new (Teaira Burge) who just happens to want to bring a big box store to Harmony. She eventually realizes how important her friends and family, and Dustin, are to her and that the best way to help Harmony is to bring the music back. However, what will happen when her biggest Nashville dream suddenly comes true? The story follows the plot of every Hallmark movie ever made (which is not necessarily a bad thing but I am not a fan) so I didn't find it very compelling. I also didn't like the portrayal of some of the characters because the performances (especially those of Swenson and Harris), the costumes, and the hair really lean into stereotypes (to be fair I don't really know many people from this area of the country but it seemed a bit overdone for laughs to me). I am not a big fan of country music but, to my surprise, the musical performances are what I enjoyed the most. An insanely talented band, including Kelly DeHaan on keyboards, Eric Noyes on keyboards, Memphis Hennesy on guitar, Bryan Hague on guitar, Davin Tayler on bass guitar, Julie Beistline on fiddle, and Todd Mitchell on drums, are located on stage in the wings and they sound great! The female leads are also outstanding, particularly Deitlein and Ferguson. I loved Deitlein's performance of "Born to Fly," "Play Something Country" with Ferguson, "Can't Go Back" with Bowser, "Rainbow" with Carrasco, and "Back to My Boots" (an original song by Florida Georgia Line's Brian Kelley and Tyler Hubbard) with the company.  As always, the set is phenomenal and I loved the use of large wooden panels suspended from the rafters for projections and live feeds during the musical numbers. This wasn't really my cup of tea but I'm glad I saw it and I'm sure fans of country music will absolutely love it! This runs on the Young Living Centre Stage through June 8 with lots of tickets (go here) available.

Clue at HCT

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

Fiddler on the Roof at HCT

I have seen Fiddler on the Roof dozens of times (it is one of my very favorite musicals) but HCT's new production, which I had the chance to see last night, is something very special. I loved everything about it! Tevye (Daniel Hess) is a poor Jewish dairyman living in the small Russian village of Anatevka at the turn of the century. He clings to his traditions as a protection from the harsh realities of life but his three oldest daughters, Tzeitel (Lauren Pope), Hodel (Haley Mendez Wawro), and Chava (Erica Schoebinger), push against them when it comes time to find a match. Every song is instantly recognizable, including "Tradition," "Matchmaker," "If I Were a Rich Man," "Sunrise, Sunset," "Far From the Home I Love," and "Anatevka" (I had to try very hard not to sing along to every one of them), and all of the performances from the talented cast are outstanding! I was especially impressed with Hess because his version of "If I Were a Rich Man" is really fun and lighthearted but he just about broke my heart with his affecting performance of "Chavaleh." His characterization of Tevye is different from the ones I have seen before and I particularly enjoyed his dialogues with God and his interactions with Golde (Dianna Graham). Other standouts for me were Alex DeBirk, as Motel, because he made me laugh out loud with his physicality in "Miracle of Miracles" and Wawro because she brought me to tears with her heartfelt rendition of "Far From the Home I Love." I was really impressed by the choreography in "Tradition," "To Life," and "Wedding Dance" because it includes very familiar sequences, especially the Russian dance and the bottle dance, but it is also new and dynamic enough that it is exciting to watch. I absolutely loved the staging of "Sabbath Prayer" because Tevye's family is located center stage and then other families come up from the pit to join them, "The Dream" because Grandma Tzeitel (Amanda Baugh) and Fruma Sarah (Malia Morris) fly in from the rafters while Golde and Tevye's bed levitates (this put a huge smile on my face because I once played Fruma Sarah), and the "Chava Sequence" because Tzeitel, Hodel, Chava, Motel, Perchik (Kelton Davis) and Fyedka (Scott Hendrickson) dance inside of a scrim that comes down from the rafters which makes it very ethereal and dreamlike. The set, always a highlight at HCT, is very minimal but effective. Most of the props, set pieces, and other miscellaneous household items are located along the perimeter of the stage which makes it easy for them to be moved on and off during scene changes but it also creates an incredibly powerful conclusion because, as the villagers leave Anatevka, they take these items with them off stage. A large and dramatic outline of a rooftop, upon which the fiddler (Aaron Ashton) sits when he plays his solos, comes down from the rafters which emphasizes the precariousness of life in Anatevka. The bare trees located throughout the theater, the barren landscapes projected on the LED screens, and the monochromatic costumes also evoke the harsh conditions found in Russia and really set the tone. Finally, what sets this show apart from any other version that I have seen is the authenticity that is evident in every aspect of the production. Great care has been taken to ensure that the costumes, make up, wigs, sets, choreography, and performances actually represent the Jewish people who lived in Russia at the turn of the century and their culture. Watching this show was a moving experience for me and I highly recommend seeing it for yourself! It runs on the Young Living Centre Stage through March 30 (go here for tickets).

A Christmas Carol at HCT 2023

Last night I attended my fourth and final performance of A Christmas Carol this season at HCT. I have seen this production dozens of times (I always joke that I have seen it so many times I could probably stand in for any role if needed) but it is a sentimental favorite and it just wouldn't be Christmas without it. The portrayal of Ebenezer Scrooge's redemption after visits from the Ghosts of Christmas Past, Present, and Future in this show is so familiar to me by now but it is this familiarity that makes me love it so much! I eagerly anticipate all of my favorite scenes, especially when Marley's Ghost appears to Scrooge rattling his many chains, when the Ghost of Christmas Past appears to Scrooge from behind a scrim, when the guests dance during Mr. Fezziwig's party and Fred's party, when the Ghost of Christmas Future dramatically reveals Scrooge's name on the tombstone, when an ebullient Scrooge catches Bob Cratchit coming in late the day after Christmas, and when Tiny Tim exclaims, "God bless us, every one!" Many actors return year after year in the same roles (such as Stephen Kerr as Scrooge, Chase Peterson as Fred, Matt Kohler as Marley's Ghost, and Kaden Caldwell as young Ebenezer) and I look forward to seeing them again. However, this year there were a few new actors (at least new to me because the show is double cast) and I really enjoyed seeing them make these familiar roles their own with a new interpretation, particularly Anthony LeRoy Lovato as Bob Cratchit, and Koryn Sobel as Belle. Another element of this particular production that I especially love is the inclusion of Christmas carols in the narrative by an octet (Melinda DeBirk, Jennifer Riley, Keri Vance, April Kerr, Doug Wadley, Maxx Teuscher, Nathanael Abbott, and Alex DeBirk) and a violinist (Suzanne Chapman). My favorites are "Bring a Torch, Jeanette Isabella," "Silent Night" (the entire scene with the poor wife singing this song is incredibly affecting), "Wassail, Wassail," "What Child is This?," and "Sussex Carol." I also really love the sets (this production has the most elaborate sets of any I've seen) because the attention to detail with Scrooge's Counting House, Scrooge's Bed Chamber, Fezziwig's Factory, Bob Cratchit's House (two stories!), Fred's House (the giant Christmas tree!), the Rag and Bottle Shop, and the Graveyard is amazing! I loved it last night just as much as I did the first time I saw it and I'm sure it will always be one of my Christmas traditions. It runs on the Sorenson Legacy Jewell Box Stage through December 27 (go here for tickets) but act quickly because most shows are sold out (the best availability is for matinee performances).

Note:  In light of the fact that I have now seen four different versions, some friends have asked me which was my favorite.  I can honestly say that I liked all four of them for very different reasons.  Parker Theatre's version is incredibly dramatic, Terrace Plaza Playhouse's version is fun and lighthearted, HCTO's version is the most authentic, and HCT's version is comforting and familiar.

Elf The Musical at HCT

Last night I saw HCT's production of Elf The Musical and I got a big dose of Christmas cheer! Santa Claus (Josh Richardson) tells the story of Buddy (David Paul Smith), a human who mistakenly believes that he is an elf because he crawled into his bag as a baby and was raised at the North Pole. After discovering who he really is, Buddy decides to find his dad, Walter Hobbs (Douglas Irey), and ends up bringing Christmas cheer to his new family, his girlfriend Jovie (Kelly Coombs), and everyone in New York City. The staging of the musical numbers is so much fun with exciting choreography and energetic performances. I especially loved the use of tricycles ridden by the elves in "Happy All the Time," the taxi cabs and police cars in "World's Greatest Dad," the tinsel used as jump ropes in "Sparklejollytwinklejingly," the confetti made of shredded paper in "Just Like Him," the real ice skates and a spectacular ice rink (with some cool technology that allows the actors to actually skate on it) in "A Christmas Song," the bags of toys in "Nobody Cares About Santa," and, of course, Santa's flying sleigh in the reprise of "A Christmas Song." The dazzling set pieces rise from the pit, descend from the rafters, and come in from the wings and my favorites were the snow globes used to designate the Empire State Building, Macy's Department Store, Rockefeller Plaza, and Central Park. I also loved the giant snowflakes with disco balls inside them hanging throughout the theatre. The costumes for Santa, Buddy, the elves at the North Pole, and the employees at Macy's are colorful and whimsical and I even liked the contemporary costumes worn by the employees at Greenway Publishing because they coordinated in shades of blue, gray, and green. Smith, who has appeared in many shows at HCT and is one of my favorites, is perfect as Buddy because his physicality and facial expressions are hilarious and his interactions with Coombs, as Jovie, are really sweet (they appeared together in HCT's production of Daddy Long Legs). I also really enjoyed Michelle Blake as Emily Hobbs and Cole Young as Michael Hobbs because their voices blend very well in the songs "I'll Belive In You" and "There Is a Santa Claus." However, Joanna Johnson, as Deb, steals every scene she is in because she is a hoot! I had a smile on my face from beginning to end and you would have to be a cotton-headed ninny-muggins to miss this show! I highly recommend it, especially to families during the holiday season (the little boy sitting near me was absolutely enthralled). It runs on the Young Living Centre Stage through January 6 (go here for tickets).

Around the World in 80 Days at HCT

If there is one thing that sets Hale Centre Theatre apart from all of the other local theatre companies it is their ability to create dazzling and awe-inspiring spectacles on their million dollar state of the art stage and that is exactly what they have done with their latest production, Around the World in 80 Days. I had the chance to see it last night and I loved it because it is so much fun! The story, based on the novel of the same name by Jules Verne, is simple and centers on a wager that a wealthy and eccentric Victorian gentleman named Phileas Fogg (Will Ingram) makes with the members of his club. He bets half of his fortune that he can circumnavigate the globe in 80 days and he and his hapless valet Passepartout (Ryan Simmons) set off that very night! Soon Inspector Fix (BJ Whimpey), who believes that Fogg robbed the Bank of England, and Mrs. Aouda (Niki Rahimi), a woman they rescue from a funeral pyre in India, join them to visit various exotic ports around the world as they race the clock to return to London in time. This adaptation by Laura Eason is highly theatrical and every port of call, including Suez, Bombay, Calcutta, Hong Kong, Yokohama, Chicago, and Liverpool, features wildly imaginative sequences with beautiful costumes (I loved all of Mrs. Aouda's elaborate dresses), dynamic projections (I loved the routes shown on various maps as they travel), clever sets (I loved the use of steamer trunks on all of the different modes of transportation), and energetic choreography with aerialists (Dave Hollerbach, Lance Nielsen, Mandi Johnson, Jessica Kehl, Alyssa Larson, and Samantha Nielsen) performing on various apparatuses (I loved the silks). My favorite sequences are an elephant ride in India, an encounter in an opium den in Hong Kong, a circus in Yokohama, a Wild West train robbery, and a storm at sea. This is not a musical per se but there is a stirring soundtrack that complements the action very well (I particularly loved the use of an aria from the opera I Pagliacci). The whole show is staged as a Victorian melodrama with red velvet curtains around the theater, vaudeville style footlights surrounding the stage, and chandeliers hanging from the rafters. Queen Victoria (Julie Silvestro) even watches the show from the audience! The actors also mimic vaudeville performers and I was especially impressed with Simmons because his physicality is brilliant and his facial expressions are hilarious and completely over the top. The aerialists are simply amazing (I do not know how they do what they do and I couldn't take my eyes off them) and the ensemble (who all play multiple roles and move set pieces seamlessly on and off stage) is also outstanding. This is a show that is not to be missed and I cannot recommend it enough! It runs on the Young Living Centre Stage through October 21 (go here for tickets).

Catch Me If You Can at HCT

It is always really refreshing when I have the chance to see a play or musical with which I am not familiar (all of the theaters around me tend to cycle through the same popular shows) so I was excited for Catch Me If You Can at HCT last night. This is not the musical adaptation of the movie starring Tom Hanks and Leonardo DiCaprio but a cat and mouse mystery that kept me guessing until the very end! An advertising executive named Daniel Corban (Dallin Bradford) is honeymooning in the Catskills Mountains at a cabin owned by his boss. When his new wife Elizabeth goes missing after an argument, he coerces the bumbling local detective Inspector Levine (Jason Hackney), who is also investigating the theft of an expensive bracelet at a nearby hotel, into looking for her. Eventually the local priest, Father Kelleher (David Weekes), brings Elizabeth (Meg Flinders) back to the cabin but this woman is not his wife and this sets off a series of mysterious events, including murder, after Daniel is unable to convince Levine that she is an impostor. I really enjoyed this because it is filled with lots of twists and turns and red herrings but, when the mystery is finally solved, you realize that all of the clues have been there all along. It is so clever! Bradford gives an incredibly compelling performance because Daniel becomes more and more confused as the play goes on and you never really know if he is losing his mind or not and this provides a lot of tension. Hackney provides a bit of comic relief as a wise-cracking inspector who pits Daniel and Elizabeth against each other. Flinders also gives a brilliant performance because her portrayal of such an unlikable character is highly exaggerated and I loved the hostile interactions between her and Bradford as they attempt to outwit each other. The set, featuring a multi-level luxury cabin in the mountains, is really impressive with lots of 1960s period verisimilitude and I especially loved the wall of windows upstage through which projections of the woods are shown, the working fire pit, and the curved sofa. It was also fun to see the attention to detail with all of the props (so many ashtrays) and costumes. This is a well-crafted and entertaining murder mystery that might surprise you as much as it did me and I definitely recommend it (go here for tickets). It runs on the Sorenson Legacy Jewel Box Stage through November 11.

Note:  Do not miss the fantastic production of Newsies on the Young Living Stage through August 26 (go here for tickets).

Newsies at HCT

There was a time when Newsies was at the top of the list of shows that I wanted to see. I was so eager to see it that I went to Los Angeles because it was playing at the Pantages Theatre and then the Broadway touring production came to SLC the following year so I got to see it again! I have since seen it multiple times (it is very popular in Utah) but I really love it and was so excited to see HCT's version last night! It is a fun production and I thoroughly enjoyed it! A group of newspaper delivery boys (and girls in this production) led by Jack Kelly (Matthew Sanguine) decide to go on strike when Joseph Pulitzer (Douglas Irey) raises the price of newspapers. With a little help from a fledgling reporter named Katherine Plumber (Rachel Martorana), the so-called newsies get the attention of Governor Theodore Roosevelt (Ryland Despain) and score a victory for all of the working children in New York. I love all of the music in this show but my favorite song has always been "The World Will Know." Sanguine and the ensemble performed it with so much passion that I had goosebumps! I also really enjoyed Martorana's rendition of "Watch What Happens" because she infuses it with both vulnerability and determination to succeed and Gunnar Russell (as Crutchie) gave the best performance I’ve seen of "Letter from the Refuge" because it is incredibly poignant! The highlight of this show has always been its high-energy choreography and HCT did not disappoint! Everyone in the ensemble is an amazing performer and the big production numbers "Carrying the Banner," "The World Will Know," "Seize the Day," "King of New York," and "Once and for All" are outstanding. The choreography features a few of the iconic leaps and spins from the original Broadway production but it is also innovative enough to keep it fresh and exciting. At first I felt that Sanguine was too old for the role of Jack (who is supposed to be a teenager) but he eventually won me over and I enjoyed his charisma and bravado. The other standouts in the cast for me were Hyrum Smith as Davey and Flynn Mitchell (who steals every scene he is in) as Les because they play off of Sanguine so well. The set also maintains the spirit of the original Broadway production but, because it is Hale, it is even more dramatic with one large multi-level metal tower in the middle of the stage which splits apart and is reconfigured multiple times. It is quite thrilling to see the actors climbing and swinging on all of the different levels and configurations. I did find the use of an actual chalkboard for the newspaper headlines, while clever, to be a bit underwhelming and it was hard to see Jack's drawings. The previous production of Newsies at HCT utilized the LED screens that surround the theatre for the headlines and drawings and I think that was more effective. Other than that minor complaint, I had a great time with this show and I highly recommend seeing it with your kids (the children and teens in my audience absolutely loved it).  It runs on the Young Living Centre Stage through August 26 (go here for tickets).

Hans Christian Andersen in New York at HCT

Last night I went to the world premiere of the musical Hans Christian Andersen in New York at Hale Theatre. It is a reimagining of the 1952 movie musical Hans Christian Andersen and includes all of the songs by Frank Loesser but features a more contemporary story about the famous Danish storyteller's fictional ancestor who lives in New York City in 1962. Hans Christian Andersen (Alex King), a former dancer on Broadway, has inherited the lease of a bookstore from his aunt but she was behind on the payments so he faces eviction.  He lets his best friend Bunny Bailey (Erin Royall Carlson) use the back of the store as a dance studio where she teaches her young students, including Tiffany (Lucy White), Rosalie (Elsa Parry), Carol (Hailey Burnham), Ashley (Libby Despain), and Darlene (Sophia Quinn), to make some extra money.  She suggests putting on a show with her students to save the bookstore and, while he is initially against the idea, his great uncle Hans (Mark Pulham) appears periodically to encourage him.  Add Bobbie Tone (Selena Quayle Proctor), a Broadway friend roped into the job of director and choreographer, a possible romance with Nancy Offenbach (Amy Shreeve Keeler), the mother of two children, Natalie and Ian (Olivia Dietlein and Mason Burnham, respectively), who try out for the show, and Harry Porter (Ben Henersen), a bumbling but helpful community theatre actor from Omaha who offers to play Santa Claus, and merriment ensues!  This has the thinnest of plots (most of the scenes exist to set up the songs rather than tell a story) and it is not very compelling but, having said that, all of the musical numbers are fantastic!  I especially enjoyed "I Hear Music," "Hoop-Dee-Doo," "Thumbelina," "Tallahassee," and "The King's New Clothes" because they feature really fun choreography with the children who are unbelievably talented and charismatic! Unfortunately, I didn’t care for King in the title role because every movement, gesture, and facial expression is very mechanical so I didn't really buy his performance. The rest of the cast is fine but I loved Proctor's turn as an over-the-top diva, particularly when she instructs the girls on how to bow, and Mason Burnham steals the show every time he is on stage (he received the loudest applause and cheers during the bows).  There is an amazing live band, composed of Derek Crane, Reed Le Cheminant, Craig Moore, Alex Marshall, Eric Noyes, Emily Maddison, and Cris Stiles, and they sit in the windows of the buildings that surround the NYC set.  Speaking of which, it is pretty spectacular with a two-storey bookstore on one side of the turntable and a dance studio on the other.  The Christmas decorations at the store and the backdrops used for the show are a lot of fun and so are the 1960s era costumes. This show is a throw-back to the golden age of musicals and the big song and dance numbers are sure to put a smile on your face. It runs on the Sorenson Legacy Jewel Box Stage through July 15 (go here for tickets).

Note:  Don't miss the delightful production of Hello, Dolly! now playing on the Young Living Centre Stage through June 10 (go here for tickets).

Hello, Dolly! at HCT

Last night I saw the most charming and delightful production of Hello, Dolly! that I have ever seen! I loved everything about this show at HCT and I had a giant smile on my face from beginning to end! At the turn of the century, the irascible Horace Vandergelder (Brian Neal Clark) wants to get married again so that he will have someone to do all of the chores at his Hay & Feed store in Yonkers, New York. His niece Ermengarde (Rachel Bigler) wants to marry an artist named Ambrose Kemper (Dale Hoopes) but her uncle objects because he doesn't have a steady income. His clerk Cornelius Hackl (Landon Horton) is longing for an adventure in New York City so he convinces his fellow clerk Barnaby Tucker (Justin Gibbs) to come along with him and they vow not to return to Yonkers until they have both kissed a girl. They soon meet Irene Molloy (Shae Robins), who owns a millinery shop in NYC but wants a rich husband to take her away because she hates hats, and her assistant Minnie Fay (Amanda Baugh). A recently widowed matchmaker named Dolly Levi (Mack) is hired to find a wife for Vandergelder but she decides that she wants to marry himself. She just needs to convince him! She eventually arranges for all of the couples to meet for a memorable evening at the Harmonia Gardens Restaurant in NYC and merriment ensues! The choreography in this show is incredible and the big song and dance numbers, including "I Put My Hand In," "Put on Your Sunday Clothes," "Dancing," "Before the Parade Passes By," "Waiters' Gallop," and "Hello, Dolly," are exuberant and dynamic and feature a large and incredibly talented ensemble. I really enjoyed the staging of these numbers, particularly "I Put My Hand In," because Dolly appears in the audience handing out her matchmaking cards to audience members (a cute girl sitting next to me got one of the cards and she held it tightly in her hands during the whole show), and "Elegance," because Cornelius, Barnaby, Irene, and Minnie travel all through the audience to get to the Harmonia Gardens because they boys can't afford to hire a cab. Mack oozes charm and charisma as Dolly and, while she has a wonderful voice, I loved all of her interactions with Clark because it is so much fun to watch all of her hilarious facial expressions as she bamboozles him! The rest of the main cast is also fantastic with Horton (I loved his voice) and Gibbs (he is an amazing dancer) as standouts. I was impressed by the set before I even reached my seat because the stage is stenciled with a pink, red, and black pattern with pink and white miniature Victorian houses with working lights around the perimeter of the stage to represent Yonkers and larger pink and white buildings in the wings, which are moved around the stage during the show, to represent NYC. The wings are also decorated with thousands of pink, white, and red flowers with bouquets of flowers and chandeliers hanging from the rafters. Elaborate set pieces, such Vandergelder's Hay & Feed, the millinery shop, and Harmonia Gardens Restaurant, come up from the pit, down from the rafters, and in from the wings, but I loved the train and cutouts of a marching band that cross the stage during "Put on Your Sunday Clothes" and "Before the Parade Passes By," respectively. Finally, the period costumes are gorgeous! Every dress features textured, embellished, embroidered, or bedazzled fabrics and every suit features patterned waistcoats, cravats, and hats. This show is so much fun (I found pink, red, and white confetti in my car when I got home) and I highly recommend getting a ticket (go here) before the parade passes you by!