Something Rotten at Hopebox Theatre

I love the musical Something Rotten so much I saw it again last night 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 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 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 chimney sweeps from Mary Poppins 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 as Shakespeare (I laughed out loud every time he mimicked Elvis Presley and every time he interacted with the audience). 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!

Something Rotten at Murray Park Amphitheater

I love attending outdoor performances during the summer so I had a lot of fun seeing Something Rotten at Murray Park Amphitheater last night.  This show is absolutely hilarious and I was very impressed with this production (it is definitely one of my favorites at this venue).  Nick Bottom (Nathan Holcomb) and his brother Nigel (Patrick O'Boyle) are playwrights in London during the Renaissance but they haven't been very successful.  Their patron, Lord Clapham (Jesse Rogers), is withdrawing his support, Shylock (Jeff Young) wants his loan repaid, Nick's wife Bea (Katherine Frandsen) is pregnant, and Nigel has fallen in love with Portia (Emma Roberts), the daughter of a Puritan named Brother Jeremiah (Dwight Western) who wants to shut down the theaters for debauchery, but, even worse, they are constantly overshadowed by the immensely popular William Shakespeare (Aidan Hughes)!  They need a big hit so Nick decides to consult the soothsayer Nostradamus (Alan LaFleur) to see what will be popular in the future.  Nostradamus suggests writing a play with singing and dancing!  When inspiration fails, he asks Nostradamus to look into the future again to see what Shakespeare's most popular play will be and, instead of Hamlet, he sees omelette (so close!).  As Nick tries to produce Omelette: The Musical, Shakespeare suffers from writer's block and attempts to steal his own play back!  Chaos ensues until Nigel convinces Nick to be true to himself.  What I love most about this show is all of the clever references to musical theatre, especially in the songs "A Musical" and "Make An Omelette," and all of the allusions to Shakespeare's plays in the song "Will Power."  Every time I see a new production I find even more of these references (this time I was able to catch a brief reference to Twelfth Night).  I really enjoyed the performances from everyone in the cast but my favorites are O'Boyle as Nigel because he is so sweet and endearing, especially in the song "To Thine Own Self," and Hughes as Shakespeare because he is really over the top and incredibly funny as he struts around the stage like a rock star with his entourage and groupies.  The choreography is very clever and I particularly loved seeing the iconic dance steps from popular musicals incorporated into "A Musical" (my favorites are from A Chorus Line and Chicago), all of the tap dancing (the dance off between Nick and Shakespeare in "Bottom's Gonna Be on Top" is hilarious), and Shakespeare's epic stage dive in "Will Power."  The Renaissance costumes are absolutely incredible, some of the best I've seen for this show, and the quick costume change during "We See The Light" elicited a lot of laughter from the audience.  I was also very impressed with the amazing painted backdrops featuring thatched and timbered cottages and an outdoor theatre (I laughed out loud at the red velvet ropes placed in front of the theatre for Shakespeare's appearances).  I had a blast at this show (I don't think I stopped laughing all night) and I highly recommend it for a fun evening under the stars.  Go here for tickets to this show (which runs June 13-14, 16, and 19-21) and to all of the fun shows playing at Murray Park Amphitheater this summer.

Hadestown: Teen Edition with the JAKS Theatre Company

Last night my sister Kristine and I were able to see another production of Hadestown: Teen Edition (we both love this musical so much), this time by the JAKS Theatre Company at the Regent Street Black Box at the Eccles Theatre (I had never been to this venue before and I was very impressed by the space). I think the theme of hope in the face of hardship explored in this show is especially appropriate for a young cast (this teen version is very popular in Utah at the moment). Eurydice (Jane Wuthrich) is a hungry girl who has experienced the world as it is so she is lured to the underworld by Hades (Caden Feller) in exchange for food. Orpheus (Xander Rohwer) is a poor boy with the gift of music who dreams of the world as it could be so he journeys to the underworld to rescue her when she is trapped in a cycle of endless work and desperation. He is aided by Persephone (Lauren Hunter), who is also trying to convince Hades to let her return to the living world, in his quest to save her but the Fates (Ava Nelson, Kimara Parcell, and Violet Rohwer) intervene and he is ultimately plagued by doubt. However, Hermes (Thom Fox) reminds us that, even though the song is a sad one, we must keep singing it if we want to change the outcome. Once again, I was absolutely blown away by the caliber of the talent in this young cast. Fox has a swagger as Hermes that is fun to watch in "Road to Hell" and "Way Down Hadestown," Rohwer does a great job emphasizing Orpheus's naivete in "Come Home With Me," "Wait For Me," and "If It's True," and Hunter is a very charismatic Persephone in "Livin' It Up on Top" and "Our Lady of the Underground."  Nelson, Parcell, and Rohwer have a lot of attitude as the Fates (I especially loved Parcell's facial expressions) and the way they harmonize in "When the Chips Are Down," "Nothing Changes," and "Word to the Wise" is a highlight of the show. Feller is incredibly compelling as Hades because he has dangerous charm in "Hey, Little Songbird," frightening intensity in "Why We Build the Wall" (this gave me goosebumps), and sizzling chemistry with Hunter in "How Long?" I especially loved Wuthrich's performance as Eurydice because she sings my favorite songs, "Any Way the Wind Blows" and "Flowers," with so much emotion and her impassioned plea in "Doubt Comes In" is so heartbreaking that I had tears in my eyes. The ensemble is also very strong and I was particularly impressed with their performance in "Chant" and its reprise, "Wait For Me" and its reprises, and "Why We Build the Wall" because it is extremely powerful. The live band on stage also features some unbelievably talented teens and I was blown away by Dylan Thomas on guitar. The set, costumes, and choreography are very reminiscent of the Broadway production and I loved all of it. I would highly recommend supporting these talented teens in this amazing production but, unfortunately, the remaining four performances are sold out (but you can go here to learn more about the JAKS Theatre Company).

Note: We were sitting by a really chatty young girl with lots of friends in the cast.  She told us that she will be in SIX: Teen Edition at the Ziegfeld Theatre in August and she convinced us to get tickets (we both love that show, too).

Alice By Heart at West Valley Arts

The show I was most excited about when West Valley Arts announced the 2025 season was Alice By Heart. I really love the music (I listen to the original cast recording all of the time) so it was *ahem* wonderful to finally get to see a live performance with sets, costumes, and choreography last night. It definitely exceeded my high expectations! In London during the Blitz, Alice Spencer (Ivy Dunbar Jones) and her childhood friend Alfred Hallam (Charlie Beytieh) are forced to take shelter in an underground tube station. Alfred is quarantined in another area because he is extremely ill with tuberculosis but Alice sneaks into that area to be with him. She decides that they should read their favorite book, Alice's Adventures in Wonderland, in order to escape their circumstances but the Red Cross Nurse (Rachel Mardis) is angry that she has broken quarantine and rips up her book. Alice continues telling the story because she knows it by heart and takes Alfred down a rabbit hole into Wonderland. He becomes the White Rabbit while the inhabitants of the shelter slowly turn into the other characters from the book. They encounter two Caterpillars smoking a hookah (April Kerr and Olivia Lane), a Cheshire Cat (Makayla Palos Rodriguez), a Duchess (Sam Teuscher), and the Queen of Diamonds (Carly Haberman) and Queen of Hearts (Rachel Mardis) but the White Rabbit, who is late for a very important date, becomes angry when Alice refuses to turn the page to end the story. He is transformed into the March Hare and confronts her at a tea party with the Mad Hatter (Isaac Carrillo) and the Dormouse (Noah Lee) before returning to the shelter. She wants to follow him but the Jabberwock (Monte Garcia) stops her. She is eventually put on trial by the Queen of Hearts and is about to be beheaded when she realizes that she needs to turn the page and accept Alfred's death.  She escapes Wonderland and comes to terms with her grief by telling the inhabitants of the shelter about her curious dream. I think this is incredibly clever (although you probably need a familiarity with Alice's Adventures in Wonderland to understand what is happening) and I love the message about the power of a good book to heal. Jones and Beytieh give amazing performances as Alice and Alfred, respectively, and their renditions of "Another Room in Your Head" and "Afternoon" (my favorite songs in the show) are beautiful and heartbreaking. I also enjoyed "Some Things Fall Away" by Rodriguez and "Isn't It a Trial" by Mardis (I loved both of their voices). The choreography is brilliant, especially when the ensemble mimics the movement of a caterpillar in "Chillin' the Regrets," the militaristic formations in "Brillig Braelig," and when a young Alice (Rosie Darling) and young Alfred (Henry Marshall) mirror the actions of their older counterparts in "Afternoon." The stage is configured as an underground tube station with tracks leading into tunnels located in the wings and it is transformed into Wonderland with the addition of crates, trunks, moving platforms, and the clever use of lighting (the checkerboard pattern used in "Isn't It a Trial" is especially effective). The costumes are a lot of fun because the inhabitants of the tube station become the characters in the book with just the addition of a few pieces. I particularly loved the waistcoat Alfred dons to become the White Rabbit and the use of poppies by the ensemble to become the hookah smoking caterpillar. I have wanted to see this show for a long time and I am glad I finally had the chance with such a great production! It runs at the West Valley Performing Arts Center through June 28 with performances on Thursdays, Fridays, and Saturdays (go here for tickets).

Newsies at the SCERA Shell Outdoor Theatre

I love the musical Newsies so very much and I had a lot of fun watching a fantastic production at the SCERA Shell Outdoor Theatre under the stars last night. Jack Kelly (William Madsen) and his fellow "newsies" gather every morning to buy newspapers to sell to New Yorkers, but when Joseph Pultizer (Mike Handy) raises the price of the papers, the newsies decide to go on strike. With help from fledgling reporter Katherine Plummer (Mia Schoebinger), the newsies print their own newspaper about the plight of working children in New York which gets the attention of Governor Theodore Roosevelt (Chuck Archer). The music in this show is incredibly stirring and the large ensemble performs it with enthusiasm and energy. Their dazzling vocal performances in "Carrying the Banner," "Seize the Day," "King of New York," "Once and For All," and "The World Will Know" (which is my favorite song and gave me goosebumps because it was so powerful) are the highlight of this production. The choreography is also a lot of fun and, while there are lots of the iconic leaps, jumps, and spins, I think it is really fresh and innovative. I especially loved the tap dancing in "King of New York," the newsies running through the audience in "Brooklyn's Here," and the way the newspapers are distributed in "Once and For All." I was also very impressed by the leads in this show. Madsen is an incredibly appealing Jack. He gives a heartfelt rendition of "Santa Fe" (all of the young girls sitting around me were very appreciative of his performance) and a touching version of "Something to Believe In" with Schoebinger.  Another one of my favorite songs in this show is "Watch What Happens" and, even though Schoebinger (who has a beautiful voice) was not feeling well last night, she still gave it her all and delivered a plucky performance which I really liked because it fit the character. Gage Gillette, Porter McCormick, and Brayden Phillips are also very strong as Davey, Les, and Crutchie, respectively. The multi-level set featuring a New York neighborhood made of wood, brick, and metal is the biggest and most elaborate one I've seen for this show but the large ensemble use the space very well. The costumes are what you would expect (including the ubiquitous newsie caps) but one of the things I immediately noticed is that Davey and Les are dressed a bit better than the other newsies (denoting their more financially stable background) and I liked that attention to detail. Seeing an outdoor performance is one of my favorite summertime activities (the weather was absolutely perfect last night) and this crowd-pleasing show is one that you don't want to miss! It runs at the SCERA Shell Outdoor Theatre every day but Wednesday and Sunday through June 21 (go here for tickets).

Noises Off at Parker Theatre

Last night I went to Noises Off at Parker Theatre and it is definitely one of the best productions of this play that I have seen! Act I involves a disastrous dress rehearsal for the play Nothing On starring Dotty Otley (Mary Parker Williams), an aging television star, as Mrs. Clackett, Gary Lejeune (Roger Dunbar), a scatterbrained actor who can't finish a sentence, as Roger Tramplemain, Brooke Ashton (Corinne Adair), a young and inexperienced actress involved with the director, as Vicki, Frederick Fellows (Thomas Hohl), an insecure and accident prone actor, as Philip Brent and the Sheikh, Belinda Blair (MacKenzie Pedersen), a reliable actress who knows all of the gossip about the cast, as Flavia Brent, and Selsdon Mowbray (Duane Stephens), an accomplished actor with a drinking problem and a tendency to miss his cues, as the Burglar. Lloyd Dallas (Michael Hohl), the exasperated director, Poppy Norton-Taylor (Nicole Holbrook), the put-upon assistant stage manager, and Tim Algood (Seth Larson), the overworked and sleep deprived stage manager tasked with fixing every problem, are dismayed by how unprepared the cast is for opening night. Act II takes place backstage while the show is on tour and features the deterioration of a relationship between Dotty and Gary causing them do everything they can to sabotage each other's performance as well as Lloyd's ill-fated attempts to keep Poppy and Brooke from finding out that he is having an affair with both of them (and multiple attempts to have Tim buy them flowers). Act III takes place at the end of the run and Dotty has a complete breakdown forcing the other actors to ad-lib the rest of the show while Brooke performs her lines and blocking as normal. The pace of this show is so fast that it is frenetic and the entire cast has brilliant comedic timing because they make the action look spontaneous and effortless. There is an extended sequence involving an axe in the second act that had me, and the entire audience, in hysterics and I have no idea how they were able to pull it off! In fact, I don't think I stopped laughing during the entire second act because the chaos is so well choreographed. I also really enjoyed all of the subtle bits of characterization created to distinguish this production from others, especially having Dunbar point his fingers whenever Gary makes a nonsensical comment, having Williams become emotional whenever Dotty forgets a prop, having Pederson speak all of Belinda's lines with a southern accent, and having Stephens recite all of Selsdon's lines as if he was in a Shakespearean tragedy. This features the largest and most elaborate set I have seen at this theatre and the attention to detail, especially in the backstage area, is impressive. The sixties aesthetic used in the set decoration and costumes works really well but I think that Vicki's babydoll nightgown looks too similar to the dress she wears at the beginning of the show because I didn't immediately notice the costume change. I thoroughly enjoyed this production and I highly recommend seeing this stellar cast forget their lines, miss their cues, and misplace their props (go here for tickets).  It runs on Fridays and Saturdays (with matinees on Saturday) through June 28.

The Play That Goes Wrong at The Ruth

My second theatre production yesterday was The Play That Goes Wrong at The Ruth and laughing out loud at this hilarious show was a great way to spend my birthday!  The titular play is the Cornley Polytechnic Drama Society's production of The Murder at Haversham Manor by Susie H. K. Bridewell and everything that can go wrong does go wrong!  The Stage Manager Annie (Darci Ramirez) is still making adjustments to the set, with the help of a few audience members, and the Sound Technician Trevor (Luke Logan) is searching for a missing dog before the Director, Chris (Samuel Wright), welcomes the audience to the Society's most ambitious production to date.  The cast, including Chris as Inspector Carter, Robert (Charlie Flint) as Thomas Colleymoore, Jonathan (Chad Brown) as Charles Haversham, Dennis (Adrian Alta) as Perkins the Butler, Max (Brett Jamison) as Cecil Haversham/ Arthur the Gardner, and Sandra (Heather Shelley) as Florence Colleymoore, must cope with a set that is slowly falling apart, props that are misplaced and malfunctioning, and sound cues that are replaced by the music of Duran Duran.  Jonathan is unable to stay still while playing a dead body, Max is overdramatic and milks the audience for attention, Dennis mispronounces his dialogue, Sandra is injured midway through the performance and must be replaced by the unprepared Annie, and Chris cannot hide his exasperation with the goings-on.  But the show must go on until the murderer is finally revealed!  I have seen this show many times so I really enjoyed seeing some subtle changes to make this production unique.  My favorites involved one character being unable to see during the last few scenes and another actor quitting mid-show and leaving the stage in street clothes.  The entire cast is outstanding and the physical comedy is so much fun to watch!  I especially loved seeing the elaborate way in which Robert and Max must answer a phone call because they are both trying to hold the set together, the long drawn out fight between Sandra and Annie because they both want to keep playing Florence (I loved when they would both speak the lines in unison), the duel between Robert and Max after they break their swords and continue with pretend light sabers (I laughed so hard when Max jumped on the couch and said he had the high ground), and the spectacular collapse of the second floor study as Robert and Chris struggle to continue the scene while holding on for dear life.  The set is so much fun (it is basically another character) and, in addition to collapse of the study, I loved the malfunctioning elevator complete with smoke!  If you are in need of a good laugh, get yourself a ticket (go here) to this thoroughly entertaining production.  It runs in the Lindsay Legacy Theater at The Ruth through August 16.

Hadestown: Teen Edition at CPT

Yesterday was my birthday and I got to celebrate it by going to two theatre productions! In the afternoon my sisters took me to see Hadestown: Teen Edition at CPT starring students from the CenterPoint Academy. I love this musical so much because I think it is incredibly clever how it uses the ancient Greek myth of Orpheus and Eurydice to provide commentary on what is wrong with the world, including climate change, poverty, exploitation of workers, diminishing resources, and extreme nationalism, along with the hope of how the world could be better through the power of music! I also love that the music is a fusion of folk, rock, and jazz with incredibly stirring musical numbers ("Why We Build the Wall" is one of the most powerful songs I've heard in musical theatre). In the teen version some of the more suggestive content is modified (although none of the songs are cut in this show) and the ensemble is expanded to allow for a larger chorus of workers. I was beyond impressed with this production and I especially loved all of the performances from the main cast (these teens are insanely talented). Ryker Thompson is an incredibly charismatic and entertaining Hermes and he absolutely owns the stage in "Road to Hell" and "Way Down Hadestown." I couldn't take my eyes off him whenever he was on stage! Jocelyn Weeks has a beautiful voice and she gives a heartbreaking performance as Eurydice, particularly in "Any Way the Wind Blows" and "Flowers" (which are my two favorite songs in the show). I think the role of Orpheus is a difficult one because it requires a tremendous vocal range as well as an emotional vulnerability and Xander Ferrin absolutely nails his earnestness and awkwardness, especially in "Come Home With Me." I was also really impressed with his guitar playing in "Epic I," "Epic II," and "Epic III." Tad Sharp, as Hades, has a rich baritone voice and his powerful rendition of "Why We Build the Wall" gave me goosebumps. I also found his performance of "Hey, Little Songbird" to be so compelling. Chloe Davis gives a powerhouse performance as Persephone in the numbers "Livin' it Up on Top" and "Our Lady of the Underground" (she can really sing the blues) but she is also very affecting in "How Long?" I love how the Fates are integrated into the story and Emmalee Larson, Rylee Hunt, and Xanti Cabrera harmonize beautifully in "When the Chips Are Down" and "Word to the Wise." The choreography for the workers, which includes an ensemble of twenty, is very clever and I particularly enjoyed when they utilized the aisles in "Chant" and its reprises and when they joined a circle around Orpheus one by one during "If It's True." I also loved the choreography for "Wait For Me (Reprise)" and "Doubt Comes In" because it is very dramatic (I was practically holding my breath through the whole sequence waiting for Orpheus to turn around). The live band on stage (which also features young performers) is incredible and a shout out goes to Gabe Winter on trombone. All of the other elements in this production (the set, costumes, and lighting) are outstanding but I cannot say enough about the amazing cast and I highly recommend getting a ticket (go here) to one of the five remaining performances.

Dreamgirls at the Grand Theatre

I was so excited for Dreamgirls at the Grand Theatre last night because I had never seen it before (not even the movie).  This production is thoroughly entertaining with an incredibly talented cast and I loved it! The Dreamettes, a girl group from Chicago consisting of Effie White (Quesley Soto), Deena Jones (Kandyce Marie), and Lorrell Robinson (Darby Mest), enter a talent competition at the Apollo Theatre in New York singing a song written by Effie's brother C.C. White (Asher Head).  The contest is rigged against them by a used car salesman named Curtis Taylor (Steven Taylor) because he wants to manage them.  He arranges for them to sing back up for James "Thunder" Early (Kiirt Banks) on tour but he soon has the girl group, renamed The Dreams, perform on their own.  He wants Deena to replace Effie as the lead singer because, even though Effie is a better singer, he thinks Deena is prettier.  Effie is eventually replaced by the singer Michelle Morris (Kimberly Teitter) and, several years later, Deena Jones and the Dreams are incredibly successful while Effie is a struggling singer in a club.  C.C. is unhappy with how Curtis wants to record his latest song so he offers it to Effie and her version becomes a hit.  Deena, Lorrell, and Michelle become disillusioned with performing, and with Curtis, so they give a farewell concert and sing one final number with Effie.  The show is basically a series of performances by James "Thunder" Early, The Dreams, and Effie at various locations interspersed with a narrative about how the pressures of the music industry impact their friendship with each other and their romantic relationships but these performances are amazing!  My favorite numbers were "Move (You're Steppin' On My Heart)" during the talent competition, "Steppin' to the Bad Side" which becomes the group's first hit single with Early, "(And I Am Telling You) I'm Not Going" after Effie is replaced, "I Miss You, Old Friend" when C.C. and Effie reconcile, "One Night Only" as Effie makes a comeback, and "Dreamgirls" during the final number with Effie.  The set consists of a multi-tiered stage (a fantastic live band sits on the top tier) with multiple backdrops to denote different locations (I loved the red velvet curtains of the Apollo Theatre) and smaller set pieces are brought on and off in front of the stage by the ensemble for the more intimate scenes.  The girl group costumes from the 1960s and 1970s are as fabulous as you would expect (with as many sequins as you would expect) and the lighting is very dramatic.  Finally, the entire cast is insanely talented but Soto blows the roof off of the theatre!  I had a lot of fun at this show (audience participation is highly encouraged) and I definitely recommend it!  There are performances on Thursdays, Fridays, and Saturdays (go here for tickets) through June 14.

Twelve Angry Men at HCT

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

Tuck Everlasting at CPT

Last night I went to CPT with both of my sisters to see Tuck Everlasting, a delightful musical adaptation of the book by Natalie Babbitt (you probably read it in elementary school). All three of us really enjoyed this charming production. Winnie Foster (Penny Hodson) feels trapped in a house where her mother Betsy (Amanda Rogers) and her Nana (Meredith Carlson) are in mourning for her dead father and she longs for adventure. One day she sneaks into the woods and meets Jesse Tuck (Maxwell Sperry). He stops her from taking a drink from a stream and inadvertently reveals that the water has made his family immortal. Jesse is happy to have made a friend but the rest of the Tuck family, including Mae (Brooke Liljenquist), Angus (Andy Leger), and Miles (Cameron Ropp), worry that their secret will be revealed. However, the Man in the Yellow Suit (Tyler Hanson) has overheard Jesse and has nefarious plans for the water. Eventually, Jesse asks Winnie to drink the water when she turns seventeen but his family warns that being immortal is not as enchanting as it appears. Hodson is really endearing as Winnie and I was very impressed by her stage presence because she very ably provides the heart of the show. I love that she still has the voice of a child and that she displays a wide-eyed wonder at everything she sees. Her interactions with Sperry, especially, are really sweet and their renditions of "Top of the World" and "Seventeen" are highlights. I was also very touched by Liljenquist's performance of "My Most Beautiful Day" (I also really liked the choreography in this number) and Ropp's emotional performance of "Time." My favorite number in the show is "The Wheel" where Angus tells Winnie that she doesn't need to live forever she just needs to live (this message is so lovely) and both Leger and Hodson sing it beautifully (it is also staged very well). The staging of the scenes at the fair is simple with a minimal cast but it is very effective and I enjoyed the choreography in "Join the Parade" and its reprise as well as in "Partner in Crime." I also liked that the characterization for the Man in the Yellow Suit is more menacing (Hanson actually provides a bit of comic relief) than evil which I've seen in some productions. One of my favorite aspects of this show is how the members of the ensemble seem to shadow Winnie and the revelation of who they are in "The Story of Winnie Foster" is incredibly poignant in this production. Finally, the set is quite spectacular and includes a lush backdrop of trees with sets for Winnie's front porch and garden (I loved the white picket fence covered by flowers), the Tuck's cabin, and Jesse's tree and the stream on a rotating turntable. This is a wonderful show for the whole family and I recommend getting a ticket (go here). It runs on the Mountain America Main Stage through June 17.

Note:  I saw this show on Broadway and then it closed two days later!

Finding Neverland at HCT

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

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

Waitress at PTC

I really love the musical Waitress so I was thrilled when it was announced as the final show this season at PTC. I went to see it last night and it exceeded my expectations in every way! Jenna (Claire Saunders) uses baking to cope with her dead-end job as a waitress and her unhappy marriage to an abusive husband (Brent Thiessen). When she learns that she is unexpectedly pregnant and begins an ill-advised affair with her gynecologist (Ben Jacoby), she expresses her hopes, dreams, fears, and frustrations by telling the audience the ingredients for a pie that will help her current situation (play close attention to the specials board), always beginning with "Sugar. Butter. Flour." Eventually she realizes that the one ingredient she is missing is courage! I think all of the songs in this show are incredibly clever, especially "What's Inside," "Opening Up," and "It Only Takes a Taste," because, while they are ostensibly about baking, they are also great metaphors for life. However, my favorite song is "She Used to Be Mine" because it is such a powerful turning point for Jenna. I have been lucky enough to see Jessie Mueller, who originated the role of Jenna, perform it on Broadway and Sara Bareilles, who wrote the music and lyrics, perform it in concert and, in my opinion, Saunders is on par with both of them because her rendition is incredibly raw and emotional (I had tears in my eyes during the entire performance). The rest of the cast is also outstanding and I was very moved by the beautiful harmonies between Saunders and Candace Marie Woods as Becky and Lexi Rabadi as Dawn in "A Soft Place to Land" and "Everything Changes" as well as between Saunders and Jacoby in "You Matter to Me." In addition to the poignant messages about finding your inner strength, this show is also really funny and the cast does a great job with the witty one-liners and physical comedy, particularly in the songs "Never Ever Getting Rid of Me" and "Bad Idea" (they were definitely big crowd-pleasers last night). The use of the ensemble is brilliant because they are all distinct characters within the diner but they also come together to act out what is happening in the narrative of the songs (this is especially effective in "Bad Idea") and they assist Jenna whenever she makes the pies. I've seen this iconic show several times and I really appreciated all of the subtle touches used to differentiate it from other well-known productions, including the yellow gingham fabric used for the uniforms and the neon used throughout the diner. If you have seen this on Broadway or on tour, you will definitely not be disappointed with PTC's version and, if you have never seen it before, you are in for an amazing evening of laughter and tears! It runs through May 17 and tickets may be purchased here.

The Little Mermaid at Tuacahn Amphitheatre

Every year I try to see at least one show at Tuacahn Amphitheatre so last weekend I went on a quick road trip to St. George (a four hour drive south from where I live) to see The Little Mermaid and it was so much fun because my sister was able to come with me (it was easy to convince her because The Little Mermaid is one of her favorite shows).  The best production I had ever seen of The Little Mermaid was at Tuacahn in 2014 and this production surpasses that one because it is absolutely dazzling!  The state-of-the-art special effects are pretty incredible!  The stage is flooded at the beginning of the show so Ariel first appears on her rock in the middle of the water for "The World Above" and then Prince Eric's ship actually moves through the water during "Fathom's Below."  The LED screens all around the stage show sea creatures, seaweed, and coral moving from screen to screen and the large moving set pieces depict King Titon's throne, Ursula's lair, Ariel's grotto, and Prince Eric's palace.  You might expect the sea creatures to fly around the stage during "Under the Sea" (and they do) but having Prince Eric's rowboat fly in order to show the fish and other sea creatures below it during "Kiss the Girls" is amazing and I was also very impressed by the aerial choreography when Ariel saves Prince Eric during the storm and during her transformation at the end of Act I.  The use of blacklight during "Les Poissons" is a lot of fun as is the fire in Ursuala's lair and the sparks from King Triton's trident.  The colorful neon costumes are spectacular (I loved the starfish) and the use of Segways by the mermaids, Heelys by Flounder, Flotsum, and Jetsum, and a cart with tentacles as wheels by Ursula is really clever.  The cast is as good as what you would see on Broadway!  Kelsey Lee Smith and James Everts have beautiful voices as Ariel and Prince Eric and their renditions of "Part of Your World" and "Her Voice," respectively, gave me goosebumps.  However, the entire cast is just as talented and I was equally impressed with Eric B. Anthony as Sebastian (he tones down the Jamaican accent and I think that really works), Fred Inkley as King Triton, and Julia Cardia as Ursula.  Alec Talbott and Scott Whipple steal the show as Flotsam and Jetsum, respectively, in "Sweet Child" while the tap dancing in "Positoovity" (usually my least favorite number in the show) blew me away!  I loved every aspect of this production (so did my sister) and I cannot recommend it enough (especially for kids).  It runs in repertory with The Wizard of Oz and Newsies through October 25 (go here for tickets).

Note:  We ate at the Tuacahn Cafe for the first time before the show and we were really impressed with the food (I had the cheeseburger basket and it was so good), the price, and the service.

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).