Murdered to Death at the Empress Theatre

I am a huge fan of Agatha Christie (I made a goal of reading all of her books one summer when I was a teenager) so I had a great time at the Empress Theatre's production of Murdered to Death last night because it is a hilarious spoof of the popular British author's murder mysteries. It features a 1930s setting in the drawing room of an isolated English country manor owned by a wealthy dowager and a cast of eccentric characters who all seem to have a motive for the murder that inevitably happens.  I absolutely loved being able to recognize all of the stereotypical characters and formulaic plot devices that I have come to love from all of Christie's whodunits and I don't think I stopped laughing all night. The aforementioned wealthy dowager is Mildred Bagshot (Diana Sorensen) and the suspects in her murder include her quintessentially stuffy butler Bunting (J.D. Robison), her young niece (and heir to her fortune) Dorothy Foxton (Addy Coates), and her guests for the weekend including the blustering Colonel Craddock (Scott Sorensen), his long-suffering wife Margaret (Catherine Bohman), French painter Pierre Marceau (Carina Dillon), and socialite Elizabeth Hartley-Trumpington (Cathryn Guzzwell). On hand to help solve the murder is the busybody spinster Miss Maple (Chalese Craig), the bumbling Inspector Pratt (Paul Gibbs), and his put-upon assistant Constable Thompkins (Jiji Dillon). Hijinks ensue, including another murder right under everyone's noses, until the mystery is inadvertently solved after multiple twists and turns! The physical comedy and witty dialogue are very entertaining and you really have to pay attention to get all of the references (I was the only one in the audience who laughed at a quick allusion to Hercule Poirot). The entire cast does a fantastic job with all of the chaos but my favorite performance was that of Gibbs because his committed physicality and lightning-fast delivery of all of Pratt's malapropisms steal the show (when he uses nasturtiums instead of aspersions I laughed so hard I couldn't breathe). I also loved his interactions with the exasperated Dillon, particularly a running bit where he calls her Thompson instead of Thompkins (one of the funniest moments in the show is when he gets it right). Finally, I loved the set (one of the most elaborate I've seen at the Empress) with period furnishings that do much to evoke the time and place and two doors opposite each other which add to the mayhem as characters make quick entrances and exists. This is the perfect show for a fun night out and I definitely recommend getting a ticket for one of the remaining performances next weekend (go here).

Note:  The Empress Theatre very graciously provided me with tickets so I was able to bring my sister with me. It was her first visit to this theatre and she absolutely loved the show (she even correctly guessed the murderer during intermission).

Something Rotten at the Terrace Plaza Playhouse

Last night I went to the Terrace Plaza Playhouse for my fourth production of Something Rotten this year (it is safe to say that I love this show). As with most community theatres, some productions at the Playhouse are better than others but I would definitely put this one among the best! It is fantastic and I thoroughly enjoyed it! Nick and Nigel Bottom (Brock Harris and Bryson Warner, respectively) are playwrights in Renaissance England who are tired of being outshined by William Shakespeare (Nick Balaich). Nick is desperate for a big hit because his patron Lady Clapham (Kassie Winkler) is withdrawing her support, Shylock (Glen Merrell) the moneylender is demanding that his loan be repaid, his wife Bea (Whitney Cahoon) is pregnant, and his brother has fallen in love with the daughter (Julia Green) of a Puritan (Nathan Fawcett) who wants to shut down his theatre for debauchery, so he contacts the soothsayer Thomas Nostradamus (Kaltin Kirby) to see what will be popular in the future. Nostradamus suggests writing a play with singing and dancing. Things go awry, however, when Nick asks Nostradamus to look into the future again to see what Shakespeare's most popular play will be and, instead of Hamlet, Nostradamus sees omelette (so close!). Nick tries to produce Omelette The Musical while Shakespeare, who is suffering from writer's block, tries to steal his own play back! All's well that ends well when Nigel reminds Nick to be true to himself. There are over 60 different musicals referenced in the hilarious numbers "A Musical" and "Make an Omelette" and it is always so much fun when I recognize a new show or line of dialogue. In this production I noticed a line from Ragtime for the first time in "Make an Omelette." I also love all of the allusions to Shakespeare and I was the only one in the audience who laughed when Shakespeare promises that he won't make the judge Falstaff appear foolish in one of his plays. Everyone in the cast is outstanding but I especially loved Balaich (my favorite character in the show is Shakespeare because he is portrayed as a rock star) for his over the top performances in "Will Power" and "Hard to Be The Bard," Cahoon for her spirited rendition of "Right Hand Man," and Kirby for the physicality of all of his antics while trying to see the future and in "A Musical." I also loved the gender swap from a lord to a lady with Winkler as Clapham because it is so funny to see Nick's former patron swoon over Shakespeare. The choreography (especially the tap dancing), costumes, sets, and projections are some of the best I've seen from this theatre and I was very impressed with all of the effort that went into such a great production of one of my favorite shows! Huzzah to everyone involved! It runs Mondays, Fridays, and Saturdays through November 15 and you definitely want to get a ticket (go here).

The Woman in Black at Parker Theatre

Seeing Parker Theatre's production of The Woman in Black last year was one of the most frightening theatrical experiences I have ever had (at one point I was so scared I nearly jumped out of my seat and there were multiple times when members of the audience screamed out loud). I was, therefore, excited (terrified?) when I learned that they were bringing this show back for a limited run just in time for Halloween! I saw it last night and, while I was more prepared for when the woman in black suddenly appeared in the aisle next to me, I was still quite unnerved by the whole experience. In other words, I loved it! Arthur Kipps (Michael Hohl) is still traumatized by an encounter with an apparition that he had many years ago while settling the estate of Alice Drablow at Eel Marsh House on an isolated island that is only accessible by a causeway at low tide. He believes that he can rid himself of the nightmares that plague him by telling the story publicly on stage so he hires an Actor (Ben Lowell) to help him. The Actor convinces him that it would be better to act out the story rather than recite it from a manuscript so they begin rehearsing in a Victorian theatre using minimal props, realistic sound cues, and imaginative light design. The Actor portrays a younger version of Kipps and Kipps plays all of the other characters and narrates the play. The action on stage depicts Kipps attending Drablow's funeral, traveling to her house in an old-fashioned pony and trap, working alone in the eerie house, and witnessing unsettling events including the appearance of a strange figure dressed in black. They stop in between scenes to discuss their performances and, during one such break, Kipps promises a surprise. The Actor interprets this to mean that Kipps hired the actress who suddenly appeared on stage with them. The action concludes when young Kipps discovers the identity of the mysterious figure and when the Actor makes a startling realization about the actress portraying her. This is a very clever adaptation of the Gothic novel by Susan Hill because it uses imaginative stagecraft to tell the story. I particularly loved the smoke effects when Kipps is trapped in fog on the causeway, the light from a single torch when he gets lost in the marsh, as well as the shadows on a scrim and the creaking of a rocking chair when he discovers a room that seems to be haunted (people in the audience screamed during all three of these scenes) because the suggestion of something is often much more effective than the thing itself (especially the woman in black because she only appears a few times but I thought I saw her in every shadow). Both actors are outstanding! Lowell's performance really adds to the unease because his terror is palpable and Hohl seamlessly inhabits all of his characters with just the addition of an article of clothing or prop. In my opinion, this is the perfect show to see for Halloween (go here for tickets) but act quickly because it is a limited run with only nine more performances through Nov. 1.

The Addams Family at Draper Historic Theatre

I haven't been to the Draper Historic Theatre since I went with my cousins Emily and Julie to see Once Upon a Mattress in 2009! I returned last night for a production of The Addams Family because is it even October if you don't see this show? I had so much fun (even though I thought it started at 7:30 instead of 7:00 and barely made it after having to park two blocks away). The Addams family is not like other families because they are all obsessed with death and the macabre and rely on their dead ancestors to help them through life. Complications ensue when Wednesday (Olivia Lane) falls in love with Lucas Beineke (Elijah Carillo), a normal Midwestern boy, and wants to introduce his uptight parents, Mal (Jonathan Saul) and Alice (Ayssa Powers), to her father Gomez (Brett Lyman), her mother Morticia (Beth Weber), her brother Pugsley (Kai Sanders), her uncle Fester (Keith Nielson), her Grandma (Laura Shipp), and her family's manservant Lurch (Cameron Hess). She arranges a dinner and begs her family for one normal night but, of course, things go wrong when a mishap involving a poisonous potion occurs during a game of Full Disclosure. It is up to Uncle Fester, with the help of the ancestors, to convince everyone that love is the answer! The cast is fantastic because everyone is perfectly suited to their role! Lyman and Weber have some hilarious interactions with each other and I especially loved their version of "Tango de Amor" because Weber is at least a foot taller than Lyman so their lifts and dips are highly amusing! Lane has both the look (I love that she sports Wednesday's signature braids) and the voice for this iconic character and her renditions of "Pulled" and "Crazier Than You" are really powerful and were the highlights of the show for me. Sanders is adorable as Pugsley (he sings "What If" with a lot of emotion) and Hess is an absolute hoot as Lurch (he is so perfect for the role that he doesn't even wear platform shoes). I also really enjoyed Carillo (he reminded me of the actor George MacKay) because he is endearingly awkward. The choreography is a lot of fun and I liked how the ancestors are integrated, especially in "When You're an Addams," "One Normal Night," "But Love," "Secrets," "Full Disclosure," "Just Around the Corner," and "The Moon and Me" (another highlight of the show). I was really impressed with the costumes and I don't know which I liked more: Gomez's burgundy velvet smoking jacket, Morticia's slinky black lace gown, or Wednesday's black jumper and white blouse. The costumes for the ancestors are also quite elaborate with lots of quirky details to enhance the characterization (I loved the hoop skirt for Marie Antoinette). Finally, the set is minimal but very effective. The stage is configured as a spooky graveyard in the woods with simple pieces brought on stage (my favorites were Gomez's collection of Medieval torture devices) and projections for various rooms in the Addams mansion. I recommend this as a fun show to see with the whole family for Halloween (go here for tickets). It runs on various days through Oct. 30.

Note: I will definitely be back for their production of Elf The Musical because is it even December if you don't see this show?

The Scarlet Pimpernel at Hopebox Theatre

One of my favorite novels when I was a teenager was The Scarlet Pimpernel by Baroness Orczy (I also loved the movie starring Jane Seymour and Anthony Andrews) so I am obviously a big fan of the stage adaptation. Last night I got to see it at the Hopebox Theatre and I was very impressed by the elaborate production. English aristocrat Percy Blakeney (Ricky Dowse) disguises himself as the Scarlet Pimpernel and recruits a band of followers to save his counterparts in France from the sinister Chauvelin (Dugan Brunker) and the guillotine during the French Revolution. He keeps his identity secret from his new wife Marguerite St. Just (Chrissy Andreasen), a Parisian actress, because he believes that she is helping Chauvelin, her former lover. He is also keeping his identity a secret from the Prince of Wales (Roger Brunker) by pretending to be a foppish nincompoop. His journeys to France are fraught with danger but he must make his most daring rescue when Marguerite is arrested trying to save her brother Armand (Porter Beesley). All three of the leads are fantastic and I loved their voices. Dowse is really entertaining as Percy and I laughed out loud at all of his dandified antics, especially his rendition of "The Creation of Man," but he is also very stirring in his performance of "Into the Fire" (my favorite song in the show) and quite affecting in "She Was There." Brunker is one of the best Chauvelins I've seen because his versions of "Falcon in the Dive" and "Where's the Girl" are incredibly passionate and his exasperation with Percy is a lot of fun. Andreasen is a lovely Marguerite and she sings "Storybook," "When I Look at You," and "I'll Forget You" beautifully and with a lot of emotion. The three of them also harmonize really well together in "The Riddle." The staging of the big musical numbers on such a small stage is extremely clever, especially "Into the Fire" because the boat used by the League of the Scarlet Pimpernel to travel from England to France appears suddenly from the rafters and the wings (I loved that Percy's boat is renamed Rachel's Resolve in honor of Rachel Rounds, the Wall of Hope recipient for this production, because it is such a touching detail), and the choreography is incredibly dynamic, particularly the integration of props (I loved the butterfly net and the cricket bat) in "Into the Fire" and "The Creation of Man" as well as the intricate patterns created by the dancers in "Ouilles Gavotte." This is a small community theatre but they really went all out with the costumes and set. Marguerite's gowns are gorgeous but the outfits worn by the League of the Scarlet Pimpernel take "frou frou" to the next level! The backdrop consists of marble archways and various set pieces for Marguerite's carousel at the Comédie-Française, Percy's study, the garden at the Bakeney estate, a prison, and the guillotine appear on stage by way of a turntable featuring a scarlet pimpernel. The guillotine is especially dramatic and a shadow effect used to show the drop of the blade is very effective. I had so much fun watching this show and I highly encourage everyone to get a ticket because, not only will you be entertained, you will be supporting a very worthwhile cause! It runs Mondays, Wednesdays, Fridays, and Saturdays (with a Saturday matinee) through Nov. 1. Tickets may be purchased here but act quickly because most shows are either sold out or have limited availability (although there is a possibility that more shows will be added).

Peter and the Starcatcher at the Empress Theatre

I think Peter and the Starcatcher is the perfect production for a small community theatre like the Empress because the show uses imagination to tell the backstory of Peter Pan so the set is usually very minimal and the actors pantomime much of the action and use ordinary objects as props like children do while playing make-believe. I saw the Empress Theatre's version last night and I absolutely love what they did with it because it is, well, very imaginative! Lord Aster (Brad A. Goodman), a "starcatcher," travels with a trunk of "starstuff" on a fast ship called The Wasp in order to destroy it before the pirate Back Stache (Alexander Richardson) and his first mate Smee (Gwen Jonsson) can steal it. His daughter Molly (Camille Bassett), an apprentice "starcatcher," is placed on a slower ship, The Neverland, with another trunk as a decoy and meets three orphan boys, including an unnamed boy (Koda Smith), while on board. When Molly discovers that the trunks have been switched, she convinces the orphans to help her complete her father's task. However, Black Stache also discovers the switch and attacks The Neverland which leads to a confrontation on an island, populated by hostile natives and enchanted by the "starstuff," during which Black Stache is transformed into the villain Captain Hook and the boy is transformed into the hero Peter Pan. I was impressed with some really clever staging and choreography, especially when cast members locate their costumes on stage and become their characters in front of the audience, when Black Stache attacks The Neverland with the Jolly Roger flag and uses it in a duel with the Union Jack, and when the crocodile appears from the balcony (with two red lights as eyes and strings of white bunting as teeth). I also loved all of the ingenious props (the model ships in bottles representing The Wasp and The Neverland and the hairbrush used as a microphone are so fun) and costumes (I laughed out loud at the iridescent fans used as mermaid tails and the woven placements worn by the natives). Everyone in the cast, many of whom play multiple roles, brings a childlike sense of wonder to their characters, especially Smith because he is incredibly vulnerable as Peter, Jonsson because she is so hilariously befuddled as Smee, and Zack Anderson because he (this role is always played by a man to great comedic effect) is very silly as Molly's nanny Mrs. Bumbrake. My favorite character in this show is Black Stache and Richardson definitely did not disappoint with his petulant facial expressions and over the top physicality, particularly in the scene when he loses his hand. I love this show (I think it is because, like Peter Pan, I never grew up) and I love this production because, more than any other version I've seen, it really does feel like a group of people who are using their imaginations to tell a story! I definitely recommend getting a ticket (go here) during its run through October 11.

The Hunchback of Notre Dame at the SCERA Center for the Performing Arts

Last night I went to see The Hunchback of Notre Dame at the SCERA Center for the Performing Arts and, even though I recently saw an outstanding production, I love this musical and I don't think I will ever get tired of seeing it so I really enjoyed this version, too! It tells Victor Hugo's classic story about how a gypsy girl named Esmeralda (Rose Fletcher) inadvertently captivates Claude Frollo (Andrew Lambert), the Archdeacon of Notre Dame Cathedral, Phoebus de Martin (Adam Moore), the Captain of the Cathedral Guard, and Quasimodo (Benjamin Oldroyd), a deformed boy who has been hidden in the bell tower his whole life, which brings about tragedy and redemption. I love just about every song and the talented cast sings them beautifully! Oldroyd is incredible (he is one of the best Quasimodos I've seen) and his versions of "Out There" and "Heaven's Light" are beautiful and filled with both wonder and longing while his version of "Made of Stone" is incredibly plaintive. Fletcher is alluring in "The Rhythm of the Tambourine" (she is a great dancer) and playful in "Top of the World" with Oldroyd but her emotional performances of "God Help the Outcasts" (my favorite song in the show) and "Someday" with Moore brought tears to my eyes.  Lambert portrays Frollo's torment very well and his powerful rendition of "Hellfire" gave me goosebumps. I also loved the portrayal of the Saints (Stan Peck, Krystal Bigler, Sarah Glancy, Lindsey Lebaron, Tanner Lybbert, Shawna Packer, and Xander Richey) because they have some of the best costumes I have seen and their interactions with Quasimodo are highly amusing in "Out There," "Top of the World," and "Flight into Egypt" but poignant in "Made of Stone" (I love how they turn back to stone when they abandon him). One of my favorite aspects of this production is the choreography because it so exuberant and athletic, especially in "Topsy Turvy," "The Tavern Song," and "The Court of Miracles," and the ensemble does an amazing job with it (I loved all of Keith Allen's flips as Clopin). I was also impressed by the clever staging of "Hellfire," the rescue of Esmeralda from the pyre, and Frollo's fall from the bell tower. The elaborate set features a dramatic multi-level stone cathedral dominated by a stunning rose window which then becomes the bell tower, the town square, and the Court of Miracles with the addition of several pieces moved on and off stage by the ensemble. This is a wonderful production of one of my favorite shows and I am glad that I got to see it again! It runs through October 4 and tickets may be purchased here.

Little Shop of Horrors at CPT

Little Shop of Horrors is such a fun show and I loved seeing a fantastic production at CPT with my sisters and nephew last night. Seymour (Jake Heywood) and Audrey (Janae Klumpp-Gibb) both work in a run-down flower shop on Skid Row but the owner, Mr. Mushnik (Robert Gibbons), decides to close it because there are no customers. Seymour thinks that an unusual plant, which he found during a total eclipse of the sun and named Audrey II after his co-worker, will bring more business. The shop becomes wildly successful but Mr. Mushnik is concerned because Audrey II isn't thriving. Seymour inadvertently discovers that Audrey II likes drinking his blood after he cuts himself on a thorn and, eventually, it grows to a giant size demanding more and more blood. When Seymour can't spare any more of his blood, he feeds it the body of Audrey's abusive boyfriend Orin Scrivello (Brock Dalgleish), a sadistic dentist who has an unfortunate laughing gas accident, which wins him the love of Audrey but makes Audrey II even more insatiable. Seymour enjoys the notoriety Audrey II brings him but soon feels guilty about everyone who has died so he could feed it. He decides to get rid of it but eventually he and Audrey succumb to Audrey II's evil plan for world domination! There is a girl group, including Crystal (Kortney King-Lives), Ronnette (Tory Sandoval), and Chiffon (Alexandria Bird), that narrates the show with music combining rock and roll, doo-wop, and Motown and it sounds amazing. I really loved Klumpp-Gibb's performance because she has a beautiful voice and her versions of "Somewhere That's Green" and "Suddenly Seymour" brought the house down. Heywood is awkwardly adorable in "Grow For Me" and Dalgleish is completely over the top in "Be A Dentist" but Austin Payne steals the show as the voice of Audrey II by singing the blues in "Feed Me (Git It)." All of the puppets used for Audrey II, which get bigger and bigger, are incredible and the way that they are manipulated by puppeteer Mitch Gibb is so much fun to watch! Finally, I loved the set which features a street on Skid Row with lots of really fun details (my favorite is the fire escape where the girls often appear). The exterior of Mushnik's Flower Shop opens up to reveal an interior that gets more elaborate as the show goes on, including more and more of Audrey II's tendrils which eventually reach out into the audience during "Finale Ultimo (Don't Feed the Plants)." The cute couple sitting next to me told me that I had a smile on my face during the whole show and I'm sure that I did because I had such a great time watching it. I highly recommend getting a ticket (go here) during its run on the Mountain America Main Stage through October 14.

Silent Sky at Parker Theatre

I have seen two very different productions of the play Silent Sky, an elaborate and stylized one at HCT and a more stripped down version at the Empress Theatre, so I was really eager to see what Parker Theatre would do with it. I had the opportunity last night and I think the staging falls somewhere in between the two and I loved it just as much. It is a beautiful story about the real-life astronomer Henrietta Leavitt (Emma Widtfeldt) and her trailblazing discovery that allowed future astronomers to calculate the distance between galaxies. She begins working in the Observatory at Harvard University in 1900 as a human computer along with Annie Cannon (Emily Parker Holmgren) and Williamina Fleming (Hillary McChesney) and, even though they are not allowed to use the university's refracting telescope because they are women, her questions about the universe compel her to work long hours analyzing the images on the glass photographic plates taken from the telescope. However, her dedication to her work puts her at odds with her sister Margaret (Jalyn Bender) over family obligations and with her supervisor Peter Shaw (William McAllister) over their romantic relationship but her legacy is secured. What I love most about this story, besides seeing a group of strong and determined women defy societal expectations, is the exploration of what a legacy means through the juxtaposition of the two sisters. The play opens with Margaret receiving a marriage proposal and Henrietta receiving a job offer and this is very effective because it establishes that Margaret believes in home and family while Henrietta believes in opportunity and hard work. Then, in the epilogue, we learn about Margaret's children and grandchildren as well as the lasting impact of Henrietta's work (including the Hubble telescope) and that both legacies are equally valuable. Widtfeldt gives a lovely performance that is more subdued in the portrayal of Henrietta's romance with Peter but more passionate in her search for answers than I have seen before. I especially enjoyed her excitement when she makes an important connection while listening to her sister play the piano and her exhilaration at seeing her work published. The rest of the cast is also outstanding and I particularly loved McChesney's imperiousness (I laughed out loud at her sash and pamphlets) and McAllister's awkwardness. The set is simple but effective and includes an academic office with desks and stools (I loved the way the glass photographic plates are displayed) and smaller set pieces for Margaret's home in Wisconsin, Henrietta's apartment in Cambridge, and an ocean liner. There are stunning images from space projected on scrims multiple times throughout the show and the depiction of the telescope is very dramatic. The lighting design is also very dramatic, especially the spotlights on characters as they read letters to Henrietta. While each production that I've seen has been very different, the commonality is a beautiful and inspiring story and I highly recommend getting a ticket Parker's version playing Fridays and Saturdays through October 11. Go here for tickets.

The Wizard of Oz at the Terrace Plaza Playhouse

I had a lot of fun at Terrace Plaza Playhouse's production of The Wizard of Oz last night! Dorothy Gale (Maren Messerly) is transported from Kansas to the magical land of Oz by a tornado. When she wants to return home, she seeks help from Glinda the Good Witch (Mailee Halpin) who tells her to follow the yellow brick road to get to the Wizard (David Storm) in the Emerald City. Along the way, she encounters the Scarecrow (Autumn Spangler), who wants a brain, the Tin Man (Trey Montgomery Cornell), who wants a heart, and the Cowardly Lion (David Hales), who wants some courage. They must face the Wicked Witch of the West (Jacci Florence) before they learn that they had the power to achieve their desires within themselves all along. Messerly is a very appealing Dorothy and her rendition of "Somewhere Over the Rainbow" is beautiful. I was also very impressed by Spangler, Cornell, and Hales because they are outstanding in "If I Only Had a Brain," "If I Only Had a Heart," and "If I Only Had a Nerve," respectively. I especially enjoyed Spangler's dancing because it really seemed as if her body was made of straw. This does not have the same spectacle as some other productions I've seen but it is extremely clever. I especially loved the way the tornado, the snow on the poppies, the melting of the Wicked Witch, and the lift-off of the Wizard's balloon are staged. I also loved the use of puppets for Toto (Beckett Ronnow), the Crows, and the Flying Monkeys. The costumes are fun and whimsical and I particularly liked seeing Dorothy's gingham dress transform from grey in Kanasas to blue in Oz and then sparkly green when she arrives in the Emerald City (a fun detail), all of the colorful costumes worn by the Munchkins, the sparkly pink ball gown worn by Glinda, and the parasols carried by the poppies. The set, featuring a large and circular yellow brick road in the middle of the stage, is one of the most striking I've seen at this theatre and I loved the use of very muted tones in the set pieces for the door of the farmhouse, the picket fence, and a large windmill before an explosion of color happens once Dorothy gets to Oz. The apparatus used by the Wizard, complete with moving eyes and a moving mouth, is also very impressive. I often feel like the second act of this show gets bogged down but I think the pacing in this production is really tight and my attention never wavered. I now count this among my favorite productions at this theatre and I recommend it to families. It runs on Mondays, Fridays, and Saturdays through September 13 and tickets may be purchased here.

The Hunchback of Notre Dame at West Valley Arts

Last night I was absolutely thrilled that my performance of The Hunchback of Notre Dame at the West Valley Performing Arts Center was completely sold out because I have long been a fan of this theatre and they are so deserving of this support, especially for this show! I have seen it many times over the years and I can honestly say that this production is my favorite! It is simply amazing and you should probably stop reading right now and get a ticket (if you can). Quasimodo (Taylor J. Smith) has been hidden by his uncle Frollo (Chase Petersen) in the bell tower of Notre Dame Cathedral all of his life because of a deformity. However, he yearns to leave the cathedral and decides that the Feast of Fools would be the perfect opportunity to do so. He is eventually crowned the King of Fools but, when the crowd turns on him, he is rescued by the gypsy Esmeralda (Beatriz Melo). She also catches the eye of Phoebus de Martin (James Carter), the captain of the cathedral guard, and bewitches Frollo who becomes obsessed with possessing her. When Esmeralda rejects Frollo, he orders Phoebus to arrest her but he refuses and they become fugitives. Quasimodo gives them sanctuary in the cathedral which forces a dramatic confrontation in the bell tower. I was blown away by the staging of certain scenes and by the performances of my favorite songs. The childlike wonder and yearning expressed by Smith in "Out There" and "Heaven's Light" is palpable and I was incredibly moved by his performance of both songs.  I really liked seeing the actual portrayal of the trauma experienced by Phoebus on the battlefield juxtaposed with his desire for a bit of fun in the staging of "Rest and Recreation." Melo's entrance in the song "Rhythm of the Tambourine" is very dramatic and she absolutely commands the stage with her singing and dancing. It is easy to see how Quasimodo, Phoebus, and Frollo would be captivated by Esmeralda and I loved seeing the three of them circling her at the end of this number. She gives another incredible vocal performance of my favorite song, "God Help the Outcasts" (it brought tears to my eyes), and I loved her tender interactions with Smith in "Top of the World." In the staging of "Hellfire," Frollo lies prostrate at a statue of the Virgin Mary (Sophia Morrill Mancilla) and this image is unbelievably powerful. Petersen has rich deep voice and does an outstanding job of portraying Frollo's torment in this scene and in the scene where Frollo expresses his love for Esmeralda (I was actually stunned by the physicality of his advances because it is more aggressive than I have ever seen before). The interactions between Quasimodo and Phoebus when they search for Esmeralda are quite amusing and provide a bit of comic relief before the emotional and heartbreaking performance of "Someday" by Melo and Carter.  I loved the way the gargoyles are portrayed by Emily Duncan, Soren Ray, and Scot Struble because they seem like real people who interact with Quasimodo, especially in the passionate performance of "Made of Stone." The staging of Quasimodo's rescue of Esmeralda from the pyre and Frollo's fall from the bell tower are very striking and I loved seeing Jehan (Roman Curiel) embrace Quasimodo and Florika (Sophia Morrill Mancilla) embrace Esmeralda during the final scene. The costumes and sets, especially the bell tower, the bells, and the rose window that appears in the final scene, are all some of the best I've seen from this theatre. Everything about this production is very special and I loved experiencing it with a large and appreciative crowd! I highly recommend getting a ticket for one of the six remaining performances through August 30 (go here).

Shrek the Musical at Hopebox Theatre

I was really happy to see Shrek the Musical at Hopebox Theatre last night because it is such a fun show and it is for a very worthwhile cause! Shrek (Gregory Harrison) is an ogre just minding his own business when his swamp is invaded by the Fairytale Creatures banished from Duloc by Lord Farquaad (Justin L. Cook). After some encouragement from Pinocchio (Ace Johnston), he decides to visit Farquaad himself to get his swamp back. Along the way, he saves Donkey (Lance McDaniel) from Farquaad's guards and they end up traveling to Duloc together. Farquaad agrees to give Shrek back his swamp if he rescues Princess Fiona (Dusti Mulder) from a tower guarded by fire-breathing Dragon (Kaylee Echeverria) so he can marry her and become King. Donkey distracts Dragon so Shrek can rescue Fiona but chaos ensues on the way back to Duloc when Shrek develops feelings for Fiona. I was very impressed with the talented cast because everyone gives a performance that will put a smile on your face. Harrison is great in the title role because he is very charismatic but he also shows a lot of vulnerability behind the gruff exterior, especially in the songs "Who I'd Be," "When Words Fail," and "Build a Wall." McDaniel is so much fun as Donkey because his energetic physical performance is hilarious (I laughed out loud at his pole dance in "Make a Move"). Mulder has a beautiful voice and I particularly enjoyed her versions of "I Know It's Today" with Lizzie Abercrombie as Young Fiona and Everleigh Jensen as Teen Fiona (they harmonize so well together) and "This is How a Dream Comes True" with Harrison and McDaniel but I also enjoyed her physical performance in "I Think I Got You Beat" and "Morning Person" because her comedic timing is spot on. I loved Echeverria as Dragon because she can really sing the blues and her rendition of "Forever" is definitely a highlight. However, Cook steals the show as Farquaad because I don't think I stopped laughing whenever he was on stage! I especially loved seeing him dangle his tiny legs from his tower in "What's Up Duloc," ride in on a rocking horse to meet Fiona for the first time (when he dismounted from the rocking horse, it accidentally rolled away from him and his ad-libs had the crowd in hysterics), and walk down the flower-strewn aisle to his wedding. The ensemble is also very strong and I enjoyed the colorful costumes and lively choreography in "Story of My Life" and "Freak Flag." An honorable mention goes to Johnston as Pinocchio because their performance is very heartfelt. I am always impressed with how well the small space is utilized and for this show the stage features a series of steps configured to look like forest that revolve to become Farquaad's castle and the Dragon's keep with Shrek's swamp on one side of the stage and Fiona's tower on the other.  I had such a great time watching this show and I encourage everyone to get a ticket because not only will you be entertained but you will also be supporting the mission of Hopebox Theatre which is to bring hope to families battling cancer through the performing arts (go here to meet the inspiring recipient for this show). It runs Mondays, Wednesdays, Fridays and Saturdays (including a Saturday matinee) through September 6 and tickets may be purchased here.

Hello, Dolly! at the SCERA Shell Outdoor Theatre

Last night I spent a lovely evening under the stars at the SCERA Shell Outdoor Theatre seeing a charming production of Hello, Dolly! This is a really fun old fashioned show with big song and dance numbers and I thoroughly enjoyed it. At the turn of the century, the irascible Horace Vandergelder (Bryan Harper) decides to get married again so he will have someone to do all of the chores at his Hay & Feed Store in Yonkers, New York. His niece Ermengarde (Capri Gallacher) wants to marry an artist named Ambrose Kemper (Coleman Rowberry) but Vandergelder objects because he doesn't have a steady income. His clerk Cornelius Hackl (Jacob Nilson) is longing for an adventure in New York City so he convinces his fellow clerk Barnaby Tucker (Joey Thompson) 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 (Chloe Henry), who owns a millinery shop in NYC but wants a rich husband to take her away because she hates hats, and her excitable assistant Minnie Fay (Rebecca Varney). A recently widowed matchmaker named Dolly Gallagher Levi (Allison Brooks) is hired to find a wife for Vandergelder but she decides that she wants to marry him herself. 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. One of the biggest highlights of this show for me was the live orchestra, under the baton of Marden Pond, because they sounded absolutely amazing! Another highlight was Brooks because she gives an incredibly charismatic performance as the irrepressible Dolly. She has a beautiful voice, especially in the song "Before the Parade Passes Me By," and she does a great job with all of the choreography but I loved her facial expressions as she bamboozles Vandergelder at the Harmonia Gardens because they are hilarious. Honorable mentions go to Henry, who also has a beautiful voice in the songs "Ribbons Down My Back" and "It Only Takes a Moment," and Thompson because he is an amazing dancer in "Dancing" and "Elegance" (it is really impressive how high he can kick). The energetic choreography is a lot of fun and the ensemble looks like they are having a blast in "Put on Your Sunday Clothes," "Dancing," and "Hello, Dolly!" (I loved the kickline). The set featuring pastel colored storefronts, several of which open up to become Vandergelder's Hay & Feed Store, Irene Molloy's Millinery Shop, and the Harmonia Gardens Restaurant, in both Yonkers and New York City is fantastic and the period costumes, especially the opulent red gown worn by Dolly at the Harmonia Gardens, are dazzling. I really love these classic musicals and I definitely recommend getting a ticket for this production (go here) before the parade passes you by! It runs at the SCERA Shell on Mondays, Tuesdays, Thursdays, Fridays, and Saturdays through August 19.

Daddy Long Legs at CPT

I fell in love with the musical Daddy Long Legs when I saw a production at HCT several years ago so I was thrilled to see that it was part of the 2025 season at CPT on the second stage. I tried to convince my sisters to get tickets with me to no avail (although they did get tickets to Pride and Prejudice on the second stage later this year) so I went on my own last night. CPT's production is absolutely enchanting and I loved it! At the turn of the century, Jervis Pendleton (Jacob Coates) is a young and wealthy trustee of the John Grier Home. An essay written by Jerusha Abbott (Mackenzie Turner), the oldest orphan at the home, impresses him and he decides to send her to college so she can achieve her dream of becoming 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 informing him of her progress. Since she doesn't know his name, she refers to him as Daddy Long Legs because of the tall shadow she saw when he left the orphanage and he finds her letters to be charming. Against his better judgement 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 her feelings for Jervis Pendleton in her letters to Daddy Long Legs, it creates confusion as he struggles to decide whether to reveal himself to her. I really love Jerusha as a character because she has such a thirst for knowledge and for new experiences so I definitely relate to her. I also love her growth and development as a character because, by the end of the show, she proves herself to be her benefactor's equal and he ultimately feels like she has given him far more than he gave her. Both Turner and and Coates, who have beautiful voices, give incredibly dynamic performances because they, quite literally, carry the show by themselves. Turner is so much fun to watch because of her wide-eyed wonder and her palpable yearning for more, especially in the songs "Like Other Girls" (my favorite in the show) and "Things I Didn't Know." Coates is also fun to watch because of his facial expressions, particularly his smitten awkwardness when Jervis and Jerusha first meet, his exasperation when he attempts to write to Jerusha only to throw the letters in the trash, and his jealousy every time Jerusha mentions her roommate's brother. The set features a large curving bookcase and window seat upstage and this creates an elaborate study for Jervis on one side as well as a location for the live band (Jason Anderson on guitar, Risa Bean on cello, and Jackie Ward on piano) on the other side. There are a series of platforms downstage with trunks and suitcases that are configured and reconfigured to become multiple locations for Jerusha. I think this is very clever because it shows Jerusha's transformation throughout the show. Jerusha's costumes and hairstyles are also very effective at showing her growth because they become more and more embellished and elaborate as the show progresses (I loved the attention to detail because her first costume at the orphanage has frayed hems and is too big for her). I had a smile on my face the whole time while watching this delightful show and I highly recommend getting a ticket (go here). It runs on the second stage through September 2.

Macbeth at Parker Theatre

When Parker Theatre announced their 2025 season, Macbeth was the show that I was most excited to see and I had the opportunity last night. The production I recently saw at the Utah Shakespeare Festival was absolutely amazing but this was so different that I was able to enjoy it on its own merits and I loved it! When Macbeth (Lucas Charon), the Thane of Glamis, is victorious in battle, he is met by Three Witches (Kathryn Atwood, Madeline Thatcher, and Isabelle Purdie) who prophesy that he will become the Thane of Cawdor and then the King of Scotland. When King Duncan (Stuart Mitchell) bestows the title of Cawdor on him, he starts to believe the prophecy will eventually come true. However, the ambitious Lady Macbeth (McKenna Walwyn) is not content to wait and spurs him on to take matters into his own hands. After the brutal murder of Duncan, his sons Malcolm (Spencer Hohl) and Donalbain (David Oliphant) flee and Macbeth takes the throne but he is forced to kill again and again to keep it. Both he and Lady Macbeth come undone because of their guilt and paranoia over their bloody deeds until another prophecy comes true and Macbeth is defeated by Macduff (Anthony Lovato). What I particularly loved about this production is its emphasis on the time and place, medieval Scotland, with the set and costumes. The stage features imposing stone pillars with wooden tables and benches, a stone fireplace, and arched windows moved on and off stage by the ensemble. A cyclorama upstage is used for atmospheric projections of the rugged Scottish landscape and the castle of Dunsinane shrouded in mist. Most characters wear simple wool tunics draped in tartan (which is very accurate for the period) and the witches are portrayed as old crones rather than supernatural beings. The sound design is incredibly menacing (although I loved the use of bagpipes) and the fight choreography incorporates medieval warfare (an early scene involves a command from the king for Macbeth and his feudal lords to fight for him). This attention to detail really sets the mood for the unnatural deeds that follow and I loved it! I also really loved the choices that Charon and Walwyn make with their performances. Macbeth is extremely tentative and Lady Macbeth is the aggressor (she even slaps him) in their decision to murder the king but then their roles reverse once they begin to regret their actions.  The scene when Macbeth is tormented by the ghost of Banquo (David Hanson) is unbelievably powerful because he dominates her (at one point I gasped out loud).  After her death, he becomes gentle with her again and almost whispers his lines as he cradles her body. He then seems resigned to his fate and meets the invaders while sitting on his throne. I had chills in many of these scenes. I was also struck by the use of the witches because they are a dominant presence (I really liked seeing their shadows), especially in Lady Macbeth's "sleepwalking" scene because they appear to her with the ghost of her child and in the final battle because they appear to Macbeth as if to confirm their final prophecy.  The way that Macbeth is crowned is also staged in a very powerful way. I am thrilled that I have been able to see two brilliant productions of one of my favorite Shakespeare plays this summer and I highly recommend getting a ticket to this one at the Parker (go here). It runs on Fridays and Saturdays (including a Saturday matinee) through August 30.

Hairspray at Murray Park Amphitheater

Last night I saw the musical Hairspray under the stars at the Murray Park Amphitheater (one of my favorite summer activities).  I love this show for its positive message about loving who you are, following your dreams, and standing up for what you believe is right and this production is so much fun!  Plus-sized Tracy Turnblad (Hannah Fellows) dreams of being one of the dancers on the Corny Collins (John "Bobby Jay" Haraden) Show, of having teen heartthrob Link Larkin (Porter Beesley) notice her, of integrating the show so Seaweed (Colton Kraus) and all of her Back friends from detention can dance with her, and winning the Miss Teenage Hairspray crown.  Velma Von Tussle (Julie Blatter), the former Miss Baltimore Crabs who now produces the show, and her daughter Amber (Makayla Conner Marriott) do everything they can to stop her from making her dreams come true but you can't stop the beat!  The cast is really exuberant and their excitement at being a part of this show is palpable and infectious!  Hannah Fellows is an incredibly charismatic Tracy and I particularly loved her hilarious rendition of "I Can Hear the Bells." I also laughed out loud at the antics of Jerrod Dew and Mark Fellows as Tracy's parents Edna and Wilbur Turnblad, respectively, especially when Edna dips Wilbur in "Timeless to Me."  Kraus is a fabulous dancer and I really enjoyed his dynamic version of "Run and Tell That" and Blatter performs "(The Legend of) Miss Baltimore Crabs" with a glint in her eye but, in my opinion, the highlight of the show comes from Fantasia Burgess as Motormouth Maybelle because she brings the house down with "I Know Where I've Been."  The 1960s inspired choreography in "The Nicest Kids in Town," "The Madison," "Welcome to the '60s," "The Big Dollhouse," "Hairspray," and "You Can't Stop the Beat" is an absolute blast to watch and the ensemble does a great job with it (I was especially impressed with Jezuz Gomez-Villalobos, Jessica Pierce, and Anna Kaitlyn Burningham as the Dynamites).  The staging is quite minimal but I really liked the backdrops, which feature bold colors and geometric patterns, and the period costumes.  There are five more opportunities to see this cute show (go here for tickets) and I highly recommend it because I loved it!

Note:  I love that there is always a live orchestra for every production at Murray Amphitheater and the one for this show, under the baton of Robert Bedont, is fantastic!  Their performance was another highlight for me!

Catch Me If You Can at CPT

I was really looking forward to Catch Me If You Can at CPT with my sisters last night because it is such a fun show. They had never seen it before and I think they enjoyed this production as much as I did! The show begins when Frank Abagnale, Jr. (Drew Dunshee) is arrested by FBI agent Carl Hanratty (Jeremy Botelho) at the Miami Airport. Then Frank breaks the fourth wall and begins telling the audience his story as if he were the emcee of a 1960s television variety show (complete with go-go dancers) in the big production number "Live in Living Color." When his parents, Frank Abagnale, Sr. (David Johnson) and Paula Abagnale (Mary Ann West), get divorced, sixteen year old Frank decides to run away to New York and he starts forging checks in order to get by (almost two million dollar's worth by the time he is caught). This gets the attention of the FBI, especially Hanratty who is relentless in his pursuit. Frank eventually impersonates a Pan Am pilot, a doctor, and a lawyer (even passing the bar exam) and he is always one step ahead of Hanratty until he falls in love with Brenda Strong (Emily Richman). Dunshee is incredibly charming and charismatic as the fast-talking confidence man, especially in the songs "Jet Set" and "Doctor's Orders," but he also brings a vulnerability to his portrayal of a teenager who is just looking for a home. Botelho is hilarious as the straight-laced FBI agent who has no life away from the job and his number, "Don't Break the Rules," was the biggest crowd-pleaser of the show! The interactions between them are both amusing, particularly the scene where Frank manages to elude Hanratty in a motel room, and poignant, most notably when Frank calls Hanratty on Christmas Eve and they both realize that they don't have anyone to talk to but each other. I also loved Richman's portrayal of Brenda because, in my opinion, the actress who plays her really needs to be able to sing the blues in the song "Fly, Fly Away" and she more than delivers! The choreography is very entertaining and I was beyond impressed with the female ensemble (they are all great dancers but they also have some quick costume changes in between numbers). The set looks like a colorful soundstage from a 1960s television show (such as Laugh-In or Hullabaloo) with various locations created by simple props moved on and off stage by the ensemble. The use of projections is also very creative (I loved the postcards from all of the places Frank visits). The period costumes are fantastic and, as previously mentioned, the sheer number for the female ensemble is quite impressive (my favorites are the Pan Am uniforms). I had a great time watching this high-energy show and, if you are in need of a fun night out, I highly recommend getting a ticket (go here). It runs on the Mountain America Main Stage through August 19.

Note:  This was my 50th theatre production of the year!  So far, my favorites are Macbeth at the Utah Shakespeare Festival, Twelve Angry Men at HCT, Life of Pi with Broadway at the Eccles, Little Women at HCT, and An American in Paris at the Ruth.  An honorable mention goes to Hadestown: Teen Edition at CPT (I was so impressed by the young actors in this production).

Annie at the SCERA Shell Outdoor Theatre

I went back to the SCERA Shell Outdoor Theatre last night to see a delightful production of the musical Annie under the stars and it was a lot of fun. An irrepressible orphan named Annie (Adaline Strong) lives at an orphanage run by the cruel and bitter Miss Hannigan (Brandi Washburn) during the Great Depression. She is determined to find the parents who abandoned her as a baby when she is selected by Grace Farrell (Karen Milne) to spend Christmas with her boss, the billionaire Oliver Warbucks (Chad Taylor). Annie asks Warbucks to help her find her parents and he offers a large reward to convince them to come forward. Meanwhile, Miss Hannigan devises a plan to have her brother Rooster (Doug Kaufman) and his girlfriend Lily St. Regis (Lauren Hodges) pose as Annie's parents to claim the reward. With the help of President Roosevelt (Drew Christensen) and the FBI, the plot is eventually exposed and Annie finds a permanent home with Daddy Warbucks. I really loved all of the young actors in the cast because their performances are so heartwarming and enthusiastic and I especially enjoyed watching one of the youngest orphans on stage because she was concentrating so hard on the choreography for "Hard Knock Life" and "Fully Dressed" (this is adorable and it made me smile). Strong is an appealing Annie and her rendition of "Tomorrow" is very stirring. She also has a great rapport with Taylor and I loved her interactions with him in "Something Was Missing," particularly when they clap their hands together because it is so playful. The adults in the show also do a great job because both Taylor and Milne have beautiful voices in "I Don't Need Anything But You," Washburn is a hoot in "Little Girls," and she, Kaufman, and Hodges give a hilarious rendition of "Easy Street." I laughed out loud over the antics of Burt Healy (Erik Schaumann) and the lovely Boylan Sisters (Lauren Hodges, Elizabeth Kelson, and Paige Wood) during the radio broadcast (the special effects are so funny to watch). I was very impressed by the elaborate set featuring a backdrop of the New York skyline which slides open to become the Warbucks mansion with pillars, windows, and a curved staircase.  The doors of various buildings very cleverly open and rotate to become Miss Hannigan's office in the orphanage and an interior room of the Warbucks mansion. The period costumes are a lot of fun and I specifically liked the differentiation between the lower and upper classes. This is an entertaining show for the whole family (there were a lot of children in the audience and those around me were absolutely riveted) and I especially recommend it for the young performers who sing and dance their hearts out. It runs at the SCERA Shell Outdoor Theatre on Mondays, Tuesdays, Thursdays, Fridays, and Saturdays through July 19 (go here for tickets).

Note:  A special shout out goes to Maui for being an incredibly well-behaved Sandy!

School of Rock at the Terrace Plaza Playhouse

Last night I went to see School of Rock at the Terrace Plaza Playhouse. This is a fun high energy show and I loved seeing so many talented kids performing live on stage! Dewey (David Simon) is kicked out of his band No Vacancy right before the Battle of the Bands and his best friend Ned (Spencer Slade), with whom he has been living for several years, is under pressure from his girlfriend Patty (Crystl Naylor) to get him to pay rent. Desperate to earn some money, Dewey takes a substitute teaching job at Horace Green Prep School that is meant for Ned. As Dewey gets to know his students, he sees that they are being crushed by the weight of their parents' expectations so, after hearing them during their music class, he decides to form a band to give them some confidence. He puts Zack (Will Simon) on lead guitar, Katie (Lillian Logan) on bass, Lawrence (Luke Simon) on keyboard, Freddie (Charlotte Booth) on drums with Shonelle (Indie Magalei) and Marcy (Madi Child) on backing vocals. He recruits Billy (Andrew Slade) to be the band's stylist, Jamie (Nora Despain) as security, Mason (Luke Collier) on tech, and Summer (Grace Moore), the class know-it-all, as the band's manager. Tomika (Eva Teiter), a shy and insecure transfer student, eventually finds her voice and becomes the band's secondary singer. Dewey wants to enter them in the Battle of the Bands but, before he can, he must convince the uptight principal Ms. Mullins (Margaret Simon) to let him take them on a field trip (which he does in a hilarious scene involving the song "Edge of Seventeen" by Stevie Nicks). The parents eventually catch on to Dewey's deception but the kids win them over with their performance at the Battle of the Bands! As previously mentioned, the kids play their instruments live in the songs "You're in the Band," "Stick It to the Man," and "School of Rock" and they are amazing! David Simon is an irrepressible and energetic Dewey (I laughed out loud during his performance of "In the End of Time") but he also shows a lot of heart in his interactions with the kids (two of them are his real-life sons) and the bond he forms with them is palpable. Margaret Simon has a beautiful voice in "Here at Horace Green" but she also has a moment of vulnerability in "Where Did the Rock Go?" My favorite young actors are Moore, because is so funny as the boastful Summer (I always laugh when Dewey calls her Hermione) and does a great job in the song "Time to Play," and Teiter, because she is very hesitant as Tomika until she finally shows Dewey that she deserves to be lead singer and her solo in "School of Rock" is very powerful. All of the young actors do a wonderful job with "If Only You Would Listen" (my favorite song in the show) and I was really impressed with how well they perform the choreography in "Stick It to the Man" and "School of Rock." I loved the minimal set pieces used for Horace Green Prep School as well as the fun uniforms worn by the kids. I had so much fun watching this show (I couldn't help but cheer aloud during the Battle of the Bands) and I highly recommend it! It runs on Mondays, Fridays, and Saturdays through July 26 and tickets may be purchased here.

Note: Dewey's band No Vacancy played before the show started (they are really good) and I especially enjoyed hearing their cover of "Back in Black" by AC/DC.

Something Rotten at Hopebox Theatre

I love the musical Something Rotten so much I saw it again last night, this time at Hopebox Theatre. I really admire the mission of this theatre (go here to learn more about Rachel Milne, the Wall of Hope recipient for Something Rotten) and I thoroughly enjoyed this production. Nick Bottom (Ian Fife) and his brother Nigel (Ian Wellisch) are playwrights in London during the Renaissance. Nick will do anything it takes, even stealing the money he and his wife Bea (Brynn Thurston) are saving in order to consult the soothsayer Nostradamus (Andrew Stone), to become more popular than William Shakespeare (Austin Shipp) while Nigel just wants to be true to himself and use his poetry to woo Portia (Kira Dalby) despite the disapproval of her father Brother Jeremiah (Lee L. Perry). Nostradamus tells Nick that he should write a play with singing and dancing because that will be popular in the future so this is a really fun love letter to musical theatre. I always enjoy looking for all of the references because it seems like every production adds their own interpretation and in this show I noticed the fans made of blue feathers from White Christmas in "A Musical" and Maria from The Sound of Music, the Fiddler from The Fiddler on the Roof, and the chimney sweeps from Mary Poppins make an appearance in "Make an Omelette." I also love finding all of the allusions to Shakespeare and last night I noticed for the first time (because I actually read the program) that the actors in Nick's troupe are named Tom Snout, Robin, Peter Quince, Francis Flute, and Snug which are characters from A Midsummer Night's Dream. Too funny! The entire cast is great but shoutouts go to Stone for his energetic physical performance as Nostradamus, Wellisch for his hilarious facial expressions as Nigel (he portrays Nigel as overwrought which is very different from O'Boyle's characterization in the production at Murray Amphitheater the night before), and Shipp for all of his rock star poses (I laughed out loud every time he mimicked Elvis Presley) and all of his interactions with the audience as Shakespeare. I enjoyed the lively choreography for "Welcome to the Renaissance," "A Musical," "Bottom's Gonna Be on Top," "We See The Light," and "Make an Omelette" because it involves a large ensemble on a small thrust stage very effectively and I always appreciate tap dancing. I was really impressed with the elaborate set that is rotated to become a timbered cottage and an outdoor theatre. Finally, this production tones down the profanity and some of the more suggestive innuendos, especially in a scene when Nigel reads a sonnet to Portia, but I don't think this detracts from the humor. I recommend getting a ticket (go here) to this entertaining show for a fun night out and an opportunity to support a very worthwhile cause. It runs Mondays, Wednesdays, Fridays, and Saturdays (with matinees on Saturdays) through July 12.

Note: I will be seeing two more productions of Something Rotten later this year!