A Gentleman's Guide to Love and Murder at the Terrace Plaza Playhouse

There was a time when A Gentleman's Guide to Love and Murder was the show that I most wanted to see so, even though I have now been to productions at just about every Utah theatre (with another one scheduled this summer), I was still really excited to see it again at the Terrace Plaza Playhouse last night because it is so hilarious. Some shows are better than others at this theatre and this is one of the best I've seen there! I absolutely loved it. After his mother dies, Monty Navarro (Joe Robinson) learns from one of her friends, Miss Shingle (Melissa Trenery), that she was part of the illustrious D'Ysquith Family (Scot D. Struble) and was disinherited for marrying his father. He is really Montague D'Ysquith Navarro and he is in line to inherit the earldom (there are only eight family members ahead of him). When his vain and heartless girlfriend Sibella (Karlie Ady) decides to marry the rich and handsome Lionel Holland, Monty decides to kill every family member ahead of him in the line of succession in order to become the earl and win her back. While in prison awaiting trial for the murder of the only D'Ysquith for which he is not actually guilty, he begins writing his memoirs detailing how the Reverend Lord Ezekial D'Ysquith fell from the tower of his cathedral, how Asquith D'Ysquith, Jr. fell through the ice in a skating accident, how Henry D'Ysquith was stung by a swarm of his own bees, how Lady Hyacinth D'Ysquith was presumed dead on a philanthropic mission to a tribe of cannibals, how Major Lord Bartholomew D'Ysquith was decapitated while lifting weights, how Lady Salome D'Ysquith Pomphrey was killed by real bullets in a prop gun during her debut in Hedda Gabler, how Lord Asquith D'Ysquith, Sr. was driven to a heart attack by all of the family tragedies, and how Lord Adalbert D'Ysquith, the Earl of Highurst, was poisoned. He also details the relationship he began with Phoebe D'Ysquith (Jordyn Tracy) to make Sibella jealous. The charges are dismissed when Phoebe and Sibella each give proof that the other committed the murder but Monty might not live happily every after because Chauncey D'Ysquith, the next in line to the earldom, is lurking! This show features lots of madcap physical comedy and some really fun songs (my favorites are "Better With a Man" by the flamboyant Henry, "Lady Hyacinth Abroad" by the socially conscious Hyacinth, and "I've Decided to Marry You" by the lovestruck Phoebe). Robinson, Ady, and Tracy have beautiful voices but I especially loved Struble's performance because he is brilliant with distinct characterizations for each member of the D'Ysquith Family and I laughed out loud at all of his antics (this theatre is very intimate so I could see all of his facial expressions). Unlike other productions I have seen, this one has a very minimal set with just a few pieces moved on and off stage by the ensemble but this works because the projections and moving panels used as backdrops are fantastic.  The staging is extremely clever, especially when Monty tries to keep Sibella and Phoebe apart in different rooms at his flat and when the portraits at Highurst Castle sing. Finally, the beautiful period costumes are some of the best I've seen at this theatre and I particularly loved the gowns worn by Sibella and Phoebe at Highurst Castle. This is one show that you don't want to miss (go here for tickets). It runs on Mondays, Fridays, and Saturdays through May 31.

The Wizard of Oz at the SCERA Center for the Performing Arts

My sisters were really impressed when we saw a preview of The Wizard of Oz at the SCERA gala in February so the three of us went to see it last night. The show is delightful and we had a lot of fun watching it. The stage musical, based on the 1939 movie, tells the story of how Dorothy Gale (Mia Hansen) lands, literally, in the fantastical world of Oz and how she travels with the Scarecrow (Jared Wilkinson), the Tin Man (Bryan Johnson), and the Cowardly Lion (Ambrocio Mireles, Jr.) to see the Wizard (Chad Taylor), hoping that he can get her back to Kansas, while avoiding the Wicked Witch of the West (Kimberly Nearon), who wants the ruby slippers given to her by Glinda the Good Witch (Camilla Curtis). Hansen gives an incredible performance and her rendition of "Somewhere Over the Rainbow" (which is what impressed my sisters so much at the gala) will definitely give you goosebumps.  Wilkinson, Johnson, and Mireles are also outstanding and they each have a moment to shine in "If I Only Had a Brain," "If I Only Had a Heart," and "If I Only Had a Nerve," respectively. I especially enjoyed Wilkinson's acrobatics because it really seems like his body is made of straw (I was also impressed with his consistency in all of the of the choreography in the show). I loved seeing all of the children in the cast, especially Allison Farnsworth, Elsa Parry, and Scout Olenik as the Lullaby League and Ian Evans, Jeb Buffington, and Maxwell Harper as the Lollipop Guild, because they are adorable and very talented and Mia steals every scene she is in as Toto. The costumes are colorful and whimsical and one of the touches I really enjoyed is the change in Dorothy's gingham dress from a muted gray in Kansas to a vivid blue in Oz. I also liked that the costumes for the Scarecrow, the Tin Man, and the Cowardly Lion incorporate elements from their counterparts in Kansas. The costumes for Glinda and the Wicked Witch of the West are as gorgeous as you would expect after seeing the movie Wicked. The flying effects are impressive, particularly when Mrs. Gulch flies across the stage on her bicycle and when the Wizard leaves Oz in his balloon, and the projections, especially for the tornado, are pretty spectacular. Finally, the scenic design, including the apparatus used by the Wizard (complete with moving eyes and mouth), the yellow brick road, and the farmhouse with its picket fence, is very effective in transporting the audience to both Kansas and Oz. My only complaint is that the pacing in the second act is a bit sluggish but I highly recommend this show (there were lots of families in the audience last night and the children were mesmerized). It runs at the SCERA Center for the Performing Arts on Mondays, Thursdays, Fridays, and Saturdays through May 3 (go here for tickets).

Note:  My sisters are now eager to see more shows at SCERA.

Puffs at the Empress Theatre

Last night I went to the Empress Theatre for their production of Puffs, Or Seven Increasingly Eventful Years at a Certain School of Magic and Magic. I think this show is so fun and clever and I had a blast watching it with a large and boisterous crowd who laughed out loud all night! It is a parody of the beloved Harry Potter franchise and all of the well-known characters are alluded to with enough recognizable traits to know exactly who they are without naming them (my favorites are A Certain Potions Teacher, Professor Turban, Professor Locky, A Very Tall Man, and Real Mr. Moody) and all of the memorable events still happen but they are shown from the perspective of secondary characters who are not involved in the action. A Narrator (Jana White) introduces the audience to a brave orphan wizard with a lightning bolt scar named Harry Potter (Lexy Osborne) but then tells us that this story is about another orphan named Wayne Hopkins (Raiden Dwight) who is also sent to the school of female magic and male magic after learning that he is a wizard. When he arrives, there is a ceremony to sort everyone into one of the four houses: Braves, Smarts, Snakes, and Puffs. Wayne is sorted into Puffs and he is soon introduced to the prefect, Cedric Diggory (Brendan Sampsel), and the other outcasts and misfits in this house, including Oliver Rivers (Brady Neilson), Megan Jones (Hannah Stark), Susie Bones (Lexy Osborne), J. Finch Fletchley (Adrian Young), Sally Perks (Lucy Bawden), Ernie Mac (Konor Hafen), and others. On the same fateful night when Harry, Ron, and Hermione become friends while defeating a troll, Wayne becomes friends with Oliver, a math prodigy, and Megan, the daughter of one of the Dark Lord's followers, while hiding from the troll in a forbidden chamber. Over the next seven years, Wayne struggles to learn magic and protect everyone from Mr. Voldy (Brendan Sampsel) but he is constantly overshadowed by Harry who steals all of the attention, including the moment when the Puffs are finally allowed to shine during the Three Wizard Tournament. In the final battle, Mr. Voldy mistakes Wayne for Harry and kills him and, when he meets the Headmaster, he complains that his life was useless. The Headmaster tells him that everyone is a hero to someone and then we see in the Epilogue nineteen years later that Megan and Oliver have named their son Wayne. Fans of the books and movies will find so many hilarious references (but you have to pay attention). I laughed so hard I couldn't breathe when Wayne says that he and Cedric will be like Batman and Robin (a subtle nod to Robert Pattinson's role as the caped crusader) and when Blondo Malfoy tells his son Scorpius to avoid time turning in the Epilogue (an allusion to Harry Potter and the Cursed Child). The action is non-stop with most of the actors playing multiple roles (two different actors play the Headmaster and three different actors play Hermione at the same time in a time turning mishap) and I was very impressed with everyone in the cast because the physical comedy is extremely well done. I especially loved Dwight, because Wayne's exasperation every time Harry steals his thunder is so convincing, Osborne, because she is so energetic and over-the-top as Harry (she literally jumps into every scene), and Sampsel, because his facial expressions as Mr. Voldy are hilarious (especially whenever he uses a megaphone). The set is very simple (I loved all of the portraits located around the theater) but the costumes are fun and the props are incredible (particularly the snake and the dragon). You will definitely have a great time at this show (go here for tickets) but there are only two more performances so act quickly!

Wicked at the Eccles

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

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

A Chorus Line at West Valley Arts

Last night I went to a production of A Chorus Line at the West Valley Performing Arts Center and it is outstanding in every way! A large group of dancers are vying for a chance to be part of the ensemble of a new Broadway show. The director Zach (Joseph Spear) observes as his assistant Larry (Madison Valgardson) takes the group through the choreography and all of the dancers express the hope that they will be cast. Eventually, the group is narrowed down to Cassie (Bailee Johnson), Kristine (Annie Jones), Richie (Phil Lewis), Bebe (Sophi Keller), Diana (Celeste Palermo), Connie (Ally Choe), Mark (Alec Foote), Greg (Dylan Panter), Al (Remy Talanoa), Paul (Angel Martinez), Bobby (Michael Avila), Maggie (Summer Sloan Alvey), Mike (Cameron Robbins), Val (Rosalie Wasser), and Sheila (Heather White). Zach wants to learn more than what is listed on their resumes so he asks them to talk about their experiences and what made each of them want to be a dancer and they do so in a series of stirring musical numbers. My favorite songs are "I Can Do That" as Mike talks about accompanying his sister to dance class, "At the Ballet" as Sheila, Bebe, and Maggie recount how they used ballet as an escape from their unhappy childhoods, "Gimme the Ball" as Richie describes how he almost became a kindergarten teacher before becoming a dancer, and "Dance: Ten, Looks: Three" as Val brags about getting more work after having plastic surgery. As the group learns the choreography for a number from the show, Zach confronts Cassie and it is revealed that she was once the star of one of his shows, as well as his former lover, and he doesn't think she will fit in with the chorus and he also has a poignant moment with Paul as he describes the difficulty he has had with his sexuality. The group rehearses "One" and Zach selects the final eight dancers who then perform this number in the show. The entire cast is stellar, one of the strongest I've seen at West Valley Arts, but the standouts for me are Johnson because I loved her mesmerizing performance in "The Music and the Mirror" and Martinez because his delivery of Paul's monologue is incredibly emotional. I wondered about the staging of this show because the theater is in the round but it is very clever. Zach initially observes the group from a platform above one of the wings but then we only hear his disembodied voice coming from various areas of the theater and this allows the dancers to face different parts of the audience as they speak to him. The choreography is also very clever (I have become a huge fan of co-director and co-choreographer Izzy Arrieta) because, while it is recognizable from other versions of this show that I have seen, lots of different patterns are created on stage so there is always something to look at. I also loved the use of the company as the individual characters perform their solo numbers, particularly during "And..."  The set is minimal because the audition takes place on a bare stage but I really liked the use of clear plexiglass panels around the perimeter because they are somewhat reflective and replicate the mirrors one would find in a ballet studio and the way that actual mirrors are incorporated into "The Music and the Mirror" is very effective. The costumes during the audition are also minimal but the sparkly gold ones used in the finale are quite spectacular (as is the dramatic lighting during this number). This stunning show is definitely one that you do not want to miss! It runs at the West Valley Performing Arts Center through May 3 with performances on Thursdays, Fridays, and Saturdays (go here for tickets).

A Case for the Existence of God at PTC

I had heard great things about PTC's production of A Case for the Existence of God but I didn't have a chance to see it until last night. I'm glad I was finally able to get to it because this existential exploration of an unlikely friendship that provides hope in a precarious world is very powerful and I was incredibly moved by it. Keith (Jon Hudson Odom) is Black, gay, well educated, sophisticated, and comes from an affluent background. Ryan (Lee Osorio) is white, straight, uninformed, aimless, and comes from a working class background. He works at a yogurt factory in Twin Falls, Idaho and is currently going through a divorce but he hopes to purchase land that once belonged to his family in order to make a better life for his daughter. He reaches out to Keith, a mortgage broker who has a daughter at the same daycare as his daughter, to help him complete the purchase but there are many obstacles because he has a poor credit history. While working together, they begin disclosing personal details and it turns out that both men have preconceived ideas about the other. Keith sees Ryan as the popular and confident boy who bullied him in high school while Ryan believes that Keith lives a privileged life free from worry. However, Ryan reveals that had a dysfunctional childhood with parents who were addicts and Keith eventually confides that he could lose his foster daughter to a biological relative. They forge an uneasy bond over their shared sadness but it is this bond that ultimately provides them with hope for the future when they both suffer devastating setbacks. Both Osorio and Odom give highly nuanced performances, particularly in the way they communicate so much about their characters with just their body language and mannerisms (the play opens with both men sitting in silence for several minutes and this gives the audience more information than pages of dialogue). I especially loved Odom's portrayal of a panic attack because it is very realistic and I also enjoyed Osorio's drunken reaction to a piece of music. I had tears in my eyes when the two characters are finally able to comfort each other because the actors have such a believable rapport in this scene. All of the action takes place in a cramped cubicle at Keith's brokerage firm with just enough room for a desk and two chairs and I really appreciated the subtle changes in the position of the chairs (and the even subtler changes in wardrobe and lighting cues) to denote the changes in their relationship. The set evolves, as do the characters, during the conclusion and I think the final message is really beautiful. I will definitely be thinking about this for a long time and I highly recommend it. Unfortunately, there are only two more performances left (go here for tickets).

Life of Pi at the Eccles

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

Jersey Boys at The Ruth

I really love the jukebox musical Jersey Boys because it reminds me of my dad.  He was a big fan of The Four Seasons and, because he would always play their music on family road trips, I know the words to every song!  I went to see a production at The Ruth last night and I had to try very hard not to sing along!  Frankie Valli (Kristian Huff), Tommy DeVito (Brock Dalgleish), Nick Massi (Chase Petersen), and Bob Gaudio (Scott Hendrickson) each take a turn narrating the story of The Four Seasons from their own perspectives, including their rise from four guys singing under a streetlamp in New Jersey to superstardom and then their downfall after the pressure of fame tears them apart, because everyone remembers it the way they need to.  As previously mentioned, I love the music in this show and the performances from the four leads are amazing!  I was especially impressed with Huff, because he captures Valli's falsetto perfectly, but I really appreciate that the four of them sing and dance in a way that is instantly recognizable as The Four Seasons but they don't just replicate the original performances (or what other productions have done).  The ensemble, who all play multiple roles, is also outstanding and so is the live band (I loved seeing all of the racks of guitars).  I think the staging is very clever and, because it is so fast-paced, I particularly liked the use of large screens on the two-story set and around the stage to denote locations as well as the quick costume changes (so many different jackets!) that happen right on stage.  Watching the songs as they are being performed in specific locations, such as "Sherry" on American Bandstand and "Rag Doll" (my favorite song by the group) at their Rock and Roll Hall of Fame induction ceremony, is so much fun because we become the audience at these venues but, in my opinion, "Dawn (Go Away)" on The Ed Sullivan Show is a highlight because they turn away from the actual audience to sing for screaming fans shown in black and white images on the screens.  Finally, this updated version does not contain the profanity used in the original (this makes the show more accessible to audiences and I don't think it detracts from the story at all) and the suggestive elements during "December, 1963 (Oh, What a Night)" are really toned down.  I've seen several versions of this show (including the Broadway touring production) and this one might be my favorite because it feels so intimate.  I loved it and I highly recommend seeing it (go here for tickets) if you are a fan of The Four Seasons.  It runs at the Smith Grand Theater through May 10.

The Sting at Parker Theatre

Last night I went to see Parker Theatre's production of The Sting (based on the 1973 movie starring Robert Redford and Paul Newman) and I really enjoyed it. It is 1936 and Johnny Hooker (Spencer Hohl) and his partner Luther (Brinton Wilkins) are grifters working in Joliet, Illinois who trick a courier out of $11,000 unaware that the money was to have been given to the powerful mobster Doyle Lonnegan (Owen Richardson). Luther wants to retire and tells Hooker that he should go to Chicago and learn from Henry Gondorff (Roger Dunbar) because he is ready for the big time. When Hooker discovers that Luther has been killed by Lonnegan for revenge, he escapes to Chicago and finds Gondorff living with his girlfriend Billie (MacKenzie Pedersen). He agrees to help Hooker run an elaborate con game to ruin Lonnegan and they enlist Billie and various criminals, including Kid Twist (Mike Hohl) and J.J. Singleton (Anthony Lovato), for "The Set-Up," "The Hook," "The Wire," and "The Shut-Out" but, before they can get to "The Sting," they must deal with Snyder (Duane Stephens), a corrupt policeman from Joliet chasing Hooker for counterfeiting, and Polk (James Parker), an FBI agent searching for Gondorff. This features snappy dialogue and the talented cast delivers it brilliantly. I especially enjoyed the interactions between Spencer Hohl and Roger Dunbar because they play off each other so well. Seeing the criminals play their roles in the con is also a lot of fun. The fast-paced action takes place in multiple settings which are portrayed on stage with projections, moving panels, and set pieces that are moved on and off stage by the ensemble (it was opening night and I was really impressed with with how seamless the transitions were). My favorites were the projections denoting each part of the con (they reminded me of title cards in a movie), the metal beams representing the elevated train in Chicago, and the elaborate set pieces used for the betting parlor. The staging is very clever, particularly the poker game on the train and a chase scene between Hooker and Snyder through the aisles. This production kept me very engaged and I highly recommend it (I have seen the movie but it was so long ago that I had forgotten a big twist at the end). It runs on Fridays and Saturdays (with matinees on Saturday) through May 3 and tickets may be purchased here.

Note:  Last night was the biggest crowd I've seen at Parker Theatre (there were only a few empty seats) so get your tickets now!

The Sound of Music at CPT

There are a few shows that just put a smile on my face no matter how many times I see them and The Sound of Music is definitely one of them because my mom loved it so much during the final year of her life. Last night my sisters and I went to see a production at CPT and all three of us really loved it! The story of how a prospective nun named Maria Rainer (Emily Henwood) brings music back to the household of Captain von Trapp (Clay Rockwood) when she becomes the governess to his seven children is so heartwarming and I always anticipate all of my favorite songs (although the order is a little bit different from the movie and I always find that a bit disorienting because I've watched the movie so many times). I really have to stop myself from singing along to every one of them! Henwood has a beautiful voice and her performance is lovely. Her interactions with the von Trapp children, Liesl (Kali Garrett), Friedrich (Jack Fillmore), Louisa (Audrie Corbaley), Kurt (Ty Wilson), Brigitta (Malan Poll), Marta (Eleanor Stephens), and Gretl (Kacey Kemp), are endearing in the songs "Do-Re-Mi" and "The Lonely Goatherd" and those with Rockwood when they dance the Landler and in the song "Something Good" are incredibly romantic. I always enjoy watching the young actress who plays Gretl and Kemp is adorable but in this production Poll steals the show as Brigitta because her line deliveries and facial expressions are hilarious (be sure to watch her if you see the show). I also really liked Garrett's performance because her chemistry with Drew Dunshee, who plays Rolf, is really sweet in "Sixteen Going on Seventeen." Other highlights are Valerie Parker's powerful rendition of "Climb Ev'ry Mountain" and Rockwood's emotional performance of "Edelweiss." There are some interesting variations in the staging of several numbers, including having Captain von Trapp and the children walk towards Maria during the wedding, having soldiers stationed throughout the theater wearing Nazi armbands during the music festival (it is so ominous), and having the von Trapp family climb to safety through a window in the abbey. The use of archival footage projected on screens around the stage, which I have never seen done before, is also very powerful. Finally, the set is absolutely incredible! It features a large structure that resembles a cathedral with beautiful stained glass windows on top and a snow-capped mountain with a valley filled with flowers below. This structure opens up to become the von Trapp villa with a spectacular double staircase and a terrace while dramatic set pieces are moved on and off stage to become Nonnberg Abbey and other locations (the large eagle and swastika over the stage during the music festival is particularly striking). This show is a classic for a reason and every aspect of CPT's production is outstanding! I highly recommend getting a ticket (go here) but they are going fast so don't delay!

Harry Potter and the Cursed Child in Los Angeles

Over the weekend my sister Kristine and I went on a quick road trip to Los Angeles to see Harry Potter and the Cursed Child at the Pantages Theatre and we had so much fun!  I saw this show several years ago in San Francisco when it was performed in two parts so I was really intrigued to see the new production and my sister, who is a huge Harry Potter fan, was even more excited to see it for the first time.  We both loved it because it is absolutely magical!  It is nineteen years after the Battle of Hogwarts and Harry Potter (John Skelley) now works for the Department of Magical Law Enforcement, his wife Ginny Potter (Trish Lindstrom) writes for The Daily Prophet, Hermione Granger (Ebony Blake) is the Minister of Magic, and her husband Ron Weasley (Matt Mueller) manages Weasley's Wizard Wheezes.  Their children Albus Potter (Emmet Smith) and Rose Granger-Weasley (Naiya Vanessa McCalla) are on their way to Hogwarts when the story begins.  Albus soon forms an unlikely friendship with Scorpius Malfoy (Aidan Close), the son of Harry's nemesis Draco (Benjamin Thys).  They are drawn together because they are both unpopular and bullied.  Albus is bothered by his father's notoriety and feels that he is a disappointment while Scorpius is plagued by unfounded rumors that he is really the son of Lord Voldemort.  They feel that they have something to prove so, with the help of Delphi Diggory (Julia Nightingale), they steal a time-turner from the Ministry of Magic in order to go back in time to save Cedric Diggory (Caleb Hafen) from his fate.  This has unintended consequences and now Scorpius must enlist Hermione, Ron, and Severus Snape (Larry Yando) to help him go back in time to change the future back.  However, Delphi has her own reasons for wanting Cedric to return and compels Scorpius and Albus to use the time-turner once again to restore the alternate timeline which leads to an epic confrontation in Godric's Hollow.  Even though this new version is close to three hours long, there are obviously some elements that have been removed from the earlier one but I honestly didn't miss anything.  The biggest changes I noticed were that the Dementors appear on stage rather than fly through the audience (I was a bit disappointed but my sister still thought they were really cool) and the relationship between Albus and Scorpius is more romantic than I remember.  I really loved the touching story about father-son relationships, the fun performances (my favorite was Close and my sister's was Mackenzie Lesser-Roy as Moaning Myrtle), and the iconic costumes and sets (fans of Harry Potter will immediately recognize the Gothic architecture, the House Banners, and the moving staircases at Hogwarts) but the way the magic is staged is what makes this show so amazing!  Seeing the students run through Platform 9 3/4, use their wands, travel by flue powder, and drink polyjuice potion caused the audience to gasp out loud but the duel between Harry and Draco and the transfiguration scene received spontaneous applause!  The staging of other scenes is also very clever, particularly when Albus and Scorpius jump off the Hogwarts Express, when they emerge from the lake, and when they are separated by the moving staircases.  Even the choreography used by the ensemble to move set pieces on and off stage is incredibly dynamic!  The show is absolutely spellbinding (pun intended) and I am so glad that I had the chance to see it again, especially with my sister!  It will be on tour in various cities through 2026 (I hope it eventually comes to SLC) and I highly recommend getting a ticket if you have the opportunity.

Note:  I had to drive through a severe snow storm and my sister had to drive in Los Angeles traffic.  I'm not sure which was worse (although we still had the best time on this trip).

Les Miserables at the Eccles

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

Fiddler on the Roof at Hopebox Theatre

I first learned about Hopebox Theatre at the SCERA gala (they were also honored for their contribution to the arts) and I was really impressed by their mission of bringing hope to someone in the community who is battling cancer (they donate a portion of the ticket sales during the run of a show to a nominated recipient) so I knew that I wanted to support them. Their current production is Fiddler on the Roof and I thoroughly enjoyed seeing it last night. It tells the well-known story of Tevye (Jacob Draper), a poor Jewish dairyman living in the small Russian village of Anatevka at the turn of the century, and the traditions he clings to in order to guard against the harsh realities of life until his three oldest daughters, Tzeitel (Sidney Brown), Hodel (Abby Rubin), and Chava (Rachel Stephenson), push against them when finding a match. The performances by the talented cast are all outstanding and I had a smile on my face during all of my favorite songs, especially "Matchmaker, Matchmaker" by Brown, Rubin, and Stephenson, "If I Were a Rich Man" by Draper, and "Far From the Home I Love" by Stephenson. The Hopebox Theatre features a small thrust stage and this production has a large cast so I was particularly impressed by the dynamic choreography in "Tradition," "To Life," "Sunrise, Sunset," and "The Bottle Dance" because it makes very good use of the space and I absolutely loved "Tevye's Dream" because Fruma-Sarah (Andrea Whootton) appears very simply by running out on stage but it is still quite dramatic because of the costumes and lighting design (I am always intrigued by how she appears because I once played her and I came up through the bed). I was also impressed by lots of little details that make this production stand out from the many that I've seen before, most notably the extended interactions between Tevye and the Fiddler (Jennifer Ostermiller) during his monologues, the care taken with the authenticity of the religious ceremonies (it is incredibly moving when Tevye removes the mezuzah from the doorpost before leaving Anatevka), and the dance sequence between Chava and Tevye before Fyedka (CJ Rawlins) steps in during "Chavaleh (Little Bird)." The elaborate set features a house and barn made of weathered wood with objects such as benches, blocks, and doors that are cleverly moved and configured to become the village inn, Motel's tailor shop, the railway station, and other locations. This is a great production for an even greater cause (go here to read about Wendy Thurman) and I definitely recommend getting a ticket (go here). It runs Mondays, Wednesdays, Fridays, and Saturdays through March 15.

The Pajama Game at the Terrace Plaza Playhouse

I had never seen the musical The Pajama Game before so I was really excited to attend a production at the Terrace Plaza Playhouse last night. It is a fun old-fashioned show with lots of songs that I recognized. Romance is in the air at the Sleep-Tite Pajama Factory in Cedar Rapids, Iowa but things really heat up when a new Superintendent named Sid Sorokin (Nick Balaich) falls for the leader of the union grievance committee Katherine "Babe" Williams (Clarissa Wykstra). They fall in love but their relationship is tested when Mr. Hasler (Spencer Stevens), the owner of the factory, refuses to give the workers a 7 1/2 cent raise and they find themselves on opposite sides of the dispute. Even though the story takes place in the 1950s, the issues are still just as relevant today and I liked that compromise is used to settle the conflict between management and labor as well as the one between the sexes (although some of the characters behave in ways that are very dated and problematic). I can't decide if it is the dialogue that is stilted or if it is the delivery but sometimes the pacing is very sluggish, particularly a scene that is so awkward it made me think that the actors were ad-libbing in order to stall long enough for a costume change that took longer than usual. However, the actors really shine during the big song and dance numbers. Balaich has a beautiful tenor voice and his performance of "Hey There" (one of the songs I immediately recognized) is incredibly touching and it was the highlight of the show for me, Wykstra is confident and sassy, especially in the song "I'm Not At All in Love," and the two of them are perfect foils to each other in the delightful "Small Talk" and "There Once Was a Man" (the other song I recognized). The ensemble do a fantastic job with the energetic choreography in "Once a Year Day," "Think of the Time I Save," and "7 1/2 Cents" and these numbers are so fun to watch. I also really loved "Racing With the Clock," especially when it is slowed down in the reprise to mimic the slow down in production, the Fosse-inspired "Steam Heat" because it is dazzling, and the sultry "Hernando's Hideaway" because the choreography is so dynamic (the lighting design is very effective in this number). The set and costumes are colorful and nostalgic and I especially loved the retro sewing machines and all of the pajamas during the bows. While there are issues, the cast is enthusiastic and the show is very entertaining. It runs on Mondays, Fridays, and Saturdays through April 5 (go here for tickets).

Between the Lines at the Empress Theatre

I had never heard of the musical Between the Lines before but, when I read the description, I knew that it was obviously written for me because I usually prefer fictional characters to real people! I saw it last night at the Empress Theatre and I absolutely loved it! Delilah McPhee (Ashley Bates) is a seventeen year old girl trying to navigate her parents' divorce and a new school where she is bullied by the mean girl Allie McAndrews (Dusti Mulder) and her friends (Connor Alldredge, Talitha Jo Garrison, Tyler Parkin, and Emma Mendisabal). She finds solace in a children's fairy tale called Between the Lines and is drawn to the protagonist Prince Oliver (Alex Parkin). After a particularly stressful argument with her mother Grace (Lisa Shortridge), Oliver appears to Delilah and she tells him that she wishes that she could be part of his world. However, he tells her that things are not necessarily better in a fairy tale because they must live the same story over and over whenever someone reads it. They conspire to be together but Delilah eventually learns that she must write her own story. As someone who spent a lot of time reading during adolescence to escape from reality, I loved this story and I think anyone who has ever felt different will really enjoy it. The songs are a lot of fun and I especially loved "Mr. Darcy and Me" which is sung by the librarian Ms. Winx (Katelyn Johnson) when Delilah asks her if she has ever had a relationship with a fictional character and "Happily Ever After Hour" when the characters in Between the Lines lament the fact that they can never be who they really are because they must perform for the reader. The young cast does a fantastic job and I was really impressed with every performance! Bates is captivating and she sings "Another Chapter," "Between the Lines," and "A Whole New Story" with so much emotion. Parkin is incredibly appealing in the songs "In My Perfect World" with Bates and "Something to Hold On To" and I loved all of his physical comedy. The ensemble, who play characters in both worlds, is really strong and I enjoyed the songs "Inner Thoughts," especially when the dumb jock Ryan steps forward to sing but doesn't have any lines, and "Out of Character" because I always appreciate tap dancing. The set is one of my favorites at the Empress because it focuses on books with bookcases, book covers, and book pages located all around the theatre. Whenever the characters from Between the Lines appear, they enter from a bookcase that rotates to become a page from the book and this is such a clever way to denote which world we are in. This is an enchanting production and I highly recommend it! There were a lot of empty seats last night and I would love for more people to see this (go here for tickets). It runs at the Empress Theatre through March 15.

Beautiful: The Carole King Musical at PTC

The Broadway touring production of Beautiful: The Carole King Musical was the first show I saw at the Eccles Theatre when it opened and, because I loved it so much, I was really excited to see it again last night at PTC. This version is definitely on par with the Broadway production and, once again, I really loved it. Beautiful is a jukebox musical describing how Carole King rose to stardom in the 1970s using the songs she wrote, such as "So Far Away," "Will You Love Me Tomorrow," "Up on the Roof," "It's Too Late," "You've Got a Friend," "(You Make Me Feel Like) A Natural Woman," and "I Feel the Earth Move" among others, to inform her story. Act I begins when a sixteen year old King (Sara Sheperd) decides to go to Manhattan to sell one of her songs to producer Don Kirshner (Jason Andrew Hackney) and continues with her development as a hit songwriter with her husband Gerry Goffin (Anthony Sagaria) and with their rivalry with the songwriting team of Cynthia Weil (Lee Alexandra Harrington) and Barry Mann (Stephen Christopher Anthony). Act II details the disintegration of King's marriage to Goffin and how she finds the courage to stand on her own, both personally and professionally, which results in the writing and recording of her seminal album Tapestry. King's legendary concert at Carnegie Hall in 1971 is used as a framing device. Many of the musical numbers begin with King and Goffin or Weil and Mann singing a song as they write it, usually around a piano, and then continue with the artist who made it famous singing it as a big production number with fabulous choreography. I really loved seeing "Will You Still Love Me Tomorrow" with the Shirelles (Elexis Morton, Tyler Symone, Hannah Camille Hall, and Kianna Kelly-Futch), "Up on the Roof" with the Drifters (Travis Keith Battle, Chris Richie, Nathan Andrew Riley, and Cory Simmons), "The Locomotion" with Little Eva (Grace Ellis Solomon), "You've Lost That Lovin' Feeling" with the Righteous Brothers (Jordan Briggs and Nate Ginsberg), and "One Fine Day" with Janelle Woods (Elexis Morton). The music is incredible (I had to stop myself from singing along and I was definitely not alone as I watched the people around me instantly recognize a song) and all of the performances are brilliant. Sheperd, especially, is amazing because she not only embodies King in the musical numbers (her rendition of "A Natural Woman" gave me goosebumps) but she also shows so much vulnerability in portraying King's journey to self-acceptance (I really love the message of empowerment in this show). The minimal set pieces are moved and configured into various locations very effectively by the ensemble and the hair, makeup, and costumes do a great job evoking the 1960s and 1970s. I had such a good time watching this and I heard nothing but positive comments from the audience as I walked out. Do yourself a favor and get a ticket (go here) for one of the three remaining performances.

Note:  The crowd last night was the biggest I've seen all season!

Jesus Christ Superstar at the Grand Theatre

I have seen two different Broadway touring productions of Jesus Christ Superstar but I think the version I saw last night at the Grand Theatre might be my favorite.  I loved everything about it!  This rock opera with music by Andrew Lloyd Webber and lyrics by Tim Rice tells the story of the Passion of Jesus Christ from the perspective of Judas as he becomes dissatisfied with Jesus's growing popularity and fears that it is taking away from their mission to help the less fortunate.  It features contemporary sensibilities and I've seen Jesus portrayed as a rock star with an electric guitar and a microphone in other productions but in this one he creates a cult of personality and whips crowds into a frenzy with just his presence.  All of the costumes are contemporary, as well.  Jesus is dressed casually in athletic wear (and an orange jumpsuit during his trial), his followers are dressed as punk rockers (I loved Judas's red leather jacket), King Herod is dressed as a sleazy lounge singer in a pink lamé suit, and Pilate is dressed as a 19th century gentleman with a brocade waistcoat and frock coat.  The set, which consists of multi-level metal towers (that look like scaffolding) with a large cross at the top, the dramatic lighting design, and the dynamic choreography are all dazzling and my attention never wavered from what was happening on stage.  I love the music in this show (I had to try really hard not to sing along to every song) and the three leads, Michael Scott Johnson as Jesus, Aaron Naylor as Judas, and McKenna Kay Jensen as Mary Magdalen, have beautiful voices.  I really enjoyed Jensen's version of "I Don't Know How to Love Him" (my favorite song in the show) and Johnson's rendition of "Gethsemane (I Only Want to Say)" gave me goosebumps but Naylor blew me away with his performance of "Damned for All Time/ Blood Money" because you can really feel his escalating torment.  I was also impressed by "This Jesus Must Die" by Ricky Parkinson as Caiaphas because he has an incredible bass voice and "Pilate's Dream" by Keefer Glade as Pilate because having him play the guitar while standing in a spotlight during this song is very powerful.  I think this show is brilliant but the song "Trial By Pilate/ Thirty-Nine Lashes" is extremely difficult to watch, particularly in this version because it is staged very realistically with blood dripping from Jesus's wounds.  However, the staging of "John Nineteen: Forty-One" is incredibly tender and I think it makes up for the scenes preceding it.  This production is so good and I cannot recommend enough!  It runs at the Grand Theatre on Thursdays, Fridays, and Saturdays through March 22 (go here for tickets).

The Prince of Egypt at HCT

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

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

Rodgers & Hammerstein's Cinderella at The Ruth

Last night I saw the Rodgers & Hammerstein version of Cinderella at The Ruth.  This is the first production in the more intimate Lindsay Legacy Theater and, as with the Scott & Karen Smith Grand Theater, I was really impressed with this wonderful new venue (lots of leg room).  This show features a contemporary update to the well-known fairy tale with a social reforming Cinderella (Hailey Bennett Sundwall) who rescues Prince Topher (Jeff Sundwall) from the Lord Protector (Kyle Harper) who is deceiving him about the conditions in his kingdom, a feminist Fairy Godmother (Michelle Sundwall) who tells Cinderella that it's up to her to make her own dreams come true, and a Stepsister (Jaymie Lambson) who eventually becomes a sympathetic conspirator with her own romance with the revolutionary Jean-Michel (Brock Harris).  I am not a huge fan of this version because I think it is very contrived with messages, however laudable, that are shoehorned into the story but there is so much to love about this production.  The set is absolutely magical!  There is a backdrop that looks like an illustration from a storybook with vines covered in lights that blink on and off and change color to coincide with all of the transformations (the effect is spectacular).  There are beautiful set pieces, which have an autumn color palette, that are moved on and off the stage by the ensemble and my favorites are the trees used in the pursuit of Cinderella after the ball.  The costumes are gorgeous!  I loved Cinderella's sparkly ball gown as well as the Fairy Godmother's gown (the transformations into these gowns are a lot of fun) but I was also impressed by the uniforms worn by Topher and his guards.  The puppets used for the Fox and Raccoon (with puppeteers Maggie Scott and Emily Runyan Manning, respectively) are clever as are their transformations and the portrayal of Topher's horse Buttercup is quite humorous (every production I've seen has portrayed the horse in a different way).  The performances are amazing!  The three leads (who are husband and wife and mother and son) do a lovely job with "In My Own Little Corner," "Impossible," "It's Possible," "Ten Minutes Ago," "There's Music in You," and "Do I Love You Because You're Beautiful" and I also really enjoyed "Stepsister's Lament" by Karlena Nielson because her rendition is really funny.  Finally, the choreography is dazzling!  I particularly enjoyed the patterns created in "Now Is the Time/ The Prince is Giving a Ball," the romance in "Ten Minutes Ago," and the chaotic energy in "The Pursuit."  This may not be my favorite show but I enjoyed what The Ruth did with it and would recommend getting a ticket (go here).  It runs through May 3.

The Play That Goes Wrong at West Valley Arts

Last night I went to see The Play That Goes Wrong at the West Valley Performing Arts Center and, since I am very familiar with this show, I was really intrigued to see how it would be staged in the round. They actually pulled it off because it is one of the funniest versions I've seen! The titular play is The Murder at Haversham Manor by Susie H. K. Brideswell and it is being performed by the Cornley Polytechnic Drama Society. It stars Max (Dan Radford) as Cecil Haversham/ Arthur the Gardner, Chris (Adam Packard) as Inspector Carter, Jonathan (John Valdez) as Charles Haversham, Robert (Bryan Dayley) as Thomas Colleymore, Dennis (Samuel Wright) as Perkins the Butler, and Sandra (Britty Marie) as Florence Colleymore. The Director is Chris, the Stage Manager is Annie (Jillian Joy), and the Sound and Lighting Director is Trevor (Armando Serrano Huerta). The set is slowly falling apart, the props malfunction or go missing, the sound designer accidentally plays Duran Duran instead of the sound cues, a missing dog is not found until bows, one actor cannot stay still while playing the murder victim, one actor cannot remember his lines, one actor is overly dramatic and then milks the audience for applause, and the leading lady is injured halfway through the show and must be replaced by Annie (and then Trevor) with script in hand but the show must go on! The staging (which I won't spoil here) is absolutely brilliant because, since it is in the round, everything happens in front of the audience! I especially loved the visible backstage area and all of the stage crew members (more than are usually used in this show) who are shown running around in a panic. The set is one of the most elaborate I've seen at West Valley Arts and I particularly loved the second floor study, which eventually collapses spectacularly, and the elevator, which is hand-cranked to great comedic effect. The physical comedy is so much fun to watch and my favorite moments are when Florence, Thomas, and Inspector Carter get stuck in a loop which involves drinking paint thinner instead of whiskey because Perkins can't remember his next line, when Cecil and Thomas have to answer the phone (with the help of an audience member) while holding the set together, when Perkins and Thomas walk through the audience because they can't open the door, when Cecil cannot bring himself to kiss Florence, and when Annie and Sandra have a long and drawn out fight over who gets to play Florence. The entire cast is fantastic but the standouts for me are Dayley because he is so hilariously exasperated (he was often standing near me and his facial expressions made me laugh out loud), Radford because his gestures are so over the top, and Joy because she is an absolute hoot once she gets into character while playing Florence. I don't think I stopped laughing all night and I highly recommend getting a ticket (go here) for a really fun night out!  It runs at the West Valley Center for the Performing Arts through Mar 1.

Note:  If you go (you should!) try to get to your seat as early as you can because there are hijinks before the show even begins!