One For the Pot at HCT

Last night I went to see Hale Centre Theatre's production of One For the Pot and it was the second madcap comedy that I've seen in as many days. I was not at all familiar with this show but I love British farces and all of the slamming doors and mistaken identities kept me laughing out loud from beginning to end! Jonathan Hardcastle (Mark Fotheringham) is a wealthy mill owner who is trying to find the son of his former business partner to bestow a large amount of money on him. He places an advertisement in the newspaper asking him to come to his manor to confirm his identity and prove that he is his partner's only living relative. Billy Hickory Woods (Bryan Dayley) and his friend Charlie Barnet (Kyle Baugh), who is pretending to be his lawyer in order to benefit from this bequest, arrive on the day that Hardcastle's daughter Cynthia (Megan Heaps) is celebrating her birthday with a dance organized by Hardcastle's sister Amy (Tamari Dunbar). Hardcastle's lawyer, and Amy's boyfriend, Arnold Piper (David Marsden) is on hand as is Cynthia's latest admirer Clifton Weaver (Jamie Rocha Allan). Hilarity ensues when Billy's heretofore unknown brothers Rupert, Michael, and Francois (all played by Dayley) also show up to claim the money, and romance Cynthia, forcing Charlie to enlist the butler Jugg (Jeff Blake) to keep them away from Hardcastle and Billy's suspicious wife Winnie (Jasmine Fuller). The action becomes more and more frenetic as the situation descends into the absurd with characters running in and out, hiding in unusual locations (my favorite was a window seat), incapacitating each other through various means, and impersonating each other. The physical comedy is absolutely hilarious and I was especially impressed with Dayley (I've seen him in other HCT comedies and he is brilliant) because I have no idea how he was able to exit the stage as one character and enter seconds later as another character! What a workout! Most of the brothers end up wearing the same black tuxedo so they are only differentiated by Dayley with an accent and a facial expression. It was amazing because you could immediately see which character he was playing as soon as he came on stage. I laughed at just about everything he said and did! I was also impressed with Heaps because she is the understudy for all of the female roles and her performance as Cynthia was flawless (once again, I must commend all of the understudies who keep these shows open through the madness). Director Ryan L. Simmons added a live band into the mix with a set that rotates on a turntable between the lounge and the ballroom where they perform during the dance. This play is set in the late 1950s so the music is a lot of fun and the musicians (Byran Matthew Hague on guitar, Daniel Pack on bass, and John Nielsen on drums) are outstanding. The only element that didn't really work for me was the audience participation initiated by Baugh because it seemed a bit forced. Otherwise, this show is a delight and I recommend it for a fun night out.  It runs on the Sorenson Legacy Jewel Box Stage through April 2 (go here for tickets).

A Christmas Carol at HCT 2021

I have a long-standing tradition of seeing HCT's production of A Christmas Carol every year (I like to joke that I have seen it so many times I could probably stand in for any role) and I had the chance to see it again last night. I love the well-known story by Charles Dickens of Ebeneezer Scrooge's reclamation by the Ghosts of Christmas Past, Present, and Future and I think Hale's adaptation is absolutely beautiful. This year the cast includes many actors that I have never seen before (which is unusual because many actors return to the same roles year after year) and I particularly enjoyed Stephen Kerr as Scrooge, Ben Oldroyd as Bob Cratchit, Spencer Jackson Hohl as Fred, Jared Lesa as the Ghost of Christmas Present, and Patrick Despain as Tiny Tim. I loved Kerr's cantankerous and grouchy characterization of Scrooge and the subtle changes in his demeanor as he encounters each ghost and internalizes the lessons they teach him are incredibly effective. His interactions with Oldroyd during the final scene are so tender they brought a tear to my eye. Hohl is the perfect counterpoint to Kerr because he imbues Fred with a lot of cheerfulness and charm. I also really enjoyed Lesa's characterization because he is very merry as the embodiment of Christmas but he is also quite harsh with Scrooge. Despain is absolutely endearing and I loved his delivery of the iconic line at the end of the show. One aspect of Hale's production that I really love is the use of music in between scenes by an octet (Mindi Hansen, Samantha Paredes, Jessica Pearce, Emily Roh, Ryan Withers, Barton Sloan, Bryan Johnson, and Taylor Smith) and in certain party scenes by the characters. My favorite song is, of course, "Bring a Torch Jeanette, Isabella" which is sung during the Fezziwig's party. The elaborate Victorian sets are incredibly immersive (the projections are fantastic) and I particularly love Scrooge's bedroom (the wallpaper is amazing), Fezziwig's warehouse, and the rag and bottle shop. I usually sit on the extreme right side of the theater so I often miss out on some of the special effects but last night I sat on the front row in the center section so I was quite enchanted when Jacob Marley (Matt Kohler) comes through Scrooge's fireplace to visit him and when the Ghost of Christmas Future (Ren Cottam), who is quite scary, reveals Scrooge's name on the tombstone. I keep returning to see this show year after year because it fills me with so much cheer and I always leave the theater vowing to keep Christmas all year long. Unfortunately, every performance during the run is sold out but HCT has been known to add shows so keep checking the website (go here) for tickets.

Chitty Chitty Bang Bang at HCT

Last night I saw Chitty Chitty Bang Bang at Hale Theatre and, unfortunately, it is the worst production I have ever seen at HCT. Last night was opening night for the THS cast and this could account for some of my issues with the show but not all of them. This musical is based on the 1968 movie of the same name and is set in motion when Jeremy (Asher Nehring) and Jemima Potts (Hailey Burnham) ask their father, an eccentric inventor named Caractacus Potts (Austin Dorman), to buy an old car that won the Grand Prix three years in a row but is now sitting in a junk yard. However, the Baron (Benjamin Henderson) and Baroness Bomburst (Ali Bennett) of Vulgaria also want the car and send their spies, Boris (Ashley Carlson) and Goran (Trevor Dean), to get it. Caractacus refurbishes the car, names it Chitty Chitty Bang Bang, and takes the children and Truly Scrumptious (Whitney Hatch) on a picnic at the seaside. They are attacked by Boris and Goran but they soon discover that Chitty can float and fly and this allows them to get away. Boris and Goran, thinking that Grandpa Potts (Daniel Hess) is the inventor responsible for Chitty's transformation, kidnap him and bring him to Vulgaria to make another car for the Baron's birthday. Caractacus, Truly, and the children travel to Vulgaria in Chitty to rescue him and hilarity ensues. The story is rather silly but it is usually a lot of fun. I say usually because last night was anything but fun. I am almost always impressed with the sets at HCT but with this show I was a bit disappointed. The breakfast making machine is really elaborate but it didn't seem to do anything (from where I was sitting), the giant bubble bath in "Chu Chi Face" is weird and the actors had a lot of difficulty maneuvering in and around it, and the doors in the toy shop kept sticking when they were opened and closed. The car, which is meant to be the showstopper, had technical difficulties during the big reveal which literally stopped the show, not once but, twice. The second stoppage happened near the end of the first act so intermission was called and we never did get to see the final scene (where Grandpa Potts is kidnapped) which caused some confusion in the second act. The costumes and props are fabulous (definitely the best part of the show along with the projections) but cast members were dropping hats and props all evening and it was distracting. I didn't feel like the cast was particularly strong (I even felt that some roles were miscast) and the only actor who really stood out for me was Henderson as the Baron (he is hilarious). The choreography in the big song and dance numbers is underwhelming and, honestly, it seemed as if the dancers needed a few more weeks of rehearsal because their performances looked chaotic. To be sure, this was opening night and a few mishaps are to be expected but the tickets are expensive so I don't think it is unreasonable to demand a show that is more polished than this one was. I have been an Early Bird season subscriber for almost 15 years and I have never seen such a mess before. Part of me wants to see the MWF cast later in the run to see if I enjoy it more but part of me never wants to see this particular show ever again! I was very disappointed with this production and I can't in good conscience recommend it.

The Mousetrap at HCT

Even though I am a huge fan of Agatha Christie (I made a goal of reading all of her novels when I was a teenager) and The Mousetrap, based on the short story Three Blind Mice by Christie, is the longest running play in history (it has been performed in London's West End since 1952) I had never seen it before! I was, therefore, really excited to see HCT's production of this murder mystery yesterday afternoon. Mollie Ralston (Kristi Curtis) and her husband Giles (BJ Whimpey) have converted their large estate, Monkswell Manor, into a guesthouse and are nervously getting ready to welcome their first paying customers during a severe snowstorm. News of a grisly murder with ties to a neighboring village reaches the manor just as the guests, including Christopher Wren (Colton Hattabaugh), Mrs. Boyle (Heidi Scott), Major Metcalf (Douglas Irey), and Miss Casewell (Taylor McKay Barnes), arrive one by one.  An unexpected guest, Mr. Paravacini (Chandler Bishop), arrives rather suspiciously a few hours later after his car is overturned in a snowdrift and Detective Sergeant Trotter (Adam Packard) skis his way to the snowbound manor to investigate a clue about the aforementioned murder. When one of the guests, who has a mysterious connection to the murder victim, is found dead it seems that everyone has a secret and it is up to Sergeant Trotter to solve the crime before another murder occurs. Information about each character's backstory is revealed very slowly and strict attention must be paid in order to discover the solution, including a major twist, so I found the plot to be quite riveting (I love British period dramas).  I didn't guess the ending because it is a clever subversion of traditional murder mystery tropes (there were audible gasps from the audience during a key moment). The ensemble cast is outstanding (I saw a mixture of the MWF and TTHS casts) but I especially enjoyed Hattabaugh as the eccentric Wren because he is so flamboyant and all of his facial expressions made me laugh. My favorite aspect of this production is the spectacular set (which is often the case at HCT). It is exactly what you would expect a British country manor house to look like with a large stone fireplace, wall sconces, intricate staircases, Victorian-era furniture, doilies, and landscape paintings. I was particularly struck by the attention to detail, especially the authentic women's magazines from the 1950s. I also loved seeing the snow falling outside through the window. I had a lot of fun watching this play and the traditional admonition to keep the ending a secret from future audience members put a smile on my face as I left the theatre. I highly recommend it with the proviso that younger audience members might not enjoy it (the teens sitting behind me seemed a bit bored).  The Mousetrap runs on the Sorenson Legacy Jewel Box Stage through November 20 (go here fore tickets).

Note:  Don't miss the beautiful production of The Secret Garden on the Young Living Centre Stage which runs through October 23 (go here for tickets).

The Secret Garden at HCT

I am not a big fan of the musical The Secret Garden but Director/Choreographer Dave Tinney made me love HCT's productions of Matilda and Cinderella (shows I don't usually enjoy) and I didn't hate their version of Seussical (a show I almost walked out of when the Broadway touring production came to town and then vowed to never see again) so I was hopeful when I walked into Hale Centre Theatre last night because he is also at the helm of this show. As predicted Tinney worked his magic once again because I absolutely loved it! Mary Lennox (Olivia Dietlein) is orphaned by a cholera outbreak in India and sent to live with her uncle Archibald Craven (Quinn Dietlein) at Misselthwaite Manor in Yorkshire. He has been grieving the death of his wife Lily (Lisa Zimmerman), who died in childbirth, for the past ten years and has closed off his heart, his house, and Lily's garden. Mary receives a cold welcome from the housekeeper Mrs. Medlock (Linda Jean Stephenson) and an indifferent one from her uncle. She is lonely and unhappy but is encouraged by a maid named Martha (McKelle Shaw) and her brother Dickon (Ben Butters) to play outside and she soon discovers Lily's abandoned garden. She also discovers her cousin Colin (Toby Worland) who has been kept an invalid by Archibald's brother Neville (Alex DeBirk). As Mary brings the garden back to life, she also brings Colin and Archibald back to life.  I always love the interactions between Mary, Colin, Dickon, and Martha but my biggest problem with this show is the emphasis on the adults because I find them, especially the ghosts of characters who have died, to be almost superfluous to the story (this is the biggest change from the novel by Frances Hodgson Burnett). In this production, however, I really loved how the choreography involves the ghosts in almost every scene, particularly when Mary wanders the corridors of Misselthwaite Manor at night (with characters holding windows for her to run between), when Archibald remembers waltzing with Lily in the ballroom (with characters dancing between candelabras shrouded in dust cloths), when Mary and Dickon bring Colin to the garden for the first time (with characters summoning spirits to heal Colin), and when Archibald despairs at his loneliness without Lily (with characters holding mirrors to reflect the ghosts all around him). I don't remember seeing these characters so intimately involved in the action before and their inclusion made so much more sense to me. There are even ghosts behind windows at each entrance to the theatre which creates an eerie atmosphere. The set design, as is usually the case with HCT, is absolutely brilliant. I loved all of the dark and ponderous pieces of furniture because they emphasize how gloomy Misselthwaite Manor has become but each piece features painted flowers and vines to show that Lily's garden also haunts the inhabitants. Speaking of the garden, I loved it both when it is in its dormant state and when it is in bloom (the wisteria hanging down from the rafters was my favorite). Butters performs "Winter's on the Wing" and "Wick" (my favorite songs in the show) beautifully but I was absolutely enchanted by the animal puppets (including a dog, the all important robin who leads Mary to the garden, rabbits, a fox, and geese) used in these numbers and I may have even giggled out loud the first time the dog appeared. I also really enjoyed the songs "Come Spirit, Come Charm" by the children and the ghosts and a powerful rendition of "Hold On" by Shaw. I loved everything about this production, which I was not expecting, so I definitely recommend getting a ticket (go here). It runs on the Young Living Centre Stage through October 23.

Guys and Dolls at HCT

Last night I saw HCT's wildly entertaining production of the old favorite Guys and Dolls and I thoroughly enjoyed it! The story, which is a bit dated but still a lot of fun, revolves around the romantic struggles between Nathan Detroit (Blake Barlow), who runs the oldest established permanent floating crap game in New York, and Miss Adelaide (Kelly Pulver), his long-suffering fiancee of fourteen years, as well as Sky Masterson (Preston Taylor), a charismatic professional gambler, and Sarah Brown (Jisel Soleil Ayon), an uptight sergeant with the Save-a-Soul Mission who is trying to reform him. When Nathan Detroit bets Sky Masterson that he can't take Sarah to Havana, chaos ensues! All four leads give wonderful performances but I found Taylor to be incredibly appealing as Sky, especially in "Never Been In Love Before," and I laughed out loud at Ayon's drunken antics in "Havana" and "If I Were a Bell." The choreography in this show is fantastic and "Luck Be a Lady" and "Sit Down You're Rockin' The Boat" are absolute showstoppers! I also really enjoyed Miss Adelaide's performances of "Bushel and A Peck" and "Take Back Your Mink" with the Hot Box dancers. The period costumes are a lot of fun, particularly all of the patterns used in the men's suits (I loved the pinstripes) and all of the details on the Save-A-Soul Mission uniforms. I am almost always impressed with the set design at Hale but Kacey Udey really outdid himself with this show. I loved the bold primary colors used in Mindy's Cafe, the Hot Box, and the Save-a-Soul Mission and I loved the contrast with the tropical pastel palette used in the Havana scenes. The projections on the giant LED screens are very well-done and enhance, rather than detract from, what is happening on stage. Finally, the technical aspects of this show are also outstanding. There are set pieces coming in from the wings, up from the pit, and down from the rafters for nearly every scene and it is quite impressive how seamlessly this happens (especially so early in the run). This is a fun, colorful, and energetic show that everyone will enjoy (the tween sitting next to me loved it) and I highly recommend getting a ticket (go here). It plays on the Young Living Centre Stage through August 14.

Note:  Also, don't forget Always Patsy Cline playing on the Sorenson Legacy Jewel Box Stage through August 28 (go here for tickets).

Always...Patsy Cline at HCT

Last night I went to see Always...Patsy Cline which is currently being performed on the Sorenson Legacy Jewel Box Stage at Hale Centre Theatre. I must say at the outset that I am not much of a country music fan (it is probably my least favorite genre of music) but the portrayal of an improbable friendship is quite poignant and I certainly appreciated the talented musicians who performed live on stage! The show is basically a series of performances by Patsy Cline (Cori Cable Kidder) of all of her hits at various venues, including the Grand Ole Opry, interspersed with commentary from a real-life fan named Louise Seger (Adrien Swenson) who met Cline at a performance in Houston and then corresponded with her until her untimely death. I found the story to be a bit contrived but the music is outstanding! Kidder is fantastic in the role, looking and sounding enough like the iconic singer to be believable without seeming like a campy impersonation, and I especially enjoyed her renditions of "Walking After Midnight," "I Fall to Pieces," "Your Cheatin' Heart," "Sweet Dreams," "Crazy," and "True Love."  The band, consisting of Kelly DeHaan (director and music director) on piano, Bryan Hague on guitar, Mark Maxson on lap steel guitar, Mark Robinette on bass, Aaron Ashton on fiddle, and James Densley on drums, is also fantastic and I really liked their spontaneous interactions with Kidder. Swenson is enthusiastic and fully committed to Louise's over-the-top persona but, in my opinion, the role itself is a little bit problematic because, in reality, there's not a lot for her to do. The shtick gets tedious after a while and sometimes detracts from the music. I was, as always, impressed with the set design, which features fun projections on cowboy boots and hats, and the many different costumes worn by Cline during her performances. This was not really my cup of tea (I don't think I will ever see it again) but it is an outstanding production with amazing performances and I'm sure that fans of country music and of Patsy Cline will appreciate it much more than I did.  It runs on the Jewel Box stage until August 28 and tickets may be purchased here.

Daddy Long Legs at HCT

I vaguely remember watching the movie Daddy Long Legs, starring Fred Astaire and Leslie Caron, on my black and white TV late at night when I was in high school. However, I was totally unfamiliar with the stage musical so I didn't really know what to expect when I attended HCT's production of this show last night. I ended up absolutely loving it! At the turn of the century, Jerusha Abbott (Kelly Coombs) is the oldest orphan at the John Grier Home but a young and wealthy Trustee named Jervis Pendleton (David Paul Smith), impressed by one of her essays about living at an orphanage, decides to send her to college so she can become a writer. He will pay her tuition and all of her living expenses on the condition that he remain anonymous and that she writes him a letter once a month to inform him of her progress. Not knowing his name she decides to call him Daddy Long Legs, referring to the tall shadow she saw leaving the orphanage, in her letters which prove to be enchanting to Jervis. Against his better judgment he meets her without revealing that he is her benefactor and then falls in love with her. Jerusha also falls in love with him but, when she pours her heart out about him to Daddy Long Legs in her letters, it creates much confusion as he struggles to decide whether to reveal himself to her. I love Jerusha as a character because she grows and develops so much as a person throughout the course of the show and I really appreciate the fact that she pays her benefactor back before beginning a relationship with him because she proves herself to be his equal. She has such a thirst for knowledge (I love that she has a new favorite subject to denote each year in school) and for new experiences (I love her sense of wonder while on a cultural weekend in Manhattan) so it was easy for me to relate to and sympathize with her. Coombs is absolutely delightful in the role and Smith is incredibly earnest as Jervis. They both have amazing voices and palpable chemistry with each other. I particularly enjoyed the scenes while Jervis is jealous when Jerusha mentions Jimmy McBride in her letters. It is really impressive that the two of them carry this show entirely by themselves with demanding songs, rapid-fire dialogue, high energy blocking, and multiple costume changes which happen right on stage. I was also very impressed by the live band on stage consisting of Kelly DeHaan on piano, Josh Ogden on cello, and Bryan Matthew Hague on guitar. The music is quite stirring, especially the guitar, and I really liked the songs "Like Other Girls," "Things I Didn't Know," "What Does She Mean By Love?" and "The Secret of Happiness." The set is ingenious with two levels and a pulley system between them to allow the characters to be separate while in the same scene and the inclusion of props stored in strategically placed suitcases and trunks quickly transforms the space multiple times without a pause. The actors utilize the space very effectively (I was sitting on the extreme right side of the theatre and there were only a few times when I couldn't see the action which is sometimes more of an issue). My only complaint, which is a minor one, is that I grew impatient in the second act for the characters to just get together already (I don't think this is a spoiler because, to me, it is a foregone conclusion) because the action gets bogged down a bit and many of the songs are reprises. Nevertheless, I loved this show much more than I was expecting to and I highly recommend it (go here for tickets). It runs on the Jewel Box Stage through June 12.

Note:  I also highly recommend Les Miserables which is currently playing on the Young Living Stage. Many performances are sold out but some matinees have recently been added later in the run (go here for tickets).

Les Miserables at HCT

I don't think I will ever get tired of hearing the dramatic opening notes of the musical Les Miserables. They moved me to tears the first time I heard them performed live at the Palace Theatre in London on a study abroad trip in 1990 and they did once again as I heard them performed at Hale Theatre last night! I love the moving story of Jean Valjean's redemption, which is based on Victor Hugo's masterpiece, and I love the beautiful music by Alain Boublil and Claude-Michel Schonberg so I have seen Les Miserables at least 30 times (a conservative estimate) and I have to say that HCT's current version is a great production. The cast features Casey Elliott, Bradley Quinn Lever, and Brad Robins, whose meeting while performing in HCT's 2014 production of Les Miserables prompted them to form the popular trio Gentri, and I was really excited to see them reprise their roles as Jean Valjean, Enjolras, and Marius, respectively. Their performances were definitely a highlight of the show for me, particularly Elliott's version of "Bring Him Home," Lever's version of "Red and Black," and Robins's version of "Empty Chairs at Empty Tables."  I also really enjoyed Cecily Ellis Bills as Fantine, Clotile Bonner Farkas as Madame Thenardier, and Rebecca Burroughs-Kremin as Eponine (I judge every production by how Eponine sings "On My Own" and her version gave me goosebumps). However, my very favorite performance of the night was Adam Dietlein as Inspector Javert. He is absolutely brilliant in the role because he holds himself, in both his mannerisms and his facial expressions, so rigidly and this characterization is perfect for the unyielding Javert. His rendition of "Stars" is incredibly powerful and it elicited the most applause and cheering last night after "Bring Him Home" (they had to stop the show because the applause went on for so long after this number). The costumes and sets are similar to those in the original Broadway production but also feature just enough flourishes to keep the show fresh (I loved all of Cosette's dresses and Madame Thenardier's gown for "Beggars at the Feast"). I do wish that the barricade could have been on the turntable because the reveal of Enjolras hanging upside down while holding the red flag as it slowly rotates in the original production is one of the most dramatic moments of the show (I miss this moment in the new staging on Broadway as well) but I like that HCT's barricade allows the entire audience to see "A Little Fall of Rain" and "Drink With Me."  I think "Javert's Suicide" is staged particularly well because it really seems as if he is jumping from a bridge to his death and I also quite enjoyed the staging of "Master of the House" because even the young Eponine (Olivia Dietlein) steals from the guests. I love this show so much (it will always be a sentimental favorite) and seeing it at HCT last night made me very happy. I highly recommend getting a ticket but be aware that several secondary ticketing sites have been inflating prices significantly (go directly here for the best prices). It runs on the Young Living Stage through June 19.

Note:  I think I might need to see it again for the MWF cast because it features Kyle Olsen as Jean Valjean and he blew me away as Sydney Carton in A Tale of Two Cities.

A Tale of Two Cities at HCT

If I had to pick a favorite Charles Dickens novel it would definitely be A Tale of Two Cities and I count HCT's 2011 production of this classic tale as one of their best. HCT is producing this stirring musical again and I had the chance to see it last night. I loved it so much and I was absolutely thrilled to see Kyle Olsen, my favorite actor from the earlier production, reprise his role as Sydney Carton. Lucie Manette (Brittany Andam), a young woman in London who believes that she is an orphan, learns that her father Dr. Alexander Manette (David Weeks) is still alive after having been wrongfully imprisoned in the Bastille by the Marquise St. Evremonde (Josh Egbert). She travels to Paris to bring him home to London and meets Charles Darnay (Ren Cottam), the nephew of Evremonde who has renounced his ties to the aristocracy, on the journey and they fall in love. Darnay is wrongfully accused of treason upon arrival in London but the dissolute lawyer Sydney Carton (Olsen) clears his name. Carton is also secretly in love with Lucie, but when she marries Darnay, he remains a friend of the family and becomes attached to her daughter Lucie (Leilani Walker). In Paris, Evremonde is responsible for the death of a child when his carriage runs him over in front of the Defarge's wine shop. Madame Defarge (Adrien Swenson), who has a grudge against Evremonde, encourages the boy's father, Gaspard (Alix DeBirk), to murder him which ultimately leads to revolution. Darnay feels that he must return to Paris to rescue Evremonde's household but he is immediately arrested as an aristocrat, denounced by Madame Defarge who wants to wipe out all descendants of Evremonde, and sentenced to the guillotine. This prompts Carton to make the ultimate sacrifice to save Darnay and show his love for Lucie and her daughter. The story is a bit convoluted (it is Charles Dickens, after all) but I was really impressed with the clever use of projections to denote the various locations in London and Paris and this really helped me follow the action. This show is also very complicated technically with set pieces coming up from the pit, down from the rafters, and in from the wings during every scene and these transitions happen seamlessly. One of the things I liked best about the 2011 production was the set featuring cobblestone paths and a large wooden guillotine. The set for this show is very different, with large glass panels and metal grates in the floor that are illuminated with red and blue lights, but no less dramatic. All of the performances are wonderful and I especially loved Swenson's version of "Out of Sight, Out of Mind," Andam's version of "Without a Word," and her version of "Now at Last" with Cottam. However, I was absolutely captivated by Olsen's portrayal of Carton. He brought me to tears during his emotional rendition of "If Dreams Came True" and then once again as he walks up the steps to the guillotine in the final scene. I really loved this incredibly moving show and I highly recommend it. It runs on the Young Living Stage through March 20 but tickets are very limited (go here) so act quickly!

Note:  Don't miss HCT's hilarious production of The Play That Goes Wrong on the Jewel Box Stage (go here for tickets).

The Play That Goes Wrong at HCT

I saw The Play That Goes Wrong at PTC a few years ago and I thought it was one of the funniest shows I've ever seen so I have really been looking forward to HCT's production. I was able to see it yesterday afternoon and I laughed out loud through the whole thing! The Cornley University Drama Society is performing the play The Murder at Haversham Manor by Susie H. K. Bridewell. It stars Chris (Bryan Dayley) as Inspector Carter, Jonathan (David Marsden) as Charles Haversham, Robert (Ben Abbott) as Thomas Colleymoore, Dennis (Jeffrey Whitlock) as Perkins the Butler, Sandra (Erin Royall Carlson) as Florence Colleymoore, and Max (Dan Radford) as Cecil Haversham/ Arthur the Gardner. Annie (Ali Bennett) is the Stage Manager and Trevor (Armando Serrano) is the Sound and Lighting Technician. Literally everything that can go wrong does go wrong with this play including a set that is slowly falling apart (Annie must resort to having an audience member help her construct the mantel before the show begins), misplaced and malfunctioning props, a sound designer who keeps playing Duran Duran instead of the real sound cues, a missing dog (the tech crew was searching the audience frantically for the dog before the show began and during intermission), an actor who cannot stay still while playing a dead body, an actor who cannot remember his lines, an actor who insists on using flamboyant gestures whenever he reads a line, and a leading lady who is injured halfway through the show and must be replaced first with Annie and then Trevor (with scripts in hand). However, the show must go on until the murder is solved (I've seen it twice now and I still don't know who the murderer is because I am always laughing so hard). The physical comedy is absolutely hilarious! My favorite scenes involved a long and drawn out fight between Sandra and Annie for the chance to play Florence, a sword fight between Thomas and Cecil in which the swords are broken, and an awkward kiss between Cecil and Florence (and then with Trevor later in the show). The entire cast is superb with absolutely brilliant comedic timing but my favorite performance was by Radford (he is single cast) as Cecil! I don't know where they found him but everything he does on stage is hysterically funny, especially when he milks the audience for applause! I am almost always impressed by the sets at HCT but this one might be my favorite because it falls apart so spectacularly, especially the second floor study. I highly recommend this show because I can't remember the last time I laughed so hard and I think we can all use a bit of laughter right now! Unfortunately, all shows are currently sold out because of state and county seating limitations but I would keep checking (go here) because more shows could be added during the run which continues through April 3.

Tarzan at HCT

HCT's 2013 production of Tarzan, with Derek Smith in the title role, was the first time I saw the popular Disney musical. I absolutely loved it so I was really excited to see their latest production, especially on the new stage, yesterday afternoon. I was also thrilled to learn that Smith was reprising his role as Tarzan! This musical tells the well-known story by Edgar Rice Burroughs about a human boy who is adopted by a group of apes after his parents are killed in the African jungle. Kerchak (Preston Taylor), the leader of a tribe of gorillas, is not happy when his wife Kala (Beatriz Melo) adopts the boy Tarzan (Toby Worland) because he thinks he doesn't belong. Tarzan struggles to keep up with the rest of the tribe until he is befriended by Terk (Caleb Hafen) who shows him how to be a gorilla.  When Tarzan teaches Terk how to make a spear for picking fruit, Kerchak is frightened that Tarzan will hurt the other gorillas and exiles him. Tarzan is distraught and wonders where he really belongs so Kala decides to stay with him. Years go by and Tarzan (Smith) is welcomed back into the tribe after he kills a leopard that has been terrorizing them for years. However, when Professor Porter (Mark Pulham) and his daughter Jane (Sophia Guerrero) bring an expedition to the jungle, Kerchak worries that Tarzan's interactions with the humans, especially Jane, will bring harm to the tribe. When Clayton (Josh Durfey), a member of the expedition, threatens the gorillas Tarzan must decide whether he belongs with Jane and the humans or with his adopted family. This show is a dazzling spectacle and I loved everything about it! Smith is an incredibly charismatic and athletic Tarzan (at one point he is swinging on a vine that he is holding on to with just one arm) but he can also really sing! My favorite song in the show is "Strangers Like Me" and Smith's rendition of it in the 2013 production is what made me a fan of this musical. I basically sat through the whole first half anticipating this number and it definitely did not disappoint. It gave me goosebumps! Smith also just about blows the roof off the theater with his version of "Everything That I Am." Guerrero is charmingly dorky as Jane, especially when she first meets Tarzan and is trying to hide the fact that she finds him attractive. I really enjoyed her performance of the songs "Waiting For This Moment" and "For The First Time" because she is so full of wonder (for the flora and fauna and then for Tarzan, respectively). I think my favorite performance in the show is Hafen as Terk. He is so full of goofy enthusiasm that he brought a smile to my face (under my mask) every time he was on stage. I loved his rendition of "Who Better Than Me" because he has such great facial expressions. He also got the audience cheering out loud during "Trashin' The Camp." Other standouts in the cast include Melo as Kala, because her version of "You'll Be In My Heart" is very affecting, and Worland as the young Tarzan, because he is adorable and gives such a heartfelt performance of "I Need to Know." The aerialists in this show are amazing and I almost missed the adult Tarzan's dramatic entrance in "Son of Man" because I was paying so much attention to the flying gorillas! I did miss a key moment between Tarzan and Jane because I was fascinated by the aerialists in the flowers during "Waiting For This Moment." I loved the costumes, the set pieces that come down from the ceiling and up from the pit, and the dramatic fluorescent lighting. This is such a great production and I am so grateful that HCT added some afternoon performances so that I could see it! There are a few tickets available for shows later in the run (go here) and I highly recommend getting one!

A Christmas Carol at HCT 2020

With HCT's new guidelines for socially distanced seating (which I actually applaud), I didn't think that I would be able to see A Christmas Carol this year. Even though I have seen it more times than I can count, the thought of missing out on yet another Christmas tradition made me a bit sad. Then HCT released a few tickets last weekend and I quickly grabbed one for an early show yesterday afternoon! I enjoyed it so much, probably more than I ever have before! HCT's production is a lovely adaptation of the well-known classic by Charles Dickens about the reclamation of Ebeneezer Scrooge (David Weeks) by the Ghosts of Christmas Past (Jackie Spendlove), Present (Jonathan Fifield), and Future (Spencer Hohl). What I love most about HCT's production is the addition of Christmas music in between every scene by an octet (Brett Myers, Taylor J. Smith, Michael Von Forell, Josh Shimizu, Emily Hawkes, Mindi Hansen, Emily Leishman Roh, and Erin Camp Worland) and in certain party scenes by the characters. I love Christmas music so much and I think the addition really helps add to the mood. My favorite song by the octet is "What Child is This?" and I also really love "Bring a Torch Jeanette, Isabella" during the Fezziwig's party (it was my favorite song to sing when I was in the choir in college) and "It Came Upon a Midnight Clear" during Fred's party. This year they added a violin (Katie Frandsen) to the musical numbers and I loved it! Because I've seen this production so many times I always anticipate seeing the same actors return to the same role year after year but this year there were quite a few new faces!  I particularly loved Elijah Thomas as Charles Dickens/Fred because his performance of the opening prologue (it seems like it was expanded this year) gave me goosebumps, Anthony LeRoy Lovato as Bob Cratchit because he is so tender after the death of Tiny Tim, and Jonathan Fifeld as the Ghost of Christmas Present because he is jolly but also a little bit stern. Of course the young actor playing Tiny Tim (Payson Inkley) is absolutely adorable and he really works it when he says his iconic line at the end of the show. The elaborate Victorian sets on the turntable (I love the rag and bottle shop) and the opulent costumes effectively transport the audience back to London in the 1800s but, because I was sitting on the side in the back of the theatre, I sometimes had a hard time seeing all of the projections and I missed the climactic moment when the Ghost of Christmas Future shows Scrooge his name on the tombstone. It mattered not because this show is full of so much Christmas cheer that you can't help leaving the theatre with a smile on your face and a vow to keep Christmas in your heart all year long! I highly recommend getting a ticket and, last I heard, there are still some available for a few shows (go here)

Murder on the Orient Express at HCT

I am a huge fan of Agatha Christie (I made a goal to read all of her books when I was a teenager) and one of my favorites is Murder on the Orient Express. I've seen several screen adaptations but never the stage play so I was really excited about HCT's production! I was able to see it last night (closing night) and I thoroughly enjoyed it!  After finishing a case in Syria, the famous Belgian detective Hercule Poirot (Mark Knowles) is called back to London on urgent business. Despite the fact that it is fully booked, a compartment is found on the Orient Express for Poirot by Monsieur Bouc (Benjamin "BJ" Whimpey), the director of the railway. Poirot is immediately approached by Samuel Ratchett (Kelton Davis), an odious American businessman on board, who asks him to investigate some threatening letters he has been receiving but Poirot declines. The train becomes snowbound on the first night of the journey and in the morning Ratchett is discovered dead, having been stabbed multiple times, in his locked compartment. Knowing that the murderer must still be on board the train, Monsieur Bouc asks Poirot to investigate. There are numerous clues which Poirot finds puzzling but, as he interviews his fellow passengers including a Hungarian Countess (Natalie Peterson), an aging Russian Princess (Heidi Scott), her Swedish companion (Wendy Oltmanns), Ratchett's secretary (Zachariah Combs), a Minnesota housewife (Tamari Dunbar), a Scottish colonel (Kelton Davis), an English governess (Lisa Zimmerman), and a French conductor (James Bounous), he discovers that they all have an alibi for the time of the murder and that they all have a connection to the infamous kidnapping and murder of Daisy Armstrong by Bruno Cassetti (who is believed to be Ratchett). Poirot eventually discovers evidence of a mysterious second conductor with a grudge against Ratchett but is he the real murderer? The big plot twist is a lot of fun and the resolution is a thought-provoking examination of retribution vs. revenge. The ensemble cast does a really great job, especially Whimpey, but the stand-out in this production is the rotating set featuring both the interior and exterior of a full-size railway car. The interior space includes an opulent club car and several first-class compartments which rotate to give periodic glimpses of action taking place in a narrow corridor between the two areas. The attention to detail is absolutely amazing, with Art Deco light sconces, peacock blue velvet upholstery on the chairs and sofas, cut glass lamps, mahogany paneling, and, my personal favorite, giant murals featuring dancing swans. The turntable allows for very quick transitions and seeing characters move from the club car to their compartments is a brilliant bit of staging. The sound design also creates the illusion of a real train and the costumes do much to add to the characterization (I loved Mrs. Hubbard's fox stole). This was such a nice evening out but, unfortunately, the run for this show is now over and many of the upcoming shows are sold out because of stricter Covid-19 guidelines.

Million Dollar Quartet at HCT

I had a lot of trepidation when I found out that HCT was reopening after the Covid-19 lockdown. They had some safety protocols in place, such as requiring patrons to wear masks and the use of contactless ticketing, but they were still seating patrons shoulder to shoulder and that gave me pause so I requested (and received) a refund for my ticket to Mary Poppins. However, I eventually made the decision to use my ticket to Million Dollar Quartet last night and I am so glad that I did! I saw the Broadway touring production of this show several years ago so I knew that it would be a lot of fun and I think fun is something that we all need right now. On December 4, 1956, an impromptu jam session took place at the Sun Records recording studio in Memphis, Tennessee, involving Jerry Lee Lewis (David Paul Smith), Carl Perkins (Bryan Matthew Hague), Johnny Cash (Benjamin D. Hale), and Elvis Presley (Michael D. Potter). Sam Phillips (Bryan Dayley), the owner of Sun Records, recorded the session and dubbed them the "Million Dollar Quartet." The show, based on this actual event, begins with Phillips recounting how each of the musicians were discovered and signed to Sun Records as they arrive at the studio. There is a loose narrative interspersed between the musical numbers about the rivalries between the musicians and future of Sun Records but what makes this show so great is the aforementioned performances of some of the best known music in rock and roll including "Blue Suede Shoes," "Real Wild Child," "Matchbox," "Who Do You Love?," "Folsom Prison Blues," "Fever," "Memories Are Made of This," "That's All Right," "Brown Eyed Handsome Man," "Down By the Riverside," "Sixteen Tons," "My Babe," "Long Tall Sally," "Peach in the Valley," "I Walk the Line," "I Hear You Knocking," "Party," and "Great Balls of Fire." The show ends with individual performances by each of the musicians:  "Hound Dog" by Elvis Presley, "Ghost Riders" by Johnny Cash, "See You Later Alligator" by Carl Perkins, and "Whole Lotta Shakin' Goin' On" by Jerry Lee Lewis. There was definitely a whole lotta shakin' goin' on in the theater as the audience danced in the aisles during these songs! It was so much fun! The cast also includes studio musicians Jay (Isaac Erickson) on bass and Fluke (Todd Mitchell, who looks like he is having the time of his life) on drums, as well as Elvis Presley's girlfriend Dyanne (Brigitta Teuscher).  In my opinion, Smith, Hague, Hale, and Potter are absolutely phenomenal because they play their own instruments and sound just like the musicians they are portraying.  I especially enjoyed Potter's swiveling hips as Elvis and Smith's exuberant piano playing (even behind his back!) as Jerry Lee Lewis. My favorite singer in this group is Johnny Cash so I absolutely loved "Folsom Prison Blues" and I may or may not have have sung along (one advantage of wearing a mask is that your neighbors don't know that you are the one singing). The minimal set depicts the real Sun Records recording studio and the costumes are informed by a photograph of the actual recording session (which is projected on the LED screens around the theater at the end of the show) so it feels very authentic, almost like being transported back to this era. It is a great production and I highly recommend it!  Million Dollar Quartet runs through October 24 on the HCT Main Stage (go here for tickets).

Note:  I wish that, like other performing arts venues around Utah, there had been more social distancing in the seating arrangement but I was happy to see that the ushers were very vigilant in making sure that masks were worn throughout the whole performance.

Bright Star at HCT

Last night I went to Hale Centre Theatre for the second time in a week (Monday night I saw Strictly Ballroom on the Main Stage again with my sisters and we had so much fun)! This time I was there to see Bright Star on the Jewel Box Stage. Several years ago I had the opportunity to see PTC's production of this incredibly moving musical and I absolutely loved it so I was really eager to see HCT's version! I loved it just as much! The story takes place in North Carolina in the 1920s and just after World War II and features incredible bluegrass music by Edie Brickell and Steve Martin. After the war, Billy Cane (Dallin Suman) briefly returns to his small town and his childhood friend Margot (Morgan Western) but he eventually decides to try writing for a magazine in Asheville where he meets the uptight editor, Alice Murphy (Donna Loudon), who once made Hemingway cry. When the magazine staff teases Alice about her boring existence, we see her (literally) transform into a wild and rebellious teenager who is in love with the Mayor's son, Jimmy Ray Dobbs (Adam Dietlein). The narrative goes back and forth between the two timelines as Alice learns about love, loss, and redemption. Since I already knew the major plot twist this time around, I found the story to be even more emotional and the ending to be even more triumphant! Loudon is simply amazing as Alice! I saw Carmen Cusack, who originated the role on Broadway, in PTC's production but Loudon (who understudied Cusack on the national tour) is able to make the role her own and I was very impressed with what she did with it (her voice reminded me a lot of Dolly Parton). Her renditions of "Please, Don't Take Him" and "I Had A Vision" are incredibly powerful and brought me to tears (I was not alone). The rest of the cast is also very strong and I enjoyed Western's version of "Asheville," Suman's version of "Bright Star," and Dietlein's version of "Heartbreaker." I particularly enjoyed the choreography in Hale's version, especially in "Way Back in the Day," "What Could Be Better," and "Another Round." The staging of this show is extremely clever with a set that looks like an old and weathered barn with various pieces, such as Margot's bookstore, Alice's office, the Mayor's office, and the cabin in the woods, moved on and off stage seamlessly by the ensemble. A key scene involving a train was the only disappointment for me because I couldn't tell that the Mayor was on a train (to be fair my seat was to the right of the stage so I couldn't see any of the projections) and the action seemed rather clumsy. The insanely talented bluegrass band (featuring Kelin Gibbons on banjo, Josh Ogden on cello, Becca Moench on violin, and Kelly DeHaan on piano) is located on stage in the rafters of the barn and they add so much to the overall feel of the show. I loved this production and I cannot recommend it highly enough!  It runs through May 2 on the Jewel Box Stage (go here for tickets).

Note:  One of my former students is in the ensemble and I was thrilled to be able to see him last night!  He is usually in the MWF cast but he had to go on for his double at the last minute!

Strictly Ballroom at HCT

I don't know if there is anyone out there who loves the movie Strictly Ballroom as much as my sisters and I do! We have probably watched it over one hundred times (not an exaggeration) and we can quote the whole movie to each other at will (and we often do). When HCT announced the 2020 season, the three of us could hardly contain our excitement over the U.S. premiere of the musical based on this cult classic. I was able to see it last night (I am seeing it again next week with both of my sisters and my Mom) and I thoroughly enjoyed every minute of the production. Scott Hastings (Noah Bradford) and his ballroom dancing partner Elizabeth Holt (Alexa Knutzen) are on their way to winning the Pan-Pacific Grand Prix Open Amateur Old Time, New Vogue, and Latin Championship but, after an incident on the dance floor with another couple, Scott resorts to his own flashy crowd-pleasing steps. The Australian Federation President Barry Fife (Zac Freeman) denounces them so Liz decides to dance with Ken Railings (Brandon Perry) instead.  His mother Shirley (Claire Kenny) and his coach Les (Bryan Dayley) try to find him another partner, including the Champion Tina Sparkle (Alexis Burton), but Fran (Serena Kozusko), a beginning student, tells him she wants to dance with him using his steps. They train in secret with her father Rico (John Graham), who teaches them a more authentic version of the Paso Doble.  However, Shirley, Les, and Barry Fife all try to convince him to dance Federation steps with Liz to win the Pan-Pacific Championship. His father Doug (Benjamin J. Henderson) ultimately convinces him that he will live his life in fear if he doesn't follow his heart and dance his own steps with Fran. The musical follows the movie pretty well, with the addition of a master of ceremonies named Wally Strand (Quinn Dietlein) who narrates the action and provides the music. All of the songs from the movie, including "Time After Time," "Perhaps, Perhaps, Perhaps," and "Love is in the Air," are included but I really enjoyed the dance-themed pop songs that are interspersed throughout, such as "Let's Dance" by David Bowie, "Dancing With Myself" by Billy Idol, "I Wanna Dance with Somebody" by Whitney Houston, and "Dancing in the Streets" by Martha & and the Vandellas. The ballroom dancing in this show is absolutely fabulous and so much fun to watch. Bradford and Kozusko, in particular, are amazing dancers and have so much chemistry with each other! I loved the costumes, especially Fran's Paso Doble dress which is incredible, but I have one tiny complaint and that is that Liz's dresses should be yellow. The set is mostly comprised of a large stage with spotlights and cabaret tables all around (patrons can sit at these tables during the show) with Kendall's Dance Studio coming down from the rafters and the Hastings's kitchen coming up from the pit. The disco balls hanging from the ceiling and the red metallic door curtains at every entrance provide the perfect atmosphere for a dance competition. This show is just so much fun and, if you are a fan of the movie, you are sure to love it!  Go here for tickets.

Note:  I can't wait to see it again with my sisters. I just hope that we can control ourselves (I apologize in advance to anyone sitting near us!).

A Christmas Carol at HCT 2019

I like to joke that I have seen Hale Theatre's production of A Christmas Carol so many times that I could stand in for any part! I have seen it so many times that I sometimes think I should probably skip a year. That is what I decided last year but at the beginning of December I started to feel sad that I would be missing it. I tried to buy tickets but there were absolutely none to be had! There was not even one available seat for any of the shows! I was devastated that I wouldn't get to see it but I learned my lesson! Traditions are important and you better believe that I got my ticket to this year's production months in advance! I went last night and I loved it more that I usually do. Hale's version of this classic tale about Ebeneezer Scrooge's redemption after visits from the Ghosts of Christmas Past, Present, and Future is so heartwarming that you just can't help but leave the theatre with a smile on your face and a giant dose of Christmas cheer! Some of the actors return year after year to the same role so it is like seeing an old friend on the stage. I have seen David Weekes as Scrooge and Adam Dietlein as Fred for many years and I always love their performances. It is also really fun to see someone new give a different interpretation of a character. This year was the first time seeing DRU as the Ghost of Christmas Present (he has played the role several times but, as the show is double cast, I have never gone on a night when he was performing) and I thought he was hilarious! I think my favorite aspect of Hale's production is the use of Christmas carols throughout (have I mentioned how much I love hearing Christmas music?). I especially love it when they sing "Bring a Torch Jeanette, Isabella" at the Fezziwig Christmas party! I also loved the song "Away in a Manger" this year because the family singing it had a real baby (and that baby already has a great stage presence because it was so well-behaved).  Because this show is now on the Jewel Box Stage (which is more traditional than the old stage) there were some new sets that I really liked because they had a very Victorian feel, especially Scrooge's counting house, Scrooge's bed chamber, and the rag and bottle shop.  I am so glad that I was able to see A Christmas Carol this year (every show is sold out again this year) because it just isn't Christmas without it.

Note:  Even though A Christmas Carol is sold out you can still get tickets to Seussical on the Main Stage (go here).  It was not really my cup of tea but children are sure to love it and it would be a really fun Christmas outing for families.

Seussical at HCT

It is no secret that I do not like the musical Seussical.  In fact, when I saw the Broadway touring production a few years ago I thought it was the most ridiculous thing I had ever seen and, if I hadn't been with a friend who drove, I would have left at intermission.  I wasn't very happy when HCT announced this show as part of the 2019 season because I vowed to never see it again.  The only reason I decided to see it last night is because I really loved what Dave Tinney, the director, was able to do with Matilda and Cinderella, two other shows that are not my favorite.  He turned the dark and dreary Matilda into something fun and whimsical and he made me giggle out loud at the magic of Cinderella so I had high hopes for his version of Seussical.  Jojo (Parker Burnham) is a young and imaginative boy who sometimes gets in trouble for the thinks that he thinks so the Cat in the Hat (Ryan Simmons), acting as a Master of Ceremonies, takes him on an adventure where he meets Horton the Elephant (Travis Anderson), Gertrude McFuzz (Kelly Coombs), the Amayzing Mayzie (Bailee Morris) and her Bird Girls (Kennedy Johnson, April Kerr, and Tianna Maxwell), the Sour Kangaroo (Mack) and the Wickersham Brothers (Abrin Tinney, Jason Buonforte, Ben Butters, Sam Cooper, Patch Wendel, and Josh Lee), the Mayor of Who-ville (Cameron Garner) and his wife (Morgan Western), and General Genghis Khan Schmitz (Zac Zumbrunnen).  Jojo ultimately learns that anything is possible and that he can go anywhere he wants just by thinking his thinks.  I don't think I will ever really like this show because the story is nonsensical, convoluted, and loses focus in the second half but I was really impressed with what Tinney was able to do with it.  The staging and choreography are incredibly imaginative and visually spectacular, particularly the aerialists (Jessica Bird, Olivia Lee, Jessica Kehl, and Jane Jackson) in "It's Possible" and "Alone in the Universe" because there was always something to draw my eye everywhere I looked (I loved the fish).  I also really enjoyed the Wickersham Brothers in "Monkey Around," the circus performers in "Circus McGurkus," and the cadets in "A Message From the Front."  The costumes are bold, colorful, and fun and I especially loved the fanciful feathered costumes worn by Mayzie, Gertrude, and the Bird Girls and I thought it was really clever that the Wickersham Brothers were dressed like an adolescent street gang.  The puppets used by the Whos are absolutely ingenious and I really enjoyed them in "Here on Who."  The sets come straight out of a Dr. Seuss book and are incredibly whimsical.  The entire cast is very strong but I was most impressed with Coombs as Gertrude because she is so endearing and Anderson as Horton because he is quite sympathetic.  Simmons is absolutely hilarious as the Cat in the Hat, particularly when he spontaneously interacts with the audience (I loved the Les Miserables reference).  I didn't love this show but I enjoyed it and I definitely recommend it for families this holiday season (the children in my audience were riveted).  It runs on the HCT Main Stage until January 18 (go here for tickets).

Phantom at HCT

I have seen Andrew Lloyd Webber's Tony Award winning musical The Phantom of the Opera dozens of times but I have never seen Phantom, the Yeston and Kopit version of Gaston Leroux's story, before. As a huge fan of the former I didn't know what to expect when I went to see Hale Centre Theatre's production of the latter last night. I needn't have worried because I absolutely loved it!  Erik (Austin Smith) has lived most of his life in the catacombs under the Paris Opera House because he is horribly disfigured. Gerard Carrierre (John Philpott), the general manager of the opera house, has kept Erik's secret all of these years but he is fired by the new owner Alain Cholet (Patrick Kinz) and can no longer protect him. The wife of the owner, La Carlotta (Mandi Barrus), becomes the company's new diva but Erik cannot abide her terrible voice and begins haunting the opera house. Count Philippe de Chandon (Stephen Faulk), an important opera patron, hears Christine Daae (Jennifer Neff) singing on the street and falls in love with her. He arranges for her to have singing lessons at the opera house but, in her jealousy, Carlotta employs her in the costume department instead. Erik, who wears a mask, hears Christine sing and secretly begins giving her lessons while wreaking havoc on Carlotta's performances (in some amusing scenes). Christine is eventually given a lead role but Carlotta sabotages her debut. Erik takes his revenge on Carlotta and brings Christine to his lair. Carriere attempts to warn Christine about Erik by telling her his story but she chooses to stay with him until he removes his mask. Brokenhearted, he chases her with tragic results. This show may not be the spectacle that The Phantom of the Opera is (there is still a dramatic chandelier crash at the end of the first act), but the characterization of the Phantom is much more in-depth and much more emotional (I had tears in my eyes during the final scene). I always sympathize with the Phantom and this version of the story gives me a reason to. I also think the music is every bit as powerful as Lloyd Webber's version and I especially loved the songs "Home," which is sung by Christine when she is given a job at the opera house and then echoed by Erik when he hears her sing, and "My True Love," which Christine sings to convince Erik to remove his mask. Neff and Smith have incredibly beautiful voices as the two leads and Barrus is hilarious as Carlotta. I loved the sets, especially Erik's lair in the catacombs, the catwalk above the stage in the opera house, and the elaborate chandelier. I also really liked all of the opera posters hanging throughout the theater. Even if you are a huge fan of the Broadway version, give Phantom a chance because you might be pleasantly surprised by how much you also love this production.  It plays on the Young Living Stage through November 9 (go here for tickets).

Note:  Don't forget about the creepy and kooky production of The Addams Family on the Jewel Box Stage through November 16 (go here for tickets).