Shakespeare in Love at West Valley Arts

Last night I went to see the stage adaptation of the movie Shakespeare in Love at the West Valley Performing Arts Center and I absolutely loved it! William Shakespeare (Josh Egbert) has writer's block and the deadline for his new play, which he has promised to both Philip Henslow (Stephen Kerr) and Richard Burbage (Joseph Spear), is fast approaching. He desperately needs inspiration and he finds it when a wealthy merchant's daughter named Viola de Lesseps (Jillian Joy) disguises herself as Thomas Kent in order to fulfill her dream of performing on the stage, which is illegal for women in Elizabethan England, and wins the role of Romeo in his unfinished play. When Will discovers that his talented leading man is really the woman he wooed on a balcony with the help of fellow playwright Kit Marlowe (Colton Ward) and when Viola discovers that Will is really her favorite playwright, they begin a passionate affair which is complicated by the marriage her father has arranged with Lord Wessex (Tyler Roberts). Art imitates life as their doomed love inspires Romeo and Juliet. I think this story is incredibly witty and clever (even if it takes liberties with historical accuracy) and I loved all of the references to Romeo and Juliet and other Shakespeare plays as well as the antics surrounding multiple mistaken identities and the backstage shenanigans at competing theatre companies. Egbert and Joy are outstanding as the leads and have tremendous chemistry with each other. Their performance of the final scene in Romeo and Juliet is absolutely heartbreaking and I had a tear in my eye (especially since it has a double meaning because of their imminent separation). I also really enjoyed the hilarious ensemble cast who portray the actors in Shakespeare's theatre company, especially Eliyah Ghaeini as the over-the-top actor Ned Alleyn who plays Mercutio, Angel Martinez as the actor Nol who plays Benvolio and takes every opportunity to display his prowess for fight choreography, and Sofia Paredes-Kenrick as the actor John Webster who is jealous when Thomas Kent is cast as Romeo. Speaking of choreography, this production features an intricate dance sequence at Viola's ball that is very well done as well as some fast-paced and highly entertaining stage combat. The use of original music, performed by various cast members, adds a lot to the Elizabethan setting as do the elaborate period costumes, particularly Queen Elizabeth's (Sonia Inoa-Rosado Maughan) gown. Finally, I was really impressed with the set, which is comprised of an elevated wooden platform made to look like a theatre, and the lighting design, consisting of a large rose projected on the stage and the outline of Shakespeare's writing projected during key moments. I really loved every aspect of this production and I highly recommend it (go here for tickets). It runs Thursdays, Fridays, and Saturdays through May 4.

Bitter Lemon at Plan-B Theatre

I loved Melissa Leilani Larson's adaptation of Pride and Prejudice so I was very excited to see her take on a minor character from Macbeth (one of my favorite Shakespeare plays) in Plan-B Theatre's production of Bitter Lemon last night. It is absolutely brilliant and I loved it just as much as the earlier play. Lady Helen Macduff (Yolanda Stange) has been alone for an indeterminate amount of time in a place between life and the afterlife longing to be reunited with her children. She is suddenly joined by Finlay Macbeth (Bobby Cody), the man she holds responsible for her death and the death of her children, and she is justifiably angry. At first he doesn't remember her or the circumstances of his death but, when his memories do return, they are of their romantic relationship from long ago. As more memories return, they engage in a tense back and forth as they try to figure out why they have both been left in purgatory together and what they can do to escape. As Helen lashes out at Finlay, he blames her for turning him into who he became by deserting him and pushing him into the arms of the ambitious Marion and then he blames her husband Andrew Macduff (I love that all of the characters now have first names) for betraying him before he finally takes responsibility for his actions and begs her to forgive him. It is very intriguing when marginalized characters from literature are reimagined and given some agency and this play presents Lady Macduff as not just a strong character but one that is integral to the whole narrative. Stange is outstanding at portraying her righteous anger and her grief but I also enjoyed seeing her eventually come to the realization that she must forgive her enemy for her own sake (the final moment is so dramatic). Cody plays Macbeth as a charismatic leader who was justified in doing what he did because he believed that would be a better king and it is fascinating to see that facade break down bit by bit as the play progresses. The moment he asks for forgiveness is so affecting. The minimal set, featuring a series of neutral panels as a backdrop and randomly placed stone blocks which are used as seating, makes the subtle changes in the lighting even more dramatic and the sound design, which reminded me of white noise, is quite unsettling. I wish that the costumes were period rather than contemporary but this did not detract from my enjoyment in the least. This is an incredibly powerful and thought-provoking piece about the nature of forgiveness and I highly recommend getting a ticket. It runs in the Studio Theatre at the Rose Wagner Performing Arts through April 28 with Thursday and Friday evening performances and Saturday and Sunday matinee performances (go here).

Of Mice and Men at Parker Theatre

Last night I went to a stage adaptation of John Steinbeck's Of Mice and Men at the Parker Theatre and I loved seeing this American classic come to life in the very capable hands of this theatre (I have yet to see a performance here that I haven't enjoyed). George Milton (Lucas Charon) and Lennie Small (Brinton M. Wilkins) are migrant workers trying to save money for their own piece of land with a cow, pigs, chickens, and, most importantly, rabbits which George has promised Lennie he can tend. However, Lennie, who is very big and strong but mentally challenged, keeps getting into trouble because of his naive love of everything small and soft. After being run out of their last job, they find work on another ranch near the Salinas River in California and soon discover that many of the inhabitants, including and old-timer named Candy (Brook Robertson) who is forced to part with his dog, Curley's wife (Ashley Slater) who is unhappy in her marriage, and Crooks (Kiirt Banks) who is segregated from the other workers because he is Black, are suffering from a crushing loneliness. Even though George laments the fact that his life would be so much easier without Lennie, he knows that it is this friendship and their dream that keeps him from the same loneliness. Events eventually conspire against them when Lennie is once more tempted by something soft and George loses both his friend and his dream. It is an incredibly tragic story because it is a realistic portrayal of the plight faced by many during the Great Depression and I always find it to be very thought-provoking because the American Dream is still often unattainable for those who are marginalized. This production provides a very sensitive and moving portrayal of these dark themes. Wilkins gives a brilliant performance as Lennie because he is always believable as the character with many subtle bits of business that allude to his diminished capacity, such as looking off in the distance, never making eye contact, and stimming with his fingers. His interactions with Charon are also believable and incredibly touching (I had tears in my eyes during the final scene). I was also very impressed with Robertson, because his response to the death of his dog (which foreshadows future events) is another poignant moment which brought tears to my eyes, and with Slater, because her characterization as Curley's wife is much more sympathetic than I have seen before (she is usually portrayed more coquettishly). I also have to give a shoutout to Apollo, making his stage debut as Candy's dog, because he is very well-behaved and so adorable. I loved the use of Aaron Copland's music, because it is very beautiful and evocative, and I also loved the use of corrugated tin and wood in the sets for the bunkhouse and the barn, because it feels so authentic to the time and place. The entire production is outstanding and I highly recommend taking advantage of this rare opportunity to see one of the great novels of American literature performed on stage. It runs on Fridays and Saturdays through April 27 (go here for tickets).

Pretty Woman at the Eccles

I am not a fan of turning movies into musicals so, when Broadway at the Eccles announced the 2023-2024 season, Pretty Woman was the show that I was the least interested in.  I saw it last night and, while it will never be one of my favorites, I enjoyed it more than I thought I would. Edward Lewis (Chase Wolfe) is in Los Angeles for a week on business when he gets lost on Hollywood Boulevard.  Vivian Ward (Ellie Baker), a young woman down on her luck and working as a prostitute, offers to help him for a price and eventually spends the night with him at the Beverley Wilshire Hotel.  Since he has a number of social obligations while in L.A., he suggests that she be his escort for the week and they negotiate a price.  As they spend time together, they have a positive effect on each other because Edward decides to become a partner in the company he was going to dismantle and Vivian sees that she is worth more than a life of prostitution but will they realize that they love each other?  All of the iconic scenes from the movie are recreated on stage, such as Vivian's shopping trip on Rodeo Drive and when Edward snaps the lid of the jewelry case on her fingers, and they are fun (the subdued audience was the most engaged during these moments).  One of the reasons why I dislike turning movies into musicals is because most of the time the music feels very contrived and is instantly forgettable and, unfortunately, that is the case with this show.  The one exception for me was "You and I" when Edward and Vivian attend the opera.  Who knew that a mash-up of a power ballad by Bryan Adams and an aria from Verdi's La Traviata could work so well?  It gave me goosebumps.  Wolfe and Baker have beautiful voices but their performances are a bit bland, especially their dancing.  However, Adam du Plessis (as the narrator and the manager of the hotel) and Connor Kabat (as a bellhop) are unbelievably entertaining and steal the show, particularly in their interactions together.  Kabat is by far the best dancer in the company and appears in almost every dance sequence (whether a bellhop is needed or not).  The sets are serviceable (they are recognizable as Hollywood Blvd., Rodeo Dr., and the Beverly Wilshire Hotel because there are large signs proclaiming them as such) but I was a little disappointed in the costumes because they pale in comparison to the iconic originals from the movie, especially Vivian's red opera dress.  I never need to see this again but I definitely didn't hate it and I suspect that fans of the movie will love it.  There are five more performances through April 7 with lots of available tickets (go here).

The Lehman Trilogy at PTC

Last night I went to the new Meldrum Theatre (a really cool venue) for its inaugural production of The Lehman Trilogy and it was an incredible experience, both being in the intimate new space and watching this epic story. In 1844 Henry Lehman (Jeff Talbot) arrives in New York City from Bavaria with the hope of living the American dream. He ends up opening a small fabric and clothing shop in Montgomery, Alabama and is soon joined by his brothers Emanuel (William Connell) and Mayer (Seth Andrew Bridges). From these humble beginnings a vast financial institution known as the Lehman Brothers is established. The narrative spans 164 years and three generations of the Lehman family while chronicling the vicissitudes of capitalism in three acts. In Act I, the first generation of brothers eventually consolidate their shop into a go-between for cotton growers in the South and factory owners in the North until their business is derailed by the Civil War. In Act II, the next generation reinvents the business as an investment banking and commodities trading firm until it is almost destroyed by the stock market crash of 1929. In Act III, the third generation achieves spectacular successes but also devastating losses through speculation until they are forced to declare bankruptcy. What I loved most about this play is that the history of 19th and 20th century America is told through the filter of one family and, even though it sounds like it might be tough to sit through (it is over three hours long with two intermissions), it is fast-paced and exciting. I was never bored! In addition to the three Lehman brothers who emigrate to America, Talbot, Connell, and Bridges also portray their progeny and all of the other characters with whom they interact and the performances are absolutely remarkable (just the stamina involved alone is very impressive because the characters are constantly moving). The actors provide both dialogue and narrative descriptions and I really enjoyed this technique because it seemed like I was watching a book about the Lehmans being brought to life right in front of me. The actors also move the minimal props (suitcases, tables, chairs, bales of cotton, ledgers, etc.) around the stage themselves and I especially liked the evolution of their sign over the years. The costumes change to reflect the prevailing fashion of the time depicted in each act but they also include fun additions for the minor characters (my favorite was the fan used to portray Emanuel's wife). Finally, the intimate theatre, which features a thrust stage, is perfect for this production because it gives the audience a chance to get up close and personal with these characters who had such an impact on history (my seat was on the second row and there were moments when I could have touched the actors). I don't think I have ever seen anything like this on stage before and I cannot recommend it enough! In runs in the new Meldrum Theatre through April 13 (go here for tickets and here for more information about the theatre).

Note:  PTC recently announced the 2024-2025 season (Jersey Boys, Prayer for the French Republic, Souvenir, Dial M for Murder, Beautiful: The Carole King Musical, A Case for the Existence of God, and Waitress) and I couldn't be more excited! Go here for more information.

Shrek the Musical at the SCERA Center for the Performing Arts

Last night I went to see a production of Shrek the Musical at the SCERA Center for the Performing Arts featuring an incredibly talented group of high school students belonging to the award-winning acting troupe called Acting Up! I figured that, if they could produce an enjoyable version of a show that I dislike, they would definitely do a phenomenal job with a show I actually do like and I was right! It was so much fun! Shrek (Finn Parks) is an ogre just minding his own business when his swamp is invaded after Lord Farquaad (Mark Triplett) banishes all of the Fairytale Creatures from Duloc. After some encouragement from Pinocchio (Al Sorensen), he decides to visit Farquaad himself to get his swamp back and, along the way, he saves Donkey (Noah Hinckley) from Farquaad's guards and they end up traveling to Duloc together. Farquaad, who wants to be King, agrees to give Shrek back his swamp if he rescues Princess Fiona (Tanya Cespedes) from a tower guarded by a fire-breathing Dragon (Kaisa Judd) so he can marry her. Donkey distracts Dragon so Shrek can rescue Fiona but chaos ensues on the way back to Duloc when Shrek develops feelings for her. Parks is great in the title role because he shows a vulnerability behind the gruff exterior and he displays a lot of charisma in his performance (but I sometimes couldn't hear him during his songs, especially in "Who I'd Be" and "When Words Fail"). Hinckley is a lot of fun because he is fast-talking and frenetic in his physical performance and I loved his version of "Forever" with Judd. Cespedes has a beautiful voice, particularly in the song "I Know It's Today" with Claire Moreira as Young Fiona and Rachel Paz as Teen Fiona (they harmonize so well), but I also enjoyed her physicality, especially in "I Think I Got You Beat" with Parks (the children in the audience absolutely loved the *ahem* sound effects in this number). However, it is Triplett who steals the show! As is often the case in this musical, he portrays Farquaad's short stature by appearing on his knees with tiny fake legs dangling in front of him and a large cape hiding his real legs, but Triplett adds another layer of hilarity with lots of big gestures with his arms and exaggerated facial expressions. I laughed non-stop whenever he was on stage and his songs "What's Up Duloc" and "Ballad of Farquaad" were highlights for me! I was also very impressed by Judd because she gives a fantastic performance while effortlessly manipulating an amazing dragon puppet (with the help of another puppeteer). The outstanding ensemble provided some more of my favorite moments, including "The Story of My Life" and "Freak Flag," with colorful costumes and dazzling choreography. Honorable mentions go to Sorensen as Pinocchio, Sabrina Barker as the Fairy Godmother, Alyssa Abildskov as the Wicked Witch, and Macey South as Gingy. The fabulous stage features a series of steps configured to look like a forest with fun set pieces for Shrek's swamp, Farquaad's castle, the Dragon's keep, and Fiona's tower. I was so impressed with these young actors and I cannot recommend this production enough! Definitely let your freak flag fly and get a ticket (go here) for one of the remaining performances through March 30.

Arsenic and Old Lace at the Grand Theatre

 

Last night I had a lot of fun seeing the hilarious play Arsenic and Old Lace at the Grand Theatre.  Mortimer Brewster (Bryan Harper) visits his elderly aunts Abby (Betsy West) and Martha (Alyssa Hickman Grove) only to discover a dead body in the window seat.  He learns that several old and lonely men have visited, answering an advertisement for a room to rent, and that the Brewster sisters have done their Christian duty by ending their misery with a glass of elderberry wine (with the addition of arsenic).  Their nephew and Mortimer's brother Teddy (Jim Nelson), who believes that he is Teddy Roosevelt, buries these men in the cellar because he thinks he is digging locks for the Panama Canal.  Chaos ensues when Mortimer's other brother Jonathan (David Hanson), a homicidal maniac, returns to the house needing to dispose of his own dead body which eventually ends up in the window seat, too!  Add an unwilling accomplice (Isaac Maltby), a bumbling policeman who really wants to be a playwright (Robert A. Easton), and a curious fiance (Katie Plott) and you have a thoroughly entertaining dark comedy that will keep you laughing all evening!  I really enjoyed the physicality of the performances and the cast has great comedic timing.  I especially loved it every time Teddy charges up the staircase as if he were in the Battle of San Juan Hill and when Mortimer and Jonathan each think they are hiding a different body in the window seat.  I also enjoyed the over the top characterizations because Harper is completely overwrought as Mortimer, West and Grove are incredibly dry and understated as the Brewster sisters, and Hanson is suitably menacing as Jonathan.  Finally, I loved the elaborate multi-level set (the staircase and window seat are fantastic) which includes all of the little details that you would see in a fussy drawing room inhabited by spinsters (the lace antimacassar on the back of the chair was my favorite) and the period costumes (the old fashioned dresses worn by the Brewster sisters are so funny compared to the other costumes).  This play is a classic comedy for a reason and fans of the genre are sure to love it (there was a big crowd last night).  It runs Thursdays, Fridays, and Saturdays (with several Saturday matinees) through April 6 (go here for tickets).

Seussical the Musical at CPT

I am not a fan of Seussical the Musical but Utah audiences seem to love it so local theatre companies program it a lot. Because I am a subscriber, I saw CPT's production last night and, while the sets, projections, costumes, and performances are outstanding, nothing can compensate for the fact that the story is nonsensical, convoluted, and loses focus in the second act. This musical shoehorns the children's stories of Dr. Seuss, including Horton Hears a Who, Gertrude McFuzz, How the Grinch Stole Christmas!, Green Eggs and Ham, Hop on Pop, Yertle the Turtle, Horton Hatches the Egg, I Had Trouble Getting to Solla Sollew, And to Think That I Saw It on Mulberry Street, McElligot's Pool, Oh Say Can You Say?, Hunches in Bunches, If I Ran the Circus, Dr. Seuss's ABC, The Butter Battle Book, Oh, the Thinks You Can Think!, Fox in Socks, The Cat in the Hat, The Sneetches and Other Stories, Did I Ever Tell You How Lucky You Are?, and Oh, The Places You'll Go!, into an incomprehensible story about an imaginative boy named Jojo, who sometimes gets in trouble for all of the thinks that he thinks, and the adventures he goes on with The Cat in the Hat. The positive message at the end is that anything is possible and that you can go anywhere you want just by thinking your thinks but it is all just so overstuffed with too many characters and ideas. I even find the music to be very repetitive. There are endless reprises of "Oh, The Things You Can Think" and "How Lucky You Are" and, even though the songs feature lots of different genres, they all blur together. The best thing about this show is the unbelievably talented cast, especially Emily Henwood as Gertrude McFuzz because she is so awkward and endearing, Dan Call as Horton the Elephant because he is incredibly sympathetic (his versions of "Alone in the Universe" and "Solla Sollew" were definitely the highlights for me), Meish Roundy as The Cat in the Hat because he makes for a boisterous and entertaining emcee, and Lelini Iongi as Jojo because he is absolutely adorable. The sets and projections mimic the bold, colorful, and fantastical world of Dr. Seuss's books and the costumes are a lot of fun, especially the fanciful feathered costumes worn by Gertrude, Mayzie (Janae Klumpp Gibb) and the Bird Girls (Katherine Frandsen, Brookelynn Alapa, and Cassie Dibbins) and the leather vests worn by Wickersham Brothers (Dylan Floyd Panter, Joshua David Lee, and Sterling Shane Allen).  The staging and choreography are imaginative and dynamic, particularly in "Here on Who," "It's Possible," "Monkey Around," "Circus McGurkus," "A Message From the Front," and "Havin' a Hunch." I really cannot find anything to fault with this production but I think this show just isn't for me and I have given myself permission to never see it again. Seussical the Musical runs on the Barlow Main Stage at CPT through April 13 and I recommend it because others seem to enjoy it much more than I do (go here for tickets).

Note:  Does anyone want my ticket to HCTO's production in June?

How to Succeed in Business Without Really Trying at HCTO

I always love it when I have the opportunity to see a popular show that I haven't seen before and that is what happened at HCTO last night when I got to see their production of How to Succeed in Business Without Really Trying.  It is a charming old-fashioned musical satirizing life on the corporate ladder and I loved it.  J. Pierpont Finch (Josh Valdez) is a lowly window washer for the World Wide Wicket Company with big ambitions.  After consulting the book How to Succeed in Business Without Really Trying, he impresses the boss J.B. Biggley (David Morley-Walker) and he gets a job working in the mail room.  Despite the attention from Rosemary Pilkington (Morgan Fenner), a secretary who has decided to marry him, and the scheming of Bud Frump (Joseph Paul Branca), Mr. Biggley's incompetent nephew who is jealous of him, he becomes a junior executive in the Plans and Systems Department, then Vice President of Advertising, and eventually takes the place of Wally Womper (Michael D. Fox) as Chairman of the Board.  The best part of this show is the dazzling and innovative choreography and I loved watching the incredibly talented ensemble perform in the big song and dance numbers "Coffee Break," "The Company Way," "A Secretary Is Not a Toy," "Paris Original," "Cinderella, Darlin'," "I Believe In You," and "Brotherhood of Man."  I had a huge smile on my face during all of these numbers and so did everyone in the audience.  The cast is outstanding!  Valdez has just the right combination of earnestness and charisma to shine as Finch and I loved his touching performance in "Rosemary" and his raucous rendition of "Grand Old Ivy" with Morley-Walker (which made me laugh out loud).  The female roles are a bit outdated for a modern audience but Fenner, Lisa Zimmerman (as Hedy LaRue), and McKell Shaw (as the secretary Smitty) add a lot of comedic elements to their performances.  However, it is Branca who absolutely steals the show because he is so petulant as Frump and his physicality and facial expressions are hilarious (I think I laughed at every single thing he did).  The stage features a black and white checkerboard floor, stylized logos for the World Wide Wicket Company (which reminded me of the Pan Am logo), and geometric set pieces that emphasize a 1960s vibe.  These geometric patterns are also used in panels with colored LED lights all around the theater and I loved how the lights flashed in sync with the music.  The period costumes are all a lot of fun, especially the Paris "original" gowns worn by all of the secretaries to a reception.  I definitely enjoyed this show (without really trying) and I recommend it highly (go here for tickets).  It runs every night but Sunday with several matinees through April 13.

The Complete Works of William Shakespeare (Abridged) at the Terrace Plaza Playhouse

I saw the hilarious show The Complete Works of William Shakespeare (Abridged) at the Utah Shakespeare Festival years ago and I loved it so I was really looking forward to seeing the Terrace Plaza Playhouse's production last night. It was so much fun! A group of actors (Josh Curtis, Jenni Cooper, and Whitney Cahoon), who portray themselves and break the fourth wall to speak directly to the audience, attempt to perform all of Shakespeare's plays in 90 minutes. Hilarity ensues! They begin with a brief biography of Shakespeare, but they mistake the bard for Adolf Hitler, and then continue with the tragedies (Romeo and Juliet, which features commentary about consent, Titus Andronicus, which is presented as a cooking show, and Macbeth, which is performed with incomprehensible Scottish accents, are the highlights). Next they present the comedies as one long play with interchangeable characters (designated by different hats) because they all have the same plot and then perform all of the history plays as a football game with all of the kings as players and a crown instead of a ball (they call a flag on the play when King Lear tries to divide the kingdom between his daughters). At this point they realize that they have forgotten Hamlet but decide that they need a break. After the intermission, they present the sonnets (with help from the audience using Mad-Libs) and then perform an over the top version of Hamlet with lots of audience participation when they decide to psychoanalyze Ophelia. They finish early so they decide to perform Hamlet again in an attempt to break the record for the fastest production (53 seconds) and, when they do that, they decide to perform it backwards! I could not stop laughing during the entire show because it involves a lot of physical comedy.  It also allows for the addition of current pop culture references (I loved the use of Taylor Swift's song "Love Story" at the end of Romeo and Juliet), people and events specific to the area (there were many mentions of The Real Housewives of Salt Lake City), interactions with the audience (there was a large group of high school students in attendance which made this really fun), as well as lots of improvisation (especially when props would malfunction). The cast is fantastic with brilliant comedic timing, especially in the scenes where they are portraying multiple characters, and I loved all of their facial expressions. The actors wear white blouses, black pantaloons, white hose, and black Converse high-tops and this allows them to become multiple characters with the addition of different costume pieces (my favorite costume was for the nurse in Romeo and Juliet because the audience howled with laughter at the obviously fake boobs). The stage is very simple with three red curtains, from which the actors make their entrances, and two large trunks on either side containing costumes and props. I had so much fun watching this show and I was really impressed with all of the students in the audience because they definitely picked up on all of the references! I highly recommend getting a ticket (go here) during its run with shows Mondays, Fridays, and Saturdays through April 6.

Bonnie & Clyde at PTC

I have been looking forward to Bonnie & Clyde at PTC ever since the 2023-2024 season was announced so I braved the wind driving to and the snow driving from the theater to see a matinee yesterday. It was worth it because I really loved this show (I had never seen it before). A young Bonnie Parker (Elisabeth Wilkins) wants to be a star on the big screen just like Clara Bow while Clyde Barrow (Daniel Michael Sorokine) spends his youth yearning for the excitement of being an outlaw like Billy the Kid. When they meet during the height of the Great Depression, Bonnie (Alanna Saunders) is a waitress and Clyde (Michael William Nigro) is an escaped convict but they both want to leave West Dallas. They fall in love and Bonnie is drawn into Clyde's life of crime, first when she helps him escape from prison again and then when they go on the run in her 1931 roadster. They become heroes to those who have suffered during the depression and, as their fame grows, they escalate from robbery to murder which gets the attention of retired Texas Ranger Frank Hamer (Daniel Simons). As they become more and more reckless and involve Clyde's brother Buck (Dan DeLuca) and his wife Blanche (Gina Milo), their adventure comes to an inevitable end when their car is ambushed on a Louisiana road. The story takes a long time to get going in the first act and then seems a bit rushed in the second act but I still found it to be very compelling, particularly the juxtaposition between the relationship between Bonnie and Clyde and that of Buck and Blanche. The music in this show is fantastic with a blues, gospel, and rockabilly sound. I especially loved "Picture Show" as Bonnie dreams of being on the screen, "This World Will Remember Me" as Clyde dreams of being an outlaw, "God's Arms Are Always Open" as a Preacher (Christian Brailsford) and Blanche try to get Buck to give up his life of crime, "You Love Who You Love" as Bonnie and Blanche realize that they can't help loving the Barrow brothers, "Raise A Little Hell" as Clyde plots to break out of prison, "Made in America" as the people express their desperation over their circumstances, and "Dyin' Ain't So Bad" as Bonnie consoles herself with the knowledge that she and Clyde have lived life on their terms. Both Saunders and Nigro have beautiful voices and give incredible performances that just about blow the roof off the theater. They are matched by the performances of DeLuca and Milo, especially when the four of them sing together. I also really liked Ben Jacoby as Ted Hinton, a policeman who is interested in Bonnie, because exhibits so much longing in the song "You Can Do Better Than Him."  This show features one of my favorite sets at PTC because it is so unique.  The backdrop is a three-story structure made of corrugated metal (it looks like the kind of bleak structure that would exist during the Great Depression) which features the mugshots of Bonnie, Clyde, Buck, and Blanche as well as a giant marquee (it looks like the front of a movie theater) that lights up to show the various locations in the show.  The action takes place in front of the backdrop with the addition of a few minimal props (I loved the roadster) as well as within an area inside that represents the couple's hideout. The lighting design is moody and atmospheric with sepia tones that turn into a dramatic splash of red during the scenes involving violence. The period costumes also feature sepia tones but Bonnie's become more colorful the more notorious she becomes. The story itself could have been more cohesive but I loved every aspect of this production and I highly recommend it (the audience at my performance was the largest I've seen at PTC this season). It runs through March 9 and tickets may be purchased here.

Clue at HCT

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

MJ The Musical at the Eccles

Last night I had so much fun seeing MJ The Musical at the Eccles Theatre.  I am a big fan of Michael Jackson's music so I literally had to stop myself from singing along with every song!  This is a jukebox musical featuring many of Jackson's best known hits and it tells his life story but the premise is very clever.  Michael Jackson is creating his 1992 Dangerous World Tour and is facing resistance from his tour manager Rob and his financial advisor Dave because some of his ideas are deemed impossible and too expensive.  He refuses to compromise his vision and rehearses the numbers in the show, including "Beat It," "Billie Jean," "Smooth Criminal," "Jam," "Bad," and "Black or White."  In between numbers he is interviewed for a documentary by Rachel and her cameraman Alejandro and he recounts his experiences with the Jackson 5 ("The Love You Save," "I Want You Back," and "ABC"), his fear of never pleasing his father Joe ("I'll Be There"), his decision to leave Berry Gordy at Motown to collaborate with Quincy Jones ("Don't Stop 'Till You Get Enough" "Wanna Be Startin' Somethin'"), his fear that the new album and tour won't live up to expectations ("They Don't Care About Us"), and his frustrations with the press ("Human Nature").  He finally faces his demons ("Thriller") and decides to let his music tell the story ("Man in the Mirror").  As you can imagine, the elaborate choreography is absolutely amazing and it brilliantly recreates some of Jackson's most iconic performances (my favorite was "Billie Jean," which mimics his performance at the Motown 25th Anniversary concert, because I have vivid memories of watching it at the time).  I also really enjoyed the staging of the musical numbers because the rehearsal of the tour takes place on a stripped down stage and the flashbacks feature projections and set pieces that are moved seamlessly on and off that same stage as if Michael is remembering events as he is describing them to Rachel.  Specific songs are used very well to advance the narrative about Jackson's life (I especially loved "Stranger in Moscow" because, even though it was written after the Dangerous World Tour, it perfectly illustrates the isolation Jackson feels as his ideas are rejected) so it feels like a story rather than just a concert.  Three different actors portray Jackson at different stages of his life.  MJ (Roman Banks) rehearses the tour while Michael (Brandon Lee Harris) and Little Michael (Josiah Benson) appear in the flashback sequences.  All three give outstanding performances and there were moments when it really seemed like it was actually Michael Jackson on the stage (Benson is adorable).  Almost all of the ensemble play multiple roles and they sometimes transform from one to the other right on stage.  Having Devin Bowles portray both Joe Jackson and Rob is especially effective because both characters serve the same function in Jackson's life.  This is a high-energy show that fans of Michael Jackson are sure to enjoy and I highly recommend it.  It runs at the Eccles Theatre though March 3 (go here for tickets).

A Tale of Two Cities at West Valley Arts

I really love the musical A Tale of Two Cities (it is my favorite novel by Charles Dickens). I saw both HCT's productions, in 2011 and 2021 (multiple times), and I count them as some of the best I've seen there. When I learned that the same production team (John Sweeney, Anne Puzey, and Marilyn Montgomery) responsible for the 2011 production was back (on the same stage) for the first show at West Valley Arts this season, I immediately bought a ticket for last night's performance. It was amazing! Lucie Manette (Brittany Andam), a young woman in London who believes that she is an orphan, learns that her father, Dr. Alexander Manette (Jared Haddock), is alive after having been wrongly imprisoned in the Bastille by the Marquise St. Evremonde (John Philpott). She travels to Paris to bring him home to London and meets Charles Darnay (Landon Horton), the nephew of Evremonde who has renounced his ties to the aristocracy, on the journey and they fall in love. Darnay is wrongfully accused of treason upon arrival in London but the dissolute lawyer Sydney Carton (Preston Yates) clears his name. Carton is also secretly in love with Lucie but, when she marries Darnay, he remains a friend of the family and becomes attached to her daughter Lucie (Jane Bonner). In Paris, Evremonde is responsible for the death of a child when his carriage recklessly runs him over in front of the Defarge's wine shop. Madame Defarge (Adrien Swenson), who has a grudge against Evremonde, encourages the boy's father, Gaspard (Ricky Dowse), to murder him which ultimately leads to revolution. Darnay feels responsible for Evremonde's household and secretly returns Paris where he is immediately arrested as an aristocrat, denounced by Madame Defarge who wants to wipe out all descendants of Evremonde, and sentenced to the guillotine. This prompts Carton to make the ultimate sacrifice to save Darnay and show his love for Lucie and her daughter. The music in this show is incredibly beautiful and stirring and I especially love "The Way It Ought to Be" by the men and women of Paris, "You'll Never Be Alone" by Dr. Manette and Lucie, "If Dreams Came True" and its reprise by Sydney and Charles, and "Out of Sight, Out of Mind" by Madame Defarge. The entire cast is outstanding but I was blown away by Yates' portrayal of Carton. His versions of "If Dreams Came True" in the second act and "I Can't Recall" as he slowly walks up the steps to the guillotine in the final scene moved me to tears. I also really loved Swenson, who has portrayed Madame Defarge in all three productions I've seen, because she sings "Out of Sight, Out of Mind" and "The Tale" with so much passion! Linda Jean Stephenson, as Miss Pross, Daniel Radford, as John Barsad, and Mason Gates, as Jerry Cruncher, provide a lot of comic relief with their hilarious performances (the novels of Dickens are very dense and filled with a lot of side characters so I appreciate how they are incorporated into the main story in this adaptation). The set, featuring several multi-level wooden platforms which are reconfigured into many different locations seamlessly by the ensemble, is simple but incredibly dramatic. My favorite set piece is the staircase leading to the guillotine, which slowly comes down from the rafters, because it is incredibly powerful! I also loved the bold lighting design, particularly the use of red hand prints projected on the floor during the scenes inciting revolution and the single spotlight on the stairs to the guillotine. I was very moved by this production and would highly recommend it but, unfortunately, the run ended last night. West Valley Arts will also be producing Shakespeare in Love, The Lightning Thief, Legally Blonde, and Jekyll & Hyde this season (go here for information and tickets).

Note:  Jill Santoriello, who wrote the book, music, and lyrics for this show, was in the audience last night. She sat a few rows ahead of me and I noticed that she was mouthing the words to the songs!

The Hunchback of Notre Dame at OPPA

I really love the musical The Hunchback of Notre Dame so I decided to see a production at On Pitch Performing Arts last night. This was my first show at OPPA and I was very impressed! Quasimodo (Jared Daley) has been hidden by his master Frollo (Chris Morgan) in the bell tower of Notre Dame Cathedral all of his life because of his deformity. He wonders what it would be like to leave the cathedral and decides that he will be safe on the streets of Paris during the Feast of Fools. He is eventually crowned the King of the Fools but when the crowd turns on him the gypsy Esmeralda (Megan Mariano) rescues him. She catches the eye of the captain of the cathedral guard, Phoebus de Martin (Nate Kemp), who falls in love with her but she also bewitches Frollo who becomes obsessed with possessing her. When Esmeralda rejects Frollo, he orders Phoebus to arrest her. Phoebus refuses and they both become fugitives who are aided by Quasimodo until the final confrontation in the bell tower. This is a complicated show and most productions that I have seen have had large and elaborate sets but, because OPPA's space is small and intimate, the set is very minimal. It features a runway that extends into the space from a narrow stage with a manually operated turntable at the end of it. A large LED screen is located behind the stage, with projections depicting the inside of the cathedral and the town square, and curtained doors with stairs are located on either side. The stairs are moved to either side of the runway to depict the bell tower. At first I wondered if this would detract from the storytelling, especially since the set did not include any bells, but the innovative staging and clever lighting kept me completely engaged. I was especially impressed by the staging of "God Help the Outcasts" (my favorite song from the show), because the end of the runway becomes an altar when several storytellers place candles on the edge and kneel in front of it, "Hellfire," because Frollo stands on the turntable while the storytellers manually turn him and shine handheld red spotlights on him, and "Kyrie Eleison," because Esmeralda stands on the turntable with the handheld red spotlights as Quasimodo weaves in and out of the storytellers to mimic swinging down from the tower to save her. The choreography in "Topsy Turvy," "Rhythm of the Tambourine," "Tavern Song," and "The Court of Miracles" is straightforward but fun and energetic and the ensemble, which features dancers of various abilities, does a great job executing it. The storytellers, who narrate the show, are costumed as townspeople but they are transformed, often right on stage, into gypsies, soldiers, clergy members, and gargoyles with the addition of simple pieces and props and this is incredibly effective. The stripped-down set, choreography, and costumes allow the performances, which are outstanding, to shine! All four leads have beautiful voices and their renditions of "God Help the Outcasts," "Hellfire," "Heaven's Light," and "Someday" gave me goosebumps! I especially enjoyed Daley's performance because he imbues Quasimodo with a childlike wonder in "Out There" and "Top of the World" but you can also feel his torment during "Made of Stone." I am so happy to have found OPPA (I will definitely be back) because I loved this show and I highly recommend it.  It runs through March 2 with performances on Mondays, Thursdays, Fridays, and Saturdays (go here for tickets).

Balthazar at Plan-B Theatre

Last night I went to see Plan-B Theatre's production of Balthazar, a new play by Debora Threedy which reimagines the story of Shakespeare's play The Merchant of Venice from the perspective of Portia. Since The Merchant of Venice is one of my favorite plays (I wrote my senior thesis in college on it), I was really excited to see this and I enjoyed it very much! Portia (Lily Hye Soo Dixon), a noblewoman in Venice, consults with her cousin Bellario (Jason Bowcutt), a lawyer in Padua, after the reading of her father's will because she objects to the stipulation that she must marry the suitor who correctly chooses from three caskets, made of gold, silver, and lead, respectively. She finds it unfair and wishes to challenge the will but he argues that is it valid in the eyes of the law. This piques her interest in studying the law but Bellario refuses to teach her because she is a woman. Some time later a young man named Balthazar (Portia in disguise) visits Bellario in order to study the law with him and, even though he is angry when he realizes that it is Portia, he reluctantly agrees to teach her if she promises not to dress as a man again. However, she finds it necessary to become Balthazar to investigate the relationship between her suitor Bassanio and his close friend Antonio and then once again after her marriage to Bassanio to defend Antonio when he is unable to pay back a loan to Shylock taken out for Bassanio's benefit. After the trial, she confesses to Bellario that she has continued to appear in public as Balthazar, with the blessing of Bassanio, not just out of necessity but because she enjoys the freedom she feels as a man. She concludes that she is equally at home as both Portia and Balthazar. This is a quick 70 minutes, performed without an intermission, and I found it riveting. I especially enjoyed all of Bellario and Portia's spirited discussions about the letter of the law vs. the spirit of the law and I also loved their discussions about gender fluidity. The most powerful scene for me is when Bellario initially refuses to break the law by recommending a woman as a lawyer but realizes that Portia is the best lawyer he has ever trained and that he would be recommending a person rather than a man or woman. Both Dixon and Bowcutt give compelling performances that showcase the journey to understanding their characters take. Even though the Studio Theatre is a small and intimate space, the set featuring Bellario's study is very elaborate and striking with a black and white checkerboard floor, red velvet curtains, a wall of Renaissance paintings, candle wall sconces, and a large wooden desk with benches. I was also impressed with the beautiful costumes featuring gorgeous fabrics and lots of embellishments. This is an interesting and thought-provoking production with an important message and it is definitely worth seeing. It runs through March 3 with evening performances on Thursdays and Fridays and matinees on Saturdays and Sundays at the Studio Theatre at the Rose Wagner Performing Arts Center (go here for tickets).

A Gentleman's Guide to Love and Murder at CPT

Last night I finally had the chance to see A Gentleman's Guide to Love and Murder at CPT (I had to change my usual ticket with my sisters because of Sundance) and I think it might be my favorite production of this hilarious show! After the death of his mother, Monty Navarro (Christian Johnston) learns that she was a member of the illustrious D'Ysquith family but was disinherited for marrying his father. He is really Montague D'Ysquith Navarro and is in line to inherit an earldom. The catch is that there eight family members in line ahead of him! When his vain and heartless girlfriend Sibela (Claire Glaittli) marries the rich and handsome Lionel Holland, he decides to murder all eight family members ahead of him in the succession to become the Earl of Highhurst and win her back. Standing in his way are the Reverend Lord Ezekiel D'Ysquith (who has an unfortunate fall from the bell tower of his cathedral), Asquith D'Ysquith, Jr. (who has a bizarre ice skating accident), Henry D'Ysquith (who is stung by the bees in his own hive), Lady Hyacinth D'Ysquith (who falls in a volcano on an uninhabited island in the South Pacific and is presumed dead), Major Lord Bartholomew D'Ysquith (who is decapitated while lifting weights), Lady Salome D'Ysquith (who is killed when a prop gun is mistakenly loaded with real bullets during her stage debut), Lord Asquith D'Ysquith, Sr. (who suffers a heart attack from his grief over the deaths in his family), and, finally, Lord Adalbert D'Ysquith, the Earl of Highhurst, (who is mysteriously poisoned). Along the way, Monty marries Phoebe D'Ysquith (Emma Austin) which makes Sibela jealous but, after he becomes the Earl of Highhurst, he is arrested for the murder of Lord Adalbert (the only D'Ysquith death for which he is actually not responsible). The charges are eventually dismissed when Phoebe and Sibela each give proof that the other committed the murder but Monty might not live happily ever after because Chauncey D'Ysquith, the next in line to the earldom, is lurking! I've seen this show many times (it is very popular with Utah audiences) but this is my favorite production because Monty is played by my former student Christian Johnston (my original ticket was for the MWF show and he is in the THS cast so it was exciting to be able to see him) and he gives a fantastic performance showcasing his comedic timing and his amazing voice, especially in the song "Sibela." I also really enjoyed Andrew Bringhurst's performance as every member of the D'Ysquith family. He gives each character a distinct personality with hilarious facial expressions and physicality (and some quick costume changes!). I always anticipate the appearance of every family member but my favorites in this production are the outrageously flamboyant Henry who thinks everything is "Better with a Man" and the over-the-top Lady Hyacinth who just wants to do some good in "Lady Hyacinth Abroad." Glaittli and Austin have beautiful voices, particularly when they harmonize together in "That Horrible Woman," and Brighton Sloan almost steals the show as Countess Eugenia D'Ysquith! The set, featuring an elaborate stage in an old time music hall with footlights and a red velvet curtain, is one of the best I've seen at CPT and I loved all of the projections, especially when Monty and the Reverend Lord Ezekiel climb the tower in the cathedral and when Henry is chased by his bees. The staging of Asquith Jr.'s skating accident is really clever as is the scene where Phoebe visits Monty's flat when he is having an assignation with Sibela. The period costumes are gorgeous and I liked how Monty's suits get more elaborate as the show goes on and I loved all of the gowns worn by Phoebe and Sibela. I enjoyed this production so much (I don't think I stopped laughing the whole time) and I highly recommend it. It runs on the Barlow Main Stage through February 17 and tickets may be purchased here.

Pride and Prejudice at Parker Theatre

Last night I went to see the first of two productions of Pride and Prejudice that I have scheduled this year at Parker Theatre. As a huge fan of the novel by Jane Austen, I absolutely loved this particular adaptation! When Mr. Bingley (Tom Hohl), a single man in possession of a good fortune, lets Netherfield Hall, Mrs. Bennett (Eden Benson) immediately sets her sights on him as a possible husband for one of her five daughters. Bingley falls in love with the beautiful Jane Bennett (Jasmine Hohl) but her sister Elizabeth (Maryn Tueller) takes an immediate dislike to his friend Mr. Darcy (Spencer Hohl) because he is so aloof and disdainful. Elizabeth must overcome her prejudice and Mr. Darcy must overcome his pride for them to realize that they belong together. No adaptation can include everything but this one comes very close and I was really impressed with its faithfulness to the novel. I sat in the audience with great anticipation for all of my favorite quotes ("You must allow me to tell you how ardently I admire and love you.") and I was not disappointed. One of the things I love most about the novel is that the characters are so well delineated and every member of the cast is perfect for their role, especially Tueller as Elizabeth because she is incredibly quick-witted and does a great job sparring with Darcy, Benson as Mrs. Bennett because she is hilariously overwrought when she insists that Elizabeth marry Mr. Collins and when she faints after learning of Lydia's elopement, Spencer Holl as Darcy because he is arrogant but also displays some vulnerability when he proposes to Elizabeth, and Tom Hohl as Bingley because he is so awkward when he dances with Jane. However, both Megan Heaps, as Caroline Bingley, and Tyler Hanson, as Mr. Collins, steal the show! I loved it every time Caroline tries to get Darcy's attention and I laughed out loud watching Mr. Collins dance at the Netherfield Ball. The set, featuring panels of board and batten walls, arches, and windows that slide on and off stage along with the addition of various Regency furniture pieces, is incredibly effective and I particularly liked how the panels are quickly used to create the different rooms in Pemberley during Elizabeth's tour. I also really liked the staging of scenes involving letters because they include voice-overs as they are written and read while the events described are acted out on stage. The period costumes are gorgeous (I love Empire waists), especially Elizabeth's gown at the Netherfield Ball and Lady Catherine De Bourgh's gown. I enjoyed this production so much and I highly recommend it to fans of the novel. It runs on Fridays and Saturdays through March 9 (go here for tickets).

Fiddler on the Roof at HCT

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

Native Gardens at PTC

I attempted to see Native Gardens at PTC the week before the Sundance Film Festival started but after about fifteen minutes the performance was canceled. I was really sad because I wanted to see it but I didn't think I would have time to reschedule. I decided to squeeze in the matinee before my Sundance films yesterday and, even though it made for a really long day, I'm glad I did because I thoroughly enjoyed it! Frank and Virginia Butley (Michael Kostroff and Kelly Coffield Park, respectively) are an older white couple who have lived in a historic D.C. neighborhood for decades and Tania and Pablo Del Valle (Katya Collazo and Tito Livas, respectively) are a young Latinx couple who have recently moved in next door. Frank spends most of his time on his ornamental garden with the hope of winning an award from the Potomac Horticultural Society. Tania has big plans for a garden made up of native plants indigenous to the environment which are accelerated by Pablo's spontaneous decision to invite his entire law firm over for a party in order to impress them. The Del Valles receive permission from the Butleys to replace an unsightly chain link fence between the two properties but they discover that the fence is in the wrong place and that they are entitled to two more feet. However, moving the fence will ruin Frank's garden just days before the important competition. The ensuing fight over the location of the fence becomes about who is "entitled" to the land with themes that are, unfortunately, incredibly salient today and it is as ugly as what we see on the news. What I loved most about this play is that it ends on a very optimistic note which gives me hope for the future! I also found the dialogue to be really funny and I loved all of the passive aggressive bits of business that happen between scenes, such as when Pablo throws acorns from their tree into the Butley's yard. The set, featuring the houses and back gardens of each couple, is outstanding because it really highlights the differences between them (the Butley's house has been extensively renovated and modernized while the Del Valle's house has been neglected for years). The attention to detail is a lot of fun, especially when the roots of the flowers can be seen when they are pulled and when stakes denoting the new fence location are placed in the ground. Finally, I really enjoyed the use of music during the transitions between scenes ("Shout" by Tears For Fears after a particularly heated argument between the couples made me laugh). I would definitely recommend this timely and thought-provoking play about the issues that build fences between people but the run has now concluded. PTC is presenting Bonnie & Clyde next beginning February 23 (go here for tickets).